When I think of tough guys, loners and outsiders -your Clint Eastwood, Lee Marvin and Charles Bronson, your Wolverine, Punisher, Bond and Judge Dredd – Batman to me is the king of the outsiders. He’s the king of the loner antihero “don’t fuck with me or you’ll regret it” crowd.
Batman is a bad boy. He’s dark, cool and sexy. He’s exciting and dangerous but also emotionally distant. He’s not the kind of guy a girl brings home to meet her parents. He is the kind of guy who smashes a mouth full of teeth down the throat of a rapist in a dark alley at 3 am in Gotham City.
BATS OF A FEATHER, FLOCK TOGETHER
Where Batman differs from his anti-hero contemporaries such as Dirty Harry, Wolverine and The Punisher is that Batman doesn’t kill, and that is a deliberate moral choice that Bruce Wayne made. Some say that is his weakness, while a contrasting viewpoint is that it is one of Batman’s greatest strengths. Batman gets to have all the darkness and edge and cool of an antihero, but still gets to be a morally decent human being who refrains from killing his enemies or criminals in general.
Another of my favourite characters is The Punisher, you can call him amoral, say he has PTSD or whatever else you like. It really doesn’t matter, labeling Frank Castle won’t help you understand him, and it sure as hell will do nothing to stop him.
When the Punisher comes to town he’s like a tank that just mows down bad guys and keeps moving. To some he’s a total psycho, to others an agent of mercy, or avatar of death. He’s a one man army of destruction with no moral “confusion” about what he does or why he does it. In Frank Castle’s world, everything makes perfect sense.
“Label me, you negate me”
There are bad men in organised crime who do think like kidnap young women, ship them overseas and sell them into sex slavery while they are forced onto highly addictive drugs. There are bad men who put semiautomatic weapons into the hands of children, there are men who rape and torture and kill civilians for profit, or simply because they could get away with it.
In Frank Castle’s world, those people need to die. The world is better off without them. The crime families, mobs and gangs are beyond the capacities of the police and legal system, so therefore their ever present threat needs to end, permanently, and Frank Castle is the man for that job. He’s not so much a man on a mission or executioner nut job – as an unpaid civil servant. In Frank’s mind he’s the guy who comes around to take out the cities garbage, that nobody else wants to deal with. In his world view he performs a necessary job that nobody else wants to do.
Frank Castle makes for an interesting contrast with Bruce Wayne. Both the Punisher and Batman fight crime, one is a former marine, the other a rich autodidact civilian. Their methods differ, but their basic goal of a war on crime – of targeting high profile crime lords and super-criminals means they are similar characters. The key point being that Punisher kills criminals, while Batman keeps them alive to face arrest and prosecution. Both use fear as a weapon, and display fierce sigils branded onto their chest that make it clear that if you are close enough to see them, then it is already too late, and your day is not going to end well.
BATMAN AIN’T NO MAGILLA KILLAH
In Batman’s first year in Detective Comic, he DID kill people, and sometimes used a gun. Sometimes he killed people on purpose, and other times inadvertently like punching a guy out of a window, or off a high railing in an industrial factory.
Then with the introduction of Robin, the powers that be at mighty D.C. decided that Batman would not be a killer (at least not an intentional killer, and certainly not a psychopath) and made both the character of Batman, and the books he featured in lighter in tone. He became more like Superman and less like The Shadow. Unfortunately it meant that Batman went from a cool urban commando to a grinning idiot who ran around in the daylight, at least until he was rescued in the 1970’s by Denny O Neil and Neil Adams who returned him to his Gothic pulp roots.
What started as a Gothic inspired pulp vigilante book with a coat of Superhero paint (inspired by the success of the Superman books) turned into a genuine Superhero book, with a very MORAL character. Who deliberately chose not to kill, or use guns, and that is the Batman we have had ever since. The version that most of us enjoy and get all worked up about when live action film versions of Batman ignore his integral morality. The guy who swore off guns forever. The guy who refuses to use “the weapon of the enemy”.
Another perspective on why Batman does not use guns, other than the editorially mandated one, a story if you will in the Batman canon that never really happened, is WHY did Bruce Wayne suddenly decide to stop using guns, and killing people by pushing them over balconies, or the odd snapping of a bad guys neck?
I think another possible reason, if you like to ponder these sorts of theories and ideas – and you want to include all of the Batman continuity as a whole from 1939- to the present day, assuming it’s ONE GUY who has changed and evolved as a person – I think that Bruce Wayne realised the error of his ways after those first months where he was a very sloppy and careless Batman, who perhaps didn’t always kill on purpose, so much as inadvertently. Batman used a gun only sparingly – rather than charging in lighting up the night with a muzzle flare (except that time he had a machine gun mounted on a plane, kind of hard to ignore that one) – and I think Bruce Wayne evolved to become a more moral person, who saw what he was doing was wrong, and decided not to kill anyone on purpose, and that he would certainly never be an executioner ever again.
I think that perspective gives more credibility to the character, and more growth to him as a moral human being who starts out as a man-child punching crime in the face. A character who starts out obsessed with vengeance or revenge for the death of his parents, and evolves into a Batman who serves Justice, and who avoids killing at all costs, who ultimately wants to work WITH the system of law, by putting criminals in the hands of the cops, lawyers and judges. Rather than being someone like Frank Castle who wants no part of the systems of government and law that he operates totally outside of, Frank Castiglione skips the judge and jury and sends criminals on a one way first class trip straight to the coroner.
Batman wants the world to be a better place, Batman’s dream is not just Justice or punishment, but to live in a world where he is no longer necessary, while Frank Castle’s dream is just to wipe out as many monsters as he can before his inevitable demise, he has no end goal. Of course the idea of why he stopped using guns was sort of glossed over in the comics, there have been several key Batman stories that talk about guns, but it’s kind of this forgotten thing in his history and people are often surprised at those earliest stories to see him using guns. It just seems kooky and odd now, and we want to forget about Batman using guns and sweep that taboo stuff under the rug.
ALL YOUR GUNS… ARE BELONG TO US
We can take this contrast of the moral vigilante hero even further with the characters such as Dirty Harry and Judge Dredd and to some extent James Bond.
‘Dirty’ Harry Calahan is permitted to use “justifiable force” within his job as a cop. He is legally allowed to shoot the bad guys, if the situation can be reasonably justified as presenting a threat that requires that level of lethal force.
In the first Dirty Harry film, we see Calahan bending the rules, using force in excess of that which is necessary and eventually breaking the rules altogether when he shoots a subdued criminal at the end of the film. He then throws his badge away in the final moments of the film, as he knows he can no longer be a cop, and he has gone too far. Dirty Harry is a film that really was not intended to have a sequel. But sequels happened, because the films made money for the studio, Warner Brothers kept making them.
Somehow in the sequels Harry Calahan ends up back on the police force he walked away from in the first movie. He keeps right on using excessive force, to the point where he basically becomes like the Punisher, he often goes around executing criminals, not really even trying to enforce the law at all, yet he somehow still has a badge. By the third Dirty Harry film (The Enforcer, 1976) Harry is no longer content with just a Magnun gun to obliterate his enemies and uses a bazooka to blow away a bad guy in a guard tower.
The Dirty Harry film series was very entertaining, but utterly ridiculous as they kow towed to the prevailing paradigm of 80s action cinema – that of rising body counts and zero accountability from fetishized heroes who used lethal force, who changed from being somewhat realistic hard edged anti-heroes to over the top comic book like action heroes minus any morality or conscience.
“Dirty Harry is, perhaps like Rocky Balboa before him, also a keen dissection of the evolution of the action star from the 1970s to the 1980s. James Bond, for the most part, stayed James Bond. But Harry and Rocky changed as film trends changed. They both, in their respective first films, started out to be gritty and melancholic and kind of realistic. And both, by the fourth films in their respective series, had mutated into unbeatable, peerlessly heroic icons that were used in a somewhat jingoistic fashion by their fans. This was a movement from the depression and hopelessness of the Vietnam War to the blast-’em-all mentality of the Iran-Contra scandal of the Reagan years.” – Witney Seibold / CraveOnline – The Series Project: Dirty Harry
WE COME IN PEACE… SHOOT TO KILL, SHOOT TO KILL
The Batman / Dirty Harry / Punisher vigilante archetype is taken to the extreme with Judge Dredd. In a post-apocalyptic dystopian future, gigantic megacities are rampant with crime. The Judges are entitled by their job role to be judge, jury, executioner and cop all rolled into one, in an effort to streamline the process of law and justice in vastly over populated megacities. The “Judges” as they are known in the 2000 AD fiction are a drastic response to crime in a world where other alternatives fail.
Dirty harry as he becomes more lethal, more of a effective killer moves away from the law and justice, becoming an aimless amoral vigilante. Judge Dredd however kills as part of his job as a judge in Megacity 1. It is part of his job to kill, and the more effective a killer he is, the more effective he is at enforcing the law in his world. That is not to say that Dredd kills all criminals indiscriminately like the Punisher, he still has legal mandates to follow.
For people not familiar with Dredd, he is sort of like a combination of Dirty Harry and Batman. A bad ass vigilante type, who happens to be a law enforcer, who bends and sometimes breaks the rules, but who ultimately still has a morality to him that means he is not a pure fascist or sadist. Judge Dredd appears to be a fascist at a glance, but looking into his stories he doesn’t have a political agenda, he is both a parody of actual law enforcement and in his fiction a good cop, in that he does his best to actually enforce the law, even when he bends or breaks the rules he lives by as anti-hero characters often do.
“While sometimes Judge Dredd is a good man doing his best to save his city, he’s still part of a fascist system.
But the best part about this is, although America is still one of the greatest Judge Dredd stories out there, highlighting Dredd and the Judges as fascists really wasn’t anything new. In fact, it had been part of a major story arc that had gone on for a while.
To me, Judge Dredd is one of the most morally complex and interesting characters because of that key conflict. He’s a man who’s a part of a fascist system, but he and many other Judges aren’t doing what they do for power’s sake, they’re not doing what they do because it suits them. No, the Judges – especially Dredd himself – do the job they do because they believe that it’s right. That, under the circumstances, there really is no other way. That they put a harsh leash on the citizens, but only because the previous system of democracy lead to Armageddon.” – James Aggas / Judgedreddcollection.com
In a world that doesn’t make sense we often feel powerless and helpless. Characters such as Batman, the Punisher and Judge Dredd force the world to make sense on their own terms. We feel empowered reading these characters not because their solutions to problems are legally or morally right, and not because their solutions seem to work (temporarily) but because these characters appear to be both powerful and capable. In fiction heroes can take on the world and win.
However their examples are not sometime to emulate. Their actions just don’t work in the real world, with rare exception. For every Sunday Superhero who leaps in to rescue a citizen in distress, there are far more poeple we don’t hear about who get shot stabbed or killed trying to help someone out.
Batman, The Punisher, Judge Dredd and Dirty Harry are terrible terrible role models. But we love these characters because they are power fantasies, the characters look cool and powerful, and most of us would rather feel cool, powerful and in control of our lives than helpless and afraid.
Nobody wants to be adrift in a sea of emotional chaos where down is up, up is down and we don’t know how to make sense of the world. Tough guys, loners and antiheroes like regular heroes are ciphers, characters we project ourselves onto and vicariously enjoy for their values and hardline uncompromising attitudes. They can’t succeed outside of their own fiction, in real life we are often forced to compromise and do things we don’t want to do, often it can be soul destroying and it’s not a matter of choice, but survival. That kind of hardline no compromise attitude rarely works in the real world.
That hardline attitude may work well temporarily in places like combat sports or the military, but those environments still have rules, and the real world has no rules, just human idea constructs smooshed over top of what we call life. And in life we have to find our own way and make sense of things – the world is not black and white, but endlessly complicated, expansive and multidimensional.
BAT… JAMES BAT
We can’t escape from the 70’s Batman and fully undestand 80’s Batman without a nod to the prolific James Bond. Forties Batman was grim and gothic, fifties Batman was a grinning idiot who ran around in the daylight, late fifties and early sixties Batman had increasingly bizarre adventures in space and other forgettable stories. Seventies Batman moved back closer to his roots, bringing back the Gothic dark elements of the character, while adding an exotic globe trotting James Bond angle to the Batman mythos, before moving into more grim existentialist flavored Batman stories in the eighties.
James Bond, in any incarnation is not a vigilante. He is a spy, a tough guy and a loner however he works for a British government spy organisation. He has a famous “license to kill”. It’s an unavoidable part of his job to kill. His portrayal has veered from serious to outlandish and comical and stone cold serious again through the different actors, and tone of the various movies. From high camp, to straight action to gritty intense emotional drama, Bond has done it all. He’s a very effective fighter, killer and spy. He makes for a great contrast with Batman, Dredd and Dirty Harry. We can see the overlap in their methods, their morality (or lack of) and the dangerous situations they all face on a daily basis. Leaving these guys aside for a while, let’s take a look at some of the overall trends in action heroes in cinema and comics during the 70’s and 80’s, and then see how it all relates to, or influences Batman media.
BACK……..TO THE 1980’S
If you look at the history of american action movies you have your war and western films, film noir, detective stories of hard boiled gum shoes and the like, and as the war and western movies died off in the 50’s and 60’s you had the rise of the loners, the outsiders, tough guys, and antiheroes typified by actors like Lee Marvin in Hard Boiled, Charles Bronson in Death Wish, Clint Eastwood in Dirty Harry.
As the straight laced 60’s action heroes gave way to more grim anti-heroes of the 70s, and excess over the top body count of 80s action cinema the cowboy/cop/soldier turned into the loner /outsider/antihero. The hero archetype in cinema moved from establishment to anti-establishment and back again, taking on new forms and permutations. The trend continued in the 80s with new wave action hero’s such as Stallone and Schwarzenegger who were as famous for their imposing physiques as their high bodycount movies and non-stop blood thirsty action.
In the 80’s out were the straight laced serious cop/cowboy heroes and in was super-human murder death killing machines such as The Terminator and Rambo. Chuck Norris, Steven Segal, Jean Claude Van Damme and others continued the trend of Stallone and Schwarzenegger in B-grade cinema where the selling point was the high bodycount, martial arts expertise, military commando’s and other types of extreme hero killing machines who dominated the decade. The lone hero or anti-hero with the highest bodycount and the smartest one liner and baddest attitude that started with Lee Marvin, Charles Bronson and Clint Eastwood evolved and devolved in the 80’s to new forms.
Heroic trends shifted from establishment to anti-establishment to jingoistic pro Americana war propaganda and back again.
“RIGGS IS CRAZY!”
But the 80’s was not just home to near super-human killing machines, but was also the decade of rogue cops on a revenge mission and sci-fi, technology, A.I. and Trans-Humanist fears with Robocop and The Terminator. The crazed 70’s cop on a revenge kick morphed and blended with the 80’s excess new breed of action hero. Martin Riggs in the first Lethal Weapon is tough yet vulnerable, by the fourth film in the series, he has become a parody of himself, he still gets hurt, but we know he will always come out on top like Rocky and Dirty Harry. The heartfelt portrayal of the genuinely suicidal Riggs continued the new trend of sub-genre PTSD that was firmly established in The Deer Hunter (1978).
Alongside these new special effects heavy blood thirsty action movies was the usual glut of B-grade Kung-Fu Killer imports that trickled down the pipeline and eventually gave way to American teenagers new obsession with Deadly Ninja films.
It didn’t matter any more in this crowded action-genre market whose side the hero was actually on. What his values, ethics and mission were – only how big the explosions were, and how many people he killed during his mission or journey. James Bond who had dominated the action movies of 60’s had become a relic by the 80’s – he was no longer cool. What was cool was pointless mass carnage, excessive blood and explosions, abstract violence as pop-art – a trend that ironically James Bond himself helped to start in his earliest films, this trend continued throughout the 80’s as “me-too” Z-Grade action movies appeared on the video rental shelves next to the big budget action blockbusters.
WHERE DID YOUR BAT-MANNERS GO OLD CHUM? (A.K.A. BATMAN IS A BIT OF A BASTARD)
As these types of new wave heroes and anti-heroes invaded comics along came Wolverine, Judge Dredd, The Punisher and of course Batman became more of a hard ass in the 80’s. If 70’s Batman was typified by James Bond style globe trotting adventures by Denny ‘O Neil and Neal Adams, the 80s were about grim and gritty Batman, none more grim and gritty than Frank Miller’s Dark Knight Returns, a tought ruthless bastard who was equally likely to sneer or laugh at you as he broke both your arms…Miller’s semi-sadistic vision of Batman overshadowed every other Batman story in the decade of Miami Vice, new wave pop, hair metal and hip-hop. While Wolverine and The Punisher debuted in the 70’s, it was the 80’s were they graduated to their own titles and found new fans as they became a popular ultra-violent alternative to mainstream superhero comics,.
No other writer had written Batman so gruff, stand offish and downright mean as Frank Miller in The Dark Knight Returns. This was Batman as Dirty Harry, Batman as Judge Dredd in another costume. Gruff, uncaring, stand-offish, he often spoke in short sentences with a commanding tone that other Bat writers over the years picked up on.
The team of John Wagner and Alan Grant in (issue numbers) ran with their own version of this hard bastard Batman in a fantastic run of comics. John Wagner, Alan Grant and Norm Breyfogle’s gave us a breif fan favourite run on Detective Comics staring in 1988, in Detective Comics #583-594; 601-621 (thanks to FamousFanBoy for the reference).
For people who grew up on and only knew Batman from the campy 1966 TV show starring Adam West and Burt Ward, this hard cynical violent Batman of the 80’s seemed excessive, mean and horrible, a betrayal of their childhood character.
But for hardcore Batman fans, it was a return to the roots of the Gothic vigilante who terrorized the criminal underworld before he was castrated by the Comics Code Authority and his stories turned into a saccharine dayglow fever dream of political correctness. It was more of the hard bastard 80’s Batman who fans greedily devoured and asked for seconds.
With the influences of Miller’s Dark Knight Returns Batman and Wagner’s Judge Dredd, Batman in the 80’s was a tough bastard who grew more dark, grim and cynical. In short he was becoming more like the modern Batman we know. Some would call him a fascist, or mentally unstable. But no matter what label was thrown at the Dark Knight, none of them could really stick, or at least not for long as a new fresh interpretation was always just around the corner.
Many of his regular monthly stories reflected the regular version of Batman fans were used to from the 70’s. But the hunger for for a harder edged Batman would reach it’s peak with the 90’s Knightfall storyline, where Batman / Wayne is replaced by nutcase Jean Paul Valley, who uses deadlier weapons and becomes a parody of Batman while trying to replace him.
In the modern era we get a composite Batman. The athletic James Bond Batman of Neal Adams, the hard cynical bastard Batman of Frank Miller, the relentless manhunter Detective of Paul Dini, the Gothic Dark Knight of Bob Kane & Bill Finger and other great Bat-writers. The modern Batman is a mix of all these great elements, and the whole of Batman is greater than the simple sum of his parts, his diverse writers, artists and influencers.
He can be grim and cynical, he can be the light hearted Lego Batman or Adam West Batman, he can be eerie and creepy Batman in Kelley Jones horror stories, he can do it all. Batman is tough, he’s an awesome idea, nobody is going to break him by writing a bad story, Batman’s been around too long and is so damn cool and brilliant that he can do it all. Fighting white martians, fighting Superman, fighting sharks and jumping sharks, he’s been there, done that and now he’s ready for more.
“…this is the most perfect version of Batman ever. Wagner and Grant’s Batman is the gritty, damaged Miller version, merged with Morrison’s “love god”, merged with the father figure who raises and nurtures Robins, merged with the super-hero from the pages of Justice League. He’s every Batman, it’s all in him! – Paul C. / FamousFanboy/Blogspot.com.au
While Alan Grant was a prolific Batman writer in the late eighties and into the nineties, his collaborator John Wagner contributed to only a select few Batman stories. Its makes his contribution however small that much more special. I’m not saying he is more important than any other Bat-writer over the decades, but to get to the modern Batman we love you have to go through Dirty Harry and Judge Dredd and Frank Miller’s Batman – the same way to fully understand the Golden Age Batman you need to know about Zorro, The Shadow, Doc Savage and Superman. Frank Miller’s influence is significant, but often over stated.
To follow the trail of the smiling daylight cop Batman to the dark detective Batman, his diversion into sci-fi bizarreness and high camp and a return to the darker Batman that revisited his Gothic roots from Detective Comics #27 you have follow the reinvention of characters at DC lead by Julius Schwartz such as the Silver Age Flash, which leads into Denny O Neil and Neil Adams Dark Knight Detective of the seventies, which leads into Doug Moench’s Batman of the 80s, Miller’s Dark Knight, Kelley Jones’ gothic horror Batman, Chuck Dixon stories of the 90’s. Paul Dini’s Batman Animated stories, Loeb and Sale’s Halloween stories, and all the regular amazing talent on the monthlies up to the modern day with fantastic runs from brilliant writers such as Grant Morrison and Scott Snyder.
POST POST POST MODERN CAPE AND COWL
Batman comics group editor Denny O Neil’s overall influence on Batman from 1970s-1990s cannot be understated. He has been involved with the character as a writer and editor for longer than any other individual, he was in the unique position to help reshape Batman from irrelevance to pop-culture juggernaut.
You don’t get Miller’s Dark Knight Returns, Nolan’s Batman Begins or Snyder’s Batman v Superman without the groundwork laid by Denny O’ Neil and other talented bastards over several decades. Denny takes Batman seriously, he respects the character and puts him in challenging situations where he is forced to rise to the challenge and use all his skills. Denny’s Batman is perhaps the most human. He fails, he expresses remorse, he is not invincible, unbeatable, nor any sort of Bat-God under Denny O Neil’s pen.
Denny is perhaps the most significant writer to have ever worked on Batman next to his co-creator Bill Finger. His background as a crime reporter / journalist led him to include social and sometimes political commentary in his Batman stories in a seamless way that integrated with the core themes of Batman and whatever case the world’s greatest detective was trying to solve that month.
Denny ‘O Neil along with other new generation writers of his era lifted the craft and quality not just of Batman, but the superhero genre of fiction. Putting real world issues into populist cheap entertainment gave Denny’s stories a more timeless feel. While some of the dialogue in those older stories can be a bit hammy, the themes of his stories still resonate today. With Neal Adams’ anatomically accurate drawings, and cinematic dynamic storytelling style, together Denny and Neil redefined Batman for an entire generation of Batfans.
Including Batfan Paul Dini who (along with Alan Burnett and Bruce Timm) would redefine Batman yet again in the 90s with Batman the Animated Series, creating one of the the most definitive and enduring versions of Batman beloved by fans around the world.
NEW WAVE HEROES AND ANTIHEROES SETTLE IN
The new wave of western anti-heroes such as Clint Eastwood’s Blondie in For a Fistful of Dollars were seen as sheik, uber-cool nonchalant ass-kickers by the youth, and needlessly cruel and violent by the older generation who had grown up with relatively bloodless Westerns and exaggerated morally perfect heroes typified by John Wayne, Gary Cooper James Stewart and other stars. Sam Peckinpah continued the trend of bloody Westerns featuring unlikable and often downright villainous – yet human – characters.
With “emotional realism” taking precedence in the late 70s into the 80s, many stories in both films and comics also brought a kind of cynicism and existential meaninglessness that is still today often mistake for “realism” in general, rather than as a sub-genre of the “realism” movement that swept into film through the seventies, echoed a couple of decades later in TV and comics by the likes of Oz, The Wire, and The Walking Dead.
From the 70’s to the 80’s we had the end of the John Wayne moral Cowboy / War Hero / Lawman characters and the rise of the anti-hero and excessive violence. This was the era of Wolverine and Judge Dredd, of Frank Miller’s Daredevil and Batman, of Dirty Harry, The Terminator, Robocop and Rambo. The trend of new wave surreal realistic violence started by genuine passionate film makers such as Sam Peckinpah devolved into mindless blood letting, bigger explosions and body counts, and a sort of amoral glorification of pro-american killing machines masquerading as fetishished unbeatable soldier heroes and one man armies on revenge missions for America.
Even the anti-war film Rambo, the grim and gritty tale of a shell-shocked Vietnam veteran who is unable to return to civilian life (a new sub-genre of film showing the real life after effects of the Vietnam war – rather than the glory and propaganda of earlier war films – first touched on in the in the PTSD infused The Deer Hunter) devolved into a remorseless killing machine in his sequels, depicting the jingoistic consequence free fantasy violence that the first film spoke out against.
The tie in jingoistic 80’s cartoon depicting John Rambo leading a team of “me too” G.I Joe type team on missions where rocket launchers, grenades and realistic automatic heavy artillery led somehow to blissful bloodless resolutions to american foreign concerns in exotic locations further eroded whatever credibility Rambo had established as a character in his first appearance. Further even bloodier sequels would cement Rambo’s memory as another 80’s murder/death/kill machine, drowning out the tone and message the first Rambo film established in a deafening roar of semiautomatic gunfire and garnished with a tidal wave of empty shell casings.
…AND THE REST
James bond continued to do what he does best through the years, leading from the lukewarm Bond of the 80’s to the politically correct but underwhelming Bond of the 90’s – Bond remained somewhat unpopular – as even the cold hearted killer BOND looked tame and boring next to the existential cool of Clint Eastwood or the bad boy outsiders like Judge Dredd, Batman and Wolverine who appeared in the late 70’s and early 80’s.
As the 70’s ended, so did the era of John Wayne, and moral cowboy heroes and conscience of America for several decades. The Duke starred in his final film The Shootist (1976), a somber small scale western film about an aging gun fighter dying of terminal cancer. Directed by Dirty Harry’s Don Siegel, it’s the film nobody really expected to see after John Wayne’s semi-retirement from cowboy film in the 60’s.
James Bond continued on through the 80’s, and moving into the 90’s attempted to reinvigorate the franchise with Pearce Brosnan in four films (and a non canon video game) that were an odd mix of poorly implemented political correctness and other 90’s cliches that failed to modernise Bond in any meaningful way. They were still fun films, but lacking in many ways. Brosnan was excellent as Bond, but the writing was not up to the standards it should have been for such a beloved character.
Not until the success of Batman Begins and The Bourne Identity did James Bond successfully move out of action adventure movie limbo (and legal dramas behind the scenes) to be reborn a meaner, more handsome, more clever and capable Bond than any we had seen ever before. The sense of humor and knowing winks to the camera of the Connery and Moore era were gone, this Bond was all seething rage, pain and pathos, this was James Bond: Year One, a reinvigoration of both the character and franchise that continued on for several films. Things had come full circle as 70’s Batman was heavily influenced by the cinematic James Bond, and decades later James Bond was heavily influenced by the cinematic Batman.
Further permutations of the vigilante archetype played out through the eighties and into the nineties. One of the more interesting comic book oddities was Marvel’s Moon Knight.
Moon Knight was a creation of prolific Batman writer Doug Moench.
Having penned many Batman excellent stories, Moench created Marvel’s most superficially Batman-like character “Moon Knight” in the late 70s. What was similar was the costume, money, gadgets, vigilante schtick and war on crime, what was different is that Marc Spector was formerly a mercenary, a cold blooded killer who was reborn as Moon Knight, whose new superhero mission was to serve as the avatar to Khonshu -the Egyptian God of the Moon.
Moon Knights depictions would vary over the decades from being a moral hero, to psychotic, to multiple personality disorder and schizophrenia. Moon Knight then is a Batman like character who is genuinely crazy, who sometimes kills, while still basically being a moral hero on a mission. Loose affiliations with the Defenders, Avengers and other teams mean Moon Knight varies in his personality and depiction as much by writer as because of his multiple personality disorder and supernatural origins.
While superficially similar to Batman, the Moon Knight stories are different enough to make him a genuinely interesting and even unique character.
I hope you’ve enjoyed this quick tour of Batman’s vigilante contemporaries and influences. Coming up in a future article I’m going to take a look at the Golden Age characters who are part of Batman’s DNA like The Shadow, Doc Savage and Zorro.
So stick around, there is plenty more to come Batfans.