Batman v Superman centres around Clark Kent. Bruce is the deuteragonist of the piece, and while Clark’s arc is primarily about being hated and feared and demonstrating to the world that he’s on humanity’s side, Bruce’s story is one of doing bad things and seeking redemption.
The Divine Comedy tells the story of Dante’s journey through hell, Purgatory, and heaven – the path through sin and redemption. In Greek tragedy, the hero is brought down by his own hamartia – his fatal flaw. Both of these things are hugely relevant to Bruce and his story throughout the movie.
If I remember eleventh grade English correctly, the characteristics of a tragic hero as described by Aristotle are as follows:
- They begin the story as a hero of high status.
- The story is about their fall from grace.
- The fall is an inevitable event, brought about by the hero’s own actions.
- The audience must feel a sense of catharsis upon their death.
Bruce embodies all of these attributes, save for one thing: the last half hour of the movie features him realizing just how bad his actions were and wrenching himself back to being a true hero. The movie isn’t actually a tragedy. The ending is bittersweet, but it doesn’t qualify as a tragedy, either in literary terms, as described above, or what we’ve come to interpret tragedy as – a story with a sad ending.
This is a story about redemption.
This brings us back to The Divine Comedy. It’s a fascinating, if hugely xenophobic, read. Ignoring the “this was written in fourteenth century Italy and is therefore hugely racist and homophobic” thing, each of the three parts can be related to Bruce’s character arc.
The first ten minutes of BvS are a quick, efficient explanation of how Bruce came to be in a mental state where he thought murdering an innocent man was justifiable. The death of his parents. The helplessness of standing there in the rubble of a city destroyed by a fight between aliens with superpowers. Those first ten minutes are the most heroic he is in the entire movie until the end, when he throws aside his spear and goes to save Martha Kent. Because he’s not fighting criminals. He’s not in costume. He is running through a disaster zone, straight into the danger, to see who needs help. For the rest of the movie…as the one man said, “there’s a new kind of mean in him”. That’s the path through sin: the Inferno part of The Divine Comedy. Bruce’s paranoia and obsessiveness changed him from the man that comforted a child that just lost her mother to one that terrifies the people he just saved even more than the human traffickers holding them hostage.
Clark is the catalyst for Bruce realizing that he was the villain in this piece. While The Divine Comedy is about finding God, BvS revolves around reiterating that Superman isn’t a god, he’s just a man that chooses to use his power to make a positive impact in the world. Bruce’s story is about believing in Clark as a good man, and coming back to being good himself. While oftentimes, tragic heroes are static and blind to the faults that will cause their own doom, thus ensuring that their fall is unavoidable, Bruce isn’t a static character. He can change, and he does. He goes to save Martha while Clark confronts Lex and fights with Clark and Diana to stop Doomsday – Purgatorio, the redemption part of the poem. After Clark’s death, he’s inspired to form the Justice League – Paradiso, the final part of the poem, the journey through Heaven.
Like Bruce, Clark also fits several of the characteristics of a tragic hero. He’s a hero of high status because he’s the last son of Krypton. He’s an alien on Earth, othered and revered, and a literal superhero. That makes his metaphorical fall inevitable, because no one can live up to the impossibly high expectations people had of him. But neither his fall from grace nor his death occur because of his own actions or any fatal flaw, they occur because of other people – Bruce and Lex. After his death, he’s recognized by both the world in general and his would-be killer as a good man and a hero that should be accepted, not feared, because BvS is not a tragedy.
The film begins with Bruce’s “start of darkness”, as it were, and his path of doing worse and worse things. I’ve talked about Nietzsche and how his philosophy applies to BvSbefore. And then again. Now, I’m going to have to do it again, just to bring up the quote that I somehow forgot to mention before and that encapsulates Bruce’s character arc. I’m sorry, I swear this is the last time!
He who fights monsters should see to it that he himself does not become a monster. And if you gaze for long into an abyss, the abyss gazes also into you.
By the time Lois stops Bruce from killing Clark, he has become comparable to the criminals he fought and had alienated the people closest to him. This again ties in to The Divine Comedy – when Dante met his dead lover, she reminded him that he set himself on a self destructive path after her death, despite the good she’d done for him. It’s very reminiscent of Bruce’s loss of Robin, of his parents.
In contrast to the tragic hero, the main stages of the classic hero’s journey (heavily abbreviated) are:
- The call to adventure
- Refusal of the call
- Meeting the mentor
- Crossing the threshold
- The road back
- Return to ordinary
This doesn’t apply to Bruce in BvS at all, because the story takes place so late in his career as Batman. It can, however, be used to loosely describe Diana’s arc, as well as Clark’s in Man of Steel.
Clark may have never refused the call, but if his call to adventure was the development of his powers, we can argue that his “meeting the mentor” was the holographic Jor-El. He crossed the threshold when Zod came to Earth. And so on. Diana wasn’t in much of BvS, but she arguably fits these stages even better than Clark in MoS. Her call to adventure was seeing the beginnings of the disturbance in Metropolis. She refused the call when she started to leave. She met the “mentor” when she fought Doomsday with Clark and Bruce. She crossed the threshold when Clark died and she agreed to help Bruce assemble the League. The reward and the road back took place during Justice League, culminating in her return to the ordinary when she stepped back into being a public figure.
The members of the Trinity all have different character arcs with a few similar aspects. BvS draws upon every kind of classic literature to craft these arcs and define every character as a unique individual. It’s fascinating, and I love it.
Happy birthday to Zack Snyder, my favourite director around, and happy early birthday to my friend Selene, one of the most awesome people ever.