Bad to the Bone

Life used to be much simpler. Bad guys were bad, and the good guys were good. Now we have to wade through the muck and grayness of situational perception to define good and evil. Situations define the terms, "good" and "evil" rather than a clear cut line of black and white. Throughout time most people have seen themselves as the "good-guys" regardless of what they were doing, while other people would be able to judge as to whether that person was a "good-guy" or a "bad-guy." The example that jumps to mind is Adolph Hitler. Most of the people in the world can immediately state without reservation that Hitler was a "bad-guy." I'm sure that Adolph didn't see himself as a bad-guy, but he was to the rest of us. The reader may ask, "What does this have to do with comics?" The thread of thought is this; in an attempt to flush out the complete personality of comic book characters, writers of these books are tying every action to a significant event in that character's past. This is what the readers want, but in the long run is it what we need?

Comic book writers, in their attempt to portray three dimensional characters, are coming up a storyline behind everything and everyone. This, for the most part, is very good. We learn why Batman has that T-Rex in his cave. We have briefly ventured into the past of Alfred Pennyworth (faithful man-servant of Bruce Wayne), and also have learned practically everything there is to know about all of the Robins. These snippets of information help keep the interest of long-time readers, and immediately catch the attention of the first-time buyer.

Additionally, we have been drawn into the trap of finding out that all of Batman's arch-enemies have some underlying reason that drove them to crime. We have to ask ourselves if this is what we really want. Mystery is just as an essential part of the character make-up as is the logical cause and effect of certain traits. A balance must be met when it comes to the development of super-heroes and their respective villains. Readers shouldn't be told everything about our graphic friends, but rather should have the element of the unknown always floating in the stories. In respect to villains of the comics the proper balance between full disclosure and mystery is essential. Some characters become more interesting with a full history, whereas others should be shrouded in a cloud of questions.

Harvey Dent (Two-Face), and Mr. Freeze are two of the most tragic figures in comicdom. They bear this title because of what we know about them. We are enthralled by our knowledge that the twisted brain of Two-Face may hold the good man, Harvey Dent prisoner. Mr. Freeze's passionate love for his wife was stopped cold by his greedy boss who wouldn't allow Fries to use the company facilities to find a cure for his wife's ailment. Even with our in-depth knowledge of these characters comes an element of the unknown. Readers still don't know if Harvey is really still in there. What would Freeze do about his criminal career if his wife recovered. Would he continue to hold a grudge due to his condition, or would he turn over a new leaf and become a productive member of society? "Balance" is what makes these characters great.

On the other hand, "imbalance" is what makes other villains such great characters. These particular characters benefit when the scales tip away from more information in favor of innuendo or total lack of information. This allows the reader's imagination to work overtime filling in the blanks. The number one villainous question mark in the DC Universe is the Joker. He is a man without a past or even a name. Until recently, next to nothing was known about the Joker, but with the advent of The Killing Joke, a story which deftly explained the reasons for his headlong dive into criminal insanity, readers have almost all the pieces of the Joker puzzle. The story was riveting, but to learn that Mr. J was a nice guy who snapped, does not fit with the "pure evil" mythos that the Joker should possess. Some characters should just be left as evil with little or no explanation. The Joker is one of those characters. The Batman Adventures, one of the best cartoons and books on the market, did a lot to humanize the Joker, but without telling the reader anything that would make us feel sorry for him. He can be laughable one moment and very psychotic the next.

Once the writers officially say something about a character they can't go back. The "cat is out of the bag," so to speak. For generations to come, the facts established in current comic issues lay the groundwork for future character development, and there is no turning back. (Well, there is, and it is called "Zero Hour," but that can be discussed at great lengths in comic book stores, internet chat rooms, or message boards as to its appropriateness.) However, a character remaining a mystery to the readers will undoubtedly draw more attention to him/herself. There are no magic formulas for the writers to follow when deciding how much information to dole out to hungry readers. There must be enough information to keep our interest and sympathies, but not so much that we aren't clamoring for more. In this age of instant gratification, uncertainty and mystery provide the much needed wild cards in our lives.

Column by Dave Runyon

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