[Let me preface this by saying that this will not be a 5-paragraph essay with a very structured body or a
repetitive intro and conclusion. What I started out writing has turned into anything but!]
Today while I was watching The Avengers trailer below, courtesy of @YABookNerd‘s Trailer Thursday post, something dawned on me that I, at least, find really intriguing.
I usually don’t think of superhero comics as having particularly strong ties to the PLAYA movement (Paranormal Literature Addicts Young & Adult – yes, I just coined that, and yes it is totally awesome), though I know that the audience is similar if not the same: people of all ages who revel in thinking outside the box of the everyday, thrive on a good shot of adrenaline, and aren’t concerned with what anyone else might think of their literary/film preferences.
In other words, people who know what they like and they know that it ROCKS.
But, maybe because I was utterly lost in @CaraghMOBrien‘s uhhhmmm-azing book Birthmarked this morning on the train, or because I just read a rock-on article in this month’s @VOYAMagazine (go to pp. 48-49 to find Tough Girls Don’t Accept &$%!# From Anyone by Rebecca A. Hill)…or both, I started thinking, well, what are the differences? What separates dystopia from the comic-born superhero story?
My conclusion? Not much.
The primary differences I find between, say, Katniss’ tale and that of Batman or Captain America are that 1) the latter’s “powers” are magnified and embellished, and 2) that the superhero’s actions are usually preventative, while the dystopian protagonist’s tend toward the revolutionary.
Katniss Everdeen (Hunger Games)
I think that second point is the more significant: Superman, Spider Man, Wonder Woman, and the like are fighting to stave off an impending-but-not-yet-fully-realized takeover by the dictatorially-minded villain. Gaia, Deuce, Meg, Tally, and Titus, on the other hand, awaken to injustice from within an already established regime, and have to fight their way out.
Some might also cite natural disasters as a difference, since they are usually the cause for the negative setting of a dystopian universe, but isn’t that what the Green Goblin (lab accident), Poison Ivy (attempted murder), and Magneto (mutation/racial discrimination and violent) are? Of course, there are exceptions, but in general, I think that all of those things can be summed up as a similarity: human-caused disasters.
And, the more I thought about it, the more I was intrigued by such similarities.
First, if you think about it, many of the paranormal (outside of the everyday) elements in comics are close to those in the alternate realities of dystopian fiction. Really, what separates a Pretty or a Special from Captain America? Or an anti-gravity suit from a dress that catches on fire and flakes away without burning anybody? Then, in both genres, there are also genetic advancements/alterations occurring in people (Peter Parker; the Scriven) and/or animals (tracker jackers; Ninja Turtles). There are advanced forms of weaponry, transportation, and medicine/science in both genres as well. Etc.
Poison Ivy (Batman)
However, above and beyond such decorative items, there’s also the deeper plot lines and themes, which are almost identical:
A) these are all narrative stories
B) set in an adjacent though somehow different (whether ahead of, behind, or alternatively developed) version of our world,
C) in which said world is threatened (or overtaken) by seemingly insurmountable, evil forces of a paranormal (not of everyday experience) nature, which have some totalitarian motivation,
D) to which a (somewhat) ordinary citizen takes a disliking, decides to stand against,
E) and, by some unforeseen force of nature (be it simple or extraordinary, human or extraterrestrial, mutant or constant, mental or physical), manages to overcome,
F) thus securing the equitable, harmonious, and enjoyable future of their (and by implication, our) civilization.
Tally Youngblood (Specials)
Once I had collected these different points in my head, the next question for me was, What does this mean? Why are we creating these very similar stories right now, and why are they so popular? Huge questions, I know, but the items that seem to answer this for me are C and D, which in turn linked back to a problem I’ve had with the academic world. We PLAYAs and our beloved literature have been accused of and marginalized in “literary” society because of many things, but probably most notably on account of our supposed unwillingness to live within the confines of reality. Just for the record, this is something that I readily admit to (a different conversation altogether), but I would argue that it’s not a complete picture.
What I saw in the trailer for The Avengers today – the element that got me started thinking about how it is, in its way, a form of dystopia – was a deeply rooted love for our reality, a fervent desire to keep it the way it is by thinking of all the ways it could be destroyed. From oil-virus crises that lead to plastic-surgery-based communism, to homicidal environmentalist redheads, we are constantly thinking about the ways in which our (very earthly, very human) thoughts and actions could (will?) affect our (very earthly, very quantifiable) world. And, just as importantly, we’re thinking about the strengths we have within us to combat that negative potential.
It seems to me that, whether it does so via a poor, scrawny huntress, or a roid-raging, genetically-empowered green dude, or a mixture of the two (dare I suggest Harry Potter?), paranormal literature is at heart very similarly focused right now. (I purposefully avoided throwing sci-fi and fantasy into the mix, but you can probably pick out for yourselves that, underneath the very superficial differences, the same parallels are present.)
We’re not escaping to enter a “better” reality somewhere “out there.” We’re doing it to bring one back home.
Much of human art can actually be boiled down to the same motivation. If so, you might ask, what’s my point in all of this?
Just that, well, perhaps we’re not all so different after all.
Looks pretty sweet, btw – out May 4, 2012. Enjoy!