LaRiviere, Debra

Professor William DeLuca

Humanities 310 – Summer 2013, Session 1

June 10, 2013

Batman: The Mask of a Monster, The Heart of a Hero

“Something about young Bruce’s eyes made the killer retreat. They were accusing eyes that memorized his every feature … eyes that would never forget.” (Batman #47) Bruce Wayne, after seeing both of his parents murdered before his eyes made a promise in his heart. He would do everything within his power to fight crime in Gotham City. So strong was his resolve that he bordered on obsession. The creators of Batman, Bob Kane and Bill Fingers, lend a bit of insight into young Bruce’s state of mind. “There is nothing more traumatic than having your parents murdered before your eyes.” It would take years of intellectual determination and physical training, pushing his mind and body beyond its conceived limitations. He was only human. He possessed no super powers. But he did have an unyielding, perhaps psychotic, dedication for seeing justice done in his city. As a way of disguising himself, Bruce chose the mask of a bat and the role of a vigilante. He single-mindedly sought to dispense justice on evildoers, many times breaking the law himself … making him no better than those he pursued. And still, he had no peace. “The superhero continually vacillates between the human persona and the shadow side, never living a full existence in either one. The end result … a fragmented person.” (Iaccino 93). As we delve into the humanistic reflection of the characters of Bruce Wayne and Batman we will look at the significance of the bat mask and why he choose the bat as his symbol. We will also look at the construction of the physical mask and costume, how the mask is used in an imaginative way, and finally, the appeal of Batman and the affects of the persona, especially on children.

Bruce Wayne’s entire reason for becoming a vigilante is to strike fear into the hearts of criminals and bring them to justice. Yet, he can’t go out fighting crime as he is. What will people think? No, he needs to assume the identity of something dark that can convey the anger and trauma within his heart. One day, a bat flies through his open window, and he sees it as an omen. He decides that the characteristics of this animal align with the representation and message he wants to send the criminals of Gotham City: fear. Bats shun the light, and they summon ideas of darkness. Bats are also survivors, adapting to the changing environment around them. Just like Bruce Wayne and the newly embraced persona of Batman, bats are a study of opposites. They are physically always nearing the light, but never entering into it. And it is a combination of these physical characteristics that clearly identify with the emotional dichotomy within Bruce Wayne, and eventually what is used to transform him into Batman.

“The point of the character, or of any dark avenger of the night, is to scare the villains with villainy greater than theirs while protecting the innocent – to wear the monster’s mask, but have the heart of a hero beneath.” (Rosenberg 188) Batman chooses to fight Gotham’s criminals with their own type of uniform: black hood, black mask, black cape, black suit. He wants the villains to be on the receiving end of villainy. However, it is not just the criminals that have to deal with the mask of Batman. Bruce Wayne, himself, has to figure out which is the mask he wears. Is it the black mask of Batman? Or could it be that Batman is really the desires of his inner heart and the real mask is the one he wears as Bruce Wayne? This mask is one of flippancy and arrogance. It is the face of a spoiled playboy with no more ambition than to lazily squander his wealth with as many women as possible. It seems that when Bruce takes this mask off and shows his true self as Batman the deep anguish of his heart is allowed full freedom. “The shadow side has to be just as mean and vicious as those predators he seeks to conquer. He must give the shadow full reign at the expense of abandoning his persona while in the hero’s guise.” (Iaccino 105) Batman doesn’t have any superpowers. So what is it that makes the criminals fearful upon seeing him in the night? Besides his mental and physical capabilities, Batman’s visible threat is conveyed through his choice of mask and costume. It is what brings about a cascade of fear within the hearts of evildoers.

Rather than using a simple mask, Bruce Wayne incorporates the full image of a bat: cowl, mask, cape, utility belt, and an emblem on his chest. “Batman’s costume is more pathological than a Halloween or Mardi Gras costume, but less so than a Mr. Hyde or Son of Sam. He is in the throes of dissociative phenomenon, but not of total identity diffusion.” (Brody 114) When Batman approaches a criminal in silence and stealth, they may initially fear the whole persona of the bat, but it is Batman’s face, the mask, that they are forced to confront. Batman’s mask, as seen in Batman Begins (Nolan 2005), was designed by Lindy Hemming. It is black with full head coverage. The forehead is designed in an eternal scowl, depicting a menacing attitude. There are two large ears on top to help to convince onlookers of the persona’s ever-vigilance. Finally, although there are holes for the eyes, only the mouth and chin are exposed. The significance of this design is to allow the villain to have some doubt or fear that the action of the mouth just might be that of a vampire bat, ready to move in and suck the life-giving blood from its victim. “Dressed as a bat, Batman deliberately cultivates a frightening persona in order to aid him in crime-fighting, a fear that originates from the criminal’s own guilty conscience.” (Rosenberg 148) Batman is a means to which Bruce Wayne is able to follow-through on his promise to his murdered parents.

The imaginative way that the mask and persona of Batman is used in the comics and movies is a way to explain how Bruce Wayne deals with Post Traumatic Stress Disorder. “Although Bruce Wayne experiences and demonstrates many signs of PTSD, he is not held captive to the trauma, but instead, uses it to propel him onward in his new beliefs, new goals, and a new purpose.” (Rosenberg 153). Bruce has been so traumatized by witnessing the murder of his parents that he cannot share his pain with anyone. As long as there remains injustice in the world, he cannot find peace or happiness. Therefore, Bruce cannot effectively function in the real world, and must retreat into a darker world as Batman. It is here that he gains some control over criminals as a way to cope, and somehow derive meaning to his existence. It is as Batman that he can relieve some of the “survival guilt” because he was spared on the night his parents were murdered.

He lives a dual existence where Batman is the identity and Bruce Wayne is simply an image. “His crime-fighting endeavors ARE his personal life. Bruce Wayne, the millionaire playboy, is just a part that he plays … a mask he wears.” (Rosenberg 146) Bruce Wayne is the last person people would suspect as Batman. The mission to fight crime has taken over his life. He cannot help but seek to make the world a safer place. This sense of control feeds the demons of his own soul where he had no control to help his parents in their time of need. But he does not go into this endeavor blind as a bat, so to speak. This is the fruition of his training. “He identifies with the aggressor. Young Bruce has learned to harness his rage and anger. He controls his impulses by learning to become a master scientist and training to achieve the prowess of a superb athlete.” (Brody 110) It is through hard work and determination that Batman can have success against the villains of Gotham City. He does not possess any superpowers. He is simply human. And that is the appeal of Batman to many audiences.

Batman bleeds, he hurts and he needs to persevere in order to triumph over his adversaries. These humanistic characteristics make him plausible and realistic to his audience, but especially to the hearts and minds of school-aged children. Within Erik Erikson’s Psychosocial Stages of Development, school-age children (ages 6-11) demonstrate a basic conflict of “Industry versus Inferiority”. In this stage, children become capable of performing increasingly complex tasks. This allows them to master new skills, and if encouraged by teachers and parents, they will develop a healthy feeling of competence. However, if discouraged or ignored, they will develop feelings of inferiority and have difficulties coping in new social and academic structures. “Bruce Wayne validates Erikson’s psychosocial developmental task of Industry versus Inferiority. He does not possess super powers, but achieves through hard work and discipline.” (Brody 106) Through the framework of Batman, readers are given some important guidelines for living a life of integrity and character. They can see that limitations and adversity can be overcome by hard work and mental discipline. The children don’t need to dream about having superpowers to escape their troubles. They just need a strong work ethic, and a strong sense of purpose in their lives. “His external state reflects many of our own internal struggles. Batman is an inspiration and a true myth … and sheds light on all our stories.” (Brody 119)

In the 1989 Batman film, starring Michael Keaton, Bruce Wayne finally learns the truth about who murdered his parents. During a confrontation with the Joker towards the end of the movie, the Joker accuses Batman of “making me”. Batman then vehemently rages, “You killed my parents! You made me first!” Bruce and Batman are one. This masked vigilante has taken on a war that he cannot win, yet he never gives up. As Bruce Wayne tries to deal with the trauma of seeing his parents murdered, his chosen mask of the bat holds significance as it induces fear into the criminals that he, as Batman, confronts. But even in the realm of darkness, the mysteries of Batman are enlightening to the development of his readers, especially school-aged children. “People say that what we’re all seeking is a meaning in life; I don’t think that’s what we’re really seeking. I think that what we’re seeking is an experience of being alive.” (Campbell 1988).

Works Cited

Brody, Michael .. "Holy Franchise! Batman and Trauma." Using Superheroes in Counseling and Play Therapy. New York, NY: Springer Pub., 2006. N. pag. EBook. EBSCO Library Search. CSU Dominguez Hills.

Burton, Tim. (Director). (1989). Batman [Motion Picture]. United States/United Kingdom: Guber-Peters.

Campbell, J. (1988). The Power of Myth. New York: Doubleday.

Erickson, E. (1968). Identity: Youth and Crisis. New York: Norton

Finger, Bill, and Bob Kane. Batman #47 - The Origin of Batman (Issue). New York, NY: DC Comics, 1948. Print.

Iaccino, James F. "From Superman to Batman: Divided Superhero Archetypes." Jungian Reflections within the Cinema: A Psychological Analysis of Sci-fi and Fantasy Archetypes. Westport, CT: Praeger, 1998. 93-119. Ebook. EBSCO Library Search. CSU Dominguez Hills

Nolan, C. (Director). (2005). Batman Begins. [Motion Picture]. United States:Warner Brothers.

Rosenberg, Robin S. "What's Wrong With Bruce Wayne." Batman Unauthorized: Vigilantes, Jokers, and Heroes in Gotham City. Dallas, TX: BenBella, 2008. 145-56. Print.

Seidman, David. "Batman, The Failure." Batman Unauthorized: Vigilantes, Jokers, and Heroes in Gotham City. Dallas, TX: BenBella, 2008. 209-17. Print.

Wright, John C. "Heros of Darkness and Light." Batman Unauthorized: Vigilantes, Jokers, and Heroes in Gotham City. Dallas, TX: BenBella, 2008. 181-96. Print.