Batman Research Paper
Acknowledgements
This research paper could not have been a remote possibility without the following, and I thank them profusely:
To Allah; for his constant guidance and his
Abstract
Introduction
When we think of Batman, we allow our minds to automatically drift to thoughts of the fantastical – to thoughts of the impossible, more aptly. But why? Why do we automatically assume that the existence of an orphaned, vengeful billionaire playboy who disguises himself as a crime-fighting vigilante by nightfall strays beyond the canvas of the reality we have built for ourselves? Well, when put like that, it seems unlikely in the extreme. However, the core of the story is not how farfetched the legend of Batman is – it is how it is able to remain …show more content…
within the realm of truth whilst still maintaining its status as a lively story constituting of worldly improbabilities.
The fact is Batman is human. Whereas every other superhero that has emerged has had the aid of superhuman abilities, Batman has proven to be different: all that he has is achieved. Superman was from Krypton – the famed “Man of Steel”; Spiderman was simply a favourable result after Peter Parker encountered a mutant spider bite; Aquaman could manipulate the elements of the sea; Wolverine was implanted with Adamantium; Iron Man relied on his suit; Thor was a demigod; Captain America was manufactured, and both Flash and the Fantastic Four were made so after exposure to toxic material. None of them remained as they were born. None of them were truly human, and they fought for duty – never for revenge. Jenette Kahn – former President and Editor-in-Chief of DC Comics – says: “Batman is an ordinary mortal who made himself a superhero.”
Batman, however, is an anomaly. He was trained to be who he was; he sought revenge for his parents’ – Thomas and Martha Wayne’s – murder. It was also a matter of simply doing what was necessary when it was necessary. That is why his character is a universal symbol for so many: they see an orphan who, despite having all the money in the world, is alone. Bruce Wayne is an outcast; Bruce Wayne has two disguises – one to protect the world from himself, and one to protect the world from itself. He might not be the strongest or the most charming, but Batman has humanistic elements by which he can get hurt – by which he is selfish and ruthless – allowing his audience to be captivated. Batman also uses his mind, not superpowers provided to him by an external force of nature that he cannot control. He utilises both his mind and the skill sets of a tactician to grasp at victory, which – especially when the original comics were the greatest source of information on Batman – would have been a pivotal factor of appeal. Bruce Wayne may not have had a superpower, sure; but his intelligence came close.
The most important aspect is that he is human. However, he is also a emblem for the common man. Superman can only hurt by kryptonite; Spiderman can tend to his wounds using webs, but Batman is truly one of us. He is the outcast. He is the billionaire. He is the man who wants to help people because he has to help people, not out of some misplaced notions of bravery. Batman, and Bruce Wayne, thus, becomes a beacon of hope and human strength. We never notice ordinary men as heroes – hence, when referring to Batman, we can observe how underrated Jim Gordon was as a character. This was, however, a direct comparison to show us how heroes reside within all of us; we simply need the courage to let them out.
Or, as Batman puts it in Christopher Nolan’s The Dark Knight Rises: Anyone can be a hero.
Statement of the Problem
The issue at hand that is to be, henceforth, dissected is whether or not there is a degree to which superheroes – Batman, in particular – are able to influence human beings and how they develop as their own people. It is a foregone conclusion that the creation of comic book protagonists was done to allow individuals to monitor and mould their behaviour alongside a character whose character resonated within them; following a coded life that inflict a positive change within them. The transition of comic books into movies created easier access for people, keeping in sync with the rapidly changing times and the birth of the technological age that would change the face of entertainment as the world knew it.
Now, the crux of the problem that we will be evaluating is whether or not Batman is just another superhero, with a stereotypical behavioural pattern, or if he is hope embodied in the shape of a character – thus making it possible for a plethora of individuals to break the shackles of who they are forced to be. We will also be evaluating the depth to which Batman has changed across the passage of time, and how he fares next to other superheroes. A third aspect that should be closely inspected is the sheer ability of “fandoms” – a term carved using neologism, mashing the words “fans” and “kingdoms” to denote the creation of fanbases of books and entertainment factions – to disseminate the love or affinity for franchises such as Batman.
Keeping all of these in mind, we will be clinically desiccating the above in the following queries provided.
Research Questions
1. What is the historical significance of Batman, if any exists?
2.
How has Batman – as both a character and a franchise – evolved with time and why?
3. How does Batman compare to other superheroes, and what impact do “fandoms” contribute?
Hypothesis
H0: Batman is not more than a character.
H1: Batman is an ideal for individuals to look up to.
Research Methodology
Research methodology pertains to the ability to garner information on the subject in question – and hence, as evident – the topic calls for secondary methods of research, in order to truly delve into the nature of how Batman, as a character, is able to have held such dominance within the sphere of “fandom” culture. A myriad of online websites will be referred to in order to gain statistical knowledge, as well as Internet platforms to truly shape and chart the progression of Batman’s evolutionary process.
However, the original literature by Detective Comics will also be cited, as well as books and films which prove relevant to the topic at hand.
Literature Review Research Questions
What is the historical significance of Batman, if any …show more content…
exists?
Batman was first featured in Detective Comics’ issue number twenty seven in May 1939 in a story that lasted six pages and was titled, “The Case of the Chemical Syndicate” by Bob Kane and Bill Finger. This was in the same year the Second World War broke out across Europe. Detective Comics is, of course, an American series of animated storylines, but it was during this war that America abandoned its policy of isolation and took a direct interest in the war. Hence, Batman became the heroic antidote to war and strife: he was out to prove a point, and he successfully so. He became the face of strength, and as Neal Adams put it: “He's a human being bent on a mission.” There is nothing more to it – it is simply a man – or a soldier, as the war effort was in progress – on a mission, and an animated representation seemed like an apt way to boost morale. That constitutes the significance behind the origin of Batman.
However, Batman moved on from the written word to the screen awfully quickly. Why, though? Why did such occur? The simplest answer is that it was to allow knowledge of Batman to be spread across a much wider plane. After World War II, the Korean War broke out in 1950; the Vietnam was in 1954; the War on Terrorism in the 1980s and 1990s. With the progression of time, Batman kept rearing his head. As Jim Gordon says in The Dark Knight (2008), Batman is the hero Gotham “deserves” but not the one it “needs” at that very moment; because he’s not their “hero” – just as war isn’t. Batman is what the world needs him to be; when there is war, he returns in full force to be a source of inspiration, moulded into the ways of the time. However, when he is not needed, he can fade into the background.
That is also a major reason as to why there have been so many Batman movies that coincide with troubled times. From the 1943 serial film by Columbia Pictures with Lewis Wilson as Batman right when Pearl Harbour was attacked; the 1949 Robert Lowery film by Columbia pictures after China declared itself as a Communist state and the Korean War was imminent; the 1966 movie featuring Adam West in the midst of a post-Cuban Missile Crisis time and during the progression of the Vietnam War, and then a brief lapse before more films starting in 1989 – during the height of tensions with the USSR. All of these mirrored times of war.
However, when the films were rebooted into the far darker Nolan films in 2005, they mirrored the war on terrorism on a great scale. The Iraq war had only been initiated two years prior, and the initiation into Afghanistan was still prominent. Hence, the films showed Batman fighting what were anomalies; fighting blatant outcasts who served to spread terror amongst the people of “Gotham”, with little consequence for human lives.
Thus, in conclusion, it can be said that the historical significance of the Batman comics films is that they directly reflect the nature of the world around them at that particular moment, and serve to provide hope without distracting from reality. How has Batman – as both a character and a franchise – evolved with time and why?
Throughout the comics, at least, Batman’s personality has remained a constant: the selfish, suave billionaire who makes up Bruce Wayne and the brilliant fighter that is the Batman.
A few of the movies strayed from the norm, making the character seem like an utter joke – such as George Clooney’s version – but both Michael Keaton in the 1989 film and Christian Bale in the Christopher Nolan franchise was able to redeem the face of the superhero in theatrical media. They were able to piece back the truth of Bruce-Wayne-slash-Batman’s status as the ultimate outsider within the sphere of people he should be relating to, and yet simply cannot; as any human would experience. Bale’s portrayal in particular heightens this fact, as he returns to Gotham, but constantly moves at his own pace and refuses to cower in the face of anyone else. By any standard, he can be described as the reflection of individuals today: more lonesome; more hopeful in a world deprived of
hope.
However, Batman’s costume has changed dramatically over time. As Grant Morrison – an acclaimed comic book writer puts it – every bat-suit “is completely different” but are all “instantly recognizable”. Whether grey, blue, black or purple; whether made of spandex or armour; whether with a black, red or yellow symbol; whether with the traditional mask or the full mask as seen in Batman Beyond – they are all representatives of the Batman, without fail. Whereas Superman and Spiderman stick to their traditional spandex themed in reds and blues, Batman’s outfit shifts with progression, making him far more versatile and less of a monument of the past; a great significance attributed to him. The armour given to him in Nolan’s films are especially important, as it the first time the outfit is completely black and completely solid – allowing him to be a part of the night to fight the night itself. Batman thus becomes the ultimate anti-hero.
The bat-signal is also increasingly significant. It first appeared in the comics in 1943, a handful of months after the attack on Pearl Harbour. It was almost as if Batman was being sent a call for help; it was, as aforementioned, a relevant inclusion as Batman takes precedence as a human being – not as a superhero. It then became used as such continuously, yes, in every proceeding comic and movie during war; but its use wavered with time. In Christopher Nolan’s films, however, this factor changed. What the bat-signal stood for changed entirely. In Batman Begins (2005), Batman gifts the police department the signal so they may use it; in The Dark Knight (2008), the signal is destroyed by Jim Gordon to state that Gotham has declared Batman guilty for the murder of Harvey Dent; and, lastly, in The Dark Knight Rises (2012), the signal is restored at the end by Bruce Wayne.
What importance would this evolution have, though? It is simple: the signal became a symbol of Batman’s inner self. The signal’s creation in the first film denoted the creation of Wayne’s secret identity; the signal’s destroying in the second film denoted how Batman was called whenever necessary, but that he sacrificed himself for the good of Gotham; and the restoration of the signal at the end of the third film says that the Batman – that the bravery inside every person – will always be there to call upon.
Hence, in conclusion, as Comic Heroes editor, Jes Bickham, stated: “He's also strong enough to fit almost any story, being constantly remoulded by writers and artists since his creation in 1939.” That, in itself, ensconces the very essence of Batman. He is a human, who has constantly reinvented himself to fit a template that has made him into the most popular superhero of our time.
How does Batman compare to other superheroes, and what impact do “fandoms” contribute?
It is obvious that Batman lacks where other superheroes do not: he does not have any superpowers. The editor of Comic Heroes – Jes Bickham – does argue, that he is “quite simply, the coolest and most interesting superhero ever created” and that he “doesn't have superpowers; he gets by with his mind, his wit and his physical abilities” but does that fact resonate on a larger scale, and does it stand true when looking at box office numbers? Yes, it does.
Despite all, Batman’s vigilante status has always roped more fans than Superman or Spiderman, whose traditional superhero statuses have been termed outdated. Marvel’s Wolverine is the only superhero who has been able to come close enough to Batman – especially with Hugh Jackman’s reprisal of the role – and the character does mirror some of Batman’s humanistic qualities. However, across the greater plane of fans, it is down to Batman, Superman, Spiderman, Iron Man, Captain America and Thor.
Success can obviously be measured in statistics. Now, Batman has the largest box office haul with an average of $530.9 million gained across seven films; Spiderman is second with an average of $800 million across eight films; Iron Man is in third with an average of $868.5 million across four films; Superman is in fourth with an average of $451 million across six films; Wolverine alone is at fifth with an average of $390 million across six films; the entire X-Men ensemble is at sixth with an average of $380 million across five films; Thor is at seventh with an average of $625 million across three films, and Captain America is at eighth with an average of $624 million across three films.
With a plethora of films – the greatest amount, in reality – it is no surprise that Batman comes out at top. With a new version set to come out, it is obvious that the Batman fever shall never be doused. However, what is interesting is that neither Spiderman nor Superman that have been second popular. The Zack Snyder version of Man of Steel or the reboot of Spiderman: in fact, the Iron Man and Captain America films have been the heavyweights of the box office, and have managed to captivate audiences, followed closely by Thor.
So why is it that Batman is the only traditional superhero still in active play, and it is newer additions who are knifing through box office records? The questions gives away the answer – it is the element of it being wholly new, which is also which every Batman movie provides. There is no stagnancy. Fans claim dominion over who is elected supreme at the box office, and it is them who must be pleased; not traditions. That is simply why the impact of fans must be called into question when making movies, and it is the reasoning behind why every other superhero has lagged behind Batman, despite Bruce Wayne having nothing but his brain to sustain him.
As Jes Bickham aptly put it: Batman is “quite simply, the coolest and most interesting superhero ever created”, and it is this appeal that will ensure his longstanding survival in the future.
Conclusion
Bibliography
This research paper could not have been a remote possibility without the following, and I thank them profusely:
To Allah; for his constant guidance and his
Abstract
Introduction
When we think of Batman, we allow our minds to automatically drift to thoughts of the fantastical – to thoughts of the impossible, more aptly. But why? Why do we automatically assume that the existence of an orphaned, vengeful billionaire playboy who disguises himself as a crime-fighting vigilante by nightfall strays beyond the canvas of the reality we have built for ourselves? Well, when put like that, it seems unlikely in the extreme. However, the core of the story is not how farfetched the legend of Batman is – it is how it is able to remain …show more content…
within the realm of truth whilst still maintaining its status as a lively story constituting of worldly improbabilities.
The fact is Batman is human. Whereas every other superhero that has emerged has had the aid of superhuman abilities, Batman has proven to be different: all that he has is achieved. Superman was from Krypton – the famed “Man of Steel”; Spiderman was simply a favourable result after Peter Parker encountered a mutant spider bite; Aquaman could manipulate the elements of the sea; Wolverine was implanted with Adamantium; Iron Man relied on his suit; Thor was a demigod; Captain America was manufactured, and both Flash and the Fantastic Four were made so after exposure to toxic material. None of them remained as they were born. None of them were truly human, and they fought for duty – never for revenge. Jenette Kahn – former President and Editor-in-Chief of DC Comics – says: “Batman is an ordinary mortal who made himself a superhero.”
Batman, however, is an anomaly. He was trained to be who he was; he sought revenge for his parents’ – Thomas and Martha Wayne’s – murder. It was also a matter of simply doing what was necessary when it was necessary. That is why his character is a universal symbol for so many: they see an orphan who, despite having all the money in the world, is alone. Bruce Wayne is an outcast; Bruce Wayne has two disguises – one to protect the world from himself, and one to protect the world from itself. He might not be the strongest or the most charming, but Batman has humanistic elements by which he can get hurt – by which he is selfish and ruthless – allowing his audience to be captivated. Batman also uses his mind, not superpowers provided to him by an external force of nature that he cannot control. He utilises both his mind and the skill sets of a tactician to grasp at victory, which – especially when the original comics were the greatest source of information on Batman – would have been a pivotal factor of appeal. Bruce Wayne may not have had a superpower, sure; but his intelligence came close.
The most important aspect is that he is human. However, he is also a emblem for the common man. Superman can only hurt by kryptonite; Spiderman can tend to his wounds using webs, but Batman is truly one of us. He is the outcast. He is the billionaire. He is the man who wants to help people because he has to help people, not out of some misplaced notions of bravery. Batman, and Bruce Wayne, thus, becomes a beacon of hope and human strength. We never notice ordinary men as heroes – hence, when referring to Batman, we can observe how underrated Jim Gordon was as a character. This was, however, a direct comparison to show us how heroes reside within all of us; we simply need the courage to let them out.
Or, as Batman puts it in Christopher Nolan’s The Dark Knight Rises: Anyone can be a hero.
Statement of the Problem
The issue at hand that is to be, henceforth, dissected is whether or not there is a degree to which superheroes – Batman, in particular – are able to influence human beings and how they develop as their own people. It is a foregone conclusion that the creation of comic book protagonists was done to allow individuals to monitor and mould their behaviour alongside a character whose character resonated within them; following a coded life that inflict a positive change within them. The transition of comic books into movies created easier access for people, keeping in sync with the rapidly changing times and the birth of the technological age that would change the face of entertainment as the world knew it.
Now, the crux of the problem that we will be evaluating is whether or not Batman is just another superhero, with a stereotypical behavioural pattern, or if he is hope embodied in the shape of a character – thus making it possible for a plethora of individuals to break the shackles of who they are forced to be. We will also be evaluating the depth to which Batman has changed across the passage of time, and how he fares next to other superheroes. A third aspect that should be closely inspected is the sheer ability of “fandoms” – a term carved using neologism, mashing the words “fans” and “kingdoms” to denote the creation of fanbases of books and entertainment factions – to disseminate the love or affinity for franchises such as Batman.
Keeping all of these in mind, we will be clinically desiccating the above in the following queries provided.
Research Questions
1. What is the historical significance of Batman, if any exists?
2.
How has Batman – as both a character and a franchise – evolved with time and why?
3. How does Batman compare to other superheroes, and what impact do “fandoms” contribute?
Hypothesis
H0: Batman is not more than a character.
H1: Batman is an ideal for individuals to look up to.
Research Methodology
Research methodology pertains to the ability to garner information on the subject in question – and hence, as evident – the topic calls for secondary methods of research, in order to truly delve into the nature of how Batman, as a character, is able to have held such dominance within the sphere of “fandom” culture. A myriad of online websites will be referred to in order to gain statistical knowledge, as well as Internet platforms to truly shape and chart the progression of Batman’s evolutionary process.
However, the original literature by Detective Comics will also be cited, as well as books and films which prove relevant to the topic at hand.
Literature Review Research Questions
What is the historical significance of Batman, if any …show more content…
exists?
Batman was first featured in Detective Comics’ issue number twenty seven in May 1939 in a story that lasted six pages and was titled, “The Case of the Chemical Syndicate” by Bob Kane and Bill Finger. This was in the same year the Second World War broke out across Europe. Detective Comics is, of course, an American series of animated storylines, but it was during this war that America abandoned its policy of isolation and took a direct interest in the war. Hence, Batman became the heroic antidote to war and strife: he was out to prove a point, and he successfully so. He became the face of strength, and as Neal Adams put it: “He's a human being bent on a mission.” There is nothing more to it – it is simply a man – or a soldier, as the war effort was in progress – on a mission, and an animated representation seemed like an apt way to boost morale. That constitutes the significance behind the origin of Batman.
However, Batman moved on from the written word to the screen awfully quickly. Why, though? Why did such occur? The simplest answer is that it was to allow knowledge of Batman to be spread across a much wider plane. After World War II, the Korean War broke out in 1950; the Vietnam was in 1954; the War on Terrorism in the 1980s and 1990s. With the progression of time, Batman kept rearing his head. As Jim Gordon says in The Dark Knight (2008), Batman is the hero Gotham “deserves” but not the one it “needs” at that very moment; because he’s not their “hero” – just as war isn’t. Batman is what the world needs him to be; when there is war, he returns in full force to be a source of inspiration, moulded into the ways of the time. However, when he is not needed, he can fade into the background.
That is also a major reason as to why there have been so many Batman movies that coincide with troubled times. From the 1943 serial film by Columbia Pictures with Lewis Wilson as Batman right when Pearl Harbour was attacked; the 1949 Robert Lowery film by Columbia pictures after China declared itself as a Communist state and the Korean War was imminent; the 1966 movie featuring Adam West in the midst of a post-Cuban Missile Crisis time and during the progression of the Vietnam War, and then a brief lapse before more films starting in 1989 – during the height of tensions with the USSR. All of these mirrored times of war.
However, when the films were rebooted into the far darker Nolan films in 2005, they mirrored the war on terrorism on a great scale. The Iraq war had only been initiated two years prior, and the initiation into Afghanistan was still prominent. Hence, the films showed Batman fighting what were anomalies; fighting blatant outcasts who served to spread terror amongst the people of “Gotham”, with little consequence for human lives.
Thus, in conclusion, it can be said that the historical significance of the Batman comics films is that they directly reflect the nature of the world around them at that particular moment, and serve to provide hope without distracting from reality. How has Batman – as both a character and a franchise – evolved with time and why?
Throughout the comics, at least, Batman’s personality has remained a constant: the selfish, suave billionaire who makes up Bruce Wayne and the brilliant fighter that is the Batman.
A few of the movies strayed from the norm, making the character seem like an utter joke – such as George Clooney’s version – but both Michael Keaton in the 1989 film and Christian Bale in the Christopher Nolan franchise was able to redeem the face of the superhero in theatrical media. They were able to piece back the truth of Bruce-Wayne-slash-Batman’s status as the ultimate outsider within the sphere of people he should be relating to, and yet simply cannot; as any human would experience. Bale’s portrayal in particular heightens this fact, as he returns to Gotham, but constantly moves at his own pace and refuses to cower in the face of anyone else. By any standard, he can be described as the reflection of individuals today: more lonesome; more hopeful in a world deprived of
hope.
However, Batman’s costume has changed dramatically over time. As Grant Morrison – an acclaimed comic book writer puts it – every bat-suit “is completely different” but are all “instantly recognizable”. Whether grey, blue, black or purple; whether made of spandex or armour; whether with a black, red or yellow symbol; whether with the traditional mask or the full mask as seen in Batman Beyond – they are all representatives of the Batman, without fail. Whereas Superman and Spiderman stick to their traditional spandex themed in reds and blues, Batman’s outfit shifts with progression, making him far more versatile and less of a monument of the past; a great significance attributed to him. The armour given to him in Nolan’s films are especially important, as it the first time the outfit is completely black and completely solid – allowing him to be a part of the night to fight the night itself. Batman thus becomes the ultimate anti-hero.
The bat-signal is also increasingly significant. It first appeared in the comics in 1943, a handful of months after the attack on Pearl Harbour. It was almost as if Batman was being sent a call for help; it was, as aforementioned, a relevant inclusion as Batman takes precedence as a human being – not as a superhero. It then became used as such continuously, yes, in every proceeding comic and movie during war; but its use wavered with time. In Christopher Nolan’s films, however, this factor changed. What the bat-signal stood for changed entirely. In Batman Begins (2005), Batman gifts the police department the signal so they may use it; in The Dark Knight (2008), the signal is destroyed by Jim Gordon to state that Gotham has declared Batman guilty for the murder of Harvey Dent; and, lastly, in The Dark Knight Rises (2012), the signal is restored at the end by Bruce Wayne.
What importance would this evolution have, though? It is simple: the signal became a symbol of Batman’s inner self. The signal’s creation in the first film denoted the creation of Wayne’s secret identity; the signal’s destroying in the second film denoted how Batman was called whenever necessary, but that he sacrificed himself for the good of Gotham; and the restoration of the signal at the end of the third film says that the Batman – that the bravery inside every person – will always be there to call upon.
Hence, in conclusion, as Comic Heroes editor, Jes Bickham, stated: “He's also strong enough to fit almost any story, being constantly remoulded by writers and artists since his creation in 1939.” That, in itself, ensconces the very essence of Batman. He is a human, who has constantly reinvented himself to fit a template that has made him into the most popular superhero of our time.
How does Batman compare to other superheroes, and what impact do “fandoms” contribute?
It is obvious that Batman lacks where other superheroes do not: he does not have any superpowers. The editor of Comic Heroes – Jes Bickham – does argue, that he is “quite simply, the coolest and most interesting superhero ever created” and that he “doesn't have superpowers; he gets by with his mind, his wit and his physical abilities” but does that fact resonate on a larger scale, and does it stand true when looking at box office numbers? Yes, it does.
Despite all, Batman’s vigilante status has always roped more fans than Superman or Spiderman, whose traditional superhero statuses have been termed outdated. Marvel’s Wolverine is the only superhero who has been able to come close enough to Batman – especially with Hugh Jackman’s reprisal of the role – and the character does mirror some of Batman’s humanistic qualities. However, across the greater plane of fans, it is down to Batman, Superman, Spiderman, Iron Man, Captain America and Thor.
Success can obviously be measured in statistics. Now, Batman has the largest box office haul with an average of $530.9 million gained across seven films; Spiderman is second with an average of $800 million across eight films; Iron Man is in third with an average of $868.5 million across four films; Superman is in fourth with an average of $451 million across six films; Wolverine alone is at fifth with an average of $390 million across six films; the entire X-Men ensemble is at sixth with an average of $380 million across five films; Thor is at seventh with an average of $625 million across three films, and Captain America is at eighth with an average of $624 million across three films.
With a plethora of films – the greatest amount, in reality – it is no surprise that Batman comes out at top. With a new version set to come out, it is obvious that the Batman fever shall never be doused. However, what is interesting is that neither Spiderman nor Superman that have been second popular. The Zack Snyder version of Man of Steel or the reboot of Spiderman: in fact, the Iron Man and Captain America films have been the heavyweights of the box office, and have managed to captivate audiences, followed closely by Thor.
So why is it that Batman is the only traditional superhero still in active play, and it is newer additions who are knifing through box office records? The questions gives away the answer – it is the element of it being wholly new, which is also which every Batman movie provides. There is no stagnancy. Fans claim dominion over who is elected supreme at the box office, and it is them who must be pleased; not traditions. That is simply why the impact of fans must be called into question when making movies, and it is the reasoning behind why every other superhero has lagged behind Batman, despite Bruce Wayne having nothing but his brain to sustain him.
As Jes Bickham aptly put it: Batman is “quite simply, the coolest and most interesting superhero ever created”, and it is this appeal that will ensure his longstanding survival in the future.
Conclusion
Bibliography