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Bus One Seven
Cause for Latex
by Roderick Armageddon

I'm taking a guess that a good portion of Anvil's readers were probably lucky enough to catch the original theatrical run of Tim Burton's 1989 masterpiece (in my humble opinion), Batman. The film scored one of the biggest box office openings and subsequent runs in the history of cinema, garnering rave reviews for Jack Nicholson and Michael Keeton alike. In short, it was a rousing success, showcasing a sinister yet humanistic view of both the caped crusader and the Joker. Burton added just the right amount of his signature flair to make even the most child-like nightmare come alive but never without appropriately humorous hues.

Before turning over the franchise's reins to Joel Schumacher, Burton did one more Batman film in 1992, Batman Returns. What Burton achieved was much more than a simple retelling of a classic comic book tale - a Frank Miller graphic novel had already rekindled interest in "The Dark Knight." Burton dusted off more than the story; he helped to shepherd a whole new audience through the streets of Gotham.

True, there were a variety of comic book film spin-offs that tried (with some success) to pull in audiences - from Tank Girl (1995) to the Punisher (1990) - but none since Richard Donner's Superman (1978) had touched the greater public like Batman. More than the excitement of the story, the film's most significant impact was to restore interest in heroes and villains - in their purest and most tragic forms. I firmly believe that modern comic book stories give us a gift similar to that which early English theatre must have received from the pen of William Shakespeare: troubled, hardened heroes and anti-heroes, mingling with the most sinister and wicked villains ever to grace the printed page, all brought to vibrant life through the wicked power of vengeance.

What I find most intriguing is the fact that both Shakespeare's work and the world of comic books are rooted deeply in bloodlust - the unyielding quest to exact revenge. Batman's Gotham is a world riddled (pun intended) with the children of revenge.

The Joker; The Penguin; The Riddler; Catwoman; these characters all share a common motive: each seeks to enact vengeance on someone, often Bruce Wayne - or Batman — to avenge what they perceive to have been a wrongdoing committed against them. This is, in fact, their raison d’etre.

The Joker was seeking revenge on Batman for his disfigurement - I don’t think Shakespeare ever hammered a double-edged sword that sharp. Catwoman wanted revenge against her boss - and the system; The Penguin wanted vengeance for being shunned by society; The Riddler wanted vengeance for being overlooked by Bruce Wayne; and like the Joker, Two-Face sought to wipe out Batman for what the caped crusader had done to his face. Even Batman himself is in one way seeking revenge, attempting to right the murder of his parents. Very simply then, revenge is nothing less than job security for the man in the black latex. It’s an unfortunate, twisted cycle — almost like a firefighter unknowingly committing arson.

I can't help but wonder, what comes first in most heroes' lives? Are they heroes before the villains arrive in town, or is the existence of heroes due solely to the existence of villains? Instead of digging any deeper, just let the question float around in your head. Pick up Kenneth Branaugh’s Hamlet, or Julie Taymor's tragically brilliant Titus. Then pair them with Dolf Lundgren's Punisher and of course, Batman. I think you just might find a good deal of similarity in the intrigue, despair and beauty these stories evoke. More than similarity, I think you'll find a diverse collection of rich storytelling intermixed with outright violence, all linked by one strong, common thread: revenge.

While I’m not positive if vengeance motivates art, or if art merely explores revenge, I do know that revenge has pushed — or perhaps driven - a good number of actors, writers and directors to produce innovative, compelling and all-out entertaining work. Art - whether film, music, literature or comics - has thrived on this intriguing, uniquely human activity (some may argue revenge as "uniquely human" — let them).

I'm looking forward to watching Sam Raimi's Spiderman this summer - another take on the same old story, this time with Willem Dafoe donning the tights (as the Green Goblin), taking the helm of revenge for the latest and greatest in Hollywood comic madness. I can only hope that Mr. Raimi has taken the time to examine Shakespeare's best for inspiration.

Revenge is as old as human kind, but that doesn't mean we can't explore it through a different lens. Step out and enjoy any of these films. Who knows, you might just be inspired to weave your own wicked web.