American Themes of Identity in Superman and Batman (Revision)

Comic books are a truly American medium of popular culture. Popular culture is, by definition, what is accepted by the majority of a culture. Therefore, such a popular medium must allow Americans to identify with its ideals. By closely examining the themes of identity and self image in the heroes Superman and Batmen, two distinct American ideas concerning identity arise. Superman demonstrates the concept of destiny, that one’s identity is essentially inherited; Batman personifies individual choice in the concept of identity.  As a result of these conflicting ideologies, Americans hold a very complicated and contradictory sense of identity. Regardless of which idea we individually accept, identity is undeniably important to our Superheroes and our culture.

The transformational process each respective character undergoes reveals two basic ideas concerning identity. In each case, it is important to differentiate between identity and self-image. With Superman, identity refers to the basic set of values, ideas, and history with which an individual is born. Self-image refers to the set of values, ideas, and cultural beliefs and individual has acquired. These two ideas may conflict within a character. For example, Superman is not human; he is from the planet Krypton. Although he grows up with the self-image of Clark Kent , he is not Clark . He does not undergo radical training or transformation to become Superman. When he learns of his true identity, he naturally assumes that identity. In Superman’s case, identity is something to be “discovered” and once discovered it can be easily assumed.

            As mentioned in The Comic Stripped American, by Arthur Asa Berger, Professor of Broadcast and Electronic Communication Arts, San Francisco State University , Bruce Wayne will always be Bruce Wayne. He assumes the self-image of Batman when fighting crime, but once the mask comes off he is still Bruce Wayne (Berger, 54). He did not discover that he was Batman; he committed himself to becoming Batman. When he was orphaned at age eight, he committed himself to fighting crime in order to avenge his parent’s deaths. From that point he trained himself to the peak of mental and physical health. Even with the suit and gadgets, he is simply a man in a suit with a thirst for revenge. All of these things are only tools he uses to build the identity of Batman. Identity is something that can be achieved through hard-work. If a man desires to become something more, he must commit himself to that idea and do whatever is necessary to attain it.  In the instance of Batman, identity is neither his birth nor his destiny, but whatever a man chooses it to be.

            The concept of a double life appears in both characters. Superman’s alter ego is Clark . Where Superman is strong, Clark is weak. Clark is soft-spoken and mild mannered; Superman commands authority. Clark tries desperately to get attention from Lois; Superman wins her undying affection after a trip above New York City . Clark is Superman’s critique of humanity. He personifies everything we are that Superman is not. Superman, as a hero, is fulfilling his destiny. Clark is necessary attempt to hide his true identity from the public.

            Conversely, Bruce Wayne’s alter ego is Batman. In his public life, Wayne is a spoiled rich kid. He throws extravagant parties, runs a multi-million dollar corporation, and buys friends with money. Batman is his way to atone for sins of extravagance. He is redeemed through his alter ego. Batman is powerful in ways Bruce could not be; he has authority money can’t buy (Berger, 63). He uses excessive force to keep common criminals and corrupt officials in line. He frightens wrongdoers into obeying. Lastly, he is mysterious, a luxury Bruce Wayne, a man whose life has been front page news, does not enjoy. Wayne ’s double life is a continuation of his imagination. It is a game he chooses to play, not a secret he is forced to hide.

            Birthplace, or family, serves as a reference point for a fundamental aspect of identity. Essential to both schools of thought concerning identity, it provides a starting point or an opportunity for decision. Superman’s birthplace provides an excellent example of this. Although he lives on Earth, he cannot escape his birthplace. Krypton continually haunts him. Pieces of it cause him physical pain. He will forever be linked, physically and mentally, to his homeland. This isolates him from the rest of the earth. He is physically and mentally separated from the world in which he lives. Although taken in by loving foster parents, Superman knows he is different from them. He will never be fully accepted as an Earthling or as a Kryptonian. As mentioned in the video Superheroes, Unmasked!, the Superman comics often mirror the tribulations of first generation immigrants. They too many have felt trapped by their birth. Like Superman, they were physically different than the standard white, Protestant American. Some attempted to assimilate, much like Superman’s other self Clark Kent . Regardless of the clothing or accents they adopted, they were aliens to America . Superman may have provided hope for these immigrants; the hope that one day their culture would be valued or even considered superior by American culture.

            Bruce Wayne was born to an “ideal” American family. Not only were they Caucasian, they had money, power, and influence over Gotham . Someone of his background was expected to attend a prestigious university, land a comfortable job in the family company, and pass the days flitting to and from social occasions. Although the murder of his parents influenced the course of his life, it did not force him to change. He made the conscious decision to become Batman. Herein lies an important distinction between the two characters. While Superman, a man of infinite power, has no power to determine the course of his life, Bruce Wayne, a mortal man aided by technology, can simply choose to stop being Batman. This idea corresponds with the American ideal of a self-made man. Through his “rugged individualism”, Bruce Wayne has earned a place in society and may reject it if he chooses. Therefore, the self-image of Batman depends on the concept of individual choice.

           Costuming plays an important role in both our everyday lives and cultural fantasies such as comic books. Consciously or subconsciously, we are given identity according to what we wear. This is also true in regards to the costumes of Superman and Batman. The idea of a “costume” requires even further clarification. While the red, white, and blue cape and tights may commonly be considered Superman’s costume, it is Clark ’s suit, tie, and glasses that make the true costume (Berger 76). The “super-suit” is graphically based on the blanket he was found in as a baby. Additionally, the prominent “S” on his chest is the same symbol worn by his father on Krypton. This outfit is representative of his true self. Foiling this is the business suit worn by Clark . This suit is essentially the costume, because Clark is not his true identity. He wears the super-suit concealed under the costume, allowing for a quick outward transformation in the nearest phone booth. No matter how often Clark surfaces wearing traditional American clothing, he is merely hiding the identity of Superman. Furthering this concept, Superman poses the idea that while someone can hide his true identity, he can never truly change from it. He is forced to carry it with him always, even if it remains hidden underneath Americana .

            The bat-suit exists to hide Bruce Wayne’s identity and to terrorize his enemies. Unlike the super-suit, it conceals the wearer. It is also the product of man’s innovation as opposed to alien strength. The modern bat-suit is technologically advanced in every way, allowing Bruce’s mannerisms to become completely different. Even the voice, a symbol of individuality, is altered by the costume. Everything about the concept of a costume implies that the wearer desires to hide their true identity. Bruce chooses to put on the suit, but when he returns from fighting crime, he is still Bruce Wayne under the suit and not Batman.

            For every Superhero, there must a be a super villain to fight. This enemy provides the character foil for a hero. Essentially, everything that comprises a particular superhero must be completely opposite of his arch-enemy. Superman faces various villains, the most culturally famous being Lex Luther. He also stops a good amount of petty crime and helps get kittens down from tall trees. He makes the streets safe by turning criminals into the police. What motivation does he have for all these heroic acts? He was commissioned by his father to protect the planet earth when he was sent there as a child. Superman stands for truth, justice, and the American way, never mind the fact that he is not an American citizen. He fights because he has to fight, because it is his destiny. Superman simply has no choice in the matter.

            Bruce Wayne chooses to fight crime because of an injustice done to him. His enemies are often petty criminals or corrupt officials. In a number of instances, such as Catwoman and the Joker, they are the criminally insane. He often fights to support the lower classes, a position that compromises with his identity as a wealthy businessman. More than that, he picks his fights. By choosing who he targets, Bruce can choose the public perception of Batman. Each enemy he fights is specifically chosen to support Wayne ’s idea of who Batman is. Therefore, even who Batman fights is a choice that helps support Bruce’s alter-ego.

            Identity is a complex concept, and cannot be fully explained in the parables of Superman and Batman. These stories can provide insight into American ideas concerning ourselves. Whichever school of thought an individual ascribes to, it is undeniable that identity is important to Americans. Be it by choice or destiny, in better understanding our culture, we can come into a better understanding of our own identity.

Works Cited:

 Berger, Arthur Asa. The Comic Stripped American. 

New York

: The Walker Publishing

     Company, Inc, 1973. 

Comic Book Super Heroes Unmasked. 2005. A&E.