mtl008 Chapter 2514: Battle for the Cloak (7)
Chapter 2514: Battle for the Cloak (7)
Chapter 2514: Battle for the Cloak (Part )
Many people are always confused about the relationship between the two. Many people think that ability and talent are actually the same thing, but in psychology, their main difference lies in mental drive and needs.
If you complete something with your ability, it means you are capable of completing something. If you complete something perfectly or even beyond the standard with your ability, it means you are very capable in some aspect.
You are passionate about something, can focus on it for a long time, do not follow the crowd, can innovate, and achieve results that are different from and better than others in a unit of time, and can be deeply encouraged by it. This means you are talented in some aspect.
Your boss asks you to do something, and you do it and complete it, then you are capable of completing the job; if you do it well, it means you are more capable.
But the driving force is the boss's task, and the gain may be salary or praise from the boss. Both the driving force and the gain are indirect and external.
But if you do something just because you want to do it, and complete it after thinking about it, and in the process you feel particularly satisfied, your spirit is comforted, your mood is relaxed, and at the same time you achieve quite good results, it means that you have talent in this area.
Whether it is the idea that drives you to complete this task or the spiritual pleasure you feel, it is direct and internal.
Ability is more like a tool for communicating with the outside world, while talent is more like a system to anchor the value of one's own existence.
Abilities are usually one-time deals. You may have the ability to study and take exams, the ability to do business or politics, and the ability to persuade others. In order to obtain what you need to survive, you will continue to use these different abilities to gain a foothold in society.
Talent is usually a complete system. Your spiritual drive, cognitive ability, thinking ability, execution ability, and feedback mechanism are highly unified. You can get all your material and spiritual needs from this one thing.
From this we can see that the editorial department only set abilities for the character of the Laughing Bat.
He has the ability to defeat powerful enemies, he has the ability to plan a huge conspiracy, and he has the ability to obtain some powerful props.
But does he have the spiritual drive to do so? Does he have the ability to correctly understand this event from multiple aspects and angles? Does he have the ability to innovate the methods and means to complete this process? Does he have the execution ability to implement his unique ideas? Does he have a feedback mechanism to meet his spiritual needs and self-value realization needs from completing this series of events?
Clearly, he had none of those.
What he wanted to do, what he did, what he gained, and what he felt were completely unrelated.
He wanted to destroy the universe, but he did not take the most efficient method. The method he took to destroy the universe could not actually destroy the universe. He did not gain anything from destroying the universe, nor did he feel any happiness from his various actions of destroying or not destroying the universe.
This may sound a bit flimsy, but if you make a brief comparison, you can clearly feel the difference.
The Joker wants Batman to laugh, so he uses all kinds of tricks and tries his best to constantly direct dramas that might make Batman laugh. He almost makes Batman laugh several times, and in the process, he is happy from the bottom of his heart.
Batman wanted revenge on criminals, so he honed his skills, improved his level, created the deterrent power of the Dark Knight, and established a new order in places where the law could not reach. In the process, he also felt satisfied.
So the Joker is just as talented at making Batman laugh as Batman is at fighting crime.
Even if the editor added a line like "He finally approached his goal with his powerful wisdom, and at this moment he felt sincerely happy" in the hilarious plot, this character would not be so thin.
The character's motivation allows the audience to understand his pursuit, the character's methods allow the audience to understand his abilities, and the character's gains allow the audience to resonate. If these are not available, then what are the audience watching?
Just like Crazy Laughter used time skipping to completely conceal Spider-Man and Jason's transformation process, the editorial department used all kinds of unreasonable abilities imposed on Crazy Laughter to completely conceal Crazy Laughter's motives, methods and gains. So what are the comic readers reading?
Although Schiller's actions in this play are not as legendary and inspirational as those of other Arkham madmen, he is more direct and exposes the most essential core of the Laughing Bat's actions - escape and nihilism.
The way a country shapes characters in its cultural content can actually partially reflect the characteristics of that country, and the changes in character creation style can also reflect the changes in the times of that country.
For a long time, American comics simply promoted heroism, distinguishing heroes from ordinary people and setting them against each other in order to outline various dramatic conflicts.
But at that time, the values of heroes were relatively normal. They had to be brave, strong, proactive, and punish evil and promote good. This also represented the pride and ambition of the world beacon in the glorious era.
Later, some anti-heroes appeared one after another. They were no longer completely right, but had their own difficulties and were both good and evil. The stories no longer simply emphasized the rightness of heroes and the wrongness of criminals. They no longer cared whether they were right or not. Instead of being lighthouses, they began to move towards becoming world police.
And when characters like the Laughing Bat appear, not only do they no longer pursue theoretical victory, they no longer even explore methods of practical victory. Doesn't this sound a lot like the method of spiritual victory?
Even if I have no goals, no plans, no self-realization, and no consideration of my own feelings, I will win anyway.
This is a complete escapist thought and nihilism. When they start to think that in a virtual world, I can do whatever I want, how strong this character is depends on my setting, don’t worry about whether it is reasonable or not, this is a comic, you will lose if you take it seriously, it means that they lack both the theory to convince the public and the ability to really make people shut up.
Is the setting of Superman outrageous? In the era when Superman appeared, this setting was simply outrageous, outrageous to the extreme, but the editors were able to show true heroism through Superman's story. These plots can reflect the doctrine, and the doctrine can convince the audience, so Superman is very popular.
Is Batman's setting outrageous? Even in this day and age, his outrageousness is still talked about with relish, but they have enough ways to make Batman's story spread around the world, and it has been popular for decades. When it becomes a childhood memory, how outrageous it is is not so important, Batman is still a star hero.
Moreover, the outrageous publications of these two are no less than those of Kuangxiao. There are even some old publications that are unknown to the public. Theirs is really a divorce between the simplified musical notation and the five-line musical notation, which is outrageous among the outrageous.
This shows that the failure of Comics is not entirely due to its outrageous settings, but rather to the weakening of America’s ability to persuade readers to convey its values through comics, and its control over world popular culture has also weakened.
More importantly, the editorial department knows this, and they themselves feel guilty, so Crazy Laughs must win, because they no longer have the confidence to use superhero stories to explore deeper issues, because they understand that this is no longer an era where they can use the output of values to reverse right and wrong, so only winning can prove that they are right.
Therefore, the editorial department could only remove the essence and retain the dregs, ignoring the exploration of values and various social issues in the stories of Batman and Superman, and only took their final victory, trying to create greater glory in this way. The result was naturally a big mess.
Many people are puzzled by this, thinking that this is a cliff-like drop in the creative level of editorial departments. However, they do not think about the fact that this is not just a cliff-like drop in the editorial department, it is obvious that the entire country is returning to the mean.
Many people may think, isn't it just an outrageous character in a comic book? How can it be so exaggerated?
But in reality, there are no coincidences in history.
In September 2017, the comic book "Darkest Day: Casting" was released, and the Batman Who Laughs made his debut. It caused a warm response as soon as it appeared, but then the greater the expectations, the greater the disappointment, and became one of the most unsuccessful comic characters in American history.
In May 2017, the overseas version of TikTok, Tiktok, was launched overseas and became popular across the United States as soon as it was launched. From then on, the collapse of traditional media, the mouthpiece of various American forces, and the decline of the United States' global discourse power began.
At that time, the main content of this software was not to discuss American comics, and the decline in the reputation of The Bat Who Laughs may have nothing to do with this small software.
But looking back at the long history, a series of historical events that are too close can only prove that this moment must be a certain historical node, and something must have undergone an astonishing turn at this point in time.
And as history has shown, these small things were not the last straw that broke the camel's back. If we push the timeline forward a little further, these were precisely the aftermath of another huge wave that rose from the eastern waters.
Continuing with the analysis, where does this nihilism, escapism, and the idea of having to win come from?
Cultural confrontation always precedes everything and is slower than everything else, because intellectuals always make arrogant predictions but enjoy the vanity that comes with hindsight. Cultural turning points sometimes foreshadow future events, but more often they change after major changes in the current situation.
If I never have an opponent, I naturally don't have to win. If I can easily crush my opponent, I can naturally write a few articles about my victory experience using the method of crushing me. If my opponent and I draw a tie, I will definitely use all my literary skills to write about how I won easily and effortlessly.
If we wanted to fight but lost, at least write from other perspectives why we gained more than lost. Even if we at least dared to fight, we must sing the praises of courage and speak for justice.
If all that is revealed in the end is escape and nothingness, what is going on?
Schiller stared at the Laughing Bat. He hoped that this character would never appear in front of him, but from another perspective he hoped that he would appear soon.
It wasn't that Schiller was in a hurry to kill him, but once he appeared, it meant that some of the questions that had been hanging in Schiller's mind for a long time finally had answers.
Standing in front of the Laughing Bat, Schiller closed his eyes slightly.
When the sound of bomb explosions, louder than the roar of airplane engines, made him unable to hear any sound, his hazy vision in the tremor stopped on the dial of his watch, and the year number stopped at "2016".
Why would I write about plane crashes when there are so many ways to travel through time?? ! ! Modern planes don’t crash that easily! ! !
Ah!!!!!!!!
(End of this chapter)