It’s a classic question for kids: What kind of superpower would you like? And, with the massive comic book industry, which has given us a giant mix up of all sorts of superheroes, there are plenty of options, from classics like flight or super strength, to more exotic ones, like the ability to manipulate certain elements, mental powers, or stones stuck in the forehead that shoot rays or something.
My daughters and I have had this conversation, and they want mental powers. A common choice for adolescent boys is X-ray vision, but I firmly believe that anybody that would choose that one is . . . well, you know.
For me, it’d be flight. Since I was a very little boy, I wanted to fly like Superman.
Of course, this is a bad idea. If I had this superpower, short-lived mischief and mayhem would ensue.
I’d probably kill myself immediately. First of all, I’d want to go fast, really fast. In the movies, Superman and Ironman zip about at thousands of miles per hour. But speeds above Mach 1 tend to create heat buildup. This is not from friction, which is a common misunderstanding that people have about high speeds. When flying above the speed of sound, the air in front of me would not have time to move around me, and so I’d be ramming into air molecules with my face. This shock wave increases pressure and compresses the gas, which would increase temperature. The Concorde flew at Mach 2, and its nose heated up to over 300 degrees Fahrenheit, even in the high altitude where there were less air molecules to compress and where ambient temperatures were 60 below. That’s the equivalent of getting my face hot enough to cook meat, just to go twice the speed of sound.
Of course, I would not want to settle for that maudlin pace. I’d perhaps need to save some astronauts or something, and they go about 17,000 miles an hour to maintain orbit (or nearly five miles a second) up there on the International space station. When they return to atmosphere, the crafts they use heat up to nearly 3000 degrees as they reenter the atmosphere.
So, to fly at a goodly pace, even in high and cold atmosphere, I will get so hot that my clothes will burst into flame and fall away behind me. My hair and skin will melt or catch fire or whatever, and I will die a flaming death.
Also. At nice high altitudes, the air is really cold. Remember that 60 below, up at 50,000 feet or so? Anytime I would fly up real high, I’d burn my clothes off, and then I’d slow down so that I didn’t catch fire, and I’d be stuck up there, without clothes, in the cold, and I’d freeze like a block of ice and fall out of the sky.
There’s not much air up there, either. Climbers need oxygen when they go up Everest, and that’s only half the elevation of the Concorde. I’d die of asphyxiation. Oddly, I might not notice this until I blacked out. From what I’ve heard, a very painless way to die is to just breathe an atmosphere that is too low in oxygen. The person is breathing, so they don’t even notice that they’re dying until they pass out, and then they still don’t notice, because they’re unconscious. I’d fry, freeze, and faint.
So, at this point, I’ve decided to not fly too high. Like Icarus, I recognize the danger. I’ll fly lower.
At lower temperature, I can breathe and not freeze. However, the thicker air will not be as beneficial as one might hope. At higher speeds, air viscosity and behavior changes significantly from what we are accustomed to as we walk or run. The engineers who made the Bugatti Veyron and now make the Chiron have to deal with air turbulence in their design plans—at 270 mph, at sea level, air feels like a thick soup. The reason those cars can’t go even faster is not a function of horsepower—it’s a function of increasing air resistance. The cars are designed to be very slippery in shape, to cut smoothly through that soupy air, and still, it holds them back.
My body is not designed for aerodynamic slipping through thick soup. I imagine the first time I flew at low altitudes about 500 miles an hour, the wind resistance would crush my own spine into my pelvis, causing all sorts of long-term damage. If I tried the classic flying pose, with hands out in front, the wind would also rip my own arms right off my torso. The first time I’d open my mouth for a breath of air (this is why I’m flying low, remember? To breathe?), the air would be forced into my lungs so hard that in a fraction of a second, they’d both pop like balloons, exploding my chest cavity.
So, here’s the scene. Somebody is in dastardly danger, nearly falling from a cliff, holding on for dear life. The local rescue service is unable to help. Many miles away, I leap from my couch, step outside, and rocket into the sky to offer assistance. To avoid causing panic and damage to surrounding areas from my trailing sonic blast, I go high and fly fast. On the way, my legs freeze solid whilst my head bursts into flame, leaving shards of my clothing fluttering behind. When I come back down into the lower atmosphere, I try to breathe, which causes my torso to detonate, just as it’s being horribly compressed and my arms are being ripped off by air turbulence. What’s left of my half-crisped, half-frozen naked corpse slams (at several hundreds of miles per hour) into the cliff right next to whomever I was coming to save. They plunge to their death, so aghast at what they just saw come plummeting out of the sky at them that they don’t have time to be afraid as they fall.
And that’s why it’s probably best that I not fly like Superman. Even though he makes it look so easy in the movies.
Which leads, obviously, to an interesting question. Why the sudden explosion in the popularity of superheroes on-screen? The comic book industry has been alive and well for several decades now, but in the last 15 years or so, we’ve seen movie after movie. You’ve got six Spiderman movies since 2002. Seven Batman films since 1989, plus the Lego Batman movie, and the Dark Knight has been a character in several more . . . and that’s ignoring all of the Batman cartoon movies. You have 14 movies in the Avengers universe (I counted) since 2008, with plenty more planned. Netflix inundates its subscribers with superhero miniseries. This is not to say that there didn’t used to be superhero movies. But they used to be considered silly, kid stuff. And they weren’t well made. No, the adults were busy watching serious fare, like The Godfather. Now, they’re big movies, with big name actors and big budgets and respected directors. What’s going on here?
Well, here’s my take.
First of all the special effects technology has recently reached a level where Hollywood can finally get superheroes right. Remember the old Incredible Hulk show, where Lou Ferrigno played the Hulk? Lou was a seriously oversized man with bulgy muscles and such, but he wasn’t quite what we wanted with the Hulk. When he got angry, he generally threw a chair or a table. That wasn’t exciting. Shoot, I can throw a table. Not as far as Lou, perhaps, but still. Now, the Hulk destroys entire buildings. Now the Hulk picks up Norse gods and treats them like Raggedy Ann dolls, and it feels good to watch. “YEAH!” is what we shout when we watch the Hulk do hulky things. When I see the Hulk do his thing, my inner man-child, Magnus Bicep, giggles with glee. Remember watching Superman fly in the original 1978 movie? He flies sloooow. Now, his flight just looks better. Now he’s fast.
So, there’s a whole world of things Hollywood can do now, visually, and so they do them. And as long as the customers keep paying to watch it, they’ll keep giving it to us.
But that’s not enough. There’s also the Magnus Bicep issue.
When guys watch these types of movies, they want to see the destruction. They want to see the power. Because guys want to be destructive and powerful. That’s why there are all these different organizations and social phenomena and such that channel guy power: the NFL, boxing, UFC, body building, the marines, fireworks . . . and even some less obvious iterations, such as Pokémon (which involves constant battles and power ratings and such). Superheroes themselves are nothing but modern mythology. Worldwide, cultures have stories of people with great power, from Thor and Beowulf to Hercules and Samson, from John Henry to Lancelot to Gilgamesh to Karna and Rama.
People (not just guys) are attracted to power. When I watch the Hulk go rampaging away, I secretly imagine it’s me. I’m know that I’m not the only one, either. Pick out the most destructive character in any superhero milieu, and that’s gonna be a lot of people’s favorite. Avengers? Hulk. Guardians? Drax. DC? Superman, because he could destroy everything. He’s different because he never uses all his power, but he could. For these people, the recent anime One Punch Man is the culmination. One Punch Man is about a superhero who is so powerful that he can destroy any enemy with a single punch. His power is infinite, and as a result, he’d constantly bored. The show is a careful deconstruction of the whole superpower concept, and it’s hilariously insightful. But no matter. I watch the show, and I wish I was that guy. Even if he’s bald and his superhero outfit is kinda’ cheesy.
Why are we attracted to this? Why do we want this power?
Because the world is a scary place, and we feel impotent. The explosion of superhero movies can be loosely tied to September 11, 2001. We saw evil people do evil things, right here on American soil, and we felt helpless. We watched those planes go into those buildings, we watched the smoke pour out, and we knew that we were seeing real death, real evil. I think we had forgotten about evil. Communism was mostly gone, and the economy was fine, and America had just finished the Clinton presidency, and now we had George Bush. In many people’s minds, we were done with this horny guy, and now we had this dunce, and politics were carrying on . . . but there was no sense of the struggle between good and evil. And then 9-11. Death and destruction. Where would it come next? Who would die next? The news gave us plenty of coverage of the rescue efforts, and we watched real life heroes, firefighters, police officers and the like, risk their lives to pull people from the rubble.
And we thought, somewhere deep in our soul . . . that’s not enough. It’s not enough to try to clean up the mess afterwards. We wish, down there underneath our conscious minds, that we could stop it from happening at all. Well, superheroes . . . that’s exactly what they do. Superheroes stop evil, every movie. That’s what makes them superheroes. In these movies, the evil is often cartoonish and simple to understand. The bad guys want to take over everything, or to destroy the world, and they often wear nazi-looking outfits, and they have funny accents. This concrete moral vision is often criticized, by the way. But it serves a certain function. In the real world, the evil is not always so clear and simple. It’s hard to recognize. In fact, there’s a large cadre of intellectuals and such out there who have been saying (for some time now) that there’s no such thing as evil, really. Evil is always tied to a certain point of view. Evil is a concept applied to the other as a subjective interpretive attempt to create a sense of well-being. You may remember that George Bush was roundly criticized when he framed the struggle with Islamic terrorism as one of good versus evil.
We have these philosophical currents leaking down from Nietzsche and Sartre and inundating us in so many ways. And so when we see evil, we don’t know what to do about it. We don’t know how to react to it. Culturally, superhero movies are a response to the nihilism of a philosophy that mocks the very concept of evil and that has crept deeply into our American zeitgeist.
Of course another criticism of superhero movies is that they’re fundamentally childish. Back when adults were adults, they watched movies like The Godfather, which is an extremely adult movie in that it’s boring for kids. Not to say it’s not a great movie—it is. But it’s not entertaining. The Godfather is a beautiful, perfect piece of moviemaking art. It’s like a Rembrandt painting, where you can study it, carefully, for a long time, and not be wasting time. But it’s not fun. According to this criticism, superhero movies are essentially childish, and they’re popular because we are a childish culture, chock full of arrested development.
This criticism, I think, is valid. We are suffering from prolonged childishness. We are children, all of us, perhaps. We are, grown men and women, getting excited to see a kid’s comic book character wear a silly outfit and wreak justice on a recalcitrant evil.
We want to cheer. We want fairy tales. We know that the world is messed up, and we want heroes. We want to be heroes.
And I want to fly.