Chapter 2540: Battle for the Cloak (70)

Chapter 2514: The Battle for the Cape (Seventy)

Many people always don't understand the relationship between the two. Many people think that ability and talent are actually the same thing, but in psychology, the main difference between them lies in spiritual drive and need.

You complete a thing with your ability, which means you have the ability to complete something. You complete something perfectly with your ability, or even far beyond the specification, which means you are very capable in a certain aspect.

You are passionate about something, can focus for a long time, don't follow the crowd, can innovate, and achieve results that are different from others and better than others in a unit of time, and can be deeply encouraged by it. This is called you have talent in a certain aspect.

If your boss asks you to do something, you do it and finish it, then you have the ability to complete the job. If you do it better, it means you have stronger ability.

But the driving force is the boss's task, and the reward may be salary or praise from the boss. Both the driving force and the reward are indirect and external.

But if you do something just because you want to do it, and you complete it after thinking about it, and you feel particularly satisfied with it in the process, your spirit is comforted, your mood is relaxed, and you have achieved quite good results, it means that you have talent in this aspect.

Whether it is the idea that drives you to complete this thing, or the harvest of spiritual pleasure, 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 existence.

Ability is usually a one-time deal. You may have the ability to study and take exams, the ability to do business and politics, and the ability to persuade others. In order to obtain your survival needs, you will continue to use these different abilities to gain a foothold in society.

Talent is usually a complete system. Your spiritual driving force, 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, it can be seen that the editorial department only set the ability for the role 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 driving force 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 of completing this process? Does he have the execution ability to implement his original ideas? Does he have a feedback mechanism to satisfy his spiritual needs and self-value realization needs from completing this series of events?

Obviously, he has none of them.

What he wants to do, what he does, what he gains, and what he feels are completely unrelated.

He wants to destroy the universe, but he does not take the most efficient method. The method he takes to destroy the universe actually cannot destroy the universe. He does not gain the destruction of the universe, and he does not feel any happiness from his various actions of destroying or not destroying the universe.

This may be a bit thin, but if you make a slight 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 may make Batman laugh. He almost makes Batman laugh several times, and in the process, he is happy from the bottom of his heart.

Batman wants to take revenge on criminals, so he hone his skills, improve his level, create the deterrent power of the Dark Knight, and establish a new order in places where the law cannot reach. In this process, he also feels satisfied.

So the Joker is talented in making Batman laugh and Batman is talented in fighting crime.

Even if the editor adds a sentence in the plot of the laughter, "He finally approached his goal with his powerful wisdom, and he felt happy at this time", this character would not be so thin.

The character's motivation makes the audience understand his pursuit, the character's method makes the audience understand his ability, and the character's gains resonate with the audience. If these are not there, what are the audience watching?

Just like the laughter completely hides the transformation process of Spider-Man and Jason by skipping time, the editorial department completely hides the motivation, method and gains of the laughter by imposing various unreasonable abilities on the laughter. What are the comic readers watching?

Although Schiller's actions in this play are not as legendary and inspirational as other Arkham madmen, he is more direct and exposes the most essential core of the Laughing Bat's actions - escape and nihilism.

The shaping of characters in a country's cultural content can actually partially reflect the characteristics of the country, and the change in the character shaping style can also reflect the changes in the times of the country.

For a long time, American comics simply advocated heroism, distinguishing heroes from ordinary people and then opposing them to outline various dramatic conflicts.

But at that time, the values ​​of heroes were still relatively normal, they had to be brave, strong, proactive, punish evil and promote good, which 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 emphasized the correctness of heroes and the mistakes of criminals. They no longer cared whether they were right or wrong. Compared with the lighthouse, they began to move towards the world police.

When characters like the Laughing Bat appeared, they not only no longer pursued theoretical victory, but also no longer explored the methods of practical victory. Doesn't this sound like the method of spiritual victory?

Even if I have no goals, no plans, no self-worth, and no consideration of my own feelings, I will win anyway.

This is a thorough escape and nihilism. When they began 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, and you will lose if you are serious, it means that they lack both the theory to convince the public and the ability to really shut people 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 could 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 era, 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 Crazy Laughing. Even in some old publications that are not known to the public, they are really divorced from the simple musical notation and the five-line musical notation, outrageous in the outrageous.

This shows that the failure of Crazy Laughing is not entirely due to his outrageous setting, but the United States' ability to persuade readers to convey values ​​through comics has weakened, and its control over the world's popular culture has also weakened.

More importantly, the editorial department knows this, and they themselves are guilty, so they must win to laugh, 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 values ​​can be used to reverse black and white, so only winning can prove correctness.

Therefore, the editorial department can only take the essence and the dregs, and ignore the discussion of values ​​and various social issues in the stories of Batman and Superman, and only take their last win, trying to create glory again in this way, and the result is naturally a big mess.

Many people are puzzled by this, thinking that this is a cliff-like drop in the creative level of the editorial department, but they don’t think about it. This is not just a cliff-like drop in the editorial department. This is obviously the whole country is returning to the mean.

Many people may think, isn’t it just an outrageous character in a comic? How can it be so big to see the small?

But in fact, there are no coincidences in history.

In September 2017, the comic book "Dark Day: Casting" was released, and the Laughing Bat made its debut. As soon as it appeared, it caused a warm response. Later, due to the greater expectations, the greater the disappointment, it became one of the most failed comic characters in American history.

In May 2017, the overseas version of Tiktok went overseas and became popular all over the United States. From then on, the collapse of traditional media, the mouthpiece of various forces in the United States, 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 of the reputation of the Laughing Bat may have nothing to do with this small software.

But looking at the long river of 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 taken an amazing turn at this point in time.

And also learning from history, these trivial things are not the last straw that broke the camel's back. If the timeline is pushed forward a little further, this is precisely the aftermath of another huge wave set off from the eastern sea.

Continuing the analysis, where does this nihilism, escapism, and the idea of ​​having to win come from?

Cultural confrontations always precede everything and are slower than everything, because literati always make arrogant predictions, but they enjoy the vanity brought by hindsight. Cultural changes 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 victory stories about my crushing methods. If I draw with my opponent, I must use the best of the Spring and Autumn style to write about how I won effortlessly.

If you want to fight but lose, at least write from other perspectives why we won blood and did not lose. Even if you dare to fight at least, you must praise courage and tell justice.

If only escape and nihilism are shown in the end, what is going on?

Schiller stared at the Laughing Bat. He once 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 anxious to kill him, but once he appeared, it meant that some of the unresolved questions in Schiller's mind had finally been answered.

Standing in front of the Laughing Bat, Schiller closed his eyes slightly.

When the bomb explosion, louder than the roar of the plane engine, made him unable to hear any sound, his hazy vision in the tremor stopped at the dial of the watch, and the year number stopped at "2016".

Why do I write about plane crashes when there are so many ways to travel through time? ? ! ! Modern planes are not that likely to crash! ! !

Ah! ! ! ! ! !