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The Caped Crusade: Batman and the Rise of Nerd Culture
Download The Caped Crusade: Batman and the Rise of Nerd Culture
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Audible Audiobook
Listening Length: 9 hours and 26 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Simon & Schuster Audio
Audible.com Release Date: March 22, 2016
Language: English, English
ASIN: B01BPHJCXM
Amazon Best Sellers Rank:
Glen Weldon first wrote my favorite book to date on the history, real world effect, and many iterations of Superman. Now he has done an equally well researched and compelling book on Batman. Even the most deeply entrenched fans of the character are such to find new information on the lore surrounding the Batman in The Caped Crusade. Strong recommend.
Since his first appearance in Detective Comics #27 in 1939, Batman's been many things: gun-toting vigilante, father figure, campy icon of 1960s television, obsessed loner, violent sociopath, and a star not only of comics and live-action television, but also in animation and films ranging from low-budget serials to big-budget spectacles.NPR pop culture reporter Glen Weldon argues in "The Caped Crusade: Batman and the Rise of Nerd Culture," a fast-paced, well-researched tour of Batman's journey from superhero to pop culture icon, that the versatility described above gives Batman staying power while other crimefighting vigilantes have faded from the public's collective memory. In Weldon's view, Batman endures because he is what the public needs him to be at any given time.The glue which binds all those differing iterations of Batman, in Weldon's view, is the solemn oath young Bruce Wayne took after seeing his parents murdered before his eyes to wage relentless war on all criminals. That oath-to ensure no one else suffers the tragedy he endured-makes Batman, despite the darkness surrounding him, as much a symbol of hope as his smiling, far-sunnier superhero compatriot Superman.Weldon explores in brisk yet unsparing detail how those variant Batmen arose from an ongoing tug-of-war between the "nerds"-experts in specialized interests such as comic books-and the "normals," those whose interest in, and knowledge of, Batman derives largely from his television and film incarnations, both live-action and animated. He describes how the "nerds" embraced Batman because of the oath and his lack of superpowers, then raged against depictions ranging from the Adam West TV series to director Joel Schumacher's films (starring Val Kilmer, George Clooney and Bat-nipples!) because they felt that the creators were not only laughing at Batman, and by extension at them-but also encouraging the "normals" of the general public to do likewise.And not only creators felt their wrath: Weldon describes the profanity-laden, threatening messages some film critics received from Batfans after writing less-than-favorable reviews of "The Dark Knight Rises," director Christopher Nolan's concluding film of his Batman trilogy starring Christian Bale.But the Batfans embraced Nolan's films, despite liberties he took with Batman to adapt the character to the needs of film storytelling, because he took Batman-and hence, them-seriously, giving them the acceptance they craved from the "normals."The "nerds" also drove the transformation of Batman from 1960s TV buffoon to 1970s obsessed loner in the hands of writer Denny O'Neil and artist Neal Adams because they demanded the return of their ideal Batman-the grim vigilante of Gotham's night from the early, pre-Robin tales co-creators Bob Kane and Bill Finger crafted. That demand, Weldon argues, also led to the violent sociopath writer/artist Frank Miller portrayed in his 1986 limited series "The Dark Knight Returns" and later stories set in his Batman universe."The Caped Crusade" is no dry, sober history. Weldon tells Batman's story not only briskly, but also with a lacerating wit which spares no one: not Batman himself ("a crude, four-color slumgullion of borrowed ideas and stolen art"), not his archnemesis, the Joker (his clothes are "riverboat gambler couture"), and not even McDonald's spokesclown Ronald McDonald ("a whimsical chalk-faced avatar of arteriosclerosis").That combination of wit, detail, and brisk storytelling make "The Caped Crusade" compelling reading for both "nerds" who are longtime, passionate Gothamites and "normals" who know of Batman but are less passionate about him.
I could tell you this is a comprehensive history of Batman but that does such a disservice to Weldon's work. It's of a comparative history of Batman, how the character and American culture have influenced one another, Batman's role versus other superheroes and the impact all of these have had on fans, how they communicate and ultimately how the Internet has affected all of these.Like Weldon, I became a fan of Batman in syndicated reruns. I've read the comics sporadically but was always more of an X-Men girl. That said, Batman has always been a favorite precisely because of the lack of superpowers (except, yanno, money) and the intensity (insanity) that seemed inherent in his role. Weldon brings all of the appreciation of a fan but with an unsparing (and fun to read) critical view.This is one of the few books I've read this year that I'm recommending to everyone I know.
In “The Caped Crusade: Batman and the Rise of Nerd Culture,†Glen Weldon argues, “For the last three decades, the American superhero has been trapped in a perpetual age of adolescence, with fans and creators peevishly avowing that these spandex-clad fantasy characters created to entertain children must now be taken seriously, by which they mean they should be mired in joyless nihilism: badass. It was Batman and his fans who brought this benighted era about, and there are hopeful signs that Batman and his fans may soon be responsible for ending it†(pg. 7). Of the character’s origins and first year of publication, Weldon writes, “It’s the raw-element Batman of this one brief year that continues to cast the longest shadow over the character, more than three-quarters of a century later†(pg. 21). The violence was such that DC used Robin to allay parent groups fears.Turning to the 1950s and 1960s, Weldon writes of the comic book moral panic, “Fredric Wertham’s book and Senate testimony arrived precisely at a historical moment when, according to historian Chris York, ‘a cultural emphasis on the nuclear family and a containment approach to both foreign and domestic affairs fueled a homophobic fire’ that spread through all levels of society†(pg. 50). Though Wertham cherry-picked his examples, the Lavender Scare ensured they would be taken seriously. Further, these fears about Batman’s sexuality were further flamed by the 1960s television series starring Adam West and Burt Ward. While fans bemoaned the show’s campiness, psychologists feared that it glorified violence (pg. 72).The stories of the late ’60s through mid-1980s saw what Weldon terms comics’ Great Inward Turn, with an examination of what made characters unique. Writers like Denny O’Neil and artists like Neal Adams could begin to redefine characters while publishers took advantage of new venues for sales. Weldon writes, “Publishers realized that these stores, known as the ‘direct market,’ provided them with better feedback that allowed them to tailor their print runs more precisely. Miniseries, one-shots, and prestige formats with higher-quality paper stock were now possible – and could be priced higher for the eager collector†(pg. 124). Stories from Alan Moore like “The Killing Joke†and Frank Miller’s “Dark Knight Returns†began to further redefine the character and what comics could do using the format. Meanwhile, Tim Burton’s film series garnered mainstream appeal beyond the usual comic book fanbase.Discussing the backlash that followed Joel Schumacher’s films and how it exemplified nerd culture, Weldon writes, “Nerd culture is often open and inclusive, when it is powered by the desire to seek out others who share common interests and enthusiasms. But nerdish passion is strong and unmindful; its very nature is to obliterate dispassion, nuance, ambiguity, and push human experience to either edge of a binary extreme: My thing is the best. Your thing is the worst†(pg. 216-217). Christopher Nolan’s films helped to revitalize the character again while Grant Morrison deconstructed Batman in the comics. Following the rise of the New 52 and Morrison’s departure, the writer challenged fan’s preconceived notions of that Batman. Weldon writes, “In the May 2012 issue of ‘Playboy’ magazine, just as he set out wrapping up his story lines, Morrison offered a parting shot to the hard-core Bat-nerds who were only too happy to see him go. ‘Gayness,’ he said, ‘is built into Batman. I’m not using gay in the pejorative sense, but Batman is very, very gay. There’s just no denying it’†(pg. 277). The resurgence in interest for the Adam West version of Batman shows a new acceptance for queering the character, even as fan culture continues to involve a level of toxicity (see Tom King’s need for a bodyguard at San Diego Comic Con 2018).Weldon’s book is excellently researched, tracing the entire course of Batman’s history up through 2016. He writes primarily for a popular or undergraduate audience, with both literary theory and comics minutia to appeal to both.
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