Batman and Sherlock Holmes are both detectives of sorts but they approach their investigation into crime very differently. Batman is a Power of Truth character.  Holmes is a Power of Reason character. This makes all the difference in how their stories are told.

Christopher Nolan’s Batman trilogy (my favorite Batman movies) is remarkably consistent in its emotional and psychological characterizations. In the Emotional Toolbox method, rather than looking at genre, the essential emotional force driving the movie is analyzed. Nolan’s trilogy is a series of complex multi-layered Power of Truth stories.

These kinds of stories are driven by secrets, lies, conspiracies, or concealment. In the opening of The Dark Knight Rises, a huge lie is rotting at the heart of Gotham City.

Bruce Wayne/Batman languishes in disgrace, broken and hiding in his cavernous mansion. Harvey Dent, who had become the criminally insane Two Face in the previous film, The Dark Knight, has been put on a pedestal and is revered as a hero. His crimes are concealed and even blamed on Batman.

The Dark Knight Rises and all Power of Truth stories chronicle the most profound and personal betrayals. These stories also ask: when does betrayal look like loyalty and when does loyalty look like betrayal? These stories’ twists, turns, treachery, and reversals, changes everything the character believes is true. All the character holds dear is destroyed.  It is a story of emotional devastation.

One of the major betrayals at the heart of the film is Alfred Pennyworth’s omission in telling Bruce Wayne what happened just before Bruce’s great love, Rachel Dawes, died. Alfred argues against Bruce re-emerging as Batman, revealing the truth about Rachel.

Bruce argues that Rachel died believing that the two of them would be together; that was his life beyond the cape. He can’t just move on because she couldn’t move on– she died.

Alfred reluctantly tells Wayne the truth, “What if she had? What if, before she died, she wrote a letter saying she chose Harvey Dent over you? And what if, to spare your pain, I burnt that letter?”

Bruce accuses Alfred of just using Rachel to try to stop him. Alfred is adamant. “I am using the truth, Master Wayne. Maybe it’s time we all stop trying to outsmart the truth and let it have its day. I’m sorry.”

In Power of Truth stories, like Nolan’s Batman trilogy, things are never what they seem.  The tangled undergrowth of human duplicity and emotional treachery catches and pulls at every character in the film.

Power of Reason stories are much more straight forward.  The investigation is a puzzle to be solved logically, emotion doesn’t enter into it. Of course, there is deception in these stories, but the lies are exposed by the careful collection of empirical evidence and objective deduction.

Sherlock says:  “Impossible suicides? Four of them? There’s no point sitting at home when there’s finally something fun going on!

Mrs. Hudson: “Look at you, all happy. It’s not decent.”

Sherlock: “Who cares about decent? The game, Mrs. Hudson, is on!”

Power of Reason characters examine the situation, consult other expert opinions or past experiences, and put their minds to the issue in a thorough and objective fashion.  It’s all a puzzle to be solved or a game to win. The human cost of murder or suicide doesn’t factor into the equation.

These characters cannot abide deviation from their systematic and orderly approach to the world. They tend to discount or ignore emotional or spiritual (or supernatural) elements in a situation or a problem. If they can’t see it, measure it, categorize it or quantify it, they don’t believe in it.

Power of Reason characters don’t believe in getting personally involved or emotionally entangled in any issue. They always try to maintain a sense of cool detachment and personal objectivity. They are good listeners but deflect or avoid any intimate questions about themselves and are extremely private about disclosing anything they consider to be personal. They are excellent problem-solvers and experts on matters technical, scientific or arcane.

Moving from a cold clinical analysis toward a more human evaluation (which takes into consideration emotional connection, caring, and a real valuing of others’ feelings) is their journey toward greatness.

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This week I am busy in Copenhagen so I offer an excellent essay by Patrick H Willems.  His video discusses the character problems in the latest batch of DC films.

This essay was released before Wonder Woman, which has come some way to fixing what Willems talks about. With Justice League right around the corner, audiences will be anticipating Wonder Woman’s return.  There is lots of work to be done in the franchise to make the two returning characters and two brand-new characters add and not detract from the sequel.

My own take on Batman: The Dark Knight Rises can be found HERE

Several critics agree and one reviewer blasts the movie on that score saying:  “Nolan’s latest exploration of the Batman mythology steeps its muddled plot in so much murk that the Joker’s maniacal nihilism comes to seem like a recurrent grace note.”  The review goes on to decry the “airless complexity” of the story.

The Dark Knight is a classic example of the Emotional Toolbox premise that– “In the battle between reason (plot) and emotion (connection), emotion ALWAYS wins.”

Audiences will forgive almost anything if the emotional connection in a film is strong enough. If the emotional bond isn’t strong enough then very little else will salvage a movie.

The country seems to be in a very pessimistic mood these days. Polls are showing more people losing confidence in the economy and feeling like the country is headed in the wrong direction than any time since the Great Depression.  The Dark Knight reflects the general sense of being trapped in choices, all of which are bad.

We also haven’t fully mourned our fallen in Iraq either.  We never see their coffins coming home.  We never see any of the funeral ceremonies.  We keep putting on foot in front of the other despite the enormous personal and emotional cost.  I think that is what Batman is forced to do.  He even continues the fight under false assumptions– Alfred burned the note Rachel sent him.

If you’ve just come to my blog– there is a short essay about The Joker in an earlier post.  His role is so pivotal in all of this.  What we fear most is chaos.  That’s what people sense right now– being on the edge of chaos.

The Dark Knight is hooking into emotional themes beyond the movie’s plot points.  The question for any writer, not just those who write about Super Heroes, is–  How does your script connect with the deeper emotions of your audience?

Mark Gill gave a powerful keynote before the NALIP Conference

He says in part:

Quality of emotional content is what matters, period. In a world with too many choices, companies are finally realizing they can’t risk the marketing money on most movies.

In the end, all of this (effort in movie-making) has to add up, seamlessly if possible, to something that moves us– to the quality of the emotional content. It doesn’t matter if we’re talking about thrills, laughs, tears, or an adrenaline rush. What matters is that we are engaged and, ideally, emotionally transformed and satisfied.

In a world increasingly dominated by numbers– financial, technological and most importantly the finite number of hours in a day, our very human desire for contact, meaning and emotional transformation isn’t going away. It’s growing. Those who remember that will survive and most probably win.

That is the premise on which I founded The Emotional Toolbox and creating that emotional authenticity and connection is at the core of The Nine Character Types eBooks.

In a Power of Truth film things are never what they seem.  None of the major characters in The Dark Knight are what they seem at first glance.  The tangled undergrowth of human duplicity catches and pulls at every character in the film.

In the beginning of the film, Batman tries to find out the truth about one thing: a spectacular bank robbery.  Over the course of the film, he finds out the truth about a larger thing:  what happens to human nature under the extreme duress of chaos.  In the end, he finds out the truth about himself:  he is both stronger and weaker than he imagined.

In the movie, criminal acts are just the surface.  This surface, upon closer inspection, is tangled up with its own deeper undergrowth of human darkness.  Once the surface of the crime is cracked, chasms open that no one could have imagined.

Batman is continually looking for answers that elude him.  He is caught in the eternal Power of Truth paradox:  Seeking certainty in an uncertain world only brings more uncertainty.  Who is he?  Does Gotham need him?  Will he break his “one rule” to save the woman he loves?  How  “bad” is he willing to be to do “good”?  How easy would it be for him to permanently cross over into the Dark Side?

Christian Bale, the actor who plays Batman says:  “Now you have not just a young man in pain attempting to find some kind of an answer, you have somebody who actually has power, who is burdened by that power, and is having to recognize the difference between attaining that power and holding on to it.”  What is the real truth about Batman?

Not only is Bruce Wayne not what he seems.  Batman is not what he seems.  At the end of the film, he takes on the burden of Two Face’s crimes to give Gotham a “hero,” turning himself into someone he’s not in the eyes of the public. Batman tries to “save” Gotham from the truth.

Lt. James Gordon speaks of Batman’s new role saying:  “Because he’s the hero Gotham deserves, but not the one it needs right now… and so we’ll hunt him, because he can take it. Because he’s not a hero. He’s a silent guardian, a watchful protector… a dark knight.”

Batman says:  “Sometimes, truth isn’t good enough, sometimes people deserve more. Sometimes people deserve to have their faith rewarded.”  Alfred, by destroying Rachel’s final farewell letter echoes Batman sentiments and saves Batman, himself, from the awful truth that Batman had lost Rachel long before she died.

Everyone in the film is bound up in the tangled undergrowth of human duplicity.

There’s more about Power of Truth characters and stories in my forthcoming eBooks on The Nine Character Types.

A character driven by the Power of Love is often someone who tirelessly pushes another forward in a story.  Although typically developed as a female character,  a Power of Love character can also be a compelling male ensemble player (or even lead).  These characters— often soft-spoken, gentle and compliant on the outside— are made of strong, even steely, stuff on the inside.  They believe the best place to be is the “power behind the throne.”

All these qualities are very evident with Alfred.  His courtesy and refined manners mask a steely determination and protectiveness on Bruce Wayne/Batman’s behalf.  Alfred stands just behind Batman’s power and is a subtle but strong presence in the story.

Alfred: I suppose they’ll lock me up as well. As your accomplice…
Bruce/Batman: Accomplice? I’m going to tell them the whole thing was your idea.

In a large part the whole concept of Batman is Alfred’s idea. Bruce/Batman’s continuing story hinges on a key action Alfred takes.

Power of Love characters are defined by their determination.  They will not give up on whatever goal, scheme or objective they have in mind for the object of their attention.  These characters  sincerely do believe they know what is best for others.  They can be very cunning in controlling and manipulating others (always for the other person’s own welfare).

Alfred advises, consoles and prods Bruce/Batman through-out the film.  Rachel entrusts Alfred with the note that, ironically, are her last words.  Alfred first delivers Rachel’s farewell note and then surreptitiously takes it and burns it.  He does so out of love for Bruce/Batman, and he sincerely believes he (Alfred) knows what is best.  Maybe so, but Alfred also deprives Bruce/Batman of the truth and the last words of the woman he loves.

The Dark Knight

Let’s start with Harvey Dent/Two Face (Aaron Eckhart).  This character is an iconic Power of Conscience character.

Power of Conscience characters know instinctively if something is wrong, unjust, unfair, improper, corrupt, evil or out of line.  Their judgment and response is swift and immutable  These characters are propelled forward by personal outrage and moral indignation, usually on another’s behalf.

Harvey Dent’s moral condemnation of crime fuels him to clean up Gotham and make it safe for ordinary citizens.  He is a vigilant prosecutor of evil.  He catches and punishes criminals within the strict confines of the legal system.  He is a “white knight” and a moral hero.

After he is burned and Rachel dies, Dent moves toward his Dark Side and becomes Two Face, a twisted vigilante and self-appointed judge, jury and executioner.  As Two Face, he is a fascinating counterpart to Batman.  (More on the Dark Knight in a later post.)

Harvey, or any other Power of Conscience character, moves to the Dark Side by believing the ends justify the means (evil behavior for a moral purpose).  The burning question for these characters is how bad a thing are they willing to do for (what they consider) a good cause? What ends justify what extreme means? Incrementally, they stumble down a slippery slope taking actions which they feel are justified, until they become exactly like the oppressors, persecutors or criminals they once loathed.

Harvey moves toward his Dark Side because of his outraged sense of fairness and justice.  He explains:  “You thought we could be decent men in an indecent world. But you were wrong; the world is cruel, and the only morality in a cruel world is chance. (holds up his coin) Unbiased. Unprejudiced. Fair.”

The “fair” and impartial flip of a coin will be his “moral compass” from now on.  He is a man without mercy or compassion.  There is, however, no true justice without  the humanity of those qualities.  There is only revenge, which is a bitter poisonous force of destruction.

He will be a fascinating villain to watch.

The Power of Conscience character will be covered in great detail in my forthcoming eBooks on The Nine Character Types

Hunter S. Thompson was a writer who straddled the Dark Side of the Power of Excitement.  Although real people are, of course, more complex than fictional characters, they still have a core or essence that can be traced back to one type.

Self-described “gonzo” journalist ,Hunter S. Thompson, became famous in the pages of Rolling Stone magazine for his sense of wild adventure, drug use and love of chaos and anarchy.  He ran a campaign for Sheriff in Aspen in the 1970’s based on those principles.  All these basic elements were a part of his unique writing style.

Bill Cardoso, editor of the Boston Globe magazine, claimed “gonzo” was South Boston Irish slang describing the last man standing after an all night drinking marathon.  In other contexts, gonzo has come to mean “with reckless abandon,” “out of control “or “extreme.”

Thompson committed suicide when he decided life wasn’t fun any more. He did, however, maintain an explosive personality to the end.  At his funeral, he requested his ashes be shot out of a canon from a tower he designed personally (in the shape of of a double thumbed fist holding a peyote button) as Bob Dylan’s “Mr. Tambourine Man” blared over loudspeakers.  Thompson’s funeral was a fitting send off for a man hell-bent on the next wild escapade.  One of his favorite sayings was: “Buy the ticket, take the ride.”

In Dark Knight, the Joker pushes the Dark Side to its furthest extreme.  He says to Harvey Dent (Two-Face):  “Do I really look like a man with a plan, Harvey? I don’t have a plan. The mob has plans, the cops have plans. You know what I am, Harvey? I’m a dog chasing cars. I wouldn’t know what to do if I caught one. I just do things. I’m a wrench in the gears. I hate plans. Yours, theirs, everyone’s. Maroni has plans. Gordon has plans. Schemers trying to control their worlds. I am not a schemer. I show schemers how pathetic their attempts to control things really are…  It’s a schemer who put you where you are. You were a schemer. You had plans. Look where it got you. I just did what I do best– I took your plan and turned it in on itself.”

The Joker’s words aptly sums up Thompson’s approach to journalism.  Throw a wrench in the gears, turn things in on themselves and expose how pathetic politicians’ attempts to control things really are.

The Joker elaborates to Dent/Two Face:  “I am an agent of chaos. And you know the thing about chaos, Harvey? It’s fear.”

Thompson was also an agent of chaos.  His “fear and loathing” books were about what happens when chaos ensues.  Sadly, in the end, he was as trapped by his wild persona as if he were a meek and mild drone working a nine to five job.  He became a caricature of himself, satirized as “Duke” in the comic strip Doonsbury.

Her lover tells Holly Golightly (a female Power of Excitement character) in Breakfast at Tiffany’s: “You say you are a wild thing… (Y)ou’re terrified somebody’s gonna stick you in a cage. Well baby, you’re already in that cage. You built it yourself. And it’s not bounded in the west by Tulip, Texas, or in the east by Somali-land. It’s wherever you go. Because no matter where you run, you just end up running into yourself.”  However hard or fast you try to escape– there you still are.