In him was life, and that life was the light of all mankind. The light shines in the darkness, and the darkness has not overcome it. — John 1:4-5
Warning: Contains some spoilers for Netflix’s Daredevil (probably both seasons, but definitely season 2).
I love Daredevil. It is, perhaps, the most compelling superhero franchise currently occupying the silver screen or the small screen (or the very small screen depending on how you Netflix). I’ve written a bit about the unique version and vision of heroism Daredevil represents in the Marvel universe, and why I find it so compelling, so if reading thousands of words about heroism, myth, and comic universes excites you, feel free to dip back there before proceeding here… There’s also this great Christ and Pop Culture piece about season 1.
Daredevil is a hero incarnate. A hero not just of his time, but of his place. He is a product of Hell’s Kitchen, it is his home, its people are his neighbours, and he is going to save them. Or at least defend them from darkness. The irony, of course, for those not familiar with the Daredevil mythos is that Daredevil spends all his time in darkness — both because he is blind, and because he only comes out at night. He operates in the shadows. The darkness/light metaphor seeps through season 2 of the Netflix hit. His enemies are ninjas, they’re fighting over who possesses the “Black Sky” — a weapon of such power that it would overcome the world, and the season explores the darkness of the human heart, and how we humans, left to our own devices, are more likely to produce darkness than light. Even, and perhaps especially, because our heroes are these mixed bags. Daredevil is fantastic because it is anthropologically honest. Good and Evil aren’t so black and white.
“If only it were all so simple! If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” ― Aleksandr Solzhenitsyn
This season introduces two more vigilantes to the crucible of Hell’s Kitchen, one of my favourites, The Punisher, and Daredevil’s femme fatale, Elektra. Their introduction upsets the delicate balance of the Kitchen, which is always just one gang war away from total chaos. Hell’s Kitchen itself is a particularly dark and gloomy place in Daredevil’s universe because his universe is the universe of the Avengers in the aftermath of ‘The Incident’ — the total destruction of Hell’s Kitchen, at least in part, by the very heroes who fought vibrant, explosive, battles against ‘mega’ enemies in order to ‘save the world’. One of the implicit elements of the worldview of the typical New Yorker in this parallel universe is that if salvation looks like Hell’s Kitchen, then count us out. We don’t need that sort of saviour. The tension these new vigilantes creates is the question of how much these ‘heroes’ are saving the city, and how much they’re shaping it. This is especially true for Elektra and The Punisher who don’t share Daredevil’s compunction on the question of taking human life. For Daredevil, a practicing Catholic, every human life is sacred and has the potential for ‘goodness’ that shouldn’t be erased simply because of the dark reality of the human heart.
This is how our stories work. Honest story telling requires honestly confronting the reality of the human heart. It’s been this way for quite a while, and it’s largely a product of the world we live in and our political reality — our lack of any sense of security because an enemy can now strike in any way, at any time, in any place. Such is the nature of modern warfare and terrorism; perhaps never more clearly real for us than in the events of this week in Brussels.
In 1949, while accepting the Nobel Prize for Literature, novelist William Faulkner reflected on the uncertainty of his post-World-War-II time, and the impact this had had on the sort of stories being told. He was worried that the writing of his time was not anthropologically honest because it wasn’t really grappling with anything beyond the immediate; and the fear produced by a sense of present distress or crisis.
“Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.” — William Faulkner, Acceptance Speech
I wonder if we’re getting closer. I wonder if the current trend towards a gritty, low fi, dark reality, complete with anti-heroes and complexity and shadows, in all our story telling — be it Breaking Bad, or Game of Thrones, or Daredevil is us being able to balance the fear of our times with the sense that what is truly to be feared is actually what is within each one of us. Maybe that’s confronting and scary. It certainly seems more honest, though sometimes it can be pretty depressing; such that our stories, and our heroes, no longer inspire and uplift in the same way that Gandalf, Aragorn, or Samwise Gamgee could. George RR Martin, the author of Game Of Thrones, suggests his books are an attempt to grapple with this reality, though this quote from an interview with the ABC, begins to suggest that maybe our hearts become dark because the places they beat in are full of darkness, and that’s what is required to bring light…
“I like grey characters. I like people who have both good and evil in them ’cause I think real people have both good and evil. There are very few pure paladins in the world and there are very few totally evil people. We all have the capacity for heroism in us. We all have the capacity for selfishness and evil in us.
How do you play this Game of Thrones, this cut-throat game? Do you play it according – clean and noble, according to the rules that you’ve been taught? You do that, you could very well lose your life and you could lose the lives of people that you love and your family or your children, because the other people that you’re playing with are not playing by the same rules. So then do you compromise your principles and get down and dirty with them and play it in the rough and mean way that you think might be necessary to win? Well then maybe you survive a little longer, but what have you become in the end? I mean, these are issues that I think are very much worth talking about, not only in fiction, but of course we see this reflected all around us in the real world, the constant struggle of ideals versus Realpolitik.” — George R.R Martin, ABC Interview
Daredevil, the cultural text, not the character, is also a product of a particular era of comic book mythopoeia — the universes and stories created within the universes of our ‘post-modern’ comic books are all grappling with darkness in a bid for more honesty; particularly in the comic genre. This all began, in some sense, with Frank Miller’s Dark Knight version of Batman, and Allen Moore’s Watchmen, but their approach, worlds away from the hopeful optimism of early Superman stories, leaves us in a pretty bleak place.
“Many sophisticated elements of comics today that we now take as givens – the way they raise questions of justice and vengeance, their exploration of the ethics of vigilantism, and their depiction of ambivalent and even hostile reactions towards superheroes from the general public as well as from government – are largely traceable to these works. These two titles deconstructed the superhero genre so thoroughly that for several years any superhero comic that continued in the traditional vein of storytelling seemed like nothing more than a bad parody of the superhero genre… Miller and Moore deconstructed the established tropes of the superhero genre, challenging readers to confront the issues surrounding justice and vigilantism.” — David Reynolds, Superheroes: An Analysis of Popular Culture’s Modern Myths
Daredevil fits within this broader cultural oeuvre. Daredevil, aesthetically, is relentlessly dark. It’s part of the way we’re brought into the world of the blind protaganist, but it’s also in keeping with this modern approach to story telling. It explores these questions; but with a note of hope. A note that comes because at its heart, Daredevil is not so cynical about the human condition. His Catholicism leads him to see a glimmer of hope in the heart of each human, and so for his city. It’s faith in something transcendent that holds Daredevil apart from the Dark Knight’s Batman, and, within the Marvel universe, from The Punisher. Daredevil has hope that he’s part of the solution — not part of the problem — for Hell’s Kitchen. That he can make his place, his city, better, by bringing light into a dark world. Where season 1 was an extended exploration of the good samaritan, season 2 is a deliberate exploration of what a hero incarnate looks like. His efforts are not well received, because others in his world are particularly cynical about heroism — and who can blame them as they pick up their lives from the rubble left behind by Iron Man and Co. The nature of heroism is on view, and debated, and discussed, throughout the season. The Punisher’s ‘grim reaper’ approach to justice is literally put on trial, while Daredevil/Matt Murdock is always on trial with the people in his life, some of whom know what he gets up to at night, and others who don’t. Matt shares his life with very few people, there aren’t many in his inner circle — just Elektra, his mentor ‘Stick’, his best friend and lawyerly colleague Foggy, his nurse Claire, and his colleague/love interest Karen. At the start of the season Karen is the only one in this inner ring who doesn’t know Matt is Daredevil. She’s also the most disillusioned with Matt and least forgiving of him, in his contributions to society as a lawyer, as a result.
“This city really needs heroes. But you’re not one of them” — Karen
There’s a really nice pay off to this line at the end. One of the things the Daredevil writers do well is launch things at the start of a season that get some closure at the end. Another little parallelism comes with Matt/Daredevil’s threat to prevent Kingpin — the villain from season one — from ever having the satisfaction of living in New York with the woman he loves; as they both acknowledge that they are a product of the city as much as they hope to shape the city, and Matt’s own realisation that he could leave New York, perhaps, for the woman he loves.
“Now you’re thinking you can serve your sentence. Hop on a jet. Go to her whenever you like. Live somewhere like Monaco, or, I don’t know, wherever you fat cats go to sun yourselves. But you can’t. You can visit her, but you’ll never live with her. Because this is New York. Wilson. You live here. This is your jungle. This is your blood. Like it is mine. She will never come, and you’ll never leave.” — Matt Murdock to Kingpin
“We’ll keep moving. We’ll change identities. We’ll hide. They’ll never catch us. What do you say?
“I say let’s go to London. Madrid. Tunisia. There are sexy places to hide.”
“Hey, I’ve never been further north than 116th street so…”
“Because you love New York.”
“And I’d give my life for it, but there is one thing in this world that makes me feel more alive. And that’s you.” — Daredevil and Elektra
This comes at the end of a long ‘heroes journey’ for Daredevil, where he’s increasingly, and deliberately, alienated himself from his neighbours and neighbourhood, because he believes that’s what is required to save them. In doing so he risks becoming excarnate — detached from the consequences of his actions, and the real motivation for them, and unable to achieve the sort of transformation that can only come to Hell’s Kitchen if he inspires from beside, rather than ‘rescuing’ from above. It’s the people — his neighbours, his community, who he served beside who kept him grounded as the ‘good samaritan’ in season one. And this is risky business. Here, perhaps, is the most overt Daredevil/Jesus moment in the series.
“Maybe you need to start thinking about climbing down from that cross of yours and spending some time with us normal people for a change…”
“I’m done Claire. No more law. No more friends. At best they’re a distraction. At worst I put them in jeopardy. From now on I need to focus.”
“You may feel like you are a ship lost at sea, but if you isolate like this you really will be. You’re cutting off your own anchor. And every minute that you spend standing, hiding, in this suit of armour the more separate you become from the very things that you want to protect. Your friend is in a hospital bed down stairs. Stop playing the loneliest little soldier and start being a human being.” — Claire and Daredevil
Being Daredevil is exceptionally costly for Matt, but it seems to be his cross to bear. The journey he’s on in this story is very much a journey to remind himself that he needs real connection to other humans — he has to forget that one lesson from his mystical mentor Stick. His friends don’t understand the cost he pays to save them. They’re busy dealing with the same fears — the same existential crisis — as the rest of the city; the same questions about heroism and salvation, the same balance between desiring mercy and justice; while in the main, knowing exactly who the masked vigilante is. And mostly they just want Matt to be their friend. To walk away from the mask; from the mission. This is Matt owning his identity, and his mission, while being disowned by his closest friend, Foggy. Expressing these human fears. Fears that Daredevil might actually be causing the problem. Denying that Daredevil is the saviour and calling him not just to step down from his cross, but to walk away from the mission and try something more effective. This is a Peter/Jesus moment.
“I came to talk to my friend, not the vigilante.”
“They’re the same person Foggy.”
“They weren’t always”
“Either way. I have to do this. As we speak there are horrible things happening in this city.”
“You wouldn’t believe me if I told you…”
“You don’t get to create danger and then protect us from that danger. That’s not heroic. That’s insane.” — Matt and Foggy
For Jesus of course, he didn’t abandon his friends, but was abandoned by them. And there’s a sense that this is true in Daredevil, because Matt/Daredevil’s greatest desire from these friends is that they understand him, trust him, and support him. That’s why he finds succour in his friendship with Elektra; she understands him. She also represents the ultimate test of his ability to save or transform someone, she’s the test case to see if redemption really works; if moving someone from darkness to light is actually possible. She’s aware of the darkness in her heart and is prepared to face up to it.
There’s an incredible degree of theological insight in Daredevil. Especially for Christians. Especially as we prepare for Easter this weekend. The majesty of the Christian story rests on the word that spoke the universe into being — the ‘light and life’ of the world — becoming human. Breaking down the distance. Drawing near. Being ‘one of us’ — speaking words in human language, that build and create life in very different ways to the words spoken in the beginning. The glory and humility of the incarnation is precisely this — that God didn’t step down onto a cross never having broken bread with those he came to save, but that he offered his life for the friends, the city, the world, that had abandoned him.
The true light that gives light to everyone was coming into the world. He was in the world, and though the world was made through him, the world did not recognize him. He came to that which was his own, but his own did not receive him. — John 1:9-11
The Word became flesh and made his dwelling among us. We have seen his glory, the glory of the one and only Son, who came from the Father, full of grace and truth. — John 1:15
When we’re at our most honest, as humans whose hearts are dark places, living in a darkened world of our own making, when we’re honest we have to admit that it’s not just the darkness that we’re afraid of, the light terrifies us. The prospect of a saviour who might pull us from the default patterns of existence — from the darkness where we’ve grown comfortable and accustomed — is terrifying. Daredevil has confronted this darkness, and chosen light — and he chooses to see the light, or the potential for light, the image of God, in everyone else. Light and life are sacred for this blind martyr.
What I loved about Daredevil is the way it explores heroism and celebrates the hero with dirty hands — the hero who steps into the mess with those he is trying to save. The hero who confronts darkness and grapples seriously with brokenness; not just brokenness in the world, but brokenness in himself. By season’s end, it seems Daredevil the good samaritan, the ‘crucified’ saviour who is prepared to lay down his life for his city, has a real shot at transforming the city. There’s this poignant piece on ‘true heroism’ in the final episode that has nice little links back to the Avengers if you’re paying attention, but also asks a bigger question that shows, at least in part, where Daredevil, and his imitators, won’t actually produce lasting change in New York.
“What is it to be a hero? Look in the mirror and you’ll know. Look into your own eyes, and tell me you are not heroic. That you have not endured. Or suffered. Or lost the things you care about most. And yet. Here you are. A survivor of Hell’s Kitchen. The hottest place anyone’s ever known. A place where cowards don’t last long. So you must be a hero. We all are. Some more than others. But none of us alone. Some bloody their fists trying to keep the kitchen safe. Others bloody the streets in the hope they can stop the tide. The crime. The cruelty. The disregard for human life all around them. But this is Hell’s Kitchen. Angel or devil. Young or old. Rich or poor. You live here. You didn’t choose this town. It chose you. Because a hero isn’t someone who lives above us keeping us safe. A hero is not a God, or an idea. A hero lives here, on the street, among us, with us, always here but rarely recognised. Look in the mirror and see yourself for what you truly are. You’re a New Yorker. You’re a hero. This is your Hell’s Kitchen. Welcome home” — Karen
There’s something very true and very real about the necessity of the ‘incarnate’ hero — the hero from within the community, with a close and abiding love of the place, the world, that birthed them. But we are shaped by place. Profoundly. We breathe the air and drink the water and imbibe the values of a place; and so ultimately Daredevil will have the same impact on the city as Kingpin. He’ll craft his community into his image. And though that involves more goodness and light than the next person, he, like you and me, is still flawed. He shows this, in one sense, because he’s both prepared to alienate himself from his community to save his city, and ultimately prepared to give it all up for a woman who understands him and makes him feel ‘more alive’ than New York. He’s still the product of his humanity, and those in his community whose hearts are that grey mix of black and white. And so the transformation or salvation he offers, good though it might be, is not the sort of hero our fearful world needs.
Ultimately his heroism is also not enough to defeat death — even if he chooses not to kill, because life is sacred, death still relentlessly pursues those in his city. And death is the ultimate form of darkness. Daredevil, interestingly, and without much editorialising, finishes at Christmas time. Which is interesting, especially watching it as Easter approaches. Because it’s in these moments still celebrated in our calendars that Jesus offers something more compelling than Daredevil — and more complete than simply a heroic example. It’s this point that the profundity of the Christmas — where the incarnate divine saviour who doesn’t just live above us to keep us safe, but is the God who becomes one of us — and the tragedy and triumph of Easter where this saviour enters the darkness of death and the tomb and raised to life to save us, and defeat death, that real hope is found. Our stories, our heroes, will, so long as they are purely human, always have black-to-grey hearts. The evil in each of us, and the death that results, is real darkness. It’s what we fear. It’s the enemy to be defeated. And our dark hearts are ill-equipped to really achieve that. We need real light. Otherwise its the blind leading the blind.
That line from Solzhenitsyn“the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” is profound. Because in Jesus — in the Christmas and Easter stories — we see a hero enter the story whose heart is undivided, it’s pure light, and a God who willingly destroyed a piece of his own heart to deal with evil and death once for all. We see what real light looks like, and how darkness is overcome. We don’t just see a hero nailed to a cross, we see an empty tomb. And so we know what it is to no longer live in fear. We know what a better story looks like.