I think a surprising amount of writers don’t realize that tragedies are supposed to be cathartic. They’re intended to result in a purging of emotion, a luxurious cry; the sorrow caused by a great tragedy is akin to fear caused by a good horror movie – it’s a “safe” sorrow, one that is actually satisfying to the audience. It can still be beautiful! It’s isn’t supposed to just be salting the earth so nothing can grow.
But that’s how you get grimdark: writers who don’t realize that they’re supposed to be doing something with the audience instead of to the audience.
me when I was 16 and freshly into superhero media: it’s actually kinda fucked up that everyone is vigilantes…..like wouldn’t it be better if superheroes WERE operating with some kind of government oversight? people shouldn’t just take laws into their own hands. they should be more like the army or police.
me a decade later: WHEN EVERY SUPERHERO IS ALIGNED WITH A GOVERNMENT, SUPERHERO STORIES BECOME NARRATIVES DEFENDING THE STATUS QUO AND THE POWERFUL, AND EVERY SUPERHERO MOVIE IS A DEFENSE OF AUTHORITARIANISM, AND EVERY HENCHMAN KILLED IS A CASE OF EXTRAJUDICIAL MURDER. IT’S STILL MURDER WHEN THEY’RE VIGILANTES BUT WHEN THE MURDER ISN’T GOVERNMENTALLY SANCTIONED YOU GET THE SENSE THAT SUPERHEROES DO THINK THEY NEED TO DIAL THE MURDER BACK. ALSO IT MAKES THE STORIES BORING WHICH ISN’T AS POLITICALLY AS IMPORTANT BUT AESTHETICALLY???? REMEMBER UNDERDOG STORIES CHRIST THOSE WERE FUN RIGHT??????????????