Death as a Beginning.
Both Ragnarök and Final Crisis begin with the unthinkable: the death of a god. For Ragnarök, it is the death of Baldr that signifies that something is very wrong in the world and that a great change is about to take place, as LoCicero says, “[t]he tragic death of Baldr was the single event that set the wheels of the Norse Apocalypse into motion” (LoCicero 142). O’Donoghue agrees, taking not also of the narrative shift that occurs in the story:[t]he death of Baldr is recounted just as the volva moves from recollection to prophetic vision, and his killing is presented as a decisive event in the inexorable progress to Ragnarök (O’Donoghue “What“ 87). For Final Crisis it is the death of Orion in the first chapter that portends the great disasters about to happen.
The deaths of both Baldr and Orion take place at the hands of family. Baldr was killed unwittingly by his blind brother Hod. For some time, Baldr had been having dreams about his impending death. Baldr’s mother Frigg petitions all things on earth to keep Baldr from harm, all things that is save for mistletoe, which she did not see as a threat. To celebrate his invulnerability, all of the Gods attempt to hurt Baldr with anything they can find. Hod, Baldr’s brother does not take part in the festivities because he is blind. Loki, the Norse trickster god and agent of chaos chides Hod for not participating and then gives him a spear of mistletoe and guides his aim. Baldr is struck by the mistletoe and immediately falls dead. The gods then go to Hel, the goddess of the underworld and the dead and ask her to return Baldr to life. Hel says that she will do so only if everyone on earth sheds tears for Baldr. The gods send messengers all over the world and ask everyone to weep for Baldr and all do except for Loki in the guise of a giantess and so Baldr must remain dead. Ultimately, Baldr is reborn after the events of Ragnarök and he reconciles with his brother Hod and they become gods of the new world (Sturluson 65-68, 77).
Because one of the main points of Final Crisis is that time and space have become distorted and are gradually breaking apart, the death of Orion is fragmented. Orion is shown dying in chapter one, where he warns detective Turpin that Darkseid and the other evil New Gods are hiding on earth. The moment when the bullet strikes Orion is shown in chapter three and Darkseid is seen firing the bullet in chapter ten. Incidentally, because of the time distortions, when Darkseid fires the bullet he is on the verge of death from being shot earlier by Batman in chapter nine with the very same bullet. Like Baldr, Orion dies at the hand of family, in this case, his father the tyrant god Darkseid. But unlike Baldr whose brother Hod unwittingly kills him, Orion’s murder is deliberate. Orion is killed by his father, presumably because Darkseid saw his son as being the only one who could stop him. After all, when addressing the other members of the Justice League in chapter one, Superman speaks of the power wielded by the New Gods with a kind of awe, saying that they are “capable of cracking the planet in half” (Morrison Chapter 1).
Each death in its own way contributes to the destruction that follows. Although Baldr is killed by his brother, the murder is Continue reading Twilight of the New Gods →

And Yet his Story is Rather Grim

The influence of Sigmund Freud’s ideas on the cultural landscape of the twentieth century is incalculable. Because of Freud, the human mind became a vast, complex dimension of its own– a world not unlike an iceberg where only a small part can be readily identified. The importance of dreams and their interpretations, once belonging solely within the province of shamans or mystics gradually moved toward the accepted realms of science. The actions of a person and the experiences of childhood were seen to have long lasting consequences. All of these things (and many others) which have shaped the way the western world perceives itself can be credited to Freud.
Nowhere is the impact of Freud’s theories seen more clearly than in the arts. Film directors like Fritz Lang, Ingmar Bergman, Alfred Hitchcock, and Woody Allen have made acclaimed films that incorporated Freud’s theories into the plots as well as the characters and sets. Literature, both on the part of writers as well as critics used Freud to create new methods of storytelling as well as new ways to examine the classics. Freudian themes also permeated the world of visual arts as well. Cubist painters like Pablo Picasso and Marcel Duchamp created images that seemed to have been broken apart and reassembled, as if the paintings themselves had been psychoanalyzed. Surrealist painters like Salvador Dali and Max Ernst filled their canvases with dream imagery and symbols as a way to represent the subconscious.
Like Sigmund Freud, the ideas of American psychologist George Herbert Mead have also permeated our world in our never-ending quest to understand ourselves and those around us. While Freud’s theories helped us to see our mind as an infinitely more complex mechanism than previously thought, Mead’s theories on the self and identities helped us to see that we can only really know ourselves through our reactions to and interactions with others, not unlike Hegel who said of the self-conscious: it is only by being acknowledged or recognized (Hegel 11). Regarding the self, Mead said:

The individual possesses a self only in relation to the selves of the other members of his social group; and the structure of his self expresses or reflects the general behavior pattern of this social group to which he belongs, just as does the structure of the self of every other
member belonging to this social group. (Mead 40)

Continue reading And Yet his Story is Rather Grim →