Super Hero, Terror?! | Part 4: The Marvelization of Man

September 3, 2023

The Marvelization of Man series juxtaposes the marvelous world of Marvel and its universe of Super Heroes against the not so marvelous world of real life human beings. Sometimes the men and women who present themselves as Super Heroes swooping in to protect us turn out instead to be deceiving and manipulating us.

Way too often in our Modern Era the men and women presenting themselves as the Super Heroes saving civilization are hiding behind lies and madman tactics designed to intrigue, confuse and shock us into their mesmerizing realm of thought control.

Recap of The Marvelization of Man Series

My series begins with Marvel origin story of Morbius who as a “living vampire”, which is an archetypal character for real life narcissists. Morbius flopped even though it should have racked in the bucks as discussed in depth in Part 2 of The Marvelization of Man.

Part 3 of The Marvelization of Man dives into how our minds work and why when a conglomerate company like Disney absorbs the universes of Marvel, Star Wars, Predator, and so many others, the movies they spin out can fall into the trap of creating transactional characters who are made to fit into a highly formula movie that is calculated to do one thing: make lots of money.

This results in weak storytelling and weak Super Heroes. Lacking strong Super Hero stories can water down our inner ability to resist mass manipulation of the kind Joost speaks about in his book: The Rape of the Mind, published in 1956. Super Heroes are our modern versions of archetypal stories and when we tell weak archetypal stories, we lack strong models to base the development of our own inner archetypal stories impacting every aspect of our ordinary lives.

Part 4 of The Marvelization of Man is delving deeper into the subtle art of mind control. It is something our Modern world has excelled at doing and perfected regardless of whether you live in a totalitarian system of government where overt mind control is used by nation-state like Russia, China, or Saudi Arabia OR if you live in a free-wheeling, capitalistic nation-state like the United States, Britain, Australia, or pretty much any nation aligning themselves economically and politically with the Western values and civilization.

The Rape of the Mind

Joost Meerloo describes Chapter 5 of his book Rape of the Mind in this way:

The purpose of the second part of this book is to show various aspects of political and non-political strategy used to change the feelings and thoughts of the masses, starting with simple advertising and propaganda, then surveying psychological warfare and actual cold war, and going on to examine the means used for internal streamlining of man's thoughts and behaviour. Part Two ends with an intricate examination of how one of the tools of emotional fascination and attack -- the weapon of fear -- is used and what reactions it arouses in men. 
                   -- page 65 | The Rape of the Mind

I will highlight parts of Chapter 5 discussing Psychological Warfare as a Weapon of Terror (Page 69 — The Rape of the Mind) and provide current models of how this continues to take place today.

Psychological Warfare as a Weapon of Terror

Chapter 5: The Cold War Against the Mind.

Every human communication can be either a report of straight facts or an attempt to suggest things and situations as they do not exist. Such distortion and perversion of facts strike at the core of human communication. The verbal battle against man's concept of truth and against his mind seems to be ceaseless. For example, if I can instill in eventual future enemies fear and terror and the suggestion of impending defeat, even before they are willing to fight, my battle is already half won.  
            -- Page 69 - 70 | The Rape of the Mind
The strategy of man to use a frightening mask and a loud voice to utter lies in order to manipulate friend and foe is as old as mankind. Primitive people used terror-provoking masks, magic fascination, or self-deceit as much as we use loudly spoken words to convince others or ourselves. They use their magic paints and we our ideologies. Truly, we live in an age of ads, propaganda, and publicity. But only under dictatorial and totalitarian regimes have such human habit formations mushroomed into systematic psychological assault on mankind. 
            -- Page 69 - 70 | The Rape of the Mind
Trump — Shaman-Magician, Primitive Boogeyman | Music: Succession: Season 1 (HBO Original Series Soundtrack) — Nicholas Britell
The weapons the dictator uses against his own people, he may use against the outside world as well. For example, the false confessions that divert the minds of dictator's subjects from their own real problems have still another effect: they are meant (and sometimes they succeed in their aim) to terrorize the world's public. By strengthening the myth of the dictator's omnipotence, such confessions weaken man's will to resist him. If a period of peace can be used to soften up a future enemy, the totalitarian armies may be able in time of war to win a cheap and easy victory. Totalitarian psychological warfare is directed largely toward this end. It is an effort to propagandize and hypnotize the world into submission. 
            -- Page 69 - 70 | The Rape of the Mind

Consider Russia:

Russian President Vladimir Putin speaks with journalists after a live broadcast nationwide call-in, Moscow, April 14, 2016

Photo by Maxim Shemetov/Reuters

The Russian “Firehose of Falsehood” Propaganda Model

Why It Might Work and Options to Counter It — by Christopher PaulMiriam Matthews — RAND

We characterize the contemporary Russian model for propaganda as “the firehose of falsehood” because of two of its distinctive features: high numbers of channels and messages and a shameless willingness to disseminate partial truths or outright fictions. In the words of one observer, “[N]ew Russian propaganda entertains, confuses and overwhelms the audience.”2
Contemporary Russian propaganda has at least two other distinctive features. It is also rapid, continuous, and repetitive, and it lacks commitment to consistency.

Or…

The failure of Russian propaganda
By Dr Jon Roozenbeek — University of Cambridge

Russia’s years-long information war was instrumental in informing Putin’s decision to invade Ukraine. This effort has failed to build support for Russia among Russian-speaking Ukrainians, especially in Donbas. 

A key example is the myth of “Novorossiya”. The term, which means “New Russia”, is meant to conjure up feelings of a restored Russian empire and righting the historical “wrong” of assigning Russian lands under Ukrainian jurisdiction. 

Since 2014, Putin, the Kremlin’s propaganda strategists, and insurgents in the “People’s Republics” of Donetsk and Luhansk repeatedly referred to “Novorossiya” as one of the justifications for Russia’s invasion. 

In reality, there never was a Novorossiya. As an ideological project, it has failed to take hold in the minds of those living on its supposed territories in eastern and southern Ukraine, and was abandoned by Russia and the authorities of the “People’s Republics” of Donetsk and Luhansk as soon as it became politically inconvenient.


As far back as the early nineteenth century, Napoleon organized his Bureau de l'Opinion Publique in order to influence the thinking of the French people. But it fell to the Germans to develop the manipulation of public opinion into a huge, well organized machine. Their psychological warfare became aggressive strategy in peacetime, the so-called war between wars. It was as a result of the Nazi attack on European morale and the Nazi war of nerves against their neighbours that the other nations of the world began to organize their own psychological forces, but it was only in the second half of the war that they were able to achieve some measure of success. The Germans had a long head start. 
         -- Page 69 - 70 | The Rape of the Mind
Hitler's psychological artillery was composed primarily of the weapon of fear. He had, for example, a network of fifth columnists whose main job was to sow rumours and suspicions among the citizens of the countries against which he eventually planned to fight. The people were upset not only by the spy system itself, but by the very rumour of spies. These fifth columnists spread slogans of defeat and political confusion: "Why should France die for England?" Fear began to direct people's actions. Instead of facing the real threat of German invasion, instead of preparing for it, all of Europe shuddered at spy stories, discussed irrelevant problems, argued endlessly about scapegoats and minorities. Thus Hitler used the rampant, vague fears to becloud the real issues, and by attacking his enemies' will to fight, weakened them. 
         -- Page 69 - 70 | The Rape of the Mind
Manipulation Man | Music: Books of Blood: The Coming of Tan by Jedi Mind Tricks
[Album: The Psycho-social, Chemical, Biological, And Electro-magnetic Manipulation Of Human Consiousness]
Not content with this strategic attack on the will to defend oneself, Hitler tried to paralyze Europe with the threat of terror, not only the threat of bombing, destruction, and occupation, but also the psychological threat implicit in his own boast of ruthlessness. The fear of an implacable foe makes man more willing to submit even before he has begun to fight. Hitler's criminal acts at home -- the concentration camps, the gas chambers, the mass murders, the atmosphere of terror throughout Germany - were as useful in the service of his fear-instilling propaganda machinery as they were a part of his delusions. 
        -- Page 69 - 70 | The Rape of the Mind
There is another important weapon the totalitarians use in their campaign to frighten the world into submission. This is the weapon of psychological shock. Hitler kept his enemies in a state of constant confusion and diplomatic upheaval. They never knew what this unpredictable madman was going to do next. Hitler was never logical, because he knew that that was what he was expected to be. Logic can be met with logic, while illogic cannot - it confuses those who think straight. The Big Lie and monotonously repeated nonsense have more emotional appeal in a cold war than logic and reason. While the enemy is still searching for a reasonable counter-argument to the first lie, the totalitarians can assault him with another. 
          -- Page 69 - 70 | The Rape of the Mind
The Big Lie | Music: Big Lie – Johndavid Bartlett

Archetypal Animations

Images created on Genlove.

Feature Archetypal Animation

Music: Superhero — Daze

(Album: Super Heroes)

Music: Succession: Season 1 (HBO Original Series Soundtrack)– Nicholas Britell

Music: Books of Blood: The Coming of Tan — Jedi Mind Tricks

(Album: The Psycho-social, Chemical, Biological, And Electro-magnetic Manipulation Of Human Consiousness)

Music: Big Lie – Johndavid Bartlett

Marvelization of Man

This is the first blog in a series discussing the Marvelization of Man’s Mind.

Morbius

After watching Morbius, I felt flat and bloated like I had just downed a Family Sized Package of Cheetos too fast.

MORBIUS – Official Trailer (HD)

Don’t get me wrong, I loved Morbius’ origin story!

The movie is well acted, well executed, and has superb special effects… just as we have come to expect from a Marvelous Marvel Movie… or should I say, just as we have been conditioned to expect?

Perhaps that’s it, Marvel Movies are entirely predictable. In the past 20 some years, they have become perfectly formulated to meet popular tastes. Because of this, we know what to expect, when to expect it, and how to expect it.

Marvel Movies run on well worn tracks of success. Yes, a few have been busts, but on average, Marvel Movies make $715 million dollars per movie with at least half of this gross-income, which means it goes right into the pockets of Robert Iger, CEO, and the Disney-Marvel Cinematic Universe. This has been the case since 2009 when Disney brought Marvel Cinematic Universe from Ronald Perelman who formerly use to pocket the bucks.

The Marvelous Marvel formula has evolved to include hooks and lures about how each newly rendered Marvel character retrieved from the Marvel vault and brought to life on screen will met up and team up with other recently revived Marvel characters for the next Marvelous Marvel movie.

Heck, soon the different Disney universes and their characters might begin meeting up with Marvel, or ever perhaps as, Marvel characters to fight off the bad guys.

Perhaps like this super cool new chic: Tinker Bell Die Hard Predator Ape?

Don’t Mess With the Tinker Bell Die Hard Predator Ape! | These blended characters are all owned by Disney!

Hell YEAH… this might actually BE interesting!

Marvel Characters Are Archetypes

We adore Marvel characters because they are archetypes. They speak to things deep inside of all of us: the Good, the Bad, and the Ugly. Stuff that is really, really hard to speak to each other about in our overly average, highly regimented, very repetitive work, work, and more work worlds.

Mostly we don’t talk to each other about this stuff. It is so much safer (and let’s face it, it is so much easier) to be superficial with each other.

That’s what the movies are made for! Right?!

Movies give us an emotional release and a little freedom from all that stuff pent up and building up inside of us. The stuff we don’t or can’t talk to each other about, at least not on the deepest levels where our wounds usually lay. These are deep interior layers that we can seldom reach without self-expression that can lead to self-realization, if we allow it.

This is what archetypes partly do for us. They help illuminate things inside of us that are vague, mysterious, troubling, or even exhilarating. But things that are hard to put our finger on because they are inside of us and we can’t see them with our eyes. We can only feel them or try not to feel them when they bother us too much.

Archetypes are mental models that give shape and perspective on the shadowy, nebulous, unsettling, fuzzy states and feelings that can overtake us. They do a lot more than this, but for the purposes of this blog I’ll stick to how archetypes provide man with mental models on how to handle and act to feelings rising inside of him and all around him in other people.

Ever since Marvel’s founding in 1939 by Martin Goodman, which was then known as Timely Comics, the characters have been giving shape to man’s collective shadowy feelings and showing us possibilities on how to channel and handle our dim, indistinct inner worlds in our shared outer world.

In 1951, Timely Comics became known as Atlas Comics. It is not until June 1961 that it transforms into the franchise we know it today as Marvel with the launch of The Fantastic Four.

Ever since its beginning, Marvel characters were created to meet a moment. They emerged from the fabric of that time and in the spaces of what was happening in the country or world at that moment. Their creators invented characters who could met the demands and uncertainty of the times in which they were created.

I am sure each creator imbued their characters with the super powers everyone needed at that moment to survive mental through the demands, threats, and catastrophes of the times. That is what archetypes do. They provide strong mental images combined with stories that imbue inspiration, hope, and courage into the hearts and minds of real people who need to meet real life challenges as they navigate the ups and downs of life.

Character     Date Created            Creator(s)

Sub-Mariner | 1939 (Build up to WII)| Bill Everett

Human Torch | 1939 (Build up toWWII) | Carl Burgos

Angel | 1939 (Build up to WWII) | Paul Gustavson

Masked Raider | 1939 (WWII & shifting economics) | Al Anders

Phantom Reporter | 1940 (WWII & shifting economics)| Robert O. Erisman, Sam Cooper

Black Widow | 1940 (WWII & shifting economics such as women working to build war machines and bombs) | George Kapitan, Harry Gahle

Vision | 1940 (Intensification of WWII)| Joe Simon, Jack Kirby

Captain America | 1940 (Intensification of WWII)| Joe Simon, Jack Kirby

Black Marvel | 1941 (Intensification of WWII) | Al Gabriele

Uranian Boy | 1950 (First atomic bomb drop 1945) | Stan Lee, Russ Heath

The Fantastic Four | 1961 (It's the 60s and its Stan and Jack!) | Stan Lee, Jack Kirby 

The Hulk | 1962 (It's the 60s and its Stan and Jack!)| Stan Lee, Jack Kirby

Red She Hulk | 1962 (It's the 60s and its Stan and Jack!) | Stan Lee, Jack Kirby

Thor | 1962 (It's the 60s and its Stan and Jack!)| Stan Lee, Jack Kirby

Spider-Man | 1962 (It's the 60s and its Stan and Steve this time)| Stan Lee, Steve Ditko

Iron Man | 1963 (Cuban missile crisis 1962)| Stan Lee, Jack Kirby, Don Heck

Doctor Strange | 1963 (Cuban missile crisis 1962) | Stan Lee, Steve Ditko

Black Panther | 1966 (Civil Rights Act sign 1965) | Stan Lee, Jack Kirby

                                            -- See full timeline at Wiki

I think you get the idea.

So, What’s Wrong With A Little Marvel Time?!

There is nothing wrong with a little Marvel time.

The issue is much more subtle and pervasive than that. It is not so much that we go to the movies to watch great, big, spectacular dramas that take our minds off our worries or give us a joyful jolt of non-reality.

The issue is rather what we are not seeing when we go to the movies, especially the really BIG blockbuster ones that are highly formulated and super monetized to capture our time and attention.

These blockbuster cash cows act like somewhat steamrollers crushing the competition and funneling more and more money into the pockets of billionaires who own mega conglomerates that control the content and production of multiple franchises and merchandise.

And guess what the mega billionaires want you to do?

They want you to go to see more of their movies and buy more of their merchandise so they make more money.

And we do exactly that… and each time we do, they grow even bigger!

If you’re wondering why Marvel movies all look alike, it’s because of us. It is the way we are choosing to consume them.

I recently learned more about this from Terry Gross’ interview with Lucas Shaw, who is in charge of Media and Entertainment at Bloomberg and writes the Screentime newsletter. He’s the one who made me aware of how much content Disney owns!

But there are a lot of other big Media-Entertainment Titans operating out there too and all of them want to get inside our heads and tickle away some our money that we make working highly automated jobs that require at least 8 hours of our days, 5 days a week.

Sadly, despite popular opinions, most of us do not work in our Dream Jobs! Indeed, most of us must go through the motions 8 hours days doing very boring, tedious, monotonous work. So who wouldn’t want to break free and escape into a Marvelous Marvel movie when it comes out?

But that might be exactly what the super rich want us to feel and react. They can make money from lots of bored people who need to escape from their dreary, mind-numbing, mechanical lives with a Fantastic New Movie!

And, hey wait, you can also escape and feel just like the movie characters feel by buying this splashy new watch or this brand new fancy car or this mouthwatering, very pricey dress. And of course you need the latest technology to go along with all this! You want to look modern don’t you?

All these fancy, enjoyable costly things are there to help you escape from your boredom and ease your burden of living highly repetitive, unvarying, humdrum modern lives.

Lucas Shaw tells Terry Gross how the movie-TV-streaming business is becoming one super long ad promoting consumerism, capitalism, and merchandising by the new Titans of Industry.

SHAW: You know, Barry Diller, I feel like, has been declaring the death of Hollywood for a long time now, so I do take what he says with a little grain of salt. But he's right that the growth of Amazon and Apple, which I would say are now two of the six major studios in town - you know, they've replaced some of the other ones that have been consolidated in the deals that we've talked about - entertainment is not their primary business. And it speaks to maybe the lesser value of traditional film and television in broader culture, where it - so does the fact that YouTube is now bigger than any TV network, that if you - that TikTok is as popular as any streaming service.
You know, film and TV doesn't have the same stranglehold on culture and on youth that it used to. And it's - if I were running one of these traditional media and entertainment companies - running Warner Bros. Discovery, running Disney - it would certainly scare me that two of our biggest competitors don't care about making money from film and TV in the same way because it means that the stakes are lower. The approach is going to be different. And entertainment is just a means of selling something else - in Amazon's case, you know, diapers or books or whatever it is; in Apple's case, phones and other devices. -- FreshAir, July 20, 2023

So my take away from this conversation is that the purpose of movies, TV shows, and streaming platforms are increasingly veering towards a focus on how to keep viewing audiences glued to a particular station-conglomerate, so it can make more money–be that ads, subscriptions, or the super cool merchandise they make, create, and sell.

The Hollowing Out Effect of Money

This hyper-focus on making more money is a major force in hollowing out many Marvel characters. You can read about the reasons why 16 actors are talking about quitting or leaving the Marvel Cinematic Universe here.

The Marvel universe seems to be becoming more one-dimensional and cartoonish as the focus on making another blockbuster and capturing the vast majority of the market take precedence over story. This focus on money has a watering down effect on the characters, making them feel less real, less vibrant, and less inspiring.

They are losing their numinosity, which is what archetypes hold for us. Numinous content gives our lives meaning, content, and purpose. Without numinosity in our lives, we feel drab, automatic, and mechanical.

But maybe the mechanization of man is one of the very objectives these new Titans of Industry seek to create inside of us.

If we are continually feeling unimportant, unremarkable, and unnecessary in keeping the clogs of industry running in the world, then we need to compensate for our super small roles in society.

How else can we wake up each morning and go out to do our boring, repetitive jobs?

So a good Marvel Movie is a great antidote to not feeling like a machine!

But, don’t get too caught up in the marvelousness of a Marvel movie! That would be going too far in our highly mechanized modern world.

If you do happen to believe Marvel characters are real and you look up to them and draw hope and courage from then (like any good archetype should do), then you will get laughed at because we are not really suppose to identify with them anymore. They are simply entertainment.

We watch them, then we get up the next day and go back to work to make some money so we can go watch the next amazing Marvel movie coming out soon because there was that little teaser at the end!


Another troubling result of the Marvelization of Man is that Marvel movies are impacting how other movies are made or even more importantly, NOT BEING MADE.

With great big, super blockbusters with BIG special effects (like Marvel, Star Wars, Avatar), more and more people only go to theaters to see these on the silver screen. They don’t show up for the “other movies” being made and trying to survive in an increasingly one-dimensional entertainment universe.

Basically, every studio wants a piece of the action in this “shared universe” business.
But it’s hard to argue that any of them have been as successful as Marvel has.
Kevin Feige’s ambitious plan (which resulted in him being named President of Marvel Studios and reporting directly to Disney CEO Bob Iger) has fundamentally changed the way film studios approach properties. Certainly, a creative idea which allows for iteration upon iteration, sequel after sequel after spinoff after prequel, to be produced is appealing to every studio executive. -- The Marvelization of Movies |  / FILM TALKIES

This effect is drying up the field of creativity for the creation, production, and life of other types of movies that deal with difficult but really important stuff such as Women Talking:

The women of an isolated religious community grapple with reconciling their reality with their faith. Though the backstory, we see a community of women come together to figure out how they might move forward together to build a better world for themselves and their children. Stay and fight or leave. They will not do nothing.— Official synopsis
WOMEN TALKING | Official Trailer

Or like the Fabelmans:

Growing up in post-World War II era Arizona, young Sammy Fabelman aspires to become a filmmaker as he reaches adolescence, but soon discovers a shattering family secret and explores how the power of films can help him see the truth.

It is lpLoosely based on Spielberg's childhood growing up in post-World War II era Arizona, from age seven to eighteen, a young man named Sammy Fabelman discovers a shattering family secret, and explores how the power of movies help us see the truth about each other and ourselves. —Toronto International Film Festival

He also encounters antisemitism and bullying, which is a very important issue that deserves far more airtime in our current culture and polictical climate.
The Fabelmans | Official Trailer [HD]

Or going back even further to the time of radio like Suspense: Report From A Dead Planet

Report From a Dead Planet – Suspense | A spaceship lands on a beautiful world and finds that all the inhabitants have vanished.

Another thing that struck me while watching Morbius is that really talented actors are playing pretty superficial, very simplified characters.

Matt Smith for example is the villain in Morbius. He is great as the villain, but his performance leaves me feeling empty. He is a really talented actor! Why don’t I feel more from his performance in Morbius?

Because I’m not supposed to?!

His super villain in Morbius is pretty vanilla compared to his roles in Season 1 and 2 of The Crown, The Last Night in Soho, and my all time favorite The Doctor of Doctor Who.

Also, Jared Leto who plays Morbius struck me as a super talented actor as well. I haven’t seen him before. He does a great job playing Morbius. In fact, he imbue more life into Morbius than the role allows.

I think Quentin Tarantino sums it up pretty well when he said: “Marvel Actors Are ‘Not Movie Stars’

Tarantino previously said that he would not want to direct a movie for Marvel Studios for the simple reason he is “not a hired hand.’ As someone planning to direct just ten movies in his career, and with only one of those to make up the number, it is probably not surprising that the Pulp Fiction helmer would want to concentrate on his own ideas. When it comes to the MCU, the director says that the franchise does not contain any “movie stars” as the characters are all people want to see. He said:
“Part of the Marvel-ization of Hollywood is… you have all these actors who have become famous playing these characters, but they’re not movie stars. Right? Captain America is the star. Or Thor is the star. I mean, I’m not the first person to say that. I think that’s been said a zillion times, you know, but it’s like, you know, it’s these franchise characters that become a star.” -- Quentin Tarantino Says Marvel Actors Are 'Not Movie Stars'
BY
ANTHONY LUND
PUBLISHED NOV 22, 2022
Quentin Tarantino has been vocal about his feelings regarding the Marvel Cinematic Universe, and it looks like he isn't quite done yet.

So What?

I will still watch Marvel movies.

But I will seek out and watch more different movies that leave an impression in my psyche and make me think about the world in ways I might not have before.

I will continue to gravitate to movies where BIG ideas are explored rather than BIG action but increasingly hallow characters dance across the screen.

I want something that satisfies my imagination and feeds my psyche, because feeling alive and not like small cog in a BIG machine is important to me, and only I can change my perspective and the way I feel about things.

Stories and movies feed my imagination so I can feed and grow my soul.

Stay tuned for this series because I am going to go deeper into the effects and impacts of living in our super consumerism society on man’s mind.

For now, maybe the Oppenheimer-Barbie movies will provide a reprieve from the Marvelization of Man’s Mind.

Introducing Atomic Barbie | The New Super Hero We Didn’t Know We Need!

Archetypal Animations

I made all images with Genolve using AI generated images, specifically Midjourney, this time. So I am just listing the songs used in the above animations.

Feature Archetypal Animation: Nowhere but Up | [3] Break the Chain    4:53

WYR GEMI – Predator | Music for Tinker Bell Die Hard Predator Ape!

Mary Poppins Jedi Master Archetypal Animation:

SUPERCALIFRAGILISTICEXPIALIDOCIOUS (Clean Version)209TONYTONY

[1] SUPERCALIFRAGILISTICEXPIALIDOCIOUS    3:02

Barbie Archetypal Animation:

Summer Nova All Atomic

[1] Summer Nova    5:18

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