- Sep 22, 2013
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In the comic book stories of the caped crusader Batman (DC Comics), a vehement nihilistic villain named Joker terrorizes humanity with a terrifying anti-social clown face grin, believing that crime is profitable and sarcasm is intelligent.
During high school, you might have noticed a hallway fight and seen that students were fascinated by the violence. If you drove by a car crash, maybe you stopped to stare at the mayhem on the road.
Shock is always hypnotizing, and like when we keep tonguing a sore tooth for sado-masochistic pleasure, we can find violence oddly fascinating, since it stirs our curiosity about logic and sanity.
Indeed, many cops deal with street criminals who seem amused by their opportunity to break the law and create havoc. This is why many movie and comic book villains are depicted as sarcastic, sardonic, or unusually humorous --- lending their nihilistic jokes to our sensibilities about the tedium and labors of law and order.
Such psychological notions reveal the human demand for relevant sarcasm-inquisition social art totems such as the civics-irony Hollywood (USA) movie "Hellraiser" (1987).
We may link such notions to media images of mass hyping of whimsical criminals.
During high school, you might have noticed a hallway fight and seen that students were fascinated by the violence. If you drove by a car crash, maybe you stopped to stare at the mayhem on the road.
Shock is always hypnotizing, and like when we keep tonguing a sore tooth for sado-masochistic pleasure, we can find violence oddly fascinating, since it stirs our curiosity about logic and sanity.
Indeed, many cops deal with street criminals who seem amused by their opportunity to break the law and create havoc. This is why many movie and comic book villains are depicted as sarcastic, sardonic, or unusually humorous --- lending their nihilistic jokes to our sensibilities about the tedium and labors of law and order.
Such psychological notions reveal the human demand for relevant sarcasm-inquisition social art totems such as the civics-irony Hollywood (USA) movie "Hellraiser" (1987).
We may link such notions to media images of mass hyping of whimsical criminals.
