Superhero Shows are Discussing Mental Health Ten Times

Superhero shows frequently make passing references to real-world problems, like mental health, but they virtually ever take a direct stance.

Superhero Shows Have Discussed Mental Health Ten Times

Many people consider superheroes and the superhero genre in general to be flimsy genres of fiction. Their detractors frequently claim that they depend on special effects and cliched plotlines to draw in viewers and keep them coming back for more. There is a belief that these heroes’ interior troubles are somehow less real or sympathetic since they are externally battling larger-than-life situations.

But the truth is that the best superhero literature focuses on the challenges of an outsider. Superheroes that are truly captivating may initially appear otherworldly, but they experience emotions just like everyone else. They experience grief over loss and dread trauma, which inspires some fantastic novels about the nature of fortitude, suffering, and humanity.

• THE STRUGGLES OF A RETURNING SOLDIER GIVE ARROW A STRONG OPENING:

Oliver Queen’s weakness is highlighting in Arrow, unlike many superhero series that like to first establish their hero as strong. Oliver’s first night at home after returning from his island Hell is depicting in the pilot’s best sequence, which is the gold standard in contemporary superhero adaptation.

Oliver has a strategy in place for when he gets home. He is to use the abilities he acquired during his exile to extract money from the dishonest businessmen that control his city. However, Oliver is overcome by the changes that night while he sleeps and is later found huddling in front of an open window in a violent downpour. The future Green Arrow is not yet prepared to accept comfort in any part of him.

• THE FLASH IS COMPLETELY DRIVEN BY HIS GUILT:

Barry Allan, the show’s titular scarlet speedster, is following in The Flash as he defends his city from metahumans and atones for his previous transgressions.  Allen’s mental health is examining throughout the series, especially his sorrow over his mother’s murder because his talents as the Flash are related to his mentality.

Barry finds it difficult to comprehend that it was not his duty to save his mother when he was a child. Barry has devoting his life to clear his father of any wrongdoing at the start of The Flash because he is a man driven by remorse. When he masters time travel, he develops a fixation on altering history itself. His remorse causes him to make more errors, which in turn causes him to feel more guilty.

• DAVID HALLER CAN NOT TRUST HIS REALITY IN LEGION:

The setting of Legion is intricate. The story mostly follows David Haller, a.k.a. Legion, as he battles to regain some mental stability on the outskirts of an X-Men reality. Even though many of the people in his circle are the same person trying to manipulate David for his gain, he is surrounding by people with incredible talents.

Throughout this series, David mostly stays outside of reality. Interacting with telepaths, time-travelers, and body-swappers only serves to further confuse David. The importance of a stable environment in mental recovery is Legion’s strongest argument.

• THE CALENDAR GIRL FROM THE NEW BATMAN ADVENTURE IS HEARTBREAKING:

The New Batman Adventures’ ninth episode, “Mean Seasons,” explores the troubling connection between the modeling industry and physical dysmorphia. The episode’s antagonist, Calendar Girl, is a model who has outlived all of her possibilities due to advancing age. She experiences a mental breakdown after being abandoing by her industry after turning 30. She resorts to violent retaliation against people who rejected her because she believes that she is so ugly.

The way the Batman animated universe handles villains is one of its strongest points. The particulars of each member of Batman’s rogue gallery are what motivates them to lead a life of crime. The fact that Calendar Girl will never receive assistance from Arkham Asylum is what constitutes the real tragedy.

• STEVEN UNIVERSE IS CONTINUALLY REEVALUATING WHO HE IS:

Steven is following as he develops from a little boy into a true superhero in Steven Universe and its subsequent chapters, Steven Universe: The Movie, and Steven Universe Future. His goal of bringing about interplanetary peace is always shifting along with his worldview.

Steven learns more about himself and his ancestry as a Gem/human mix with every triumph. This information leads him to reconsider his worldview and ideas about what it takes to assist someone or what it means to be a hero. He loses hope occasionally, but his loved ones’ love and support keep him going. Steven emerges from the experience as a more melancholy, yet full individual and a true extraterrestrial hero.

• MISS MARTIAN OF YOUNG JUSTICE LEARNS TO LOVE HERSELF:

The White Martians from the Young Justice television series are typical of DC Comics. They belong to a lower caste of the Martian species and can be distinguished by their historical hostility toward their more peaceful green relatives.

To conceal her White Martian ancestry, Miss Martian poses as Martian Manhunter’s niece when she first joins “the squad.” She spends a significant portion of the first two seasons concealing who she truly is, which causes rifts with the people she loves and prevents her from acknowledging the extent of her talents. She learns to define herself on her terms as a hero and a Martian through her romance with Superboy, who also struggles with body image issues.

• JESSICA JONES CONFRONTS HER ATTACKER AND RESPONDS VIOLENTLY:

The first episode of Jessica Jones finds the title private eye in a dire situation. Her friendships have disintegrated, she has no desire to become a superhero, and her only companions are her foster sister and a persistent heroin user.

Jessica constantly worries that the Purple Man would find her again and use his powers of mind control on her. She gets entangling in his most recent scheme because she is unable to face her trauma, which manifests as panic episodes and addiction symptoms. Jessica regains control of herself quite literally by confronting him, both mentally and physically, and can stop him from abusing another defenseless girl.

• EXAMINE HOW GRIEF AFFECTS ONE’S WORLD WITH WANDAVISION:

The MCU steps back in WandaVision to consider the sorrow and pain that its movies imply. In Avengers: Endgame, most of Earth’s heroes are bringing back to life, but Wanda Maximov’s android boyfriend, Vision, is not so fortunate. Vision is not part of this group since he was killing by Thanos rather than the Blip.

Based on her favorite comedies from her youth, Wanda isolates herself and fabricates a fictional reality. She imagines a new Vision and twin sons since she is unable to replace the void in her heart. Wanda treats everyone close to her as prisoners, making them act out scenes from sitcoms rather than face reality. Wanda is forced out of her world, but she doesn’t learn her lesson, which causes her more pain.

• WITHIN WHAT IF…? DOCTOR STRANGE REFUSES TO CONTINUE:

“What If… Doctor Strange Lost His Heart Instead of His Hands,” the fourth episode of What If…?, follows the Sorcerer Supreme in another period where he accompanied Dr. Christine Palmer, his love interest, on a car ride when he loses the use of his hands. In the main storyline, losing his surgical skills is what triggers his magical quest; in this novella, Christine is the trigger.

When Strange gets access to time travel, his obsession with resurrecting Christine causes him to lose even more self-control than usual. He practically lives in the past as he attempts to save Christine again and over again. This Doctor Strange solely cares about changing his destiny, which will cause more agony, rather than rescuing the world.

• BUFFY MAKES A SPECIAL EPISODE TO LAMENT:

Regarding superhero and mental health, Examining the character psyches in Buffy the Vampire Slayer is nothing new. The Body,” from Season 5, Episode 16 is the best illustration of this phenomenon. The series’ high point is this episode’s straightforward honesty rather than the comedy that the show is famous for.

The group is shocking by the banality of the occurrence when Buffy’s mother, Joyce, passes away unexpectedly from a brain aneurysm. They are accustomizing to end-of-the-the-world dangers, but they are unpreparing to handle the standard medical constraints. Buffy is only able to survive because she is not by herself and because her sister, Dawn, depends on her.

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