In complete silence, a masked figure takes down a young group of delinquents using elaborately choreographed violence as the audience gasps and cheers. You’d be forgiven for thinking that this is an excerpt from the latest Batman movie, but it could just as easily be a scene from any number of sleazy Slasher flicks.
They may be bloodthirsty killers, but characters like Jason, Ghostface, and Michael Myers have become beloved pop culture icons over the years, selling toys, clothing and other licensed merchandise much like the comic book characters that have recently taken over movie screens. In fact, some of us grew up idolizing these super-powered killers in the same way that other kids might have been huge Wonder Woman or Spider-Man fans, and that’s why I’d like to discuss the surprising similarities between Slashers and Superheroes.
On the surface, these pop culture giants might appear to be complete opposites, but the line dividing crime-fighting vigilantes from costumed murderers is a lot thinner than some folks seem to realize.
Even the most basic elements that make up a memorable Slasher villain are already remarkably similar to what we’ve come to consider a traditional Superhero. Look no further than the iconic masks, costumes and favorite weapons/gadgets that show up again in sequel after sequel. From battle-damaged Hockey Masks to ridiculously long chainsaws, these visual elements become a part of a character’s branding much like capes, cowls and Batarangs.
Hell, some Slashers even benefit from literal superpowers, with Freddy invading his victim’s dreams and Jason developing super strength after coming back from the dead. In fact, the creativity behind some of these powers is just as impressive as it was in classic comic books, with characters like the Djinn from Wishmaster and Malignant’s Gabriel having absurd abilities that would feel right at home during the golden age of comics. Of course, the greatest superpower inherent to almost all Slashers is their inability to face permanent death, with these killers almost always returning for another adventure just like classic comic book characters.
These mediums are closer than you might think.
In another striking similarity, Slashers can also be motivated by tragic origin stories. Candyman was the victim of a horrific lynching before becoming a living urban legend and even Freddy Krueger met his demise at the hands of mob justice. The Friday the 13th franchise is an even better example, as Jason’s return from the dead after camp counselors allowed him to drown is a near-nonsensical retcon attempting to tie the first film to its sequels, which is another comic book tradition.
Some of these characters even have a recurring nemesis like Michael Myer’s Dr. Loomis or Chucky’s Andy Barclay, with these horrific duos engaged in a never-ending battle much like Batman and Joker or Spider-Man and The Green Goblin. There are even in-universe crossovers where mythologies are combined in order to pit one Slasher against another, be it Freddy vs Jason or actual comic book spin-offs like Leatherface vs Jason or Hack/Slash vs Chucky.
Having new writers and directors add their own personal touch to these complex horror mythologies is also comparable to the ever-changing lore of comic books. Characters evolve as the years go by, with different artists offering new and exciting interpretations of beloved heroes and villains. From Dream Warriors establishing that Freddy was the literal son of a hundred maniacs to David Gordon Green reimagining Michael Myers as an elderly John Wick, these perpetual additions ensure that these modern legends survive.
This also means that both Superheroes and Slashers often go through periodical reboots after long-running sagas have worn out their welcome, with writers returning the story to a familiar status quo and adjusting these characters for new generations. When it comes to Slasher flicks, these reboots can come in the form of legacy sequels that ignore everything but the original or even complete remakes restarting the story from scratch, but the spirit behind them is the same as infamous comic book events like DC’S New 52 or Marvel’s Ultimate lineup.
Mild-mannered mental patient by day, masked murderer by (Halloween) night.
And speaking of legacy sequels, the recent Halloween Kills is a great example of how Slasher films have become even more comic book-like, with David Gordon Green expanding on minor details of John Carpenter’s original film to set up his updated version of the boogeyman. From Anthony Michael Hall’s Tommy Doyle to Nancy Stephens’ Marion Chambers, these legacy characters are treated like the iconic supporting cast of a larger-than-life figure, much like a comic book adaptation might pay tribute to Superman’s pal Jimmy Olsen or even Lana Lang.
In fact, watching Michael Myers brutally take down a group of Haddonfield rioters is basically just as thrilling as seeing Batman knock out a gang of Gotham City criminals. Sure, one of these characters is committing unmotivated homicide while the other is arguably trying to keep the city safe, but many of us watch these flicks just to witness an iconic character disrupting society, be it as a brooding vigilante or a literal boogeyman.
That’s why some of the same social-minded criticism aimed at the concept of Superheroes can also apply to Slashers, as both these concepts share a penchant for radical moralism that comes dangerously close to glorifying quasi-fascist fantasies. Having classic horror villains almost always target teenagers engaged in cultural taboos like pre-marital sex and casual drug use is undeniably a problematic concept, though one might argue that these spooky characters might actually be less problematic than their vigilante counterparts. Since their inception, Slasher flicks have almost always depicted these killers as antagonists despite their tragic backstories and moral justifications, unlike some Superhero stories that ask us to root for killers like The Punisher or even Deadpool.
While it’s important to recognize the inherent issues with idolizing literal (albeit purely fictional) murderers, our love affair with Slasher villains reminds me of Guillermo del Toro’s reasoning for identifying with the classic Universal Monsters. The visionary director claims that these iconic creatures were a dark mirror to society but also functioned as a source of solidarity for misfits and weirdos everywhere, and I think the same thing applies to Slashers.
Nearly a decade ago, a friend of mine commented that he thought it was funny that I had a poster of Ghostface on one side of my room and Spider-Man on the other. I didn’t think much about his observation back then, but these days I believe he was onto something, as these characters might very well inhabit opposite sides of the same coin. After all, Slasher villains were heroes to some of us, often providing audiences with some form of cathartic joy as they fought back against the injustices of the world in their own creepy way. They also comforted us horror fans with bloody fun entertainment when we needed a break from real-world problems, and that’s heroic enough in my book.
“Super Freddy” isn’t here to save the day.