December 17, 2012 Batman’s Debt to the KKK (Or the Origin of an Origin)
A little boy witnesses the murder of his parents and swears vengeance. It’s right up there with radioactive spiders and Krypton exploding. But Detective Comics ran six adventures before Bob Kane bothered to sketch in his hero’s background.
Legend has it that Kane was planning “Bird-Man” before his scripter Bill Finger steered him toward “Bat-Man.” After plagiarizing a Shadow novella for the first adventure, Finger (or possibly second string writer Gardner Fox) plagiarized an even more obscure pulp for the origin story. The 1934 “The Bat” is credited to C. K. M. Scanlon, a likely pseudonym for superhero trail-blazer Johnston McCulley (you know him for Zorro).
You also know how The Bat chose a crime-fighting identity:
“He would not be able to appear in public unless he was carefully and cleverly disguised. . . . he must become a figure of sinister import . . . A strange Nemesis that would eventually become a legendary terror to all of crimedon. . . In the shadows above his head came a slithering, flapping sort of sound. As the creature hovered above the lamp for an instant it cast a huge shadow upon the cabin wall. ‘That’s it!’ exclaimed Clade aloud. ‘I’ll call myself ‘The Bat.’
Five years later, Bruce Wayne also sits alone contemplating his own disguise:
“Criminals are a superstitious cowardly lot. So my disguise must be able to strike terror into their hearts. I must be a creature of the night, black, terrible . . . .”
Like McCulley’s Clade, Bruce’s needs are answered by a seemingly chance appearance, “As if in answer a huge bat flies in the open window!” Which provides Bruce his needed inspiration: “A bat! That’s it! It’s an omen. I shall become a BAT!” He stands in full costume in the concluding frame: “And thus is born the weird figure of the dark . . . this avenger of evil, ‘The Batman.’”
Comic book expert Will Murray was the first to identify Batman’s debt to The Bat, but the story goes deeper. Kane and McCulley were both influenced by an even older source. D. W. Griffith’s 1915 The Birth of a Nation (a disturbing combination of landmark film innovation and unbridled racism) contains the first origin story for a masked hero’s costume.
After seeing his homeland under “Negro rule,” future Klan leader Ben Cameron sits alone “In agony of soul over the degradation and ruin of his people.” A group of children appear as if in answer. Two white children place a white sheet over their heads, and the black children are terrified by the ghostly sight. “The inspiration.” Cameron stands, now ready to act. “The result. The Ku Klux Klan . . . .” In the next frame sit three mounted Clansmen in full costume.
The sequence prefigures not only Batman’s three-panel origin structure—hero alone, chance inspiration, first image of costumed persona—but also the “superstitious” rationalization for the disguise.
Promotional posters for the film also featured a Klansmen on horseback, his cape fluttering and his Klan emblem centered on his chest. After Action Comics No. 1, these would become standard motifs of the superhero costume. It seems unlikely that Joe Shuster, a young Jewish artist from Cleveland, knowingly copied his Superman from anti-Semitic vigilantes, but Birth of a Nation and the Klan of the 20’s and 30’s had blurred into popular culture by the time he took up his pens.
Bill Finger’s plagiaristic impulses, however, are better documented. Finger was only a year old when Birth of a Nation premiered in theaters, but a sound version was re-released in 1930, giving him and the rest of the Batman creative team opportunity to view it first hand. McCulley was already 32 in 1915. He would not have needed to view the film a second time to be influenced by the origin sequence. Most likely McCulley borrowed from Griffith, and Finger borrowed from McCulley.
But however you draw the lines of influence, the KKK still haunts one of comic book’s most cherished superheroes.