A Detective Renaissance?

Many of the posts here look at how far the detective genre has been adapted and changed to fit society. We have discussed at length the many travesties of certain "detective" fiction, particularly television representations of detectives. Many are the shows and modern detective novels who violate the sacred Van Dine's rules, but there is a beacon of hope for die-hard detective purists, if only you look close enough. many people consider Sherlock Holmes, and to a lesser extent Auguste Dupin, to be the very paramount of detective fiction. They are renowned for their deductive abilities, keen observations, and even their many frequently dangerous vices. Many of these characteristics have been lost in translation to modern audiences and result in frequently violent, "cop dramas" as discussed earlier, as well as numerous other shows that border more closely with an action/adventure genre than detective fiction. But a few shows have done a very good job of reviving the highly intellectual, non-combatant detective character.

The popular Fox detective drama Bones is a primary example of the return of the borderline misanthropic, calculating detective. Of course Temperance Brennan, the main character of the show, does more thinking and solving over a table full of skeletons than the traditional high backed leather armchair, but she still shows most of the characteristics of Dupin and Holmes. She demonstrates an almost debilitating lack of social skills, a keen intellect, and although most frequently a non-combatant problem solver, is more than capable of springing to action when the need arises. This program also sees the return of the traditional Watsonian sidekick role, in the form of FBI agent Seeley Booth. Booth is by far the best example of a modern Watson-like character. His role is primarily to protect and assist Temperance, frequently keeping her out of trouble and saving her life in many cases.

Another example of the intelligent non-violent detective is The Pretender, a show that aired from 1996-2000 on NBC. The pretender himself, a man name Jarod, was unique in his ability to flawlessly become anyone he chose to be, impersonating everything from attorneys to virologists and officers in the armed services. Jarod was kidnapped as a child by a shady corporation known as The Centre, which used his genius to develop their interests. When in his early 30s, jarod escapes The Centre, running away to discover who he really is. as he tries fervently to hunt down his family, he impersonates many careers while using his genius to solve various crimes and societal wrongs along the way. he is a prime example of the socially challenged loner detective. Due to his captivity in The Centre, he was not aware of many societal norms or conventions, which we see him learn throughout the series. His method of solving crimes usually involves elaborate schemes that only he is privy to, very reminiscent to much of Dupin's work.

What do these shows tell us about the evolution of the detective genre? I believe it shows that no matter the societal norms we are presented with today, we will always enjoy competing against someone who is presented as so blatantly more intelligent than ourselves. We want to outsmart someone known to be smarter than us. I also believe that the recurrence of this type of program marks a small renaissance in detective fiction. These shows incorporate the very best of classical detective fiction in a modern, easy to market package.

Do I think we will suddenly see a resurgence of  classical detective fiction such as the programs outlined above? No. I believe that a return to the old style of detection is impossible with today's audiences. However, a few networks will occasionally bring forth from the musty stacks of time a new character with a very old style. These are the characters we love and remember. These are the characters that keep detection  in the minds of the people. these are the characters that keep Van Dine from rolling in the grave.

Works Cited

Van Dine, S.S. Twenty rules for writing detective stories. September 1928. 12 December 2012 <http://gaslight.mtroyal.ca/vandine.htm>.

Bones. 2005-.  IMDB. 12 December 2012. http://www.imdb.com/title/tt0460627/.

The Pretender. 1996-2000. IMDB. 12 December 2012. http://www.imdb.com/title/tt0115320/.

The Modern Legacy of the Caped Crusader

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Few crime-fighting superheroes possess the ferocious physical and financial prowess to live up to the modern-day celebrity status of Bruce Wayne, known to the citizen world as Batman. And, whether or not we consider Batman in his animated comic form or within his more recent cinematic grandeur, we frequently fail to consider him within the realm of the detective genre. Although he may not match the “cold, logical method of problem solving, upper-class background, and emphasis on intense reading for clues” of Auguste Dupin himself, his adventures contain many of the genre’s guidelines detailed by S.S. Van Dine in 1928 (Gaines). And, though some key components of his mysterious superhero figure may also violate what we hold to be true about detective fiction, he still fits the classical mold of one detective seeking to fight organized crime through intentional investigation. Could Bruce Wayne be one the most popular modern figures of detective expression, or is his approach to investigation and crime too far removed from the basis of the genre? Let’s find out. 

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In many ways, Bruce Wayne most nearly fits the model of Harlan Page Halsey’s Spencer Vance. Possibly one of the most distinct characteristics of recent developments in the detective fiction genre is the transition between pure intellect and brute force. The classic and stereotypical detectives of early detective literature oftentimes find themselves pondering over cases and evidence while heavily influenced by narcotics, usually the use of cocaine or alcohol. Nowadays, and specifically concerning Batman, the emphasis seems to be more physical with the additional incorporation of valuable resources. Let’s take a look at three important variations that Batman brings to the genre: extreme wealth and how it affects resources, the supernatural, and motive.

           

Essentially, what separates Batman from many other DC and Marvel superheroes is his lack of genuine “superpowers.” Specifically within the most recent Christopher Nolan films, Bruce Wayne’s extreme family wealth mixed with state of the art technological resources provide him with similar abilities, but yet maintain his realist nature as a normal human being. This transitions into our next topic of discussion: the supernatural. I would argue that this does not violate Van Dine’s proposal on the supernatural. His rule states that crimes must not be masked by supernatural means as not to take away from the reader’s ability to solve the crime (Van Dine). No such scenarios exist throughout the Christopher Nolan series. Though such technology may amplify the potential presence of the supernatural, it does not overtly violate Van Dine’s principles.

           

Finally, let’s consider motive.  Sherlock Holmes states, “Give me problems, give me work, give me the most abstruse cryptogram, or the most intricate analysis, and I am in my own proper atmosphere,” which is more or less to say that his motive for the work he does is based on a psychological niche (Thomas). He was born for detection and to exercise his detection abilities. Batman, however, is quite different. The source of the Batman legacy comes from a much darker past, a past filled with the haphazard and tragic murder of his iconic parents. He associates his duty to fight crime with a darker underlying sense of vengeance that must be upheld. To Batman, justice is fundamental. This is another characteristic that separates him from the more classic figures of early detective fiction. Rather than being fed by pure psychological satisfaction, Batman seeks to redeem the lack of justice that fills the streets of Gotham.

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“The Caped Crusader” made his first appearance in DC Comics in November of 1939. Since then, The Batman has been rapidly developing into the modern-day interpretation we now associate with the Christian Bale films. Outside of the detective genre, the most recent Batman films fit into the adventure genre. The combination of state of the art technology, a physical detective figure, and the role of villain provide plenty of opportunities for action-packed film sequences. In fact, the first listed genre of The Dark Knight Rises is action followed by crime and drama. Though the detection element remains, it has lost precedence to the recent adventure and action movement.

 

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Really, the existence of the Christopher Nolan films is evidence enough of the lasting impact of Batman. Not only has Batman made his way into the film industry, but also he has infiltrated marketing strategies of all kinds. Action figures, video games dating back to the Sega Genesis era, and Halloween costumes of all shapes and sizes have filled the entertainment of our more recent generations. But, what is it about Batman that makes the Christopher Nolan film series the most popular and best-selling superhero movies to date? Does Batman possess a unique set of traits specific to the detective genre that make him more appealing to modern audiences? Has the modern cinematic version of “The Caped Crusader” enhanced or skewed the original comic Batman?  

 

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Works Cited

Gaines, John. A History of Detective Fiction: Literary Origins. Fredericksburg, 12 November 2009.

Thomas, Ronald R. Detective Fiction and the Rise of Forensic Science. Cambridge: Cambridge University Press, 1999.

Van Dine, S.S. Twenty rules for writing detective stories. September 1928. 4 December 2012 <http://gaslight.mtroyal.ca/vandine.htm>.

(Andrew White's blog, posted by J. Bowers. Pictures forthcoming.)

Inspector Gadget and Children's Detective Fiction

            What comes to mind when you hear the word “detective?”  A man, of course, in a trench coat who seems to regularly smoke tobacco and indulge in alcohol.  A detective is someone who young boys aspire to be like and that the public trusts to solve the most difficult of crimes.  Though these stereotypes are seemingly true for early detective stories, the crime-fighting drunkard is not exactly what parents today would want their children watching. 

Detective literature for children became popular in the late nineteenth century and developed slower than literature written for an adult audience.  This is arguably because the widespread belief of literacy in children, in many places including Europe and the United States, did not arise until the late nineteenth century (Rzepka).  The first published work for children is known to be The Adventures of Oliver Twist, but even before published works, children were exposed to detection through fairy tale stories both written and passed down by word of mouth (Rzepka).   

      

Inspector Gadget began as a television series first airing in 1983.  The original series portrayed Gadget as a detective who could not seem to solve anything by himself.  Most of the success is thanks to his niece, Penny, and her dog.  However, Gadget does not recognize them as helpers in the case, much to the audience’s dismay.  

Walt Disney Pictures released Inspector Gadget, the more family friendly action film, in 1999.  This movie was loosely based on the television series, but many of the underlying ideas and crimes remained the same.  However, Penny and her dog were still not given proper recognition for their contributions of capturing Dr. Claw in the movie.  Do you think this exhibits bias against women or children detectives?  Or would this take away from Inspector Gadget being the main character and detective in the movie? 

Inspector Gadget is an idealistic character whose talents soar beyond the typical detective, he is “the greatest hero ever assembled.”  Inspector Gadget teaches children that it is okay to be different and to use these differences to help others.

“Many crime stories including a detective or similar character offer no mystery to be solved, but rather a difficulty to overcome” (Rzepka).  This rings true for Inspector Gadget. .  In the beginning of the movie Inspector Gadget is unsure of how to use his new body parts, but with practice and the help of Penny, he overcomes his struggle and learns how to use them for the betterment of society.  This type of role model is much better for children then the detectives of the past. 

            Adults and children alike enjoy the movie Inspector Gadget, but S.S. Van Dine would be unhappy with a few aspects.  Inspector Gadget finds himself with a love interest, Brenda, and this violates rule number three.  He also is not necessarily the only detective, violating rule number nine (Rzepka).

            Overall, newer detective/spy movies such as Inspector Gadget are much better for children, compared to the old detective fiction.  Parents can be more comfortable allowing their children to indulge in the genre now that producers and writers have made a conscious effort in directing their works toward a younger audience.     

 

 Newer and more wholesome examples of children's detective/spy movies.

If detective stories do not perfectly fit into the mold S.S. Van Dine has put forth, are these automatically poorly written stories?  Are the rules written by S.S. Van Dine relevant in more modern detective fiction, or should they be considered rules of the past?  Should there be exceptions to the rules in the case of children’s detective fiction where parents would not want their children to be exposed to the gruesome nature of “adult” crimes?

Van Dine, S.S.. "Twenty rules for writing detective stories." American Magazine. N.p., n.d. Web. 2 Dec 2012. <http://gaslight.mtroyal.ca/vandine.htm>.

Rzepka, Charles J. Detective Fiction. Malden, MA: Polity Press, 2005. Print.

Rzepka, Charles J., and Lee Horsley. A Companion To Crime Fiction. Wiley-Blackwell, 2011. Print.