The Dark Side Unveiled: Decoding the He Who Fights Monsters Trope

The determining factor between a hero and a villain often lies in their motivations, rather than their actions. When a protagonist devotes their all to protecting others or saving the world, their purity shines through. However, if their motivation is driven by revenge, Nietzsche's old saying holds true.

Willem Dafoe's portrayal of Green Goblin hit the mark on one account. People have a peculiar fascination with witnessing a hero's downfall, their failures, and even their death attempts. When a shining symbol of hope and positivity succumbs to the allure of darkness, fans suddenly find themselves even more captivated. This fall-from-grace journey adds depth to a character, but it can also fulfill that desire for edginess, appealing to even the most angst-ridden teenage boy.

Nietzsche's cautionary words resonate: "Beware lest you become a monster when fighting monsters." In his profound work, Beyond Good and Evil, he challenges the notion of morality as binary, advocating for a more intricate understanding that transcends mere categorizations of good and evil. In the realm of fiction, this quote becomes a universal symbol for heroic characters gradually descending into the very darkness they once swore to vanquish. Rarely does this transformation involve a literal metamorphosis into a monstrous entity; rather, it unveils the alarming reality of noble ambitions succumbing to reprehensible methods. Battling inhuman creatures often leads these champions to adopt a ruthless "kill at all costs" mindset, disregarding any ethical context. Those who engage in this battle against monsters might forsake their comrades, embrace widespread devastation, or even become insufferable individuals on a personal level. While some instances attribute the hero's tragic shift to mythical backstories, the most compelling examples skillfully unravel this transformation through authentic character-driven narratives.

Throughout history, the genre of revenge tragedy has been the domain of He Who Fights Monsters. From the late 1500s to the early 1600s, tales of virtuous individuals succumbing to heinous acts of revenge were prevalent. This genre originated from Ancient Greek and Roman tragedies, where characters sought retribution for crimes committed against them, but in doing so, tainted themselves with guilt. Shakespeare's Titus Andronicus is an early example, following a noble and wise Roman general who becomes embroiled in a bitter race to seek revenge against his captured enemy. Years later, The Revenger's Tragedy explored similar themes. It is believed to have been written by Thomas Middleton, although it was previously attributed to Cyril Tourneur. The play revolves around a malevolent master of disguise who commits numerous atrocities against the man responsible for his betrothed's death. While both works are often seen as parodies of revenge stories, the entire genre often trades in dark humor. The protagonists may not be morally righteous, but they consistently plummet below acceptable standards of decency by the story's conclusion.

This tradition of theatrical revenge has been carried onto the silver screen by many filmmakers. One exemplary modern instance is Kim Jee-woon's I Saw the Devil. The film serves as an exceptional exploration of Those Who Fight Monsters in a feature-length format. The protagonist, Kim Soo-hyun, is a dedicated and skilled officer of the National Intelligence Service. When Kim's fiancée is savagely murdered by a serial killer named Jang Kyung-chul, he wastes no time in tracking down the culprit. Kim has all the evidence he needs to bring Jang to justice or even end his life instantly. However, instead of taking immediate action, Kim engages in a brutal and relentless game with Jang – capturing him, inflicting torture, and then setting him free. As Kim's moral compass slips away, his fiancée's family pleads with him to stop, and even Jang himself begs for mercy. When Kim finally delivers his ultimate vengeance, he can no longer recognize the person he has become. I Saw the Devil is a gripping thriller that offers a clear statement on the consequences of seeking revenge.

For a more imaginative illustration, consider Capcom's beloved Street Fighter franchise. The main character, Ryu, is a highly skilled martial artist whose lifelong struggle is to avoid succumbing to his inner demons. By honing his unique fighting style, Ryu unintentionally exposes himself to the corrupting influence of the Satsui no Hado or Surge of Murderous Intent. Despite his good nature and desire for personal growth through challenging opponents, Ryu sometimes finds himself overwhelmed by his fierce desire to triumph, compromising his moral compass. This embodiment of Ryu's dark side is known as Evil Ryu, representing the character's downfall into this archetype. Nevertheless, Ryu defies expectations by combating his own dark impulses and uncovering a newfound strength in the Power of Nothingness. Maintaining constant vigilance is paramount for Ryu. Though he may be unfamiliar with Nietzsche, his famous quote resonates deeply within the World Warrior.

The trope of "He Who Fights Monsters" has a gripping appeal, capable of impacting a wide range of heroes. While the edgy anti-hero is often associated with this concept, even the symbol of hope can succumb to corruption. Throughout fictional history, we have learned the profound lesson that vengeance can lead to unspeakable acts of violence, undoing anyone. It is our hope that heroes will find wisdom in Nietzsche's advice and make a change.