Media Column

“Holy PTSD, Batman!:”An Analysis of the Psychiatric Symptoms

of Bruce Wayne

S. Taylor Williams, M.D.

Batman: “A trauma powerful enough to create an alternate personalityleaves the victim. . .”Dr. Chase Meridian: “. . .in a world where normal rules of right andwrong no longer apply.”Batman: “Exactly.”Dr. ChaseMeridian: “Like you. Well, let’s just say I could write a hellof a paper on a grown man who dresses like a flying rodent.”— Batman Forever (1)

A“superhero” is defined as “a fictional hero having ex-traordinary or superhuman powers (2).” Superheroes

are beloved by modern society, and serve a variety of func-tions, notably as modern-day deities (3), moral models (4),and vessels for our fantasy lives (5). One of the aspects ofsuperheroes that most endears them to society is that they,like us, are not perfect—they have flaws.Batman was first introduced inMay of 1939, asDetective

Comics #27 (6). The reader is first introduced to socialiteBruce Wayne (created by Bob Kane). Later, “Batman” foilsthe villain, and the story ends with the revelation to the readerthatBruceWayne andBatman are the sameperson. Since thattime, the Bruce Wayne/Batman character has been depictedin a variety of media, including graphic novels, television,animation, video games, and film. With regard to the cine-matic depictions of the character, Batman (7) was released in1989, followed by Batman Returns (8), Batman Forever (1),and Batman and Robin (9). These movies create a unifiedtimeline, and, subsequent to their release, the Batman moviefranchise underwent a “reboot,” with the release of BatmanBegins (10) and The Dark Knight (11), which retell the storyand are not a part of the original movies’ timeline.It has been previously observed (12, 13) that Bruce

Wayne appears to exhibit some symptoms of posttraumaticstress disorder (PTSD). According to the Diagnostic and

Statistical Manual of Mental Disorders (DSM-IV-TR)(14), the diagnosis of PTSD requires that symptomaticcriteria be met within clusters of symptoms: traumaticevent, re-experiencing, avoidance, and increased arousal.

Method

The aim of this article is to systematically consider eachof the individually-listed DSM-IV symptoms, citing exam-ples fromvariousmedia incarnations of the character, in orderto demonstrate that Bruce Wayne experiences an adequatenumber of symptoms to meet criteria for the diagnosis ofPTSD. The specific argument will be made that the crea-tion of the Batman persona can be viewed as a symptom ofBruce Wayne’s PTSD. Last, the case will be made thatthere is a valid rationale for this exercise beyond literarydiscussion.

Results

The “A” criteria of PSTD read as follows: “the personhas been exposed to a traumatic event in which both of thefollowing were present: 1) The person experienced, wit-nessed, or was confronted with an event or events thatinvolved actual or threatened death or serious injury, ora threat to the physical integrity of self or others; and 2) Theperson’s response involved intense fear, helplessness, orhorror.”The “back-story” of Batman first appeared in Detective

Comics #33 (15), in November 1939. The reader is shownBruceWayne as a boy, walking home from amovie with hisparents, when a mugger demands his mother’s necklace.Wayne’s father pushes the mugger and is shot and killed.Wayne’s mother starts calling for the police and is shot andkilled herself. The text reads “The boy’s eyes are wide withthe terror and shock as the scene is spread before him (15).”Bruce Wayne is pictured with tears streaming down his

ReceivedMarch 29, 2010; revised April 14, 2010; accepted April 30, 2010.From the Dept. of Psychiatry, Univ. of Tennessee, Memphis, TN. Sendcorrespondence to Dr. Williams; e-mail: taylorwilliamsmd@gmail.comCopyright © 2012 Academic Psychiatry

252 http://ap.psychiatryonline.org Academic Psychiatry, 36:3, May-June 2012

cheeks stating “Dead! They’re D-Dead (15).” The traumaticexperience of witnessing the murder of both parents clearlymeets the “A” criteria for PTSD.

The “B” Criteria for PTSD read “the traumatic event ispersistently re-experienced in one or more of the followingways: 1) Recurrent and intrusive distressing recollections ofthe event, including images, thoughts, or perceptions; 2)Recurrent distressing dreams of the event; 3) Acting orfeeling as if the traumatic event were recurring (includes asense of reliving the experience, illusions, hallucinations,and dissociative flashback episodes, including those thatoccur on awakening or when intoxicated); 4) Intensepsychological distress at exposure to internal or externalcues that symbolize or resemble an aspect of the traumaticevent; and 5) Physiological reactivity on exposure to in-ternal or external cues that symbolize or resemble an aspectof the traumatic event.”

The first symptom, frequent recurrent and distressingrecollections of the event, are especially noteworthy in cin-ema depictions, as the traumatic memories are themselvesdepicted on-screen; thus, the audience sees what BruceWayne is thinking and seeing. In the literature, the reader hasaccess to Batman’s internal monologue, and, in several storyarcs, he recalls his parents’ deaths. In one sequence, while onthe way to a crime scene, Batman thinks to himself “It’sa .45-caliber bullet; hollow-point; it explodes in his chest.I feel the shock through his fingers. For the hundred-thousandth time—my father dies (16).”

Bruce Wayne meets criteria for Symptom 2 as well,and is depicted awakening from a distressing dream withtraumatic content, in both cinema (10), as well as graphicnovels (16, 17).

In the movie Batman Forever, the character indicates that“flashbacks,” Symptom 3, are occurring when he states “mydreams are coming to me when I’m awake now (1).” In themovie Batman Begins, a villain causes Batman to inhalea hallucinogen, and he experiences flashes of his parents’murder while intoxicated (10). In the video game Batman:Arkham Asylum (18), the Batman character relives thedeaths of his parents—hearing their last words, then seeingthem lying dead in the alley. At this point, the characterof Batman transforms into an 8-year-old BruceWayne, andit is this character whom the player must control throughthe game.

Symptoms 4 and 5 of the B criteria—psychologicaldistress and physiological reactivity to cues—appear to bepresent. Bruce Wayne experiences psychological distressat being reminded of what his parents’ killer said to him (7)and upon the image of a pearl necklace (1), which his mother

had on that night. Physiological reactivity is harder to gauge,given that one cannot takeWayne’s vital signs. Nevertheless,an adequate number of symptoms are present for theB criteriafor PTSD to be met.

The C criteria for PTSD read as follows: “persistentavoidance of stimuli associatedwith the trauma and numbingof general responsiveness (not present before the trauma), asindicated by three (or more) of the following: 1) Efforts toavoid thoughts, feelings, or conversations associatedwith thetrauma; 2) Efforts to avoid activities, places, or peoplethat arouse recollections of the trauma; 3) Inability to recallan important aspect of the trauma; 4) Markedly diminishedinterest or participation in significant activities; 5) Feeling ofdetachment or estrangement from others; 6) Restrictedrange of affect (e.g., unable to have loving feelings); and 7)Sense of a foreshortened future.”

In the original back-story comic, in the next panel after hisparents are killed, we are told that “Days later, a curious andstrange scene takes place.” Bruce Wayne swears by hisdeceased parents’ spirits to avenge them by dedicating hislife to fighting crime. Finally he sits pondering his need fora disguise when a bat flies into his study window, and he isinspired. “A bat! That’s it! It’s an omen. I shall become aBAT! (15)” The dedication of his life to vengeance and thecreation of the Batman character constitute the consciousefforts of Bruce Wayne to avoid the feelings of help-lessness and horror associated with the trauma, meetingthe first symptom criterion. In the movieBatman and Robin,the character of Alfred voices a similar sentiment, tellingWayne:

“Death and chance stole your parents, but, rather than becomea victim, you have done everything in your power to control thefates. For what is Batman if not an effort to master the chaos thatsweeps our world? (9)”

Whereas the creation of alternate personalities, as is seenin dissociative identity disorder, is often the result of asevere trauma, this does not seem to be the case with BruceWayne, because the creation of Batman is a conscious,planned act.

In the literature, Bruce Wayne does not exhibit Symptom2—efforts to avoid activities, places, or people that arouserecollections of the trauma—as Batman does the opposite,patrolling the sky and streets of Gotham City, looking forcriminals upon which to exercise vengeance.

Evidence that Bruce Wayne meets criteria for Symptom3—inability to recall an important aspect of the trauma—isprovided in the movie Batman Forever. Wayne says “Idon’t remember a lot of what happened; what I do, comesto me in my dreams, flashes. There’s a new element now,

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though.” He goes on to describe events immediately afterhis parents’ wake, which he had previously been unable toremember (1).Bruce Wayne meets criteria for Symptom 4—markedly

diminished interest or participation in significant activities.Given that the creation of the persona of Batman is anavoidance symptom, this leaves the non-Batman activitiesof Bruce Wayne as those for which participation must beascertained. BruceWayne has markedly diminished interestand participation in average activities (friends, romanticrelationships, raising a family, having hobbies) preferring todedicate his time to the Batman role (16, 20).Bruce Wayne, especially when adopting the Batman

persona, exhibits Symptom 5—feelings of detachment orestrangement from others. He limits his interpersonal rela-tionships to a few confidantes (Robin, Alfred), and is notedto not trust even other superheroes when interacting withthem in the “Justice League of America” (19).Last, for the C criteria, Bruce Wayne frequently demon-

strates Symptom 6—restricted range of affect. Batman, es-pecially as acted by Michael Keaton (7, 8) and ChristianBale (10, 11), rarely smiles, although Bruce Wayne is seensmiling socially when out of the Batman costume/character.Batman’s restricted range of affect is commented on by theJoker, who is frustrated by Batman’s lack of a sense ofhumor and tells him to “lighten up (20).” The affect re-striction even extends to Batman “action figures” (21).The D Criteria for PTSD read “persistent symptoms of

increased arousal (not present before the trauma), as indicatedby two (or more) of the following: 1) Difficulty falling orstaying asleep; 2) Irritability or outbursts of anger; 3) Diffi-culty concentrating; 4) Hypervigilance; and 5) Exaggeratedstartle response.”There are many examples of Bruce Wayne/Batman

meeting criteria for Symptoms 1, 2, and 4. Wayne’s sleepdifficulties, Symptom 1, appear in both print and cinemaincarnations. In The Dark Knight, Wayne’s butler Alfredjokes that “when Wayne Manor is rebuilt, [he] can swap notsleeping in a penthouse for not sleeping in a mansion (11).”Bruce Wayne becomes a very angry person after the

trauma, and exhibits Symptom 2—anger outbursts. Whenconfronted by supervillains who have hurt the people ofGotham City, Batman has difficulty controlling his anger,taking it out physically on the perpetrators. On extremeoccasions, individuals such as Commissioner Gordon havehad to beg him to exercise restraint (22, 23).Neither Symptom 3—difficulty concentrating, nor Symp-

tom 5—exaggerated startle response, seem to be presentfor Bruce Wayne. His training for the Batman role, both

intellectual and physical, required great ability to con-centrate. Batman is frequently, in both print and on screen,exposed to loud noises—gunshots, explosions, motor ve-hicle collisions—and is not seen to startle to these noises.Symptom 4, however—hypervigilance—could sum up

Batman’s character in a nutshell. He is vigilant about hisown surroundings, but also about the entirety of GothamCity. He watches over the city at night, ever-vigilant.

Discussion

Although many have discussed the philosophical func-tion of superheroes in society (5, 24), we may raise thequestion of the usefulness of arguing that Bruce Waynemeets diagnostic criteria for PTSD; assuming the diagnosisis valid, is there any value to this exercise? First, there isdidactic utility in using pop-culture characters to teachmedical students and psychiatry residents how to recognizethe symptoms of this diagnosis. Batman is a character withwhom students are likely to be already familiar, so discus-sing PTSD in this context allows the students to practiceviewing the world through a psychiatrist’s eyes. Previouswork has been published on the use of fictional moviecharacters to illustrate psychiatric diagnoses (25, 26) inmedical school curricula. Options for presentation of ma-terial of this type could include showing a Batman movieduring a psychiatry interest-groupmeeting, showing clips ina classroom setting, or presentation of Bruce Wayne asa “case.”Second, with the diagnosis of PTSD highly prevalent in

society today (27, 28), finding a superhero who also meetscriteria for the diagnosis could be of comfort to those ex-periencing the symptoms themselves. Especially in light ofdepictions of supervillains, which focus on negative ster-eotypes of mental illness, as recently described (29) in theJoker character, to have a hero with a mental illness por-trayed in a positive light could provide hope and encour-agement, or lessen the feeling of isolation in those fightingmental illness. In this respect, Batman is not alone amongsuperheroes: in the universe of Marvel Comics, BruceBanner/The Incredible Hulk struggles with dissociativeidentity disorder (called “multiple personality disorder”)stemming from childhood abuse (30). Also, Tony Stark/IronMan is an alcoholic and has been depicted binge-drinking todeal with stress, as well as making efforts to maintain hissobriety including attending Alcoholics Anonymous meet-ings (31).Being orphaned is also common among heroes—

Superman, Spiderman, Luke Skywalker, and Harry Potter

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all share the common past of parental loss (32–35). In my-thology, both modern and ancient, heroes are forged byadversity. Traumatic events are requisite as catalysts forpersonal development, allowing heroes to triumph overadversity and thus act as role-models for the mortals whoimagine them. But it is the flaws of heroes, from Achilles’heel to Superman’s kryptonite, which allow us to connect tothem on a personal level. By seeing superheroes strugglewith inner demons as well as supervillains—with mentalillness despite their physical strength—we, the audience,can see ourselves in the characters.

The author acknowledges Renate H. Rosenthal, PhD., BrianWakefield, Steven Allen, Blair Walden, and Elizabeth Campbellfor their contributions.

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