13
A PANTHER’S PATH
THE POWER OF BIOPSYCHOSOCIAL INFLUENCES
Asher Johnson & Billy San Juan
“Such harmony may be disrupted at any level, at the cellular, at the organ system, at the whole person or at the community levels.”
—psychiatrist George L. Engel1
“The world took everything away from me!”
—Erik Kilimonger2
Warrior, hero, champion …
These terms conjure images of an athletic build, stalwart resolution, and focused demeanor. T’Challa, rightful king of Wakanda and bearer of the Black Panther mantle, fits them all. However, so does his rival Killmonger. They are similar in many aspects, yet chose different paths in life. Their reasons for choosing these paths are varied, but can be categorized and perhaps understood.
INTRAPSYCHIC CONFLICT
The distinction between heroism and villainy may depend on two things: the method of processing intrapsychic conflict, and whether the related action is driven by selfishness or selflessness. T’Challa consistently processes his intrapsychic conflict regarding his roles. As he puts it, “Two men are forever warring within me—the man I am called to be, and the man I truly am.”3
Intrapsychic conflict—the experience of having conflicting or opposing thoughts, needs, impulses, or desires within one’s mind—can amount to an internal war between good and evil.4 This makes it necessary to consider not only one’s actions, but also where the action comes from—such as the good or evil side—because a good deed done by the unrighteous mind can still end in disaster. The mind supposedly regulates intrapsychic conflict through a number of variables, such as one’s upbringing, morals, priorities, ability, and current situation.
When Everett Ross gets shot in a battle with Killmonger, T’Challa is faced with a decision: Preserve the Wakandan traditions of isolation from outsiders or bring Agent Ross to Shuri for healing. T’Challa brings Ross to his country for healing in an arguably heroic, though controversial, choice. Conversely, a pivotal scene shows Killmonger facing Ulysses Klaue after Klaue has taken Killmonger’s girlfriend hostage. Killmonger may experience conflict, but chooses his mission over his girlfriend’s life.5
The experiences and obstacles T’Challa, Killmonger, or any individual will each face along their respective paths can be biological, psychological, or social in nature, according to the biopsychosocial model of personal development.6 This model explores how biological, psychological, and sociological factors both operate separately and interact to shape us into who we become. So it might explain how these variables could merge to pave paths that lead one person to become a heroically compassionate ruler7 while another becomes a feared, albeit tragic, warmonger.8
BIOPSYCHOSOCIAL THEORY
Biopsychosocial theory holds that people are influenced by biological, psychological, and social dimensions that influence human thought, feelings, and behavior.9 Our lives are not determined by a single factor, but rather by these three dimensions forming a beautiful spectrum of character, much as three primary colors can combine to create an array of vibrance. Choosing what to do with a wallet full of cash becomes more difficult as the reasons behind our behavior intensify in their level of opposition. T’Challa’s and Killmonger’s experiences, and the interactions of those experiences, fall into these dimensions and can explain their decisions. The decisions, in turn, are influenced by their strengths and vulnerabilities.
BIOLOGICAL FACTORS
A long lineage of royalty precedes T’Challa’s reign of Wakanda.10 According to Wakandan lore, in an era “a long time forgotten,”11 a shaman warrior named Bashenga sees a meteorite containing vibranium crash on Wakanda, and, as ordered by Bash, the Panther God, Bashenga establishes the royal line in Wakanda as well as the first Black Panther.12 This royal bloodline enables T’Challa to partake of the heart-shaped herb, a plant mutated by vibranium. The heart-shaped herb provides for T’Challa the capability to take on panther-like qualities, including enhanced hearing, smelling, vision, and feeling, and increased physical strength, speed, and agility—anyone not of this bloodline or not worthy can die if they eat it.
Killmonger’s biological profile is perhaps his strongest protective factor, and the reason he was able to achieve his goals. The cinematic version of Killmonger is a descendant of Wakandan royal blood and T’Challa’s first cousin. His biological factors are similar to T’Challa’s, shown by his ability to eat the heart-shaped herb and gain superhuman powers. In comics, the herb is poisonous to him because he is not of royal blood, but he can use a synthetic version to empower himself.13 Whether because his lineage on film entitles him as a royal heir or because traditions in the comics allow any Wakanda to compete for the title, he has the opportunity to become the Black Panther. Killmonger’s body is also conditioned for combat due to his Special Forces military training.14 Personnel in the Special Forces comprise a psychologically and physiologically distinct subset of soldiers who undergo more intense and specialized training than the average service member.15
PSYCHOLOGICAL FACTORS
When T’Challa introduces himself to the Fantastic Four as the wealthy Wakandan chieftain, he explains, “But, it was not always so! My tale is one of tragedy—and deadly revenge!”16 During this historic meeting, he describes the trauma of watching his father’s murder by Klaw during a raid for vibranium.17 T’Challa displays patience and engages in careful planning, waiting a decade before he is prepared to avenge his father’s death. The eventual defeat of Klaw could lead to a void of purpose and an intrapsychic struggle unless T’Challa has sufficient purpose elsewhere in his life. For people with internal motivation for goal achievement, feeling a sense of emptiness after achieving their goal is not uncommon.18 The Fantastic Four eventually help T’Challa find a new purpose as a fighter against injustice by informing him that the world is in need of his superpowers.19 This type of cognitive restructuring, as well as the support provided by the Four, is a resiliency factor that guides T’Challa toward a path of heroism.
A few years later, T’Challa experiences emotional conflict upon returning to a Wakanda ravaged by Killmonger.20 Rage engulfs him, and he struggles against the desire for vengeance.21 His identity suffers,22 he experiences self-doubt,23 and he begins to feel the burden of his duties as king weigh upon him.24 However, his compassion for the innocent outweighs his urge for revenge.25 T’Challa eventually acts on patience, and acknowledges his people’s feelings of abandonment.26 He chooses to rise against Killmonger in a manner true to his values.27 Thus, he stays true to the heroic path he has chosen to follow in life.
SOCIAL FACTORS
T’Challa is raised with high social status and economic privilege, surrounded by the support of loved ones.28 This promotes a secure attachment style, which allows children to manage stressful situations in a healthy fashion.29 This type of attachment also predicts a higher likelihood of altruistic behavior, which is evident in T’Challa’s method of leadership.30
The deep-rooted culture of Wakanda may contribute to T’Challa’s strong social development, grounded in its societal values and moral codes.31 This includes the warrior traditions in which T’Challa grows up. The Black Panther mantle is decided by the tradition of defeating the current Black Panther in ritualistic combat.32 This ritual symbolizes the Black Panther’s duty to be the strongest warrior in the land, whose duty is to be Wakanda’s protector.33 The Black Panther spirit is very sacred, and closely tied into the spiritual beliefs of the Wakandans.34 The tradition of being Wakanda’s protector is a social status that T’Challa chooses to continue and embody.
The cinematic version of Killmonger is raised in America. His father tells him stories of their homeland, Wakanda, and the boy yearns to see its sunset. However, the child experiences the trauma of having his father killed by T’Chaka, king of Wakanda and T’Challa’s father. Such a childhood experience could cause the child to suffer anxiety as well as emotional and behavioral difficulties.35 He is then abandoned by his people, leading to an intrapsychic crisis of identity. Erik’s mother is in prison, where she eventually dies. Children with incarcerated parents have a higher chance of experiencing adversity, social stigmatization, unstable upbringing, and developing antisocial behaviors by the time they reach adolescence or early adulthood.36 This may further explain the antisocial traits Killmonger displays, especially when considering the intense trauma of finding his father murdered.
Killmonger eventually joins a military special operations force, where he is given his moniker due to the high number of his confirmed kills. These are done to prepare for a coup of Wakanda’s throne; however, he is also now desensitized to death. This desensitization is highlighted when he readily murders his girlfriend for the sake of his goals.
The comic book depiction more obviously shows that Killmonger’s violence is guided by his greed and ego; his political ideology is self-centered, he takes pleasure in murder, and any act of kindness is instrumental for his future gain.37 Killmonger also displays a high level of intelligence, with the ability to plot several schemes and carry them through to fruition.38 Both versions of Killmonger demonstrate antisocial personality disorder characterized by a consistent pattern of indifference toward and violation of others’ rights, which can be demonstrated with remorselessness, irritability and aggressiveness, nonconformity to social norms, deceitfulness, impulsivity, and lack of regard for safety for self and others.39
Social factors related to Killmonger are similar in both cinematic and comic book storylines. Killmonger lacks the emotional regulation abilities gained from protective societal factors typically learned in childhood. He experiences displacement upon returning to Wakanda. Unlike T’Challa, he does not have family members to reinforce a set of values or morals.
In the comic book stories, Killmonger studies at a university as a youth, where he meets Horatio while defending Horatio from bullies.40 He relates to Horatio, stating that he knows how it feels to be an outsider, and promises Horatio that he will take him to Wakanda where he will be accepted. The ability to connect with Horatio indicates that Killmonger’s sociopathy might not have been organic but rather a result of the psychological and social experiences that he endures.
OVERCOMING FACTORS: CHOOSING A PATH
The circumstances surrounding a person’s life are oftentimes not controllable. T’Challa and Killmonger do not choose their birthrights, nor the deaths of their fathers, nor many other of the biopsychosocial factors they experience. Yet, T’Challa resonates as a hero due to the choices he makes despite these factors. Meanwhile, Killmonger’s trail of bloodshed is the result of his decision to embrace an inner darkness. All humans hold agency to make choices based on their chosen morals, despite uncontrollable factors affecting their body, mind, and environment. Though this may be frightening, knowing that we all have the possibility of becoming a bloodthirsty warrior like Killmonger also means we can choose to be king.
THE SUPERHERO AND THE SUPERORDINATE
Victor Dandridge, Jr. & Travis Langley
Unity is a basic tenet for advanced civilizations in the Marvel Universe. Extraterrestrial empires such as the Kree, Skrulls, and Shi’ar each appear to be, as a whole, relatively free of the internal conflicts that would disrupt their advancement,41 whereas Earth-based populations such as the Inhumans and especially the Wakandans all show a wide range of both cooperation and infighting. This impression could merely be an illusion of out-group homogeneity, in which members of out-groups (groups we are not in) appear to be more similar to one another than they really are. This parallels in-group differentiation, in which we recognize variety and inconsistency in our in-groups (the groups we belong to and identify with).42
Wakandan tribes and cults clash at times over resources such as vibranium,43 the uneven distribution of which creates a power differential between groups. Unequal power breeds unequal status, and unequal status breeds prejudice, discrimination, and intergroup conflict.44 The Wakandan groups sometimes unite as a nation, though, when threatened by outside forces.45 Under the right circumstances, a higher-order, superordinate goal can prompt opposing groups to cooperate in instances when working together will benefit everyone and the need is great.46 In the comics, M’Baku and his isolationist Jabari tribe join a Pan-African gathering in Wakanda when the world’s superhumans are threatened, and, in film, he and the Jabari back other Wakandans against Killmonger.47
NOTES
1. Engel (1979), p. 162.
2. Black Panther (2018 motion picture).
3. Black Panther #6 (2016).
4. Jung (1953/1999).
5. Black Panther (2018 motion picture).
6. Sperry & Sperry (2012).
7. Fantastic Four #53 (1966).
8. Jungle Action #6 (1973).
9. Sperry & Sperry (2012).
10. Markus (2018).
11. Black Panther #167 (2017).
12. Markus (2018).
13. Black Panther #61 (2003).
14. Black Panther (2018 motion picture).
15. Banks (2006).
16. Fantastic Four #52 (1966).
17. Fantastic Four #53 (1966).
18. Deci & Ryan (2001).
19. Fantastic Four #52 (1966).
20. Jungle Action #6 (1973).
21. Jungle Action #6 (1973).
22. Jungle Action #10 (1974).
23. Jungle Action #15 (1975).
24. Jungle Action #8 (1974).
25. Jungle Action #6 (1973).
26. Jungle Action #14 (1974).
27. Jungle Action #7–8 (1974).
28. Black Panther (2018 motion picture).
29. Mikulincer & Shaver (2016).
30. Shaver et al. (2016).
31. Fantastic Four #53 (1966).
32. Black Panther #167 (2017).
33. Black Panther (2018 motion picture).
34. Fantastic Four #53 (1966), p. 8.
35. Whetton et al. (2011).
36. Murray et al. (2012).
37. Jungle Action #7 (1973).
38. Black Panther (2018 motion picture).
39. American Psychiatric Association (2013).
40. Jungle Action #7 (1973).
41. The Official Handbook of the Marvel Universe—Deluxe Edition #3 (2006).
42. Fiske (2002); Gonsalkorale & Williams (2007); Ostrom & Sedikides (1992); Tajfel (1970).
43. Doomwar #1–6 (2010). Script: J. Maberry. Art: W. Conrad, K. Lashley, S. Eaton, P. Neary, A. Lanning, R. Campanella, J. Mendoza, & D. Meikis.
44. D’Exelle & Riedl (2013); Grant (1991); Kahan & Rapoport (1975); Rapoport et al. (1989).
45. e.g., New Avengers #7–12 (2013).
46. Sherif (1966).
47. Respectively, Civil War Battle Damage Report #1 (2007), and Black Panther (2018 motion picture).