>>122985240>That is the most shallow. He's just good because he's good. There's nothing more to it than that, he's a flat, two dimensional good guy.Again, this is a premise in a void. It's how this character interacts with his world that will give a story it's depth. Don Quixote is a two dimensional character, he's just a retard who LARPs a knight, Gargantua & Pantagruel is two dimensional as fuck they're literally fat-asses with infinite money mucking about and farting through magical-Europe, Odysseus is just Batman with MUH ITHACA instead of MUH PENELOPE, Hamlet is a literal schizo mad his mom is getting some, fucking Jesus Christ is a literal mary sue that wins even when he's executed, Abraham Lincoln was just MUH TRUTH and he was a fucking real person.
I see you ignored the entirety of my post but again, every justification for a character is necessarily artificial because well, the entirety of that character is. Making him morally grey or downright evil won't make him any deeper or shallower. A story is necessarily a montage and every justification is both enough and insufficient, because people's lives are infinitely more complex than a piece of fiction, but every piece of fiction also has premises and axioms the spectator is supposed to accept if he is to revel in it.
I was watching Fargo S2 the other day and Ted Danson asks Mary Jane why the fuck she ran away with the mob guy instead of calling for help and she blurts out something like "at the time you don't think you know...it's like...you're in a dream" and that's the justitification for literally EVERYTHING that happens in that season, some hairdresser didn't completely went into panic and started a mob war, and that's perfectly acceptable because the characters (who are mostly empty archetypes with funny quirks whose personalitythe spectator must fill based on knowledge of said archetypes) react like you'd expect people to react to the situations they're stuck with. The same can be done with Superman.
