Is Artemis Fowl a hero or a Villain?

Artemis Fowl is a twelve-year-old genius who uses his extraordinary intelligence to plot evil missions and exploit the fairy world for his own benefit. He is the protagonist of a series of novels by Eoin Colfer, as well as a 2020 film adaptation. He is an example of an antihero, a character who lacks the conventional attributes of a hero, such as courage, morality, or altruism. Antiheroes are often flawed, conflicted, or cynical characters who challenge the traditional values and norms of society. They are also often charismatic, complex, and fascinating characters who attract the sympathy or admiration of the audience.

Artemis Fowl is not the only antihero in contemporary fiction and television. There are many other examples of male antiheroes who have gained popularity and acclaim in recent years. Some of them are:

- Walter White, a chemistry teacher who becomes a drug lord in the series Breaking Bad.

- Tony Soprano, a mafia boss who struggles with his family and his conscience in the series The Sopranos.

- Dexter Morgan, a forensic analyst who moonlights as a serial killer of criminals in the series Dexter.

- Tyrion Lannister, a dwarf who uses his wit and cunning to survive in a brutal world of politics and war in the series Game of Thrones.

- Frank Underwood, a ruthless politician who schemes his way to power in the series House of Cards.

What makes these antiheroes appealing to the audience? How can we understand their actions and motivations? One possible way to approach these questions is to use the philosophical theories of Friedrich Nietzsche, a German philosopher who published intensively in the 1870s and 1880s. Nietzsche is famous for his uncompromising criticisms of traditional European morality and religion, as well as his original theories about the nature of the self and the values that he thought would promote cultural renewal and improve social and psychological life.

One of Nietzsche's key concepts is the will to power, which he defines as "the unexhausted procreative will of life" (Nietzsche [1883] 1967: 550). The will to power is not simply a desire for domination or control, but rather a creative force that drives all living beings to overcome themselves and their limitations. Nietzsche argues that human beings have different degrees and modes of expressing their will to power, depending on their psychological type and historical context. He distinguishes between two main types: the master morality and the slave morality.

The master morality is the morality of the strong, noble, and creative individuals who affirm their own values and create their own meaning in life. They are independent, self-reliant, and adventurous. They value qualities such as courage, pride, honesty, generosity, and excellence. They do not care about the opinions or judgments of others. They are not bound by conventional rules or norms. They are not afraid to take risks or face challenges. They are not motivated by resentment or guilt. They are driven by their own passions and instincts.

The slave morality is the morality of the weak, humble, and passive individuals who deny their own values and conform to the values imposed by others. They are dependent, obedient, and fearful. They value qualities such as humility, pity, kindness, sympathy, and mediocrity. They care about the opinions or judgments of others. They are bound by conventional rules or norms. They are afraid to take risks or face challenges. They are motivated by resentment or guilt. They are driven by their own needs and desires.

Nietzsche argues that most modern societies are dominated by the slave morality, which he sees as a degeneration and corruption of human life. He criticizes Christianity as one of the main sources of this morality, which he claims has instilled a sense of sinfulness, guilt, and self-denial in human beings. He also criticizes democracy, liberalism, socialism, and utilitarianism as expressions of this morality, which he claims have reduced human beings to herd animals who seek comfort, security, and happiness at the expense of creativity, individuality, and excellence. Nietzsche calls for a revaluation of all values, a radical transformation of culture and society that would restore the master morality and unleash the will to power.

Using this framework, we can compare and contrast the antiheroes with the master and slave morality. We can see that some of the antiheroes exhibit traits of the master morality, such as Walter White, Tony Soprano, and Frank Underwood. They are all ambitious, powerful, and ruthless individuals who pursue their own interests and goals without regard for the consequences or the opinions of others. They create their own values and meanings in life, and they do not hesitate to use violence or deception to achieve them. They are not motivated by pity, guilt, or sympathy, but rather by pride, glory, and self-assertion. They are not afraid to challenge the established order or authority, and they often manipulate or exploit those who are weaker or more naive than them. They are also creative and innovative in their fields of expertise, whether it is chemistry, crime, or politics.

However, we can also see that some of the antiheroes exhibit traits of the slave morality, such as Dexter Morgan, Tyrion Lannister, and Artemis Fowl. They are all outsiders or outcasts who suffer from some form of oppression or discrimination. They are not strong, noble, or wealthy by conventional standards, but rather weak, humble, or poor. They value qualities such as kindness, empathy, and sympathy, and they often help or protect those who are in need or in danger. They are motivated by resentment, guilt, or loyalty, rather than by pride, glory, or self-assertion. They are afraid to challenge the established order or authority, and they often conform to or obey the rules or norms of society. They are also dependent on others for their survival or success, whether it is their family, friends, or allies.

Of course, these distinctions are not absolute or rigid. Some of the antiheroes may display aspects of both master and slave morality at different times or in different situations. For example, Walter White may show some sympathy for his family or his partner Jesse Pinkman; Tony Soprano may struggle with his conscience or his mental health; Frank Underwood may rely on his wife Claire for support or advice; Dexter Morgan may enjoy his power over his victims or his reputation as a blood spatter analyst; Tyrion Lannister may aspire to greatness or influence in the realm; Artemis Fowl may develop some respect or friendship for Holly Short or other fairies. These nuances and contradictions make the antiheroes more realistic and relatable characters who reflect the complexity and diversity of human nature.

What is the appeal of these antiheroes? Why do we watch them with interest and fascination? One possible answer is that they represent different aspects of our own will to power. We may identify with their struggles and challenges, their desires and passions, their successes and failures. We may admire their strengths and talents, their courage and intelligence, their creativity and innovation. We may also empathize with their weaknesses and flaws, their fears and doubts, their mistakes and regrets. We may see ourselves in them, or see them as ourselves. We may also learn from them, or be inspired by them, or be challenged by them. We may question our own values and meanings, our own choices and actions, our own lives and destinies.

In this way, the antiheroes are not just entertaining or captivating characters, but also philosophical and existential ones. They invite us to reflect on the nature of morality, the value of life, and the meaning of existence. They invite us to revaluate all values, and to create our own values. They invite us to affirm our will to power, and to overcome ourselves.

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