{"id":22,"date":"2022-11-19T14:10:05","date_gmt":"2022-11-19T14:10:05","guid":{"rendered":"https:\/\/issues.digitalpatmos.com\/vol6issue5\/?page_id=22"},"modified":"2023-05-16T04:44:51","modified_gmt":"2023-05-16T04:44:51","slug":"the-overlooked-heroism-of-humanity-in-walle","status":"publish","type":"page","link":"https:\/\/issues.digitalpatmos.com\/vol6issue5\/the-overlooked-heroism-of-humanity-in-walle\/","title":{"rendered":"The Overlooked Heroism of Humanity in WALL-E<\/em>"},"content":{"rendered":"\n

Introduction<\/strong><\/p>\n\n\n\n

In Andrew Stanton\u2019s WALL-E<\/em> (2008), humans have escaped a waste-filled Earth to live on a giant spaceship called the Axiom<\/em>, leaving the film\u2019s eponymous robot protagonist behind to clean their mess up. Wall-E\u2019s life changes when he encounters Eve, another robot sent down by humans to gather signs of plant life that signal the possibility of returning to Earth. Infatuated with her, Wall-E gives her a plant he found\u2014the very life she has been tasked with searching for. When she departs for the Axiom<\/em> with the plant, he follows her back, only to stumble into chaos as robots in the spaceship steal the plant and try to prevent humans from returning to Earth. Ultimately, he helps bring humanity back by retrieving the stolen plant to serve as evidence of life on Earth, as well as by inadvertently causing the Captain of the Axiom<\/em> and the remaining humans to recognise the importance of protecting the Earth and fight to bring themselves back. The film ends with the happy robot couple on an Earth humans have started to clean up.<\/p>\n\n\n\n

Wall-E is clearly viewed as the hero\u2014after all, he gives the film its name. Various hero tropes define him. Murray and Heumann refer to Wall-E first as a \u201ctragic hero\u201d, and as a \u201ccomic hero\u201d towards the later half of the film; Herhuth concurs with the latter, calling him a \u201ccomic hero disrupting the standardized, rationalized, and programmed practices of life and labor on the Axiom\u200b<\/em>\u201d. Alternatively, Wall-E could be read as an everyman hero. His only unique qualities are his human-like emotions like dreaminess and sentimentality, and even then, these are not characteristics associated with heroism. Yet, under the extraordinary circumstances he places himself in by chasing Eve, he ends up exhibiting heroism when he helps humans return to Earth. The other robots who help Wall-E and Eve in their quest to retrieve the plant, while never explicitly referred to as heroes in scholarly literature, are also read as having laudable human characteristics: they are individualistic and dare to challenge the status quo. Indeed, Henderson writes that the malfunctioning robots are \u201cthe very ones that have some degree of personality when they help Wall-E and Eve with their newfound mission\u201d.<\/p>\n\n\n\n

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Wall-E, the adorable protagonist of the film.<\/figcaption><\/figure>\n\n\n\n

However, we overlook the moments of heroism that shine in the humans. While humanity\u2019s heroism takes up a small portion of the film, I believe it is still worth examining, as it portrays a different dimension of heroism, bolstering our understanding of heroic characteristics.<\/p>\n\n\n\n

Specifically, I argue that humanity\u2019s heroism in WALL-E<\/em> is of a more everyday, relatable form that prompts reflection on our own climate crisis and environmental heroism.<\/p><\/blockquote><\/figure>\n\n\n\n

What makes a hero?<\/strong><\/p>\n\n\n\n

Conceptualisations of literary heroes have evolved over time. Teresa Maybee traces these developments over major literary eras, whose heroes each have their own identifying traits: the ancient Greeks imbued their heroes with \u201ca heritage of divinity and\/or nobility, along with qualities of intelligence, strength, leadership, military prowess, and pride\u201d (20), for instance, while 20th-century modernist writers tended to represent heroic endeavours as \u201csolitary struggles against self […] or nature\u201d (59). Amanda Shang, speaking more broadly, asserts that traditional heroes are \u201clargely defined by their actions and results\u201d, but modern heroism \u201cpulls the focus to the underlying motivations behind a hero\u2019s actions\u201d (20-21).<\/p>\n\n\n\n

However, despite the definitions that have proliferated, some heroic characteristics still transcend time. When we think of heroes, even as we consider role models like family members or celebrities, we instinctively jump to notions of physical strength or superhuman feats, conditioned by today\u2019s superhero movie franchises like Marvel or childhood fairytales of knights in shining armour. In other words, traditional ideas of heroism dating back to ancient or mediaeval times remain. Maybee concurs: while our definitions of heroism have expanded, \u201cwe still glorify the divine, or the super-human\u201d (64).<\/p>\n\n\n\n

This perception helps explain why WALL-E<\/em>\u2019s robots tend to be the ones read as heroes, rather than the humans. They are the ones who carry out great performances of strength and bravery, sometimes even in line with classical traditions of \u201cheroic self-sacrifice\u201d: Wall-E, for instance, is electrocuted while protecting the plant, and physically crushed trying to open the Holo-detector needed to direct the Axiom<\/em> towards Earth. In contrast, the humans are depicted as fat, lazy, simple-minded consumers, transported by hover chairs and pampered by robots; they are overly reliant on technology and lacking in individualism. We are led to be disgusted at humanity, who now fulfil a mere fraction of what we know to be their potential, if any at all. These depictions of robots and humans, alongside the fact that the robots are the main characters with more screen time, create the perception that the robots surpass humans in heroic qualities. Thus, we latch onto them as the heroes.<\/p>\n\n\n\n

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The humans of the Axiom <\/em>live a life of slothful consumerism.<\/figcaption><\/figure>\n\n\n\n

There is more to the humans, however, than it seems. I believe that the humans in WALL-E<\/em> should still be considered heroes, in line with a more modern definition: their heroism is of a more everyday, relatable form, but not lesser than that of the robots. Furthermore, it serves as a thought-provoking analogue to real-world environmental advocacy and provides a more realistic model of what heroism can look like.<\/p>\n\n\n\n

Humanity as relatable heroes<\/strong><\/p>\n\n\n\n

Humanity\u2019s heroism first manifests in small steps rather than grand gestures, to the point where we wouldn\u2019t even consider these steps heroic. Yet, they deserve to be considered parts of humanity\u2019s hero journey as well, for they enable humans to develop eco-consciousness and a desire to return to Earth. We see this most clearly in the Captain, the representative of humanity. When he receives the plant that Eve has brought from Earth, he waters it. \u201cThere you go, little guy. […] Just needed someone to look after you, that\u2019s all\u2026\u201d he says tenderly, the importance of putting in effort to care for the environment dawning on him through this small action. He begins to develop a sense of leadership, a quality often held by Greek heroes (Maybee 20): \u201cI should [fire up the Holo-detector] myself,\u201d he insists, wishing to take the initiative rather than delegating work to Auto, the robot that controls the ship\u2019s internal systems. When Auto asserts that humans cannot return to Earth, even more passionate language ensues: he exclaims desperately that Earth is \u201cin trouble\u201d, and he can\u2019t \u201cjust sit here and\u2026 and\u2026 do nothing!\u201d. Maybee explains that seventeenth-century writers promulgated the idea of the \u201cheroic goal of social justice\u201d (50); I would extend this definition today, when climate change threatens Earth and thus our lives, such that the Captain is heroic in his passion to work for environmental<\/em> justice. The other humans also exhibit minor heroic qualities before the film\u2019s climax: despite being used to perfect service from the Axiom<\/em>\u2019s robots, John and Mary do not rage when confused Wall-E\u2014to them just another robot\u2014responds unexpectedly to their requests or distracts them from their screens, demonstrating, according to George deForest Lord, the \u201cpatience, amenability and adaptability\u201d of ancient Greek heroes like Odysseus (qtd. in Maybee 13).<\/p>\n\n\n\n

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The Captain tenderly admiring the plant before watering it.<\/figcaption><\/figure>\n\n\n\n

These small instances, furthermore, culminate in larger, more consequential actions. The Captain, after watering the plant, is determined to return to Earth. When Auto steals the plant needed to trigger the journey back, the Captain\u2019s heroism begins to shine. Auto locks him in his quarters, but he retaliates bravely, luring and wrestling Auto even while swung around in midair. He even musters the strength to walk for the first time to reach Auto and switch it to manual mode, effectively saving the day\u2014an incredible feat for someone who has lounged in a hover chair his entire life. These achievements would not have been immediately possible without the stepping stones that developed his heroic qualities. The ordinary humans, too, grow to show a greater form of heroism. When the Axiom<\/em> tilts as the Captain battles Auto, they grab others to stop them from slipping, and create a barrier to protect the sliding babies from harm. Later, they stand up and band together to pass the retrieved plant towards the Holo-detector. Thus, WALL-E<\/em> presents a more realistic, relatable form of heroism: even tiny actions contribute to greatness. This idea holds greater real-world significance given the film\u2019s environmental sensibilities: we may be overwhelmed by a compulsion to carry out grand gestures to save the Earth, but every little bit helps, and can serve as a starting point for a longer, greater journey in climate action.<\/p>\n\n\n\n

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The Captain seizes the Axiom<\/em>.<\/figcaption><\/figure>\n\n\n\n
\"\"
In the meantime, the ordinary humans of the Axiom<\/em> save the sliding babies from harm.<\/figcaption><\/figure>\n\n\n\n

The humans\u2019 acts of heroism, moreover, reflect a triumph of moral courage rather than the traditional definition of heroism that necessitates physical action. They have lived a sedentary life of luxury on the Axiom<\/em>, and even as we find their lifestyle appalling, we understand how it would be appealing. It is impressive, then, that humanity readily gives these comforts up for the greater good of Earth. Notably, they do so without even needing any persuasion or mentorship to overcome a \u201crefusal of the call\u201d to heroism, an essential part of Joseph Campbell\u2019s famed hero\u2019s journey model (34). Humanity\u2019s sacrifice is reminiscent of Maybee\u2019s assertion that heroes in the Greek tradition \u201cexperience[d] mortal toil and suffering as \u2018inseparable\u2019 from their heroic mission\u201d (14)\u2014suffering that was, according to Margalit Finkelberg, \u201cnot only self-imposed but also, […] purport[ed] to serve the common good\u201d (qtd. in Maybee 14). Of course, the humans do not suffer trials of physical pain, and neither is their anguish over giving up their comforts explicitly illustrated. Nevertheless, their sacrifice must entail some sort of loss and moral courage to accept that loss, blissful as they were with their perfect lives.<\/p>\n\n\n\n

The humans, therefore, manifest a different heroism from the robots; while humanity shows moral courage, the robots show physical courage, and for more selfish reasons. The robots\u2019 bravery and \u201cheroic self-sacrifice\u201d (10) are out of Wall-E and Eve\u2019s love for each other, rather than a desire to achieve \u201csocial justice\u201d or serve \u201cthe common good\u201d (qtd. in Maybee 50). This difference mirrors the contrasts between traditional and modern ideas of heroism set out by Shang above: the robots are like classical heroes, admired for their physical accomplishments and success in bringing humanity home, while the humans embody modern heroism that emphasises intention and good morals.<\/p>\n\n\n\n

To be fair, the humans\u2019 feats like standing up and walking are physical too, so they are still somewhat aligned with traditional conceptualisations of a hero. However, while these feats are incredible given how the humans on the Axiom<\/em> have grown up, their impact is lost on most of us, to whom the actions are hardly considered challenges. What matters more than the heroism of the physical acts themselves is the moral courage that motivates them, for the acts only arise from humanity\u2019s fervent impulse to do the right thing: return to Earth. Thus, compared to wild tales of physical prowess that the average person could never achieve, the humans\u2019 moral courage shows a more realistic and relatable form of heroism.<\/p>\n\n\n\n

Again, we can associate this depiction of humanity with the context of our real world. Many of us, accustomed to our everyday comforts and conveniences, struggle to change in pursuit of environmental justice, but WALL-E<\/em> delivers an inspirational vision of humans who muster up the moral courage to sacrifice their lifestyles for Earth, a planet they have never even encountered before.

We, too, can achieve this courage, if only we try harder.<\/p><\/blockquote><\/figure>\n\n\n\n

Conclusion<\/strong><\/p>\n\n\n\n

The humans in WALL-E<\/em> may be side characters, but their heroism deserves attention too. They exhibit a different sort of heroism compared to the robots\u2014one founded upon small stepping stones to great impact rather than immediately grand gestures, and upon moral courage rather than physical achievements. Thus, rather than feed into the idolisation of impossibly perfect models of strength and valour, WALL-E<\/em> paints a picture of everyday, relatable heroism that the average person can attain. It may not have intended to forward an environmental message, but it inevitably participates in such discourse, such that an examination of its portrayal of humanity prompts an examination of ourselves and how we can do better in our climate crisis. And for us viewers, it offers hope: a sign that we, too, can be heroes in our own little ways.<\/p>\n\n\n\n

Bibliography<\/strong><\/p>\n\n\n\n

Campbell, Joseph. The Hero with a Thousand Faces.<\/em> Princeton University Press, 2004. <\/p>\n\n\n\n

Henderson, Kati. \u201c\u2018Wall-E\u2019 Reflection: When Robots Are Human and Humans Are Robots.\u201d Ambiguously Human<\/em> 9 Mar. 2016 <https:\/\/sites.duke.edu\/ambiguouslyhuman\/2016\/03\/09\/wall-e-reflection\/<\/a>>.<\/p>\n\n\n\n

Herhuth, Eric. \u201cLife, Love, and Programming: The Culture and Politics of Wall-E and Pixar Computer Animation.\u201d Cinema Journal<\/em> 53.4 (2014): 53\u201375. https:\/\/doi.org\/10.1353\/cj.2014.0042<\/a>.<\/p>\n\n\n\n

Maybee, Teresa M. \u201cFigurations of the Literary Hero.\u201d Master’s thesis. Florida Atlantic University, 2006.<\/p>\n\n\n\n

Murray, Robin L. and Joseph K. Heumann. \u201cWALL-E<\/em>: from Environmental Adaptation to Sentimental Nostalgia.\u201d Jump Cut: A Review of Contemporary Media<\/em> 51 (2009). <https:\/\/www.ejumpcut.org\/archive\/jc51.2009\/WallE\/<\/a>>.<\/p>\n\n\n\n

Shang, Amanda. \u201cWho are Heroes? An Analysis of the Literary Hero and an Interpretation of the Modern Hero.\u201d Honors thesis. Dept. of English, University of Texas at Austin, 2018.<\/p>\n\n\n\n

WALL-E<\/em>. Dir. Andrew Stanton. Walt Disney Studios Motion Pictures, 2008.<\/p>\n\n\n\t

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