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In Part 1 of this article, we discussed how Legion depicts violence in a casual manner. Super powers, for most characters within the show, are fundamentally similar to the background. They are treated as a normal part of the universe, much like gravity, water, or air. There is no emphasis on dazzling an audience or using powers to create spectacle.

Often, the powers manifest in violence, but violence is not glorified or exaggerated within Legion. Much of the violence takes place off screen or is only briefly shown to better emphasize the mood. At all times, the use of powers is important to the plot. Other super hero shows and films treat powers like decoration that often take up time and distract from the story.

By using powers and violence in a casual manner, Legion emphasizes the horror and creepiness that the audience feels when the mind realizes that it is no longer control. We are less concerned about the power in and of themselves than what the powers do. The action, therefore, is important, and a loss of control ultimately challenges our own desire for reason.

There is nothing superfluous within Legion, which is its greatest strength. This article will discuss David Haller’s powers, which may contain some spoilers.

The Role of Violence

Although David (possibly) has reality changing powers, the show lacks over the top effects, such as moving buildings and shifting physics, that now dominate super hero films. There are no intricate fight scenes that look more like a ballet than combat. Legion relies on actors and drama, not computer drawn battles.

The effects within the show are toned down to emphasize the greatness of the characters’ powers. Quick, sudden, and raw allows the power to speak for itself without giving the audience the time to thoroughly analyze what is going on.

When Legion relies on exposition related to powers, it is done only when necessary. The longest scene of exposition comes in Chapter 7 as David struggles with his situation. It is direct, to the point, and lays out vital information necessary to justify moving the plot forward. These explanatory scenes are less about the characters understanding what is happening than coming to terms with what is happening. For the audience, the exposition is explanatory only to make sure everyone is on the same page.

Sometimes, there is pseudo-exposition that provides atmosphere for the show. Oliver begins Chapter 4 by musing on the nature of violence: “In times of peace, the warlike man attacks himself. This is the root of all of our problems. And by this, I mean we. We are the root of all of our problems. Our confusion. Our anger. Fear of things we do not understand. Violence, in other words, is ignorance.”

However, we do understand what violence means, or, at least, what it represents. We understand decisive action even if the end results aren’t immediately apparent. When David wants to act but is hindered by the Summerland group’s need to perform more research, we feel sympathetic to his plight. There is something inherent in us, possibly our own warlike nature, that wants action.

David’s Violence

Although David’s powers are amazing and there are some outstanding effects, the effects rarely match or outweigh what takes place and much of the action is implied. When David is unleashed upon Division 3, we only get a tiny glimpse of what takes place, and it is more to reveal the horrifying implications of what happens than to show off the powers themselves. What little violence we do witness is quick and ultimately bloodless, which heightens the horror.

David’s abilities are similar to the child Anthony Fremont from the classic Twilight Zone episode, “It’s a Good Life.” Anthony is omnipotent and can transform people at will. When he kills, there are no explosions or fights. He wills someone to disappear, and they do. To destroy without any flash or build up is to show raw power.

When a film or show builds up to a death or the camera dwells on the moment, we are given a chance to analyze what is taking place. This provides us with a false understanding, and thus control, over that power that led to the death. If a character dies off screen or in a sudden manner, then we have no ability to minimize what happens. If the plot pushes through the moment, then we have little chance to actually comprehend what took place, forcing it into our subconscious. We are left confused, and that causes us to feel the loss to a greater degree.

However, we are not only afraid of the power displayed when David lets go. We are also terrified by what it represents: a loss of control. He can kill at a whim, and there is nothing that can stop him. It is the absolute freedom of a god without any of the limitations that are connected to the powers of other super heroes. There isn’t even a chance for moral considerations when power is liberated from spectacle and control.

Psychological Violence

Violence without spectacle or build up is violent to the psyche. Real violence is abrupt. Real violence cannot be understood. When filmed violence follows the attributes of real violence, it causes the same effect upon the audience. The human mind craves rationality and requires control, but real violence denies both.

By recreating the effects of true violence, the action of Legion transcends the screen. The disintegration power used within Division 3 does not look painful, and its use lacks gore. But pain and gore would allow the audience to ignore the horror by distracting them from realizing what is actually happening on the screen. Instead, the audience can only feel confusion, terror, and awe.

Lenny’s dance in Chapter 6 performs a similar function to David’s attack on Division 3: we are shown Lenny’s freedom, and we are drawn in by it. We aren’t phased by the sheer power being displayed, or hinted at. We are scared by what it could represent. She does not kill or maim anyone in her dance, but there is something fundamentally dark in her vandalism. The sexual movements and gestures only add to the creepiness of the whole scene.

The point of this use of overwhelming, yet casual, violence is not to scar the audience. Instead, it is to show what is at stake: the safety found in rationality is being threatened. These scenes happen quickly, but they linger at the back of the mind as the plot moves on.

True Power

Even in relatively passive moments, such as the chalkboard scene of Chapter 7, we are given glimpses at awesome powers that are casually treated. In the background, the chalk characters move, continuing their own actions, but we are not allowed to fixate on them. They are extremely simple, but they are amazing at the same time. The casual approach to super power allows the scene to transcend. It is easy to dismiss the drawings as childish aspects of the mind, but they represent something truly amazing.

More super powers are used in Legion than in any other super hero production. Reality changes and bends quite easily. People die. There is time for mourning, but it is off to the side and does not interrupt the action. Everything progresses forward, and that is what makes the show compelling.

We see people struggle in Legion. We are not told they struggle; we can see it in their expressions. What they are comfortable with is just as telling as when they break. Kerry’s impetuous desire to fight is just as important as her mewling in defeat. Rudy’s stoic approach reinforces his final blaze of glory. The Eye’s cruelty and viciousness comes back multi-fold in his moment of shock. David struggles with himself in more than one way, and the world changes to conform to his mood.

Each use of power is meaningful, and any removal of a use of power from the show would only hinder the plot as a whole. That is why Legion should serve as a guide for others who want to use the classic comics storylines in a mature manner.