i hate you minimalism i hate you modern design i hate you homogeny i hate you white interiors i hate you design trends i hate you hgtv i hate you corporate design schemes i hate you rooms with no personality i hate you store selling a single white chair for three thousand dollars
Historical Inaccuracies in Dark Knights of Steel #1
This is going to be a beat-by-beat examination of Dark Knights of Steel #1 and therefore will contain heavy spoilers.
In the summary for this book, the world is described as “medieval.” While this is a very common period to set a high-fantasy story in, it doesn’t do much to help us contextualize what we’re about to read. The medieval era, sometimes referred to as the middle ages (a term coined by 15th century scholars to refer to the time since the abdication of Romulus Augustus), began with the fall of the Western Roman Empire in 476. Sources across Europe vary on the end date of the period, some sources putting a precise end point at 1520 while others dispute this, placing the end in the final years of the thirteenth century. Most likely, however, the High Middle Ages (1000-1250) would have been a primary inspiration for this comic, as it’s the most popular period to draw from, even if the perception of it has been highly skewed by pop culture. While this is obviously not an exact framework and doesn’t lend itself to precise analysis of the text, nor is it the time period I’m most familiar with, it seems like the best option for anchoring a historical analysis.
The High Middle Ages is characterized by rapid population increase around Europe, leading to and facilitating the growth and technological development of urban centers such as cities, the beginning of the Cathiolic Crusades, rural exodus, and an abundance of wealth that would not be paralleled for another 500 years. Some notable historical events from this period include the Norman Conquest of England, the Christianization of Scandinavia, and the Christain conquest of Toledo. Chivalry developed and evolved during this time as well as militarization spread. The Templar Knights belong to this period of history, as well. This historical context is important to understanding the time period so we can better examine what Dark Knights of Steel got right and, more entertainingly, got wrong.
One of our first indications of the time period as presented in the comic is Jor-El’s confrontation with mounted archers, and this is where we encounter our first problem. Another important piece of information to take into account when examining a medieval-inspired world is the likelihood of English inspiration. While many fictional countries or territories are not explicitly English, denying the influence would be irresponsible. Much of our modern understanding of the medieval period as a whole stems from an understanding of medieval England that has been superimposed over the rest of Europe.
[ID: Jor-El, with his back to the reader, holds up his hands in a gesture of surrender saying “We’re not a threat.” Eight mounted archers enter from the right. In the bottom right corner a text box reads “They will sound like us.” End ID]
Mounted archery (not to be confused with mounted archers) is a highly difficult and specialized skill that has a long history. As early as the Iron Age, mounted archery was beginning to replace the increasingly-impractical chariot. Neo-Assyrian artwork from the 9th century depicts early mounted archers, though they may have existed longer than that. Evidence of the technology needed to facilitate mounted warfare has been found in Kazakhstan dating as far back as 1200 BCE. 400 years later, reliefs from the reigns of Ashurnasirpal II (883–859 BCE) and Shalmaneser III (859–824 BCE) would show Assyrians going to battle with mounted archers, possibly Perians. By the 8th century BCE, mounted warfare had spread throughout the Eurasian Steppe and into the Middle East, and into Northern Africa and Eastern Europe by the 6th. Meanwhile, It was spreading East as well, as far as the Yellow RIver Valley. Mounted archery continued to develop and spread over the following centuries, though the tactic never spread past Germany and Scandinavia (as a side note, it’s difficult to say for certain if the Norse developed mounted warfare independently or through cultural exchange. As someone who has been on a fjord, my money is on the later.) While it eventually became popular in Germany after the medieval period, it never reached England.
As an aside, mounted archers were used by the English army during the Hundred Years War (1337-1453) over a century after the tail end of the medieval era, though more than a century after the High Medieval Period. According to MI13 on Reddit in response to the question “What was the significance of English "mounted archers" during the Hundred Years' War?”
Good question! There's no direct evidence to indicate that English mounted archers shot from horseback. Now, medieval chroniclers were as a rule not interested in recording minor tactical details, so there's no evidence to say that English mounted archers never shot from horseback either, but if it happened, it would have been a rare occurrence. Mounted archers sometimes fought from horseback, but seem to have used their swords to do so.
The full post can be read here, and I definitely recommend it if that period in history interests you.
Our next scene of note shows John Constantine in the throws of, presumably, a prophetic trance. This peaks my interest for a few reasons. The first being the discarded bowl and apple beside him.
[ID: John Constantine lays on his back on the floor with his eyes open. To his left is a partially-eaten apple and an overturned bowl. The bowl’s contents are splattered on the floor. End ID]
The intention here was likely to represent a potion Constantine took to access this prophecy. The historical legitimacy of magic allowing for seeing the future is uncertain at best and fully fabricated at worst. Figures like Mother Shipton imply a cultural willingness to entertain such ideas, though her methods are uncertain. This willingness is backed up (however dubiously) by the future-seeing abilities of mythological figures like Fryja. Looking at historical accounts, foresight would have most often been gleaned from astrological means, not from usually from potions, which were generally reserved for medicinal purposes.
There’s a common misconception that magic was outlawed during this period by the church and king, and those found guilty of practicing it would be burned at the stake. In reality, it was a facet of everyday life, even among the church authorities. Magic was used daily across Europe for healing (though considered to be magic, the use of herbs and plants to treat wounds and illness was a highly sophisticated medical practice), information gathering, trying to bring forces of the natural world into control, personal and familial protection, and astrology. As time went on, folk magic became part of Christian practices and the two became so intertwined that separate branches of Christianity formed to better incorporate them. “Witch hunts” as we know them today didn’t begin in earnest until the mid 16th century, ironically when Europe was said to be becoming “enlightened.”
(Side note: Constantine’s use of the work “fuck” in thei scene is not historically accurate tot he time. You can read up on its etymology here and here.)
The other aspect I find interesting is the hatred of magic by certain members of the ruling class (and don’t worry, we’ll get to them later). While the lack of such practices makes sense in-narrative with the Kryptionian vulnerability to true magic, a complete lack of its usage within the court would be completely bizarre. The medieval person did not distinguish between useful folk magics discussed above and what we would consider to be magic (superpowers, supernatural forces, etc). Rejecting magic would mean rejecting medicine, not to mention other courtly magics. As Meaghan Zarb writes for Medievalists.net (linked below),
“Astrologers delivered a calendar of ideal times for rulers to make political decisions and alchemists, the possibility of riches and prolonged life. A knowledge of chemicals and herbs would have proved useful in intrigues where poisons and love spells were in demand. As fear and usage of magic was ever present, courtiers engaged in the practice of possessing precious stones whose properties protected them from such inflictions.”
Courtly magic was just as much a part of day to day life as gossip and etiquette for the ruling class of Europe. It was a part of the very fabric of court society. By eliminating it, life becomes much more dull and much less easy.
The strangest part of this world, for me, is the presentation of courtly life. The House of El is not given an explanation for being in power. The closest we get is reference to the late Waynes in a short moment between Bruce and Lara:
[ID: Queen Lara is bent down to hold Bruce’s hand saying “Bruce. For the last time, your parents were our monarchs and our friends. This is as much your home as ours and you do not need to kneel in it.” Bruce is kneeling in front of her, to her right from the reader’s perspective, with his back towards the reader. End ID]
While not a hard rule, lines of succession have been heavily refined and mapped out. Throughout large portions of Europe (though not exclusively, as it is important to remember Europe never has been and never will be a monolith), hereditary monarchies were/have been in place for centuries. Primogeniture is most common in these systems, though seniority is used as well. In the event a monarch died with only one living relative (Bruce, in this case), that child would inherit the throne, regardless of how young they were at the time. A very young monarch would have a council of trustees rule in their place until they came of age, but their ultimate power would not be legally disputed. This does become more complicated in the instance of illegitimate children. Though a king propping up an illegitimate heir would hardly be anything new, an illegitimate child from the maternal line is more controversial. A claim could definitely be made that as the king’s last remaining relative, the illegitimate son of his wife, would take the throne, and in some cases should. However, religious prejudice could certainly interfere. Especially if the child is seen as too young to rule, even with the guidance of a council, a dynasty change may be pending.
Dynastic changes have often been bloody, chaotic, and militaristic. Challenges to a new dynasty or even a well-established one were common. The collapse of the dynasty meant chaos for the court and reasserting stability was crucial. Personal ambition and familiar offshoots posed a constant challenge to erecting a new monarch. A dying king with no apparent heirs would want to elect someone to carry on his dynasty, as the dynasty wasn’t just a show of personal power, but a political strategy ensuring allyship with other nations, trade, and religious stability. But in the comic, no one seems to question the House of El’s right to the throne. This seems to indicate that one family was absorbed into the other, but if that were the case, their surname would have changed to Wayne. And the question of why exactly Bruce is not on the throne still remains, especially since it seems to contradict the will of the king.
[ID: King Jor-El holds a fist to his chin and says “If I had my way, you would be seeing here instead of us.” To the Right, Lara holds Bruce’s hand with her other hand on his bicep. Bruce says “They see you as a god. And I am a bastard.” Kal-El stands to the right (Bruce’s left) watching. End ID]
That brings us to the second problem with this scene: royal etiquette. When greeting the king and queen, one is expected to bow/curtsey/kneel/prostrate/etc based on the rules of etiquette for that nation and culture. There is no exception to this, not even for the heir apparent. Not doing so could be seen as an insult, or even an indicator of treason.
The final major problem with this comic is something that could have been fixed with a few more years allotted to the timeline. According to Mark Cartwight for worldhistory.org (linked below), a young boy would go through a general route to becoming a knight.
Page - from age 7-10 to 13, become familiar with horses, hunting and the use of mock weapons by serving a local knight, baron, or royal court.
Squire - from age 14 to 18-21, assist a full-knight, learn to use the weapons and armour of war, and improve one's general education, especially the code of chivalry.
Dubbing - When aged 18-21, the ceremony of being made a knight performed by another knight.
Service - Act as a guard for a baron and his castle, fight in wars for one's sovereign and the Church, and perform in medieval tournaments.
The ability to become a knight was often determined by paternity. Sons of knights would become knights. While there were exceptions on a case-by-case basis, and the rules varied across borders, knightly lineage became more important as time went on. In the comic, Bruce is most likely eighteen years old. In reality, he would most likely be completing his training under a knight, perhaps Alfred. All that taken into consideration makes this exchange much stranger.
[ID: Kal-El, approaching Bruce from the upper right says “You rely on children but you won’t have me by your side? You think me incapable?” Bruce responds as he puts on his helmet, “You’re practically a god, Kal-El.” Kal-El says “I’m not a god.” End ID]
Another thing to note in regards to this is that at eighteen, Bruce would be considered a child himself. Marital consent could generally be given starting at fourteen, though boys would not be seen as men until the age of twenty one, which raises the question of why the House of El has a child knight in their employ. In theory, the Robins would function as squires to Bruce, but again, he’s not yet old enough to be a knight himself.
Miscellaneous historical nitpicks:
Knighthood was reserved for men only. Women very likely did secretly serve, as they always have, though it was either unspoken of or unknown to the ruling class. It’s awesome to see Stephanie counted as a Robin, but it’s inaccurate and I’m a massive nerd
Banshees are Irish though have been so thoroughly butchered in pop culture I don’t have the energy to get into it. I do encourage looking into the commodification of Irish tradition, if your interested
Kal-El’s short cape did not become a popular fashion until the Late Medieval Period. I didn’t want to get into fashion history though because at the end of the say this is a DC comic
The prophecy dubbing the House of El to be demons is more accurate to how they would be received than as “gods” as the narrative says
How the hell did they build that castle
The Pullman Inn shows an image of a distinctly post-medieval carriage
I can;t find evidence to suggest medieval people understood brain injury
Ollie honey please get sleeves
Despite everything, I did genuinely enjoy this comic. It’s interesting to see these characters in a pseudo-historical setting and I do look forward to seeing how it expands on the ideas it established here, but as a history nerd I wish more attention was paid to this kind of detail. I find it distracting and a disservice to the potential of the narrative. If only someone other than Tom Taylor was writing it.
Sources
High Middle Ages
Mapping the Spread of Mounted Warfare
The invention of satanic witchcraft by medieval authorities was initially met with skepticism
Everyday Magic in the Middle Ages
In medieval England magic was a service industry used by rich and poor alike
Courtly Magic in the Middle Ages
How to Become a Medieval Knight
Medieval Knight
WRITERLY — Fantasy Guide to Court Etiquette
Manners, Customs, and Dress During the Middle Ages, and During the Renaissance Period, by Paul Lacroix
"if everyone around you is an asshole you might be the asshole" doesn't apply to high school btw, where unless you're popular everyone is in fact an asshole
