Warning: The following contains spoilers for Dark Knights of Steel and Marvel 1602
DC’s Dark Knights of Steel has offered fans many twists on the established narratives of the DC universe, from Superman’s parents surviving to Batman’s new lineage. As writer Tom Taylor’s series continues, however, war looms on the horizon, and perhaps its most important inclusion is how much the moral grayness of the heroes weighs upon the reader. In fact, its historical setting and revisions of canon bring to mind one of the defining Marvel alternate universes, Neil Gaiman’s Marvel 1602.
Marvel 1602 is a 2003 publication imagining the universe’s heroes beginning their careers in 1602, not the mid-20th Century. Andy Kubert’s art portrays a dark and grimy London, a gothic Latveria, and a bright and wild America. Since this series sets Marvel’s universe long before the industrial revolution, many of the story beats echo those of Dark Knights of Steel.
Given Marvel 1602‘s status as an exemplary text in comics history, comparing Dark Knights of Steel against it seems only fitting. The art, plot, and characters are a fan focus in new universes, and their structure can show the strength of the spinoff.
Marvel 1602 and Dark Knights of Steel’s Evocative Visual Storytelling
The art of Marvel 1602 leans into the atmospheric intentions of the scene. Mysterious figures are in shadow, and heroes are lit according to their boldness. Matt Murdock, a blind bard in this universe, stands out from other patrons at a tavern due not just to his personality and Todd Klein’s lettering, but because his bold character takes up as much of the panel as possible.
All of this attention to atmosphere is not as significant as the overall style itself, however. The panels appear inspired by woodcuts and lithographs of the era; large, straight lines for shadows and softened edges evoke the style of the technologies, which defined images at the time the narrative is set. This careful limitation of essentially straight lines or circles causes a unique art style to shine through. Even the dinosaurs of the series feel at once unique from other appearances in comic media and at home in Kubert’s world.
Dark Knights of Steel takes pains to evoke the art of medieval Europe, but does so less directly than Marvel 1602. Yasmine Putri’s art appears to take more inspiration from the colors present in medieval paintings, with a heavy emphasis on gold and sharp, dark contrast. Putri’s art direction also focuses more on the page as a whole, overlapping images or separating them to convey a target emotion or sensation in the reader. This is also evocative of medieval art, especially triptychs: a set of three paintings considered whole as a single image or as any of its three parts. Given that triptychs often display motion or tell a story, the transfer to comic books is borderline obvious. Putri putting this to use is stunningly simple and highly effective.
Marvel 1602 does not suffer from a lack of characters, as nearly every major Marvel player makes an appearance. The story reimagines what would have happened had the Roanoke colony not disappeared, with Steve Rogers traveling through time in his fight against superhero persecution. This causes Marvel heroes to emerge early, and the story ensues as a result.
Marvel 1602 and Dark Knights of Steel: The Twists of Gaiman and Taylor
Gaiman’s story is a masterpiece, weaving in familiar heroes but giving them new roles that put them naturally into orbit with each other. Captain America’s part in the story is especially masterful, as the characters identify him as a Native American who happens to be blonde. Given the other characters are altered versions of themselves, Captain America’s twist of simply being himself is a brilliant subversion of expectations.
The Dark Knights of Steel series is currently ongoing, so the major plot points are limited to the revelation of Batman’s Kryptonian parentage and the death of his father. Zala Jor-El, Superman’s younger sister, kills the royalty of the Kingdom of Storms. These events, both malevolent, paint the characters as a morally grey.
The non-traditional version of Superman in Dark Knights of Steel highlights the effect that being a royal had on him. Instead of a duty-bound protector of rights, he forges ahead like a privileged monarch. These changes in characterization follow in Gaiman’s footsteps to great effect. Since the characters act differently from how fans have seen them, the next beat in the story is as unexpected as the last.
Perhaps the most impactful “character” in Marvel 1602, however, and where Gaiman and Kubert shine brightest, is the story’s setting. Marvel 1602 operates in the Roanoke colony and London, with an appearance by Latveria. Dark Knights of Steel, on the other hand, is set in The Kingdom of Storms, Themyscira, and the lands surrounding The Castle El. Even though this is intended to bring out the fantasy setting, these kingdoms are, as yet, comparatively not yet as fleshed out.
This is partially an apparently purposeful action. The heroes of DC tend to operate out of fictional cities, whereas Marvel’s 616 is set in the real world. Gotham feels alive with crime and gothic impressionism, and the grand splendor of Metropolis, with the golden dome of the Daily Planet, are nearly as recognizable as the skyline of New York or Los Angeles. However, the stories set in these places make them feel alive.
In 1602, the characters directly interact with real historical figures. Captain America’s actions are directly related to Roanoke’s historical importance. The minute changes in every location show the care taken to reconstruct the locations. The most detailed place as of Dark Knights of Steel #3 has been the dungeon beneath Castle El, which fleetingly shows familiar magical DC characters.
As Dark Knights of Steel finishes its run, further comparisons to Marvel 1602 will – and should – be made. Among the art, the story and the setting, the two stories are more similar than they may appear at first blush. Gaiman’s masterwork may serve as greater inspiration should Dark Knights of Steel have spin-offs. Ultimately, though, both series shine in their own unique way, and the comics community is richer for their imaginative approaches to subjects decades (and centuries) old.
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