First the reality. The country of France is having serious domestic problems between its immigrant Muslim community and those natural-born, European Frenchmen. Immigrants have been rampaging across the country for several years now. Clashes between police and large groups of rioting Muslim youth have wreaked havoc on the Gallic nation. Violence is all too common — it is woefully common for hundreds of cars to be lit afire in these riots and dozens of arrests to be made. It has the country split and frightened.

It has gotten so bad in France that in some parts of its cities, those parts controlled by marauding gangs of Muslim youths, whites never enter for fear of their lives. Not only that but not even police dare enter these areas. This dangerous situation does not seem anywhere near being solved. In fact, it’s just getting worse.

Now for the fantasy: enter The Batman.

DC Comics recently launched a series called “Batman Incorporated.” Essentially, Bruce Wayne (well-known as Batman’s alter ego to comics fans) is cruising the world setting up a “Batman” for major cities across the globe. These Batman figures, though, will not be vigilantes. They will be sanctioned by whatever local police force is in charge of the area in which the new Batman is operating. In the case of Detective Comics number 12 (Part one) and Batman Annual number 28 (Part two), Bruce Wayne has come to Paris, France to find a “French savior.”

The story reveals to us a cult-like group that is assassinating France’s fringe political figures. The cult’s goal is to cause unrest and riots to be led by the murdered political figure’s followers. This group hypnotizes its members to kill and then to commit suicide so that the cult cannot be discovered.

First a “popular” French union activist “with ties to the French Communist Party” is murdered. Next the leader of a “break-away Neo-Nazi Party” is killed. Then Batman discovers that a “minor diplomat” from Saudi Arabia is targeted. Batman tries to stop the assassination but is too late.

Batman turns to a man that he helped police arrest earlier in part one. When first encountered the young man was dressed in a skin-tight, black costume and sported a face mask. Batman arrested him when this man tried to involve himself in some rioting. Batman didn’t know the young masked man was actually trying to stop the riot but later learns of his good intentions. Consequently the Dark Knight decides to put this man to work to help stop the cult that is assassinating French political figures and causing riots.

In the course of this story Batman, aka Bruce Wayne, decides that this man should become the French representative of Batman Incorporated. As Wayne styles the man, he’ll be the “French savior.” He ends up calling himself Nightrunner.

So what’s wrong with all this? Only that it is completely absurd and so badly misleads people from any understanding of why riots are really going on in France that it almost qualifies as a crime itself.

You see, DC Comics has decided that the “French savior,” the French Batman is to be a Muslim immigrant. The character’s name is Bilal Asselah and he is an Algerian Sunni Muslim and an immigrant that is physically fit and adept at gymnastic sport Parkour. Apparently Batman couldn’t find any actual Frenchman to be the “French savior.”

The whole situation is a misreading of what ails France. The truth is, neither communist Union members nor “Neo-Nazi” Parties are causing riots in France. Muslims are. Yet DC Comics is absurdly making a Muslim immigrant the “French savior”? This is PCism at its worst. Not only that but it is pretty condescending to France, too. France is a proud nation. Yet DC Comics has made a foreigner the “French savior.” This will not sit well with many Frenchmen, for sure. Nor should it.

As DC told the tale of this character’s origin, it badly downplays the seriousness of the actual racial tension in France. In essence, all you get from the story is that “they hate us, and we hate them.” There is no attempt at all to explain the real underlying problem. The true cause of the riots and violence between Frenchmen of European stock and that of immigrant Muslim stock is glossed over as if it doesn’t even exist. DC Comics makes the whole problem as simplistic as mere racism as if that is all there is to it ignoring the fact that Islam is the single most important factor in the strife.

Unfortunately, readers of Batman will not be helped to understand what troubles are really besetting France. In this age when Muslim youths are terrorizing the entire country, heck in this age of international Muslim terrorism assaulting the whole world, Batman’s readers will be confused by what is really going on in the world. Through it all DC makes a Muslim in France a hero when French Muslims are at the center of some of the worst violence in the country’s recent memory.

But it isn’t surprising for DC, a comic book company that has a character whose creator based it on “corporate greed.” Nor is it surprising in an industry where tea party members are made the enemy of super heroes. For the character based on “corporate greed” look up DC’s Larfleeze character and see the Marvel comic Captain America issue 602 where The Captain makes Tea Partiers into an enemy to America (Marvel later apologized). For that matter, check out the words of the director of the new 2011 Captain America movie who said that his Captain America won’t be a big “flag waver.” Imagine that. Captain America not being that into America.

These few examples aren’t the only ones, either. Among many other instances, last April the venerable Archie Comics announced they were adding a gay character and back in 2007 movie makers announced that they intended to remove all mentions of the U.S. military from G.I. Joe (they later relented to a degree).

It all adds up to a PCing of the American comic book industry that has been going on for far too long.

There is, obviously, some overlap: Not all art entertains (though some does); not all entertainment is art (though some is).  At bottom, it seems, the difference is one of intent – the artist seeks to connect us with larger meanings, larger truths about the world, about ourselves.  The primary focus of art is therefore to illuminate, with any entertainment had in the process merely a bonus.

The goal of the entertainer, on the other hand, is perhaps less sublime, though no less worthy – to distract, to tickle, to stimulate the fancy.  Entertainment is at bottom diversion, and I say this without a trace of disdain – often it is the quality and quantity of our diversions which makes the difference between a joyful life and a merely bearable one.

One year ago this weekend, a beating black heart pulsed in summer’s midst: The Dark Knight.  It was big-budget, comic book based franchise movie, made for popcorn eaters seeking suitable summer diversion.  And It delivered beyond the filmmakers wildest expectations – the masses were so entertained that they lifted it up into the box office stratosphere in grateful recompense.

And yet…

There was something different about The Dark Knight, something which separated it from its innumerable costume-wearing, crime-fighting brethren.  Something weighty, a gravity which distorted its appearance in interesting ways.  For instance, more of the story of The Dark Knight takes place during the day than in any previous Batman film.  And yet no comic book movie was ever so black and bleak; it seems to take place in an unending polar night, not some sunny Chicago day.

Even common film tropes are distorted by this gravity, and bend backwards in on themselves: Lieutenant James Gordon is shot and killed…only to later reappear, his ‘death’ having been an elaborate head-fake for the benefit the film’s villains…and us.  Lots of movies have this type of false death.  The difference?  We believe Gordon’s death; the film unfolds in such a manner as to make clear that no one is safe, a suspicion confirmed when, only a short while later, Bruce Wayne’s childhood friend, and love interest to both Wayne and Harvey Dent, is blown to bits in front of our eyes.  This combination of reassurance and disaster, of sigh-of-relief then sucker punch, makes clear – there are no rules in this film.

Which, of course, is exactly how the Joker would want it.  The only sensible way to live in this world, the Joker tells a demoralized and disfigured Harvey Dent, is without rules.  Why would this movie, his movie, be any different?

In that same scene, the Joker puts a loaded gun into Harvey’s hand, then puts his own head to the barrel as he confesses to Dent “I’m an agent of chaos.”  It was in that moment that I realized what Chris Nolan was up to: This isn’t the Joker – it’s the Devil.

Heath Ledger’s villain is not the macabre clown who battled Batman on the pages of the D.C. comics for most of the 20th century.  He is the serpent from the Old Testament who has battled God for most of eternity.   The genius of The Dark Knight is to give this eternal adversary a form well suited for our post 9-11 world – the man who blows up buildings and wages war on civilization itself.

Satan as Osama – that is Heath Ledger’s Joker, and the heart of The Dark Knight.  By entangling our most ancient and mythic tormentor with our most recent real life villain, The Dark Knight simultaneously plays on our most primal and frightening suspicions: 1) That anyone can become a villain (wasn’t Lucifer the light-bearing angel most favored by God?  Wasn’t Dent the most virtuous of public servants?), and 2) that the veneer of civilization is paper thin, and no match for even one man with bullets and gasoline and the will to use them.

By daring to step into those pooling shadows, The Dark Knight attains something higher than mere diversion.  Dare I say it?

Art.