Batman: The Dark Knight Returns

Miller went far beyond the call of duty. The Dark Knight is a success on every level. Firstly it does keep the core elements of the Batman myth intact, with Robin, Alfred the butler, Commissioner Gordon, and the old roster of villains, present yet brilliantly subverted. Secondly the artwork is fantastic--detailed, sometimes claustrophobic, psychotic. Lastly it's a great story: Gotham City is a hell on earth, street gangs roam but there are no heroes. Decay is ubiquitous. Where is a hero to save Gotham? It is 10 years since the last recorded sighting of the Batman. And things have got worse than ever. Bruce Wayne is close to being a broken man but something is keeping him sane: the need to see change and the belief that he can orchestrate some of that change. Batman is back. The Dark Knight has returned. Awesome. --Mark Thwaite

Product Description
If any comic has a claim to have truly reinvigorated the genre, then The Dark Knight Returns by Frank Miller--known also for his excellent Sin City series and his superb rendering of the blind superhero Daredevil--is probably the top contender. Batman represented all that was wrong in comics and Miller set himself a tough task taking on the camp crusader and turning this laughable, innocuous children's cartoon character into a hero for our times. The great Alan Moore (V for Vendetta, Swamp Thing, the arguably peerless Watchmen) argued that only someone of Miller's stature could have done this. Batman is a character known well beyond the confines of the comic world (as are his retinue) and so reinventing him, while keeping his limiting core essentials intact, was a huge task.Miller went far beyond the call of duty. The Dark Knight is a success on every level. Firstly it does keep the core elements of the Batman myth intact, with Robin, Alfred the butler, Commissioner Gordon, and the old roster of villains, present yet brilliantly subverted. Secondly the artwork is fantastic--detailed, sometimes claustrophobic, psychotic. Lastly it's a great story: Gotham City is a hell on earth, street gangs roam but there are no heroes. Decay is ubiquitous. Where is a hero to save Gotham? It is 10 years since the last recorded sighting of the Batman. And things have got worse than ever. Bruce Wayne is close to being a broken man but something is keeping him sane: the need to see change and the belief that he can orchestrate some of that change. Batman is back. The Dark Knight has returned. Awesome. --Mark Thwaite

Except Miller did it -- boy, did he ever. Dark Knight was and is one of the most powerful pieces of comic art it's ever been my privelege to own. From the Miller/Janson team's gritty illustrative style, expertly suited to the material, to Lynn Varley's exquisite sense of color and mood, to Miller's expertly-written story, Dark Knight is everything a graphic novel should be.

Take as just one for-instance the story: It's a brilliant reimagining and reinterpretation of the entire Batman mythos, bridging the gap between every era of the Masked Manhunter's long career, from the dark noir of the early days, through the "Boy Scout" period of the forties and fifties, and even a little of the "science fiction" and tv-era Batman (though thankfully not much of either), and on to the modern Darknight Detective period. Miller takes Bruce Wayne into his mid-fifties, retired but still troubled in his heart, and sets up a chain of circumstances which force Batman's emergence from that retirement, even as Jim Gordon is being forced out of his job, Two-Face is supposedly "cured" by self-aggrandizing doctors, and the deadly Mutant gang, a "purer breed" of criminal, practically owns the streets of Gotham. Miller ties all of these disparate elements together in unique ways, and weaves from them a story so enthralling, and so full of mythical echoes, that few have been able to equal it, even today.

As one example of the mythical resonances in Dark Knight, have a look at Miller's dramatic depiction of Batman's old pal Superman. Here the "big blue schoolboy" (as one of the characters hilariously describes him) is shown as Jerry Siegel and Joe Schuster always meant him to be: an earthbound god among mortals. One panel in particular is key to this image: Superman holding the tank up over his head (with the memorable caption, "We must not remind them that giants walk the Earth."), a very dramatic (and very deliberate) redrawing of the cover of Action Comics #1. The panel is meant to remind us of the basic difference between DC's two primary exponents: Batman is a mere costumed crimefighter, but Superman is, well, Super, man! From Part 3 on, the conflict between the two characters seems inevitable, and promises to be spectacular.

Then there is the Batman himself -- and here Miller has done something so astounding it beggars description. For example, consider Bruce Wayne's intensely-rendered flashback to his parents' murder, done in a series of still-frame-like panels, with no dialogue, narration or sound effects, just the horrifying images: a finger tightening on a trigger, Thomas Wayne's huge hand falling away from his shocked son, the strand of pearls splitting apart as the gun is fired again -- this is a dark sort of visual poetry, so immediate and visceral it makes you understand at last just why Bruce Wayne was so damaged in those fleeting, horrifying moments. Similarly, the HUGE bat crashing through Bruce's window (symbolizing the futility of resisting destiny, the second coming of Batman, the spirit of "the finest warrior, the purest survivor" and about a half-dozen other things), takes Bob Kane's original idea and expands it once more into the realm of myth -- this is not just a bat but a Bat, the soul and spirit of someting bigger than Bruce Wayne, Gotham City, or even Superman himself. This is the stuff, as Alan Moore once noted, of legend.

There's so much else in this rich tale, from brilliant caricatures of David Letterman, Ronald Reagan, and Dr. Ruth (not to mention a totally undeserved slam at Harlan Ellison -- "eating our babies for breakfast," indeed!), to Miller's brilliant reimagining of Robin (no longer a boy wonder but a girl wonder!), that 1000 words simply can't shower Dark Knight with enough praise. If you're a Bat-fan, this volume should definitely be in your collection. If not, it will make you see what you've been missing. In any event, what are you sitting around reading this for? You could be reading Dark Knight instead! Waste no more time!


a comic book work unlike any other   August 3, 1998
22 out of 24 found this review helpful

I've been a comic book reader for many years, and to this day I cannot recall another single work of comic book art that is quite so brilliant as Frank Miller's Dark Knight. Certainly Cerebus, Sandman, Cages and From Hell are to be lauded for their genuine genius, but Dark Knight remains my all-time favourite creation. Frank Miller has written a gripping story of tragic heroism and bitter social commentary. His Batman is truly a larger-than-life, tormented hero, brilliantly conceived with his many flaws and perverse obsessions intact. Miller plays with the comic book universe beautifully, realising a world wherein the so-called "super-hero" does exist, and exploring the ramifications of this fact. Batman's final confrontation with Superman at the end of this graphic novel is bar-none the most cunningly conceived battle in comic book history. It is achingly poignant to see the two old warriors confront one another at last: Superman with his compromised good-guy! agenda and Batman with his twisted, demoniac fixation. Batman loathes the figure that Superman has become, while Clark Kent pities the poor, lost soul who has sacrificed his very existence for that which he pursues with a vengeance. "You Bruce, with your obsession..." Miller has created in Dark Knight a vividly real and passionately affecting tale of Heroes and Madmen, riveting from start to finish.


Believe the hype   September 28, 2003
Itamar Katz (Ramat-Gan, Israel)
10 out of 10 found this review helpful

Doubtlessly one of the most talked about comic book storylines of the past twenty years, its reputation is well founded. While material that was as hyped as The Dark Knight Returns is often ultimately disappointing, or seems outdated decades later, every time one reads The Dark Knight Returns he'd be more convinced that this is indeed a perfect piece of modern literature; and comics, American comics most of all, very rarely got this good. The Dark Knight Returns is one of a handful of graphic novels (e.g. Watchmen, The Sandman and Marvels) that achieve the status of genuine and timeless classics.

In the time of its release in the early 80s, The Dark Knight Returns was revolutionary, in every aspect. Frank Miller, already an acclaimed artist for his work on the early issues of Wolverine, already proved himself as a writer in 1984's brilliant and groundbreaking mini-series Ronin, but The Dark Knight Returns in 1986 was his break into the world of mainstream comics, and remains his most important achievement. But while his work on the series was within the world of super-hero comics, and within the financial safety of publishing under the DC Comics banner, Miller took mainstream comics to disturbing new places and super-heroes were never looked at the same way again. Taking inspiration from the groundbreaking work of the Dennis O'neil / Neil Addams team who revolutionized super-hero comics in the late 70s, and from his own former partner Chris Claremont, Miller made super-hero comics darker, more reflective and more mature than was ever made before. For that he took darkest character in the DC Universe, the Caped Crusader himself, and took him 20 years into the future, well into retirement. The new Batman is well into his 50s, sad and tired, and a much rougher kind of hero than he was before. Miller's very modern look on the Dark Knight was disturbing and discomforting to say the least; Dark Knight Returns is not an adventure story, it's a moral examination of his character and the problematic nature of his actions. Never before was Batman judged so harshly by his own author, and it's difficult for the reader to accept it - since, while Batman's actions are here presented as problematic to say the least, if not criminal, but he is also more human and more recognizable than we'd ever seen him before.

But it's not just the view of Batman's character that makes Dark Knight Returns so disturbing - it's the view of the world. Miller's future is dark and bleak, and eerily realistic. He goes to great lengths to create a realistic and convincing world, right down to creating a new slang for the new young generation. Through countless minor characters and little stories, each one rounded and well-constructed by its own right, Frank Miller creates a Gotham City we can know, a Gotham we can relate to. It's a city living in fear, a city that's in the grip of a merciless gang more ruthless and vicious than the criminals Batman faced in his prime. In Bruce Wayne's own words, it's a city that's `given up hope, like the whole world seems to have'. And as the city lies in the shadow of the fear of the Mutants gang, so the world lives in the shadow on nuclear holocaust. It is in the middle of this reality that a real hero is proven. And despite all the doubt and all the misgivings, the Batman presented here is more heroic than he ever was. It takes one kind of hero to fight madmen on a daily basis and thwart their diabolical schemes; it takes quite a different one to face himself and the world and not give up.

Batman isn't the only character who is given fantastic care on The Dark Knight Returns. Commissioner James Gordon, a character who had become much more important and more sophisticated in the last twenty years, is an important part of the story, and his part in it is fascinating, although more thought would be given to him on Miller's second Dark Knight expedition - Batman: Year One in 1988. The Dark Knight Returns also features a young and energetic Robin, who serves the role that Robin should have from the beginning - to provide contrast to the character of the Batman. Interestingly, though, the death of Jason Todd is often referred to, though it was released three years before Jason actually died in the comic continuity - and even then, his death was decided by a readers' poll. Hmm... Alfred Pennyworth, of course, completes the classic team. As for villains to battle - Two of Batman's most classic enemies, The Joker and Two-Face, return on The Dark Knight Returns - mainly as subplots, and to serve as reflections for Batman himself. This story is not about fighting madmen. There is, though, a grand final showdown at the end, in which Batman fights a surprising enemy...

As for the art: Frank Miller's artwork is an acquired taste. So is Lynn Varley's coloring, which is subtle and pale and may seem somewhat outdated to modern readers. Miller's drawing on The Dark Knight Returns is not as impressive and appealing as his work on Sin City, but if you enjoyed his early artwork, especially on Wolverine and Ronin, you'll like this one too. The artwork really is brilliant, if you take the time to see its subtleties. At any rate, on The Dark Knight Returns Miller had the benefit of not only the wonderful coloring of Lynn Varley (who also collaborated on Ronin) but also one of the finest inkers in the world of comics, Mr. Klaus Janson, who contributed to the series beyond words, gave it a lot of its atmosphere and created some of the darkest and most impressive images of Batman and Gotham City. In every possible way, The Dark Knight Returns is a masterpiece. If you like comics, and not just super-hero comics, by all means read it.