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.


And its Rider was Death, and Hell followed with Him   December 13, 2005
 10 out of 12 found this review helpful

Why the Hell don't our superheroes have the decency---you know, once they've saved the world and all---to get the Blessed Christ out of the way?

To let us live out our little lives, brightened by our transient baubles---the wild-eyed wonder of your little boy on his first birthday, the gasp of a new lover wrestling in the bedclothes as the hour presses well past midnight, a decisive office skirmish---to let us slip from their Shadows?

To be a Man is hard enough: to be a Man in the presence of the Gods is pure torture.

In Frank Miller's brilliant, searing, art-as-napalm "Batman: the Dark Knight Returns", our heroes have done exactly that. They have relegated themselves to the sidelines---in the case of Gotham's great detective, spending time with old friends---Commissioner Gordon, Alfred the Butler---and as for Kal-El---well, the Man of Steel is using those death-ray eyes in the shadows, fighting the Red Menace for King and Country. Or something like that.

The world has gone to Hell.

No, really: gangs of feral youth roam the wildlands of Gotham's streets and broadways and fairparks, looking for fresh meat to slice and dice: they shave off their hair, leaving spiky little machiolations in pink and red and blue and green like the crenellations of a medieval fort. Oh, and they're all about rape, and pillage, and loot, and burn, and tear. Slice and Dice, even: and if need be, they can back up their carnage with military-class weaponry.

The rule the streets. They exist only to eat, and destroy, and maim, and kill.

And as for the Detective? He's an old man, friends: he's got a weak ticker. He eats well: he drinks even better. It has been one helluva long time since he donned those tights and strapped himself up with the tools of the trade: gas-boosted grapnels, and flechette rounds, and hunting rifles modded up to the hilt with armor-piercing incendiary rounds---to say nothing of the Batmobile.

It has been a long time: and truth be told, it's a Rough, Violent Age. You could say, old Hoss, that it is a time that desperately needs its heroes.

Even---hell, especially---if those heroes are now old men, grappling with aches and pains and weak tickers.

Frank Miller delivers. Miller, way back in the eighties, conjured up this powerful little witch's brew of chiaroscuro nightmare and high-octane vigilante epic into what became the midwife for the return of The Batman: all of the movies are pale reflections of this gloriously drawn, meticulously crafted little brass-knuckle-crack to the n*ts---echoing the darkness, the grit, the brutality, the plasmic technology, of a deranged Lawman confronting a world gone completely mad.

Like Caesar's Gaul, Miller's Dark Knight is divided into three parts: The Batman versus the Gangs; Bats versus Superman; and Bats versus the Joker, literally raised from living death in Arkham by the exploits of his old foe.

It's all delicious stuff in a world hungry for heroes, but hungry that they do their job---and then go the Hell away. A Gotham on the brink of chaos and murder and carnage, a fitting member of world on the verge of nuclear oblivion. And plus, what the H*ll, it's got the origin story of the puckish, punkish Carrie Kelley, the new Robin, yin to The Batman's yang.

Pungent, acrid, epic, and totally no BS: "The Dark Knight Returns" is required reading.

JSG


One of the Greatest Stories of Our Time   June 26, 1996
 9 out of 11 found this review helpful

This is a must have for any fan of Batman, and a page turner for those who like a deep moving story. This is a must get. Here is the review of thebook I had in my Web-Zine Mantle of the Bat (http://www.cire.com/batman): The Dark Knight Returns is an elseworld story that takes place ten years after Batman retires. Now at age 55, Bruce Wayne makes a decision to put back on the mantle of the bat to save Gotham once more. Unfortunately, his comeback is not a welcome one, as the media and the government both want him to retire permanently. Batman must go toe to toe with four of his toughest opponents. He battles a physically, but not mentally, cured Harvey Dent, a gang leader that would give Bane a run for his money, an even more deadly Joker, and has a battle royale with Superman. In between these battles he must train a new Robin, dodge the police and the new police commissioner, contemplate the meaning of his life, and survive a nuclear holocaust. Frank Miller did a phenomenal job when he wrote this four book series. Too often comics ignore the real world to make an environment where the hero is adored. In Frank Miller's world, the hero is scrutinized by the media, and classified as a menace to society by police. The art on this book is also impressive, the world of the Dark Knight is truly dark. Another great feature is the coloring. No more solid backgrounds and the faces of characters have realistic shading. I would highly suggest that any fan of Batman should pick this book up. Despite the fact that it is ten years old, it shows no signs of aging. In fact, it is more true to life now then the day it was written. Credits: Frank Miller - Story, Pencils, and Inks Klaus Janson - Inks Lynn Varley - Colors and Visual Effects John Costanza- Letters Alan Moore - Intoduction


Possibly the greatest comics story ever told   August 12, 2002
 9 out of 11 found this review helpful

If your one of those people who think comic books are only kid stuff than you should really pick this up. Frank Miller's "Dark Knight Returns" may well be the greatest storyline in the history of comics, and those who have never read it will see Batman in a very new light. The storyline picks up 10 years after Batman's retirement. Bruce Wayne, now in his fifties, watches the world around him continue to be filled with social decay. Eventually we see how obsessive he was with crime fighting begin to come back to him, and soon enough he dons the cape and cowl and Batman makes his return. But this isn't the Batman that most people will expect to see, we see him battle a gang called The Mutants with no holding back, and he deals with the return of a now "rehabilitated" Two-Face, and the return of his all time arch nemesis The Joker. The graphic novel is shockingly violent and disturbing at some points, Miller's gritty art really gives the book life (although I will admit I was turned off by the artwork the first time I read it, but I realized it is like this for a reason and it grew on me), and the climatic final battle between Batman and Superman has to be seen to be believed. Do yourself a favor, if you even remotely like Batman and have never read this, than buy it as soon as you can, "The Dark Knight Returns" is a stunning landmark in the Batman saga, as well as it is a landmark in comics history.