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Batman Hardcover – November 1, 2002
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- Print length224 pages
- LanguageEnglish
- PublisherDc Comics
- Publication dateNovember 1, 2002
- Grade level7 - 9
- Dimensions7 x 0.5 x 10.5 inches
- ISBN-10156389341X
- ISBN-13978-1563893414
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Product details
- Publisher : Dc Comics; Gph edition (November 1, 2002)
- Language : English
- Hardcover : 224 pages
- ISBN-10 : 156389341X
- ISBN-13 : 978-1563893414
- Grade level : 7 - 9
- Item Weight : 1.25 pounds
- Dimensions : 7 x 0.5 x 10.5 inches
- Best Sellers Rank: #2,512,802 in Books (See Top 100 in Books)
- #5,065 in DC Comics & Graphic Novels
- #13,068 in Teen & Young Adult Action & Adventure
- #270,703 in Science Fiction & Fantasy (Books)
- Customer Reviews:
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About the author
Frank Miller is one of the seminal creative talents who sparked the current gigantic sub-industry of motion pictures featuring comic book- initiated product. A sub-industry which had become a super-industry. This most profitable aspect of this millennium’s film production, now producing an annual flow of box office profits in the Billions of dollars, was launched when Frank Miller’s graphic novel re-take on the classic comic book hero, Batman, resulted in an entertainment industry-wide reconsideration of the genre in the deeper and darker vision Miller brought to it.
Miller re-defined the presentation of comic book characters and heroic fiction with his grand-daddy of graphic novels, “The Dark Knight.” This revolutionary work
not only kicked off the series of Batman films based on his redefinition, but a craze for such material that has thrown dozens of such heroes into multiple film franchise heaven. Certainly chief among these has been Miller’s uniquely classical take on superheroic narrative, “300,” and his “Sin City” books, each of which entered motion pictures with historic successes, and each now in Miller's creative phase of achieving its highly-anticipated sequel. Miller’s co-direction of “Sin City” has made him one of the hottest
directors… as well as a guiding creative force…for the new genre. Or one might say “super genre.”
Miller's latest graphic novel, Holy Terror, is his first original graphic novel in ten years. Join The Fixer, a brand new, hard-edged hero as he battles terror in the inaugural release from Legendary Comics.
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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.
There are four parts to this work. The first, also entitled “The Dark Knight Returns” shows the rise of a powerful gang of thugs called “The Mutants.” The way this gang’s leader is drawn makes him look like he truly is an altogether different species, but it’s his filed teeth and his bulky physique that account for his appearance. The main battle is with the “rehabilitated” Harvey Dent (a.k.a. “Two-Face,” an inappropriate moniker as his face has been fixed and his flighty psychiatrist ensures the community that Dent’s mind is fixed as well.) We see Bruce Wayne’s concern about the deteriorating state of Gotham and his eventual return to crime fighting, which is instigated by a freakish bat flying through his [closed] window. Wayne takes the bat as a sign from the universe that the Batman is indeed needed. Dent engages in a terroristic plot which the Dark Knight must try to foil.
As was the case in “Batman: Year One,” the story of Commissioner Gordon plays out in parallel with that of Bruce Wayne / Batman. However, in the third book, Gordon has retired and it’s the new Commissioner, Ellen Yendel, who shares the spotlight. Yendel, unlike Gordon, promptly issues an arrest warrant for Batman.
Book Two is called, “The Dark Knight Triumphant,” and it’s in this episode that Batman comes up against the leader of the Mutants. As in “Batman: Year One”, Batman arrives to the fight as an underdog. However, as would be expected, the nature of his underdog status is completely different. In “Year One,” Batman is a supreme physical specimen, but is green to crime fighting. In “The Dark Knight Returns” we see a battle-hardened veteran Batman who is a spry geriatric, not up to fighting young, mutant thugs. However, as with the former comic, the Dark Knight does redeem himself. Many of the Mutants, being fair-weather friends to their leader, form a cult of Batman in the wake of the Dark Knight’s victory over their former boss.
Besides broadening the readership demographic to retirement community dwellers, another new demographic is appealed to with Carrie Kelley, the new Robin. There are references early in the book to the profound effect that the death of Jason Todd had on Bruce Wayne. Be that as it may, Batman seems quick to bring this young girl into harm’s way given the lingering wound of Jason Todd.
Book Three, “Hunt the Dark Knight,” pits Batman against his ultimate nemesis, the Joker—who like Dent—has been sprung in no small part due to his lunatic psychiatrist. Miller continues the popular Batman comic disdain for psychiatrists, who are portrayed as a small nudge away from becoming bat-shit crazy (pun intended.) While the battle against the Joker provides this chapter’s crime fight, Commissioner Yendel’s war on Batman is a major part of the storyline. We also discover that time has not been as kind to Selina Kyle as it was to the men of this series. (i.e. Gordon is old but distinguished, and Batman has pretty much the same preternatural physique that he did as the young batman.)
“The Dark Knight Falls” is the last section, and it’s the most famous for the battle between Batman and Superman. Earlier in the book there’s a foreshadowing call from Clark Kent to let Batman know that the Superman will be out of town for a while. Appropriate to the 1986 issue date of this comic, a Cold War crisis is the event consuming Superman’s time. These Cold War tensions result in a nuclear missile launch that Superman diverts, but the Man of Steel hasn’t read up on the Electro-Magnetic Pulse (EMP) effect. [Incidentally, Miller didn’t read up on the use of nuclear weapons as an EMP either, or—at least—he gets it completely wrong. Perhaps, he just figured that his readers wouldn’t know the difference--and he’s probably right. At any rate, I’m not deducting stars for bad science.] The power outage caused by the EMP results in looting and societal chaos. Batman quells this with the help of the cult of Batman mentioned previously. However, this doesn’t go over smoothly with some, which results in Superman’s invasion of Batman’s Gotham turf, and the ultimate battle.
I enjoyed this work more than “Batman: Year One” in part owing to the serious enemies that the Dark Knight must vanquish. I’d agree with the common view that this is a must-read for those interested in the canon of the Caped Crusader.
Top reviews from other countries
I quick recap of the story. Bruce is no longer Batman. There has been no Batman for 10 years. To curb his urges Bruce has become something of an adrenalin junkie study. Gotham has become a darker and more lawless place. On the 10 year anniversary of the last Batman sighting Bruce's subconscious "Batman" fights back telling him Bruce he is just the shell and he is not done with him yet.
Most of what I though was great about the movies holds true to the comic, with a couple of exception. I have to say I prefer the animation of the movies, but I think at the time of the comic and for what is trying to be portrayed it does work. Meaning Batman strikes from the shadow leaving his opponent incapacitated and confused as to what just happened. A couple of the panels like when Batman takes out the pimp in the back of the taxi I it took me a while to see what happened from the art work. Like I said these were surgical strikes and it does put me in the mind of the pimp with a broken hand, thinking my hand is broken what just happened. When Batman decides to show himself the art work reflects that by drawing bigger more detailed pictures of him. The main thing I did not like about the comic was I thought there was too much of the talking heads. The media discussions of Batman, I can understand why this was done e.g. the Arkem psychologist taking an anti-batman stance to sell more of his book and make a name for himself, but I think it was a bit overdone. I mean all together this probably makes up half the contents of the book. The best think about the comic and it major advantage over the movies is the internal dialog Batman has with himself. In the movies they make Batman talk more to explain his methods. Whereas if you look at the comics there are very few speech bubbles while he is Batman and most of these are orders or threats. The rest of them it is Batman analysing everything in his head. I think that is what makes his scarier, (like when a magic trick is explained it is not as impressive), having the unknown factor is what Batman his edge. An example of this is in the second fight with the Mutant Leader, the Leader cannot understand Batman is targeting nerve clusters and showing him shallow cuts in the "just the right" places can be effective. I also like the way he keep thinking lucky with every near miss, and the explanation of why he paints a big bright target on his chest. I also like the way Batman has evolved, he is not above using guns, will kill to protect given no other option, and lacing his smoke bombs with a watered down version of the scarecrows fear gas is genius, not only does he appear in front of his victims, he appears in front of them as their "worst nightmares"!
The others, Commissioner Garden is still Batman's biggest supporter but is facing retirement it is not really until he is gone that Batman man realises how much Garden protected him. Garden is the same tough but fair cop he always was. The Joker is just as evil as ever he comes out of his coma with the return of Batman and makes one last mass murdering run at Gotham. Unlike in the movie the Joker is not a physical match for Batman, but is a master of psychologically pushing his buttons. He knows this is his last chance if you will and he wants to die at the hands of Batman. Superman has become a tool of the establishment. Batman says it is because of Clarks respect for people in authority, but he also says to Clark nobody could force Clark to do something he did not want to do. Strangely Oliver and Clark share the same opinion on Batman he is too loud, he plays things mysterious but a loud kind of mysterious. Clark in his thought also says Batman need to work more in secret like he is force to do. This could be why he does not let anyone see him when he comes to Gotham. Maybe he should do something about his costume if he is trying to keep a low profile. The only thing I do not like it the relationship between Bruce and Alfred. Alfred is still the dutiful servant, but that is what Bruce seem to treat him like in this story a servant, someone to tell what to do and expect it to be done nothing more nothing less. Having said that Alfred does manage to get in some verbal barbs of his own, and though Bruce values his opinion probably more than anyone else's but there is a clear line saying Bruce/Batman is in charge live with it.
I great comic , very detailed excellent as a standalone or as a companion to the movies to fill in extra details. A true classic for Batman fans. Enjoy reading it repeatedly over multiple sittings it is a lot to take in. All good!!!
This is a very thought provoking story which questions heroism and the effect it has on those who witness it. Thematically similar to Moore's 'Watchmen' and the later story that was Cooke's 'New Frontier', there are hints that the Justice League has been forcibly disbanded and only Superman is officially sanctioned by the US Government, even if he is strictly monitored by the Army. Politics, the media and aging also play pivotal roles in the narrative.
'Batman: The Dark Knight Returns' should be read widely and, even if little is known of the DC Universe, the narrative is accessible. The artwork is striking and panelling choices add to the dramatic tension.
The story concerns an aged Bruce Wayne who, after a decade of retirement, returns to crime-fighting as the masked vigilante known as Batman. He faces opposition from much of the Gotham City police force and the US government. Yet, with the aid of the new Robin, he is able to re-establish himself as the Dark Knight and fight for justice.
The story is set in a dystopian society, an alternative reality to our 1980’s. Wayne, having given up being Batman, drifts aimlessly through life as a drunk. Yet, with crime on the rise – and a new group of villains known as mutants stalking the city – so Wayne is inspired to once again become Batman. And as he does so, some major super-villains of the past reappear … first Two-Face and then, in spectacular fashion, the Joker. In dealing with the gangs, the corrupt authorities, and finally the Joker, so the US government decides to take action against Batman … and it sends Superman to stop the Dark Knight. And so we get an all-out battle between these two titans: Batman vs Superman. Of course, the Man of Steel has all his powers … but Batman happens to be someone who prepares for all eventualities.
This is a portrayal of the Dark Knight that exists at the opposite pole of the campy 1960’s TV show. This is a gritty, menacing and serious Batman. And the world he lives in is equally dark and complex. And so Miller presents us with – what was in 1986 – a highly original conception of Batman, which has influenced many of the subsequent interpretations of this fictional character.
This is the trade paperback edition, about 225 pages in length. It comes with limited ‘extras’. Nonetheless, it’s a good read. However, if you want something more deluxe then I recommend the new hardback edition (over 500 pages long, with lots of extra content). Either way, this is an enjoyable graphic novel.
Die Grundprämisse ist eigentlich richtig spannend: Ein gealterter Bruce Wayne, der die Rente nicht mehr aushält und deshalb ein Comeback als Batman gibt. Hier hätte ich im Vorfeld angenommen, dass Batman einfach noch trickreicher vorgehen muss als zu seinen Glanzzeiten, um körperliche Defizite wettzumachen. Stattdessen läuft es dennoch immer wieder auf physische Auseinandersetzungen hinaus, die zeigen sollen, wie sehr Batman an der Grenze der eigenen Belastbarkeit arbeitet.
Der ganze Stil des Comics ist ultragritty, alles halt wahnsinnig düster und deprimierend. Auf mich wirkte das ganze zu gewollt ernst und erwachsen, ein bisschen Humor zur Auflockerung fehlte leider. Im Kontext des mangelnden Humors steht auch der Charakter von Bruce Wayne. Im Prinzip stellt er eine gebrochene Figur dar, die nicht aus der eigenen Haut kann. In der Analyse seines Charakters werden auch moralische Fragen aufgeworfen: Kämpft hier ein von der Gerechtigkeit bessesener Held für das Gute oder ist dieser Kampf quasi nur ein vorgehaltener Schleier, um der eigenen Bestie in sich freien Lauf zu lassen. Diesen Aspekt erachte ich als gelungen.
Ebenfalls im Kontext der ganzen düsteren Wirkung steht der Mangel an sympathischen Figuren, sowohl auf der Helden-, wie auch auf der Schurkenseite. Am ehesten könnte man noch Commisioner Gordon als sympathisch betrachten, möglicherweise noch Alfred. Bruce Wayne hingegen wird hier als komplett rücksichtsloser Unsympath skizziert. Gerade in Hinblick auf die Robin-Thematik, da will ich jetzt aber nicht inhaltlich spoilern. Auch die Antagonisten wirken komplett gebrochen und glanzlos. Das ist alles auch genau so vom Autor intendiert und entfaltet seine Wirkung in der Art und Weise, wie Frank Miller sich das wohl vorgestellt hat. Leider wirkt dadurch eben alles komplett depressiv und sinnlos, was bei mir persönlich keinen Anklang fand. Man könnte fast meinen, dass jede Figur, die auftritt, mit der Zielstellung eingeführt wird, sie soweit wie möglich zu erniedrigen.
Ein weiterer Aspekt, den ich als durchwachsen erachte, war die konstant vorgetragene Gesellschafts- und Medienkritik. Nicht, weil ich den Punkten, die kritisiert werden, zwangsläufig widersprechen würde. Nur ist es leider so, dass Miller in diesen Aspekten für meinen Geschmack einfach zu dick aufträgt, damit es auch jeder schnallt. Beispielhaft sei an dieser Stelle die Vertauschung von Täter- und Opferrolle in der psychologischen Behandlung sowie die Oberflächlichkeit der Medien genannt. Beides im Prinzip gute Punkte, die man auch etwas subtiler und intelligenter hätte vorbringen können.
Unter dem Strich ist "The Dark Knight Returns" sicherlich kein schlechter Comic, stellte für mich aber doch eine ziemliche Enttäuschung dar, gerade in Anbetracht des Kult-Faktors, den er eigentlich inne hat.
Here we meet an aging Bruce Wayne in a world where the line between superhero's and supervillains has been crossed. Still struggling with guilt of the death of Robin he finds himself drawn back to the bat.
His moral code and methods are even darker and less clear, and his re-emergence reawakens the Joker.
The US government ends up sending Superman to confront Batman in an almighty battle.
The writing and artwork is raw and frenetic and this is one graphic novel that every adult batman fan should read,