Graphic Novels That You Would Like If You Weren't Too Chicken To Read Them - 'The Dark Knight Returns'

In 1986, when Frank Miller (of ‘Sin City’ and ‘300’ fame) was given the task of revamping comics’ most famous detective, Batman’s sales were as flat as a tack. The specter of the campy ‘60s TV show still hung overhead, and edgier, more modern heroes such as the X-Men had usurped the Caped Crusader’s place in terms of both relevance and popularity. It was up to Miller to take the Batman back to his chilling roots, and he did so, paradoxically, by taking the character forward in time, making the Batman even older than his readers and the enemies he faced. In the process, Miller created the most influential graphic novel of the past 30 years – one that, along with the similarly lauded ‘Watchmen’ (also appearing in ’86), inspired artists and filmmakers alike to tear away the baggage that surrounded their favourite heroes and rebuild them as they saw fit.



It has been ten years since the Batman retired, and Gotham has become overrun by vicious street gangs. They are, as Batman’s alter-ego Bruce Wayne notes, a ‘purer breed’ of criminal than the man who killed his parents – unrepentant of their crimes, and only looking out for the next big rush. The continual stream of violence eventually forces Batman out of retirement, and he returns a darker, more brutal crimefighter than the one we are used to seeing, sweeping through Gotham’s underworld like a man possessed. We see far more disturbing sides to old enemies Two-Face and the Joker, and discover that the Batman-Superman rivalry is not anywhere near as friendly at it seems. And a new, 13 year-old female Robin pops up, a new soldier in the Batman’s war.

In contrast to ‘Watchmen’ which was meticulously planned down to the last panel, ‘DKR’ reads like a jumble of ideas that Miller is just skillful enough to keep from collapsing into a mess. The pacing of the story is relentless, with Miller making continual use of television screens to move events forward as well as to explore the milieu surrounding Batman. But Miller is careful to intersperse the action with full-page shots of both Batman and Superman, giving these icons the space they need to prevent them being swallowed up by the dystopia that he has created. Readers that are used to having all of the details set out before them may find Miller’s storytelling techniques a bit vague, but there is enough there to satisfy you if you’re willing to follow the clues.



As with the recent ‘Dark Knight’ movie, ‘DKR’ explores both the need for a Batman and the dangers of him. On one hand, it seems that Batman is simply adding to the violence in Gotham City. He has lost almost all compunction when it comes to his war on crime – he blasts his way through enemies with his modified Batmobile (now essentially a Bat-tank), he breaks their arms and legs with the object of striking fear into their fraternity, and in his final showdown with the Joker, he is unhesitant about putting a Bat-a-rang straight through the villain’s eye. A vigilante group – the Sons of Batman – spring up in his wake, using much the same methods and little of the judgment. Other crimes, rightly or wrongly, become attributed to the Batman’s return, the most spectacular being the Joker’s awakening from a catatonic state to go on a mass murder spree. However, Batman manages to encourage heroism as well, inspiring the new Robin to take up the cape and boots and acting as her mentor. And when the Russians begin to rain down bombs, it is Batman, not Superman, who has the preparedness to deal with it, and restore a semblance of order to Gotham.




Those who have only seen ‘The Dark Knight’ movie may think they have seen the best and the worst that Batman and the Joker have to offer. While that movie was a fine effort, in the end, it tones down the madness that is heaped upon Gotham, in the process doing much of Batman’s work for him. ‘DKR’ is a more complex, more intense achievement, and one that fans of ‘The Dark Knight’ movie, if they have the stomach for it, would be well advised to seek out. After reading it, you’re guaranteed never to think of Adam West as Batman again.