All art by Frank Miller, Klaus Janson and Lynn Varley
Unbelievably, for me at least, it is 40 years since the publication of “The Dark Knight Returns”, the seminal and ground breaking Frank Miller / Klaus Janson / Lynn Varley 4 issue prestige format series that redefined Batman for the 80s and 90s.
The wider public perception of Batman before this story was of the Adam West / Burt Ward campiness of the 60s TV series. In truth the strip had moved back to its dark knight detective roots during that period but Miller Janson and Varley’s tour de force made the character more relevant to an 80s audience, grittier and politically bang up to date. Alongside Alan Moore and Dave Gibbons’ classic Watchmen, TDKR heralded what should have been a more sophisticated take on superhero comics. They led to the grim and gritty era of the late eighties and early nineties which often missed the point of what Miller, Moore, Gibbons et al were trying to achieve and lacked the nuance and depth of these works.
Miller had already been experimenting with panel layouts and pacing in his classic run on Daredevil, introducing the Ninja clan the Hand (as seen in Spider Man Brand New Day)and had become more experimental on his first long form DC work, the cyberpunk / samurai story – Ronin.
Miller and his collaborators redefined Batman as a tormented obsessed middle aged man, Bruce Wayne had long since retired as Batman, but returns as the Dark Knight following a crime wave in the city where politicians and the police force seem unable to combat the growing lawlessness. Miller uses a clever tv reporting narrative device to discuss the liberal baiting arguments for and against of vigilantism, while demonstrating the power of the media. TDKR rebooted Batman for the 80s, made him bankable again
Miller portrays Bats as a weary, obsessive, barrel chested middle aged man, haunted by the deaths of his parents. Over 4 books (book 1 is TDKR, but it lends it’s name to the collected editions), Batman recruits a new Robin, comes into conflict with other DC heroes, including a Superman now turned government stooge, and has confrontations with some classic villains. Miller and Janson’s art is scratchy and gritty lending the atmosphere for a perfect Bats’ story, topped off with Lynn Varley’s beautiful, subtle and underrated colouring. (see also Elektra Lives Again from Miller, Varley and Marvel / Epic Comics)
Although for this writer certainly not the best Batman story ,that belongs to another Miller written tale, Batman Year One, it has some unforgettable images of the Dark Knight Detective
Sadly, DC and Miller decided that it warranted a belated sequel, The Dark Knight Strikes Again, and a third part, Dark Knight : The Master Race , where Miller is aided by Brian Azzarello and a slew of top draw artists. Though readable, they just an example of the law of diminishing returns.
The current Batman is less gritty than TDKR and the latter is definitely a product of its time, with multitudes of 80s references and cameos from famous people from that era. But the story it is incredibly influential, not just within comics. The effect that this story had on the Batman “franchise” as a whole cannot be underestimated. No TDKR, no 1989 Tim Burton film, no Chris Nolan trilogy, Zack Snyder took complete scenes from TKDR for the Superman / Batman Dawn of Justice. TKDR’s influence on the first Robocop film is blatant. Indeed, Miller went on to script Robocop 2 and 3, but the least said about them the better.
But also, in gaming, no Batman : Arkham Asylum and it’s sequels, some of the most highly acclaimed superhero tie-ins of the last 20 years. None of the iterations of Lego Batman or any of this cool merchandising.
If you’re even the slightest bit interested in Batman, do yourself a favour and if you haven’t already, read The Dark Knight Returns. You won’t regret it.
