Batman: the Dark Knight Returns pt 3

It's been a few weeks. But after some technical glitches, I finally made it onto the Legion of Dudes to help them discuss book 3 of Frank Miller's seminal work - Batman: the Dark Knight Returns. The link to the podcast can be found here.

And below are the notes I had for the episode:

- The voice-over in these first four panels perfectly gets across the character of Superman and of Batman. Simple and effective use of language. Miller is very good at boiling down the essence of these legendary characters.
He also has yet to show Superman in panel, giving us his POV in these shots, letting the image build in reader’s minds, making him larger than life, similar to how he’s treated Batman in the book as well.

- PAGE 3: Again, Miller utilizes the voice-over to quickly give readers a rundown of where Batman is at this point in his career.

- PAGE 4: Nice shout-out to Corto Maltese, the series by Hugo Pratt

- PAGES 5-8: Miller balances things well in these pages, introducing Superman (who has also not been seen for some years, apparently) through the new stories, which continues the back and forth of perspectives (the “acid” newsstand operator and the conservative advertising agent) while moving the story forward and exhibiting the atmosphere of the city through the back and forth of the newscasters (the one reciting the Superman mantra while the other warning her off that).
*And the way Miller evokes Superman as a streak of light, makes one think of a heavenly being, one that’s above us all, our savior, which is how he is perceived – a perception that Bruce doesn’t buy into and believes is a danger.

- The Soviet/U.S. tensions over the Corto Maltese incident mirrored the real-life tensions in the world at the time.

- PAGE 10: What a SPLASH page. My favorite of the series.

- PAGE 13: Thanks to the age lines Miller has given Joker, and Miller’s art style, this is one #$%^ing creepy Joker.

- PAGE 14: Our first look at Clark Kent, but still no Superman.
*Miller’s costuming, the use of cowboy boots, adds to the link he wants to give between Superman and the United States.
*And again, his voice-over perfectly captures the feelings Bruce has toward Clark

- PAGE 15: Reagan’s quote: “We’ve got God on our side . . . or the next best thing, anyway,” is very much like the Watchmen line: “Superman exists, and he’s American,” which we discovered in the backmatter was a misquote. It should have been, “God exists, and he’s American.”

- PAGE 16: Very cool we find out what happened to the other heroes, though at the time I first read this, I had no idea who Diana or Hal were.

- PAGES 18-25: “It’s been twenty years since I had to fight cops.” Again, the voice-overs are concise but tell us so much.
In this fight with the cops, we see again that Batman is not the Batman we know. He is old. He can’t manage against such odds. He needs Robin. By having this new Robin, Miller has given himself a natural way to get Batman out of the jams he puts himself in. It works so well.

- PAGE 26: Finally, SUPERMAN

- PAGE 29: I love how Batman is doing the Sherlock Holmes thing – dressing up in costume to get the information he needs. Very cool, and not done nearly enough in his regular series.

- PAGE 38: Another brilliant splash page. And the few lines on Batman’s face and the way he draws his teeth (all gritted) really shows that he’s old and having to work hard to keep doing what he is doing. Miller is complementing the story he created with his art, giving us a bigger, older Batman with his linework.

- THE FINAL BATMAN/JOKER BATTLE: It’s the little moments that make this fight shine:

o Joker’s dialogue: “Out of your mind –” & “This is too weird.” showcase that this is a different kind of fight for these two.

o Batman telling the boy to “watch his language”

- The Batman says it will all end tonight, implying he will kill Joker. In the end, he paralyzes the Joker, and the Joker finishes himself off, knowing that Batman will be pinned for his murder when he actually committed suicide. BUT:

- Did Batman not go through with it, or would he have if given the chance by the Joker? Did he lose his nerve?

Enjoy,
chris

Batman: the Dark Knight Returns pt 2

So, the Legion of Dudes released their second episode examining the Dark Knight Returns, analyzing - appropriately - the second issue of this landmark series. To listen to or download the episode check here.

and below, you'll find my notes for this same issue. I'll be guesting on the third episode and am really anxious to discuss this series with the Dudes. Hopefully, I won't clam up like I did my previous time I was on with these guys.

Enjoy,
chris

CHAPTER II

- ** the 16-panel grid Miller uses is similar to the 9-grid from Watchmen. It allows him to pace the story very specifically, gives him the opportunity to create splash pages that MEAN SOMETHING, plus using the 16-grid in this story gives it a claustrophobic feel, which fits perfectly to the type of story and to the thematic elements of Bruce Wayne’s journey in Dark Knight, in that one could interpret that he’s feeling claustrophobic from being only Bruce Wayne, unable to get “out of his box” and follow his natural instinct, which is to be Batman and take care of his city.
-
- Lynn Varley’s coloring showcases this is not a typical comic story. The opening page, is all grays as Jim Gordon thinks about the past, wades through it, seeing it in every corner of the city, but when the present interrupts, there’s a small burst of color from the visor of the Mutant gang member.
- Is this the first mention of Sarah Essen (though we might not have known that at the time)

- That opening page also makes for a nice contrast when we first see Carrie in the Robin costume. The red really pops because of this set up with the coloring.

- PAGE 3: “harmful influence on the children of Gotham,” which has been a cry from fans examining the Batman & Robin dynamic over the years.

- PAGE 8: “Should’ve gotten out of the way, Spot –”
Batman crashing through the wall – Miller is cementing the “legend” of Batman with this book. The way he was re-introduced in the first issue (glimpses) and the way he got Harvey at the end of that issue, and now his one-man war on crime and the way he does it, it’s all about creating a LEGEND.

- PAGE 10: I like how Chuck Brick, the politician has the exact same look in every panel, just like actual politicians

- PAGE 11: This interrogation scene, where the panels are black, that was brilliant. I remember being blown away by that when I first read it – punctuated by “the scream alone was worth it,” on the following page. Hard core Batman.

- PAGE 15: Miller’s storytelling is deft in many places, particularly in the two panels where the newscaster tells of the suicide of General Briggs. In that second panel we get the reason he sold the weapons to the Mutant Gang (in order to pay for a rare medical treatment for his wife, which had been denied by his insurance company), which is also a similar motivation used in Daredevil: Born Again, for the honest cop who helps frame Matt Murdock.

- The attack on the Mutant Gang
- Love the Batmobile
- Man, like Watchmen, I feel the pain from this fight, and I worried about how Batman was going to come out of this. Is this the first time we’ve seen him with a VERY REAL CHANCE OF DYING???

- PAGE 28: Again, Miller introduces a major hero character – Superman – without actually showing the reader. We get just a glimpse. But it’s well done, the way in which the fluttering American flag morphs into Superman’s S-shield, symbolizing that Superman IS America.

- I like all the vignettes of people inspired by Batman. They’re all distinct. I also appreciate the irony Miller infuses this section with when the one that is successful (the shop owner stopping a mugging by a mutant gang member) does not make the news, since it wasn’t violent enough (like the porn theater gunman and the former boxer dressing up in a batsuit)

- The second fight with the Mutant Gang Leader is where we again see the methodical Batman (his initial defeat being the impulsive Bruce Wayne from the opening of the story). The internal monologue shows us his planning, while again exhibiting his age in his assessment of the situation, allowing the audience to relate to Batman.

- AND, the manner in which Batman goes about setting up the fight – asking Gordon to release the Mutant Leader, so he could come right into his trap – is Miller once more cementing the “legendary” status of Batman

Batman: the Dark Knight Returns pt 1

Over at the Legion of Dudes podcast, the dudes are stripping down Frank Miller's seminal work (along with Klaus Janson and Lynn Varley) of an aging Bruce Wayne and his return to crime fighting as Batman, after 10 years in retirement. They will be doing an issue by issue analysis/discussion of the book, which is something I am really looking forward to. The first part can be found here.

I've also begun re-reading this book again, and here are some of my scattered thoughts on the first issue.

- Other than some scattered issues (400, two parts of Year One, the Millennium crossover) this was probably my first Batman comic I ever read.

- The opening pages really set the scene – Lynn Varley’s muted colors, the claustrophobia of the 16-panel grid Miller uses, the smoke and haze he draws across Gotham, it all sets the mood, a feeling of things having moved on, things being bleak.
And Jim Gordon and Bruce Wayne both look old. The lines on their face; these guys have been through a lot.

- PAGE 7: “Arkham Home for the emotionally troubled,” not criminally insane

- PAGE 9: When Bruce Wayne comments that, “we must believe in Harvey Dent. We must believe that our private demons can be defeated . . .” he is talking about himself and about trying to keep his urge to be Batman at bay

- It’s ironic that Jason Todd’s death was the impetus for Batman’s retirement, when DKR was created before “A Death in the Family.”

- Is it significant that Harvey Dent’s psychiatrist has a “Hitler” mustache? (Dr. Wolper did release Harvey Dent/Two-Face back into the world)

- PAGE 15: In Miller’s recreation of the death of Thomas and Martha Wayne, The panels where Bruce’s father dies and the emotion on young Bruce’s face is perfect. Miller really captures the moment here, and the utilization of the 16-grid works very well in showing this moment without any dialogue.

- PAGE 20-25: The way Miller reintroduces Batman, having him come from the shadows, only showing pieces (a hand, a foot, a bit of cape) is brilliant. It enhances the myth that is Batman, his wish to instill fear in the hearts of the criminals. And then on page 26, that’s how to use a splash page. Miller built up the anticipation with the 16-grid on the previous six pages, using small panels to create a frenetic pace, and then BAM! The Batman is in our face on that big splash. Brilliant.
** Interesting that Batman uses the phrase that he’s “born again,” considering Miller’s seminal work for Marvel and these both were coming out at roughly the same time.

- The voice-over by Batman as he takes out the bank robbers, really makes him a totally new character. He’s a bad-ass, and Miller taps into that feeling in all of us of wanting to be able to balance things, to make things right. These robbers shouldn’t be getting away and shouldn’t have the opportunity to do it again. Batman takes care of them in a way the legal system can’t.
Miller also showcases Batman’s intelligence as he lets the final guy lose his cool, waits for him to come closer before acting. Methodical and smart.

- PAGE 32: both sides of the coin are scarred. A classic example of letting the art tell the story.

- PAGE 33: The resurgence of the common man’s will that Lana (Lang?) speaks of on television with Batman’s reappearance is compounded by Batman's reappearance giving resurgence to the Joker’s will to live as evidenced in these panels.

- PAGE 40: Even though Miller is making Batman larger than life (with his return despite being sixty), he also grounds him, makes him very human (the voice-over on this page where he shifts his legs to stop them cramping, or the pain crossing his back as he climbs “it used to be easier.” On the next page) and makes readers relate to him even more because of this. It pulls the audience in, great storytelling.

- PAGE 42, bottom panel: that image with the huge cape flowing as Batman aims the rifle is priceless, like the way Berni Wrightson drew Batman in Swamp Thing in the 70s.

- PAGE 43: the reason for the yellow symbol, brilliant.

- PAGE 44: Another fantastic splash page. Again, worthy of the moment. Only the second in these first 48 pages.

- At the end of this first chapter, Batman understands that Harvey is only a reflection of himself. But, the question is, what will Bruce Wayne do about this revelation?

The second installment from the Dudes should arrive in a couple of weeks, and each successive chapter probably two weeks thereafter. I'm looking forward to it.

chris