Miller probably could have spread this issue out over two. There’s the follow-up to the Joker’s death, there’s a bit with Superman fighting the Russians, there’s Gotham as a disaster zone. Miller gets confused.

His comic’s working at cross purposes. Clark sees a connection with Bruce and Bruce doesn’t, so there’s the epic fight scene only Clark comes off more sympathetic. Bruce is working towards an end without any self-awareness. Clark has nothing but self-awareness.

There’s also the series’s first third person narration. Miller uses it for Alfred at the end; it’s a mistake. It treats Alfred as disposable, which is no good.

Gordon’s back for a bit too, with Miller using him to show the human side of a disaster contrasted with Batman’s perception of it.

The issue’s not ambitious enough for everything Miller wants to do. He never finds a rhythm, just forces a finish.

CREDITS

The Dark Knight Falls; writer and penciller, Frank Miller; inker, Klaus Janson; colorist, Lynn Varley; letterer, John Costanza; editors, Dick Giordano and Denny O’Neil; publisher, DC Comics.

I guess Miller liked having interior monologues so much, he gave them to everyone. Batman, Superman, Robin, the Joker, the new police commissioner. I don’t think anyone else. But there’s a lot of interior monologue. More than the media coverage.

Superman’s is actually the most revelatory. Miller writes him as scared, which is sort of funny considering he’s Superman. The best monologue, in terms of writing, is probably Robin’s. She only has it for a few pages, during an action scene, and Miller is terse. Terse works for it.

As for the Joker and Batman? Their monologues are about the other. Miller doesn’t actually have any great observations about the two of them. Their final battle isn’t even particularly iconic. Miller juxtaposes it against news commentators talking about Batman and killing. It works, but it’s obvious.

Miller opens with Superman; Bruce never really gets his comic back. Clark’s too big.

CREDITS

Hunt the Dark Knight; writer and penciller, Frank Miller; inkers, Klaus Janson and Miller; colorist, Lynn Varley; letterer, John Costanza; editors, Dick Giordano and Denny O’Neil; publisher, DC Comics.

This issue, Batman becomes less of a lead character in his own comic. Miller writes his some good interior monologues–occasionally really good. The standouts usually reveal something–like how Batman uses environment to beat the Mutant Leader or how, when delirious, he has one-sided conversations with the absent Dick Grayson.

But, for the most part, it’s not Batman’s comic. Some of it is the reaction to Batman returning; there’s a lot of media talking heads going on about him. To justify Batman’s vigilante behavior, Miller then shows a lot of innocent people in peril scenes and the public’s response. Their response being shallow, liberal affections, of course.

Miller introduces Robin this issue, which works well. He allows her to enjoy the derring do; Batman only gets to when it’s making him feel young.

Some great Jim Gordon stuff too.

It’s a busy, packed issue and almost entirely successful.

CREDITS

Dark Knight Triumphant; writer and penciller, Frank Miller; inker, Klaus Janson; colorist, Lynn Varley; letterer, John Costanza; editors, Dick Giordano and Denny O’Neil; publisher, DC Comics.

Miller establishes he’s telling The Dark Knight [Returns] in twelve panels a page, four columns, four rows. He quickly breaks this layout, but always for emphasis. I’d never realized how beautifully he designs the comic. It’s very cinematic, even if the actual content often isn’t visual.

He implies most of the action. Batman’s return is mostly implied, the issue’s fight scene finale is all implied. Miller even implies big plot developments instead of just showing them.

The result is being either inside Batman’s head–and Miller goes out of his way to show how psychologically disturbed he is from the first page–watching a newscast or, very briefly, being with the supporting cast. The supporting cast scenes Miller uses to setup a good Batman scene.

The issue’s about aging, forgetting, recovering and failing. It’s rather touching at times.

It’s fairly impressive, but Miller’s too dependent on his “future story” gimmick.

CREDITS

The Dark Knight Returns; writer and penciller, Frank Miller; inker, Klaus Janson; colorist, Lynn Varley; letterer, John Costanza; editors, Dick Giordano and Denny O’Neil; publisher, DC Comics.