For most of America, for most of the world, absolutely everything about Gotham City,

from the overly earnest civic minded citizenry to the intricate death traps could be
summed up in two words: Adam West. The 60s TV show may have been camp and
silly, but it had nothing on the comics. Batmans adventures usually involved
spending his time chasing costumed thieves who stole for no reason at all, with a bag
full of theatrical gimmicks and deliberately placed clues. By the 70s, trends had
changed, and comic creators like Dennis ONeil and Neal Adams opted for a darker
interpretation: the lone crime fighter striking fear into the hearts of criminals by night.
The fans, having outgrown earlier stories, loved this brooding Dark Knight, but
outside of this small subculture, Batman was still Adam West.
Skip ahead to 1986. Paul Hogan is box office gold. Chernobyl becomes the site of
the worlds worst nuclear accident. Somewhere between the Walk Like an Egyptian
video on upstart cable network MTV and the latest episode of Family Ties, most of
the world failed to notice the changes in Gotham City courtesy of Frank Miller.
Miller began as his comic book career as an artist and writer in 1978. His work
Marvels Daredevil showed off his gritty, film noir style. Other early successes
included a Wolverine miniseries, and his own creation, Ronin, but he became best
known for his work with Batman, beginning with The Dark Knight Returns.
The story, originally printed as a four issue series, is the epic tale of Batmans last
adventure (or at least it was until the 2001 sequel) as an aging Bruce Wayne,
reluctantly retired and adrift, rediscovers the fire and passion to once again take up his
crusade. The setting is still Gotham, but the years have not been kind. Signs of decay
are everywhere, on the streets, in the faces of old enemies and allies. Nothing is
untouched, especially Bruce. He still has all the skill, all the gear, but his body
threatens to let him down at every turn.
To begin with, The Dark Knight Returns is stunning to look at. Klaus Jansons bold
lines are amazing by their own right, but in an era before computer assisted coloring,
Lynn Varleys water colors brought a depth rarely seen in comics before. The full
page art is especially breathtaking, In another beautiful touch, rather than using the
traditional Meanwhile boxes, Millers exposition comes from television panels.
Reporters, pundits and entertainers add credibility and bring this Gotham closer to our
own world.
Over four issues, Miller remade Batman into something much darker than he had ever
been. This Batman was a man obsessed, obsessed enough to dedicate his entire life to
acquiring the skills and resources to conduct his one-man war on crime, sacrificing
everything along the way. This Batman was the Dark Knight, a shadow in the dark
who frightened friend and foe, from gun-toting street punks to earthbound gods.
It must be admitted that The Dark Knight Returns belongs to another age. The
cyberpunk touches and the presence of famous faces like Ronald Reagan and Dr. Ruth
Westheimer mark this as a story of the 80s. The story itself, with the out-of-control
street gangs, also reminds the reader of the time in which this was written.

There are however some touches that still feel timely. There is a politically correct
vibe throughout, such as the renaming of Arkham Assylum, that still feels on the
mark. Television newscasts are filled with talking heads eager to discuss the issues of
the day. Gothams youth has a slang all its own which gives it a timeless quality.