Miller delivers awaited Bat-sequel

Casual fans of Tim Burton's starkly realized Batman films may have delighted in just how dark the Dark Knight seemed. It made good sense, after all. Here was a guy who witnessed the murder of his parents before he was a teenager. You figure that sort of thing could make a guy bitter. But it wasn't Mr. Burton who originated this concept. That achievement lies squarely on the resume of arguably the comic book world's greatest living writer, Frank Miller.

In 1986, "The Dark Knight Returns," a graphic novel, recast the Batman in a whole new, decidedly antiheroic light. Depicting a fascist-leaning Bat coming out of retirement to restore order in a Blade Runner-esque future, "The Dark Knight Returns" hit fans like a ton of bricks. Recalling the 1930s noir Batman of Jack Kirby, this Bat was to redefine the genre. Ever since, from Burton's Bat-film to Todd McFarlane's Spawn and Neil Gaiman's Sandman, the antihero became comicdom's hero of choice. Even formerly fruity Spider-Man has taken on a harsher tone.

But just as writers have begun to catch their storylines up with Miller's masterwork of the 1980s, the man himself has returned to redefine the genre yet again. Whether lightning strikes twice remains to be seen, but it's worth checking out.

"The Dark Knight Strikes Again" is the biggest comics event since the death of Superman, the best selling comic book of 2001, and easily the most hyped project in the industry in years (though George Perez's upcoming "JLA / Avengers" is a close second). This is primarily because the prequel, "The Dark Knight Returns," was the beginning of a new age in comics, the point at which the industry turned to and embraced the darker, grittier stories and art that have become the norm. When the project was announced, the talk began: "It won't be as good as the first." "It can't live up to the original."

Of course, it shouldn't have to. I'll get to that in a second.

Taken on its own merits, DK2 (much easier to repeatedly type than the full title - thanks, Frank!) is well worth the hype. It is a non-continuity based story that remains true to the characters. The story involves many more heroes this time around - all of your favorites with one notable exception are here - but some of those heroes' presence removes the story from regular continuity. This isn't a bad thing, necessarily, but mainly because Miller treats the characters and their histories with such respect that you don't feel like you're reading a reinterpretation of the DC Universe.

There are plenty of similarities between the two series. Both are set in the future, and involve Batman coming out of the shadows of retirement to right a wrong. Both futures are grim, and there is a dark undertone throughout, much akin to the atmosphere of films like Dark City or Tim Burton's first Batman. Miller's interpretation of Batman (arguably the definitive Dark Knight of the past thirty years) is the same as always, and the supporting cast is back as well.

Of course, there are differences. Batman's sidekick Carrie has grown from Robin into Catwoman, and she now leads Batman's army in the field. The political statements are just as strong as in the first, but instead of a grim portrayal of Reagan, Miller displays a humorous perspective on the current administration. The other heroes - in the first issue, Wonder Woman, Captain Marvel, Superman, Flash, Green Arrow, the Atom - play a much more integral part in the tale. And the darkness of the books comes in two different flavors: the first was more reflective of the way we think of Gotham City now, a desperate, crime-ridden place where hope is well concealed. This time, the world prospers like never before, only at the cost of freedom.

It makes you wonder what Miller's thinking about the current state of America, eh?

Most striking, though, is the art. While the first series looked like it read - dark, gray, and gritty - the newer book has more of a Clockwork Orange feel to it, with a foreboding, tense undertone hidden and simultaneously enhanced by bright color. It's somewhat off-putting initially, and it takes some getting used to - I didn't really adjust to it until my second read of the book - but it's damned effective, once you manage to shift your perception.

One thing missing from the book is Klaus Jansen; between his absence and Varley's coloring, some of the detail gets lost from Miller's art. Still, this is a minor quibble, as the layouts and individual panels still reflect Miller's abilities, easily showing why he can command the influence and power he does in the industry.

The story and the characters are well written. A lot of questions are set up in the first issue that demand answers, ensuring that your appetite is only whetted for the rest of the books. Batman barely appears, but the rest of the heroes from the first books are accounted for and recognizable: the bitter Green Arrow, the boy scout Superman. Particularly noteworthy is Miller's handling of Carrie - under Batman's tutelage, she has turned into an incredibly capable and fearless leader in the field, but it's the moments that show that, inside, she's scared to death and is really only human that make her so believable.

This book should be on everyone's list. The next two issues may not hold up, the story may fall apart, but it's certainly showing strong out of the gate. Before you read it, though, forget all the hype. The first run of the Dark Knight was so phenomenal precisely because it was out of the blue, unhyped. It was revolutionary, changing the face of comics forever. DK2 can't possibly be the same, precisely because now there are expectations, hopes, and forgone conclusions about the book. If you haven't read the first books, you should, perhaps even before reading this one, if only to get a sense of what has come before. However, don't let the first one draw any conclusions for you; instead, let the book stand or fall on its own merits.

Certainly, Miller deserves at least that much.