Batman #404 (“Year One, Part 1″) (February 1987), page 23 (detail). Written by Frank Miller, art by David Mazzucchelli.
Seventeen years have passed since my last installment in this series, so let’s at last sit down and write some kind of conclusion. But first, a recap:
- Part 1 and Part 2 provided background for Frank Miller’s groundbreaking four-issue comics miniseries—namely, I described what he’d been up to prior to that, as well as what North American comics were like at that time;
- Part 3, Part 4, Part 5, and Part 6 offered close readings of the respective four books in the series;
- Part 8 (now up) examines the impact TDKR had on Miller’s subsequent career.
Now, in these final entries, I’ll outline what became of Batman, Frank Miller, and comics themselves after the Dark Knight returned…
Truth in advertising.
Update: Related posts that may interest you:
Christopher Nolan, while presumably a rather likable fellow (he does give work to Michael Caine), is a depressingly artless filmmaker. To be sure, some of the concepts in this new one are clever enough (even if they play like weak snatches from Philip K. Dick): the military developed shared dreaming, which then became a tool for corporate espionage—sure thing. The great Dom Cobb and his team now must infiltrate a businessperson’s mind in order to plant the seed of an idea, rather than steal one—a nice enough twist, and a fine enough premise for a caper.
But Nolan then fails to dramatize his concepts. His primary—indeed, practically his only—tool for delivering information to the audience is character dialogue. Rarely does anyone shut his or her mouth during the 148 minutes that are Inception. Its actors are talking threadbare ciphers, eager mouthpieces for their director.
Examples abound. After failing in their mission to deceive Saito, Cobb remarks to his teammate Arthur: “We were supposed to deliver Saito’s expansion plans to Cobol Engineering two hours ago. By now they know we failed.” (A potential response: “Hey, dude, I’m, like, your partner. I know the score!”) An even better one: the line where Cobb points out to Michael Caine’s character—a university professor teaching in Paris—”You know extradition between France and the US is a legal nightmare.” Yes, Mssr. Professor Caine probably does, in fact, know that! But I’m sure that somebody way in the back row was happy to hear.