Batman Turns 80

The Caped Crusader. The Dark Knight. The Batman.

One of the greatest masked crime fighters in all of comics turns 80 this month, and his masters at DC Comics have published a ninety-six page comic to commemorate the occasion. Detective Comics #1000 is now for sale at your local comic book shop, and if you're a fan of the character and his world then you owe it to yourself to pick up a copy.

I first met Batman through Tim Burton's 1989 film adaptation, which my father purchased on VHS from a grocery store when I was a very little boy. The dark, stylistic setting and the operatic characters of the movie were astounding to me. I eagerly watched from a hunched position in front of the television, memorizing scenes and occasionally trying out my version of the, "Batman voice." Movie tie-in toys followed as holiday and birthday gifts, and I was able to create my own Batman scenarios upon the floor of my bedroom.

I next officially encountered the character, shortly after, on the shelves of the comic book shops to which my Uncle Jeff and grandmother would take me. The comics were magical and immediately felt sacred. There was a power in the images of those books and the stories they told. As far as I'm concerned, Batman began in that four colored world, and he will always be at his best there, no matter how banal and idiotic the ideas and decisions of the writers at his publisher have been or currently seem to be.

After experiencing the comics I would occasionally see the Adam West Batman rerun on cable. The wackiness of the old Bill Dozier series felt off to me from the start, but it was nice to see any version of the character I had come to admire. I couldn't get over the quality issues and the camp, though. I mean, Batman once bested King Tut's brainwashing by drinking copious amounts of buttermilk, if I remember correctly. Even to a kid, the natural reaction was, "What the?!"

Next to the comics, the most powerful interaction I had with the character was through Batman the Animated Series. Bruce Timm, Paul, Dini, Alan Burnett, and so many others expertly crafted a show which was deep, rich, and spellbinding. The city and character designs, the atmosphere, and the average story quality were above anything else on television at the time. To this day, the influence and success of this series drives superhero animation at Warner Brothers, but things have fallen off in terms of quality and direction, it seems. It's too bad they lost sight of where they were so right not that many years ago.

At 80 years old, Batman is still with us, and he's still changing the lives of his fans through various forms of media. The character might not always feel like he's in the best hands, and many mistakes have been made with his handling over the years, but I feel that the core of who and what the character is will always see him through.

Here's to another 80 years of Batman!

Batman: The Cult

Four prestige formatted books, bound together in a Mylar bag rested upon a glass-encased shelf at one of West Michigan's greatest comic book stores. In spite of the sizable bundle of single issues I had already selected from the numerous back issue boxes which crowded the center of the store, and the fact that I was in the process of exceeding my self-imposed ten dollar budget for comics, I scoffed at the $12.95 price tag and asked the clerk to pull the set for purchase. It never hurts to have too many comics to read, I thought, and besides, I had been anxious to read Batman: The Cult since I first heard Kevin Smith discussing it during an episode of his Batman-centric podcast, Fatman on Batman. 

I won't extensively delve into my history with the character of Batman here, but I have been a dedicated fan since I was a very small child and my father thrust me in front of the television while Tim Burton's film played. My father had just purchased a VHS of the movie from the local grocer Winn Dixie (we resided in Florida at the time), and the hype he raised for it completely sold me on the character before the tape even left its box. So, I've known of and loved the character since then and have only become more familiar with and dedicated to him since. 

Returning to the present and my tale, I eventually made my way home after a Saturday afternoon spent observing the holiest of days in the week of any fan of anything either cartoon, comic, or in any way related to either cartoons or comics. After bagging and boarding something like thirty single issues, all great stories published within the last twenty to thirty years, I pulled out The Cult and proceeded to dive in.

One of the first things a reader will notice about The Cult, and one of things for which I was most excited, is the exceptional and atmospheric artistic style of Berni Wrightson. Having co-created Swamp Thing with Len Wein, Berni Wrightson has been a brilliant force in the medium since the late 1960s, working with characters like Batman and various others from both DC and Marvel Comics. I first discovered his work through a House of Secrets reprint, which bore a cover depicting a stunning Swamp Thing being assaulted by a posse of random townsfolk; a reprint which Mr. Wrightson was kind enough to sign for me at a comic convention a few years back. 

Few other artists can capture anatomy in as powerful and as effective a way as Wrightson, whose Cult renderings of Bruce Wayne in particular display a weight and dimension as well as a sturdiness seldom seen in other depictions of the character. In moments throughout the mini-series he composed several memorable panels which conveyed Batman's suffering, the grim nature of Gotham after the main events of the story, and the gradual restoration of Batman's psyche as he struggled to free his mind from the hallucinogenic effects of the antagonist's tools of manipulation. Also, his skill with what is often labeled a "Horror Style" is evident in sequences throughout the series in which Batman is exposed to macabre piles of corpses and the many hanging bodies of Gothamites on display in order to discourage rebellion. In my opinion Wrightson's work was most definitely the best part of the series.

In regard to the story itself I found that I was both impressed at the scale of the events which transpired and disappointed at how the writer, Jim Starlin, used the character of Bruce Wayne/Batman throughout the series. Firstly, for those who are unaware of this fact or have not yet read this series, The Cult was one of the greatest influences upon the story of Christopher Nolan and David S. Goyer's The Dark Knight Rises. From the secret society of driven individuals operating out of the "Underworld" of Gotham to that society's charismatic, extremist leader to the shift in power in Gotham into the hands of the band of extremists, so much about The Cult is familiar after having viewed Nolan's film. In terms of scale, what occurred in Gotham City through the four issues of this series was incredibly epic and dramatically altered the landscape of this familiar comic book setting. 

To provide some background before proceeding into my opinions of the story, The Cult follows Batman through both maddening internal struggles and his physical journey through a crumbling society which slacks permissively before the forces of chaos which aim to surge forth from the sewer tunnels of Gotham City. His adversary this time is a character named Deacon Blackfire, a shaman with a mystically enhanced vitality and a desire to bring Gotham under his control by utilizing the down-trodden and unstable members of society. Through religion and chemical manipulation Blackfire manages to convince a sizable portion of Gotham's homeless to aid him in combating the criminal elements of the dark metropolis, and any non-criminal obstructionists, so that he might seize control of the city.

Batman falls into the hands of Blackfire after making an unfortunate mistake while dealing with street toughs attempting to rob a food vendor one evening. Having suffered a wound from a gunshot, Batman hangs chained in captivity from the beginning of the series. From there he's drugged by Blackfire and indoctrinated into "The Cult" as the Deacon discusses his warped philosophies. We follow him then through torture, mental anguish, drug withdrawal, and the crumbling and eventual rebuilding of his personality and crusade against crime. 

Starlin wrote a version of Batman in The Cult which, in my opinion, proved to be both fascinating and incredibly disappointing. I found his Bruce/Batman to be interesting because he was a version of the character which seemed more human than in most other story lines. This Batman actually seemed to feel fear, he explored that fear, and often expressed serious doubts which almost completely shattered his mind. I consider this to be a brave approach to a character who is often written to be a near-deific archetype. 

What I found to be disappointing about the character of Batman in The Cult was the way in which he seemed so unprepared for what occurred while in Blackfire's custody. This wasn't a version of the character which seemed to have trained himself to combat various types of mental manipulation and physical torture. He collapsed quite easily, and was almost willing to completely abandon his philosophies and mission simply because he had been starved, abused, and chemically manipulated. Now, I understand that Batman is a human - though, he is an idealized one - and that my complaints might suggest that I expect him to be handled as the archetype and immutable hero he's become, but he is also a character who exists in a world detached from reality and has conditioned himself in such a way that it's understandable to expect him to be damn near impervious. Also, he has been driven his entire life by a mission which has caused him to go beyond, establishing hard set principles from which he could not possibly stray, for such behavior would betray the very fabric of his being. 

I don't believe, having read and watched various incarnations of Batman/Bruce Wayne for most of my life, that being starved, drugged, beaten, and pursued through the corpse-ridden bowels of Gotham would cause Bruce to take up a gun or cower from combat or allow the citizens of his city to be victimized. These things occurred throughout The Cult as Batman wrestled with horrific nightmares, fled from the bloodthirsty members of Deacon Blackfire's fold, crawled about in a drug-tinged stupor, allowed Robin to take a beating while leading him out of the tunnels, and sat by as an innocent woman of Gotham was dragged into an alleyway to be brutalized and slowly murdered. These things, in spite of the events through which he travailed, are not things that Batman - the man who has trained himself for every possibility and holds firmly to strong beliefs - would allow. But this is my opinion of the nature of the character and my response to how he behaved throughout this particular story. 

Despite my complaints, Batman: The Cult is a compelling read for any fan of the character because it's sure to, at the very least, incite a genuine emotional response, whether positive or negative. It's aided by the masterful renderings and compositions of Berni Wrightson through which any reader can be transported to the Stygian bowels of Gotham where madness, chaos, and suffering dwell. It features a different approach to Bruce Wayne/Batman, a glimpse into the inspiration for plot of Dark Knight Rises, and one of my favorite depictions of The Joker (again, Wrightson nailed it!). It's an experience few comic books offer. 

Yet Another Fat Man Makes An Attempt At #dinidream

Here's a little something inspired by Paul Dini and Kevin Smith. From episode eighteen of "Fatman on Batman."

Written in something close to script format, it's obviously shorter than an actual issue, but it's more of a beginning or a snippet than a whole story. Hopefully it makes sense and fits with the original concept.

Enjoy, readers and Bat-fans. If either Mr. Kevin Smith or Mr. Paul Dini ever get a chance to read this, then I hope that they'll know that it was written by a fellow fan who loves the Bat as much as them.

"Dependents"

PAGE 1

Panel 1: A trisection with each portion depicting one of three figures. The first is a shadowy man standing shirtless atop a cliff in the shadows of what is obviously the interior of a cave. The second is a portly, balding man in a towel lathering his face in front of a mirror in a tiny bathroom. The third shows a pair of wide bloodshot eyes lit by a slit of daylight which trespasses through window blinds.

     Narrator 1 (portion 1-grey text box)- Every day the routine recycles. He reaches deep within and finds the drive to continue his mission.

     Narrator 2 (portion 2-blue text box)- Every morning he's up before the alarm. His dedication to work and his routines adds a comforting monotony to life. 

     Narrator 3 (portion 3-red text box)- Every morning I try to do something special for sweetums. No matter what, he lets me know that he's noticed. This morning it was a door in the face.

Panel 2: A trisection with each portion depicting one of three figures. The first is a fastidiously dressed man stealthily peering around a corner of a natural rock wall.  The second is a housewife draped in a bathrobe, visible through an open doorway, her hair in curlers, pouring coffee into a mug. The third is a young woman in a tattered jester's outfit slumped against a wall, holding her swollen face in her hands.

     Narrator 1 (portion 1-grey text box)- I long for the day when he will fail to dredge up that drive.

     Narrator 2 (portion 2-blue text box)- If only he was as dedicated to me.

     Narrator 3 (portion 3-red text box)- And if I don't find those joybuzzers he'll probably do worse. 

Panel 3: Trisection again. The first depicts the shirtless man opening a vault in which there stands the silhouette of a bat-like figure. The fastidiously dressed man stands by his side. The second depicts the portly man adjusting a tie as the housewife waits behind him, holding out a pair of pants. The third depicts a pale man with a monstrous grin peeking through the opening of a door, looking down on the young woman who beams up at him, though tears stream down her powdered cheeks.

     Narrator 1 (portion 1-grey text box)- This is not that day.

     Narrator 2 (portion 2-blue text box)- This is good enough, though. Really it is. I love him and I don't know what I'd do without him.

     Narrator 3 (portion 3-red text box)- Aw. Puddin's got that look in his eye. That look he gets after a good cry. For me, maybe? Nah. But now I might have a chance to find them buzzers after all.

PAGE 2

Panel 1: Trisection. The first displays gloved hands pulling a cape to above a large bat symbol on a chest. The second displays hands working a foot into a dress shoe, a pair of slippered feet stand in the background. The third depicts stained, gloved hands rummaging through a chest of drawers, pulling out playing cards, rubber ducks, rubber noses, and various other novelty items.

     Narrator 1 (portion 1-grey text box)- I promised him my ongoing support, and though he drives on in his dangerous crusade I must maintain my place at his side.

     Narrator 2 (portion 2-blue text box)- I'll just be the good wife, waiting and serving. He appreciates it. I know he must.

     Narrator 3 (portion 3-red text box)- Uh-oh. Here it comes. 

Panel 2: Trisection. First portion displays fastidious man holding out a lined tray with various gadgets (such as pellets, bat-shaped shiruken, and a grappling gun) for the other man, dressed in an atramentous cape and cowl, who picks various items from the tray. Second portion displays the portly man as he places his wallet in his back pocket while taking his hat from the robed woman whom he meekly kisses on the cheek. The third displays the stained gloved hands as they adjust a colorful boutonniere.

     Narrator 1 (portion 1-grey text box)- How long shall I stand at the ready, though? How long shall I bear witness to the weathering of my charge? When and how might I truly defend him from the greatest dangers?

     Narrator 2 (portion 2-blue text box)- If he doesn't, after all this time...well, I don't know what I'd do.

     Narrator 3 (portion 3-red text box)- He just wanted his flower. Ha! So it's going to be that kind of day. And here I was, kinda scared for a moment.

Panel 3: Trisection. First portion shows caped man leaping into a nearby vehicle as the fastidious man looks on. The second shows the woman in the bathrobe watching the portly man through a window as he enters his car. The third shows the grinning man's back as he exits through a door, flinging, over his shoulder, a Joker card covered in scribbled script, which is for a moment visible to the reader. It reads "Sorry. With love. -J"

     Narrator 1 (portion 1-grey text box)- I must first face an important truth which cruel twists of fate and the passing of years have crafted for us. Then, perhaps I'll be able to say what must be said. For I am his support. His only security. His surrogate father.

     Narrator 2 (portion 2-blue text box)- Thinking about the worst is easy. Especially when love is just the occasional peck on the cheek. But that's just his way. I can't doubt him because I expect too much.

     Narrator 3 (portion 3-red text box)- What's a door in the face when he goes and does something like that, huh? Sometimes I think he's had it with me. He gets that look and says those horrible things. This is the real him, though. I know it.

PAGE3

Full Page: The grinning man's grotesque smile takes up the center of the page as he leans over, his hands clutching at the lapel of the portly man from the previous page, both are clearly on a rooftop. The man's face hangs backwards, upside down, a mask of despair with streaks of sweat running down. In the background, gliding down menacingly from atop a water tower, is the shape of a bat.

     Narrator 1 (portion 1-grey text box)- It is that fact which holds me here as he goes forth. Gliding through the darkness, passionately executing his chief duty, he battles on so that in some far future time the night might lose its bite.

     Narrator 2 (portion 2-blue text box)- He's out there working to take care of us. He must deal with such stress so that we're secure. Thinking about that makes me sorry that I doubted him even for a second.

     Narrator 3 (portion 3-red text box)- He's not crazy!

PAGE 4

Full Page: Trisection. First section: Fastidious man stands by a window, a bat symbol is projected onto a cloud bank beyond. Second section: The portly man fiercely embraces his wife. His face is one of fear and hers is one of relief. Two GCPD officers stand in the door behind them. Third Section: Blonde woman with running makeup stands in the rain before a wrought-iron gate with a sign over the entry which reads "Arkham Asylum." She's bundled in a trench coat. A chainsaw blade dangles slightly below the bottom of the coat.

      Narrator 1 (portion 1-grey text box)- In that moment, as soon as it may come, I will still be here. I will still be a loving father for a tragic son.

     Narrator 2 (portion 2-blue text box)- I know he loves me.

     Narrator 3 (portion 3-red text box)- And that's why I love him. That's why we play these games, over and over again. Because we both know.
         Harley Quinn: Time to go home, Mistah J. 

The Dark Knight Returns - Jim Gordon's Analogy

I wanted to write on something I noticed while revisiting The Dark Knight Returns graphic novel. I immediately recognized a certain analogy which was being expressed through the words of Jim Gordon. Perhaps I'm not the first to call attention to this. Perhaps I'm mistaken. Here it goes anyway.

In the Dark Knight Returns graphic novel, in the first few pages, there is a sequence in which Bruce Wayne and Commissioner Gordon are holding a discussion over drinks. During that discussion Gordon comments on Wayne's transition from playing the "Playboy routine" of sneakily drinking ginger ale instead of champagne to actually imbibing heavily in his later years. Gordon makes mention that it fooled some but not all, implying that he was in the know.

During this sequence the reader is aware of Gordon's knowledge of Wayne's past as the Batman. The nature of Gordon's enlightenment was not made clear, but one has to wonder whether or not the commissioner put everything together himself with his own skills of detection. Perhaps the reference to his knowledge of Bruce's charade was a way of calling attention to the fact that he's always been capable of seeing through Bruce's secrets all along. This can be supported by several instances in the comics and in the animated series, especially in the episode titled "Over the Edge."

Just a thought I had to express somewhere. If you read this and would like to discuss, please leave comments on this post. Thanks for reading.

The Dark Knight Returns Animated Film Part 1 - A Fan's Reaction

I was born in the mid-80s. I was fortunate, in that period of colorful and varied culture, to grow up watching Tim Burton's Batman. I was spared the camp and the failings of past writers and creators, those who dared to show anything but respect for what I perceived to be the true heart of the Batman mythos. Instead I was baptized in a cinematic font of dark, gritty vigilante justice. I witnessed a Titan-like hero's mad, hopeful efforts clash with the insanity of one of the ultimate villains of all time in a fantasy realm with its roots embedded firmly in a past age of grandiose pulp plots. It was a massive influence upon my childhood (one which I will address in a post at a later time).

That Batman, my Batman, sprung to the screen through a grid work of studio mechanisms and Hollywood processes from inspiration rooted in a specific piece of comic book art. That comic book, or series of books, was Frank Miller's The Dark Knight Returns, a seminal work which redefined the character and provided him with a new flavor for a growing world of evolving palates.

I didn't encounter the story until later in my life, around my mid-teens, when I was perusing around the shelves of a used book store. When I first read it I knew that I was reading something wildly different and yet so sound and acceptable in the universe of the Caped Crusader. It fit, and it blew everything away while doing so. To be honest, though, I didn't think that it was the greatest Bat-story ever told after the first reading. I was just really, really entertained. I couldn't put it down, and I revisited it again soon after I finished it. That says enough, I feel.

Last year folks like myself, and those more intensely dedicated to the graphic work that was Miller's opus, were gifted with a direct-to-DVD release of the first part of an animated adaptation of DKR. I was initially turned off at the thought of having to buy two separate discs for one story, so I didn't pick up a copy. It wasn't until a few days ago, actually, that I got an itch to purchase it. It helped that I had been recently writing for the character for my own purposes, and I'd seen both parts sitting around at a local store for a while now, taunting me. When I broke I decided to grab just the first half in order to give it a spin. I'm kicking myself now for not being more wholly invested in the completion of the tale.

I viewed it this evening, and I'm still anxiously recalling moments that blew me away. I've not been this affected by an animated feature since I first watched a Miyazaki film. My eyes widened, they winced, and they wept. It was a beautiful hour and then some of emotion and appreciation from a fan who has spent most of his life watching, reading, and role playing (on various playgrounds and with action figures) a character which has been so significant.

It's not my intent to review it. I just want to mention a few points of interest, avoid spoilers if I can, and thrill in some geek-out writing, if you'll permit me.

From the beginning I was planning to keep an eye out for similarities or differences, but I had unfortunately forgotten quite a few of the specifics from the graphic novel. Instead, after a few minutes, I resigned myself to letting this adaptation take me on its journey and to just enjoy the ride.  I was excited to see that the designers stayed true to the meaty hunk of a human being that was Bruce Wayne/Batman. The character, voiced wonderfully by Peter Weller (though, I was sad to not hear Kevin Conroy's voice), was one which hooked me immediately. It's difficult to not care about this Bruce Wayne from the moment go, in my opinion, or any version of Bruce Wayne at all, for that matter.

As the story progressed I found myself immediately reacting to the obvious 3D animation, something for which I tend to cringe. Aside from that, the story was familiar, the changes weren't incredibly obvious, especially not to a guy who hasn't read the source material in a while (though, I missed Batman's voice over at points when it would have best served the story), and the design was faithful to the vision. My most powerful reactions occurred at moments when the audience was given a glimpse inside the mind and heart of an aged Dark Knight. Perhaps the lack of voice over worked because it played like the silence before a piano solo or explosion of percussion. It's lack heightened the clarity of the emotional windows into the soul of the protagonist, our beloved hero.

If you haven't seen this film, you should. If you haven't read the source material and you call yourself a comic book fan then you've missed something along the way. Even if capes and tights are a turn off for you, you're still denying yourself exposure to a brilliant example of the power of the medium.So, readers, find this and view/read it. Soon!

I'm excited to return to the store for part two. I can barely contain my excitement. Soon I shall have it. Soon I shall see how this animated adaptation ends. I can't wait!

Oaths By A Dark Fire - Short Story

Sitting by a radiant, twirling jumble of orange tongues of flame, in an otherwise aphotic cathedral of a room, two men stared off into nothing. The silence between them, broken occasionally by a popping of wood from a somber, marble fireplace, was as thick as a pall laid across the coffins of a past that very much defined them. These men, one further in years and experience than the other, held themselves in a settled pose in their high backed chairs of dark oak and muted, aged upholstery. The younger stared with eyes cold, yet severe, into the depths of the raging fire, and clasped his hands tightly, causing his tensed knuckles to pale to a near ivory.

"I can't tell you how many times I've played this scene in my mind. Through the long flights, the aimless wanderings across parts of the world I had only read about till late, and the countless days stowed away in various ships which never seemed to reach their ports of call. I felt that of all people you would maybe understand my purpose, my asking this of you," with this the youth raised his gaze from the intense dancing light which softly highlighted his rough, handsome visage, "or perhaps, at least, give me your advice."

The older man continued his stare into the fireplace, his right leg crossed casually over his left knee. He cleared his throat as if to reinvigorate his long silent voice. "I can't pretend to know what has driven you to this decision. I'm an old man, sir, and I've learned other ways of coping with loss. Though, that doesn't mean that some dark place inside me isn't overjoyed at the prospect. I've been with you and seen you through the very worst of times a man might experience. A boy might experience."

At this the men cautiously locked eyes and fell back together, in their minds, to an earlier, darker day. The bereavement they shared at the merciless pangs of unfortunate tragedy brutally marked an end to a young boy's family, his life, planting the grim seeds of a darkly purposed future, and it set to beginning a new chapter for a man who had been searching for something in his once roaming youth and found it in the position of surrogate father, protector, and friend. The bond between them was intensely powerful, so much so that each of them understood the importance of the request and the only, inevitable answer for which the requester was searching.

The aged man sat up tall in his chair, both feet planted on the floor now, hands gripping the armrests, "There are many dangers along this path, and if what you've told me is true, and trust me when I say that I find no reason to doubt you, then you hardly need my advice, sir. It sounds as though you need the support of a friend, of family. I will aid you, to the best of my humble abilities, in this pursuit."

The stern, yet expectant face of the man who had received the response he had hoped for seemed to lighten for the first time since either of them could remember. "You may not think it, but your support means everything to me. I won't let you down in this. I won't let anyone down in this. It's our duty, and my responsibility as a son, to see this through." The youth leaned forward in his seat, hands clasped tighter, his brow lowered, "I'm ready for this, Alfred. I've never been more ready."

Dark Knight Rises - A Review

**Perhaps a few SPOILERS**

There was no midnight show for me this time around. No panting and huffing about how great the experience will be whilst frantically counting down the minutes till the late night drive to the theatre to catch the "first glimpse" of a long-awaited fan dream made celluloid. Instead, my wife and I took the more intelligent approach to seeing the new Batman film by waiting until Saturday afternoon. We were able to avoid lines, obnoxious hyper-fans, and poor seating. There's no better way to experience a film like this, I believe, but that's hardly why I'm writing and you're reading this.

Dark Knight Rises is the end of a journey. It means an end for Christopher Nolan, the cast and crew under his lead, the fans of Batman both new and old, and for me. Since I first saw Batman Begins in theatres up till this afternoon I've been giddy about the progression of the artful adaptation of the legendary, four-color, fear-wielding caped crusader. I've bought magazines so that I could see the production images. I've revisited favourite comic book storylines to play the pointless guessing game of the overly hopeful fanboy. I was completely destroyed and reassembled by the majesty of Dark Knight. Then came this afternoon when I beheld the proper, fantastically crafted ending to one of the best film trilogies of all time.

Christopher Nolan has time and again proven himself to be highly adept at finding the soul of a story and its characters and skillfully crafting a form for such an ethereal and elusive thing to inhabit. I believe he did this exceptionally well throughout his Batman trilogy. He masterfully gave us a clear beginning, middle, and end with a stellar story progression which continues to boggle the mind. He, as my wife pointed out, understood the archetypes at the heart of this modern myth and employed them to exceptional effect. It is necessary to respect him for his contribution to the genre of comic book film and to also respect him for knowing when and how to end his involvement.

Considering the film, it is a near-three hour ride starting with an extensive chunk of build-up which crescendos in a fantastically worthwhile pay-off. Playing with the tatters left in the wake of Dark Knight, this film is set in a Gotham a few years after the creation of the lie that was the passing of the "White Knight," Harvey Dent, and the beginning of the vilification of "The Batman." It's a Gotham doomed from the start of this tale because it is, at its core, a lie. That doom approaches quickly in the form of one who seeks to fulfil the aims of a long-dead idealist, enemy, and, to Bruce Wayne, a mentor. The avatar of the seemingly deceased dreams of the late Ra's Al Ghul wears the shape of the mighty Bane who cleverly sets up the pieces for a deadly endgame. It is a game Bruce Wayne, who has, since the end of Dark Knight, lived the life of a recluse with his faithful, father-like Alfred, thinks he is able to play. We see that as in many hero's tales there is still much that Bruce/Batman must do to truly be prepared for confronting the villains and saving his city.

 

Throughout the film we're introduced to many new characters, especially during the lengthy beginning. Each of them plays a fantastic part in the overall story, and each of them enriches this all-important final act. The ominous mercenary and terrorist Bane is a bizarre villain through which Nolan, executing the magic trick that is his cinematic style, sets up the greater end story. He's a leader with and for a purpose but he is ultimately a tool. Then there's John Blake, a "hot head" rookie cop who strongly believes in his badge but later learns, with the aid of the seasoned advice of Jim Gordon, that there's something greater to serving a purpose beyond the shackles of the rules. One of the greater surprises in this film comes from Blake, and I'm proud to say that I called it in two different ways which come together to be something far more interesting. Miranda Tate, a new face in the high-class arena of Gotham City, is also a new character and one which, believe it or not, has a thing or two up her sleeve. Another new character worth noting is Selina Kyle, a skilled and determined cat burglar who plays to her advantage through the world of men while remaining an independent, mostly self-serving woman.

Though we are forced to wade through over an hour of new information, introductions, updates, and piece-setting (all of it essential to the complete movie), the last act makes me proud to be a Batman fan. Overall Dark Knight Rises is a detailed study of the hero and the power of symbols. At the end we are shown a heroic figure who has grown over the course of the trilogy and reinforced his growth through the events of this final portion of his story. He has been tested, he is stronger than before, and he has completed a quest through which he discovered what was necessary to best the challenge of the newest obstacle in his life. After all is done we are given a view of a future for his city, for Gotham, that is built on a symbol similar to that of Dent, but this time it is a symbol with substance and great truth. In the end we're overwhelmed by a phoenix of hope which has broken the bonds of its ash heap. In the end we're given a forward-looking Gotham which was saved by the hero it deserved. 

I give Dark Knight Rises five out of five. Thank you for reading.