Batman Noir: Dark Knight Returns, by Frank Miller
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Batman Noir: Dark Knight Returns, by Frank Miller
Best Ebook Online Batman Noir: Dark Knight Returns, by Frank Miller
It is ten years after an aging Batman has retired and Gotham City has sunk into decadence and lawlessness. Now as his city needs him most, the Dark Knight returns in a blaze of glory.Joined by Carrie Kelly, a teenage female Robin, Batman takes to the streets to end the threat of the mutant gangs that have overrun the city. And after facing off against his two greatest enemies, the Joker and Two-Face for the final time, Batman finds himself in mortal combat with his former ally, Superman, in a battle that only one of them will survive.Frank Miller's BATMAN: THE DARK KNIGHT RETURNS in collected here in his and Klaus Janson's gorgeous black and white pencils and inks.
Batman Noir: Dark Knight Returns, by Frank Miller- Amazon Sales Rank: #293701 in Books
- Brand: Miller, Frank/ Varley, Lynn (ILT)/ Janson, Klaus (ILT)
- Published on: 2015-06-09
- Released on: 2015-06-09
- Original language: English
- Number of items: 1
- Dimensions: 11.77" h x .90" w x 7.75" l, 2.03 pounds
- Binding: Hardcover
- 208 pages
Review "In four groundbreaking issues in late 1986, Miller's Dark Knight Returns delighted and enraged comic book classicists by turning Batman-a beloved but gimmicky hero who seemed to have the keys of life forever tucked into his utility belt-into a brooding vigilante, bleak, grim and full of rooftop psychosis."--USA TODAY"Changed the course of comics."--Rolling Stone"There's never been storytelling quite like this. It took someone who views comics as an art to create it."--Washington Post"It's film noir in cartoon panels."--Vanity Fair"His brutal yet elegant noir renderings, pulpy yet eloquent scripting, and thoroughly uncompromising attitude make him one of the most distinctive voices in comics."--Entertainment Weekly
About the Author Frank Miller began his career in comics in the late 1970s and rose to fame while first drawing, and then writing, Daredevil for Marvel Comics. He was also the creative force behind BATMAN: THE DARK KNIGHT RETURNS, BATMAN: YEAR ONE and BATMAN: THE DARK KNIGHT STRIKES AGAIN. His many works have not only redefined classic characters, but also, on a few occasions, revitalized the comics industry. His multi-award-winning graphic novel 300 was brought to full-blooded life in the 2007 motion picture of the same name, and in 2008 he directed the feature film Will Eisner's The Spirit. His creator-owned crime saga Sin City first hit the page in 1991, and then the silver screen in 2005, with Miller on board as co-director with Robert Rodriguez. The two returned to direct the sequel Sin City: A Dame to Kill For, released in 2014 and featuring two new stories by Miller. In 2015, Miller's returned to his best-selling series with the highly anticipated DARK KNIGHT III: MASTER RACE.
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Most helpful customer reviews
17 of 18 people found the following review helpful. "Noir" falls short By Bernard Nery We all know this as the classic, so I won't comment on the storyline or artwork, but rather on the results of its transition to a black and white medium. In my personal opinion, it falls flat. I think the "Noir" style fits perfectly with Miller's other work, Sin City, because this was the medium it was intended for, i.e., use of bold inks to clearly define the black shadows. However, Dark Knight uses a light freehand pencil/ink work in the majority of its panels, complemented by Lynn Varley's brilliant use of washed-out colors. I think what made Dark Knight stand out was the beautiful watercolor-like paintjob, especially in the Batman vs Joker / Superman and nuclear missile scenes. Removing this integral component was like photocopying a favorite painting in black and white. It just feels like an unfinished book, but maybe that's just me for being spoiled with the original piece.There isn't much in the way of extras except for the beautiful front cover artwork. Inside, there is a two-page Jimmy Olsen Daily Planet newspaper clip, two full pages of artwork before each of the four main chapters, and the original cover art of the four books towards the end.
10 of 11 people found the following review helpful. The Klaus Janson's inks are beautiful, but not represented very well in this volume of DKR. Lynn Varley is also present. By Frank Schorr I actually didn't expect much from this volume, but upon arrival I had that tingling feeling inside like the time I recieved my first DKR collected edition in the late 80's as a gift from my mother. I was too young to go to the comic store when the original four books came out. Upon opening this volume I realized there were going to be some issues right away. Here's why.I opened up the shrink-wrapping and noticed the porous matte cover that is white. My hands were already sweaty and from that instance I knew that holding this book will be a bit of a chore because it will get dirty a lot quicker than if it had been a glossy material. Smudges and dirty finger prints will eventually show up years down the road, but if you don't care so much about that let's take a look inside.I noticed that this book is part of a series with particular lettering of "Batman Noir" is in front of the traditional title and of course Lynn Varley is absent here in the credits, but her work is evident in this volume scattered a handful of times here and there. I'll point out a few things, but I won't go into page numbers and all that. I think someone else with a little more time will to do that. I'm an artist myself and in all honesty I tried to tackle this huge task of separating the color from the inks of DKR for my own purposes and printed them out in a large portfolio as a teaching tool. I know it may sound weird. So I went about this by scanning the printed pages of an old DKR volume I took apart. Page by page they were scanned and much like what I imagine they did in this volume for many or most of the pages; separating the color from the black and white. But unlike my archaic attempt I think they had access to the original transparency files from the color artwork so they were one up on me. Scanning of printed artwork and separating the color is way harder to do and much like scanning mesh patterns instead of airbrush backgrounds and inked lines. I thought the publisher would have the resources, original files and a budget to get some of the original pages from collectors out in the world and could make an amazing reproduction of the original inked art here, but they didn't.First the black and whites (Klaus's inks) are too chunky and broken up in some parts. The lines hardly ever tapper off like they should and this is because of the "program" they used. I imagine Photoshop with some filters. Don't get me wrong to the untrained eye it would be fine and because of the use of a filter effect the lines are slightly thicker and this would make the art seemingly closer in appearance to Miller's other works like Sin City which is obviously the direction they had in mind. I would almost be okay with this effect and given this book a 3 to 3.5 star rating, but that's not the biggest issue I have with this new edition.Here is the major flaw.There are grayscaled panels throughout the volume. A few in the first chapter and the rest mostly in the last. The last part of the book (Book 4) uses more of Lynn Varley's color to define form. Like snow or a jail cell. I would have gotten rid of the snowy background and left the sky clear without the debris of broken halftone residue of Lynn Varley's airbrushed watercolor sky. It is already expressed in the words, but like most mainstream comics somethings are expressed too literally because they don't trust the intelligence of the audience, but that's another problem for another time. Here they made the decision or had no idea how to resolve this issue of Varley's stamp on the book. One of the more recognized scene in the book where Superman is struck by lightning where the use of Varley's airbrush and paint makes the lighting shape is outlined here with less finesse by the image editor. Who is it? It's not in the large print in the front of the volume that's for sure, but the person or persons "hand" is evident throughout DKR. The worse areas like I mentioned are the panels where they decided to leave in the sky where they should have taken it out completely. It's pretty gross to see since most of the first part of the volume seemed to have been cleared up.That is why this volume is not good enough. I can barely look at the last chapter because of the butchering of Varley's beautiful work with halftones, grayscaling and broken pointillism caused by manipulating some of Varley's painting to dark smudgy mush in an image editing program. Some pages look like bad photocopies. They couldn't do it or ran out of time, resources or money and I knew it. They also scanned in the covers and left some of backgrounds by Varley as well in grayscale. They look atrocious. So it's not really worth the money because it is worse than I imagined. I wanted this book to supplement the original colored books and the Absolute version I have, but I find it hard to even see it around my studio. Quite disappointed.I have no qualms about the paper use. I think it is fine and perhaps if it was glossy it may have been better, but not by much. If you'd like to see a volume that was reproduced excellently in a collected edition check out Ted McKeever's Eddy Current - the Darkhorse Volume. Frank Miller once said to him he looks as his work before he starts any drawing.
4 of 5 people found the following review helpful. For the collectors By PACproject This isn't intended as your first reading of this amazing story. I have multiple different incarnations of DKR and purchased them all for different reasons. The absolute edition, the regular edition, library binding, the frank miller leather collection, and now this.This is intended for fans of the book and are familiar with the story but would like to see it in a new light. The reason I give it four stars and not a solid 5 is because although the black and white palette is a neat idea, it should look more moody and noir. More black shades and undefined blacks. Instead it's simply a colorless version of a timeless classic!Cool addition for collections and art enthusiasts (and that's a stretch). But for the general audience I can see why this has gotten some negative feedback.Thank you for reading my review!
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