Reviews 

“The Dark Knight Returns: The Golden Child” #1

By | December 12th, 2019
Posted in Reviews | % Comments

Frank Miller continues his vision of an alternate future within the DC universe, that is beginning to look all too similar to our own world, with mixed results.

Cover by Rafael Grampa with Pedro Cobiaco
Written by Frank Miller
Illustrated by Rafael Grampa
Colored by Jordie Bellaire
Lettered by John Workman & Deron Bennett

The children of Superman, Lana and Jonathan Kent, look at Earth and its inhabitants through a mighty critical lens. Amidst the state of the environment, politics, and the like, they have never felt more disconnected from humans. At the same time former Robin, partner to The Dark Knight, Carrie Kelley is now the Batwoman and is ready to jump into the insanity of the world and kick its teeth in. The god-like villain Darkseid is looking to team up with The Joker to sway the coming Presidential election? Ok, what are we doing here?

Upon first glance, this looks very much like any other Frank Miller “Dark Knight Returns” title, but as soon as you scratch the surface, it is abundantly clear that there is not much that hasn’t been said far too many times in other stories, nor is there anything of note. If his first DKR story was a game changer, this one is a nap-inducing retread of everything he and others have done countless times. It is at times both mind-numbingly simple and unnecessarily confusing. Who is the Golden Child? The answer should be obvious, but you wouldn’t know it by reading this comic.

When the issue opens, we see Jon overhear Clark and Lois discussing him. As their conversation fades out, his inner monologue fades in. It is at this point that we assume the title refers to him and he will be the focal point of the story. Well, the title is referring to him, but he is definitely not the point of this comic. He literally just floats through it as various plot threads come and go. The weakest part of this issue is the story, which is just the saddest thing you can say about it. When Miller moves into conversations between characters we see the only bright spots of the entire story.

We then get a multi-layered schizophrenic, and yet, blasé romp through the upcoming election and a partnership that is as groan-worthy as it is unlikely in any Batman story – the aforementioned pairing of Joker and Darkseid.

Illustrator Rafael Grampa does his best version of Miller’s own artwork combined with a style akin to John Romita Jr.’s. In short, everyone is lumpy, wiggly, and looks like they’re trying to be way cooler than their design should allow. There is nothing new here and while I don’t take any pleasure in knocking the hard work put in by an artist. This just isn’t my favorite style. Its point is to look like previous Miller works and in that it succeeds, it just idles in all other respects.

The best character design is Carrie Kelley’s Batwoman. She feels the most connected to the original two Dark Knight books. She continues the cyberpunk Bat-family style that is lacking in every other aspect of this book. Aside from the fantastical political thriller this story attempts to be, her taking on the mantle of the Bat is the most believable and rewarding part of the story. By all accounts, this should be her book, and while we get quite a lot of her, that nagging undercurrent forcing us to follow two wildly unlikable Kryptonians is too prevalent. As if there was another reason to dislike this story, we can’t even enjoy the company of Superman’s children!

Let’s just say it how it is, Jordie Bellaire is the superstar on this book. A talent that continues to dazzle and grow the more she creates, rather than creatively still like the author of this book. Her palette choices are really beautiful, even when the characters are not. She brings a wonder and gorgeous intensity to this comic. It is a beauty that is better than the rest of the product and far more than it deserves. Electrifying, energetic, and punk rock, her work is the only thing that kept me turning the page.

Continued below

Feeling way too long and stuffy, this issue is somehow lacking in enough story to feel complete. Miller crams in all the political unrest and environmental outcries he can, and showcases both *sigh* Trump and Greta Thunberg in this comic. You can correctly state that comics have always been a place to discuss society or you can rightly argue that you want to read comics as an escape from all that. Both sides are correct, and if this story were better it would be easier to stomach. As it stands, it is all overwhelmingly stagnant. I have never felt so indifferent about social/political themes in a comic book. This is a story in which subtext would do it far more favor than the blatant text that is shoved down our throats.

Unless you have the absolute need to complete your Miller/Dark Knight collection, you can, and should, skip this. Especially if you were wary of the direction he was taking in “DK III: The Master Race.” This is spectacularly mediocre.

Final Verdict: 3.0, This is Frank Miller fighting to express his beliefs, tell an interesting story, and to stay relevant and he fails in all attempts. Time to hang up the cowl.


Christopher Egan

Chris lives in New Jersey with his wife, daughter, two cats, and ever-growing comic book and film collection. He is an occasional guest on various podcasts, writes movie reviews on his own time, and enjoys trying new foods. He can be found on Instagram. if you want to see pictures of all that and more!

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