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Sabah Mikha sabahmikha — TDKR has been often spoken of as one of the greatest, if not the greatest of the Batman stories and of published comics in general. I would absolutely agree that there is something great about this tale. Miller was able to uncover and crystallize some of the dark truths about the Batman character and mythos in a way no one had managed to do before. To put it mildly, Batman isn't a good guy hero, he's a vengeance-fuelled vigilante who subscribes to a might makes right way of thinking. On some level everybody who was familiar with the Batman character knew these things to be true, but my guess is that most Batman fans never really took these character aspects seriously enough to appreciate what a true monster they would make Batman if they really were true. And that was the genius of Miller's TDKR, the way he made explicit to the reader the underlying sinister nature of Batman's psychology, methods, and motivations. We are shown a tortured demon underneath the mask, and we are shown where Batman's vigilante code would lead to if taken to a logical extreme - that being a fascist vision of society. All of this would be great except for one little thing - unless I'm totally misreading TDKR, Miller seems to actually be an on-board cheerleader for this fascistic Batman worldview. Every character in the book who has a problem with a society of brutal, ruthless, violent martial law is depicted as being a gutless, foolhardy, "weak-willed," limp-wristed liberal caricature. By way of contrast, every character like Batman or Commissioner Gordon who thinks people should be governed by brutal, ruthless, violence is depicted as a wise and manly hero. Miller divides the world into only two types of people: your leftie pot-smoking, hippie dupes spouting psychobabble and skirting responsibility by passing the buck, and your heroic right wing authoritarians getting things done, saving the day, winning the fight, getting their hands dirty and doing what the "weak-willed" are afraid to do, i.e., keeping society in line through a reign of fear, intimidation, violent terror gangs, etc. I think that TDKR can still be read as something brilliant if you can distance yourself from the perspectives offered in the material and see it in terms of a damning interpretation of a damned character whose ambiguous identity lies somewhere between that of hero and villain. Otherwise, if we must read TDKR as a straightforward endorsement of fascism, the whole thing collapses into just another silly, self-parodying, paranoid right wing fantasy.