Full frontal Leftist propaganda…
As a side note, writer and artist Frank Miller is also a Hillary supporter…
Last week anarchists, socialists and Black Lives Matter terrorists joined together to protest against white police officer, Jason Van Dyke, who was already charged with first-degree murder for fatally shooting 17-year-old Laquan McDonald.
The following day, DC Comics released the much-anticipated first issue of its latest Batman installment, “Dark Knight III: The Master Race.” Half of the comic is dedicated to scenes of police brutality, depicting a potentially fatal course of events halted by the caped superhero’s interventions.
The occasion of the issue’s release heralded not only Batman’s reemergence in Gotham City, but also the return of original “Dark Knight Returns” writer and artist Frank Miller. Nearly 30 years after he first penned the iconic comic series, the 58-year-old is breathing new life into his most influential work.
A known provocateur, Miller has been described by turns as reactionary, overly conservative and radical. In a recent Vulture interview, he described himself as a libertarian who supports Democrat Hillary Clinton.
Miller’s politics have always been complicated, making his newest Batman’s explicit stance against police brutality a noteworthy change of pace.
This isn’t the first time a comic book author has used their influence to indoctrinate young minds with a leftist narrative. We recently reported about about Disney’s effort to turn popular opinion in favor of amnesty by making the villain in their latest Captain America comic book an evil conservative:
The opening sequence of “Dark Knight III: The Master Race” is narrated through text messages between a young black man in a hoodie and his friend, presumably rehashing recent past events. The man, named “Squid,” is shown running from a police car with a cracked windshield and blood on its dashboard.
As Comic Book Resources points out, colorist Brad Anderson uses only “police reds and blues” in this scene to illustrate the closeness of the cop car.
Two police officers emerge from the car with their guns pointed at him. Aghast, Squid responds by showing them his open palms.
“Getting arrested,” reads a text bubble from Squid.
“4?” his friend asks.
“The man dont need no reason [sic],” Squid responds in a panel showing the barrel of a gun.
“I was waitin for the shot,” he continues in his recollection, “BANG last sound id ever hear. Instead i heard a snap and i turned to it.”
Enter the superhero of the hour, a dark caped figure who swoops in and immediately shatters one of the police car’s front windows. He starts beating the officers who had their guns aimed at Squid.
At first, it seems like this is game over. The artwork pans to TV pundits — comic doppelgangers of Kelly Ripa, Michael Strahan, Jon Stewart, Al Sharpton and Bill O’Reilly — debating the morality of Batman’s actions. There’s talk about how the video footage of the confrontation went viral.
Then Miller moves to a different setting in the jungle with Wonder Woman, and the police encounter is briefly forgotten, only to be thrown back into sharp relief at the end.
With their overt metaphors and symbolic characters, comics have a long history of steering their readers toward certain moral conclusions and inciting fury over perceived social injustices.
The issue’s final scenes show Batman taking the place once occupied by Squid, except this time he’s far outnumbered as he runs from a parade of at least four police cars. His attempts to evade the officers seeking vengeance for their beaten colleagues are unsuccessful, as Batman runs between trucks and climbs a fire escape before committing himself to a brawl.
Completely surrounded, Batman falls to the ground after a police officer shoots the side of his head. A horizontal panel shows 10 cops approaching him with batons in the air.
The large sound effect lettering leaves little room for interpretation.
“WHACK. WHACK. WHACK WHACK WHACK WHACK.” He is bludgeoned seemingly endlessly.
“Had enough?” one of the officers asks as the troupe encircles a fallen Batman lying face-down in his own blood.
This being a superhero comic, however, Batman emerges seriously injured but not defeated. With a sudden burst of energy, he punches the cop closest to him, causing them all to scatter.
(The final pane reveals a significant twist to Batman’s identity, but we’ll leave that out because it’s irrelevant to the police scene.)
Via: The Washington Post