If any comic has a claim to have truly reinvigorated the genre then The Dark Knight Returns by Frank Miller--known recently for his excellent Sin City series and, previously, for his superb rendering of the blind superhero Daredevil--is probably the supreme contender. Batman represented all that was wrong in comics and Miller set himself a tough task taking on the camp crusader and turning this laughable, innocuous children's cartoon character into a hero for our times. In his introduction the great Alan Moore (V for Vendetta, Swamp Thing, the arguably peerless Watchmen) argues that only someone of Miller's stature could have done this. Batman is a character known well beyond the confines of the comic world (as are his retinue) and so reinventing him, while keeping his limiting core essentials intact, was a huge task.

Miller went far beyond the call of duty. The Dark Knight is a success on every level. Firstly it does keep the core elements of the Batman myth intact, with Robin, Alfred the butler, Commissioner Gordon and the old roster of villains, present yet brilliantly subverted. Secondly the artwork is fantastic--detailed, sometimes claustrophobic, psychotic. Lastly it's a great story: Gotham City is a hell on earth, streetgangs roam but there are no heroes. Decay is ubiquitous. Where is a hero to save Gotham? It is 10 years since the last recorded sighting of the Batman. And things have got worse than ever. Bruce Wayne is close to being a broken man but something is keeping him sane: the need to see change and the belief that he can orchestrate some of that change. Batman is back. The Dark Knight has returned. Awesome. --Mark Thwaite

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Every animator or character artist should have a copy!, 16 Sep 2008
This is the one, the daddy, the absolute MUST-HAVE for anybody with an interest in animation, character design, or concept art. Richard Williams is a genius and he shares his observations on the difficult life of a trainee artist as well as giving the benefit of his huge amounts of talent and experience.

This book is full of easy to follow hints and tips covering character posing and animation of all sorts. There's no hiding from the fact that even if you use computers to create 3D animation you still need a solid grounding in the fundamentals of motion, weight and timing and this is what Williams helps to explain. Everything is accompanied with detailed illustrations and sketches to help you work through to basic character setups through to complex walk cycles.

I've seen a lot of art books in my time but this is the one that stands head and shoulders above the rest. Invaluable advice from a master of his art.

Fantastic even for the younger artists, 12 Jan 2008
I bought this book as Xmas present for my 11 year old (animation mad )son having read the reviews. In his own words "I havn't got through all of it but it is extremely helpful for my animation".

Apart from the digital blue camera we bought, this has been his most used and loved present. He finds the wording and pictures understandable, and the moving charactor pages fascinating. I have stumbled across a treasure that may well turn out to give him advancement for when he gets to high school (where they finally teach this stuff!)


Beyond price and yet totally affordable, 08 Feb 2007
Don't be fooled by the fact that this a paperback - this is an arm-wrenching book that more than justifies the effort needed to lift it. A humungously fantabulostic whizzbang of a book.

Other reviewers have pretty well said it all - but one comment I just have to repeat and add to is this -

If you're a newcomer to animation, this book is utterly essential.
If you're an experienced amateur or professional, this book has no other purpose than to enrich your life and extend your talents.
If you're just interested in animation, this book will have you reaching for a pencil in double-quick time.

The only book I've ever enountered that comes close to being this good is a slim (and now sadly out of print) little book by Bob Godfrey and originally published by the BBC. That was called 'The do-it-yourself film animation book' and this new book by Richard Williams is very much in that mould. This book is a 'how-to-do-it-yourself-book' of the highest order and covers just about every style, technique and idea you care to think about. More importantly, it will open your mind to the power and possibilities of traditional pencil-based animation.

After all, not everyone has the time, talent, inclination (or software) to learn computer animation, but almost everyone can use a pencil or brush (even amputees!) - and that is all you need. You don't even need to be a good artist to make animation work. Naturally, it does help - but it isn't essential, and this book will show you so many ideas and ways to go about making images move that you'll soon be itching to find your own solutions and ways forwards.

And THAT is the overpowering impression you get from this outstanding book - it makes you want to explore and to find out just what as-yet undiscovered worlds lie out there, a fraction of a millimetre beyond the tip of your pencil.

A Must Have, 27 Oct 2006
This is one of those books that every lecturer who teaches any kind of animation will tell you to buy, not suggest, TELL YOU TO BUY. A large section of the book explains animation history and some guide lines (like don't listen to music! lol) before breaking down different walk cycles and then moving on to other various things that can be animated. THIS BOOK IS A MUST HAVE FOR ANY LEVEL OF ANIMATOR (as even the legendary animators rules are altered in this book at some points).

Official Guide! , 17 Oct 2006
I remmber back in college where I had to take this book out and borrow it to study them at home. But then I managed to take it with me when i finished college lOl... That's because this book is sooooooo great, it covers the most importances of animation. It demonstrate the in between drawings, the movements of a character, describing the weight of an objects and how to exagerate your character. But by saying this, there is much more to this. Buy this book. This is the only book you need!

As all good card-carrying comic-book fans know, their sheer passion will never overcome narrow-minded critics and their baying cries of derision. There is far more to this perpetually underrated medium than a mix of art and prose. With this indispensable, spellbinding tome, writer/artist Scott McCloud rises to the challenge of dissecting what remains the most enigmatic of art forms. After all, says McCloud, "No other art form gives so much to its audience while asking so much from them as well". Over the course of 215 impeccably formed pages, McCloud joyously exposes and deconstructs a hidden world of icons in a most literate and valid manner. His charming guidance finds a place where Time and Space is effortlessly malleable and the reader is both a willing accomplice and necessary vessel for comics' singular magic. Cunningly presented in comic form, McCloud (or his comic equivalent) conducts a journey that spans thousands of years, taking in art from Prehistoric Man to the Egyptians to Van Gogh to Jack Kirby. Never has psychological and cultural analysis been so understandably clear, beautifully aided by clever visuals and his truly infectious love for the medium. By the end of this funny, charming, rare and exciting book, you'll not doubt the notion that a comic book "...is a vacuum into which our identity and awareness are pulled ... an empty shell that we inhabit which enables us to travel to another realm". A fine exchange for a little faith and a world of imagination. --Danny Graydon

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Every animator or character artist should have a copy!, 16 Sep 2008
This is the one, the daddy, the absolute MUST-HAVE for anybody with an interest in animation, character design, or concept art. Richard Williams is a genius and he shares his observations on the difficult life of a trainee artist as well as giving the benefit of his huge amounts of talent and experience.

This book is full of easy to follow hints and tips covering character posing and animation of all sorts. There's no hiding from the fact that even if you use computers to create 3D animation you still need a solid grounding in the fundamentals of motion, weight and timing and this is what Williams helps to explain. Everything is accompanied with detailed illustrations and sketches to help you work through to basic character setups through to complex walk cycles.

I've seen a lot of art books in my time but this is the one that stands head and shoulders above the rest. Invaluable advice from a master of his art.

Fantastic even for the younger artists, 12 Jan 2008
I bought this book as Xmas present for my 11 year old (animation mad )son having read the reviews. In his own words "I havn't got through all of it but it is extremely helpful for my animation".

Apart from the digital blue camera we bought, this has been his most used and loved present. He finds the wording and pictures understandable, and the moving charactor pages fascinating. I have stumbled across a treasure that may well turn out to give him advancement for when he gets to high school (where they finally teach this stuff!)


Beyond price and yet totally affordable, 08 Feb 2007
Don't be fooled by the fact that this a paperback - this is an arm-wrenching book that more than justifies the effort needed to lift it. A humungously fantabulostic whizzbang of a book.

Other reviewers have pretty well said it all - but one comment I just have to repeat and add to is this -

If you're a newcomer to animation, this book is utterly essential.
If you're an experienced amateur or professional, this book has no other purpose than to enrich your life and extend your talents.
If you're just interested in animation, this book will have you reaching for a pencil in double-quick time.

The only book I've ever enountered that comes close to being this good is a slim (and now sadly out of print) little book by Bob Godfrey and originally published by the BBC. That was called 'The do-it-yourself film animation book' and this new book by Richard Williams is very much in that mould. This book is a 'how-to-do-it-yourself-book' of the highest order and covers just about every style, technique and idea you care to think about. More importantly, it will open your mind to the power and possibilities of traditional pencil-based animation.

After all, not everyone has the time, talent, inclination (or software) to learn computer animation, but almost everyone can use a pencil or brush (even amputees!) - and that is all you need. You don't even need to be a good artist to make animation work. Naturally, it does help - but it isn't essential, and this book will show you so many ideas and ways to go about making images move that you'll soon be itching to find your own solutions and ways forwards.

And THAT is the overpowering impression you get from this outstanding book - it makes you want to explore and to find out just what as-yet undiscovered worlds lie out there, a fraction of a millimetre beyond the tip of your pencil.

A Must Have, 27 Oct 2006
This is one of those books that every lecturer who teaches any kind of animation will tell you to buy, not suggest, TELL YOU TO BUY. A large section of the book explains animation history and some guide lines (like don't listen to music! lol) before breaking down different walk cycles and then moving on to other various things that can be animated. THIS BOOK IS A MUST HAVE FOR ANY LEVEL OF ANIMATOR (as even the legendary animators rules are altered in this book at some points).

Official Guide! , 17 Oct 2006
I remmber back in college where I had to take this book out and borrow it to study them at home. But then I managed to take it with me when i finished college lOl... That's because this book is sooooooo great, it covers the most importances of animation. It demonstrate the in between drawings, the movements of a character, describing the weight of an objects and how to exagerate your character. But by saying this, there is much more to this. Buy this book. This is the only book you need!

A Brilliant Look at the Psychology, Physiology, and Effectiveness of Comic Strips and Books, 24 Jun 2008
This is an important book that everyone should read. I would give it twenty stars if I could.

I've long been interested in both art and comic books (I have collected them for over 50 years). While the library shelves are full of wonderful books that explain what traditional artists are trying to do and why they succeed, I've often found the books to be pretty boring. In recent years, such books have gotten bogged down into abstruse language that is much less appealing than the art which is the subject.

But in those years, I've never seen anything that was very helpful in discussing the rules of comic art, except some books about pop art when that was popular that examined how the pop art was different from comic art. Naturally, I was blown away when I found that Understanding Comics is a far more comprehensive, thoughtful, and accessible book about interaction with art than I have ever read. Although the subject is ostensibly comic strips and comic books, it's clear to me that that Mr. McCloud has a deep and powerful understanding of all art. Some of his conceptual displays of where different forms of art fall in different dimensions of choice (degree of realism, abstraction, and message) are unbelievably powerful.

I hope that some art historian will stumble on this book and recast the history of art to explain and relate different styles to one another using this book's methods. There would be a lot more art lovers if that were the case.

Ultimately, the book's main benefit is to help the reader appreciate that comic art can be a higher and more effective form of art than either pure images or written words by requiring a mastery of more elements . . . elements that are more powerful in grabbing attention and conveying meaning.

Yet the book stays in humble form, a comic book. The powerful ideas sneak up on you as Mr. McCloud deconstructs the elements of comic art expression into chapters on defining what kind of art comics are ("sequential art" for short); explaining where various comics fall on the spectrum of reality, story, and abstraction; the way we fill in the spaces around the lines and between panels with our minds, allowing us to participate in creating the story and the experience; how time is expressed in various ways; the role of lines in creating our understanding and responses; how words and images can interact; a conceptual look at creating comic art; the effect of color; and a synthesis of the book in historical and conceptual terms.

If you want to enjoy both traditional art and comic art more, read this book. It's the Rosetta stone for non-artists in appreciating the images, stories, and messages that artists want to share with us through these media. You'll never be the same . . . and the change will be good for you!

Bravo, Mr. McCloud!


Eye-opening, 26 Sep 2004
A colleague who produces comics recommended this book to me as the definitive guide to the subject, and he was right. McCloud uses comic-strip techniques as elegant proof of the fact that comics really can get a message across to their audience. Apart from its obvious how-to value, this book is also a handy defence against the intellectual snobs who deride the medium (yes, that was me, once upon a time) because of its thoroughly researched and - dare I say it - scholarly approach. It's a surprising, enjoyable and educational guide by someone who clearly loves his work. I'll never see comics the same way again.

Eye-opening, 19 May 2004
There are precious few books around that really treat the comics medium seriously, or fully explore what is and may be possible in that medium. Scott McCloud's "Understanding Comics" is one of the few and - for me - is the best of the bunch.

This book has tonnes of things going for it: McCloud's enjoyable and accessible cartoon-style delivery, which is itself a brilliant demonstration of how powerful a communication tool comics can be ... the infectious passion he has for his subject ... the bountiful results of his serious research and scrutinization ... I could go on.

Perhaps the best thing about "Understanding Comics", though, is McCloud's sheer imagination. When it comes to comics, he has a way of thinking and seeing that is almost completely uninhibited by any preconceptions. The result: he's constantly chucking ideas at you that surprise you and make you re-think about comics, writing, art and perception. You might not agree with everything he says, but the point is you're thinking about something you'd never have considered before. It's a truly eye-opening piece of work.

For readers and writers of comics alike, "Understanding Comics" is invaluable in helping you to appreciate 'sequential art'. For those who have never considered comics worth bothering about ... I urge you to get this book and read it. I guarantee it will make you think again, about comics in particular and art in general.

One final note: as I'm sure Scott McCloud himself would say, don't stop here. Check out other works such as "Comics and Sequential Art" by Will Eisner, or Alan Moore's essay "Writing for Comics". And any sequential art you can lay your hands on!

A must-have for serious cartoonists, 01 Dec 2002
This is one of the true necessities for anyone serious about cartooning and what Eisner calls "sequential art". It is NOT a how-to-draw book. Rather, it discusses the nature of drawing and cartooning, and how concepts are depicted through the pen - all with a very personal touch, the author speaking directly to you through the medium of cartooning. McCloud also examines the evolution of true comics from basic drawing, and how the "language" of cartooning has come to differ in different cultures. This book will make you think long and hard about the subject and what you do in it yourself.

Comics shed a light on shoe-string animation, 10 Jul 2002
This books on undestanding comics is a must read for anyone involved with visual and textual communications of any sort.

History, constructs, and the means of communicating beyond the constraints of a medium, such as two-dimensional paper, in this case, provides ample ammunition for lateral thought.

Personally I found this book not only informative and inspiring, but also thought provoking. The impact has been such, that the ideas will be adapted to a shoe-string animation project.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Every animator or character artist should have a copy!, 16 Sep 2008
This is the one, the daddy, the absolute MUST-HAVE for anybody with an interest in animation, character design, or concept art. Richard Williams is a genius and he shares his observations on the difficult life of a trainee artist as well as giving the benefit of his huge amounts of talent and experience.

This book is full of easy to follow hints and tips covering character posing and animation of all sorts. There's no hiding from the fact that even if you use computers to create 3D animation you still need a solid grounding in the fundamentals of motion, weight and timing and this is what Williams helps to explain. Everything is accompanied with detailed illustrations and sketches to help you work through to basic character setups through to complex walk cycles.

I've seen a lot of art books in my time but this is the one that stands head and shoulders above the rest. Invaluable advice from a master of his art.

Fantastic even for the younger artists, 12 Jan 2008
I bought this book as Xmas present for my 11 year old (animation mad )son having read the reviews. In his own words "I havn't got through all of it but it is extremely helpful for my animation".

Apart from the digital blue camera we bought, this has been his most used and loved present. He finds the wording and pictures understandable, and the moving charactor pages fascinating. I have stumbled across a treasure that may well turn out to give him advancement for when he gets to high school (where they finally teach this stuff!)


Beyond price and yet totally affordable, 08 Feb 2007
Don't be fooled by the fact that this a paperback - this is an arm-wrenching book that more than justifies the effort needed to lift it. A humungously fantabulostic whizzbang of a book.

Other reviewers have pretty well said it all - but one comment I just have to repeat and add to is this -

If you're a newcomer to animation, this book is utterly essential.
If you're an experienced amateur or professional, this book has no other purpose than to enrich your life and extend your talents.
If you're just interested in animation, this book will have you reaching for a pencil in double-quick time.

The only book I've ever enountered that comes close to being this good is a slim (and now sadly out of print) little book by Bob Godfrey and originally published by the BBC. That was called 'The do-it-yourself film animation book' and this new book by Richard Williams is very much in that mould. This book is a 'how-to-do-it-yourself-book' of the highest order and covers just about every style, technique and idea you care to think about. More importantly, it will open your mind to the power and possibilities of traditional pencil-based animation.

After all, not everyone has the time, talent, inclination (or software) to learn computer animation, but almost everyone can use a pencil or brush (even amputees!) - and that is all you need. You don't even need to be a good artist to make animation work. Naturally, it does help - but it isn't essential, and this book will show you so many ideas and ways to go about making images move that you'll soon be itching to find your own solutions and ways forwards.

And THAT is the overpowering impression you get from this outstanding book - it makes you want to explore and to find out just what as-yet undiscovered worlds lie out there, a fraction of a millimetre beyond the tip of your pencil.

A Must Have, 27 Oct 2006
This is one of those books that every lecturer who teaches any kind of animation will tell you to buy, not suggest, TELL YOU TO BUY. A large section of the book explains animation history and some guide lines (like don't listen to music! lol) before breaking down different walk cycles and then moving on to other various things that can be animated. THIS BOOK IS A MUST HAVE FOR ANY LEVEL OF ANIMATOR (as even the legendary animators rules are altered in this book at some points).

Official Guide! , 17 Oct 2006
I remmber back in college where I had to take this book out and borrow it to study them at home. But then I managed to take it with me when i finished college lOl... That's because this book is sooooooo great, it covers the most importances of animation. It demonstrate the in between drawings, the movements of a character, describing the weight of an objects and how to exagerate your character. But by saying this, there is much more to this. Buy this book. This is the only book you need!

A Brilliant Look at the Psychology, Physiology, and Effectiveness of Comic Strips and Books, 24 Jun 2008
This is an important book that everyone should read. I would give it twenty stars if I could.

I've long been interested in both art and comic books (I have collected them for over 50 years). While the library shelves are full of wonderful books that explain what traditional artists are trying to do and why they succeed, I've often found the books to be pretty boring. In recent years, such books have gotten bogged down into abstruse language that is much less appealing than the art which is the subject.

But in those years, I've never seen anything that was very helpful in discussing the rules of comic art, except some books about pop art when that was popular that examined how the pop art was different from comic art. Naturally, I was blown away when I found that Understanding Comics is a far more comprehensive, thoughtful, and accessible book about interaction with art than I have ever read. Although the subject is ostensibly comic strips and comic books, it's clear to me that that Mr. McCloud has a deep and powerful understanding of all art. Some of his conceptual displays of where different forms of art fall in different dimensions of choice (degree of realism, abstraction, and message) are unbelievably powerful.

I hope that some art historian will stumble on this book and recast the history of art to explain and relate different styles to one another using this book's methods. There would be a lot more art lovers if that were the case.

Ultimately, the book's main benefit is to help the reader appreciate that comic art can be a higher and more effective form of art than either pure images or written words by requiring a mastery of more elements . . . elements that are more powerful in grabbing attention and conveying meaning.

Yet the book stays in humble form, a comic book. The powerful ideas sneak up on you as Mr. McCloud deconstructs the elements of comic art expression into chapters on defining what kind of art comics are ("sequential art" for short); explaining where various comics fall on the spectrum of reality, story, and abstraction; the way we fill in the spaces around the lines and between panels with our minds, allowing us to participate in creating the story and the experience; how time is expressed in various ways; the role of lines in creating our understanding and responses; how words and images can interact; a conceptual look at creating comic art; the effect of color; and a synthesis of the book in historical and conceptual terms.

If you want to enjoy both traditional art and comic art more, read this book. It's the Rosetta stone for non-artists in appreciating the images, stories, and messages that artists want to share with us through these media. You'll never be the same . . . and the change will be good for you!

Bravo, Mr. McCloud!


Eye-opening, 26 Sep 2004
A colleague who produces comics recommended this book to me as the definitive guide to the subject, and he was right. McCloud uses comic-strip techniques as elegant proof of the fact that comics really can get a message across to their audience. Apart from its obvious how-to value, this book is also a handy defence against the intellectual snobs who deride the medium (yes, that was me, once upon a time) because of its thoroughly researched and - dare I say it - scholarly approach. It's a surprising, enjoyable and educational guide by someone who clearly loves his work. I'll never see comics the same way again.

Eye-opening, 19 May 2004
There are precious few books around that really treat the comics medium seriously, or fully explore what is and may be possible in that medium. Scott McCloud's "Understanding Comics" is one of the few and - for me - is the best of the bunch.

This book has tonnes of things going for it: McCloud's enjoyable and accessible cartoon-style delivery, which is itself a brilliant demonstration of how powerful a communication tool comics can be ... the infectious passion he has for his subject ... the bountiful results of his serious research and scrutinization ... I could go on.

Perhaps the best thing about "Understanding Comics", though, is McCloud's sheer imagination. When it comes to comics, he has a way of thinking and seeing that is almost completely uninhibited by any preconceptions. The result: he's constantly chucking ideas at you that surprise you and make you re-think about comics, writing, art and perception. You might not agree with everything he says, but the point is you're thinking about something you'd never have considered before. It's a truly eye-opening piece of work.

For readers and writers of comics alike, "Understanding Comics" is invaluable in helping you to appreciate 'sequential art'. For those who have never considered comics worth bothering about ... I urge you to get this book and read it. I guarantee it will make you think again, about comics in particular and art in general.

One final note: as I'm sure Scott McCloud himself would say, don't stop here. Check out other works such as "Comics and Sequential Art" by Will Eisner, or Alan Moore's essay "Writing for Comics". And any sequential art you can lay your hands on!

A must-have for serious cartoonists, 01 Dec 2002
This is one of the true necessities for anyone serious about cartooning and what Eisner calls "sequential art". It is NOT a how-to-draw book. Rather, it discusses the nature of drawing and cartooning, and how concepts are depicted through the pen - all with a very personal touch, the author speaking directly to you through the medium of cartooning. McCloud also examines the evolution of true comics from basic drawing, and how the "language" of cartooning has come to differ in different cultures. This book will make you think long and hard about the subject and what you do in it yourself.

Comics shed a light on shoe-string animation, 10 Jul 2002
This books on undestanding comics is a must read for anyone involved with visual and textual communications of any sort.

History, constructs, and the means of communicating beyond the constraints of a medium, such as two-dimensional paper, in this case, provides ample ammunition for lateral thought.

Personally I found this book not only informative and inspiring, but also thought provoking. The impact has been such, that the ideas will be adapted to a shoe-string animation project.

Great Look at How Stories and Art Combine into the Comics You Love, 07 Aug 2008

I've always found it fascinating to imagine how a comic book author/illustrator creates the stories and images that appeal so much. Having been a non-fiction book author for many years, I have a firm understanding of the writing process. I sometimes pick out a few illustrations to put into a book.

But building a story around the illustrations, that seems like a trip to the planet Neptune to me. I was very pleased to find that Scott McCloud is very good at explaining (and illustrating) the creative and production processes he uses. I was delighted when I realized that he had also described how an individual could make a few comics to share with friends.

With computer art getting to be easier to do, I can see that there's even hope for those of us who couldn't draw out way out of a paper bag.

Mr. McCloud has the kind of mind that sees everything in perspective, in this case as facets of an overall story-telling task. He always has the goal of engaging the reader in mind and relates his points well to that purpose.

The work is impressive at another level . . . it's a masterpiece of providing instruction. The book shows more than tells, as a book about comics should do.

If Mr. McCloud ever tires of making comic books and graphic novels, he should go into explaining non-fiction subjects. He would make a fortune!

Awesome, 13 May 2008
Back in the 90s Scott McCloud's Understanding Comics became a seminal text in the field of comics theory, and he has repeated his achievement for comics practice in the noughties with this excellent book.

It is in a different league from all the other 'how to make comics' texts out there, which are usually really just 'how to draw in a manga/superhero/my style'.

Instead he merges theory with practice in a very accessible and engaging way, covering panels, text/image, facial expression, body language, environment, process, technique, genre and style, with a very useful bibliography.

If this book had existed when I was at art college I would have saved myself literally months of time figuring all of this out for myself, but even now I found it incredibly informative and useful.

An absolute must for all aspiring comics artists.

Another McCloud book to get excited about, and to get you inspired about your own comics!, 06 Nov 2006
Scott McCloud scores again with another incredibly intelligent non-fiction comic! In Understanding Comics he wrote a groundbreaking literature analysis that unveiled the mysterious inner workings of comics - in can't-put-it-down attractive comic format! Making Comics is another important book for comics in general, its chapter topics are of immediate relevance, with lots of solid practicals.

There are stacks of "how to draw" books out there, but McCloud's applies his rare talent in the witty presentation of diligent research. Making Comics conveys years of reading, pattern-deducing and theorising, digging into fine art composition techniques, the psychology of involving the reader of comics, the life cycles of genres and loads more. I may risk giving the impression that this is an academic, highbrow or out-of-touch book. Again, it's very practical.

The reader can learn so much, yet it's impossible to liken it to a textbook because it's so fun! However, for those truly getting serious, at the end of each chapter is an invaluable new "Notes" section, which includes optional exercises to do. These are often group activities, benefiting circles of enthusiasts or art teachers and media courses.

McCloud uses the artwork in the format to demonstrate each point. Frequently he uses examples from other comics, but the artwork is predominantly his own which (despite his self-humbling comments) is skillful and clear. As the book explains how, words and pictures together act as more than the sum of their parts to get across deeper messages about emotions, sensations, craftsmanship and more. This book clearly charts the way towards barely explored territories among the endless possibilities of comics making. It also imparts the know-how for readers to confidently set out on their personal journey to get there! I think every reader is going to catch some inspiration from Making Comics, and be itching to start creating new comics by the end!

Manga fans should find this book invaluable, with a small ten-page section devoted specifically to comics from Japan. This contains eight specific manga features, and they're a far cry from big eyes and cute (this book is about substance, not surface remember!) The take on shojo (target audience is girls) and shonen (manga for boys) genres is a breath of fresh air, despite brevity. This sounds like very little, but the entire volume is as applicable to manga as to comics from any other culture. (Popular manga artwork in the examples crops up from introduction to ending.)

As my main complaint about this book, the strength of being practical leave me missing McCloud's intellectual flights in Understanding Comics somewhat. This reader was awed by Understanding Comics and the sense of enlightenment sparking from each page. This is a different kind of book. The earlier book is about history, purpose, the human mind, the future; this presents an approach to drawing faces, how attention to environments contributes to your work, pitfalls to avoid when placing text in a word balloon... However, it is an unbefitting grumble that its content is comparatively mundane. I reckon Making Comics is every bit as brilliant as Understanding Comics - instead of satisfying a hunger for knowledge, it will come into its own as a companion in MAKING COMICS.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Every animator or character artist should have a copy!, 16 Sep 2008
This is the one, the daddy, the absolute MUST-HAVE for anybody with an interest in animation, character design, or concept art. Richard Williams is a genius and he shares his observations on the difficult life of a trainee artist as well as giving the benefit of his huge amounts of talent and experience.

This book is full of easy to follow hints and tips covering character posing and animation of all sorts. There's no hiding from the fact that even if you use computers to create 3D animation you still need a solid grounding in the fundamentals of motion, weight and timing and this is what Williams helps to explain. Everything is accompanied with detailed illustrations and sketches to help you work through to basic character setups through to complex walk cycles.

I've seen a lot of art books in my time but this is the one that stands head and shoulders above the rest. Invaluable advice from a master of his art.

Fantastic even for the younger artists, 12 Jan 2008
I bought this book as Xmas present for my 11 year old (animation mad )son having read the reviews. In his own words "I havn't got through all of it but it is extremely helpful for my animation".

Apart from the digital blue camera we bought, this has been his most used and loved present. He finds the wording and pictures understandable, and the moving charactor pages fascinating. I have stumbled across a treasure that may well turn out to give him advancement for when he gets to high school (where they finally teach this stuff!)


Beyond price and yet totally affordable, 08 Feb 2007
Don't be fooled by the fact that this a paperback - this is an arm-wrenching book that more than justifies the effort needed to lift it. A humungously fantabulostic whizzbang of a book.

Other reviewers have pretty well said it all - but one comment I just have to repeat and add to is this -

If you're a newcomer to animation, this book is utterly essential.
If you're an experienced amateur or professional, this book has no other purpose than to enrich your life and extend your talents.
If you're just interested in animation, this book will have you reaching for a pencil in double-quick time.

The only book I've ever enountered that comes close to being this good is a slim (and now sadly out of print) little book by Bob Godfrey and originally published by the BBC. That was called 'The do-it-yourself film animation book' and this new book by Richard Williams is very much in that mould. This book is a 'how-to-do-it-yourself-book' of the highest order and covers just about every style, technique and idea you care to think about. More importantly, it will open your mind to the power and possibilities of traditional pencil-based animation.

After all, not everyone has the time, talent, inclination (or software) to learn computer animation, but almost everyone can use a pencil or brush (even amputees!) - and that is all you need. You don't even need to be a good artist to make animation work. Naturally, it does help - but it isn't essential, and this book will show you so many ideas and ways to go about making images move that you'll soon be itching to find your own solutions and ways forwards.

And THAT is the overpowering impression you get from this outstanding book - it makes you want to explore and to find out just what as-yet undiscovered worlds lie out there, a fraction of a millimetre beyond the tip of your pencil.

A Must Have, 27 Oct 2006
This is one of those books that every lecturer who teaches any kind of animation will tell you to buy, not suggest, TELL YOU TO BUY. A large section of the book explains animation history and some guide lines (like don't listen to music! lol) before breaking down different walk cycles and then moving on to other various things that can be animated. THIS BOOK IS A MUST HAVE FOR ANY LEVEL OF ANIMATOR (as even the legendary animators rules are altered in this book at some points).

Official Guide! , 17 Oct 2006
I remmber back in college where I had to take this book out and borrow it to study them at home. But then I managed to take it with me when i finished college lOl... That's because this book is sooooooo great, it covers the most importances of animation. It demonstrate the in between drawings, the movements of a character, describing the weight of an objects and how to exagerate your character. But by saying this, there is much more to this. Buy this book. This is the only book you need!

A Brilliant Look at the Psychology, Physiology, and Effectiveness of Comic Strips and Books, 24 Jun 2008
This is an important book that everyone should read. I would give it twenty stars if I could.

I've long been interested in both art and comic books (I have collected them for over 50 years). While the library shelves are full of wonderful books that explain what traditional artists are trying to do and why they succeed, I've often found the books to be pretty boring. In recent years, such books have gotten bogged down into abstruse language that is much less appealing than the art which is the subject.

But in those years, I've never seen anything that was very helpful in discussing the rules of comic art, except some books about pop art when that was popular that examined how the pop art was different from comic art. Naturally, I was blown away when I found that Understanding Comics is a far more comprehensive, thoughtful, and accessible book about interaction with art than I have ever read. Although the subject is ostensibly comic strips and comic books, it's clear to me that that Mr. McCloud has a deep and powerful understanding of all art. Some of his conceptual displays of where different forms of art fall in different dimensions of choice (degree of realism, abstraction, and message) are unbelievably powerful.

I hope that some art historian will stumble on this book and recast the history of art to explain and relate different styles to one another using this book's methods. There would be a lot more art lovers if that were the case.

Ultimately, the book's main benefit is to help the reader appreciate that comic art can be a higher and more effective form of art than either pure images or written words by requiring a mastery of more elements . . . elements that are more powerful in grabbing attention and conveying meaning.

Yet the book stays in humble form, a comic book. The powerful ideas sneak up on you as Mr. McCloud deconstructs the elements of comic art expression into chapters on defining what kind of art comics are ("sequential art" for short); explaining where various comics fall on the spectrum of reality, story, and abstraction; the way we fill in the spaces around the lines and between panels with our minds, allowing us to participate in creating the story and the experience; how time is expressed in various ways; the role of lines in creating our understanding and responses; how words and images can interact; a conceptual look at creating comic art; the effect of color; and a synthesis of the book in historical and conceptual terms.

If you want to enjoy both traditional art and comic art more, read this book. It's the Rosetta stone for non-artists in appreciating the images, stories, and messages that artists want to share with us through these media. You'll never be the same . . . and the change will be good for you!

Bravo, Mr. McCloud!


Eye-opening, 26 Sep 2004
A colleague who produces comics recommended this book to me as the definitive guide to the subject, and he was right. McCloud uses comic-strip techniques as elegant proof of the fact that comics really can get a message across to their audience. Apart from its obvious how-to value, this book is also a handy defence against the intellectual snobs who deride the medium (yes, that was me, once upon a time) because of its thoroughly researched and - dare I say it - scholarly approach. It's a surprising, enjoyable and educational guide by someone who clearly loves his work. I'll never see comics the same way again.

Eye-opening, 19 May 2004
There are precious few books around that really treat the comics medium seriously, or fully explore what is and may be possible in that medium. Scott McCloud's "Understanding Comics" is one of the few and - for me - is the best of the bunch.

This book has tonnes of things going for it: McCloud's enjoyable and accessible cartoon-style delivery, which is itself a brilliant demonstration of how powerful a communication tool comics can be ... the infectious passion he has for his subject ... the bountiful results of his serious research and scrutinization ... I could go on.

Perhaps the best thing about "Understanding Comics", though, is McCloud's sheer imagination. When it comes to comics, he has a way of thinking and seeing that is almost completely uninhibited by any preconceptions. The result: he's constantly chucking ideas at you that surprise you and make you re-think about comics, writing, art and perception. You might not agree with everything he says, but the point is you're thinking about something you'd never have considered before. It's a truly eye-opening piece of work.

For readers and writers of comics alike, "Understanding Comics" is invaluable in helping you to appreciate 'sequential art'. For those who have never considered comics worth bothering about ... I urge you to get this book and read it. I guarantee it will make you think again, about comics in particular and art in general.

One final note: as I'm sure Scott McCloud himself would say, don't stop here. Check out other works such as "Comics and Sequential Art" by Will Eisner, or Alan Moore's essay "Writing for Comics". And any sequential art you can lay your hands on!

A must-have for serious cartoonists, 01 Dec 2002
This is one of the true necessities for anyone serious about cartooning and what Eisner calls "sequential art". It is NOT a how-to-draw book. Rather, it discusses the nature of drawing and cartooning, and how concepts are depicted through the pen - all with a very personal touch, the author speaking directly to you through the medium of cartooning. McCloud also examines the evolution of true comics from basic drawing, and how the "language" of cartooning has come to differ in different cultures. This book will make you think long and hard about the subject and what you do in it yourself.

Comics shed a light on shoe-string animation, 10 Jul 2002
This books on undestanding comics is a must read for anyone involved with visual and textual communications of any sort.

History, constructs, and the means of communicating beyond the constraints of a medium, such as two-dimensional paper, in this case, provides ample ammunition for lateral thought.

Personally I found this book not only informative and inspiring, but also thought provoking. The impact has been such, that the ideas will be adapted to a shoe-string animation project.

Great Look at How Stories and Art Combine into the Comics You Love, 07 Aug 2008

I've always found it fascinating to imagine how a comic book author/illustrator creates the stories and images that appeal so much. Having been a non-fiction book author for many years, I have a firm understanding of the writing process. I sometimes pick out a few illustrations to put into a book.

But building a story around the illustrations, that seems like a trip to the planet Neptune to me. I was very pleased to find that Scott McCloud is very good at explaining (and illustrating) the creative and production processes he uses. I was delighted when I realized that he had also described how an individual could make a few comics to share with friends.

With computer art getting to be easier to do, I can see that there's even hope for those of us who couldn't draw out way out of a paper bag.

Mr. McCloud has the kind of mind that sees everything in perspective, in this case as facets of an overall story-telling task. He always has the goal of engaging the reader in mind and relates his points well to that purpose.

The work is impressive at another level . . . it's a masterpiece of providing instruction. The book shows more than tells, as a book about comics should do.

If Mr. McCloud ever tires of making comic books and graphic novels, he should go into explaining non-fiction subjects. He would make a fortune!

Awesome, 13 May 2008
Back in the 90s Scott McCloud's Understanding Comics became a seminal text in the field of comics theory, and he has repeated his achievement for comics practice in the noughties with this excellent book.

It is in a different league from all the other 'how to make comics' texts out there, which are usually really just 'how to draw in a manga/superhero/my style'.

Instead he merges theory with practice in a very accessible and engaging way, covering panels, text/image, facial expression, body language, environment, process, technique, genre and style, with a very useful bibliography.

If this book had existed when I was at art college I would have saved myself literally months of time figuring all of this out for myself, but even now I found it incredibly informative and useful.

An absolute must for all aspiring comics artists.

Another McCloud book to get excited about, and to get you inspired about your own comics!, 06 Nov 2006
Scott McCloud scores again with another incredibly intelligent non-fiction comic! In Understanding Comics he wrote a groundbreaking literature analysis that unveiled the mysterious inner workings of comics - in can't-put-it-down attractive comic format! Making Comics is another important book for comics in general, its chapter topics are of immediate relevance, with lots of solid practicals.

There are stacks of "how to draw" books out there, but McCloud's applies his rare talent in the witty presentation of diligent research. Making Comics conveys years of reading, pattern-deducing and theorising, digging into fine art composition techniques, the psychology of involving the reader of comics, the life cycles of genres and loads more. I may risk giving the impression that this is an academic, highbrow or out-of-touch book. Again, it's very practical.

The reader can learn so much, yet it's impossible to liken it to a textbook because it's so fun! However, for those truly getting serious, at the end of each chapter is an invaluable new "Notes" section, which includes optional exercises to do. These are often group activities, benefiting circles of enthusiasts or art teachers and media courses.

McCloud uses the artwork in the format to demonstrate each point. Frequently he uses examples from other comics, but the artwork is predominantly his own which (despite his self-humbling comments) is skillful and clear. As the book explains how, words and pictures together act as more than the sum of their parts to get across deeper messages about emotions, sensations, craftsmanship and more. This book clearly charts the way towards barely explored territories among the endless possibilities of comics making. It also imparts the know-how for readers to confidently set out on their personal journey to get there! I think every reader is going to catch some inspiration from Making Comics, and be itching to start creating new comics by the end!

Manga fans should find this book invaluable, with a small ten-page section devoted specifically to comics from Japan. This contains eight specific manga features, and they're a far cry from big eyes and cute (this book is about substance, not surface remember!) The take on shojo (target audience is girls) and shonen (manga for boys) genres is a breath of fresh air, despite brevity. This sounds like very little, but the entire volume is as applicable to manga as to comics from any other culture. (Popular manga artwork in the examples crops up from introduction to ending.)

As my main complaint about this book, the strength of being practical leave me missing McCloud's intellectual flights in Understanding Comics somewhat. This reader was awed by Understanding Comics and the sense of enlightenment sparking from each page. This is a different kind of book. The earlier book is about history, purpose, the human mind, the future; this presents an approach to drawing faces, how attention to environments contributes to your work, pitfalls to avoid when placing text in a word balloon... However, it is an unbefitting grumble that its content is comparatively mundane. I reckon Making Comics is every bit as brilliant as Understanding Comics - instead of satisfying a hunger for knowledge, it will come into its own as a companion in MAKING COMICS.

amazing, 18 Sep 2008
this collection or memory is amazing it has incredible art and so much information that it is so worth keeping forever

Very good but it is a little fragile, 23 Apr 2008
This book really is a joy. Every Marvelite who gets one will love it. It contains lots of stuff that old time fans will possibly already know about but this is the first time I have seem so many photos of Marvel and Timely staff members in one book. This book is as much about the company as it is the characters and is all the better for that. I love all the reproduction pencil sketches, stamps and cards etc they are very realistic replicas. As a Brit we never really got chance to see any of those things in real life so to actually hold them in my hand is a bit of a thrill. I feel this book will mostly appeal to older comic fans between the ages of 30 and 50 looking for a bit of nostalgia rather than small boys or young fans of superhero films and cartoons. I would go so far as to say that this book is actually due to the ring binding to fragile to handle for any child under 10 (it needs to be handled with a lot of care and only opened on a flat surface. Because of this I almost dropped a star in my rating and I would have given this book four stars. Since it has been discounted so heavily by Amazon though (at the time of writing this) It now has to in my opinion have the full five.

Excellent gift for a Marvel Fan, 11 Jan 2008
I bought this for my husband as a gift and he loves it. I am not really into the whole Marvel thing myself, but found myself interested enough to read it from cover to cover. Excellent and a great price on Amazon.

Marvel Vault - Fantastic but flawed, 02 Nov 2007
I agree in what has already been written about how good the book is. However, there is a major flaw in the book that needs pointing out. The pages are held in place by a metal ring binding. Even with careful use the pages are going to pull againt this binding and are going to tear and fall out. I could already see slight wear after looking through the book once - Be warned especally considering the price.



Like opening a Marvel time capsule, 26 Sep 2007
Roy Thomas and Peter Sanderson have gathered together in this book not only a history of Marvel from Marvel Comics # 1 (1939) up to 2006, which is impressive enough but a whole host of extras from Marvel's past make it a superb collector's item.
From reproductions of sketches of Marvel's WW2 heroes, especially the Sub-Mariner, Marvel's longest lasting continual character, the original Torch being an android. There's a reproduction MMMS membership card (I was a member of FOOM in the 1970's), the no-prize book, Marvel value stamps and many more items, it's a nostalgics dream. There are also truly personal items like Bill Everett's postcards.
Marvel fans are an intrinsic part of the Marvel extended family and although like most families, there are the odd breakdowns by and large Marvel has kept a large and loyal fan-base. It does not gloss over the collapse of Marvel and the comic industry in the 1990's due to corporate over-reach (greed) and the eventual rebirth, through to Heroes Reborn, and the recent spate of blockbuster movies.
Reading through it the names of the people who made Marvel great, Stan Lee, Jack Kirby, Steve Ditko, Roy Thomas himself, John Buscema, John Romita and countless others appear and invoke great memories. I was a Marvelite in the 1970's and 1980's and am now catching up on both the stories I read first time round and many I missed out on. This book is full of absolutely wonderful art reproductions that cover almost 70 years and I would thoroughly recommend it to anyone, 'nuff said.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Every animator or character artist should have a copy!, 16 Sep 2008
This is the one, the daddy, the absolute MUST-HAVE for anybody with an interest in animation, character design, or concept art. Richard Williams is a genius and he shares his observations on the difficult life of a trainee artist as well as giving the benefit of his huge amounts of talent and experience.

This book is full of easy to follow hints and tips covering character posing and animation of all sorts. There's no hiding from the fact that even if you use computers to create 3D animation you still need a solid grounding in the fundamentals of motion, weight and timing and this is what Williams helps to explain. Everything is accompanied with detailed illustrations and sketches to help you work through to basic character setups through to complex walk cycles.

I've seen a lot of art books in my time but this is the one that stands head and shoulders above the rest. Invaluable advice from a master of his art.

Fantastic even for the younger artists, 12 Jan 2008
I bought this book as Xmas present for my 11 year old (animation mad )son having read the reviews. In his own words "I havn't got through all of it but it is extremely helpful for my animation".

Apart from the digital blue camera we bought, this has been his most used and loved present. He finds the wording and pictures understandable, and the moving charactor pages fascinating. I have stumbled across a treasure that may well turn out to give him advancement for when he gets to high school (where they finally teach this stuff!)


Beyond price and yet totally affordable, 08 Feb 2007
Don't be fooled by the fact that this a paperback - this is an arm-wrenching book that more than justifies the effort needed to lift it. A humungously fantabulostic whizzbang of a book.

Other reviewers have pretty well said it all - but one comment I just have to repeat and add to is this -

If you're a newcomer to animation, this book is utterly essential.
If you're an experienced amateur or professional, this book has no other purpose than to enrich your life and extend your talents.
If you're just interested in animation, this book will have you reaching for a pencil in double-quick time.

The only book I've ever enountered that comes close to being this good is a slim (and now sadly out of print) little book by Bob Godfrey and originally published by the BBC. That was called 'The do-it-yourself film animation book' and this new book by Richard Williams is very much in that mould. This book is a 'how-to-do-it-yourself-book' of the highest order and covers just about every style, technique and idea you care to think about. More importantly, it will open your mind to the power and possibilities of traditional pencil-based animation.

After all, not everyone has the time, talent, inclination (or software) to learn computer animation, but almost everyone can use a pencil or brush (even amputees!) - and that is all you need. You don't even need to be a good artist to make animation work. Naturally, it does help - but it isn't essential, and this book will show you so many ideas and ways to go about making images move that you'll soon be itching to find your own solutions and ways forwards.

And THAT is the overpowering impression you get from this outstanding book - it makes you want to explore and to find out just what as-yet undiscovered worlds lie out there, a fraction of a millimetre beyond the tip of your pencil.

A Must Have, 27 Oct 2006
This is one of those books that every lecturer who teaches any kind of animation will tell you to buy, not suggest, TELL YOU TO BUY. A large section of the book explains animation history and some guide lines (like don't listen to music! lol) before breaking down different walk cycles and then moving on to other various things that can be animated. THIS BOOK IS A MUST HAVE FOR ANY LEVEL OF ANIMATOR (as even the legendary animators rules are altered in this book at some points).

Official Guide! , 17 Oct 2006
I remmber back in college where I had to take this book out and borrow it to study them at home. But then I managed to take it with me when i finished college lOl... That's because this book is sooooooo great, it covers the most importances of animation. It demonstrate the in between drawings, the movements of a character, describing the weight of an objects and how to exagerate your character. But by saying this, there is much more to this. Buy this book. This is the only book you need!

A Brilliant Look at the Psychology, Physiology, and Effectiveness of Comic Strips and Books, 24 Jun 2008
This is an important book that everyone should read. I would give it twenty stars if I could.

I've long been interested in both art and comic books (I have collected them for over 50 years). While the library shelves are full of wonderful books that explain what traditional artists are trying to do and why they succeed, I've often found the books to be pretty boring. In recent years, such books have gotten bogged down into abstruse language that is much less appealing than the art which is the subject.

But in those years, I've never seen anything that was very helpful in discussing the rules of comic art, except some books about pop art when that was popular that examined how the pop art was different from comic art. Naturally, I was blown away when I found that Understanding Comics is a far more comprehensive, thoughtful, and accessible book about interaction with art than I have ever read. Although the subject is ostensibly comic strips and comic books, it's clear to me that that Mr. McCloud has a deep and powerful understanding of all art. Some of his conceptual displays of where different forms of art fall in different dimensions of choice (degree of realism, abstraction, and message) are unbelievably powerful.

I hope that some art historian will stumble on this book and recast the history of art to explain and relate different styles to one another using this book's methods. There would be a lot more art lovers if that were the case.

Ultimately, the book's main benefit is to help the reader appreciate that comic art can be a higher and more effective form of art than either pure images or written words by requiring a mastery of more elements . . . elements that are more powerful in grabbing attention and conveying meaning.

Yet the book stays in humble form, a comic book. The powerful ideas sneak up on you as Mr. McCloud deconstructs the elements of comic art expression into chapters on defining what kind of art comics are ("sequential art" for short); explaining where various comics fall on the spectrum of reality, story, and abstraction; the way we fill in the spaces around the lines and between panels with our minds, allowing us to participate in creating the story and the experience; how time is expressed in various ways; the role of lines in creating our understanding and responses; how words and images can interact; a conceptual look at creating comic art; the effect of color; and a synthesis of the book in historical and conceptual terms.

If you want to enjoy both traditional art and comic art more, read this book. It's the Rosetta stone for non-artists in appreciating the images, stories, and messages that artists want to share with us through these media. You'll never be the same . . . and the change will be good for you!

Bravo, Mr. McCloud!


Eye-opening, 26 Sep 2004
A colleague who produces comics recommended this book to me as the definitive guide to the subject, and he was right. McCloud uses comic-strip techniques as elegant proof of the fact that comics really can get a message across to their audience. Apart from its obvious how-to value, this book is also a handy defence against the intellectual snobs who deride the medium (yes, that was me, once upon a time) because of its thoroughly researched and - dare I say it - scholarly approach. It's a surprising, enjoyable and educational guide by someone who clearly loves his work. I'll never see comics the same way again.

Eye-opening, 19 May 2004
There are precious few books around that really treat the comics medium seriously, or fully explore what is and may be possible in that medium. Scott McCloud's "Understanding Comics" is one of the few and - for me - is the best of the bunch.

This book has tonnes of things going for it: McCloud's enjoyable and accessible cartoon-style delivery, which is itself a brilliant demonstration of how powerful a communication tool comics can be ... the infectious passion he has for his subject ... the bountiful results of his serious research and scrutinization ... I could go on.

Perhaps the best thing about "Understanding Comics", though, is McCloud's sheer imagination. When it comes to comics, he has a way of thinking and seeing that is almost completely uninhibited by any preconceptions. The result: he's constantly chucking ideas at you that surprise you and make you re-think about comics, writing, art and perception. You might not agree with everything he says, but the point is you're thinking about something you'd never have considered before. It's a truly eye-opening piece of work.

For readers and writers of comics alike, "Understanding Comics" is invaluable in helping you to appreciate 'sequential art'. For those who have never considered comics worth bothering about ... I urge you to get this book and read it. I guarantee it will make you think again, about comics in particular and art in general.

One final note: as I'm sure Scott McCloud himself would say, don't stop here. Check out other works such as "Comics and Sequential Art" by Will Eisner, or Alan Moore's essay "Writing for Comics". And any sequential art you can lay your hands on!

A must-have for serious cartoonists, 01 Dec 2002
This is one of the true necessities for anyone serious about cartooning and what Eisner calls "sequential art". It is NOT a how-to-draw book. Rather, it discusses the nature of drawing and cartooning, and how concepts are depicted through the pen - all with a very personal touch, the author speaking directly to you through the medium of cartooning. McCloud also examines the evolution of true comics from basic drawing, and how the "language" of cartooning has come to differ in different cultures. This book will make you think long and hard about the subject and what you do in it yourself.

Comics shed a light on shoe-string animation, 10 Jul 2002
This books on undestanding comics is a must read for anyone involved with visual and textual communications of any sort.

History, constructs, and the means of communicating beyond the constraints of a medium, such as two-dimensional paper, in this case, provides ample ammunition for lateral thought.

Personally I found this book not only informative and inspiring, but also thought provoking. The impact has been such, that the ideas will be adapted to a shoe-string animation project.

Great Look at How Stories and Art Combine into the Comics You Love, 07 Aug 2008

I've always found it fascinating to imagine how a comic book author/illustrator creates the stories and images that appeal so much. Having been a non-fiction book author for many years, I have a firm understanding of the writing process. I sometimes pick out a few illustrations to put into a book.

But building a story around the illustrations, that seems like a trip to the planet Neptune to me. I was very pleased to find that Scott McCloud is very good at explaining (and illustrating) the creative and production processes he uses. I was delighted when I realize