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Batman: The Dark Knight was an action-stealth game for the PlayStation 3 and Xbox 360 developed by Pandemic Studios from September 2006 until its cancellation in October 2008. It would have been the first open world video game to feature the DC Comics superhero Batman and was based on Christopher Nolan's film The Dark Knight. In Batman: The Dark Knight, the player controlled Batman, who could freely explore Gotham City, drive vehicles, and perform missions. Pandemic was given access to the film's script and other materials, and the film's cast would have reprised their roles for the game.

Pandemic began working on the game before the film's principal photography commenced. Batman: The Dark Knight was initially developed in the same linear style as the 2005 Batman Beginstie-in game, but was retooled when the studio decided an open world approach would better suit Nolan's interpretation of Batman. Development was stalled when Pandemic's staff discovered the underlying technology desired to create the game was incompatible with most assets. Publisher Electronic Arts (EA) chose to cancel the game when it could not reach its intended December 2008 deadline.

EA reportedly missed US$100 million in potential revenue for not releasing a Dark Knight video game. The publisher did not renew its license for the Batman intellectual property afterwards. The rights reverted to Warner Bros. Interactive Entertainment, which went on to release the critically acclaimed Batman: Arkham series. Batman: The Dark Knight was kept a secret during its development cycle; Gary Oldman made the only public mention of it during production. Since the game's cancellation, numerous video game journalists have retrospectively considered its potential.

Batman: The Dark Knight. Like and Share our website to support us. Set within a year after the events of Batman Begins, Batman, Lieutenant James Gordon, and new district attorney Harvey Dent successfully begin to round up the criminals that plague Gotham City until a mysterious and sadistic criminal mastermind known only as the Joker.

Premise[edit]

Batman: The Dark Knight was an action-stealth game in which the player controlled the DC Comics superhero Batman.^[1] Based on Christopher Nolan's 2008 film The Dark Knight, it would have been a sequel to the 2005 game Batman Begins.^[2] The story closely followed that of the film's and the cast was signed on to voice their respective characters for the game. The film's distributor, Warner Bros., provided developer Pandemic Studios with the script, concept art, and other materials to assist.^[3]

The game's earliest prototypes closely followed Batman Begins's gameplay approach as a linear action game.^[1] However, later versions placed Batman in an open world version of Gotham City which he could freely explore. Batman could traverse on foot, drive the Batmobile or Batpod, or glide through the air. The player could also perform missions.^[3][4]Batman: The Dark Knight would have been the first open world Batman game, preceding Batman: Arkham City (2011).^[5]

Development[edit]

Elevation Partners acquired the license for a video game based on The Dark Knight shortly after it was green-lit by Warner Bros. It outsourced development to Pandemic Studios, known for Star Wars: Battlefront, Destroy All Humans!, and Mercenaries; Pandemic's management assigned production to its Brisbane branch.^[1][5][6]Electronic Arts (EA), which had previously published the Batman Begins tie-in game, was to publish Batman: The Dark Knight. Planning for Batman: The Dark Knight began in September 2006, before principal photography for the film. After the completion of Destroy All Humans! 2, Pandemic was split into two groups, with team 'Alpha' working on a racing video game for the Wii and team 'Bravo' working on Batman: The Dark Knight, which was intended to release on the PlayStation 3 and Xbox 360.^[3][4] EA's license to Batman video games was valid for 18 months and would expire in December 2008.^[7]

Pandemic began to produce the game before they had been given any material about the film. The first prototypes for the game were created on the PlayStation 2 because the studio had not yet decided which game engineThe Dark Knight would use. The first work done for the game was the creation of Gotham City and the physics for Batman's gliding ability. The initial gameplay was linear, similar to the Batman Begins game. Most of their effort went into designing the graphical style and environments that would mimic the look and feel of Batman Begins.^[3] One of Elevation Partners' cofounders — singer and Batman fan Bono, who was on tour with U2 — visited Brisbane during this stage of development. Though he was shown an early and basic build, Bono was very impressed and enthusiastic about the amount of effort that had gone into the game.^[8]

As the Brisbane branch of Pandemic worked on Batman: The Dark Knight, Pandemic's office in Los Angeles had been working on a new game engine, Odin. It was created during the development of The Saboteur (2009) and designed for detailed open world games. Pandemic decided an open world approach would suit Nolan's interpretation of Batman's world better than a linear one. By the end of 2007, Batman: The Dark Knight's assets were being transferred into Odin. This caused unforeseen technical problems and devastated development. Troubles began when Batman's model was imported; attempts to control him caused the frame rate to drop to five frames per second (FPS). Importing more characters caused the performance to get worse and caused many development kits to crash.^[3][4]

These problems were unexpected and it was not possible for the staff to have the game ready for release alongside the film as had been intended. Several team members quit as a result. Shortly after this, EA acquired Elevation Partners and delayed Batman: The Dark Knight's release to December to coincide with the film's release on home media.^[6] Pandemic used the extra time to make the game playable, but missions suffered from software bugs and the slowdown was unresolved. Most of the frame rate problems came from the game's lighting system, which had to be manually altered after a change was made to the environment.^[3][8] Other problems arose from the level design tools not being available for six months and management making decisions that had to be reversed.^[7]

EA and Pandemic attempted to keep Batman: The Dark Knight a secret, but Gary Oldman, who played Jim Gordon in the film, revealed the game was in development during an interview with G4. At one point in development, Oldman visited Brisbane to view the progress and was shown a build of Batman gliding over a city and Gordon using the Bat-Signal. When asked about a potential Dark Knight game in an interview, Oldman explained what he had been shown, unaware it was supposed to be a secret.^[4][9] The resulting news coverage by video game journalists put a considerable amount of pressure on Pandemic to finish the game, and EA expanded the development team to over 100 members. However, this was not enough to save the game, and EA canceled it in October 2008.^[3][6]

Aftermath[edit]

With the absence of a Dark Knight game, EA reportedly missed US$100 million in potential revenue.^[6] The Brisbane branch of Pandemic was shut down shortly after the Batman: The Dark Knight debacle in February 2009;^[10] some staff moved to Los Angeles to finish The Saboteur. The studio was closed entirely in November 2009.^[4] EA did not renew its license, so the rights to the Batman intellectual property reverted to Warner Bros. Interactive Entertainment afterwards. Warner Bros. eventually released the critically acclaimed Batman: Arkham series, which featured an open world gameplay style.^[6][5] Although a Dark Knight video game was never released, an expansion pack for Lego Batman 3: Beyond Gotham (2014) contains levels based on the film,^[11] and Batman's suit from the film is available as downloadable content for Batman: Arkham Knight (2015).^[12]

Batman: The Dark Knight was never formally announced.^[3] Rumors of its existence surfaced in May 2007,^[2] but before Oldman stated it was in development, video game journalists speculated why no video game adaptation of The Dark Knight had been announced.^[9]Inverse wrote the absence of an adaptation was unusual: 'In the late-aughts, it was pretty much guaranteed any superhero or animated family movie would have a video game tie-in that would capitalize on release.. anyone would have snatched up a licensed videogame [sic] of The Dark Knight, one of the rare cultural events that actually surpassed the critical mass hype.'^[8]

In January 2009, Kotaku published a series of articles about the game's development cycle based on information from a Pandemic insider.^[7] Further information was revealed in February 2016, when Did You Know Gaming? dedicated an episode of its series Unseen64 to Batman: The Dark Knight, showcasing gameplay footage from prototypes and concept artwork.^[13] These revelations have elicited commentary on the game's potential. The Escapist wrote the game showed a lot of promise for a licensed property, considering Pandemic had built a reputation for making quality games.^[7] Reacting to the Unseen64 episode, GamesRadar+ thought it was interesting to see what a Dark Knight game could have been like,^[14] and GameSpot called its cancellation unfortunate.^[13]

References[edit]

1. ^ ^abcSkipper, Ben (February 1, 2016). 'Cancelled Batman game: Unseen 64 tells story of Pandemic's The Dark Knight movie tie-in'. International Business Times. Retrieved May 12, 2018.
2. ^ ^abCasamassina, Matt (May 17, 2007). 'Rumor: Pandemic to Develop New Batman Game'. IGN. Retrieved May 11, 2018.
3. ^ ^abcdefghMarnell, Blair (February 2, 2016). 'Footage from The Dark Knight's Canceled Video Game Hits the Web'. Nerdist News. Archived from the original on May 13, 2018. Retrieved May 6, 2018.
4. ^ ^abcdeNunneley, Stephany (February 2, 2016). 'Here's a look at Pandemic's cancelled Batman The Dark Knight game'. VG247. Archived from the original on May 12, 2018. Retrieved May 10, 2018.
5. ^ ^abcNieves, Davey (February 1, 2016). 'The Dark Knight Film Tie-in Game That Might Have Been'. Comics Beat. Archived from the original on April 18, 2018. Retrieved May 10, 2018.
6. ^ ^abcdePhillips, Tom (February 2, 2016). 'Peek at the cancelled Batman The Dark Knight game'. Eurogamer. Archived from the original on May 12, 2018. Retrieved May 10, 2018.
7. ^ ^abcdChalk, Andy (January 16, 2009). 'Screwing Up Batman'. The Escapist. Archived from the original on January 15, 2018. Retrieved May 11, 2018.
8. ^ ^abcFrancisco, Eric (February 1, 2016). 'Here's Why 'The Dark Knight' Didn't Have a Video Game Companion'. Inverse. Archived from the original on May 12, 2018. Retrieved May 10, 2018.
9. ^ ^abJohnson, Stephen (July 22, 2008). ''Dark Knight' Game Leaks'. G4. Archived from the original on October 15, 2012. Retrieved May 10, 2018.
10. ^Harrison, David (February 11, 2009). 'Pandemic Brisbane Shut Down'. AusGamers. Archived from the original on May 22, 2018. Retrieved May 10, 2018.
11. ^McWhertor, Michael (September 9, 2014). 'The Dark Knight and Man of Steel come to Lego Batman 3 in the game's season pass'. Polygon. Archived from the original on May 12, 2018. Retrieved May 11, 2018.
12. ^Hill, Sefton [@Seftonhill] (September 27, 2015). '#BatPeoplePower has spoken. We're going to build the TDK batsuit! Thanks for your feedback! #ArkhamKnight' (Tweet). Archived from the original on October 2, 2015. Retrieved October 2, 2015 – via Twitter.
13. ^ ^abPaget, Mat (February 2, 2016). 'See The Dark Knight Batman Game That Never Saw the Light of Day'. GameSpot. Archived from the original on May 12, 2018. Retrieved May 11, 2018.
14. ^Prell, Sam (February 2, 2016). 'Batman almost got an open-world game 3 years before Arkham City'. GamesRadar+. Retrieved May 11, 2018.

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(Welcome to The Dark Knight Legacy, a series of articles that explore Christopher Nolan’s superhero masterpiece in celebration of its 10th anniversary.)

This week, The Dark Knight turns 10 years old. Its legacy still looms large, for better and worse. Here is the story of how Christopher Nolan changed the face of superhero movies forever. The story of how one movie proved that comic book adaptations could be a lot more than kids stuff. And the story of how some of it backfired, giving birth to a new era of fandom that just wanted to watch the world burn.

Why So Serious?

Summer, 2008. The hype for Christopher Nolan’s The Dark Knight was at a fever-pitch. The early release of a prologue scene, coupled with fantastic trailers, had caught the attention of seemingly everyone – bat-fan and non-bat-fan alike. The tragic death of co-star Heath Ledger had only increased the anticipation for the film. The actor was generating buzz for his portrayal as the Joker before his passing in January of that year, and after Ledger’s demise, rumors began circulating that he had taken the role of the Joker so seriously that it had ultimately destroyed him. These rumors were rubbish –friends and family (not to mention the crew of The Dark Knight) would go on record numerous times stating that Ledger was having an absolute blast playing the Clown Prince of Crime. But the legend stuck – even after the debunking, some still thought that maybe, just maybe, the Joker was the role that killed Heath Ledger. And that only increased the excitement to see the film.

The early reviews started pouring in. They were immediately, and overwhelmingly, positive. Rolling Stone, Entertainment Weekly and Time all raved. Roger Ebert wrote: “Batman isn’t a comic book anymore. Christopher Nolan’s The Dark Knight is a haunted film that leaps beyond its origins and becomes an engrossing tragedy. It creates characters we come to care about. That’s because of the performances, because of the direction, because of the writing, and because of the superlative technical quality of the entire production. This film…redefine[s] the possibilities of the ‘comic-book movie.’”

Fans were ecstatic.

And then it all started to go wrong. At least, in the eyes of some. While the end-tally of reviews for The Dark Knight would make it one of the best-reviewed comic book movie of all time, there were some outliers. David Fear gave the film a less-than-positive review in Time Out New York. Ditto David Denby in The New Yorker. And the outrage in the fan community turned toxic – so much so that Denby ended up receiving death threats on Rotten Tomatoes.

What was happening here? The Dark Knight didn’t give birth to toxic fandom. There have always been a subset of hardcore fans who take their respective fandoms very, very seriously. Even within the world of Batman, toxic fandom had flourished before Nolan’s 2008 blockbuster. But usually such angry diatribes were directed at the makers of the films, not the critics. Joel Schumacher was practically burned in effigy after he turned Tim Burton’s dark and moody bat-series into a neon-drenched carnival. And even Nolan was not above reproach – when it was announced the filmmaker had cast Ledger as the Joker, several fans practically lost their minds. The general (and, let’s face it, homophobic) consensus at the time of Ledger’s casting seemed to be: “How could Nolan cast the guy from the gay cowboy movie as the Joker?”

But the ire and rage boiling over upon release wasn’t directed at Nolan. It was directed at the few critics who dared to say that The Dark Knight was less-than-perfect. It was the beginning of a strange new trend in superhero fandom – anyone who gave a comic book property a bad review was a “hater.” Never mind the fact that most of the people angrily reacting to said negative reviews hadn’t seen the film in question yet. The simple fact was this: a subset of the fandom not just wanted, but needed, legitimacy to be brought to the genre. After Schumacher’s goofball Batman Forever and Batman and Robin, there was a burning desire among bat-fandom to prove that Batman wasn’t kids stuff. It wasn’t fun and lighthearted – it was dark and serious. And more than that, it was legitimate. It wasn’t a comic book movie. It was a movie, plain and simple. That’s what so many fans were aching for, and any critic who dare say otherwise was, in their warped vision, an enemy of the people.

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It was a trend that would only continue, and grow. So much so that when The Dark Knight Rises arrived in 2012, Rotten Tomatoes actually had to close down their comments section for the film to stop the death threats against critics giving the film anything other than a 100% positive review. Not even a mixed-to-positive review would do. You had to say the film was perfect, or else you were a hater.

Ultimately, this is a tragedy. Because The Dark Knight is a truly groundbreaking work. A film of immense technical skill, filled with engrossing storytelling, and featuring remarkable performances. But the toxicity has tarnished its legacy. I can freely admit that I think The Dark Knight is a borderline masterpiece. And yet when I admit this, I also cringe ever-so-slightly. Because I can’t help but think that saying such a thing lumps me in with the type of over-the-top wackos who sent out death-threats to anyone who dared to criticize what Nolan had made.

But I come here to praise The Dark Knight, not to bury it. 10 years later, The Dark Knight remains just as haunting as it was when it hit theaters in 2008. Perhaps moreso. Because in the end, Nolan’s film actually believes in hope. Believes that people will ultimately do the right thing. And I’m not sure that’s true anymore. I’m not sure it was true then, either. But perhaps I was naive enough to think it was. “When the chips are down,” Ledger’s Joker sneers, “these civilized people…they’ll eat each other.” In the end, the good people of Gotham prove that this isn’t the case. Here, 10 years later, I’m starting to think that maybe it is.

Aggressive Expansion

The Batman franchise was in a strange place in the 21st century. After the disaster that was Batman and Robin, director Joel Schumacher wanted a chance at redemption. He pitched Warner Bros. a reboot – an adaptation of Frank Miller and David Mazzucchelli’s comic Batman: Year One. Warners didn’t go for it. At least, not from Schumacher. A few years later, the studio would flirt with the idea of allowing director Darren Aronofsky to bring Year One to the big screen, but it ultimately didn’t work out. Finally, Warner Bros. hired Christopher Nolan to reboot their franchise.

Nolan was an unlikely candidate. He had launched his film career with the little-seen thriller Following. The film that put him on the map was Memento, a twisty, clever indie that unfolds in reverse. After that came a remake of Insomnia. None of these films screamed “the next Batman director!” But Nolan landed the gig nonetheless, and he set about making a bat-film unlike any before it.

Nolan’s 2005 Batman Begins borrowed elements of Year One, but also forged its own path. It was a psychological thriller that just happened to be a superhero film. For the first time in film history, a filmmaker wasn’t telling the story of Batman – he was telling the story of Bruce Wayne. Wayne (Christian Bale) doesn’t don his famous cape and cowl till nearly halfway through the movie. The bulk of the narrative is about how Wayne became Batman, and how he returned to his corrupt city of Gotham with the hopes of cleaning things up. As the film ends, Nolan drops a tantalizing teaser: Jim Gordon (Gary Oldman), not yet a commissioner, tells Batman about a criminal with a “taste for the theatrical.” A criminal who leaves a calling card at the scenes of his crimes – a joker card. “I’ll look into it,” Christian Bale’s Batman growls before turning and flying right into the camera. It’s thrilling as hell, but it wasn’t exactly a deliberate sequel set-up.

“We wanted to suggest possibilities for how the story would continue,” Nolan said, “not because we knew we were going to make a sequel, but because that was the feeling we wanted to audience to leave the theater with. The ending of Batman Begins was specifically aimed at spinning off that element of the mythology in the audience’s mind so that they could imagine what they Joker would be in that world.”

Nolan may not have been planning a sequel at the time, but a sequel would happen – after the director went off and made the dueling magicians film The Prestige. That sequel would be The Dark Knight, and it would open up Nolan’s Bat-world in surprising, thrilling ways.

Right from the start, Nolan’s approach to Batman had been to find ways to make the character grounded. What would happen, Nolan’s Batman Begins asks, if Bruce Wayne was a real person, in the real world? The director, working with writer David S. Goyer, did away with comic book fancies and crafted something set in a somewhat realistic world. Or at least, as realistic as a movie about a man in a bat costume fighting a guy dressed as a scarecrow could be.

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For The Dark Knight, Nolan would take his thirst for realism to a whole new level. For all its real-world, gritty trappings, Batman Begins still feels like a comic book movie. The Dark Knight is something different. Working with brother Jonathan Nolan, Nolan ended up crafting a crime thriller loaded with allegories to the so-called “war on terror.” This film just happened to feature Batman, the Joker and Two-Face.

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The idea behind The Dark Knight was escalation. If Batman existed in the real world – as Begins suggested – how would the real world then react to Batman? The answer: it would inspire people to both emulate, and seek to destroy Batman. At the start of The Dark Knight, we learn an entire gang of dumpy, gun-toting idiots in Gotham City have begun dressing up just like Batman, trying to fight crime on their own. They think they’re helping, but they’re bound to get themselves killed.

As for Gotham, the city is going through a time of change. Batman is a vigilante, so the Gotham police department is technically supposed to arrest him. But Lieutenant Jim Gordon has a friendship with the so-called Batman, and the cops are (mostly) perfectly fine with some random man taking justice into his own hands. Meanwhile, organized crime is running scared. In Begins, we see that Gotham is a city practically eroding from corruption. In The Dark Knight, Batman’s crusade is beginning to put a serious dent in that corruption.

And that’s not the only dent. There’s also new district attorney Harvey Dent (Aaron Eckhart), a Robert Kennedy-esque white knight. A man determined to do the right thing, and bring down the mob in legal ways, rather than just punching and terrifying them a la Batman. As Nolan would say later, the real protagonist of The Dark Knight isn’t Batman – it’s Harvey Dent. Eckhart excellently handles Dent’s progression – he begins as a cocky, idealistic bastion of justice, and ends up a scarred, murderous monster. Harvey is the character with an actual arc in the film. Batman merely exists on the periphery. He never changes. In fact, part of the film’s plot revolves around how unchanging Batman is. He lives by rules, and those rules ultimately hinder him. And the fact of the matter is, he really doesn’t want to do this forever.

Some fans have a big problem with this particular interpretation of the character. The Batman of the comics would never want to give up his crusade. The comic book Batman is all-consumed by his never-ending battle against crime. The Batman in Nolan’s films, however, wants out. He wants to make a mark, do some good, and then hang up his cape and cowl. Primarily so he can settle down with childhood friend Rachel Dawes (Maggie Gyllenhaal, stepping in for Katie Holmes). That Rachel is in a happy relationship with Harvey doesn’t seem to register with Bruce/Batman – in his warped mind, if he can stop being Batman, Rachel will want to be with him.

But any progress Batman has made in the months since his arrival in Gotham is about to be blown to smithereens. Because there’s an unstoppable force suddenly wreaking havoc in the city. A spectre smeared with runny grease-paint, and a carved-up grin.

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