The second chapter of “DK3: The Master Race” further fleshes out the intriguing tale unfolding from the minds of writers Frank Miller and Brian Azzarello, artist Andy Kubert, inker Klaus Janson, and colorist Brad Anderson.
Written by Frank Miller and Brian Azzarello
Illustrated by Andy KubertThe unexpected finale to the Dark Knight saga continues as Carrie Kelly gets caught…that is, she finds herself…she gets into—well, you’re just going to have to read it yourself.
As someone who reveres “The Dark Knight Returns” as their favorite book, I had high expectations for the third volume of this saga. With Brian Azzarello joining Frank Miller on writing duties, I became even more excited. Two great writers on one book. As we now know, according to Miller, Azzarello is the chief architect of this new eight-part miniseries. The first issue of “Dark Knight III: The Master Race” was a satisfying opening and now, with the second issue, we get further understanding of the plot and the characterization of the main players. Miller and Azzarello ended the first issue with Carrie Kelly dressed as Batman and boldly proclaiming that Bruce Wayne is dead. In this issue, the interaction between her and Commissioner Yindel is just as snappy and intelligently written as we would expect from this writing duo. Carrie, Ray Palmer (a.k.a. the Atom), Yindel, and Lara (daughter of Superman and Wonder Woman) are positioned as important players in unexpected and sometimes poignant ways. “The Master Race” #2 inspires awe with action, heart, and gasp-inducing shocks.
There is a natural and tension-building flow to the issue, with craftsmanship evident in every facet of its undertaking. There is respect for the “Dark Knight” world that Miller has created with a mix of homage and added anticipation for an unexpected future. Miller and Azzarello bring in the familiar, such as the breadth of Gotham City as a living thing and sprinkling in the talking TV heads that we’ve grown accustomed to in this world.
This particular issue builds to an action set piece that will assuredly distract you from the rest of the issue. But there’s much more to this issue. Artist Andy Kubert, inker Klaus Janson, and colorist Brad Anderson team up to give us a fist-pumping scene such as this one and also give us intimate moments that are illustrated with varied perspective and intense emotion. There is mystery, family intrigue, tested allegiances, and sly dialogue woven by Miller and Azzarello and then molded by the artistic triumvirate of Kubert, Janson, and Anderson that are just as exciting as clever action scenes.
That particular action scene, however, is pure Miller. The audacity of our new hero in the cape and cowl is comparable to what Miller did with Bruce Wayne. Carrie is just as badass in the Batsuit as Bruce. Lara is another character with complexity and demons swirling within, as evidenced in both the main story and the mini-comic that focuses on her and Wonder Woman. That mini-comic, which is titled “Dark Knight Universe Presents: Wonder Woman” #1, lets us read the thoughts of both Wonder Woman and her daughter. The concealment of secrets and desires unspoken is one of the main themes of both stories (with the Wonder Woman mini-comic’s stellar art supplied by Eduardo Risso and bold colors by Trish Mulvihill), with Miller and Azzarello methodically and excitingly building tension and humanity in both stories that would lack dynamism in lesser hands.
“Dark Knight III: The Master Race” #2 places Kubert’s versatility on full display. His singular style is in each panel of this issue, yet the winks at both “The Dark Knight Returns” and “The Dark Knight Strikes Again” in particular panels are fun touches while also contributing to conveying the scope and history of Miller’s world. Like Miller, Kubert brings a controlled freneticism that pops from the page through extreme close-ups, cinematic flair, and splash pages that emphasize the weight and stakes of the story. When we get to the final page, one simple image makes an intended impact that changes the trajectory of “The Master Race”.
Klaus Janson adds his reliable and always-impactful artistry to Kubert’s pencils. Janson’s inks are legendary and “Dark Knight III: The Master Race” #2 is further proof that he is still a master. The shadows and texture he brings to Kubert’s pencils in the interrogation scene between Carrie and Yindel are reminiscent of Janson’s work in “The Dark Knight Returns”. Janson transforms a confined room into a place brimming with secrets and obfuscation. Is Carrie telling the truth? Janson’s richly distinct inks affect Kubert’s pencils so much that many of the pages hearken back to “The Dark Knight Returns”.
Continued belowBrad Anderson’s colors have an appropriate melding of light and dark. He doesn’t allow the pages to be bogged down in pure despair, but instead conveys light among the darkness. Even the bloody swirls on a page are used in a relatively lighthearted way that doesn’t bog the issue down with overbearing shadows. There are some exciting scenes, whether bombastic or quiet, and Anderson works in tandem with Kubert and Janson to illuminate them with a spotlight of revelation.
Miller and Azzarello’s stories in “Dark Knight III: The Master Race” #2 and its mini-comic, as well as the creative teams involved, continue to live up to the hype surrounding this latest “Dark Knight Universe” tale. The characters are layered, the plot is intricate without being muddled, and we can only anticipate that each succeeding issue will surprise and delight us even more than the first two chapters.
Final Verdict: 9.5 – “Dark Knight III: The Master Race” #2 is a master class in how to make the best of comics into works of storytelling prowess. This new addition to the Dark Knight Universe is, so far, a triumph.
