Dark Knight III: The Master Race #9 - DC Comics

DARK KNIGHT III: THE MASTER RACE No. 9, July 2017

Despite this twenty-seven page periodical being “initially advertised” as the culmination of Frank Miller’s nine-issue long “DC Comics” storyline, as well as “the conclusion to the Dark Knight series” itself, it is clear from this publication’s tantalising conclusion, which depicts both a rejuvenated Batman and symbolically less colourfully-attired Batwoman taking to Gotham City’s roof-tops in order to continue their ever-vigilant fight against crime, that the Maryland-born screenwriter undoubtedly still had a number of “plans that have been running through my mind” as to the future of the Caped Crusader’s “noir-style” adventures on Earth-31. In fact, the Inkpot Award-winner actually announced “in November 2015… [that] he planned to produce a fourth mini-series to conclude the story” after ‘thoroughly applauding’ what his collaborator, Brian Azzarello, had accomplished with this title.

Perhaps somewhat contentiously though, arguably the most exciting of these potential future plots is actually the penning pair’s exploration of the Man of Steel rather than Bruce Wayne’s alter-ego. Naturally, the narrative behind Book Nine of “Dark Knight III: The Master Race” understandably depicts the titular character leading the fight against the remaining Kandorian cultists, and rather ably outwitting them with the aid of thousands of screeching bats; “To hell with they. I mean, they say money is the root of all evil, right? And that an old dog can’t learn new tricks. But nothing about a new dog using old tricks.”

However, whilst this innovative sequence not only disposes of nearly all the Leader of the Master Race’s forces, but also shows just how well “the world's greatest detective” understands what people will do “in unexpected extreme situations” and his ability to use such “friendly fire” to his advantage, it is soon quickly surpassed by a genuine ‘Superman’ moment as Jor-El’s son shockingly reveals just how much “he’s been holding back” in his past battles by shattering the collarbone of the truly obnoxious Baal, and doubtless causing 103,319 exhilarated readers to suddenly hear the familiar opening notes to John Williams’ iconic 1978 motion picture theme tune in their heads. Such one-upmanship by the “Big Blue Boy Scout” arguably leads to Jerry Siegel’s co-creation overshadowing Batman during this magazine’s most memorable moment, and suggests a pattern which debatably could well intensify further should Miller make good on his promise for a fourth instalment...

Sadly, the same cannot be said for Frank’s “Dark Knight Universe Presents: Action Comics” script, with the micro-magazine not quite managing to replicate the enthralling mix of characters which this book’s main story succeeds in achieving, and resultantly simply appears to little more than a rather lifeless list concerning the exploits of Batman, Batwoman, Aquaman, Green Lantern, The Flash, Wonder Woman, The Atom, Lara and Superman. Admittedly, the American author desperately tries to imbue this ‘short’ with some emotional gravitas, courtesy of its dramatic narration, yet even Diana’s tantalising confrontation with a multi-headed hydra or Hal Jordan’s all-too brief intervention with an erupting volcano, can’t help liven up Clark Kent’s laboriously-long conversation with his disagreeably dislikable daughter.

Story: Frank Miller & Brian Azzarello, Pencils: Andy Kubert, and Inks: Klaus Janson

Dark Knight III: The Master Race #2 - DC Comics

DARK KNIGHT III: THE MASTER RACE No. 2, February 2016

Containing one of the most touchingly haunting Bruce Wayne death scenes imaginable, as well as an incredibly dramatic return of the Batmobile, Issue Two of “Dark Knight III: The Master Race” must surely have delighted its 158,188 strong audience, including the lucky 125 “dedicated” Frank Miller fans “(all chosen via lottery) who lined up in the rain outside [Midtown Comics] waiting to meet their heroes and get their Dark Knight III copies signed” in December 2015. Certainly its heavy focus upon Carrie Kelley’s brutal incarceration at the hands of Commissioner Yindel, its insinuation that the titular character died following the injuries he suffered “three years ago” fighting “a toad of a man”, and its shocking emergence of a fully-sized murderous Kryptonian cult from within the miniaturised city of Kandor, can only have reaffirmed the status of the mini-series’ Maryland-born architect as “a lightning rod for controversy”.

Fortunately, not only is this twenty-eight page periodical’s narrative somewhat contentious, it is also extremely well-written by Brian Azzarello, with the Eisner Award-winner’s handling of young Robin’s touching, final bedside goodbye to her “boss”, genuinely proving to be an emotional read. Indeed, the scene would truly have been a fitting end for the Caped Crusader as, semi-delirious, he slips away “taking solace from” the fact his parents died together, if this book’s ending had not made it emphatically clear that the restrained ‘Jane Doe’ had been dishonest in her recollection as to his demise.

Equally as impactive, yet a far more exhilarating experience, is the American author’s action-packed depiction of Kelley’s rescue from a prison transport by the heavily-armoured, formidable-looking ‘Bat-Tank’. This high-octane sequence is somewhat disappointingly short in length. But certainly makes up for its brevity by having Batman’s gigantic tracked vehicle arbitrarily crunch numerous police cars, fire all manner of (non-lethal) ordnance at its pursuers and breathtakingly propel itself across Gotham City’s largest movable bascule bridge.

Something of a minor disappointment however is this publication’s Wonder Woman mini-comic, which whilst amply demonstrating the friction between William Moulton Marston’s Amazonian co-creation and her half-Kryptonian daughter, does so by populating the entire miniscule magazine with a somewhat tiresome ‘mock’ fight scene; something that perhaps a simple panel depicting a defiant obstinate-faced Lara would surely have sufficed in doing..?

Story: Frank Miller & Brian Azzarello, Pencils: Andy Kubert, and Inks: Klaus Janson

Dark Knight III: The Master Race #1 - DC Comics

DARK KNIGHT III: THE MASTER RACE No. 1, January 2016

Topping the “Diamond Comics Distributors” November 2015 Comic Book Sales Figures Chart having sold a truly staggering 440,234 copies, this first instalment of Frank Miller and Brian Azzarello’s eight-issue “DC Comics” limited series certainly lives up to the Maryland-born writer’s promise of the narrative having “more deliberate focus on women than [in] previous volumes”. In fact, the twenty-eight page periodical almost exclusively focus’ upon the super-heroines of the Kirby Award-winner’s “Dark Knight Universe” such as Wonder Woman, Carrie Kelley (Robin) and Superman’s daughter Lara.

But just because Azzarello’s script, apparently written “with Miller’s blessing and guidance”, is devoid of Bruce Wayne doesn’t necessarily mean that its titular character is absent as well. Indeed it is the apparent brutal return of the Caped Crusader at the very start of the story, pounding a couple of flatfoots into submission when they’re about to shoot an unarmed fleeing ‘fugitive’ in the back, which sets proceedings in motion and ultimately results in a ferociously bloody confrontation between Batman and Gotham City’s Police Department at the comic’s conclusion; “Had enough? Using that right to remain silent…”

Equally as perplexing as the Dark Knight’s rather ‘gung ho’ attitude to his home’s law enforcement officers, albeit this motivational change is arguably answered by the crimefighter’s eventual unmasking, is this comic’s slightly disappointing dedication to events which occur outside the vigilante’s metropolis. For just under half of the storyline to “Book One” actually spotlights Wonder Woman’s Amazonian rule as Queen Diana and Supergirl’s visit to her father’s Fortress of Solitude rather than the main protagonist’s mysterious three year-long absence.  

Fortunately such potential distractions concerning the other members of “DC Comics” Trinity are totally justifiable when they are so well-drawn by Andy Kubert. The New Jersey-raised penciller’s style strongly mimic’s that of Miller’s own artwork during this series’ original 1986 four-issue run and proves especially energetic during Diana’s jungle battle with a four-legged Minotaur and Batman’s fisticuffs with Commissioner Yindel’s men.

This edition also features the additional bonus of a twelve-page “mini-comic focusing on a different character from the Dark Knight continuity”. Co-written and actually drawn by Miller himself, “The Atom” provides any bibliophiles willing to scrutinize the diminutive publication with a tiny amount of background as to what has occurred to Doctor Raymond Palmer since his wife divorced him and also manages to progress the storyline started by Lara’s angst-ridden trip to her icily immobile father’s abode.

Story: Frank Miller & Brian Azzarello, Pencils: Andy Kubert, and Inks: Klaus Janson