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The Dark Knight Dialogues 002: The Dark Knight III: The Master Race #2

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The Dark Knight Dialogues 002: The Dark Knight III: The Master Race #2

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The Dark Knight III: The Master Race #2
written by Frank Miller & Brian Azzarello
pencils by Andy Kubert inks by Klaus Janson
coloring by Brad Anderson lettering by Clem Robins

Joey: Well this is the second issue and so far my feeling on this series has not changed (for the better anyway). There are so many moments in this second installment which you could see Frank Miller selling the shit out of but are just flaccid in Azzarello/Kubert’s hands. The white space with ink splatter for example is such a Miller trademark (here they sub in digital blood for ink) and I guess they picked up on the fact that the few images that really worked in issue one utilized this technique but they go a bit overboard with that here. How the team mishandles that effect is just another reminder of how many steps removed this series is from what it should be. Moments like the “I always thought I’d die alone” sequence and Carrie’s breakout from the cops would of sang if Miller was behind the wheel but they just sit there lifeless in this iteration. One of the opening scenes is obviously meant to evoke the Rorschach interrogation scene in Watchmen (just to dig the knife in a little deeper) except it’s framed and lit like Miller’s classic homage to Fritz Lang’s film You Only Live Once which is fine enough but it is completely ineffective since it’s colored wrong and kills the lighting effect entirely. I know I am a broken record at this point but this is really dire stuff, any of this sit better with you Chad?

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Chad: My big take away was how, as many of us suspected, this really did feel like the second half of a larger first issue. Will the entire series read like a four-issue prestige deluxe series with every issue split in two? That’s what I’m afraid of at this point. Given how much this series is looking back to The Dark Knight Returns, it wouldn’t surprise me if the original intention was following the same format as that. That it’s coming out in this way is disappointing, I guess. It lacks a little punch when split up in two. But, here we are with the plot somewhat taking shape…

And what do we think of this plot? Carrie gets arrested, says Bruce is dead, and seemingly breaks out of custody with (I assume) a pre-arranged plan that Bruce helped set in place should this situation arise…? Ray Palmer tries to free the inhabitants of Kandor, never once wondering if maybe an entire city of Superman-level beings would be a bad thing for the planet, and gets stepped on after it turns out to be a mad Kryptonian death cult…? Actually, what bugged me most is that Palmer does it without Lara there. You’d think he would wait given she was the one who asked him to do it…

I don’t know… I feel apathetic almost. The art was less engaging here. There were some nice sequences, but ones that reminded me more of Andy Kubert drawing Batman than Frank Miller. That page where he flashes back to Luthor pounding on Bruce is probably the only one that hit me. He does a good ugly, pummeled Batman. Not as ugly as Miller, but…

My big question is: does the sequence where Carrie escapes from the police feel fun to you? Because, goddamn, Miller would have made it feel thrilling and so much fun. But, this is lacking somehow. It’s a nice sequence; it comes off as very flat, almost by the numbers in its execution. Where’s the whoopin’ it up, Joey? I want to whoop it up and have some laughs.

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Joey: Apathetic is the right word to describe the feeling of reading this book if there ever was one, and we will come back to that Ray Palmer sequence in a bit because seriously, what the hell? I’m glad you felt that Miller would have killed it on that breakout sequence too, as it has all the potential to be great but it is just so damn dull. Keep in mind, in terms of great Batman chase sequences it doesn’t just have Miller’s original to reckon with, it also has to live up to the frenetic ballet that is the chase in Christopher Nolan’s The Dark Knight film (which this book is clearly trying to conjure your memory of with their use of overhead shots and police transport vans) and I feel very confident in saying they failed that challenge on both counts. On page 17 where the Bat-tank is in full view over the tossed over GCPD van, Miller would have made that feel so oppressive yet triumphant with those headlights literally beaming through the page. In Azzarello/Kubert’s hands, it is just empty and no one involved is selling me on this moment being important in any way. Also, not to pick on poor Brad Anderson again but who uses this palette for this world? It is like he doesn’t want to possibly offend the eye in any way so it just skates down the middle, nothing dynamic like we would see from Varley but nothing muddy and sloppy like a Frank D’Armata would do or classy and refined like a Richmond Lewis or Dave Stewart would bring to the table. Instead the colors are not quite bright enough or dark enough or defined enough to really have an effect. I am not a D’Armata fan but you know something is wrong when the thought of “what Frank D’Armata might bring to this” sounds more exciting than what is on the page.

Story continues below

Were you surprised at all that Bruce is still alive apparently? One thing I found intriguing about the first issue was the idea that maybe we were going to finally start to see a world where the Batman idea had finally taken root without Bruce being around to oversee it and view how that evolution worked but I should have known better. Of course Bruce is still alive and looking younger and more put together than in DKSA somehow! Honestly it seems like this series at this point is just taking what Miller did in this world and moving it back to a place where they can just repeat The Dark Knight Returns again with a far less talented creative team. I’d love to be wrong but it is not the impression I am getting here. Thoughts?

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Chad: No, I wasn’t surprised. It would have been a little weird to do this book and not have Bruce alive. I would have loved it, but, come on, it wasn’t going to happen. Just like a frozen-in-a-block-of-ice Superman is going to thaw and come roaring back, so too must Bruce Wayne be alive and kicking. I’m a little curious if the DK4 idea that Miller’s been talking about is one that really puts the emphasis on Carrie and Lara, foregoing their fathers (whether biological or not) given that it seems more his speed.

Moving onto the Atom and Kandor, do you find it a little strange that this thread was picked up so strongly in this issue after only being introduced in the first mini-comic? It’s a strange way to tell the story, don’t you think? Kind of like using a back-up strip, but one that’s physically separate with a different art team and no consistency other than picking up subplot or introducing them before they get the bright lights on them from the main book. I’m not entirely sure if I like or dislike that approach, but it has me thinking, that’s for sure. It’s an interesting trick that we’ll get to see if they pull off entirely over the course of the series.

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Joey: I wonder if that moment was something Miller just had to draw, and they engineered a way around that by providing him a whole mini-comic to tell that part of the story. It would explain why that mini-comic felt more important than the whole issue that preceded it. I could be wrong but I doubt we are going to see huge reveals in the main story revealed in the supplemental book in future issues, that was just a special case. That also would explain why Lara was there in the mini-comic but not in the actual main story as she seems like a character Miller wants to focus on in the future.

The consistency of Ray’s character from the mini-comic to the main series is pretty jarring too considering that he seemed smart and reflective in the mini and a total idiot in the main book. Maybe there is another mini-comic on the way that explains how Ray came to the decision with such certainty to grow the Kandorians and why he has such trust in them because in the story as it stands right now, it’s a bit of a leap to take for him to come to that conclusion. “No…You can’t” and the foot stomp is a pretty cool moment though, it probably should have been the closing page of the issue actually.

Chad: He was overcome with the spirit, Joey! It moooooooooooooved through him and acted as God’s hand! Amen!

I don’t mind that the final reveal was that Bruce is alive, if only because it makes for a nice callback to the first issue ending with Carrie saying he’s dead. But, I do agree that the Atom getting stepped on is a ‘bigger’ moment.

I wish that I had more to say, but I’m struggling to find things. There just isn’t a lot here, is there?

Joey: This issue succeeded in actually being more scant than the first as if you thought that could be possible. That has to count for something though, right?

Thankfully this issue did have some things I liked but most were located in the mini-comic, so let’s move on, shall we…

On the next page, we review the mini-comic…

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5 Comments

I should of read the whole thing before commenting, but I couldn’t help it!

I skimmed. Anyway, maybe the split in two nature of each issue indicates that Harvey Dent is really behind it all! BWA-HA-HA!!!

Oh, man, the lady who bought the paint set. That page is just… Maybe we’ll get the full story of the boy with the boom box from later in DKR! HA!

You missed one: “Carrie’s breakout from the cops would ***of*** sang if Miller was behind the wheel”

Mmmh, some good points. I have said it before, do it again, if you want Miller get Miller, otherwise it is just a watered down exoerience.

Aren’t there two or three specials attached to this thing? If those are as integral to the plot as the mini-comics have been, then this is looking more like an 8 issue series that’s roughly 15 issues long (let’s say two minis equals one full issue), with about 4 issues worth of story.

I “would of” preferred a smaller scale. Oh well.

There is one special announced thus far (unless another one was announced that I missed) and it takes place before The Dark Knight Returns, telling the story of why Bruce Wayne retired as Batman and how that relates to the Joker. Drawn by John Romita, Jr.

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