Darwyn Cooke’s impact on the medium of comics will never be forgotten as he brought the heroes of Golden Age and Silver Age to the children of the Internet Age, and my thoughts and those of the rest of the Pop Optiq comics team are with his family and friends. The best way to remember him is to support, marvel at, enjoy, and, most of all, smile at the comics and films he made, and much of his work from his DC stories to his Parker graphic novels is easily available on Comixology.
Once again, the backup story outshines the main story in The Dark Knight III #4 as Andy Kubert and Klaus Janson provide some iconic imagery, especially in the scenes featuring the Atom and Superman’s execution, but Frank Miller and Brian Azzarello’s storyline jumps around and portray the characters not named Bruce Wayne, Carrie Kelly, or Ellen Yindel in an arbitrary way. Plus there is that always problematic Islamophobia, which is starting to set in as the Kryptonians call Batman an “infidel”. Last time I checked, this wasn’t Holy Terror.
When it’s not awkwardly taking shots at texting young people, making non-statements about the media, various world leaders, striking up a Strange Fruit-esque conversation about race involving only white people , or turning Bruce Wayne into a Randian hero with Carrie Kelly as his mouthpiece and Superman as his attack dog, The Dark Knight III #3 is an intergenerational superhero epic that boasts Andy Kubert’s best artwork of his career and flaming post-apocalyptic palette from Brad Anderson.
Batman Europa #3 is stunning and fun. When I reviewed the last issue, I stated that the art was the reason to pick up the book. This issue really turned around my view of what writers Matteo Casali and Brian Azzarello were trying to accomplish with the arc. They’ve really found their footing, and I am anxiously waiting for next issue’s conclusion if it finishes anywhere near as strongly as this issue.
The Dark Knight III #2 has some wooden dialogue and a chase scene that is a little too similar to last issue’s magnificent one, but it does a great job establishing the characters of Carrie Kelly’s Batman and Lara while setting up the conflict between humanity and the Master Race. The Wonder Woman backup story is a real treat and positions Diana as a wild card in the issues to come in her roles as both warrior and mother. (Risso nails this part of her as she swings a sword with a baby slung on her back.)
The art of Batman Europa is visually stunning. The artwork of Giuseppe Camuncoli takes center stage for the majority of the book. Camuncoli has a bold, artistic style that really carries the story. The story leaves a little something to be desired. Matteo Casali and Brian Azzarello take a simple premise and take it global with major cities in Europe. While the first 2 issues make the arc a slow burn, the art alone makes the book worthy of picking up.