It's also frustrating to see this book morph more and more into a Batman-driven story. The first issue offered the promise of something new - a universe where Bruce Wayne had finally given up the ghost and his heir was taking up the mantle. Even with the revelation in issue #2 that Bruce was still alive, there was a sense that DKIII is more the story of a younger generation of heroes - of Carrie Kelly and Lara Kent and Ellen Yindel - rather than their aging mentors. That seems less and less like the direction Miller and Brian Azzarello are taking the story. But then again, we're halfway through this series now and it's still not entirely clear where that story is heading. But the fact remains that Batman has no real business being the central protagonist of this story.
It should be noted that this issue makes some amends as far as one of the more glaring problems with Miller's past Batman work. There's a sense from reading books like DKSA and All-Star Batman & Robin that Miller doesn't particularly care for Superman. He frequently paints the Man of Steel as a ridiculous, hokey, ineffectual hero who needs Batman to show him the path to righteousness. Whether age has mellowed Miller's feelings on Superman or Azzarello's hand has tempered that characterization, this is the first time the Superman of the Dark Knight Universe reads like the hero we know and love. Sure, he spends the bulk of the issue getting beaten to a bloody pulp by his daughter and her new Kandorian pals, but only in service of a higher ideal.
And certainly, a fight scene involving dozens of Kryptonians is going to make for great visual spectacle. Andy Kubert's storytelling is spot-on throughout that brutal encounter, particularly the splash image of a blood-stained Antarctic wasteland. Kubert's imagery is equally striking when he drags a certain speedster into the fray or explores a remote, surreal corner of the DC Universe. Kubert's art works on more subtle levels as well. The tender interaction and body language between Bruce and Carrie remains a highlight. As much as the fewer, bigger panels limit the amount of information that can be conveyed in each issue, that approach has its advantages in terms of allowing the art more breathing room.
The Dark Knight Universe back-up comic doesn't have much to offer in terms of plot, though it does offer a welcome look into Carrie's crime-fighting philosophy. This mini-comic also offers another dose of Miller's art. His style has only grown bolder and more stark since the DKSA days. There's a grotesque sort of beauty to Carrie's prolonged fight scene, one that's only hindered a bit by the horrendous color choice for her new costume. It's hard to say what the thinking was on that one.