If there is one takeaway from Batman #4, it’s that organized crime in Gotham has become really, really organized. Matt Fraction and Jorge Jimenez are starting to let the dominoes fall, and while the Dark Knight shows up a little late to the party this issue, the payoff is absolutely worth the wait.
The issue kicks off with a bang at Gotham’s Port. We’re introduced to the new villain on the block: the Minotaur. And honestly? He makes a great first impression. He isn’t just a brute; he’s a man of class. Decked out in a sharp three-piece suit, he talks like a high-level power broker, which makes sense, considering he’s essentially the underworld’s banker.
He’s cleaning up a mess for “Torus” (a criminal conspiracy with a clever explanation involving knots). Apparently, there was a $4.4 million drop in revenue due to infighting, and the Minotaur handles it brutally, taking out several crew members of criminal heads to make a point. Also, I have to mention: The Penguin has an actual penguin as a subordinate. It’s one of those comic book logic moments you just have to accept and love.
Let’s just get this out of the way: Jorge Jimenez and colorist Tomeu Morey can do no wrong. They are the absolute dream team for the Dark Knight right now. Even though Batman doesn’t actually show up until late in the issue, the visuals keep you hooked. The environmental design is stunning: specifically the Gotham Eye building. Sorry Daily Planet, but if I were a journalist, that’s where I’d want to work.
When Batman finally does appear, chasing down D-list villain Anarky, it looks stellar. The trademark Bat-hook gun, the swinging, crashing through windows, it’s all incredibly dynamic. Batman’s blue and grey design continues to amaze, and Anarky’s red jacket and neon-outlined mask pop off the page with a zest of energy thanks to Morey’s colors. A shoutout is also due to letterer Clayton Cowles; the sound effects during the fight scenes (especially that powerful kick to Anarky’s face) add real impact to the action.
However, the issue isn’t perfect. There is a scene with Bruce Wayne and Dr. Zeller that drags on way too long. I know Bruce is a playboy, but did we really need four pages just to schedule a date? Also, dating your employee? Never a good idea, Bruce! Hopefully, she becomes a solid addition to the supporting cast, but the pacing took a hit there.
There’s also a subplot involving a drunken journalist and a kid ranting about late-stage capitalism. I’ll be honest, I wasn’t entirely sure what was going on there, even if the architecture looked cool.
Despite a few pacing hiccups in the dialogue, this issue hits hard where it counts. We get a massive reveal that Vandal Savage is crooked (unsurprising) and, more shockingly, that Wayne Manor is now the home base for these criminals! I’m dying to know if they’ve found the caves beneath the manor yet.
Batman #4 connects the heist from issue #2 to the Minotaur, raising the stakes for Gotham and the world. It’s a page-turner with energy, style, and a plot that’s finally heating up.
