If there is one takeaway from Batman #4, it’s that organized crime in Gotham has become really, really organized. The days of chaotic gangsters are fading, replaced by something far more terrifying: efficiency. Matt Fraction and Jorge Jimenez are letting the dominoes fall with precision, and while the Dark Knight makes a fashionably late entrance in this issue, the payoff is absolutely worth the wait.
The issue opens with a cinematic sequence at Gotham’s Port that immediately sets the stakes. We are properly introduced to the new villain on the block, the Minotaur, and he makes one hell of a first impression. In a medium filled with brutish monsters, the Minotaur stands out because he is a man of class. Decked out in a sharp three-piece suit, he speaks with the cadence of a high-level power broker rather than a thug. This characterization fits perfectly for someone who is essentially the underworld’s banker.
He is currently cleaning up a mess for “Torus,” a criminal conspiracy with a clever, knot-based explanation that adds a layer of intellectual dread to the story. The issue reveals that the crime organization has seen a $4.4 million drop in revenue due to infighting, and the Minotaur responds with a brutal corporate restructuring, permanently “retiring” several criminal heads’ underlings to make a point. It’s a chilling reminder that in this new Gotham, failure isn’t just a loss of profit; it’s a death sentence. On a lighter note, I have to mention the Penguin. Oswald Cobblepot has an actual penguin as a subordinate in this issue. It is one of those peak comic book logic moments that you just have to accept and love for its sheer audacity.
Visually, let’s just get this out of the way: Jorge Jimenez and colorist Tomeu Morey can do no wrong. They are arguably the absolute dream team for the Dark Knight right now. Even though Batman doesn’t grace the panels until late in the book, the visual storytelling keeps you hooked. The environmental design is stunning, specifically the rendering of the Gotham Eye building. Sorry, Daily Planet, but if I were a journalist in the DC Universe, that is exactly where I would want to work. The architecture feels oppressive yet majestic, a perfect mirror of the city itself.
When Batman finally appears, hunting down D-list villain Anarky, the page explodes with motion. The trademark Bat-hook gun, the swinging mechanics, the crashing through windows, it is all incredibly dynamic. Batman’s blue-and-grey design continues to amaze, offering a classic feel with modern textures. Meanwhile, Anarky’s red jacket and neon-outlined mask pop off the page with a zest of energy, largely thanks to Morey’s vibrant color palette. A major shoutout is also due to letterer Clayton Cowles; the sound effects during the fight scenes (especially that powerful, bone-crunching kick to Anarky’s face) add a visceral impact to the action that you can almost hear.
However, the issue isn’t without its flaws. There is a scene involving Bruce Wayne and Dr. Zeller that drags the pacing down significantly. We know Bruce plays the part of the erratic playboy, but did we really need four pages just to schedule a date? Moreover, from a professional standpoint, dating your employee is never a good idea, Bruce! While I hope Dr. Zeller becomes a solid addition to the supporting cast, the execution here felt like a speed bump in an otherwise fast lane.
There is also a subplot involving a drunken journalist and a kid ranting about late-stage capitalism. I’ll be honest, the narrative thread here was a bit murky. I wasn’t entirely sure what the endgame was for this scene, even if the surrounding architecture looked cool. It felt like a setup for a payoff we haven’t quite earned yet.
Despite a few pacing hiccups in the dialogue, Batman #4 hits hard where it counts. We get a massive reveal that Vandal Savage is crooked (unsurprising), but more shockingly, that Wayne Manor is now the criminals’ home base! The irony of Batman’s ancestral home being used to dismantle his city is a fantastic twist. I am dying to know if they have found the caves beneath the manor yet, or if Bruce is sitting on a ticking time bomb.
Overall, Batman #4 connects the heist from issue #2 to the Minotaur, raising the stakes for Gotham and the wider world. It is a page-turner with energy, style, and a plot that is finally heating up.
‘Batman’ #4 Review: Anarky, The Minotaur, and the Secret of Torus
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.
