Batman: Gargoyle of Gotham is finally back after a one year hiatus. This new, highly anticipated issue doesn’t disappoint either; it was worth the wait. It comes to us from writer/artist Rafael Grampá, colorists Matheus Lopes and Valentina Napolitano, and letterer John Workman. They bring us a story that isn’t quite on par with the first two issues, but also give us art, colors, and letters that are the best of the series so far.
The issue begins with Gordon holding a mysterious figure at gunpoint. The figure explains that if Gordon takes the two of them to the police station, both will die. The story then cuts to Batman who has just now infiltrated a cult meeting. He fights off the members and escapes, but not without taking a few injuries. An underground group finds him to help, and he remembers his origins while unconscious.
WRITING
This issue chooses to focus less on Batman and more on Bruce Wayne. In the first two issues of the series, Bruce sort of fights to be anything but himself, preferring to be the man in the mask. In this chapter, Grampá challenges Bruce and forces him to operate as himself in a setting we don’t typically see him in. The overarching story of the series featuring the cult didn’t feel as strong in this issue. It felt like its portion was wrapped up a little quick to make way for other aspects of the story to tie it up well in the next issue. For example, this story’s take on The Joker is interesting, but felt like a lot of time was given to really set them up as a later addition to the story. It just felt somewhat out of place and didn’t flow well with the pacing in the rest of the issue.
That being said, Grampá does some exciting character work with Bruce here. He tells Bruce’s motivation and inspiration for becoming Batman, and explains why he decided to become the Gargoyle of Gotham. It’s a really refreshing and innovative take on the character that takes what we already know about him and uses that to give life to something new. Bruce is also put in some unlikely situations this issue. He’s alone and injured as Bruce Wayne, out on the street and asking for help. Grampá navigates that really well and shows us not only what Batman would do in a situation like this, but what his Batman would do.
ART
Grampá also does this issue’s art, which is where he really excels. This comic’s character design is beautiful. Every new character looks interesting with intricate designs that are sure to have you coming back to examine every detail. The masks the cultists wear are terrifying, and they really do look as though they’re without autonomy and live only to do their leader’s bidding. Batman’s suit is gorgeous. It’s sleek and menacing in a way that really makes him feel more myth than man. It’s the first time in a while where it really feels like anyone could be under the mask. Where Batman is this terrifying image of a character, Grampá’s Bruce doesn’t reflect that at all. When he’s Batman, Bruce dials the intensity up to 11. He’s almost like an exaggerated version of himself and that’s an incredible transformation to see.
This issue’s paneling is also stellar. Everything flows together really smoothly, and there’s great breaks to the story between certain panels. There’s this great section where people die in front of Bruce, and the panels of his enemy taunting him are between a split panel of his face. The left panel is his shock, and the right is his immediate anger after the fact as the villain enters his mind between those reactions. It’s just really clever work.
COLORS
The coloring in this issue was actually done by two creators. Lopes and Napolitano do some pretty solid work here, particularly in the dreamlike flashback sequence that Bruce has in the middle of the issue. Everything’s not quite black and white, but more like a muted gray. It is the past, but it’s not like he’s struggling to remember it. What happened is set in stone, and it’s what he remembers vividly. There’s also red sprinkled throughout the section, showing that violence comes through. He doesn’t see the violence as uniformed or necessary, but as a horrible thing that has no explanation, that can’t be confined to the rest of his memory. It’s a smart choice that really gives the entire issue more significance.
LETTERS
The lettering here is so expressive. Workman really understands the stories and the characters, and displays that through these personalized sound effects that accompany each character. Bruce’s are a little more frantic this issue when he does things, but still controlled. The Little Joker’s are childlike and simple, which adds a sort of terror to the character and what the reader is imagining going through their head. The cult members have this sort of ghoulish and uncomfortable style to their letters and bubbles, but the sound effects from one of their assassins can come across as overwhelming yet precise later in the issue. It’s all just so careful and detailed.
CONCLUSION
Batman: Gargoyle of Gotham #3 is a strong issue that doesn’t necessarily reach the high of its predecessors, but is still an excellent entry in the stellar series. The attention to detail in this issue is incredible and the team behind it clearly spent the last year working incredibly hard to bring this to readers. It’s a worthy installment and is sure to renew interest in the series going forward before the final issue.
