REVIEW: ‘Batman: Gargoyle of Gotham,’ Issue #1

Batman: Gargoyle of Gotham #1 is published by DC Comics as part of their Black Label imprint, written and art by Rafael Grampá, colors by Matheus Lopes, and letters by John Workman. Batman faces a new and ruthless villain obsessed with cartoons.

This is a huge comic that feels like the first half of a movie. Atmospheric and dark from the start, the book rarely relents in its gritty reality. The plot begins slowly, taking a long time within the first confrontation to establish what the tone is going to be. It’s insidious and unflinching and willing to show brutality. The issue has a classic Batman feel to it but with a completely new enemy that makes it unpredictable. The atmosphere generated in The Batman movie can be seen replicated within the comic.

There is a methodical investigation into who the guy is, how he operates, and what he ultimately wants, with many of those mysteries yet to be answered within this first book. There is an identity crisis within the subplot that originally appeared as a point of conflict between Batman, Bruce Wayne, and Alfred. However, it later becomes far more crucial to the story than the initial impression. Batman: Gargoyle of Gotham #1 features action that varies from being a violent but static brawl to a rapid car chase. The ending highlights a shocking revelation that could write a new chapter in the history of Bruce Wayne.

The cast is interesting, ignoring much of the current storylines to instead use a traditional set-up for Batman: Gargoyle of Gotham #1. Alfred is alive, and Gordon is still the commissioner, but actually, that is all Batman uses with regard to allies. Throughout this first issue, Bruce Wayne and Batman seem more at odds than they usually are, with Batman developing an idea for his alter ego that seems dramatic and excessive. The narration is jet-black at times but is terrific.

It is beautifully descriptive, being both emotive and investigative. It displays Batman’s incredible detective skills, exploring murders and crimes in great detail. Constant conflict within the characters ensures that no part of the comic feels comfortable. Even that age-old partnership between Batman and Alfred is strained. The villain has a really interesting set of quirks, obsessed with one particular cartoon, and we have barely scratched the surface of their identity so far. 

The art is a brilliant but bizarre mix of styles. The first set piece, with hostages and masked assailants, has gruff faces that immediately made me think of Steve Dillion. Grampá superbly makes humans seem inhuman when needed, contorting their faces in terror. But that style alters, completely changing, when Gordon and the other police officers enter the picture. It is as if that first scene was part of a different world.

Then enters Batman, with an entirely different design from what may be expected. That rounded, shorter cowl has influences from Nick Derington’s approach to the mask but with even more technology associated with it. It’s a costume that looks new and vastly separate from anything else that exists. The villain is stunningly unique and would perhaps only work within this specific world that has been generated. The first introduction to them is intensely striking, with a clever set-piece that establishes the cartoon element of their identity as well. 

The colors are fascinating. The villain seems to exist in negatives, in the opposite of everything else. Most of them are black with details etched in white, and the same can be said about Batman. When they first encounter one another, it is in black and white as a bright projector displays the cartoon. This is a comic that enjoys and utilizes light and darkness in conjunction with each other. A broad range of tones and shades is used to denote the various locations and settings. But both Batman and the villain of the book constantly look out of place, shadows that haven’t been cast by light. The lettering can be somewhat difficult to read throughout the book.

Batman: Gargoyle of Gotham #1 is both classic and contemporary. Grampá uses the stalwarts of the Batman mythos to set the scene and surroundings. Gordon and Alfred are two of the most integral figures in his world, whilst the minimal cast allows for a true focus on Batman and Bruce Wayne. The atmosphere and the tone are true to the character. The foundations of the old faithfuls are there, but the new elements elevate the story. The new look and the new bad guy give the book a refreshing spin, but not one that takes the Bat out of his comfort zone. As a note, a noir version of this issue is also available, which removes 99% of the colors, intensifying the black and white even further. 

Batman: Gargoyle of Gotham #1 is available where comics are sold.