The Bat-Man: First Knight #3 review

It’s 1939 and the hidden crimelord known as The Voice is continuing their plan to take over Gotham city. Reanimating corpses and turning them into hulking lackeys, they’re killing civic leaders, creating a power vacuum they can step into.

That’s the plan, anyway. But two men stand against him – lawman Commissioner James Gordon and the mysterious and adventurous figure known as… The Bat-Man.

In the final issue of a terrific trilogy, Bruce Wayne, the playboy behind the Bat-Man’s mask, allows another into his secret life. He doesn’t have much choice, mind, as actress Julie Madison is no great respecter of unanswered doors.

Still, he could have tried a weak excuse, or warned her off. Instead he embraces the sassy starlet, and for one night only eschews crimefighting for a more enjoyable physical activity.

Later, in his daytime mode, Bruce Wayne gathers information at the city hospital, where thug Johnny the Whip has been brought after a bruising encounter with the Bat-Man.

In the days that follow, as The Voice’s grip on Gotham tightens, the Bat-Man comes up with a defence against the would-be overlord’s Beast Men, one he shares with Gordon.

Later, as The Voice’s goons enact their final push to persuade the citizens of Gotham new leadership is needed, fog descends. And so does the Bat-Man.

Gangsters. Good guys. Good time gals. Giants. Writer Dan Jurgens, illustrator Mike Perkins and colour artist Mike Spicer have all the ingredients for a fun, pulp drama and that’s what we get in a story that practically defines ‘stick the landing’. The various plot strands set up in the debut issue of this DC Black Label mini-series, from the new vigilante’s willingness to use firearms to the rumblings of war in Europe, are paid off. Characters such as bordello owner Maxie and the visionary Rabbi Cohen add texture against the rumblings of war in Europe.

I especially like that the story doesn’t slavishly follow the established beats of Batman lore, allowing Julie to find out Bruce and the Bat-Man are one and the same. Which gives Bruce an intimate to replace Alfred, who hasn’t appeared in this series, making it less likely this Caped Crusader will end up as intensely sad, and maybe mad, as modern-day Batman. Straight away we see Julie help Bruce realise that wielding guns is not the right way for him.

There’s another pleasant surprise in the identity, and rationale, of the Voice – usually I can see these things coming. And the hardboiled dialogue is a delight.

As for the art, well, just look at the pictures here. Perkins produces pitch-perfect pages packed with dramatic depictions of detectives and deviants. The shapes, shading and texture of the streets and interiors evoke the Thirties of Warner Bros gangster films, with the added bonus of Mike Spicer’s colours, which run the gamut from naturalistic to hyper-real.

As for the lead characters, Julie is a nice combination of blousy and sophisticated. Gordon is the tweedy old chap of those first Detective Comics tales. And Bruce looks the business in that white suit. As for the Bat-Man, even with the original wonky ears he makes for a marvellously dread creature of the night.

And Simon Bowland’s letters are great – not showy, not underrated, but just right, easing us through the narrative alongside Perkins’ visuals. A nod, too, to editor Matthew Levine for pulling things together.

All this, plus another fine montage cover from Perkins.

The Bat-Man: First Knight has been a triumph, making familiar beginnings feel fantastically fresh. I’ve read dozens of ‘Batman’s early years’ stories and this is up there with the best. Sequels can be disappointing but I know this creative team could produce an engaging follow-up. How about it, DC.