Wayne Manor is destroyed, tearing down one of the last ties that Batman has to Bruce Wayne. Even though this loss should stop him, he’s determined to stop Joker regardless of anything that happens to him. Spoilers for Batman: Curse of the White Knight #3 follow.
The first couple issues of Curse of the White Knight have been spectacular. There’s just something about the lack of constraint regarding the series and universe that’s refreshing. Things can happen in this world where consequences matter and stakes are high and the best thing about this issue is that’s exactly what happens. Events in the previous have been shocking, but what happens at the end of this issue is even more so. It’s such a different Batman story and this helps its quality.
No one was probably expecting what happens in this issue to happen, which is what makes it shocking when it happens. Just like the reveal that Babs’ secret identity is no longer secret in issue #2, Commissioner Gordon’s death is a bunch to the gut. This is comics, so it’s possible that he isn’t dead, simply wounded, but he was stabbed through the heart so it seems like a sure thing. Other than simply being shocking, the build-up to his death is extremely well done. It’s done in such a way that should make his death feel predictable, but it doesn’t ever let on that it’s what going to happen. It’s executed extremely well.
Then there’s the rest of the issue, which mainly focuses on Batman. This is easily the most mainstream Batman that this universe’s Batman has felt since the beginning of White Knight. While it’s been interesting up until this point to witness such a different take on Batman, it helps to ground the future of this world in a more classic Batman. He’s kinder, more empathetic, and quick to protect than he previously has been, which really helps build his character in a satisfying way. Plus, now he’s a lot more open with his identity. So, while he feels more like mainstream Batman, there’s still enough of a twist on the character to fit him into this universe.
Sean Murphy’s art in this issue is yet again fantastic. Every single panel in this issue drips with purpose, no matter how seemingly insignificant the panel seems. Everything builds the story or character in a wonderful way that feels organic and true to the characters. Murphy’s moody linework and inks are so perfect that they almost don’t need to be colored. Don’t get me wrong, Matt Hollingsworth’s colors are great, but it feels like a black and white version could be even moodier. If you want an example of a great black and white Sean Murphy book, check out Punk Rock Jesus. Regardless, the art in this issue is absolutely incredible, constantly building tension throughout, and makes everything feel like it has weight.
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