We know Bruce Wayne as a powerful and wealthy fixture in Gotham city, a rise to the top that began with a childhood marred by the death of his parents. In Batman #2, readers learn about earlier generations of the Wayne family and their contributions to the Gotham skyline, specifically, the original Wayne Tower. The building’s façade is outfitted with twelve gargoyles that welcome visitors upon their arrival into the city. Each one symbolizes a bridge, tunnel, or subway line that stitches Gotham together, while simultaneously connecting the city to the outside world. The physical landscape is imbued with meaning that transgresses the utilitarian purposes of its components. In Batman #1, Bruce unveiled an ambitious development plan for Gotham, while in #2 we learn that Bruce’s great, great grandfather Alan Wayne directed the construction of Wayne Tower. Here, a generational parallel is realized as Snyder maintains continuity with the first issue while further developing Bruce’s character. The Tower is also the site of Bruce’s meeting with Lincoln March, who despite having come from a modest background, has made a fortune in finance and is now running for Mayor. By making the Tower the site of a meeting between two of Gotham’s elite, Snyder extends the metaphor developed earlier: socioeconomic structure is superimposed upon physical structure. After having written March a generous campaign check with a deplorable swagger and nonchalance, Bruce symbolically “falls from grace.” Still, those in positions of privilege need not fall for long and Bruce, “saved” by the work of his great, great grandfather, is once again indebted to all that came before him. The broad strokes of these ideas seem familiar enough, but never has Bruce's character felt so mysterious, interesting, and relevant—qualities that only benefit from the persisting burn of a slow reveal.