Richard's overt racism and disinterest in the effect his building would have gives South Gotham reason to force his hand. As the black people of Gotham are violently attacked during the riots, Slam talks about what it was like for him growing up.

Sam is taken by surprise when Constance reveals she followed Richard and Sam to Finger Apartments and found Helen in the room Queenie kept her in. Slam Bradley has never feared walking the hard path alone, but even his courage will be tested by the shocking turn of events that will take Gotham City down a dark, violent path. King and Hester, along with Eric Gapstur, Jordie Bellaire and Clayton Cowles, launch Gotham City: Year One on October 4.

Wayne is namely: a drunk, a gambler, a womanizer, a wife beater, a rapist, a mass murderer, and most importantly - a racist. The reality of the system which Slam chose to be a part of becomes unavoidable when he finds his brother’s criminal records at the station. All of the cards have been laid on the table, and Richard Wayne’s conspiracy to steal his own wife’s money has left a wake of destruction across the entire city. Some might cite her explanation as a mother's intuition, but when the other evidence is present, the timing of her visit is too suspicious to ignore.

Richard's ongoing affair with Queenie, a woman who is easily led, gives him the power he doesn't have at home. However, if this whole first issue is just the opening scenes the story, then it becomes far more appropriate and fits within the overall style that King is going for.Slam Bradley has been one step behind the kidnappers the entire time… can he turn the tables in time to save the infant heiress to the Wayne fortune?

It was the kind of assignment that would send plenty of reviewers scrambling to give their two cents before they could even muster up a penny. Constance is shown to have taken full control of the situation, and simply continues talking how he lies dead on the floor.I was appreciative of the new idea, but still somewhat felt a bit like it retconned the whole Batman history. For everyone else, it's a wait-and-see to find out if King injects more originality into the premise. It manages to tie up all the loose ends, meaningfully place a thematic poignancy on the characters' actions, and remain tense and exciting through to the end. I'm not sure if it was the colorist or just how suited he is for this kind of narrative, but his work here looks night and day compared to other stuff I've seen him do. Regardless of who he is, Bradley finds himself dropped into the midst of a kidnapping plot that kicks off with echoes of the Lindbergh baby snatch.