The Batmobile was kind of a little much, but I enjoyed it. The only thing is that 90% of the combat in the Batmobile is painfully easy (which I like because I suck) and then there’s one fight that’s ridiculously hard and you aren’t prepared for it at all.
I’m mostly a story guy, though, and Paul Dini brings his A-game in Asylum and City, and his no-game-because-he-didn’t-write-it in Origins and Knight, and the difference shows. Apparently (and I forget my source for this, so it could be wrong) he wanted Hush to figure into Knight’s plot more prominently (And while I can get the criticisms of the original Hush story, I think Heart of Hush from Dini’s Detective Comics fleshed him out better, so I have confidence in Dini’s ability to handle the character to good effect) but the higher-ups didn’t like his idea and kicked him off the project.
Without spoilers, issues with Knight’s plot include a mysterious new villain who’s identity is so obvious it’ll only fool you if you assume it’s a red herring (and gives him this weird redundant double secret identity), ugly, mean-spirited plot developments that get awkwardly swept under the rug as not having happened (rendering them entirely for shock value), and an ending that requires all the characters involved to be kind of dumb in order to pretend to be deeper and more meaningful than it was.