REVIEW: ‘Knight Terrors: Punchline,’ Issue #1

Knight Terrors: Punchline #1 is published by DC Comics, written by Danny Lore, art by Lucas Meyer, colors by Alex Guimarães, and letters by Steve Wands. This is part of the Knight Terrors event. Punchline finds herself in a city where everyone is asleep. But when she fights Batgirl and wins, everything seems too good to be true…

The story is crafted beautifully, using what might have been seen in other books to influence the beginning. In other Knight Terrors comics, the line between waking and sleeping is outwardly stated, or events are so strange it is obvious. But Lore teeters on the edge of both for the whole issue. The opening scene is intensely dramatic, ending with a shocking move that should make the mind up. But with the rest of the city sleeping and Punchline being on the outside of that, the question keeps being asked. The issue takes its time with the next instance of horror, doing it quietly for a moment before unleashing something truly horrifying. That slightly slower pace adds to the unease like Punchline is sleepwalking. But once the gloves are off, the book keeps getting weirder, ending on a final page that doesn’t like to clarify anything.

Knight Terrors: Punchline #1 features a reduced cast, which does a lot to magnify the confusion. At the center of it all is Punchline and one of Gotham’s heroes. It’s also relatively subdued with the dialogue. The narration is constant. Punchline’s thoughts are very considered and normal, different from when she is the villain. But that is perhaps due to a lack of conversation. She even ponders on the lack of talking about the issue itself. Whole pages go by without anyone speaking, allowing actions to speak louder. When someone does talk, it is effective and spine-chilling.

The art is terrific. As a comic that relies heavily on actions, Meyer is brilliant at that task. Just when the hero enters the picture, it is clear something isn’t right. The fight is superbly choreographed as two similarly sized characters go toe-to-toe. The sense of movement in the book is exciting and keeps the momentum up. The artist can operate with a real understanding of the whole room. Much of the second act of the issue is just Punchline, but we get various angles. This also increases the sinister parts of the comic, as things in the background become potential threats. The reveal is excellent, and the progressively increasing level that the art reaches takes it in a direction I don’t think anyone was expecting.

The colors are awesome. One palette of shades and tones is used for two-thirds of the issue, with a lot of purple and natural lighting. Then the final part of the book is in a confined space and an incredibly dangerous location. The page becomes less natural, covering Punchline and everything around her with green or red. Those lights still come from somewhere, but it is intensified. The lettering is decent, although it should be noted that it is primarily the caption boxes. 

Knight Terrors: Punchline #1 is an intimate horror comic. Knowing when something is part of the nightmare in these tie-ins could potentially lead to ambivalence, as there is a feeling that the characters can’t truly be harmed. So what happens when you don’t know what is real and what is the dream? How the story pans out seems obvious, but Lore routinely throws little information that makes me doubt myself. Punchline just seems penned in, with no help or anywhere to go if she’s in danger. And Meyer’s great feat is to tell much of the story purely through art and physicality.

Knight Terrors: Punchline #1 is available now wherever comics are sold.