REVIEW: ‘Knight Terrors,’ Issue #2

Knight Terrors #2 is published by DC Comics, written by Joshua Williamson, art by Giuseppe Camuncoli, Stefano Nesi, and Casper Wijngaard, colors by Frank Martin and Wijngaard, and letters by Troy Peteri. Deadman brings Sandman back to life for information on the Nightmare Stone before they both search for more help.

One of the few books within Knight Terrors to still be in the waking world, Knight Terrors #2 is slightly cursed with having the be the vessel for exposition. That being said, however, Willaimson approaches that with some well-written backstories that aren’t overly long. They are important too, showing the prize that Insomnia has been after for the first time. The biggest consequence of the backstory is that it takes some time for the comic to really get moving.

The slow pace gives the book the opportunity to reveal more of who else is still around, not in slumber. But it should be noted that the events of this issue only really catch up with other tie-ins, with the beginning of Knight Terrors: Zatanna #1 now overlapping with the end of this issue. This is the book with the most consequence in it, and that is clear, but it doesn’t have the epic feel of other flagship series within the event. That is until the last part of the issue. Not only is the danger those sleeping possibly face starting to be made clear, but Sandmand and Deadman find themselves in danger too.

The characters chosen to spearhead the main book did leave me with a smirk on my face. As those who are living are put to sleep, it is the job of two dead men to keep them alive. Deadman is an unlikely main character, but that is what I love about Williamson’s choice. It is brought up in the dialogue itself how inexperienced Boston Brand is at this level. He is still in the body of Batman, which gives him more gravitas, but anyone that encounters him soon discerns that there is more to the Caped Crusader than meets the eye.

He is partnered with Sandman, a character that has been in the ground for years. Wesley Dodds is very matter-of-fact, and nothing seems to phase him. He talks like an old noir detective, though, oddly calming in his mannerisms. Then lurking without everyone’s dreams is Insomnia, still trying to find his precious Nightmare Stone. He has these delusions of grandeur, and it was proven in the previous issue that he thinks of himself as a god when he might not be. But the dialogue still makes him sinister and extremely dangerous.

The art is fantastic, again having different styles depending on the plane of existence. In the waking world, the style is clean, focusing on the superheroes. One of the shots is Sandman and “Batman” standing opposite one another in a cemetery, and that is epic. Camuncoli brings Sandman back to life and puts him back in that iconic design. It is creepy and awesome. One lens in his gas mask is broken, and I’m not sure which eye is now creepier. The one where you can’t see anything, and the other that shows what he might look like underneath. It is also Camuncoli that works on the flashback, and he is able to present the crazed expressions of those included brilliantly.

But in the nightmares, the style changes entirely. Wijngaard and Nesi’s inclusion makes the two realms look like completely separate worlds. The imagery gets stranger, in my view, which it is allowed to do in a dream. The last part of the comic has a really inventive sequence that requires heavy usage of shadows, not wanting to show anything until the final moment.

The colors are terrific, again alternating depending on where the book is taking place. In the nightmare, there are pastels or paints used that create an unreal effect, as if the whole event isn’t real. There are moments of vibrancy in the real world, but the textures are smooth, and the main characters having darker costumes displays the notion that this is the true plane of existence. The lettering is fine for most of the comic, although the text used for Sandman can sometimes be awkward to follow.

Knight Terrors #2 has a lot to accomplish. So much of the real world has been obscured by the other tie-ins, so Williamson has to shoulder the responsibility of exposition. The pace can be slow, but this comic is keeping the others afloat. It is so good to see Sandman back, and I really do appreciate the idea that he and Deadman are the ones who have to save the world. And it features art from some of the best in the business, who can intersect and work around each other brilliantly. 

Knight Terrors #2 is available where comics are sold.