Knight Terrors: Catwoman #2 is published by DC Comics, written by Tini Howard, art by Leila Leiz, colors by Marissa Louise and letters by Josh Reed. This is part of the Knight Terrors event. Although Catwoman has now trained Batman to fight, it is her sister that becomes the target by The Joker.
The plot of this issue has a great concept initially but struggles with pacing and structure. There’s a warning issued quickly as Catwoman and her protege have a first foray with Joker. But like the previous issue, it is impossible to make Selina’s sister, Maggie, do anything she doesn’t want to do. And because it’s a nightmare, there’s the ongoing sensation that the worst is about to happen.
How the issue unfolds is interesting, if a little slow, with eruptions following moments of sensitivity. Howard holds back often, not delivering a brutal blow until they are ready. The horror comes from trying to prevent something that seems destined to happen no matter what. Things grow increasingly chaotic towards the end, with new creatures arriving who make the story indecipherable. And it is at this point that the book falls apart by ending with little semblance of resolution. It’s a twist, it has that going for it, but after such an emotionally charged comic that hinges on religious trauma and intense familial warring, it was disappointing to have it fizzle out and be used as fodder for an upcoming storyline.
Likewise, the characters are another part of the issue that excels up until it decides to drop off. Some time has passed since the previous issue, and it is clear Catwoman and Maggie haven’t spoken as much. The characters that have their place in the waking world, such as Batman and Joker, are similar to their real counterparts but not quite. They are new to what they do, not yet who they will become. But the brutal dialogue from Maggie isn’t near as biting in Knight Terrors: Catwoman #2 as it was previously. The first issue was soul-destroying in how cutting it could be, displaying the strength within it, whereas it falters in the second half.
The art continues to be utterly tremendous. Leiz carries so many different sensibilities within her style that it feels timeless, able to look both classic and modern at the same time. Selina’s scarred face remains unsettling, with Leiz regularly choosing to focus on that side. The action is loud and fast, often unleashed in short but extremely exciting bursts. Seeing Batman and Catwoman in this style is dramatic and beautiful, whilst Joker looks younger. There are two characters introduced suddenly in the last part of the comic that looks terrific, a mixture of mythologies.
The colors are superb and work within the art style. For the majority of the comic, they’re formal and natural, as much of the book is confined to the church. But then when Joker enters the fray, things get more intense and so do the shades. Starting to escalate with pinks and reds, it isn’t until the final moments that the new characters warrant a really colorful design. With all the chaos in the panels, the lettering remains clear and easy to follow.
Knight Terrors: Catwoman #2 has a lot of great ideas. However, they are structured and paced in a way that wastes all of the good work done. The dialogue and the character moments are beautifully bizarre and sometimes horribly traumatic, but it was imposing and emotive. It made me feel something. That said, this issue can’t control the mad moments and the jarring transitions between them. Instead of shocking, they just seemed to deflate.
Knight Terrors: Catwoman #2 is available where comics are sold.
Knight Terrors: Catwoman #2
TL;DR
Knight Terrors: Catwoman #2 has a lot of great ideas. However, they are structured and paced in a way that wastes all of the good work done. The dialogue and the character moments are beautifully bizarre and sometimes horribly traumatic, but it was imposing and emotive. It made me feel something. That said, this issue can’t control the mad moments and the jarring transitions between them.
