Knight Terrors: Action Comics #2 is published by DC Comics and contains two stories. The first story is titled “She’s Got No Strings Part 2,” written by Leah Williams, art by Vasco Georgiev, colors by Alex Guimarães, and letters by Becca Carey. The second is written by Phillip Kennedy Johnson, art by Mico Suayan and Fico Ossio, colors by Romulo Fajardo Jr and letter by Dave Sharpe. This is part of the Knight Terrors event. Insomnia’s nightmares torment Power Girl and Superman’s family in Metropolis.
The plots in both stories are centered around doing as much psychological damage as possible against the characters, but there are two different methods on how to do that. Power Girl is forced to relive the same sequence repeatedly, trapped in the Symbioship, as Omen hunts her down. It’s frantic and relentless, although the true extent of just how repetitive the situation was is toned down to read. Still, the sequence demonstrates just how many times Power Girl is dragged through a similar routine. The repeated, cyclical nature of the dream is very natural as a structure for a nightmare. The pacing begins fast and doesn’t slow down much at all for the rest of this half of Knight Terrors: Action Comics #2.
The next story is just as fast-paced, shredding apart the tension of the first issue and erupting into full-blown panic. Those that can attempt to defend against Cyborg-Superman do try but are slowly dealt with until the kids find themselves having to act alone. Transported to Warworld, the recent traumatic storyline that happened there makes it complicated for the group and lessens their confidence that they are, in fact, in a dream. The fight is chaotic, dramatic, and brutal. The ending introduces an idea that is both clever and terrifying, as it adds more reality to the moment. It lets the comic conclude in a way I was absolutely not expecting.
The character development between the tales is also individual, largely due to the respective sizes of the casts. In Power Girl’s story, it is exclusively her and this persona of Omen, controlled by Insomnia. This pens Paige in, making the horror more intimate. The dialogue carries the same belittling, demeaning as other tie-ins, invoking some interesting and devastating realizations about Power Girl. For one, her self-hatred and negativity about herself. But also a trust and faith in Omen, recognizing that the real one would never hurt her.
For the second story, individuality is not really possible when there are so many characters involved. But even with the larger cast, that sense of panic is still instilled perfectly. Even the experienced heroes, those tasked with protecting the kids, are terrified and struggling to maintain their composure. Cyborg Superman is underrated as a villain, and Johnson excellently demonstrates how menacing he can be.
The art is gloriously chaotic throughout the issue. The cleanliness of Georgiev’s lines is perfect for a Sci-fi horror story, although they can also resort to emptiness within the ship. It makes the setting more inescapable and imposing when there aren’t discernible features that could be used to fight back. Both the characters are brilliantly altered. Omen is an incredibly kind person, so her face twisted into one of malice and evil is surprising.
Likewise, the physicality of Power Girl’s ordeal is depicted in a way that is beautiful and disturbing, with some phenomenal facial expressions and examples of body language. For the second story, the detail is much more intricate, which works well considering the technological monstrosity that is Cyborg Superman. Once the group is outside, all hell breaks loose. It is an utter hodge podge of creatures, zombified heroes, and transforming locations. It can sometimes be difficult to make out what is happening, but that is likely an intentional creative decision.
The colors are both extremely well done. In Power Girl’s story, it is a few shades done gorgeously. Red and blue operate in conjunction with each other behind Power Girl to create an alien and hostile background, with green making a brief appearance towards the latter stages of the story. But the more lines and detail in the second story means that more colors and tones must also be implemented. But all of them look ominous, and none seek to add positivity to the moment. The lettering is very effective during the entirety of the comic.
Knight Terrors: Action Comics #2 concludes two fantastic tie-ins. They both deal with similar themes in technology but with entirely separate structures and trajectories. The book is massive, and it feels satisfying to read as there is so much high-quality content within. Every creator involved is superb, with the characters and the art all exceptional. Although the issue is long, it doesn’t feel bloated as the intensity and the pace is rapid from the first page to the last.
Knight Terrors: Action Comics #2 is available where comics are sold.
Knight Terrors: Action Comics #2
Knight Terrors: Action Comics #2 concludes two fantastic tie-ins. Although the issue is long, it doesn’t feel bloated as the intensity and the pace is rapid from the first page to the last.