Seven Critics of Victory: Emma Houxbois on Shining Knight #1


At first glance, Shining Knight could fall prey to the pithy quip that there’s been a tendency at DC post-Sandman to lean into a pantomime of Neil Gaiman on fantasy oriented titles. It’s a pattern clearly visible in analyses of The Invisibles, Fables, and Lucifer’s debuts, but if anything Shining Knight highlights how Gaiman and Morrison diverge in their approaches to integrating the English imagination and history into their work.

Shining Knight, as the debut miniseries and the event more broadly, is deeply rooted in Edmund Spenser’s 1590 epic poem The Faerie Queen. It’s the kind of allusion that draws snap comparisons to Gaiman’s playbook, but Morrison’s implementation of it is entirely his own. Shining Knight opens with Camelot in a desperate, last ditch battle against a much more advanced invader in the form of laser gun toting fae called the Sheeda lead by their queen…

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