By Emma Houxbois
After an ambitious, epic-scale debut, Shining Knight settles into a more recognizable fish out of water story as Ystin finds herself lost in Los Angeles.
Discombobulation is the order of the day for the second issue and Simone Bianchi rises to the occasion to produce arguably the most oppressive atmosphere of the seven series, which is an impressive feat given how much of the other series take place either in New York with its much greater density of high rises or simply underground. Bianchi achieves this by using narrow, crowded panels and tight close ups on Ystin, but also most ominously by just blacking out the sky.
Where Bianchi is most successful in communicating disorientation is the panelling of Ystin’s escape from the police in the opening of the issue. He hews close to the large, open panels that defined action sequences from the late 1990s through…
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