Review by Frank Plowright

You’ll be partially familiar with the story of Briar Rose from the fairy tale of Sleeping Beauty, but Christopher Cantwell’s Briar works around it by asking why she was sleeping, and who benefited? She’s not sure of that herself, having been fed conflicting stories, although as some mention the end of the world it’s not something to be taken lightly, so as Night’s Terror opens she’s on her way to confront one of the realm’s most feared witches. The first chapter also looks in on Grendrid, said witch, and it’s pretty grim stuff.

Alongside Briar is her love Spider, and there’s an early revelation about her place in the world, while Cantwell continues to build the backgrounds of others accompanying Briar, with more joining her party here. They’re all people who slot in well alongside the bigger picture, and Cantwell builds a plot of convincing desperation.

Alex Lins has come on as an artist since Briar Volume Two. The detail, storytelling and attention to the cast were always good, but that’s now enhanced by a greater imagination applied to page layouts. It’s all still in his slightly scratchy style, now inked by Bruno Büll, but the creativity has stepped up a notch.

The whole plot is leading to a confrontation between Briar and Grendrid, but before it occurs Cantwell drops a bomb about their relationship, and readers are invited to eavesdrop on Grendrid’s own account of the necessity of Briar being put to sleep. Briar remains a force of nature, though, and the forthcoming battle is in effect bannered as the irresistible force meeting the immovable object, which more or less it is.

Night’s Terror is the best of the trilogy, and also ends it, but all the way through there’s been the nagging question of why the leading character had to be Briar, and that’s finally answered here along with the hanging sword of the prophecy about her ending the world. It’s neatly dealt with, and despite misgivings all along, yes, this had to be Sleeping Beauty.