In my last Moon Knight review I said I couldn’t be bothered to read “The Age of Khonshu”, a story arc involving Moon Knight that ran in Avengers in 2020. Eventually I did get around to it though.
Avengers vol. 7: The Age of Khonshu, collecting Avengers #31-38
Authors: Jason Aaron (writer), Javier Garrón (artist), Jason Keith (colourist) and others
Cover dates: April 2020 – January 2021 (= on-sale dates: February – November 2020)
In the life of every superhero, there comes a time when he or she briefly turns evil and fights other superheroes. This is essentially what “The Age of Khonshu” is all about. The explanation given here is threadbare to say the least: Moon Knight and his god Khonshu (allegedly) try to thwart Mephisto’s plans of world domination by stealing the superpowers of several heroes, which in turn makes Moon Knight and Khonshu powerful enough to achieve world domination themselves. Naturally, this does not sit well with the Avengers who take on the resistance against Moon Knight and Khonshu. Who will prevail? Will Moon Knight come to his senses again and realise who his real enemies are? And what will become of Mephisto and his sinister schemes?
Spoiler: we never learn what becomes of Mephisto. Presumably, that is resolved in one of the next Avengers trade paperbacks. And that is one of the major flaws of this TPB. It’s not a self-contained story at all; of the eight issues it collects, the first two and most of the last one have very little to do with Moon Knight and the actual “Age of Khonshu” plot. They might provide a pretext for Khonshu’s actions, but first and foremost, Avengers vol. 7 is meant to be read by people who have already read Avengers vol. 6, not by Moon Knight fans who have not been following Avengers.
That being said, parts of The Age of Khonshu are surprisingly entertaining. Especially the beginning, i.e. #33, when Moon Knight takes on some superheroes one by one. Or the design of Khonshu’s domain (even though once more Khonshu himself is not a very imposing figure for a god), ‘New Thebes City’, his mummies, moon priests and werewolves, the whole faux-Egyptian iconography. However, whenever one aspect of Moon Knight’s character – in this case, the Egyptian theme – is emphasised, his others are likely to fall by the wayside. His mental illness, for instance, is only passingly referred to by other characters. (Once again, the way in which Moon Knight’s mental health issues are handled borders on an insult to people in the real world struggling with such issues, as Connor Christiansen has pointed out in his review at AIPT.)
The Age of Khonshu is a mixed bag on all levels. Javier Garrón’s art has a great clarity to it and makes the action easy to follow, but if we single out individual panels, characters or poses, there is nothing particularly striking or outstanding about the way they are drawn. Likewise, Jason Aaron’s dialogue writing is sometimes genuinely funny, but sometimes all those witty quips are a bit too much and make every character seem like Spider-Man.
Needless to say, in the end the status quo is restored. “So I’m going back where I belong, to keep saving my crappy little corner of the world the only way I know how”, Moon Knight says in his last scene in this comic. There is no need for Moon Knight fans to read The Age of Khonshu to understand and enjoy his current solo series. It adds very little to his character, except maybe that it sheds some new light on his fraught relationship with his god. Then again, as far as Moon Knight comics go, it’s not the worst one either.
Rating: ● ● ○ ○ ○
It’s not that I’ve never read a crossover story before, but when I did, it was always after it had been collected into trade paperbacks. This allowed me to make a conscious decision to buy the TPBs. However, it’s quite a different thing when a comic book series you’ve subscribed to becomes part of a crossover. Do you really want to purchase additional comic books, from series you don’t care about, by creators you’re not interested in, just to be able to grasp the story in “your” series? In the past, my answer was no – for instance, I dropped Swamp Thing when the “Rotworld” crossover started.
This time, though, I decided to play along. I had been reading Astonishing X-Men (AXM) for some time (see my review of #48-51 and my previous blog post on #57) when the crossover event X-Termination was announced, spanning the books AXM, Age of Apocalypse, X-Treme X-Men and an eponymous mini-series. Here’s what I think of each issue.
Although not listed as part of X-Termination, the story actually starts in AXM #59.
Authors: Marjorie Liu (writer), Gabriel Hernandez Walta (artist), Cris Peter (colourist)
Pages: 19 (yes, that’s not a lot of pages for $3.99…)
Website: http://marvel.com/comics/series/744/astonishing_x-men_2004_-_2010 (yes, that’s the correct link to the current series…)
Previously in AXM: after the gay marriage storyline, the book focused on the character Karma and two other, virtually indistinguishable Asian women. I must say I had grown tired of Mike Perkins’s art, when Gabriel Hernandez Walta came to the rescue. Issue #58 was a filler one-shot, but in #59 we’re heading straight towards X-Termination. The X-Men are hunting an alternate universe version of Nightcrawler, who apparently has committed murder, off-panel. Not much happens in this issue, but the nice art makes it a worthwhile, atmospheric read.
The first official “prologue to X-Termination” is Age of Apocalypse #13.
Authors: David Lapham (writer), Renato Arlem & Valentine de Landro (artists), Lee Loughridge (colourist)
Website: http://marvel.com/comics/series/17278/age_of_apocalypse_2012_-_present (for some reason they split the series into two websites, “2011 – present” (#1-12) and “2012 – present” (#13-14))
Most of the story here takes place in an alternate reality – the “Age of Apocalypse” – and is (yet) unconnected to the events in AXM. The aim of this issue, it seems, is to recap the previous events in this series, and maybe even to introduce new readers to this post-apocalyptic setting with all its alternate versions of the X-Men. But I don’t find all these little episodes very enlightening. Then again, most of what happens here is of no importance to the crossover story anyway. It would just have been nice to get to know all the obscure characters which do play a role in X-Termination later. What really repels me, though, is the art: I can only guess that Renato Arlem and Lee Loughridge (I’m not sure what Valentine de Landro’s contribution to this book was) wanted to make the artwork suit the dark and grim atmosphere of the setting, but the result looks just murky at best.
The second prologue, according to an advertisement flyer, is X-Treme X-Men #12, even though it doesn’t say so anywhere in the issue.
Authors: Greg Pak (writer), Andre Araujo (artist), Jessica Kholinne & Gloria Caeli (colourists)
In contrast to Age of Apocalype, X-Treme X-Men is a beauty to behold. André Araújo’s style of drawing is more cartoonish, almost manga-esque, yet in combination with the unobtrusive colouring reminiscent of European comics. Greg Pak tells the story of yet another alternate reality X-Men team, who witness the opening of a transdimensional rift and the arrival of the three supervillains of X-Termination. But he tells that story with lots of humour, it seems. Suffice to say that there are three evil versions of Professor Xavier: “Nazi Xavier”, “Witch King Xavier”, and “the Floating Head”. It’s a pity that X-Treme X-Men was cancelled after X-Termination, as this issue makes me want to read more of this series.
The first official part of X-Termination is X-Termination #1 (of 2).
Authors: David Lapham (writer), Lapham/Liu/Pak (story), David Lopez (penciller), Alvaro Lopez & Allen Martinez (inkers), Andres Mossa (colourist)
Website: http://marvel.com/comics/series/17743/x-termination_2013_-_present (again, the Marvel website lists several links…)
Meanwhile, another portal is opened from the “real” earth to the Age of Apocalypse, where the three X-Men teams meet, plus a fourth party, the aforementioned villainous trio. The art is the weak point of this book again; I find the way Lopez handles anatomies and facial expressions not very convincing.
For the next installment of X-Termination, we return to AXM (#60).
Authors: Marjorie Liu (writer), Lapham/Liu/Pak (story), Matteo Buffagni & Renato Arlem (artists), Christopher Sotomayor & Lee Loughridge (colourists)
What a disappointment: while this issue is written by regular AXM writer Marjorie Liu, the art is not by Gabriel Hernandez Walta. Instead, the first half is drawn by Matteo Buffagni and coloured by Christopher Sotomayor, and the second half is drawn by Renato Arlem and coloured by Lee Loughridge. Buffagni and Sotomayor seem to go for a 90s vibe, with unnervingly bright colours. Arlem’s and Loughridge’s art is just as off-putting as in Age of Apocalypse #13. Story-wise, it’s mainly fighty-fighty here.
X-Termination continues in Age of Apocalypse #14.
Authors: David Lapham (writer), Lapham/Liu/Pak (story), Andre Araujo & Renato Arlem (artists), Cris Peter & Lee Loughridge (colourist)
Again there are two art teams in this comic book, but this time there is a system to the shifts: there’s beautiful art by André Araújo and Cris Peter in the “real world” scenes, and ugly art by Renato Arlem and Lee Loughridge in the “Age of Apocalypse” scenes. The fighting against the alien villains continues.
X-Termination part four is told in X-Treme X-Men #13.
Authors: Greg Pak (writer), Lapham/Liu/Pak (story), Guillermo Mogorron & Raul Valdes (artists), Ed Tadeo, Carlos Cuevas, Don Ho and Walden Wong (inkers), Lee Loughridge (colourists)
More artists are introduced, while the story continues to leave me cold (despite referencing the Dark Phoenix saga). Mogorron’s and Valdes’s respective art styles are simplifying and cartoonish, which isn’t necessarily a bad thing, but here it just looks sloppy.
The penultimate X-Termination installment is AXM #61.
Authors: Marjorie Liu (writer), Lapham/Liu/Pak (story), Renato Arlem, Klebs deMoura, Matteo Buffagni, Raul Valdes, and Carlos Cuevas (artists), Lee Loughridge & Christopher Sotomayor with Andres Mossa (colourists)
Visually it gets even more confusing with not only two but three art teams in one issue, none of which I’m particularly fond of. Which is a shame, because the story finally seems to go somewhere, when the alternate universe version of Jean Grey is threatened to be corrupted by the power of the “Apocalypse Seed”.
The crossover story concludes in X-Termination #2.
Authors: David Lapham (writer), Lapham/Liu/Pak (story), David Lopez, Guillermo Mogorron, Raul Valdes, and Matteo Lolli (pencillers), Don Ho, Lorenzo Ruggiero, Carlos Cuevas, and Allen Martinez (inkers), Andres Mossa (colourist)
Again there are just too many artists, some of which have produced here what might be among the worst art I’ve ever seen in a Marvel comic. The conclusion of the story doesn’t feel very epic, even though the three page epilogue adds a nice touch.
Overall, the X-Termination crossover feels like a waste of $ 27.92 and an unwelcome interruption of AXM, which in fact continues with #62 to be a strong series, well written and well drawn (by Hernandez Walta again). The only positive outcome for me was to discover André Araújo‘s art, of which I hope to see more in the future. Still, my personal reservations against crossover events have been confirmed, and I can’t help wondering why such marketing tricks, more often than not, achieve to boost the sales of all tie-in issues. Then again, the commercial success of X-Termination seems to have been moderate – after all, this isn’t exactly Marvel’s big summer event.
Rating: ● ● ○ ○ ○ (only due to AXM #59 and X-Treme X-Men #12 raising the average)
Review of Swamp Thing #7-12
Previously in Swamp Thing: by the time I wrote my last review, Alec Holland was about to turn into the Swamp Thing, and the series was about to get really good.
Authors: Scott Snyder (writer – plus Jeff Lemire in #12), Yanick Paquette/Marco Rudy/various (artist)
Back in issue #7, the series still seemed to be going in the right direction. With the help of the Parliament of Trees and his “bio-restorative formula”, Alec Holland is finally transformed and emerges from a giant cabbage as the Swamp Thing. The artwork by Yanick Paquette leaves little to be desired.
In issue #8, however, Paquette shares artist duties with Marco Rudy, depicting the clash of Swamp Thing and the army of the Rot. (For an insightful critique of that concept, see Iann Robinson’s review of #12.)
This pattern is repeated in issue #9: the first 8 pages are drawn by Paquette, the remaining 12 by Rudy. This constant back-and-forth between those two artists is annoying, but at this point, their styles had grown so similar that I almost didn’t mind anymore. A lot of mystical, epic fighting takes place in this comic book.
With issue #10, a completely different artist, Francesco Francavilla, takes over (including the colouring). While Francavilla is by no means a bad artist, his style is such a far cry from Paquette’s and Rudy’s that one cannot help but notice the difference and wonder why.
Especially since in issue #11, Rudy is back as the artist. What was Paquette doing in those 2 1/2 months when he apparently wasn’t drawing Swamp Thing? In fact, the next Swamp Thing issue with Paquette as artist will be #13, which is scheduled for October. I couldn’t find a statement from DC that explained what makes this merry-go-round of artists necessary. Apart from being irritating for the reader, I can’t imagine Eisner and Harvey award-winning writer Scott Snyder is fond of constantly working with fill-in collaborators. This situation is telling about DC’s attitude towards its authors.
The last straw came in issue #12 with the start of the dreaded Animal Man crossover story (“Rotworld”). In fact, this issue is part two of a two-part “prologue” to said storyline, the first part being Animal Man #12. Crossovers that require you to read every single tie-in issue to keep up with what’s going on are a clumsy attempt increase the sales of each involved series, and it doesn’t work with me. I have tried to get into Animal Man before, but didn’t like Steve Pugh’s art, so I don’t feel like picking it up now. Neither am I interested in seeing other characters from the DC universe make guest appearances in Swamp Thing (which will happen in issue #13).
So I won’t be reading Swamp Thing anymore. By means of crossover mania and artist roulette (which DC intends to keep spinning), DC has killed a strong series. Still, it was worth reading for most of its first year, both as a DC universe comic that does without (regular) superheroes, as well as for the intricate ways in which it refers to the pre-relaunch era. Thus the first trade paperback, collecting #1-7 and coming out this month, might be of general interest. For me, however, there are more interesting comic books being published by DC at the moment – more on those in later posts.
Rating: ● ● ○ ○ ○