These four issues constitute a story arc of their own (titled “Incarnations”), the end of which is also marked by Greg Smallwood’s return as the sole artist from the next issue on, so it makes sense to review them now.
Authors: Jeff Lemire (writer); Greg Smallwood, Wilfredo Torres, Francesco Francavilla & James Stokoe (artists); Jordie Bellaire & Michael Garland (colourists)
Pages per issue: 20
Price per issue: $3.99
Previously in Moon Knight: Moon Knight has escaped from the mental asylum but then met his patron god Khonshu, fell out with him, jumped from a pyramid, passed out and awoke in his Steven Grant persona. He is producing a film starring his girlfriend Marlene as the female lead. Everything seems fine and the last panel of issue #5 shows a smiling Steven.
And here his troubles begin. Our protagonist keeps involuntarily changing in and out of his identities, and his surroundings change with him. Everywhere he is haunted by incarnations of his tormentors at the mental asylum, nurses Bobby and Billy and psychiatrist Dr Emmet. And also by werewolves from outer space.
Neither Moon Knight nor the readers know which reality is actually the real one. The guest artists reduce the subtlety somewhat, but it is also an interesting gimmick that each of Moon Knight’s personas/realities is drawn by different artists: taxi driver Jake Lockley by Francesco Francavilla, film producer Steven Grant by Wilfredo Torres and Michael Garland, and space pilot Marc Spector by James Stokoe.
So how exactly does this brilliant device of switching back-and-forth between identities work? Jeff Lemire employs a variety of ways to do this, but let’s take a closer look at the beginning of this arc in issue #6. The first panel (art by Torres and Garland) shows Moon Knight in his old cape fighting some villain in what looks like ancient Egypt. So far, this could be a classic Moon Knight story. In the second panel though, a speech bubble is partly obscured by a boom microphone, and on the following double page we learn that this was only a Moon Knight film being shot, produced by Steven Grant. The name of the leading actor though, whose face we never get to see, is Marc Spector – the real name of the real Moon Knight!
On page 5, Steven and Marlene enter a taxi and talk about a fundraising event at a mental hospital (because their film “explores some real themes… identity, mental illness”), which of course later turns out to be the hospital where Moon Knight was detained earlier. The last panel on this page contains a caption: “Steven Grant is too soft for what comes next…”, and on the next page (from now on drawn by Francavilla) their taxi driver turns out to be Jake Lockley! After he has dropped Steven and Marlene off, he meets his friend Crawley, who remembers the events from the first arc (the escape from the mental hospital) but Jake can’t.
Crawley tells Jake on p. 9, “You’re in the hospital right now”, then disappears. Jake opens the trunk of his taxi where he keeps his Moon Knight costume. The following page is drawn by Torres and Garland again, and on the first panel we see Steven Grant looking at his dinner suit (which looks not unlike Moon Knight’s ‘Mr Knight’ costume) on his bed from the same perspective. Apparently he and Marlene are getting ready for their fundraising party at the hospital. Steven is confused and says to Marlene, “I – I was somewhere else! I was in this cab and there was this man, this old man with white hair, and he told me – he told me I was in a mental hospital.”
Marlene answers, “Have you been taking your meds? […] You remember last time you got off, how you got.” So (according to this version of Marlene) Steven is mentally ill, which would explain the Jake Lockley scene as Steven’s delusion. But Steven doesn’t even remember being on medication at all.
And so it goes on. It’s a joy for the reader to gradually realise on how many levels the various realities are intertwined, and how they all contradict each other. Until issue #9 when Moon Knight, in his Mr Knight outfit and drawn by Greg Smallwood and Jordie Bellaire again, confronts his other three personas, defeats or makes peace with them, and they vanish.
The “Incarnations” story arc was one wild ride, and if Lemire, Smallwood and Bellaire keep up their good work in the next arc, Moon Knight will surely be the best current Marvel comic, now that The Vision has ended.
Rating: ● ● ● ● ○
One of the many series recently rebooted by Marvel was Moon Knight, and as Moon Knight is a character I tend to follow (see my previous reviews of his series: Moon Knight (2011) #6-8 and #9-12, Moon Knight (2014) #1-3 and #4-6), I thought I’d give him another try.
Authors: Jeff Lemire (writer), Greg Smallwood (artist), Jordie Bellaire (colourist)
Pages per issue: 20
Price per issue: $3.99
Previously in Moon Knight: No idea what happened at the end of the previous series, because I dropped it when Warren Ellis left after only six issues. (Maybe I should have stuck to it, because it turns out Greg Smallwood’s artwork is almost as striking as Declan Shalvey’s who left the book shortly after Ellis…)
One of Moon Knight’s/Marc Spector’s defining characteristics is his precarious mental health, so it makes sense for Jeff Lemire to start the story with Marc being a patient – or should we say ‘inmate’? – in a mental hospital. Marc has these memories about being Moon Knight, but none about how he got there, and the hospital psychiatrist tells him that he has been there since he was twelve years old. Then again, he has these visions of his Egyptian patron deity, Khonshu, which suggest to him that the hospital staff are in fact other, evil Egyptian mythological beings.
Mental asylum break stories (if that’s a thing) are powerful when they manage to convey the feeling of despair in the protagonist: he or she is the only one who knows what’s really going on, but everyone else thinks he or she is just crazy (think Terminator 2: Judgment Day). This Moon Knight series adds the thrill of leaving the reader in the dark, at least initially, about which is the truth and which is Marc’s imagination: we are shown both the hospital staff and, alternately, the Egyptian gods, but only one of the two can be real (think David Cronenberg’s Spider).
One of the few things in which Ellis didn’t succeed in his run was the handling of Moon Knight’s backstory. Lemire achieves this by including several of Moon Knight’s supporting cast, and by putting more emphasis on his different personas (the millionaire, the taxi driver).
And then there’s the art. Often there are only few panels on a page, of different size and horizontally centered so that there is a lot of white space, giving a massive, iconic, grave and simply powerful impression. Some guest artists were involved in issue #5, which makes sense because each draws a different scene in a dream (?) sequence. Alas, from the solicitations it looks like Smallwood leaves the series after #6.
If there’s one thing I don’t like about this Moon Knight, it’s that the Egyptian gods often don’t talk like one would expect gods to talk, thus appearing less awe-inspiring than they could be. Granted, deities in the Marvel Universe are more mundane beings than the omnipotent gods from ‘real’ mythological tradition, but still…
All things considered, this might indeed be the best Moon Knight series ever, and (together with The Vision) the best Marvel book right now.
Authors: Warren Ellis (writer), Declan Shalvey (artist), Jordie Bellaire (colourist)
Previously in Moon Knight: In the series written by Brian Michael Bendis, Marc Spector was working on a TV show in Hollywood, although on the last page Spector already announced he’d leave Los Angeles. He also was the masked vigilante Moon Knight, plus he had a split personality disorder.
In the new series, very little of that remains. All these things are briefly referenced, but why exactly Marc Spector has moved to New York, and why he isn’t imagining talking to Spider-Man, Captain America and Wolverine anymore, isn’t really explained. Rather than one continuous story, the new narrative structure is more like a series of one-shots: in each of the almost self-contained issues, Moon Knight fights a different villain.
Moon Knight is now more than ever a kind of Batman – a detective with high-tech gadgets and impressive martial arts skills, and not much more. It’s a pity that his mental illness isn’t as much the focus of this book as it was before. On the other hand, Warren Ellis introduces (in #3) something the previous series was lacking: the mystic aspect of Moon Knight being the incarnation of the Egyptian god Khonshu.
The larger story aside, both the writing and the artwork are a huge improvement over the Bendis/Maleev run. The dialogues are now smart and almost funny, and the drawings by Declan Shalvey and Jordie Bellaire, particularly the smart layouts in the second issue, are stunningly slick. Still, my overall impression is that Ellis is trying too hard to make a fresh start with this character and sever all ties to the 2011 series. If there’s one justification for the continued existence of monthly comic book series in the universes of Marvel and DC, it’s the continuity – readers want to follow one big story that goes on and on. By largely ignoring the old Moon Knight comics, Marvel sabotage their own format.
By the way, the series ends this month after only six issues. Warren Ellis writing an ongoing Marvel book? That would have been too good to be true.
Rating: ● ● ● ○ ○
Other people seem to be quite fond of the new Moon Knight, though; see e.g. this review by Joshua Rivera at The Beat: http://comicsbeat.com/one-and-done-it-doesnt-take-much/