Cappuccio’s pages look good to start with, and only improve. The movement of the action is also notable, full figured and exquisitely choreographed, with good use of shading on Moon Knight’s costume. He makes the conversations interesting via the viewpoints, poses and backgrounds, while the image of a man in a pristine white suit with full white head covering is immediately striking. Higher on that scale is the recasting of Moon Knight as an urban vigilante with a storefront for local residents, who seem to have a vampire infestation, and the idea of his considering himself serving as a priest for a now disgraced god.Īn early combination of explanation with flashbacks ensures we see both sides of Cappuccio’s talent. There is precedence in Moon Knight, though, especially during Dead Will Rise, so it feeds into the idea of MacKay amalgamating Moon Knight’s assorted personas. MacKay runs through Moon Knight’s complicated background and origins via an opening chapter discussion with a psychiatrist, which is a useful device for packing in relevant information, but post- Sopranos it’s hardly original. MacKay and Alessandro Cappuccio’s version is near the upper end of the scale based on The Midnight Mission. In over forty years Moon Knight has never caught on with an audience for longer than three years, and most 21 st century reboots have barely lasted one, which is puzzling because it’s not as if most haven’t been readable at the very least, with several far better. With a Moon Knight TV show due to launch early in 2022, Marvel turned to TV writer Jed MacKay for yet another try at a Moon Knight comic.
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