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"Season Two" of Moon Knight begins with a new creati ve team...and a blackout! When the entire city is thrust into darkness by a strange new threat, Moon Knight must use all of his weapons (and personalities) to defeat a very different foe! Then, it's a hostage situation in a high-rise, and Moon Knight must come to the rescue. But in this cell-phone camera society, he's doing it on the world stage! What does this sudden exposure mean for the famously secretive hero? Brian Wood (X-MEN, DMZ) takes the writing reins - picking up from where Warren Ellis left off , pushing questions from Moon Knight #1 back to the fore, and amplifying them a hundred-fold! Buckle up as the stakes get higher, the Moon gets fuller, and the Knight gets darker! COLLECTING: MOON KNIGHT 7-12
- Sales Rank: #128234 in Books
- Published on: 2015-04-28
- Released on: 2015-04-28
- Original language: English
- Number of items: 1
- Dimensions: 10.25" h x .13" w x 6.50" l, .0 pounds
- Binding: Paperback
- 136 pages
Most helpful customer reviews
5 of 5 people found the following review helpful.
Moon Knight Isn't Dead Yet
By Anarchy in the US
After the opening volume of Marvel's All-New Moon Knight by writer Warren Ellis and artist Declan Shalvey, I enjoyed it's done-in-one story telling with superb art work in challenging typical comic book norms--and this is from a person who never cared too much on the character. But after the first volume, that same creative team has left the series and replace it Brian Wood and Greg Smallwood. This made me a bit nervous because Wood, who I think is a great writer on his own creator-owned work and political material, doesn't do well with typical comic book affairs from DC and Marvel. And I never heard of Smallwood before, so I wasn't sure if this or any new creative team would come close to Ellis/Shalvey's vision, but to my surprise, Wood/Smallwood have come close and yet given their own spin on the character.
MOON KNIGHT VOL.2:DEAD WILL RISE collects issues #7-12. First ever African President of Akima General Aliman Lor is in New York to meet the United Nations in recognizing Akima as a country. General Lor is suspected of war crimes for siding with the rebel forces and overthrew the previous unelected governor many years ago, which means he has plenty of enemies. One of those enemies has hired a sniper to assassinate Lor, but not under the watchful eye of Moon Knight. But was the sniper really trying to kill Lor and Moon Knight? Because someone knows to undermine Moon Knight, even to the point where they want the Konshu spirit.
I'm surprised Wood decided to follow in Ellis's footsteps in terms of themes and writing structure, but I am glad as he does manage to follow well enough. Wood continues the done-in-one story style of Ellis, giving each issue a different feel and approach, yet leaves each issue weaving into a larger story here that comes together by issue #12. This makes Wood's work on MK a great successor to Ellis's set path, but also adding his own spin in subtle ways and giving a larger plot than mere single stories. The stories range from issue #7 of Moon Knight chasing and stopping a sniper, to stopping a terrorist heist in a building all from the perspective of camera phones, to a dreaming/hypnotic sequence within Marc Spectors mind and his psychiatrist's mind (yes, Spector's psychiatrist from issue 1 returns and plays a massive role in this arc. I won't spoil it), deals with stopping a UN officer from murdering general Lor, Spector dealing with a prison, and finally piecing the entire story arc together in issue #12. It keeps the cinematic feel and themes Ellis had, and I am impressed Wood has carried on Ellis work in a fun and interesting story arc.
And with continuing Ellis's framework, Declan Shalvey played a massive hand in Ellis's story structure and re-defining comic art narratives. Greg Smallwood plays very close to Shalvey's art style and ability to mess with comic book conventions. Smallwood uses similar art panels from the sniper issue, to issue 8 where the entire story is shown from the perspective of handheld camera phones, to the issue where we see Spector and the psychiatrists dream switching back and forth, to an entire issue of Spector dealing with a prison with no laws and faceless captures. Smallwood may not quite be up to the same level of Shalvey's, but he is close and his art is admirable.
Now my score is a 4 � score out of 5 stars, but I'm rounding to 4 stars. I enjoyed this quite immensely, but I think the ending felt a bit underwhelming and a bit patched together with spotty parts. After reading all of Wood's story, there is a very ambiguous ending. I had to re-read from issue 7 and it does make sense, but it's something some readers might not catch. And there feels like there is story parts missing from issue 11 to 12. The time gap feel wrong.
Still, I enjoyed MOON KNIGHT VOLUME 2: DEAD WILL RISE from Brain Wood and Greg Smallwood taking over Warren Ellis and Declan Shalvey's framework. I'm actually bummed out this creative team is leaving. Now Cullen Bunn will take over starting with Moon Knight Vol. 3: In the Night and we'll see if he has the chops to carry on Ellis/Wood work.
3 of 3 people found the following review helpful.
Good but not great
By Tyler Johnson
This is one of the most difficult reviews I have ever written. All I want is to judge Brian Wood and Greg Smallwood's arc on its own merits but the fact is that it came after Warren Ellis and Declan Shalvey's groundbreaking arc Moon Knight Volume 1: From the Dead and it simply doesn't measure up. Brain Wood strips away the ethereal feel of the first volume, full of ambiguity of whether or not Marc Spector is truly the vanguard for the divine Khnonsu, and what he replaces it with feels grounded and smaller. Khonsu is real, Marc is out, and the enigmatic Dr. Warsame, from the first volume, is back but without the air of mystery she previously had.
Instead of six stand alone stories, Wood's arc ties together, and while the ride there is enjoyable, the ending is severely lacking. By the time you reach the final issue, all the wonderful tension the arc builds to that point simply fades away. The art is good but never reaches Shalvey's heights. This is a decent book that unfortunately doesn't stick the landing.
2 of 2 people found the following review helpful.
Strong Creators < > Strong Creative Team
By Danny Norbury
I have a lot of respect for author Brian Wood, however, he always seemed to me to be one of those writers who flourish with their own titles and struggle a bit when writing characters they did not create. DMZ, Northlanders, The Massive were all superbly written and plotted; however, some of his work in X-Men and again in this Moon Knight TP leaves much to be desired.
There is a comic technique known as the Marvel Method that many of the big publishers use to use (and in many cases still do). The concept is the writer puts together a bare bone script and the artist (who is suppose to be better at layout and visual storytelling) actually creates the comic. And while it certainly spawned nearly every iconic moment in the Golden Age of comics, it also was responsible for all the terrible comics created. When the artist and writer are not in synch, the results are very bad. I am unsure if the Marvel Method was used in this creation, but the disjoint between illustrator Greg Smallwood and Mr. Wood brings what could have been a great story to its knees.
Readers new to Moon Knight only need to understand one thing going in. The guy is crazy. I don't mean Frank Castle murderous/psychopathic crazy nor Deadpool babble like a mentally deficient monkey crazy, I mean full on personality dis-associative schizo cray-cray. He has multiple personalities and a deity complex that allows him to believe he was saved by an Egyptian god to save the travelers of the night. He cycles through enough characters to fill a comic, and uses the skills of each like his own Swiss army knife of crime fighting. Add to that the wealth, gadgets, detective skills of a Batman and you've got Moon Knight.
Mr. Wood does very well with that end of the spectrum. Capturing the craziness through change of uniforms, hallucinations, etc. Though to be honest I felt the team went a little too far in some cases so that it felt more fantastical than insane. In fact all the characters a well developed with clear motivations and multiple facets to their personality. The action scenes, dialogue, etc. work just as well and the plot (though at times very preachy) is serviceable enough.
Where the title falls flat, however, is everywhere in between. It is the panels between the set pieces that make or break any super hero comic. Some of this failure can be attributed as a bold experiment that didn't quite get the job done. There is one scene where a man is holding a floor of a skyscraper hostage and nearly all of the story is told through different camera views (news vans, security cams, cell phones, etc.) But most of the failure feels like the writer and artist never discussed the story. There are several pages where no dialogue takes place and the layout is such that it is easy to get lost, then there are full page panels where a full conversation takes place in the space between the characters. There was also at least two occasions where it was unclear whether the layout was 1 page or 2 which forced me to re-read the panels in the correct order.
Any writer/artist combo can setup a big set piece and execute a fight scene. But if the pages between each are not cohesive enough, the glue between these scenes are lost and the story falls apart. Unfortunately for this team of two talented creators, that is exactly what happened.
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