Moon Knight #23: Lunar Protector(s)

A good crossover between characters in an interconnected universe can be difficult. The guest star can steal the show or derail the ongoing plot in service of the smaller story. It’s a testament to good storytelling when a crossover works in the context of the more extended series and a vacuum. Delivering on both makes a title new reader friendly, hopefully, enticed by the sudden appearance of the guest character while satisfying the returning reader, ensuring to meet the expectations of the more extended plot. 

Moon Knight #23 – written by Jed MacKay with art from Alessandro Cappuccio, colors by Rachelle Rosenberg, and letters from VC’s Cory Petit – switches its focus again, this time by getting radical with a team-up that feels like it skated right out of the ’90s, pairing the Fist of Khonshu with Venom. Only, instead of Eddie Brock, who’s off learning about his role in the cosmos, is his son Dylan bonded with the alien suit. Dylan’s alone in the world, and being chased by a new, somehow even lamer Enforcers team (used to significant effect in this story, but come on). 

Moon Knight agrees to protect Dylan, and the two tag-team a fight with the villains, aided by the sentient Midnight Mission. The duo track down the dastardly DJ and are attacked by mind-controlled civilians. Before Moon Knight can capture them, Sarnak turns themself into the police to protect whoever is running the long game of this villainous plan. After finishing off the low-level threat, Venom reveals he can sense the frequencies used by Sidney Sarnak, the hypnosis villain from issue #21, due to the discomfort they cause the symbiote. 

This issue is an excellent example of an organic crossover between characters, moving the plot while delivering a fun detour. The first half of the issue is the extended fight sequence between Moon Knight/Venom and the Enforcers, while the back half continues the series’ overarching plot. It’s a chance for MacKay to check back in on various plot points of the series, like the Midnight Mission’s goal of protecting travelers of the night and the haunted aspect of the building, which was weaved through a standalone issue and then the last arc. These natural reminders remember the adage of show, not tell, and function as guideposts to the rich continuity developed over 25ish issues (plus a few annuals, tie-ins, etc.). 

Venom’s presence also serves a core function as a catalyst for the next leg of this story and then provides a chance to subvert expectations. MacKay telegraphs a second confrontation in the back half of the issue, offering another opportunity for an intense action sequence. Instead, that’s undercut with a surprising gamble from Sarnak, with the reveal of their turning themself in. It’s unexpected and anticlimactic in a good way, forgoing the action for suspense, adding a wrinkle to the larger narrative MacKay is weaving. 

Both sequences are also great opportunities for Cappuccio to flex his skills in rendering action and dialogue sequences, and including Venom gives a new element to play with. The fight sequence allows the art to play with Venom’s hulking shape, a force of towering strength compared to Moon Knight’s methodical but brutal takedowns. Cappuccio utilizes sharp, angled panels for the bulk of the sequence, giving a jagged but organized view of the action. The sequence is couched between two full-page images, giving a sense of control and order to the fight, reflecting Moon Knight’s ability to strategize and win based on experience overpowers. 

The first of these pages is Moon Knight and Venom leaping into action, while the last of the sequence is the two surrounded by their defeated enemies, Moon Knight bloodied. Much of Cappuccio’s strengths lie in the depiction of Moon Knight in silhouette, playing with shape and form to create striking images that draw the eye. In the case of Venom, who’s a walking silhouette for the most part, that experience pays off. This Venom, with chains wrapping his arms, feels closer to the Mark Bagley interpretation of symbiotes, with organic, moving bits like muscles tensing and relaxing in every panel.  

Venom’s figure also stands out nicely against Moon Knight’s, partly thanks to the designs. Panels with the two next to each other create an interesting dichotomy of anatomy, connected by the hyper-stylized linework and exaggerated detail (Moon Knight’s hood and cape, Venom’s everything). Moon Knight has a weight to his form but is composed and poses like a traditional vigilante, while Venom is a hunched, overwhelming presence in comparison. 

 The pink of his tongue, the white of his chest symbol, and the occasional gray of the chains break up the wall of black, but the lack of a glow or flourish makes his design such an interesting one to watch in this issue. DesignWhile Moon Knight has his glowing aura of blueish white, Venom is like a black hole, absorbing the light and coloring around him to cut through the stylized palette of the book. Rosenberg’s coloring helps reinforce that design dynamic, playing with the light sources and effects to set the two heroes apart. It allows Venom to stand out from the blackest parts of the background and ensures that even set against Moon Knight’s black section of costume, Venom’s look remains alien.