Moon Knight #30: ‘Everything dies, baby, that’s a fact/But maybe everything that dies someday comes back’

Warning: Spoilers for Moon Knight #30

It is often agreed upon that in storytelling, endings, and resolutions are one of the most difficult parts of the craft. Finding a conclusion is a natural cap to the story while generating an end that ties together the various elements of a plot in a satisfying way. Endings become even harder to land when working in a medium like comics, which is a seemingly never-ending rotation of a status quo. The truly great runs, the ones that will last beyond their time, are the ones that reach out and grasp that rewarding conclusion, as is the case for the closing issue of Moon Knight. 

Moon Knight #30 – written by Jed MacKay with art by Alessandro Cappuccio, colors by Rachelle Rosenberg, and letters from VC’s Cory Petit – brings the first stage of this series to a close as the titular vigilante comes face to face with the secret identity of the new Black Spectre. Revealed in the last issue to be Dr. Plesko, the psychotherapist with a connection to Marc Spector during the Karnak Cowboy days, the entire mission of the villain has been an attempt to understand more about the twisted nature of humanity. 

MacKay drops the story straight into a resolution mode thanks to the reveal, linking up the various elements ranging back to the early issues of this series. Plesko’s involvement as a villain creates a dark symmetry to the core conceit of the Midnight Mission. Marc established the practice as a way to extend his protection of travelers of the night, while Plesko was only concerned with deepening his sick exploration of atrocities. It’s what drove him to a mercenary lifestyle, to study Marc’s original killer Bushman, and even adopt the mantle of a supervillain. 

The explanation of Spectre’s motivations is a solid surprise and an interesting pivot in exploring the aftermath of Marc’s violent lifestyle. It is a satisfying and organic decision that adds a layer of depth to the series that will reward a reread now that the first arc of this story is complete. MacKay gets the opportunity once again to weave those various threads into the tight, cohesive tapestry of overcoming the trauma of the past to reclaim a bit of the soul. Marc gets the opportunity to make the right choice and end his life as a hero once again, echoing his origin story. 

More than the reveal of Spectre’s identity, MacKay saves one big surprise for this issue, bringing Khonshu back for a short beat. The Egyptian god has been largely absent from this run, due to the fallout of the Avengers story that set up this status quo. The depowering of the god made clear there would be no more resurrections for the Fists of Khonshu beyond Badr’s final one. That decision from MacKay’s scripting elevated the stakes of the run and it paid off with dividends in this issue, delivering on the marketing materials as the Death of Moon Knight. While Khonshu is unable to resurrect the vigilante, the god expresses a beat of pride towards his fist, putting aside any anger or baggage to comfort the protector for a job well done. 

That return of Khonshu is the most stunning artistic decision of this issue, and Cappuccio channels a new, rawer energy to the linework for it. Starting with a series of hazy shadows that break into a spectral, fluid figure of the moon god, the linework plays with the dimension and form of Khonshu. It is a stylistic choice that works to separate this beat from the rest of the issue, channeling that spiritual aspect of the character. There is something dark and primal to the representation of Khonshu, like a shape just beyond the eye that borders on the eldritch.  

Throughout the rest of the issue, the artwork operates on a level consistent with Cappuccio’s other stories. The dynamic action sequences and intense flares of emotion heighten this issue to some of the most compelling of the entire run. The pain and anguish of Marc are just as relevant here as it is evident in the faces and body language of his companion. The style has a sharpness in the literal linework that cuts through to find the central emotional beat. 

Cappuccio’s artwork is great on its own, as seen in the black and white image above from another issue of the run. However, it’s only through the partnership with Rosenberg that elevates this book to its full status as one of the titans of current Marvel. The spectral, ethereal glow that bathes Moon Knight and the mystic elements of this book has been a hallmark since page one. Rosenberg’s hues and palette are such a strong decision that it locks into place in a way that makes it feel like a definitive twist to the character. It’s hard to imagine a version of Moon Knight or Fist of Khonshu that is missing, which speaks as a testament to the consistency that Rosenberg brought to the title.