Review by Ian Keogh
When Moon Knight was first introduced the USP was the mental confusion between three different identities, what’s now referred to as Disassociative Identity Disorder. While acknowledging mental problems, so far Jed MacKay has steered clear of that area, sticking to former mercenary Marc Spector as Moon Knight’s civilian alter-ego, but to end Too Tough to Die, there was the unexpected switch to Steven Grant.
It’s not a matter immediately addressed in the opening chapter of Halfway to Sanity, which is more concerned with establishing Moon Knight’s props as so terrifying that even Taskmaster knocks back a contract to kill him. However, the second chapter features a discussion between Moon Knight’s trio of identities Steven Grant, Jake Lockley and Marc Spector, very cleverly written by MacKay, not least for entirely shredding reader perceptions as to when the discussion’s taking place. Much of what happens is best left for the reading, but it clarifies Moon Knight not being a separate fourth identity, in case you’ve ever wondered. The continued investigation of Moon Knight’s motivations and personality, now personalities, is refreshed, and remains fascinating.
Artistically Halfway to Sanity again shares the duties between Alessandro Cappuccio and Federico Sabbatini, both cultured artists. Cappuccio is the first choice, and illustrates the main story, with Sabbatini handling the opening and closing chapters, so not impacting on artistic continuity for the main plot. Cappuccio is the more detailed when it comes to the backgrounds, but both benefit from Rachelle Rosenberg’s superb application of colour.
In The Midnight Mission MacKay introduced several threats, and it’s the turn of the vampire to step into the spotlight here. The Tutor, the current leader of New York’s vampire community is now outraged at one of Moon Knight’s unconventional methods of saving a life. Unfortunately, the assassins he hires are rather unoriginal compared to the innovations characterising the remainder of this relaunch, but Moon Knight’s approach to dealing with them is fantastic, as is the climactic battle with the Tutor. The utter unshakeable confidence on Moon Knight’s part is stunning.
The closer returns some characters Moon Knight was previously close to, but it’s the weakest outing here, with a child unconvincingly precocious. It is very nicely drawn, though, with Sabbatini maximising the action scenes and putting greater effort into background than before.
Not everyone liked the Moon Knight TV show, but everyone should love what’s now definitively the best Moon Knight series since the peak of Doug Moench and Bill Sienkiewicz.
