New "Flash" Clip Introduces Multiverse Theory, Multiple Easter Eggs
Every day this month, I will be examining the first pages of random comics. This month I will be doing theme weeks, with each week devoted to a single artist. First up: Bill Sienkiewicz! Today’s page is from Moon Knight #2, which was published by Marvel and is cover dated December 1980. Enjoy!
I figure that if I’m going to do this for the entire year, I should mix things up a bit. So every other month will be a theme month, and every other month will be random comics. For the first theme month, I thought I’d feature four artists and see how they evolve over the course of their careers. I may return to artists in another theme month (I figure the second theme month – April – will be writers, but I’m not married to that yet), but for now, let’s check out this week’s artist: Bill Sienkiewicz. I already featured Billy the Sink in this feature because I simply love the first page of New Mutants #18, but this time I’m going back to his earlier days with Moon Knight #2. This was when he was still primarily aping Neal Adams, but slowly developing his own amazing and idiosyncratic style.
This is, of course, a true splash page – it’s not part of the story, it’s a representational page of the entire story. Moon Knight stands, protecting his friends Gena and Crawley from a killer, with the title and credits on the wall behind them. The page has an interesting design – the hero is cringing, almost frightened, while the killer’s hand and weapon dominate the scene. My theory is that Sienkiewicz knows that the actual fight between the hero and villain won’t be very interesting – the killer is a garden-variety psycho, and Moon Knight takes him down rather easily once he finds him – so he’s trying to change our perceptions in the splash page to make the bad guy loom larger. This is a more psychological tale than a simple good guy-vs.-bad guy battle, but given that it’s a standard Marvel superhero comic, that’s tougher to sell. This page promises something that really isn’t in the issue, so it’s false advertising, but it does draw the reader in, so perhaps they’ve forgiven Doug Moench by the time they finish. Sienkiewicz, of course, makes sure the blade slashes through both the title of the story and Moon Knight’s chest. I’m going to assume he also lettered the title, making it look bloody as befits the title (if it was letterer Annette Kawecki, I apologize – whoever did it, it’s a nice effect). I have no idea why the hand is purple, unless it’s simply supposed to be in shadow. The design also angles the page slightly top left to bottom right, so our eye slides easily along that axis to the hand leading onto the second page and the caption boxes at the bottom. It might be a ruse to get us into the story, but the splash page is fairly effective.
Doug Moench, typically a verbose writer, manages to tone it down just enough so that Kawecki can cram his purple prose into boxes around the edge of the page. Even so, Moench does get in an impressive eight “blood”s in the prose (out of 46 words), so that’s something. I am a fan of Moench’s, but he does tend to get a bit flowery with his words. Luckily, for the most part on this series, he knew enough to let Sienkiewicz do his thing.
This is extremely early in Sienkiewicz’s career (Moon Knight was the first book he worked on), and he shows that he knows what he’s doing with design even as he’s trying out ways to draw. He gets very different, of course, as we’ll see over the course of this week.
Next: More Sienkiewicz! More Moon Knight! In the meantime, more archives!
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