My main interest in this came from a scene Moon Knight-Core had days of fun with, everyone's favourite deranged vigilante ordering a silly coffee and the barista writing 'Moob Knife' on the cup. Well, that comes early in the first issue, and it's all downhill from there. And even then, when you see it without the subsequent riffing, you start to wonder...why? Why is he in costume, in a coffee shop, in daytime? There's a lot of that here: why is Ghost Rider in the lift? Why is Doctor Strange in the company canteen? Sure, the whole point of Damage Control is that they're the company who clean up after superhero battles &c, so they can end up interacting with almost any Marvel character, but here it sometimes seems more like all the heroes are their subcontractors. Which, to be fair, is at least less dull than the MCU's inexplicable decision to waste the Damage Control name on yet another sinister government agency, and OK, this is a comedy book. But the more of this I read, the clearer it became that despite the co-writer coming from a successful sitcom*, he doesn't appear to understand anything I'd recognise as comedy. There's no sense of a meticulous clockwork unfolding, set-up and punchline - just one allegedly wacky thing happening, then another. Which, OK, can be funny too, but it needs performers with comic chops, which in comic comics means your artist, but here we instead have Will Robson (modern Marvel house style plus rictus grins) and Nathan Stockman (an alien with no concept of what you humans call...'funny' attempts to emulate Rob Guillory). As for the plot, such as it is: the company takes on a new intern, who doesn't get fired despite being shit. And not as in, he can't keep up with the kerazy! world of Damage Control, as in he does really obviously bad things that should get you fired anywhere. Except he apparently can't get fired, so that's one comedy mainstay out the window. Three issues in, we're eventually told there's an order to that effect. At the end of the series we find out why...and it makes no sense, either in-world or as a gag, it's just stupid. Based on this evidence, I can only assume that co-writer's successful sitcom, The Goldbergs, is one of those atrocities popular with US network viewers but utterly unfunny to more demanding audiences, such as protozoa.
If I were ordered at gunpoint to find a silver lining beyond 'Moob Knife', it would be the recap pages. Not that they demonstrate any more wit than the script, but they're presented as screengrabs of 'Chirp'. Which I swear is at least Marvel's tenth Twitter analogue, but it amuses me that they now all have less shit (not to mention less half-arsedly Marvel) names than real-world Twitter.
*The other writer is Hans Rodionoff, a name I associate with horror. It's a truism now to note the overlaps between comedy and horror, and of course both are very subjective. For my tastes, nothing here did any better at being scary than being funny, but at least it wasn't trying to be scary.