Daredevil #7 - What I Saved

 

   Here we have one of my all-time favorite comic books. Ever.

   I got this issue of Daredevil in trade from my neighborhood friend Bruce when I was very young. (I can tell, because he had the habit of writing his name on the cover - and it's right there by the newspaper headline.)

    I've held onto this issue tightly ever since, and it shows - the poor comic is terribly threadbare and barely holding together, but it's just a good a "read" as ever.

   Cover dated April 1965, this issue features the first appearance of Daredevil's red-and-black costume, courtesy of Hall of Fame artist Wally Wood. He's at the top of his game here (and boy, is that saying something), as he takes us from the undersea splendor of Atlantis to the middle of Manhattan, throwing in one of the greatest fight sequences ever just for fun. When it came to detailed art, dramatic poses, powerful characters and amazing battles, Wood couldn't be beat.

   Written by Stan Lee, the story begins with Namor the Sub-Mariner being coaxed into finding a way to allow Atlantis to find its rightful place in the surface world. Rather than declare war, Namor decides to try to find a peaceful solution - so he goes to New York to hire a lawyer so he can sue the human race!

   By an amazing coincidence, he arrives at the law firm of Nelson and Murdock, but doesn't appreciate their advice (good luck suing the entire Surface World). 

   Namor decides to force the surface men to take him to court by going on a rampage in the town (obviously Namor is a bit impulsive), which brings him into conflict with Daredevil.

   The contrast between the characters is entertaining all by itself - Daredevil is light-hearted, joking, but intent on protecting the city, while Namor is a noble but destructive force of nature - and Lee and Wood get the maximum out of the humorous potential of Namor being a "fish out of water," as he struggles to cope with revolving doors and elevators, ultimately dealing with them in a straightforward (if destructive) manner.  

   When DD and Namor first fight, it's a relatively short battle, and as expected, Namor has little trouble dealing with the Man Without Fear. Namor surrenders to the authorities and awaits his day in court, when urgent news forces him to leave (as he proves the adage, "Iron bars do not a prison make"). 

   Fearing Namor will hurt innocent bystanders, Daredevil again tries to stop him, and stages a battle that's amazing for its ingenuity and for the incredible courage and determination exhibited by DD.

   It's easy to be a hero when you have the advantage, but as Daredevil shows here, it takes something extra to stand up against an opponent who much more powerful.

   I won't spoil the ending, but up to this issue Daredevil had always been just another comic book character. After reading this adventure, I thought of him as a true hero.

   (This post is part of a series about the comic books I kept when I recently sold most of my collection. This post includes part of an essay written in January 2010.)

Grade: A+

Daredevil #596

   Every good hero has to spend some time being treated like a common criminal, right?

   It's Daredevil's turn in the box.

   Spinning out of events in Secret Empire, during which the Kingpin took a hero turn (at least in appearance), that villain now finds himself the duly elected Mayor of New York.

   Of course, one of his first acts is to declare war on his old enemy Daredevil, framing him for an attack in the mayor's office - which turns (virtually) everyone in the city against him.

   What follows is a surprisingly tense battle across the rooftops with DD running for his life - and facing some really difficult choices.

   It's a strong issue with an unexpected twist at the end - and it'll have you wondering how DD can ever move back to the hero side of the equation again.

Grade: B+

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Daredevil #15

   So which is better - the lighthearted Daredevil (last seen in the Mark Waid / Chris Samnee series) or the darker version now inhabiting the series under the guidance of Charles Soule and Goran Sudzuka?

   It's a tough call, because both versions have a lot to recommend them.

   The dark version has been compelling, with sharp, clever storytelling and unexpected twists - but it certainly is grim.

   Following the last storyline, which ended with a terrible injury to Daredevil's "apprentice" Blindspot, we find Matt Murdock having a strange reaction to the event - and now there's a bounty on Daredevil's head, which gets a lot of attention from the underworld.

   The art is powerful and the story is... well, unexpected. And oh, that final panel.

   So which is better? Well, I admit that I probably prefer the lighter version - but if we can't have that, this is powerful stuff, too.

Grade: A-

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Daredevil #14

   I've been kinda on the fence about the post-Waid and Samnee version of Daredevil.

   Those two are a tough act to follow, and I was a big fan of their take on the Man Without Fear.

   So now we're just over a year into Charles Soule and Ron Garney's take on the series - and there are things I like a lot and things I'm not so sure about.

   I like the art a lot. Garney has a raw, powerful and edgy look to this series, and color artist Matt Mills has crafted a unique, almost monochromatic look for the world. It leans a lot toward the grim and gritty style, but it's very well done.

   I like that Daredevil has his secret identity back, though it's annoying that they haven't told us how he managed it - and I do miss his old supporting cast. (Foggy, where are you?)

   I like the stories (mostly), though the latest story arc (which wraps up in this issue) is too dark, dismal and bloodthirsty for my tastes.

   So I'm hanging in there - but I'd like to see some lighter beats in future stories.

   All stürm and drang makes Matt a dull boy.

Grade: B

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Daredevil #7

   The key mystery since Daredevil's latest relaunch is how he managed to put the genie (in other words, his secret identity) back in the bottle.

   We still don't know the answer (though we seem to be getting closer to it), but the incident seems to have unexpected effects - one that brings Elektra back into Matt's life.

   But it's not a happy visit - she's in a murderous mood, and when that happens, even Daredevil's life is in jeopardy.

   My first reaction to seeing Elektra back in this series is a happy one, since it flashes back to her first appearances (a real high point in DD's history) - though it does it in unexpected ways.

   But the story itself is a bit dodgy - it doesn't exactly pay fair with the reader. It can still redeem itself, but we'll have to wait another issue or two to see.

   But I do love that cover by Bill Sienkiewicz!

Grade: B

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Daredevil #2

   It always comes back to Frank Miller.

   Certainly one of the most influential periods in Daredevil's history were the issues written and drawn by Miller, and - like the NetFlix television series - the new version of that hero's adventures also leans heavily on the style and themes of Miller's run.

   As long as it's done well, I have no problem with that.

   And so far, writer Charles Soule and artist Ron Garney have been nailing it.

   They're telling a "street level" story about Daredevil - and Matt Murdock's - efforts to bring down a vicious gang in Chinatown.

   Murdock is now working for the District Attorney, trying to bring down the bad guys within the legal system - while DD takes a more direct approach.

   It's raw, powerful and high-energy, with lots of surprises along the way.

   I also like DD's new "assistant" - Blindspot - a superhero in training.

   The story's just getting started, so it remains to be seen if this story will reach the heights of Miller's run - but it's off to a good start.

Grade: A-

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Daredevil #1

   Finally Daredevil has a big monkey off his back! For years the character has been hindered by the fact that his secret identity was revealed to the world.

   That handicap has finally been removed by new writer Charles Soule (though how it happened is still a mystery), so Matt Murdock has a new life and a new focus.

   Sadly, it seems the supporting cast built up by Mark Waid and Chris Samnee have been lost, but the good news is, DD is back in New York where he belongs.

   Now Matt Murdock is a Prosecuting Attorney - the low man on the totem pole at the District Attorney's office - while Daredevil works to keep the streets safe.

   There are new characters to introduce - heroes and villains - and the issue is a model of efficiency, balancing action and character interactions - just giving us enough to spark our interest.

    The art is by Ron Garney, and it's terrific - raw and striking with powerful strokes and great designs. The color design by Matt Milla is interesting - muted, with reds and browns and not much else. It gives DD's world a unique look, though I'm not sure how it'll hold up in the long run.

   But I'm impressed - the creative team had a tough act to follow, but the new series is off to a strong start!

Grade: A-

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The Classics - Daredevil #1

   Now a hit on NetFlix, thanks to the dark and ingenious mini-series there, Daredevil started life in 1964 as kind of a crazy-quilt of creators, changes and chaos.

   The first issue is credited to writer Stan Lee and artist Bill Everett (who created the Sub-Mariner in the Golden Age). There are those who argue that Jack Kirby was involved in the creation, too - but cover aside, the art looks like Everett to my untrained eyes.

   The name is stolen from a defunct Golden Age hero - Stan has admitted that his boss instructed him to create a character using the name.

   But the character is all Marvel. A hero who has a flaw (Iron Man had an injured heart, Thor's mortal identity had a bad leg, the Thing was disfigured,  Spider-Man was bullied) but overcomes it to help others - usually making jokes all the while - is a classic Marvel "bit."

   So we have Matt Murdock, a boy who performs a heroic act and is blinded for life - but because of his exposure to a radioactive substance, he develops a Radar Sense that compensates for his loss of vision. He grows up to become a lawyer, but when his father is murdered he puts on a costume and goes in search of revenge against the gangsters who killed him.

    It's a solid story (even without a substantial villain) with terrific art, and it sets the stage for the character ever since, introducing his supporting cast - law partner Foggy Nelson, and secretary and love interest Karen Page.

   But the run of the series wasn't a smooth one, even with amazing talent - the only constant in the first dozen issues is the guiding hand of writer / editor Stan Lee. Everett left after the first issue, and Joe Orlando (teamed with Vince Colletta - not a great match, in my opinion) handled the next three issues.

   Then Wally Wood arrived like a bolt of lightning with issue #5! A caption on the first page mentions that Wood had made "alterations" to Daredevil's yellow-and-black costume, but the only major change was to the logo on his chest - it went from a single capital letter "D" to a double capital letter: "DD."

   It was issue #7 where the major change took place, as his costume became all red, with shifting black highlights - a classic Wood design, and a great modification of the original concept.

   The last three issues of Wood's run - issues #9, 10 and 11 - were all penciled by the great Bob Powell (though Wood's inks are overpowering) - and Wood is also credited with the script on #10.

   There was more greatness ahead for Daredevil, with John Romita working several issues before moving over to Spider-Man, and Gene Colan settling in for a long, amazing run on the title.

   It's a tribute to the concept of Daredevil that it was able to survive such a revolving door of creative efforts (though it doesn't hurt that they're all top talents).

   Of course, the hot topic now is "who deserves credit for creating Daredevil?" Outside of Stan and Bill, it beats me (hey, I wasn't there - were you?), but it looks like a lot of talented people had a hand in there along the way.

Grade: A

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Daredevil #18

   The issue is wonderfully depressing.

   Oh, not the story itself - it's just wonderful.

   What's depressing is the fact that we're at the end of the terrific run on Daredevil by co-creators Mark Waid and Chris Samnee.

   Waid has, I'm surprised to read, just completed the longest run on this series by any author. Samnee is already one of the best artists in the business, and he just. keeps. getting. better!

   So this issue manages to wrap up just about every single loose end. It features Matt Murdock facing his greatest opponent, the Kingpin, who has trapped DD in an inescapable corner.

   Either Daredevil dies - or his loved ones do.

   It's a smart, dynamic and often touching story, with stunning art. In other words, just another issue for this team.

   If you haven't been following this series, you've been missing something very special.

   Here's hoping the next creative team can maintain this level - we Daredevil fans are spoiled!

Grade: A

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Daredevil #16

   Have I mentioned how much I enjoy Mark Waid and Chris Samnee's work on Daredevil?

    They somehow manage to capture a classic, almost Silver Age feel to the comic, while making it at the same time cutting edge, with sharp characters and dialogue, stunning visuals and surprises behind each turn of the page.

   This issue brings back some classic DD villains (including his most infamous opponent), confronts the ever-frustrating problem of Matt's public identity (which they've been having a heck of a lot of fun with), and promises a (potential) final solution to the threat that hangs over his life and his loved ones.

   It ends with a heck of a cliffhanger.

   It boils down to this: you'll have a tough time finding a better comic on the market right now from any company.

   So you really should be buying this comic.

Grade: A

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Daredevil #13

   It's the humor.

   That's the secret behind the success of Mark Waid and Chris Samnee's run on Daredevil.

   Well, that and the fact that they're telling great stories with interesting characters and fantastic art.

   But it's the humor that was missing before they came on board.

   This issue had all the earmarks of a tragic tale, as Matt goes public with the fact that he's in love.

   That hasn't gone well in the past - it's a deadly occupation, being Daredevil's sweetie.

   But give Waid and Samnee credit - they find a fresh spin on the topic, and take the story in unexpected directions - all while keeping a smile on our face.

   As should be obvious by now, if you're not buying this series, you're making a terrible mistake. It's one of the best in the business.

Grade: A

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The Classics - Daredevil #6

   It's certainly possible to love a comic too much.

   The picture at right is not my copy of Daredevil #6 - mine is tattered and marked up - I was afraid the heat of the scanner might cause it to crumble into powder.

   When you hold it, it's like getting a grip on a rag - it's rubbery. My pal James refers to the condition of such comics as "BTH" - "Beat to Hell."

   The reason for the condition is easy to see - it's a terrific comic!

   Written by Stan Lee and drawn by Wally Wood, it pits "The Man Without Fear" against a new villain - Mr. Fear, who discovers a gas that induces intense fear - even in Daredevil's heart!.

   Mr. Fear teams up with two other second-rate (but entertaining) heavies - The Ox and The Eel - and the three form The Fellowship of Fear.

   This may be the only appearance of that team, but it's a dandy, showing off the amazing talent of Wood, who loads the issue with creative, entertaining fights, and Lee's gift for dialogue, as he keeps things moving with fast and funny patter.

   The issue is a heck of a lot of fun - which is why I read it over and over.

   The copy I own is one I picked up 51 years ago - in 1964 I traded for it, scoring it off my childhood friend Bruce (whose name is scrawled on the cover - he did that to all his comics. Some people).

   It may have virtually no resale value, but as a reading copy of a classic adventure, it's priceless.

   To me.

Grade: A+

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Daredevil #11

   Just how good is the Mark Waid / Chris Samnee team on Daredevil?

   They can take the most obscure villains and craft excellent stories around them.

   Our example today is The Stunt-Master, who started life in 1969 as a knockoff of legendary stunt cyclist Evel Knievel (I assume). He popped up in a few issues and eventually faded away into obscurity.

   So seeing him on the cover of this issue is a bit of a surprise - but the story inside is the real delight.

   Finding a way to update the character for modern audiences, giving Matt Murdock a reason to get involved and coming up with a reason for a confrontation is all handled with great care and a lot of cleverness.

   The art, as always, is terrific, charged with kinetic energy, smart visuals and stunning layouts.

   This is another comic that has earned its spot in our "Top Ten for 2014" list (as you'll see in tomorrow's post).

   Highly recommended!

Grade: A-

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Daredevil #8

     The first issue of Daredevil I ever read was the original issue #4, in which the Man Without Fear faced a villain called the Purple Man.

   The victim of a strange accident, the man named Killgrave found himself able to command others - with the exception of Daredevil, though it's never clear why he isn't compelled to follow those orders.

   Is it because he can't see that purple skin? No idea.

   But I enjoyed that issue a lot. The Purple Man has made a few appearances since - most notably playing a key part in the Alias series years ago.

   But what was kind of a goofy (or very slimy) bad guy has become the springboard for a more disturbing story in the hands of Mark Waid and Chris Samnee.

   They've crafted a creepy, unsettling story about victims who use their powers in unexpected ways.

   It's a smart, clever script with amazing artwork - this is a series you should be following.

Grade: A-

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Daredevil #7

   OK, I'm impressed.

   This issue of Daredevil manages to accomplish a couple of things I didn't expect - it finally reveals the long-hidden reasons why Matt Murdock's mother left their family when he was a baby - and it tackles a serious subject, one that isn't much discussed, but should be.

   Writer Mark Waid, thankfully, is the one managing this sensitive subject, and he does so with intelligence and insight, but never with a heavy-handed approach.

   It spins off of a long-ago story written by Frank Miller, which revealed that his mother had become a nun. In this story, she is taken to the nation of Wakanda to face justice for her protests again a secret research project that nation is involved in - but luckily, her son is a heckuva lawyer.

   Of course, there's plenty of action along the way, as Daredevil must invade the nation that has never been successfully invaded, he must fight the ruling Black Panther (who is no longer his old friend T'Challa), and find a way to save his mother and get her safely home. A tall order!

   It's a smart, sensitive story, with wonderful illustrations by Javier Rodriguez and Alvaro Lopez.

   With a great grasp of character, perfectly steeped in Marvel's rich history, and loaded with clever plot twists and turns, this continues to be an exceptional series. You really should be buying it.

Grade: A

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Daredevil #1.5

   It's rather astonishing to realize that Daredevil is celebrating his 50th Anniversary - mostly because I clearly remember (as a kid)  buying the fourth issue.

   So how to celebrate such a milestone? Typically it's done with a big blowout action issue featuring the hero's most famous villains.

   But you can hardly expect "typical" from this series, at least as written by Mark Waid.

   So it should come as no surprise that this issue takes a unexpected turn. It's set in the future, as Matt Murdock celebrates his 50th birthday (of course, if he existed in the real world, he'd be celebrating - at least  - his 75th birthday. Thank goodness for "Marvel time!").

   We get some glimpses of his future life, including his family life, one of his greatest villains (who we haven't met yet in today's reality) and what may be his future fate. It's clever, touching and a heck of a lot of fun.

   The art is by new series artist Javier Rodriguez (with inks by Alvaro Lopez), and it's excellent - fresh and expressive, with open layouts and strong character designs.

   The issue also features a short prose story by Brian Michael Bendis with art by Alex Maleev - it fills in some gaps in DD's future - and another backup featuring Matt's other alter ego, the silly but entertaining Mike Murdock. It's written and drawn by Karl (and Kurt) Kesel and inked by the legendary Tom Palmer.

   It's an issue that shows how flexible DD can be - able to be concerned parent, a crusader, a vengeful hero, a lover, and a comedian - all in the same issue. It's a good reminder of what a terrific character Daredevil can be - in the right hands.

   Lots of good hands on display here.

Grade: A

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Daredevil #1

   I admit I had a pang of regret when I heard that the Daredevil run by Mark Waid and Chris Samnee was coming to an end.

    But it was a short-lived pang, as news quickly spread that the same team would be handling the "new" Daredevil (well, it's a new issue #1, at least).

   Matt Murdock has once again relocated to San Francisco (he and the Black Widow moved there for a while in the early '70s, I believe), where he's establishing himself as an attorney - and a super-hero (with little concern about the secret identity thing, apparently).

   His first case is a tough one - a little girl has been captured, and even if he manages to rescue her from the kidnappers, she still might lose her life.

   The art is a pure delight. Samnee creates several full-page splashes that would be amazing works of art as stand-alone posters - that, and the high-speed, high-energy story elevates this comic to new heights.

   Waid's story is the perfect complement to the art, loading in emotional impact, action, adventure, humor and a smart script. (I love it when heroes have to use their brains to solve a problem - we just don't see enough of that these days.)

   It's no wonder this comic is one of Marvel's best - it's a great example of a comic living up to its full potential.

   This year marks the 50th Anniversary for ol' Hornhead - glad to see Marvel's doing him up right.

Grade: A

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Daredevil #36

   There are some Marvel heroes who should have a secret identity.

   As they found out the hard way, Spider-Man is one. Daredevil is another one. (Iron Man, on the other hand, works better with his identity public.)

   But several years back writer Brian Michael Bendis let the cat out of the bag and "outed" Daredevil as attorney Matt Murdock.

   I thought (and still think) it was a bad idea. But to their credit, the creative teams have largely embraced it, rather than cook up some lame way around it (there's never a Daredevil robot around when you need one).

   But this final storyline (before the next restart with a new issue #1) by writer Mark Waid and artist Chris Samnee embraces the problem and uses it to generate a terrific story that focuses on the pros and cons of secret identities and the toll it can take on a hero's morality.

   It's a terrific wrap-up to an outstanding three-year run on this title, and it sets up a fresh start for the Man Without Fear.

   This is one of Marvel's best, with amazing art and sharp storytelling - it should be on your "must-read" list.

    (Oh, and the cover merits close inspection - there are some wonderful nods to past stories, creators and bits of business - my favorite being the Mike Murdock hat and glasses.)

Grade: A

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Daredevil #35

   You would be hard pressed to find a comic that is a better example of the complete package than Daredevil.

   The writing by Mark Waid is phenomenal, balancing great characters (including "regular" people and superheroes), a compelling story, humor and great action sequences.

   The art by Chris Samnee is some of the best in the business, with a creative, unique style that builds a compelling world, adds great character designs and clever layouts.

    The story has Daredevil up against the Serpent Society, a vast and powerful network of racists who come up with a unique way to attack the Man Without Fear.

   The issue also features a team-up with a key character from his past - while at the same time, his partner and career hanging in the balance.

   If you haven't been reading this one, I strongly urge you to track down the collections and give them a try - comics doesn't get much better than this.

Grade: A

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Daredevil #32

   What a delight this series has been under writer Mark Waid and artist Chris Samnee.

   They turn in yet another great issue of Daredevil here, loaded with lots of surprises, unexpected guest stars and a story perfect for Halloween, as it includes the mostly-forgotten Legion of Monsters, who have taken up residence in a surprising part of the country.

   The action throws DD into the middle of a lynch mob in a rural setting. As you'd expect, he throws his lot in with the underdogs, though he doesn't exactly realize the nature of the problem.

   Throw in lots of clever bits of business, an unexpected final twist, and a guest appearance by some of Marvel's mightiest monsters, and it's yet another in a long line of terrific issues in this series.

   Sad to note that - reportedly - the creative team is leaving after issue 36, so best to latch on to one of Marvel's best while it lasts!

Grade: A-

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