I’m sorry for the delay in posting this review, which I started writing on February 18. I ran out of time before going on vacation and I’ve only now found a minute to spare to sit down and finally post it. I will return to blogging when I get back home, on March 3. Thank you for your patience.
Daredevil #505 cover
I got two comics today. Aside from Daredevil, the other item on my pull list was Spider-Woman. While I don’t want to piss on other writers (and I do like Spider-Woman just fine), I have to say that Diggle and Johnston delivered much more than Bendis did today. This “more” being something that can be measured in both plot and something as simple as how long it takes to read the comic. Daredevil #505 is a hearty meal of a comic with tons of dialogue and plenty of intrigue. No scenes are wasted, and the issue is well-paced.
What is becoming abundantly clear with this issue is that Matt has clearly bitten off more than he can chew taking over the Hand. Suffice it to say that he didn’t take evil ninja management in college, and it shows. Being Matt Murdock, he is charmingly (yes, it really is a bit charming) oblivious to his inability to make things go the way he wants, and without a clear picture of what’s going on, he’s in a precarious position.
While Matt is busy dealing with ninja politics, the reader is treated to quite a bit of intrigue and in-fighting between the various branches of the Hand. There are lots of new characters introduced this issue, but they are presented well, and the layered plot never gets too complicated for the reader to follow. We see the obvious bad guys being bad guys, and the less obvious bad guys revealed as less innocent than they would appear. It’s a great start to this arc and it feels like the beginning of a new chapter despite also building on what came before.
This issue also gives us some answers regarding what side of the hero-villain line Daredevil falls on these days, at least in his own mind. Without revealing too much, I would say that most Daredevil fans will find this development to be both reassuring and appropriate for the character.
Marco Checchetto does the artwork all by himself this issue (not counting Matt Hollingsworth on colors, of course), and manages to do a really nice job. He’s got his own clearly recognizable style that I quite like that is not as “photorealistic yet sketchy” as de la Torre’s without seeming cartoony at all. He handles both the Japanese scenery and all of the characters quite nicely, and I’m happy to have him onboard for this arc. Too bad the next issue won’t be hitting the stores until early April.
Tagged as:
Andy Diggle,
Antony Johnston,
Daredevil #500-current,
Marco Checchetto,
Reviews
Cover to Daredevil #504
This issue takes Daredevil to new levels of batshit crazy and does it in style. The final scene was one of the most shocking moments I’ve ever read in this book. However, there’s a fine line between going to new crazy extremes, and straying too far from the core of the book and the main character. With Diggle’s handling of the story, that’s not a problem, but it very easily could have been. What we get is something very exciting that has me on the edge of my seat.
With this issue, we see Matt reacting to the news of his friends’ recent string of “bad luck” (i.e. Foggy being disbarred and Dakota losing her investigator’s license), which strengthens him in his resolve to go head to head with Norman Osborn. Like I mentioned in the review of the previous issue, the current story arc is thematically similar to Bendis’s “King of Hell’s Kitchen” and those elements are even more prominent here. I’m not suggesting that this is in any way repetitive – the fact is that what we’re seeing here is much more extreme and quite different – but it does mean restoring the Daredevil to the take charge character many have been missing for the last couple of years. Of course, just like then, the main characters actions are driven by rage, frustration and a generous dose of hubris.
More ninja action under the cut –>
Tagged as:
Andy Diggle,
Daredevil #500-current,
Reviews,
Roberto de la Torre
Cover to What If? Daredevil vs Elektra
I don’t know about you guys, but I don’t generally pick up a What If? story and expect a lot of depth. Nor do I expect to have any kind of emotional reaction to it beyond the cocked eyebrow of “huh, what do you know?”. The What If? takes regular continuity, throws it out the window and goes on to tell the story of what didn’t happen. So, beyond the novelty of the format, there’s rarely much left to make the reader really care about what’s going on.
Considering the inherent limitations of a What If? story, this issue is surprisingly good. Writer Karl Bollers approaches the task by not trying to do anything ground-breaking, instead offering up interesting new takes on old characters such as Foggy Nelson, and making the kinds of nods to continuity that should appeal to any hardcore or longtime Daredevil fan. For obvious reasons, most of the story references events from the Miller run, but even frequent co-stars from the decades since then make guest-appearances.
In What If? Daredevil vs Elektra, Matt Murdock dies while saving the lives of Elektra and her father, and is raised from the dead by the Hand, taking on the name of the Advocate. Many years later, he comes back into Elektra’s life. Elektra is now an agent of S.H.I.E.L.D. though very little of her backstory is revealed, which detracts a bit from the overall story. For obvious reasons, Matt – or, more accurately, the Advocate – is the most enigmatic character and while some of the superficial elements of the story would have his role as ninja leader seem similar to current mainstream continuity, very little of the character we know remains. Despite the lack of emotional connect with the Advocate, the final scene between him and Elektra is a beautiful moment and I must admit to being moved by it in ways I wasn’t expecting when I picked up this issue.
The art, with pencils by Rafael Kayanan, is good but feels a little uneven. Some scenes look messy and cluttered whereas others are strikingly beautiful. On the whole, it works quite well, and new takes on classic moments in Daredevil history are easily recognizable.
At the end of the issue is an extra feature by Mike Gallagher and Dave Manak called Say What? which offers a humorous look at the events of the main feature in comic strip style. While it had its moments, I must say that it would have been more enjoyable (and not out of place) if the subject for the comic strip had been the characters from the 616 continuity, rather than their What If? counterparts.
All in all, this issue wasn’t stellar, but still delivered more than I expected. It appealed to my inner fangirl and even made me care about the characters and events.
Tagged as:
Dave Manak,
Karl Bollers,
Mike Gallagher,
One-shots and limited series,
Rafael Kayanan,
Reviews
Cover to Daredevil #503
Yeah, this was good. While Daredevil #502 had some of the typical qualities of a middle of the arc issue, this one sees a lot of things happening on several fronts. All good stories are driven by conflict, and in a Daredevil-leading-the-hand-while-Norman-Osborn-rules-the-world kind of setting, conflicts are all over the place, and even the regular, more grounded, cast from Matt Murdock’s civilian life are seeing the consequences of civilian disobedience.
This issue seems much longer than it is. It’s got several important scenes in it which are all given enough space to develop, and every single one reveals new layers of intrigue. We have Daredevil talking it out with Master Izo, and White Tiger airing her concerns to both Daredevil, and Black Tarantula. The Kingpin is really stepping it up a notch and Detective Kurtz (at least I think that’s him) inspecting a crime scene that doesn’t make sense to him.
The last scene of this issue struck me as being very similar thematically to some of the things we saw in Bendis’s King of Hell’s Kitchen story arc. Matt’s actions are more extreme here, but so are the circumstances of the Marvel Universe. I get the feeling that Andy Diggle has a firm grasp of, and an appropriate level of respect for, Daredevil continuity, and that’s crucial at this point considering how far away from the status quo we are. So far, this story arc really works for me, precisely because Diggle manages to mix the new developments with old themes that give the reader a sense of familiarity even while moving through unexplored territory.
Roberto de la Torre is getting help this issue from artist Marco Checchetto, and the transitions between the two are clearly visible, though not necessarily jarring. Checchetto’s art lacks the almost dreamlike qualities that we’ve become used to with the new creative team, but feels very Daredevil appropriate (and am I the only to notice how good he is at rendering hands?). Meanwhile, de la Torre is reaching new heights, and I love the look of this book right now. I also have to give him props for restoring Becky Blake to the hottie on wheels she was in her very first appearance (before Miller turned her into a frumpy wallflower). The only thing I’m curious about is how he would draw Matt, who hasn’t been seen out of costume since the Dark Reign – The List one shot penciled by Billy Tan.
All in all, this issue leaves me with a good idea of what’s going on, but no clue about what’s going to happen next, which is really exciting. What can I say, it’s a good time to be a Daredevil fan!
Tagged as:
Andy Diggle,
Daredevil #500-current,
Reviews,
Roberto de la Torre
Cover to Daredevil #502
The new creative team keeps up the high level of work from last issue with Daredevil #502. In some ways, I would even say that they manage to crank it up a notch. However, this issue has a slightly disjointed feel to it that brings the score down a bit for me. The whole manages to pack less of a punch than the sum of its parts, if that makes sense. Many of the scenes in this issue are absolutely wonderful on their own, but the overall plot feels like it’s stalling, just a little.
I always like to read other people’s reviews before writing my own, not because I can’t think of anything to say, but because it’s interesting to see what kinds of things other readers react to. This time around, a certain reversal of events mid-issue has had reviewers bemoaning the inability of writers to truly advance the status quo while acknowledging the hazards of making a character into something he’s not. Since I’m no stranger to advance solicits, I was expecting this particular chain of events, and I have to say that it’s really the only way to go. I’m all for shaking things up with this character and his book, but we need to remember that there are certain core values and characteristics we’ve come to associate with Daredevil and his cast. These cannot simply be tossed to the side without losing something important in the process. On the contrary, this issue solidifies my belief that Diggle has a firm grasp of the character and his motivations.
Read more under the cut –>
Tagged as:
Andy Diggle,
Daredevil #500-current,
Reviews,
Roberto de la Torre
Cover to Daredevil #501
When I first heard Brubaker and Lark were leaving Daredevil, I was sad to see them go since I felt they had done such a great job with the book. Granted, they had turned it into an incredible depressing book, but the stories were well-crafted and beautifully illustrated, and I’m not ashamed to say I’ve been a hardcore fan of their work. However, I always try to approach change with an open mind, and decided to put my faith in Andy Diggle from the start. Daredevil is a great character who often seems to bring out the very best in his creators, and Diggle had the kind of resume that suggested he might be a good fit.
Still, I must admit that I let out a deep sigh of relief after reading Daredevil #501. The Dark Reign: The List – Daredevil one-shot that effectively bridged the gap between the events of Daredevil #500 and the current issue of the monthly series was good, but it didn’t leave me fully convinced. But, as of right now, I’m comfortably seated, buckled in and along for the ride. Daredevil #501 is gorgeous to look at, features characters that sound like themselves, and gets the ball rolling nicely with a final scene that I would best describe as interesting in that things-are-not-what-they-seem sort of way.
More Daredevil #501 under the cut –>
Tagged as:
Andy Diggle,
Daredevil #500-current,
Reviews,
Roberto de la Torre
This is a strong and promising first outing by Andy Diggle, but not without its faults. The pacing feels a little quick (probably due to the one-shot packaging), and there are a couple of rough spots in the story that stand out to me.
The issue does manage to do what it’s supposed to do though, and that is give us a better sense of the new status quo, and provide proper motivation for Osborn to want to put Daredevil on his infamous list. It also reveals several new plot points that will provide plenty of creative fodder for upcoming stories.
Bullseye, on an Osborn-approved mission to kill Daredevil, is expertly written throughout, and you can tell that Diggle has a lot of experience with the character, who manages to provide humorous relief while seeming appropriately menacing. After Bullseye has managed to breach the Hand’s inner sanctum and saved Daredevil the mental agony of having to kill an opponent as part of his Hand initiation, Bullseye puts words to a thought that’s probably on many readers’ minds: “So lemme get this straight — you wanna be the leader of a ninja assassin death cult, but you won’t kill? What were you going to do, send out a memo?”
Wanting to do more to Daredevil than just kill him, Bullseye decides to take their fight to a larger stage where their actions are guaranteed to affect more than just the two of them, and these events. which I won’t go into here, have a profound effect on the title character.
The art, by Billy Tan, is quite competent (not counting the panel where Matt looks like Beavis – or is it Butthead? – from Beavis and Butthead), but doesn’t quite suit a Daredevil comic, and probably adds to this particular issue feeling just a little too much like standard superhero fare.
The preview pages from Daredevil #501, however, look absolutely stunning and just right for the book. Great choice picking Roberto de la Torre for the job, and it’s great to see Matt Hollingsworth still providing the colors for the ongoing series. But it’s not just the art that looks more appropriate, it’s also a joy to see that Diggle’s writing feels more solid too. While Dark Reign – The List: Daredevil was a good enough issue, Daredevil #501 looks vastly more promising. I can’t wait to check it out!
Tagged as:
Andy Diggle,
Billy Tan,
Reviews,
Roberto de la Torre
I have to say that I’m very impressed. This story featured one huge twist most of us saw coming (but one which I’ll refrain from mentioning outright to keep the spoilers to a minimum), and which Brubaker managed to make more palatable than I would have thought possible. It also featured several smaller twists that actually retroactively make the events of the last two arcs much more interesting. Some of you may remember my past complaints about Lady Bullseye’s lack of motivation or the absurdity of what she wanted from Matt. All of those pieces of the puzzle fall into place here, and at the end of the issue, we are indeed left with a new status quo. The way Brubaker makes this happen is pure genius and he really does manage to end his run on the high note we’d all wished for.
The fall-out of this issue could end up being the best thing to happen to this book in years. It could also end up falling completely flat. It all depends on what Andy Diggle chooses to do next. It’s going to demand a high level of familiary with the character to pull this off with Matt “intact,” and time will tell if Diggle’s instincts in this department are on par with his ability to write seriously intriguing plots. I will discuss the new status quo in a separate post tomorrow, where I will also talk about the Dark Reign: The List – Daredevil preview. For the purposes of this review, I’m not going to concern myself with what comes next, but about the merits of the particular issue.
Brubaker goes all out here. He ties up every single plot strand, answers every single one of my questions, and even manages to insert new fan favorite Mr Izo into Matt’s past. I was concerned that there was going to be some pacing issues here, and while some events might seem a little rushed, it’s not to the extent where it ruins the big moments in any way. The most positive thing for me was that Brubaker managed to surprise me even when I thought I’d figured out pretty well how this arc was going to end. I also didn’t think there was any way I was going to be happy with that ending or find it logical. I underestimated Brubaker. I guess this is why he makes his living writing comics while I make my living writing press releases. Amazingly, he also manages to leave the book giving Matt a most unlikely feeling of freedom and optimism, the latter being something that’s been sorely missing from this book for a long time.
Michael Lark turns in a stellar performance, as usual. The scene with Matt and Milla is gorgeous, and I’ve never seen Milla quite so beautiful. Kudos to Matt Hollingworth too for giving just the right tone to moments like these and many others. I’m so grateful that he’s staying as the colorist on this book. There are also pages of the main story by fill-in artists Chris Samnee and Klaus Janson. Both do a great job, and while Janson might be much more of a legend than Samnee, I must admit I’m a die-hard Chris Samnee fan (take a look at his blog).
Among the back-up features is a neat little story by Ann Nocenti that I really enjoyed, even though it is a tad morbid, with some great David Aja art. There is also the reprint of Daredevil #191, which I will have to review separately some time, because it is perhaps my favorite issue of all time. I will get to the Dark Reign tie-in preview tomorrow, so last, but not least, are the pin-ups and the cover gallery. First of all I want to congratulate the webmaster without fear Kuljit Mithra (of manwithoutfear.com fame) for getting his name in the credits by helping out with the covers! I only wish they were just a little bit bigger, but I guess that’s all on Marvel. The pin-ups are also a fun addition and feature some artists I haven’t seen take on Daredevil before. It was also a real thrill seeing Bendis try his hand at drawing Daredevil. I’m relieved that he left those duties to Alex Maleev during his Daredevil run, but he’s not a bad artist at all.
All in all, a very good 500th issue, and one that seems mostly well-received by the critics. I hope that Diggle will be able to fill those shoes, because, with this issue, Brubaker just made them a whole lot bigger.
Tagged as:
Andy Diggle,
Ann Nocenti,
Billy Tan,
Chris Samnee,
Daredevil #500-current,
David Aja,
Ed Brubaker,
Klaus Janson,
Michael Lark,
Reviews
You might remember my complete confusion after reading Daredevil Noir #3. In my review then, I hoped for a satisfying ending that tied everything together. With this issue, that’s what we got. My feeling is that this whole story will read even better in trade, due to the way the story goes back and forth between two different points in time – the conversation between Daredevil and the Kingpin that frames the story, and the sequence of events that lead them there. Reading it all in one sitting will lessen the slightly jolting experience of doing so in short installments over three months.
The strength of this particular issue, aside from the art (do we really need to mention the art again?), is that it focuses so much on character. Despite a really tantalizing fight scene involving sharp silverware and a dive through a window, it’s Matt’s internal monologue and his conversations with Foggy and the Kingpin that really stay with me. Alex Irvine really gets Matt’s character, and he takes us on an interesting personal journey for Matt, as he is robbed of both his arrogant belief in his own infallibility and what little remains of his innocence. The ending will probably seem sudden to most readers, but it fits the story and the premise of Daredevil’s character perfectly, as well as being emblematic of his relationship with the Kingpin. I could absolutely see Alex Irvine writing a longer arc of the main book.
For anyone who hasn’t followed this mini-series in singles, I absolutely recommend picking up the trade. One might argue that the “noir” version of Daredevil isn’t that different from the character we know from the main title, but that’s not necessarily a bad thing. This is just a good Daredevil story, plain and simple.
Tagged as:
Alex Irvine,
One-shots and limited series,
Reviews,
Tomm Coker
Sorry everyone for being so late in posting this review. I intended to do it days ago, but the time got away from me and I’ve also been a little conflicted about what my feelings about this issue really are. Before writing this, I had to go back and read #118, as well as my review of that issue. In retrospect, my score of 8.5 for that may have been a little high and I don’t necessarily think this issue is worse, but there are some things that do bug me a little and collectively bring down the score for me.
What I do like about this issue is how the Kingpin is written and how he uses everyone around him like pieces on a big chessboard. It’s easy to understand his motivations and his actions. The plotting in general is really good, even though the actual motivations of the Hand are still a big, and fairly annoying, mystery at this point. I guess I’m still a little peeved about the fall-out of the last arc and the absolutely nonsensical decision on behalf of the Hand to try and recruit Daredevil. “We’re crazy ass ninjas, and we thought that might be cool” isn’t really an explanation in my book. Not that that’s the explanation we’ve been given, but in lieu of anything reasonable, this is what we’re left with. Either way, it’s the bad guys, including the Owl, and their shenanigans that really carry this entire issue. That and the stellar art, which is as good as always and really fits all of the night time action (I’m happy to hear that Matt Hollingsworth is staying as the colorist, by the way). Also, we find out this issue what Lady Bullseye’s chopsticks are for aside from holding her hair up, and that was a fun bonus, I guess.
However, we also find Brubaker playing the fellow cast member in jeopardy card. Twice. And, in one case, for no rational reason at all. The fact of the matter is that it’s clear at this point that he hasn’t been able to deliver on his goal of making the stories less about everyone attacking Matt’s personal life when that still seems to be all everyone is doing. I was also a little disappointed by Foggy’s quick turnaround. I happened to think that Foggy’s reaction last issue wasn’t over the top or uncalled for. Matt has been acting irrationally and selfishly for a long time now, and he deserved to be called on it. There is also very little of interest happening to the main character this issue. Brubaker writes the heck out of the Kingpin, but I’m starting to get the feeling that he doesn’t really know what to do with Matt, and that the character’s bewilderment at every turn is some kind of weird subconscious manifestation of that. There are also other little details that detract from the overall enjoyment of this book for me. Detective Kurtz has a Daredevil signal now? Is this Batman? And what’s with the sensory deprivation tank? Yes, we know Matt has one, as seen in the Miller run, but throwing in that reference seemed odd and unnessecary.
Will the next issue bring this arc around and give Brubaker’s run the great final issue I feel it deserves? I hope so, and I know the writer is capable of delivering, but in all honesty, I’m not holding my breath.
Tagged as:
Daredevil vol 2 #100-current,
Ed Brubaker,
Michael Lark,
Reviews
Christine is a thirty something Daredevil fan from Sweden who spends way too much of her free time writing posts for this blog. Check the