Daredevil #508 – Review

by Andy Diggle & Antony Johnston (writers), Roberto De La Torre (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Foggy and Dakota try to get to Shadowland to talk some sense into Matt while Hell’s Kitchen finds itself in a state of martial law.

What’s Good: This issue of Daredevil does an absolutely fantastic job of establishing the mood and atmosphere of Shadowland, immersing us in the grim NYC of Matt Murdock’s construction.  If Shadowland #1 set the narrative groundwork for this event, this book sets the tonal groundwork.

In this sense, Daredevil #508 feels like it puts meat on Shadowland’s bones.  Hell’s Kitchen feels nightmarishly sinister and Diggle and Johnston do solid work in putting forth a really oppressed environment.  Daredevil’s Hand ninjas create a sense of foreboding, particularly given how they seem to be everywhere.  It’s a paranoid atmosphere where Daredevil and his ninja are constantly watching.  More than anything, we really get the sense that Matt has reshaped and isolated Hell’s Kitchen; the roadblocks are ugly and cops are not welcome.  I loved how in this new Hell’s Kitchen, wearing a badge is dangerous to oneself, not protective.

Things only get darker when we see Matt’s new brand of justice in action.  His dealing with a group of thieves is unsettling and darkly iconic.  It puts an evil, nasty twist on a traditional, superhero action and it’s sure to give chills, especially thanks to De La Torre’s efforts.

Speaking of De La Torre, it’s great to have him back on Daredevil and he’s really well suited to this arc.  Everything is bleak, pitch dark, grimy, and generally unpleasant in the best way possible.  It’s the very darkest sort of noir artwork you can ask for, really, and that suits Shadowland perfectly.  De La Torre’s gritty style only makes Hell’s Kitchen all the more sinister.