Daredevil #2 – Review

by Mark Waid (writer), Paolo Rivera (pencils), Joe Rivera (inks), Javier Rodriguez (colors), and Joe Caramagna (letters)

The Story: Matt discovers that there’s a lot more weirdness behind Ahmed Jobrani’s case than expected, but first he has to dodge the big, red, white, and blue shield aimed squarely at his head.

What’s Good:  After last issue’s extra-sized big splash, this issue sees Waid and the Riveras settle into a nice groove, giving us a better idea of what we can expect month in and month out from this series.

As we really get into the meat of the story of Jobrani’s case, Waid really delivers a massive twist that hammers home the fact that this is going to be a Daredevil series very different from those we’ve been getting for the last ten years.  In so doing, he also made me realize how strongly my narrative expectations have been shaped by Bendis, Brubaker, and Diggle when it comes to this series.  Sure, we get the superhero legal drama: Daredevil needs to find out why Jobrani won’t press charges in his case, but as Matt gets closer to the bottom of things, they take a distinctly weirder direction.

Leading up to the big reveal, the story has all the hallmarks of a cut and dry street-level story.  You expect that the pressure on Jobrani will come from mobsters, crooks, or something along those lines, but Waid ends up going in a direction so opposite to this, that it feels almost surreal.  Instead, we get a Daredevil comic that takes an abrupt left turn from street level grit to retro sci-fi kookiness and boy is it awesome.  It’s so different, so refreshing, and completely shatters the mold that Daredevil had settled into as a comic.  Waid’s story ends up feeling both nostalgic and unique.

More than that, Waid also continues to make great use of Matt’s powers in his storytelling.  Of course, those wire-frame illustrations by Paolo Rivera are still amazing, but Waid serves up another old-school, forgotten villain that is absolutely perfect for DD.  I mean…a man made of sound?  There is no way that that isn’t awesome in a Daredevil comic.

Shadowland (HC) – Review

Written by Andy Diggle, Pencils by Billy Tan

Be Aware! Spoilers may lurk within!

Marvel wasted no time in getting this one on the shelves (in fact, they’re getting even more aggressive with releasing their hardcovers) and I’m kind of glad for that, as I was looking forward to reading this as one collected piece. Sure, I could just read all five issues back to back, but there is still a much different feel when it is in the collected form. I’m also a big Daredevil; I’ve read the entire second volume of Daredevil more than once (and even wrote a paper for grad school on the saga). Being that Shadowland really is the end to that long run started by Kevin Smith, amped up freakishly by Brian Michael Bendis, continued on through Ed Brubaker and finally resting with Andy Diggle, I had to get this collection. Yet I wasn’t always a Daredevil fan. I was reading and very much enjoying Diggle’s Thunderbolts when it was announced that he would be leaving that series to take on the Man Without Fear. That’s what made me decide to read Daredevil in the first place. And in a very short amount of time, I hunted down every trade that came before his run and read them…in four days. And then I read them again. And then, since they were so fresh in my mind, I wrote about them for class, producing one of the best papers in my academic career. Diggle’s run was shaping up nicely, his first arc splendid. I was convinced: any writer who touches this series produces gold (except for one whom Marvel actually decided to skip in the trades. So there are a few issues before Bendis’ run that they don’t want anyone to read—ever). And then Shadowland came out…

My belief sticks. Any writer who worked on the second volume of Daredevil produces amazing content. What hurts Shadowland is that Diggle never intended for it the story to be a big event, seen not only in how the Daredevil series flows into Shadowland (which is a bit choppy), but by the writer’s own words in the spotlight interview at the end of the trade. I actually enjoyed this event very much, but it is certainly not perfect. I don’t blame Diggle for any of those imperfections; I blame the editors. The guys who said “let’s make this into a superhero street brawl.” Nor do I blame Billy Tan. I blame the guys who said, “let’s change the tone of the entire Daredevil run by using an artist with a completely different style.”  Shadowland’s faults are very much at the hands of overambitious editors who promised the fans “no more events” but then realized “wait, events make money” and spawned as many “mini” events as possible. But despite all of that, Shadowland is still enjoyable.  And it’s the collection that shows this.

Daredevil: Reborn #1 – Second Review

by Andy Diggle (writer), Davide Gianfelice (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: A wandering Matt Murdock finds himself in a small town filled with secrets and nasty people.

What’s Good: On the art front, this is a comfortable and enjoyable book.  It’s not mind-blowing and some readers may be put off by the cartoony feel, but I’ve been a fan of Davide Gianfelice since his first issues on Northlanders, so seeing him on Daredevil is something of a treat.  Matt Hollingsworth’s colours are also wonderful and work very well with Gianfelice’s art.  If anything, the book ends up looking as different as possible from the Daredevil comics of the past, which I think is thematically appropriate.  Also, thanks largely to Hollingsworth’s fantastic colour choices this month, we get a comic that feels bright, dusty, and a little bleak and, as such, a perfect contrast to Hell’s Kitchen.  While tastes vary, there’s little to complain about on the art front.

As far as the story goes, the best I can say is that I’m glad to see Matt Murdock get back to basics and finally divorced from the larger Marvel Universe after the chaos of Shadowland.  That lack of focus was probably the worst thing about that event, so seeing the old Matt Murdock monologue text-boxes was more than welcome.  Certainly, it’s nice to once again feel connected to, and invested in, Matt.  I’m happy to see him riding solo once again.

Daredevil #512 – Review

by Andy Diggle and Antony Johnston (writers), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Daredevil’s friends deal with the fallout of Shadowland as Matt is nowhere to be found in the city.

What’s Good: I really do enjoy Checchetto and Hollingsworth’s art.  The art has often been the best part of Diggle’s run, and even a more laid-back, conversation based issue like this one, the work really shines.  It’s moody and perfectly Daredevil and as such, it has its own look.  Wherever the Daredevil franchise goes after this, I hope Checchetto, Hollingsworth, and De La Torre have a major role.

Other than that, this is an issue that focuses on examining the emotional toll Shadowland has on series mainstays Dakota, Foggy, Becky, and Kurtz.  I thought that the place Kurtz ends up in is an intriguing one that could be quite fun in the future.  It’s something you could see coming, so I guess it’s not the most imaginative turn of events, but that doesn’t change it from being a good one.  Foggy meanwhile gets some solid characterization as well.  His unflappable dedication to Matt is exactly the sort of thing that makes the character fun to read.

Shadowland #5 – Review

by Andy Diggle (writer), Billy Tan (pencils), Victor Olazaba (inks), Guru eFx (colors), and Joe Caramagna (letters)

The Story: The battle for New York City comes to its conclusion.

What’s Good: What, besides the fact that this is the final issue and that this mess of an event is finally over?

In all seriousness, though, my thought while reading this issue was that it could’ve been hell of a lot worse.  The event comes to a nice enough end and the point it leaves Matt at is a nice one and a natural fit for the character that holds hope for future creative teams.  While Shadowland has been many things, few of them good, Daredevil fans can breathe a sigh of relief that no irreparable damage is done to the character and nothing truly catastrophic is inflicted upon the series.

Basically, Shadowland was only ever meant to take Matt from point A to point B.  The story was cobbled together as a means to get him there.  Perhaps that ends up being the reason why this issue ended up being better than I expected.  While not particularly good, it finally shows us what that point B is, which was always probably the most well thought out portion of Shadowland even before we knew what it was.

As a result, the last couple of pages are quite good and very Daredevily, as is his disappearance from Shadowland.

Billy Tan also has some bright spots this month, particularly when it comes to the action scenes.  I loved the battle between Lord Daredevil and Iron Fist.

Daredevil #511 – Review

by Andy Diggle (writer), Roberto De La Torre (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Foggy seeks out Daredevil and Dakota attempts to rescue Becky.

What’s Good: Last month’s Daredevil seemed to finally find itself, deciding to dedicate itself to the tribulations of Daredevil’s buddies Foggy and Dakota, characters who had been utterly neglected and whose perspectives should be invaluable.  Given Daredevil’s uneven quality of late, I wasn’t sure if Diggle would stick with this commitment, but he does.  Daredevil #511 focuses once again on Daredevil’s unique cast of friends and that’s good news in itself.

The end result is a book that feels really moody, desperate, and atmospheric.  It, unlike the main Shadowland series, captures just how dark and insane Hell’s Kitchen has become.  You really get the sense of New York’s devolving into an anarchic hell of indiscriminate and irrational violence and rage.  In so doing, this issue really makes it clear how this is something that Shadowland, the main series, should’ve doing much earlier.  The mood established this month and the depiction of Hell’s Kitchen’s madness and the price of Shadowland’s establishment and the events within are made clear this month, and it’s solid and it makes Shadowland appear all the more lacking by comparison.

De La Torre also continues to crank out great Daredevil art.  It’s dark and gritty as usual, but in capturing the riotous, insane Hell’s Kitchen core, there’s a constant sense of derangement to De La Torre’s art, owing to his rough lines and shading.  Better still, thanks in part to Matt Hollingsworth’s colours, the interiors of Shadowland remove some of the darkness in exchange for an undertone of disease and sickness.

Shadowland #4 – Review

by Andy Diggle (writer), Billy Tan (pencils & inks), Victor Olazaba (inks), Guru eFx (colors), Joe Caramagna (letters)

The Story: Izo’s band of heroes race to stop Daredevil as Elektra makes her move.

What’s Good: One of the big problems that the main Shadowland series has had has been finding its identity.  It seems divided on whether to approach this as a standard Marvel event or as a Daredevil comic.   The result has been that as an event, it feels strange and off-kilter while, as a Daredevil comic, it’s a failure.

The good news is that with this issue, I feel like I finally have a clear picture of what Shadowland wants to be, as the book finally settles into being just another Marvel event.  It seems the comic has given up on any loftier aspirations and has more or less given up pretending to be a Daredevil comic.  While this does make for a mediocre comic, at least it means that the book is far less confused and messy than it has been, even if it is a little straightforward.  Certainly, I feel that reader expectations can properly adjust as well.  Shadowland, with this issue, gives up on even attempting to be like the Daredevil comics of old; it’s a Marvel event comic that’s dedicated to getting the character, and the universe, to a particular point.  At least, now, we can know what we’re getting.

If you like action, there’s a lot of action this month and all of it is done fairly well.  Action scenes are fluid, dynamic, and exciting.  A lot of this is due to Billy Tan, who continues to do surprisingly solid work on this comic.

Thunderbolts #148 – Review

By Jeff Parker (writer), Declan Shalvey (artist), Frank Martin & Fabio D’Auria (colorists)

The Story: Luke Cage’s involvement in Shadowland is explained this month, even though the mini-series is almost over. But whatever. Oh, and the Thunderbolts fight some ninjas…bet you didn’t see that one coming, did ya?

Bitter Random Thoughts: What. The Hell. Was this!? As long as I’ve been reviewing Parker’s run on Thunderbolts I have absolutely adored this book and been a huge admirer of what he and the art team have been achieving. And then I read this issue, and now I feel like I’ve been sucker-punched and slightly betrayed. Was this month’s issue a victim of poor editorial oversight? Of being shoehorned into a storyline it had no logical right participating in? Of being just plain ugly?

Well, yeah.

I have found that the times I’m hardest on this book are when it’s being dragged into stupid fucking crossovers. It happened with Avengers Academy and it’s happened again here with Shadowland. In both instances, this comic was far better than the storylines it was being forced to participate in, but the inclusion of the Thunderbolts in Daredevil’s fall from grace seems especially unnecessary. Cage’s crew haven’t been mentioned in Shadowland once before now, and now all of a sudden they’re lurking in the sewers fighting and being spanked by cannon fodder ninjas!? Sorry, but I’m not buying it. This team is more powerful than that, and the fact that they got their asses handed to them by the fucking Hand is sad and illogical and deeply Wrong. It also reeks of editorial mismanagement, of Parker being told how this story had to go down to fit with Marvel’s larger vision. Which they’re entitled to do, I suppose, seeing as how these are their toys, but God help me why does their vision suck so bad?

Daredevil #510 – Review

by Andy Diggle & Antony Johnston (writers), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Foggy and Dakota find themselves hunted by the Hand while Iron Fist and Luke Cage find themselves swayed by the Kingpin.

What’s Good: One of the things that’s made the last couple of issues of Shadowland, or the last couple of issues of Daredevil for that matter, somewhat underwhelming has been that they’ve tried to focus on too many things at once, winding up feeling insubstantial and mediocre throughout.  Daredevil #510 goes against this trend and is a significant improvement throughout.

Instead of even attempting any half-assed gestures towards focusing on Matt and his shift in character and internal struggles, Daredevil becomes a book focusing on Daredevil’s friends, particularly Dakota and Foggy, a wise choice given that these two are integral to the Daredevil franchise who we don’t get to see in any other book.  This makes this issue feel more meaningful and more necessary.  While I would, of course, rather that Daredevil be devoted to shedding light on Matt’s character, Diggle and Johnston’s decision to focus on Dakota and Foggy at least gives the book a strong direction and a unique one.

It’s ultimately a good choice if only because Dakota and Foggy are naturally sympathetic characters.  Not possessing any superpowers or martial arts prowess, it’s easy to root for them amidst the madness of Shadowland.  When they’re assaulted by a horde of ninjas, the threat feels a lot more real and the danger much more substantial; this isn’t a case of Luke Cage busting the faces of a horde of faceless goons, but rather, this is two people fighting for their lives in a dingy apartment hideout.  Honestly, Dakota and Foggy felt more heroic this month than any other characters have in the entirety of Shadowland.

Daredevil #509 – Review

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

The Story: Dakota and Foggy come under attack and Matt Murdock finds an unlikely ally.

What’s Good: Much like last month, Daredevil spends time with Dakota and Foggy, which does a fine job of distinguishing it from Shadowland while also dodging some of the major problems that miniseries has had thus far in diffusing its attention among an overly varied cast.  I’m always happy to spend time with Dakota and Foggy and they definitely have a grounding effect on the book that is much appreciated.  Even when the “tight-pants brigade,” as Dakota calls them, shows up for the inevitable assist, it’s only the Luke Cage/Iron Fist duo.  Things feel much more contained, controlled, and a bit less impersonal as a result.

I was also pleasantly surprised by the sudden appearance of Daredevil’s new volunteer.  It’s another marker of the dire straights that Matt’s fallen into and I can’t wait to see the dynamic that the character creates in Shadowland, and how she’ll end up operating alongside the other personalities present there; if Diggle plays his cards right, I can see her really complicating things for everyone.  Either way, the character is a welcome presence and this was easily the highlight of the month.

Shadowland #2 – Review

by Andy Diggle (writer), Billy Tan (pencils), Victor Olazaba (inks), Christina Strain (colors), and Joe Caramagna (letters)

The Story: Luke Cage and Iron Fist try to talk to Daredevil and the Kingpin gets a little demonic help.

What’s Good: This issue tries to expand on the characters involved in Shadowland in an attempt to expand the book into a true event, rather than just a bi-weekly Daredevil.  Certainly, it’s great to see the Kingpin back again and looking to play a big role.  Diggle writes the character’s voice very well and fully capture that suave, Wilson Fisk tone.  I like the idea of Fisk teaming up with heroes for his own benefit; I’ve always enjoyed it when villains find themselves teamed with heroes, as it leads to a lot of dysfunction and distrust.  In this case, it also highlights the dark position that Daredevil currently occupies.  I look forward to seeing where this goes and Kingpin’s presence is definitely a strong point.

Another additional character that works very well, in at least the little time we get with him this month, is Ghost Rider.  The build-up to his entrance is fantastic, and totally misleads you until you see that leather boot.  Diggle cleverly makes Ghost Rider sound like some magical Japanese warrior for good, so when Ghost Rider shows up with his gruff dialogue, it’s a surprising touch of comedy.   His dynamic with Fisk is also really fun for this reason; the Kingpin attempts to speak in the stilted tone he expects a demon to converse in, while Ghost Rider talks like an average guy.  It’s great stuff and Billy Tan draws the character really, really well.

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.

Shadowland #1 – Review

by Andy Diggle (writer), Billy Tan (pencils), Batt (inks), Christina Strain & Guru EFX (colors), and Joe Caramagna (letters)

The Story: Bullseye takes on a newer, nastier Daredevil while the Avengers grow increasingly concerned about that weird castle in the middle of Hell’s Kitchen.

What’s Good: As the first issue of an event, one could look at this issue as being a series of great choices by Diggle.  First and foremost is that it isn’t overburdened by a plethora of characters.  It certainly still feels like a Daredevil book, but has the Avengers, Luke Cage and Iron Fist in particular, be just enough or a presence to make things feel different and a little bit bigger.

Then there’s the central role that Bullseye has in this first issue.  I can’t think of a better way of showing how much Matt has changed than having him fight the guy he’s fought a million times.  It’s a wonderful choice by Diggle, who also writes a really great, crazy Bullseye.  It’s clear the dynamic has shifted when readers immediately get the feeling that Bullseye has insanely bitten off more than he can chew by challenging Daredevil.  It’s also quite the turn to see the “hero” be accompanied by a horde of faceless goons, ganging up on the lone villain.  This, of course, was no doubt what Diggle was going for.

That’s really the strongest point of this issue; there’s no doubt, during this issue and particularly at its end, that the Daredevil of Shadowland is a very, very different Daredevil.  He’s mean, he’s isolationist, and he’s darker than ever.  This, of course, is tied into another great choice by Diggle: debuting the new outfit this month, which looks absolutely fantastic and is a great representation of Matt’s shift in mentality.

But really, the best choices Diggle makes in this issue are related to pacing.  There’s no question that he hits the ground running, but we’re also not overwhelmed by breakneck plot progression and chaotic happenstance.  The plot is simple and straightforward, but filled with great action and status quo defining moments.

Then there’s the last page.  Whoa.  It’s the sort of cliffhanger that you suspect is coming, but can’t actually believe Diggle went for until you flip the page.  Just whoa.  It’s a major character death that gets Shadowland off to an explosive start while hammering home that this is a whole new DD.

I was also very much surprised by Billy Tan’s artwork, which was really solid stuff.  I thought his work was ill-suited to Daredevil after his work on the List one-shot, but this definitely worked.  His style is detailed, but seems a little grittier and Ron Garney-esque.  Strain’s work on colours also helps a lot, as she goes for darker hues with lots of reds and dark blues.

Daredevil #507 – Review

by Andy Diggle & Antony Johnston (writers), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Matt’s conflict with Bakuto comes to a head while the Hand continues to pull the strings.

What’s Good: I’ve really come to love Marco Checchetto’s artwork, particularly as it works in tandem with Hollingsworth’s colors.  The book looks unique in Marvel’s line, equal turns gritty and polished.  I especially enjoyed Daredevil’s fight with hand ninja in the snow; it’s always interesting to see a darker style forced to work with a mostly white palette.  Seeing Daredevil’s red stand out against a white background and a horde of white adversaries works out great and is something different from the usual red on black.  The snowy, feudal Japanese landscape has been a nice change from Hell’s Kitchen and it has made the story feel fresh as a result.

Diggle and Johnston use this vibe to work their way towards telling another story where Matt finds himself in an impossible situation, only faintly aware of the danger surrounding him, manipulated on all sides.  Great Daredevil writers have often found success in putting Matt under tremendous strain and Diggle and Johnston are certainly moving in that direction.  We’re just heading into Shadowland, so it’s just yet a full-on pressure cooker, but already it’s beginning to feel suffocating.  Partially because of his being on alien, unfriendly territory and even moreso because of White Tiger’s betrayal, which he’s still unaware of, Matt Murdock seems completely isolated.

This is especially the case because Diggle and Johnston seem intent on delivering a clear message with this issue:  the most crippling, dangerous, and threatening enemies are those you can only ever, at best, suspect.  Even if they have yet to make their move, their planning and bad intentions alone make for something of a crushing narrative.  At issue’s end, there’s no doubt that the headfirst animosity of Bakuto is nothing compared the greater machinations of his peers.  Hell, Bakuto’s such a lesser evil that he’s almost a sympathetic character by comparison.

Daredevil #506 – Review

by Andy Diggle & Antony Johnston (writers), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Matt tries to gain Bakuto’s trust, but he doesn’t realize the traitor in his midst.

What’s Good: With every passing issue, Diggle carves out Daredevil as his own, continuing to distinguish his take on the title from those who came before.  This month, that becomes all the more clear.  This is a far cry from the noir tinged brawling in Hell’s Kitchen that we’re used to.  Instead, this is a straight up ninja story in an environment that is essentially a pocket of feudal Japan in the  modern Marvel Universe.

This time, Diggle expands this further by re-introducing Hand magic.  There are exploding bodies a-plenty here.  All told, it’s a good amount of fun, if only because it’s different from what we’ve become used to in Daredevil, setting the book even further apart from the rest of Marvel’s offerings.  Diggle has crammed more or less every variety of ninja related awesomeness he can into this book, while distancing it from the gritty realism of his predecessors’ work on the title.