Collects Daredevil #82-87 written by Ed Brubaker and drawn by Michael Lark and Stefano Gaudiano.
The first book of Brubaker and Lark's popular Daredevil run starts right where Bendis left the blind crime fighter. Matt Murdock is in prison, it's a little fluffy of what exactly he stands accused, but the implication is that someone knows that he is Daredevil and that someone is out to put him away for good. It's become a household tradition within Marvel to have Daredevil ride an emotional roller coaster once in a while and this is certainly no exception to that rule. Matt/Daredevil is as hard bitten and imposing as ever, and yet he seems strangely in control, which is kind of scary. This is only made worse when Foggy Nelson is stabbed to death during a visit to the prison. After this, Matt, as well as his allies outside of prison - Ben Urich and private detective Dakota North, investigate Foggy's killing as well as the mysterious Daredevil impostor making head lines in the news papers.
This is classic Daredevil, and yet Brubaker makes it feel refreshingly new. Maybe because we haven't seen Daredevil this good since Miller? (I haven't read Bendis' run). Brubaker sure knows his Daredevil, all the usual suspects are there: Kingpin, Turk, Urich, Jameson, Gladiator, Bullseye, Punisher etc. (even Tarantula!), and this makes this feel like a real Daredevil story. But some of them are a little different from what we're used to. Kingpin is now a manipulator in prison clothes, far removed from his tower of power. Bullseye is a full blown psychopath, who is brought into the prison Hannibal Lecter-style. It is as if each character seems a little more real than what we're used to. And the villains seem a little more dangerous than what we're used to. I attribute this to Brubaker's excellent sense of dialogue and Lark's darkly expressive character drawings. The contrast between how well Kingpin is depicted here as opposed to the chickenshit Kingpin of Spider-Man: Back in Black, in which Spider-Man beats the crap out of him in the same prison, is striking. Brubaker shows both deep knowledge and respect for the characters he is writing.
What also makes this feel like a classic Daredevil book is the theme of Matt slowly breaking down psychologically. This is the kind of a story to which Daredevil will always return, like Spider-Man will have to prove his sense of responsibility again and again. Brubaker equips Matt with a little more edge than usual, although he is breaking down on the inside, he keeps a tough facade and only lets go when it's to his own advantage. And when he lets go, those who stand in the way pay for their follies with broken bones and blood flowing.
Matt's mental health is not the only thing keeping the reader glued, though. All the way through a plot against Daredevil is unfolding and this is what keeps the story going. This storyline does not end in this book, and thus we are treated to another of Brubaker's signature long running storylines. Just my cup of rum!
There's not much to complain about here. I have to admit I thought the Punisher's appearance was a little weak and uncalled for. But that's about it. There's not much of Hell's Kitchen, but for obvious reasons. Probably this will be redeemed later in the series, but I happen to know that in the next book Daredevil goes to Paris.
Lark's artwork is in the category I like to call darkly realistic. If I were to compare him to other artists, I would probably put him stylistically somewhere in between Sean Phillips and Steve Epting. But Lark needs no comparing, he is formidably skilled and a perfect choice for Daredevil.
If you like classic Daredevil (Miller), I think you will like Brubaker's Daredevil as well. And if you haven't read much Daredevil, now is a perfect time to head into the darkest corner of the MU. Just be aware that the story in this book comes without an ending, you'll have to get the next book in the series for that. I know that I am certainly on for the ride.
8/10
Posts
No comments:
Post a Comment