Writer: Ed Brubaker
Artists: Michael Lark and Stefano Gaudino, Matt Hollingsworth (colors)
Publisher: Marvel Comics
Brubaker’s Daredevil is not really a superhero comic right now; it’s a detective serial. Sure, Murdock’s still got his radar-thing going for him, and he’s in his costume, but beyond this, this book has a very noir feel to it. Murdock’s narration, the constant night settings, the mysterious woman who is more than she appears; even the brutal thug (hey, Tombstone, nice to see you in Europe) all make appearances as Murdock looks for answers to Foggy’s murder. It’s all very Sam Spade-ish right now, and I’m enjoying the heck out of it.
Last month’s developments get turned on their head in this one. Matador, the swordsman who is apparently NOT the Matador Murdock knows, makes another appearance, and it is bewildering. Lily, the kidnapped daughter of an associate of Lennox’s (the man Murdock has followed to Europe), inexplicably haunts Murdock’s dreams as he makes his way to Paris to save her. By the end of the issue, things are so twisted that Daredevil’s interrogating small-time hoods in French is perhaps the least strange moment in the book (which itself provides a nice moment of humor through French arrogance).
As a side-note, because of the nature of the story, the costume seems out of place. As Murdock himself thinks this time around, all it takes is one tourist to take a picture of Daredevil in Paris and Iron Fist’s ruse back in the States is thrown one big monkey wrench, as would the nature of his investigation. More than likely many out there still believe/know Murdock to be Daredevil. Oh well, it’s a minor quibble, and Murdock has of late been spending a lot of time out of costume already.
Lark and Gaudino’s art continues to be rough and dark, reflecting the content of the plot. It’s definitely not “pretty” or flashy: the largest panels are only a third of a page, and the colors beyond Daredevil’s red are minimal. Credit goes to Brubaker’s writing for this; I’m so caught up in the story there’s no need for large splash pages. The few fight scenes this time around are almost claustrophobic and particularly helps to emphasize how overmatched Daredevil is in his fight with Tombstone.
While so many titles are focusing on the current Civil War, Daredevil offers a break (questions about the title’s continuity remain because of this). Sure, the arc right now is probably not going to change the Marvel Universe or “break the internet,” but the bottom line is this: if you’re not pulling Daredevil right now, you’re missing out on some of the best stories Marvel’s putting out.
What did you think of this book?
Have your say at the Line of Fire Forum!