Category: 1980s comics

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Marvel Masterworks: Daredevil Volume Eighteen

This is a review of Marvel Masterworks Daredevil Volume Eighteen, written by Denny O’Neil and drawn by various artists. Read my reviews of Volumes One, Two, and Three here, here, and here. Why, you may ask, did I switch from Volume Three to Volume Eighteen? Well, the third volume of Daredevil was so bad I didn’t want to read the fourth.  It happens, especially with 1960’s Marvel comics. For every classic issue of Spider-Man or The Fantastic Four, you have things like Matt’s imaginary twin brother Mike Murdock, evil landlord The Masked Marauder, and Daredevil trapped in a spaceship blasted into outer space by Electro.  Not all old comics are good.

However, these comics are good! Aside from the art – which is inconsistent – this is a very underrated run. The meat of the volume is Daredevil’s archnemesis Bullseye being shanghaied to Japan by disgraced kamikaze Lord Dark Wind, where his broken bones are replaced with metal implants. Ole Hornhead follows the trail to Japan, where he meets Yuriko, daughter of Lord Dark Wind, who helps him out.

Yuriko has a tattoo on her face, mainly because her father is crazy. After the Daredevil arc, she becomes Lady Deathstrike, courtesy of X-Men scribe Chris Claremont. I guess Claremont rescues her from obscurity, but she goes from a fleshed-out character to a psychotic cybernetic killing machine. Maybe aliens reversed her brain, because now she’s the opposite of how Denny O’Neil wrote her. But such is comics – they giveth, and they taketh away.

This volume also contains a bunch of one-shot issues. My favorite storyline is when Daredevil’s ex Heather Glenn gets drunk and reveals his secret identity at a party. Oopsie. Turns out the guy she spills the beans to is both terminally ill and running a murder squad, which happens. The Black Widow reappears in Matt’s life, and we catch a glimpse of Micah Synn, the Kraven the Hunter wannabe who will make his life miserable in the next volume. And I almost forgot about the guest appearance by Wolverine, everyone’s favorite killing machine!

Not many people recall Denny O’Neil’s Daredevil run, mostly because it’s sandwiched between two Frank Miller runs, but this is good stuff. O’Neil edited Miller’s first Daredevil run, which utilizes serialized storylines – multiple issues featuring recurring characters and a vivid setting – and uses the same techniques himself. Think James Robinson’s Starman and Alan Moore’s Swamp Thing. Recommended, especially for Daredevil fans.

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Daredevil Omnibus by Frank Miller and Klaus Janson. Part One.

This is a review of Daredevil Omnibus by Frank Miller (artist/writer) and Klaus Janson (artist/inker), which consists of Frank Miller’s legendary run on Daredevil, from issue #158 – 191. This review covers the first half of the omnibus, from 158 – 175. Wow, that’s a lot of exposition! Are these comics any good? Well, yes, they sure are. Mr. Miller made such an imprint on Daredevil that creative teams have tried – and mostly failed – to imitate this run for years.

Frank Miller’s run began when he took over the art duties for writer Roger McKenzie. The highlights of Mr. McKenzie’s run in this omnibus are a three-issue fight with Bullseye, with the final battle set in Coney Island; and an encounter with the Hulk, which is a homage to the Man Without Fear’s fight with the Sub-Mariner way back in Daredevil #7. When Mr. Miller takes over the writing duties, Daredevil makes a seismic leap in quality. He writes the Black Widow out of the comic and introduces Matt’s crazy ex-girlfriend/assassin Elektra, who was created for one reason, which I will not mention here because spoilers. The stories themselves are shorter, punchier (literally!), and have a harder, grittier edge.

Mr. Miller stretches Daredevil to his limits, beefing up his rogue’s gallery by adding crime boss The Kingpin as the big baddie. In their first encounter, Daredevil dances around the Kingpin like a ballet diva, until the Big Man ends the fight with a single punch to Hornhead’s face. Having your villain be stronger and arguably smarter than your hero is something not many creative teams have the guts to do.

The creative team also puts Daredevil through the emotional wringer. When arch-nemesis Bullseye goes crazy because of a brain tumor and embarks on a killing spree, Daredevil beats the crap out of him in the subway. Bullseye lies unconscious on the tracks, directly in the path of an approaching train. Daredevil saves him because he believes in the law, i.e. that nobody is above the law. This ranks as the single biggest mistake of his crimefighting career, because after the doctor removes the tumor Bullseye goes back to killing people. Is Daredevil responsible? You can argue either way. There’s another reason letting Bullseye live was a mistake, but no need to go into that here.

Normally, I am not crazy about testing a character’s values in this way, because the writer holds all the cards. I believe it was writer Dan Slott who was asked who would win a fight between Hulk and Thor. His answer: whoever the writer wants to win. That being said, the way Mr. Miller tests Daredevil’s belief system is organic and believable. Some would say it is inevitable.

I hated these issues when they came out in the early 1980’s, because I thought the art was ugly. It was different from anything I’d read before, and I had trouble processing. Now I will say that the art is dynamic, emphasizing the human form and giving readers Mr. Miller’s wonderful take on New York City (look at all that grit, kids!). This is one of the best superhero runs of all time, period. Recommended for fans of superhero comics; if you are a Daredevil fan, what are you waiting for?