Published: 2007-2008 Written by: J. Michael Straczynski Art by: Olivier Coipel
Marvel Comics, 440 Pages (total)
When this was current, I had the series added to my pull box at my local comic shop. I loved the hell out of this series and thought that J. Michael Straczynski’s reboot of the Asgardian part of the larger Marvel universe truly reinvigorated the Thor title and all the characters within.
I was a bit worried in revisiting this, as I felt like maybe I wouldn’t enjoy it nearly as much and with nearly a decade and a half of extra comic book reading mileage. I thought that I’d discover it was riddled with glaring flaws and an overabundance of bad tropes, overused clichés and redundancy.
I’m happy to say that this held up exceptionally well and that it is one of the best comic book reads I’ve experienced in quite some time.
The story is exceptional and it does such a superb job in balancing all of these cool, important characters. Every major Asgardian gets their time to shine and is given their own subplots that have real meaning and tie into the larger story arc of the series. Straczynski even creates some new characters and they all bring a lot to the series and the new lives of all the other core characters.
Additionally, this is where Loki returns in the form of a woman. It gives the character a fresh start in the eyes of many Asgardians, even if she can’t be trusted due to her past. However, she wins over some key characters just enough to develop an evil masterplan alongside Doctor Doom, who is waiting in the shadows for his big reveal, after Loki manipulates her people into accepting a dangerous proposal that effects all their futures.
Beyond the great story, the art of Olivier Coipel is incredible and I don’t mean to use that word lightly. It was this series (alongside Geoff Johns Green Lantern run) and especially its art that got me to pick up comics again, after checking out for a decade.
Coipel creates beautiful compositions in every panel and his work was just on a completely different level than most of the artists at the time. His work looks like paintings and it fits the aesthetic of the Thor mythos and style. It gave these stories a more fantastical and magical look than what was common for the era.
My only gripe about this long run by Straczynski and Coipel is that it didn’t have a definitive ending. It left things open for the next creative team and I get that, as that’s how these things typically go. However, the work of these two guys was so great that I felt like they should’ve been allowed to bring it to a close.
Published: November 6th, 2014 Written by: Ed Brubaker Art by: Michael Lark, Clay Mann, Marko Djurdjevic (cover)
Marvel Comics, 122 Pages
I remember when I first heard about the Lady Bullseye character, I thought, “Oh, yay… another gender swapped version of a beloved classic character.”
Having read this now, I’m happy to say that the character isn’t simply a gender swapped Bullseye but instead, a complex, well written character with a pretty interesting origin that shows how she was inspired by Bullseye and how that put her on a very different path in life.
I probably shouldn’t have doubted Ed Brubaker, though, as his writing is generally superb and there’s very little he’s done that I didn’t thoroughly enjoy.
So this story has a lot going on in it relating to Daredevil’s personal life, as well as this new villain really shaking things up and bringing The Hand back into the picture.
Daredevil’s personal life has been a clusterfuck of retardation ever since Brian Michael Bendis wrote the series. Ed Brubaker has tried to clean it up as carefully as possible, though. Here, it feels like he’s finally washed away all the bullshit with the blind wife and whether or not people know the character’s real identity. And frankly, as a long-time Daredevil reader, I couldn’t give a fuck about those storylines anymore.
The stakes in this story are really high and there are some pretty messed up things that happen and I don’t want to get too much into spoiler territory but the lives of some characters are forever altered.
Overall, this brings the same level of quality that the rest of Brubaker’s Daredevil run has given us, up to this point. I think this is the second-to-last chapter in Brubaker’s run and that leaves me pretty gleeful for the next volume.
Rating: 8.5/10 Pairs well with: the other Daredevil comics from his Marvel Knights run.
Published: June 4th, 2020 Written by: Ed Brubaker Art by: David Aja, Michael Lark, Tommy Lee Edwards (cover)
Marvel Comics, 304 Pages
After Brian Michael Bendis’ run on Daredevil ended in a weird spot because the guy just doesn’t know how to finish, we were treated to Ed Brubaker’s solid stint on the title.
Brubaker had his work cut out for him, considering where the character of Daredevil was when this started and because Bendis literally spent about fifty issues going back and forth on whether or not the public knew Matt Murdock was Daredevil and still didn’t give that extremely drawn out, tiresome and annoying plot a definitive end.
So Brubaker still has that bullshit to try and resolve while also having to figure out what to do with the title character being locked up in prison. Oh, and there’s the whole thing about Daredevil’s flash in the pan ex-wife that Bendis had to clunkily wedge into the mythos with romantic cringe that made me question the writer’s manhood.
Anyway, Brubaker doesn’t waste any time trying to make magic out of Bendis’ J. J. Abrams style ending.
So we start with Murdock in jail and with that, we see him have to survive while being locked up with a lot of the criminals he put there, including The Kingpin, The Owl, Bullseye, Hammerhead, Gladiator and a slew of others. We also see The Punisher get himself arrested, so that he can also go to jail in an effort to help Murdock survive in there.
On the outside, we have someone else posing as Daredevil, while Foggy Nelson and Dakota North work to get Matt out of prison. Pretty early on in the story, Foggy is murdered while visiting Matt in jail. This sets Matt off on a revenge quest within the prison walls and with that, we get one of my all-time favorite Daredevil story arcs.
Following the prison story, we see Matt go to Europe, as there are more layers to the mystery surrounding Foggy’s death. This second half of the story is pretty fucking great too and the ending wasn’t anything I expected. It also satisfied, unlike the end of Bendis’ tenure on the book.
Beyond the story, the art in this is superb. Brubaker worked with Michael Lark, who is an artist that he actually works with fairly regularly. In this series, Lark really captured the already established tone and vibe of the Marvel Knights era of the Daredevil series. Lark was probably the perfect guy to pick up this ball and run with it, as he’s done a lot of the more gritty noir-esque comics that Brubaker has written over the years.
If you are a fan of Daredevil and haven’t read this story, you probably should. It’s one of my favorites of all-time and this Ultimate Collection joined both halves together in one volume. Although, you can also find the two stories as two separate trade paperbacks under the title The Devil, Inside and Out (Vol. 1 and 2).
Rating: 9.5/10 Pairs well with: the other Daredevil comics from his Marvel Knights run.
Published: October 17th, 2013 Written by: Brian Michael Bendis Art by: Alex Maleev
Marvel Comics, 450 Pages
This is the final installment of the Ultimate Collection releases of Brian Michael Bendis’ run on Daredevil. Each of these three beefy collections forms a pretty solid trilogy that actually exceeded my expectations and reminded me of how good Bendis was when he cared, which he hasn’t for a very long time.
This is my least favorite of the three volumes and that’s mainly because it felt like it lost some steam. And it didn’t give us any sort of closure to some of Bendis’ more batty experiments with the character.
The first half of this book is made up of two different stories that are self-contained and don’t really move forward the larger arc that Bendis had been working on for a few years by this point. The second half of this book then picks up those more important major plot threads but then doesn’t do much with them and leaves things even more unresolved by the end.
In fact, this has a time jump at the end that kind of just further fucked up Daredevil’s life and didn’t resolve anything that Bendis brought into the character’s story. It was some weak ass J. J. Abrams shit that tainted the entire run and not just this final book.
That’s not to say there wasn’t good stuff in this, there was. But had I been reading this run in real time, watching Daredevil struggle with the world possibly knowing his identity and seeing that dragged on for fucking years, I would’ve quit reading this.
That whole plot about people finding out Matt Murdock is Daredevil and then just seeing that life altering reveal kicked around like a goddamned hacky sack was enraging as hell. You, as the reader, were never sure what anyone actually thought about the reveal, as Bendis couldn’t commit to the story and deal with it in any sort of clear way. It was lazy and fucking dumb. It lacked finality, stakes and real consequences. Honestly, by the end, it didn’t really matter and the book was then handed off to another creative team to either resolve the issue or ignore it.
One thing that was noticeably better this time around was Alex Maleev’s art. Yes, I liked it previously but in my review of the last book in this series, I pointed out some of the issues I had with it. In this volume, those problems seemed to be fixed or a lot less apparent.
Overall, there’s a whole hell of a lot that I liked about Bendis’ Daredevil run but his finale left me annoyed and scratching my head like everything J. J. Abrams has ever started and not truly finished.
Rating: 6.75/10 Pairs well with: the other Daredevil comics from his Marvel Knights run.
Published: September 15th, 2010 Written by: Brian Michael Bendis Art by: Alex Maleev
Marvel Comics, 461 Pages
This long stretch of Daredevil issues should’ve actually been better than the ones in the first volume, as shit got real dark, things were more action packed and this went to places I didn’t expect.
The reason why I can’t rate it as high as the previous one is because of the awful romantic subplot that actually sees Daredevil get married for a short time.
I hated this plot, the new love interest and thought that it detracted from a much better story about the shifting power in the New York City criminal structure and Daredevil dealing with that while also trying to work around the public knowing his identity.
The romance plot was just too much added into an already very layered and rich story. Plus, that stuff was poorly written and I don’t want to be that guy but I don’t think that Brian Michael Bendis understands romantic interaction above a college aged level.
That being said, Bendis’ writing is great outside of the romantic shit.
Also, I love Alex Maleev’s style and tone in regards to Bendis’ story. They come together rather nicely, even if it appears as if Maleev is tracing some characters and doing digital tricks. This was originally made at the turn of the millennium and artists were experimenting with a lot of new technology at the time. Frankly, I know he used Photoshop filters because I recognize them. Still, the end result works and I’m just a traditionalist that likes things done the old school way. This is why I also don’t like Pixar movies or that style of animation.
Out of all the different story arcs collected here, I think I like the one that features The Owl the best. I liked seeing him truly unhinged and trying to wedge himself into The Kingpin’s spot as crime boss. After that, I really loved the section with Typhoid Mary, as she’s one of my favorite Daredevil villains and doesn’t get enough love, in my opinion. She also looked great in this run, even if I still prefer her original look, as drawn by John Romita Jr. back in the late ’80s.
I love the hell out of Bendis’ run on this series and it truly rivals the great runs by Frank Miller and Ann Nocenti, who still takes the cake for me.
Remove the romantic, juvenile love shit in this story and this would’ve been a perfect Daredevil collection.
Rating: 9.25/10 Pairs well with: the other Daredevil comics from his Marvel Knights run.
Published: June 23rd, 2010 Written by: Brian Michael Bendis Art by: Alex Maleev
Marvel Comics, 411 Pages
Following the Guardian Devil and Parts of a Hole storylines, Brian Michael Bendis began his Daredevil run. While I had read much of this twenty or so years ago, I had forgotten just how good it was and that Bendis was once an exceptional comic book writer when he still obviously had the passion burning inside of himself.
This big collection of multiple story arcs didn’t have any weak parts to it.
The first story dealt with a young kid going through some serious trauma after witnessing a fight between his father and Daredevil, which left his father dead. While Daredevil was a minor character in his own story, something I tend to hate, I excused it here, as the four issue arc was so solid and brought a lot of emotion into the series to kickoff Bendis’ run. Plus, it featured Ben Urich as the main character and I’ve always loved that guy.
Following that, we get a few arcs that are really connected as one larger narrative. We see the Kingpin get taken out by a new guy in his organization’s ranks. This new guy tries to take Kingpin’s spot but ultimately pays a price for it courtesy of Vanessa Fisk, Kingpin’s wife, who has been absent for years.
Additionally, this wannabe Kingpin discovers Daredevil’s identity and with that, the world soon finds out. Matt Murdock with several of his allies has to try and fix this problem, convincing the world, somehow, that Murdock is not the masked vigilante.
All in all, this beefy volume is packed full of absolute greatness. Add in Alex Maleev’s incredible art and you’ve got one of the best Daredevil collections ever printed: a near perfect masterpiece.
Rating: 9.5/10 Pairs well with: the other Daredevil comics from his Marvel Knights run.
Also known as: Daredevil: A Daring New Vision (Director’s Cut title) Release Date: February 9th, 2003 (Los Angeles premiere) Directed by: Mark Steven Johnson Written by: Mark Steven Johnson Based on:Daredevil by Stan Lee, Bill Everett Music by: Graeme Revell Cast: Ben Affleck, Jennifer Garner, Michael Clarke Duncan, Colin Farrell, Joe Pantoliano, Jon Favreau, David Keith, Leland Orser, Erick Avari, Ellen Pompeo, Paul Ben-Victor, Robert Iler, Coolio (Director’s Cut only), Mark Margolis (uncredited), Kane Hodder (uncredited), Frank Miller (cameo), Kevin Smith (cameo)
Marvel Enterprises, Horseshoe Bay Productions, New Regency Pictures, 103 Minutes, 133 Minutes (Director’s Cut)
“[Director’s Cut version/Narrating] Violence doesn’t discriminate. It hits all of us… the rich, the poor, the healthy, the sick. It comes as cold and bracing as a winter breeze off the Hudson. Until it sinks into your bones… leaving you with a chill you can’t shake. They say there’s no rest for the wicked. But what about the good? The battle of Good vs. Evil is never-ending… because evil always survives… with the help of evil men. As for Daredevil, well… soon the world will know the truth. That this is a city born of heroes, that one man can make a difference.” – Matt Murdock
My review of this film is specifically for the Director’s Cut. It’s a far superior version of the movie and frankly, it’s the version that should have been released in theaters.
The theatrical version was kind of shit and a major disappointment. The Director’s Cut, however, showed that the director had made a much better film that was unfortunately butchered by the studio, probably due to its running time. In fact, the theatrical version chopped off thirty minutes from director Mark Steven Johnson’s preferred body of work.
If I’m being honest, though, Johnson is not a great director and this film, even in its superior Director’s Cut presentation, still has a lot of flaws and feels kind of dated, even for its year of release. Although, comic book movies hadn’t really found their proper groove yet, as Nolan’s first Batman movie was still two years away and the first MCU movie was still half of a decade out.
Daredevil also didn’t have the budget that other comic book movies would get just a few years later, as it was made by a smaller studio that had to offset the licensing fees they paid to acquire the character and his pocket of the Marvel Comics universe.
Still, the performances mostly make up for the weaker things in this film. I really liked Ben Affleck as Daredevil and Jennifer Garner did well as Elektra. Most importantly, the two had tremendous chemistry, which I guess was pretty natural and genuine, as they got married a few years later and stayed together for thirteen, which is a lifetime in Hollywood.
I also really liked Michael Clarke Duncan as Wilson Fisk and Jon Favreau was a great Foggy Nelson.
My only real issue with the cast for the larger roles was Bullseye. Colin Farrell is a good actor but this version of the character was baffling and if I’m being honest, stupid. Bullseye should have been a bit nutty but he also should’ve been in his proper costume and not looked like a guy selling codeine at a rap-metal concert. But I guess Marvel editor Joe Quesada suggested to the director that Bullseye shouldn’t wear his traditional outfit. I guess that’s just another reason to dislike Quesada on top of his large part in destroying his own industry because of politics, hiring unproven talent for diversity reasons and lashing out at customers on social media. But I digress.
The film has a decent enough story, even if it feels pretty bare bones and paint by numbers. The Director’s Cut actually expands on the story, adding in more context and nuance, as well as a side plot that makes the overall experience a much better one than the theatrical version.
I especially liked the origin stuff about Daredevil as a kid. The scenes between the kid actor and his dad, played by the always underappreciated David Keith, are damn good.
Another thing I don’t like, though, is the style of the fighting in the film. It’s fine when everything feels grounded and real but it gets ruined by relying too heavily on the Hong Kong style of martial arts filmmaking. There are too many moments where it is obvious that the characters are on wires and you see them move in ways that don’t make sense in regards to actual physics. That shit doesn’t work for this sort of film. But I get it, Crouching Tiger, Hidden Dragon was a massive hit a few years earlier and Hollywood tried to emulate the Hong Kong style but kept failing miserably outside of The Matrix movies.
Daredevil – Director’s Cut is still pretty enjoyable, though. Age didn’t really improve it or ruin it. It’s mistakes are pretty clear but they were also clear in 2003.
However, I still really like the cast, for the most part, and it would’ve been interesting seeing how this could’ve continued had sequels bee made. Instead, the studio stupidly opted out of that and went with an abominable Elektra spinoff, a film that I still haven’t been able to stomach in its entirety. But I guess I should review it soon, as I work my way through all of the Marvel movies ever made.
Rating: 7.5/10 Pairs well with: other Marvel comics films before the Marvel Cinematic Universe started in 2008.
Published: July 2nd, 2015 Written by: Frank Miller, Mike W. Barr Art by: John Buscema, Klaus Janson, Bill Sienkiewicz
Marvel Comics, 317 Pages
While this is the weakest of the three volumes that collect the Frank Miller run on Daredevil, it’s still a damn good book and it closes out the run, setting things up for a new creative team.
In the previous volume, we already dealt with the death of Elektra and the defeat of Bullseye. This one pretty much covers the fallout from that, emotionally, as well as how it effects the overall story and the primary characters within.
This collection also includes the graphic novel Love & War, which I will actually review as its own body of work at a later date.
The thing I really liked seeing in here was how Daredevil dealt with his grief, as well as how he and Black Widow sort of came back into each other’s lives after everything that happened to them previously, as well as the issues Daredevil is left to deal with after losing the love of his life.
The story also does a great job of fleshing out Foggy Nelson and giving him things to do, other than just being Matt Murdock’s best bud and business partner.
On top of that, we get a powerful moment between Daredevil and Bullseye, as well as some really interesting and character defining moments for The Kingpin.
This was definitely a worthy conclusion to the Frank Miller era, even if it wasn’t as exciting as the other two volumes. This is much more a story about human emotion and working through it than it is straight action and street level badassery. However, there’s enough of that stuff in here to keep the normie superhero comic book fan engaged.
Rating: 8.5/10 Pairs well with: the rest of Frank Miller’s run, as well as Ann Nocenti’s and the stories in-between.
Published: March 5th, 2015 Written by: Frank Miller, Roger McKenzie Art by: Frank Miller, Klaus Janson
Marvel Comics, 314 Pages
This is the second of the three large collections of the Frank Miller run on Daredevil, this is also the volume where the heaviest shit goes down. Primarily, the return of Bullseye, the death of Elektra and the first time Daredevil meets the Punisher.
I can’t speak on the third volume until I revisit it but I always remembered these string of issues as being the high point of Miller’s run and re-reading it now, I’d say that’s probably true.
This builds off of what Miller established already and it takes things to the next level, cementing Daredevil as one of the most intriguing heroes in Marvel’s lore. It also helps cement The Kingpin and Bullseye as real sons of bitches.
What’s really great about this, is that Miller, despite not yet having a lot of mileage under his belt, was able to write a really emotional and heartbreaking story. Binge reading through this, the overall Elektra arc goes by pretty fast. Still, you get emotionally invested in her and Daredevil’s relationship just as deeply as you would Spider-Man’s with Gwen Stacy or Mary Jane. It’s a tremendous feat to write something this captivating and heart-wrenching but Miller truly achieves greatness here.
For fans of The Gladiator, this is also where he redeems himself and it’s also a sad tale but really satisfactory despite his overall arc not being too big.
Beyond the story, the art is still fantastic and the work of Miller and Klaus Janson gets better with nearly every issue, as both men find their stride and put just as much care into the visuals of these stories, as Miller put into the writing.
If you are a fan of Daredevil and you haven’t read the Miller run, you’ve done yourself as real disservice.
Rating: 9.75/10 Pairs well with: the rest of Frank Miller’s run, as well as Ann Nocenti’s and the stories in-between.
Published: March 6th, 2014 Written by: Frank Miller, Bill Mantlo, Roger McKenzie, David Michelinie, Marv Wolfman Art by: Frank Miller, Klaus Janson
Marvel Comics, 326 Pages
I recently got to scratch off one of my comic book bucket list items. That item was the completion of the entire Frank Miller Daredevil run. I now own all the single issues and it feels good. So to celebrate, I thought that I’d re-read through them all, as they were collected in three beefy volumes that I also own.
This first collection starts with two issues of The Spectacular Spider-Man, which featured Daredevil and had art by Frank Miller. Getting into the start of his run on Daredevil itself, the first handful of issues aren’t written by Miller but he does do the art. But once Miller fully takes over and Klaus Janson comes in to do Miller’s inks, this book really takes off in a new and exciting way, as it becomes grittier and almost has a noir vibe to it.
In this collection, we see the Bullseye character evolve more into the lunatic he actually is. We are also introduced to Elektra, as she makes her first appearance here.
Now nothing is truly wrapped up in this volume and it mainly just lays the foundation for the rest of Miller’s tenure on the title. But it sets things up nicely, really changes the landscape of the title, as long-standing love interest Black Widow moves on with her life and Daredevil is pulled into two new romantic directions.
This also establishes the real tension between Daredevil and The Kingpin.
As the first of three collections covering this run, this book is damn stellar. It’s also a great jumping on point for fans that want to read some of the best years in Daredevil’s long history.
Frankly, I’d read all of Miller’s run and then follow it up with the Ann Nocenti era.
Rating: 9/10 Pairs well with: the rest of Frank Miller’s run, as well as Ann Nocenti’s and the stories in-between.