Daredevil [2022] #7 - Marvel Comics

DAREDEVIL No. 7, March 2023

Containing an interesting take on the titular character’s personal war against the “Laws of Man”, as well as setting up a potential roller-coaster of a ride for its subsequent instalment, it is easy to see why Issue Seven on “Daredevil” was the sixth best-selling comic in January 2023 – at least according to the online trade magazine “ICv2.com”. Indeed, despite the Man Without Fear teaming up with a band of minor league super-villains against Charlotte’s Police Department during an eviction exercise, there probably wasn’t many within this book’s audience who were particularly supportive of the ‘Thin Blue Line’ as the authority's threaten, bully and batter the unhappy occupants of a high-rise flat.

In addition, Chip Zdarsky’s script does a first-rate job in showing Matt Murdock’s costumed alter-ego using his ‘supporters’ to the best of their special abilities, such as when Speed Demon is directed to defuse a series of explosive charges set up throughout the building just before they’re detonated with the tenants and cops still inside. This command clearly comes rather easily to a seasoned crime-fighter such the red-hued Defender. But it isn’t penned too over dramatically, at least until Hornhead ‘spots’ an unfound bomb on the roof with just seconds to spare, and simply just shows Bill Everett’s co-creation taking on the additional responsibilty of leading an army in his stride.

Likewise, this twenty-page periodical’s plot provides its readers with plenty of evidence as to just how good the blind lawyer can be by having him tackle Castlemax’s illegal eviction notices at both the source, and in the courts. This two-pronged attack appears to work really well, and again adds an element of legitimacy to Matt’s somewhat ‘holier than thou’ claims that he is now answering a far higher calling than simply being the protector of Hell’s Kitchen; “Sometimes fear is the only weapon -- The gentlest weapon. We needed to stop him from doing more harm.”

Similarly as successful as Zdarksy’s penmanship is the artwork of Rafael De Latorre and Marco Checchetto, who along with inker Elisabetta D’Amico and colour artist Matthew Wilson, manage to imbue all the outraged and angry residents with a palpable sense of injustice. Furthermore, the illustration team impressively imbue the oafish government officials with all the arrogance required for so-called justice department agents to justly receive the odd smack in the mouth and kick to the head – especially when they’ve pencilled whacking a kid just because the adolescent bit one of them in defence of his terrified mother.

Writer: Chip Zdarsky, and Artists: Rafael De Latorre & Marci Checchetto

Daredevil [2022] #6 - Marvel Comics

DAREDEVIL No. 6, February 2023

Featuring an unbelievably tiring thirty-two panel sequence depicting Matt Murdock chopping up some tomatoes in a kitchen, Chip Zdarsky’s script for this comic probably did cause its readers to believe it was “the most shocking issue” of the author’s “landmark Daredevil epic yet”. However, such an accolade is arguably not a good thing when its due to a severely sedentary narrative, which only occasionally pops into life whenever the spotlight moves away from its titular character; “Would you mind prepping some garlic? Knives are to your right.”

Indeed, despite the pre-publication promises of "Marvel Worldwide", the actual highlight of this twenty-page periodical solely rests upon the shoulders of Elektra Natchios’ so-called “international incident” concerning an apparently undead incarnation of the United States Commander-In-Chief. This well-penned and intriguing confrontation between the deadly assassin and Frank Castle's presidential puppet is made all the more dramatic when an overconfident Iron Man smashes his way into the fracas, and gets swiftly ambushed by a pair of stooges armed with one nanometre thick Symkarian steel swords.

Unfortunately though, so pulse-pounding a predicament is just as short-lived as the rest of the publication’s rambling plot is long-winded, so soon gets swallowed up amidst the Man of Fear’s bemusing dialogue-driven desire for redemption with some of the world's more notorious B-List criminals. In fact, many a bibliophile will probably be left scratching their heads in wonder at just what the blind lawyer’s overtly-religious plan is for the likes of Stegron, Speed Demon, Stilt-Man, Agony and Bullet – Unless Murdock genuinely believes in simply busting the mass-murderers out of their lawful imprisonment on the Raft he is somehow doing God’s work..!?!

Desperately attempting to hold the audience’s attention with his drawings is Rafael De Latorre, who appears to squeeze as much action as an artist can manage from the aforementioned broth-making debacle. This conversational piece does admittedly contain one moment of melodrama when the Brazilian illustrator pencils felon Buck Cashman being asked to use a kitchen knife whilst Daredevil has his back turned to him. But even this potential threat is quickly quashed as flat as the vegetables being prepared for dinner once the felon quietly sets about crushing the plant with the flat of the blade.

 The regular cover art to "DAREDEVIL" #6 by Marco Checchetto & Matthew Wilson

Daredevil [2022] #4 - Marvel Comics

DAREDEVIL No. 4, December 2022

Swapping the dangerous streets of Hell’s Kitchen for arguably the even more inhospitable mountains of a secret island somewhere south of Russia, Chip Zdarsky’s narrative for Issue Four of “Daredevil” must have proved a curious experience for long-term fans of Hornhead. Sure, the Man Without Fear is still depicted battling ninjas towards the end of this twenty-page periodical’s plot in a genuinely pulse-pounding finale. But many a bibliophile will also feel as unfamiliar with the super-hero’s new surroundings as a trepidatious Cole North clearly does.

Indeed, one of the Canadian author’s greatest strengths in telling this comic’s story, is by doing so through the eyes and experiences of the “highly regarded detective”. Supposedly ‘stinking of regular people’, the police officer is clearly still unsure as to whether he’s made the right decision by following Matt Murdock’s alter-ego to this isolated location, and this uncertainty, evidently heightened when he encounters the formidably-sized Doc (Samson) Sasquatch, cleverly imbues the audience with similar reservations as to the titular character’s resolution “to leave his city behind” and “save the world from the violent and ruthless Hand.”

Also quite cleverly adding to this atmosphere of unwelcomeness, is the incredibly dislikeable Jab, a mercenary recruited by Elektra Natchios, who clearly feels the need to ‘stamp his supposed authority’ upon the newcomers – unwisely even trying to intimidate Daredevil himself with his fake bravado; “We’re supposed to follow some guy in a Halloween Costume who beats up muggers?” This disagreeable bully is ultimately put in his place by a sense-shattering sock to the jaw by North, after the one-eyed goon stupidly attempts to beat him up in the practice arena, and in getting bested helps settle both the reader, as well as Cole, into the ongoing tale’s foreign environment.

Equally as enjoyable as Zdarsky’s proficient penmanship though is Rafael De Latorre’s prodigious pencilling, which really helps ‘sell’ the unease experienced by Murdock’s friends and allies. In addition, the Brazilian illustrator’s layouts, combining the New York City cop’s fisticuffs alongside Daredevil and Elektra’s vicious scrap against a disconcertingly dark den full of undead warriors, is marvellously handled - imbuing every blow with a bone-crunching reality, and debatably fooling any onlooker into believing they're witnessing Matt overcoming his doubts rather than North.

The regular cover art to "DAREDEVIL" #4 by Marco Checchetto & Matthew Wilson

Daredevil [2022] #3 - Marvel Comics

DAREDEVIL No. 3, November 2022

Whilst “Marvel Worldwide” may well have tried to sell this particular publication’s plot to its readers as Daredevil “putting together a team” with which to lead the Fist, Chip Zdarsky’s script is arguably much more about providing an intriguing insight into Luke Cage’s mayorship of New York City. In fact, the former New Avenger probably steals the show from Matt Murdock’s alter-ego, despite never actually throwing a punch in anger at his holier than thou opponents; “I’m not Fisk. I’m actual power. And I have friends with magic hammers. You’ll find my proposal in what’s left of your table. Talk soon.”

Much of this ‘hook’ has to do with how underplayed the human mutate appears in his initial dealings with the Stromwyns. Having been ‘summoned’ at four in the morning to the nefarious socialites’ skyscraper, it would have been so easy for a lesser writer to pen Power Man angrily striding into their office and grumpily making his concerns clear about their housing applications. Instead, the Canadian author merely has Cage politely converse with the criminals until they start to threaten his daughter and son. Only then does he show a flash of temper, and that is limited to him simply pulverising the huge table between them.

Far more adrenalin-fuelled however, is the epic fist-fight between Daredevil and “the woman who trained Elektra.” Impressively putting the Man without Fear on the back foot straight from the start, this skirmish is incredibly well-paced, thanks largely to the pair engaging in a running battle across the Big Apple’s night-time skyline. Furthermore, it seems clear that in his current befuddled condition, Murdock is hopelessly outclassed by Aka – something which probably does not bode well for Cage considering that the martial artist is also apparently the Stromwyn’s personal assistant/body guard.

Working some mesmeric magic on this twenty-page periodical’s layouts is artist Rafael De Latorre, whose ability to pencil both Luke’s internal rage and Matt’s evident physical fatigue adds enormously to the scenes in which these characters appear. Furthermore, the graceful movement of Aka is wonderful to behold, and depicts a warrior at the very peak of her profession, as opposed to a somewhat hapless Hornhead, who seems slow and cumbersome in comparison.

Writer: Chip Zdarsky, Artist: Rafael De Latorre, and Color Artist: Matthew Wilson

Free Comic Book Day 2024: Blood Hunt/X-Men #1 - Marvel Comics

FREE COMIC BOOK DAY 2024: BLOOD HUNT/X-MEN No.1, May 2024

Described by its New York City-based publisher as the “thrilling first steps” into Marvel Worldwide’s “next monumental crossover event”, Jed MacKay’s script for this early glimpse into “Blood Hunt” definitely should have whetted the appetites of any bibliophiles anticipating the Structure’s all-out undead assault upon the living. In fact, the ten-page preamble debatably does an incredible job of informing its audience as to just how the vicious vampires are able to stalk their prey during daylight, and quickly hurling some of the Big Apple’s most recognisable super-heroes headfirst into the frightening fray; “Horray. Another unproblematic win for old Spidey.”

Furthermore, this “Free Comic Book Day” celebration shows straight from the start just how gory this multi-title epic is likely to be, by depicting the Man Without Fear almost nonchalantly disembowelling and beheading his ferociously fanged foes using the cable holding together his billy club. So violent an opening seemingly bodes incredibly ill for the survival rate of those wretched bystanders facing the blood-drinker’s series of “ambitious, coordinated attacks that put humanity on the defensive”, and this strong sense of desperation is only worsened when it becomes evident that Blade’s daughter, Brielle Brooks, is going to have to team-up with her father’s most hated nemesis, Dracula, if she hopes to escape the streets of Atlanta unscathed.

Equally as intriguing as MacKay’s “nocturnal war” though, is this publication’s second yarn “The Fire Still Burns”, which sees Eisner Award Winner Gail Simone essentially pen a solo Jubilee story in preparation for the American author’s upcoming run on “The Uncanny X-Men”. Initially focusing upon the government’s apparent dismantlement of Charles Xavier’s School For Gifted Youngsters, this enticing insight into Chris Claremont’s co-creation could so easily have become a disconcertingly dark reading experience.

Happily however, despite the firework-generating pyrotechnic encountering a rather unpleasant quartet of young mutant-haters in an all-star diner, the story does eventually end on a much more positive note, with the former gymnast finding the motivation she needed to rejoin Wolverine and Rogue. Indeed, coupled with David Marquez pencilling some mesmerising insights into the villainous antagonists now utilising Professor X’s home as their own headquarters, and this “glimpse of the future of mutant-kind” enjoyably establishes the two opposing sides for the battle to come.

Writers: Jed MacKay & Gail Simone, and Artists: Sara Pichelli & David Marquez

Daredevil [2022] #2 - Marvel Comics

DAREDEVIL No. 2, October 2022

Apparently kicking “the next year of Chip Zdarsky and Marco Checchetto’s landmark run on Daredevil off in explosive style”, the plot to this particular thirty-five page periodical predominantly consists of an extremely heated dialogue between the titular character and the enigmatic Robert “Goldy” Goldman. Happily however, the comic’s Edmonton-born author still manages to imbue his narrative with plenty of action, courtesy of Matt Murdock understandably soon losing his temper with his mass-murdering “old friend”, and some insightful flashback sequences. 

Indeed, quite possibly one of this publication’s greatest draws is how the villain almost affectionately remembers his time with the blind vigilante when they first met whilst studying at Columbia, and how the then ‘lawyer-in-training’ unsuccessfully attempted to rescue Elektra Natchios’ father from some heavily-armed kidnappers. This specific scene proves especially poignant as it depicts one of the blind vigilante’s most significant steps towards becoming the Man without Fear, as well as indicates that Hugo’s death was actually as a result of Goldman inciting a “trigger-happy cop on the edge” to fire straight at the hapless hostage, as opposed to the Greek diplomat’s demise simply being a tragic accident.

Equally as intriguing though is the way Zdarksy cleverly shows the audience just how highly Daredevil is thought of by his local community. Trapped beneath a huge pillar of fallen masonry following a catastrophic train crash, the super-hero appears to be completely at the mercy of his so-called guardian angel. But then a group of locals arrive to establish whether any people need rescuing, and bravely see off “Goldy” with a well-placed stone to the head. In addition, this scene shows precisely why the Black Widow’s former partner is so willing to put his life on the line for his people, as they ignore the imminent danger to themselves and unselfishly band together so as to save the partially-crushed crime-fighter; “Ribs have seen better days. No internal bleeding.”

Helping to provide “this oversized epic” with a gritty realistic look is Marco Checchetto, who alongside Flashback Artist Rafael DeLatorre, helps to sell every punch thrown and kick that connects. In fact, the action sequences set high up on an under-construction skyscraper may well cause many a fan of Hornhead to get giddy from the dizzying viewpoint; especially whenever Goldman decides to fall straight backwards and rely upon God to save him from a flattening fate.

Writer: Chip Zdarsky, Artist: Marco Checchetto, and Color Artist: Matthew Wilson

Daredevil [2022] #1 - Marvel Comics

DAREDEVIL No. 1, September 2022

Excitedly proclaimed “an all-new era of Daredevil” by its New York City-based publisher, Chip Zdarsky’s storyline for this opening instalment of “The Red Fist Saga” was probably rather positively received by the majority of “Hornheads” in July 2022, as the twenty-page periodical contains a plethora of fascinating plot-threads for them to follow. In fact, it’s arguably difficult to keep track of so many competing narratives, whether it be “Hell’s Kitchen’s guardian devil” departing his stomping ground for the last time, an old law school friend shockingly becoming a seemingly omnipotent villain, or a genuinely scruffy-looking Matt Murdock being repeatedly questioned by a mysterious ‘out-of-shot’ interviewer/interrogator.

Perhaps the most eye-catching scenes though, are those involving your friendly neighbourhood Spider-Man - who both webs his way into an altercation between the Man without Fear and Butch Pharris, as well as accompanies the costumed acrobat on a nocturnal rendezvous with Hammerhead’s criminal organisation. Oozing an almost palpable aura of desperately restrained savagery in their conflict with Wilson Fisk's son and the opposing sides' subsequent stand-off, these extremely tense skirmishes are perhaps only slightly marred by the brevity of their actual coverage in the comic book. 

Given much more 'screen time' is a genuinely depressing demise of a man who is cold-bloodedly shot simply for being in the wrong place at the wrong time, and then Robert Goldman’s aforementioned revelation as some all-powerful 'angel' who plans to look out for the blind lawyer. Pencilled by “superstar collaborator Marco Checchetto”, these events undoubtedly come as something of a surprise to the reader and set-up a captivating confrontation between the two former attendees of Columbia University which helps end the publication with a bit of a bang.

Similarly as sense-shattering is this comic’s secondary tale, “The Island”, featuring Elektra Natchios and Stick. Energetically sketched by Rafael De Latorre, and depicting the two martial arts experts initially tackling a heavily-armed contingent of Soviet Special Forces, before they turn upon each other. This ten-pager is debatably perfect in its mixture of adrenalin-fuelled action and tantalising mystery as to just why Murdock plans to build a secret base in the middle of nowhere.

The regular cover art to "DAREDEVIL" #1 by Marco Checchetto & Matthew Wilson

Crypt Of Shadows #1 [2023] [Part Two] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2023

Penned by Declan Shalvey to “haunt new fans and long-time readers alike this Halloween season”, the second half of “Crypt Of Shadows” opens with a pulse-pounding piece depicting a heavily-fatigued Daredevil fending off a literal army of deadly ninjas in a long-abandoned subway system. Aptly entitled “…Without Fear”, the six-pager quite succinctly showcases both that there is much more to the blind crime-fighter than simply being a phenomenal acrobat, as well as taps into the horror of poor Doctor Ted Sallis’ never-ending existence as the lonely Man-Thing, after the desperate scientist injected himself with an experimental serum in order to save his life.

Also adding an incredible amount of bang for your buck to this tale is Alex Lins, who does a first-rate job in illustrating Matt Murdock’s ‘wear and tear’, along with the adrenalin-fuelled fighting’s frantic speed. Furthermore, the Eisner Award-nominee quite wonderfully captures the formidable, hulking presence of Horn-head’s plant-based fellow protagonist, imbuing the giant “marshy mass” with a sad, quiet presence which starkly contrasts with all the flames, death and destruction occurring around him; “Where some see devils, other see angels. And they should be guided toward heaven.”

Arguably swapping out a sizeable portion of petrifying plot for some good old-fashioned Marvel Team-up shenanigans is “A Soul Worth Hunting” by Sarah Gailey, which quickly pits Jack Russell and Bruce Banner’s unholy alter-egos up against the overconfident arrogance of (Last Son of) Kraven the Hunter. Played with all the hubris this anthology’s audience might expect of a Sergei Kravinoff clone, this yarn does a solid job in exploring another of the super-villains ostentatious hunts, only for it to ultimately fail because he’s underestimated the anger-fuelled rage of his opponent.

Extremely engaging to the eyes, courtesy of Eder Messias’ lavishly-pencilled layouts, the story never misses a beat, and is only debatably disappointing due to the ex-Sinister Six member being so quickly dispatched miles into the air by the incredible Hulk. Indeed, the adrenalin-fuelled action abruptly ends just as Werewolf By Night appears to be squaring up to Kraven for a memorable close combat clash in the woodland, and many a bibliophile was probably therefore drooling at the imminent scrap ahead – especially as the Wundagore Mountain-born warrior is armed with the seemingly deadly Empyrion blade!

Writers: Declan Shalvey & Sarah Gailey, and Artists: Alex Lins & Eder Messias

Daredevil [2022] #5 - Marvel Comics

DAREDEVIL No. 5, November 2022

For those readers simply dipping into this ongoing series to witness its titular character completely ‘clean the clock’ of the ever- egotistical U.S. Agent, Chip Zdarsky’s script for Issue Five of “Daredevil” should have quite quickly brought them up to speed with Matt Murdock’s present-day life. Indeed, the Canadian author rather succinctly shows the Man Without Fear to have utterly embraced both his marriage to Elektra Natchios, as well as his seemingly formidable mission to establish “a new world order” as The Fist’s king.

Of course such bizarre cameos as Doc Samson making an appearance as a green-hued, giant yeti-turned-camp psychologist, and Foggy Nelson doing a disconcertingly acrobatic landing from a multi-storey rooftop takes a little bit of getting used to. But once these surprises are laid to rest and it’s firmly established that the now heavily-bearded horn-head is forming an army to fight a similarly-sized force of ninjas lead by a clearly crazed Frank Castle, the multiple Harvey Award-winner dedicates the rest of his narrative to simply telling a good old-fashioned tale of jaw-socking, covert infiltration; “You know the plan. We only have enough time to clear Block D.”

This edgily-penned penetration of The Myrmidon prison facility really lies at the heart of "The Red Fist Saga", and should wholly enthral its entire audience just as soon as Daredevil’s aircraft disgorges numerous bat-gliding warriors over the penitentiary's security perimeter. In fact, by the time Bill Everett’s co-creation actually confronts John Walker and a troop of Guardsmen in a dark, highly claustrophobic corridor, the tight tension in the air is already positively palpable; especially once the cocky West Coast Avenger begins piously claiming that God is on his side, and brazenly challenges Murdock’s alter-ego to simply “fight me like a man!”

Also helping to carry their fair share of this book’s storytelling duties is artist Rafael De Latorre, who provides some impressive, pulse-pounding panels throughout this publication’s climatic contest. Furthermore, the Brazilian illustrator’s layouts add plenty of pace to the proceedings, as well as somehow imbuing an onlooking Captain America with a genuinely dislikeable ‘holier than thou’ swagger when the Sentinel of Liberty sides with Tony Stark against Matt’s movement, and arrogantly declares that the Avengers are “bringing Daredevil in.”

The regular cover art to "DAREDEVIL" #5 by Marco Checchetto & Matthew Wilson

Daredevil: Black Armor #4 - Marvel Comics

DAREDEVIL: BLACK ARMOR No. 4, April 2024

Penning a genuinely pulse-pounding “final round”, D.G. Chichester’s narrative for Issue Four of “Daredevil: Black Armor” quite simply picks its audience up by the scruff of their necks and doesn’t drop them back down until towards the comic’s end when Tony Stark’s golden alter-ego makes a cameo appearance to help save the day. In fact, even then the Connecticut-born writer may well have some bibliophiles holding their breath as Iron Man momentarily contemplates just how the composite material armoured crime-fighter before him suspiciously broadcast a distress message “on the Avengers’ Emergency Channel.”

Much of this momentum is clearly due to the titular character running headfirst through Baron Wolfgang von Strucker’s underground colosseum, initiating a mass uprising by Mole Man’s numerous fungus-based moloids in the process. But to mix things up a bit, this comic’s American author also manages to show just what ‘Jack Batlin’ is capable of by having him successfully stand toe-to-toe against both the Hobgoblin and Sabretooth simultaneously, and impressively walk away the clear victor.

Perhaps however, despite all the aforementioned adrenalin-charged action, this book’s best moment comes following Daredevil’s failed attempt to get the surviving Hell’s Kitchen inhabitants back to the surface. Cut off inside a creaking, badly damaged tin can, the former “Epic Comics” editor pens a genuinely touching scene between the Man without Fear and a terrified Trina, which quite wonderfully demonstrates just how much the super-hero cares for the people who trusted him to save them. Indeed, the heartfelt sentiment between the young, claustrophobic child and her would-be rescuer is arguably the highlight of this book, and shows that Chichester hasn’t lost a step when it comes to the vigilante’s motivation, even after a twenty-five-year long break.

Also wasting no opportunity to imbue the storytelling with plenty of “Fwrak”, “Kwram”, “Twok” and “Thwik”, is Netho Diaz, whose pencilling really helps sell Matt Murdock’s flight through Hydra’s secret subterranean lair. Of particular note is the artist’s ability to show the increasing fatigue which falls upon Bill Everett’s co-creation as things slowly go awry with his evacuation plan, and how the street acrobat’s physicality markedly changes at the end of the twenty-page periodical, when a fighting fit blind lawyer confronts some ill-advised, knife-wielding muggers; “When’d it get so hard to intimidate people in this city?”

The regular cover art to "DAREDEVIL" #4 by Mark Bagley & Romulo Fajardo Junior

Daredevil: Black Armor #3 - Marvel Comics

DAREDEVIL: BLACK ARMOR No. 3, March 2024

Wasting very little time in setting up this mini-series' central cast “in the battle for their lives beneath the streets of Hell’s Kitchen”, the sheer pace to D.G. Chichester’s twenty-page plot for Issue Three of “Daredevil: Black Armor” is positively palpable. Indeed, by the time Matt Murdock, or rather Jack Batlin, has thrown no more than half a dozen punches against a formidable array of the Marvel Universe’s most prestigious villains, the majority of this book’s bibliophiles will surely be physically gasping for breath; “Stay down, you fool!”

Happily however, the “legendary writer” doesn’t simply pad this publication out with meaningless fist-fights, but instead intermingles some genuinely emotional moments within the adrenalin-stacked morass of bone-breaking, jaw-cracking mash-ups. Foremost of these is probably the less than favourable fate of brave Juan and poor Randi at the horrendous hands of Tekagi. Readers will doubtless be traumatized by the well-meaning pair’s apparently fatal fortune, and this apparent willingness to cull prominent personalities by Ann Nocenti’s successor helps dangle the Sword of Damocles over everyone else’s head too.

Just as convincing is the American author’s ability to make his audience believe, albeit momentarily, that a group of hapless captives possibly might overcome Baron Wolfgang von Strucker’s squad of cold-hearted killers. Nobly led by Daredevil and ‘coached from the corner’ by Doctor Calvin Zabo, the New Yorkers enthrallingly manage to use every trick in the book to ‘eke out’ a slim chance for survival. Albeit ultimately, the group are understandably overwhelmed by the likes of Batroc the Leaper, Tarantula and Lady Deathstrike.

Of course, another of this comic’s triumphs has to sit upon the shoulders of Netho Diaz, whose layouts provide a visual feast for the eyes – whether the illustrator is pencilling the Man without Fear fending off the deadly blows from the leader of Hydra, or simply energising his fellow captives into a final show of solidarity against their murderous opponents in the ring. Furthermore, the artist includes some nice nods to the titular character’s history, such as Murdock unknowingly donning the (reversed) yellow and red colour-scheme of his original costume, or Matt’s late father shadowing his son whenever he adopts his old man’s boxing stance.

The regular cover art to "DAREDEVIL" #3 by Mark Bagley & Romulo Fajardo Junior

Daredevil: Black Armor #2 - Marvel Comics

DAREDEVIL: BLACK ARMOR No. 2, February 2024

Barely allowing any member of its audience to pause for breath, this return to Hell’s Kitchen by D.G. Chichester certainly seems to carry the reader along for one exhilarating roller-coaster of a ride, courtesy of its opening potentially promising the adventure to come will tap into the popularity of the Amazing Spider-Man and the web-spinner’s super-popular Seventies’ series “Marvel Team-Up”. Sadly for some though, Peter Parker’s colourfully costumed appearance is simply a short-lived cameo. Yet no sooner has the wall-crawler departed than the American author hurls Daredevil into a vicious fist-fight against both the Hobgoblin and Sabretooth.

This somewhat one-sided battle is particularly well-penned, as alongside the antagonists’ deadly attacks, Matt Murdock must also desperately try to save a train-load of kidnap victims who appear destined to die deep below ground at the whim of “a mysterious foe whose powers trump them all!” Indeed, many a bibliophile’s brain may soon start spinning in bemusement during this action-packed sequence as the blind human mutate juggles all these distractions simultaneously as he continues to investigate just where beneath the Big Apple the fast-paced metro is taking its “scores of vulnerable New Yorkers.”

Equally as enthralling however, is this twenty-page periodical’s momentary pause to focus upon the imprisoned plight of the Fantastic Four’s famous arch-nemesis, Harvey Elder. Intriguingly written as a victim of his own grand designs and his poorly-judged alliance with “one of the leaders of the Hydra terrorist organization”, the muzzled Mole Man’s predicament as a captive may not initially garner all that much sympathy. But it’s clear from Daredevil’s reaction that the super-villain’s sway over the Moloids may well prove to be the solution to the hero’s deadly dilemma in the long run.

Likewise, Netho Diaz’s dynamic layouts ensure that all Chichester’s sense-shattering shenanigans are wonderfully brought to life. The aforementioned scrap between the titular character and the Hobgoblin is a particular highlight of this comic, with the “mainstay at Marvel Comics” beautifully pencilling the strain upon Murdock’s face as he dutifully attempts to save the innocent, whilst batting away numerous pumpkin bombs with his batons; “That ride of yours seems dangerously unbalanced.”

The regular cover art to "DAREDEVIL" #2 by Mark Bagley & Romulo Fajardo Junior

Daredevil: Black Armor #1 - Marvel Comics

DAREDEVIL: BLACK ARMOR No. 1, January 2024

Announced at the San Diego Comic-Con in July 2023, and set during D.G. Chichester’s “landmark run” with Daredevil, this first in a four-issue limited series arguably does a good job in both updating those readers who aren’t too familiar with the American author’s “fan-favourite era”, whilst simultaneously stimulating those bibliophiles who remember the Man Without Fear wearing his armoured costume with a previously never-before-seen adventure. Sure, it does take the Connecticut-born writer a good ten pages to recount the numerous changes made to Matt Murdock’s character during the Nineties. But that still leaves two thirds of this book with which the audience can be thrown into the “non-stop intense action and brutal fighting” of Jack Batlin’s mission to thwart a series of mysterious abductions across Hell’s Kitchen.

Furthermore, once the storytelling does finally get going it wastes little time in throwing the blind vigilante up against the formidable Sabretooth in a mouth-watering confrontation that arguably shows the mass-murdering mutant at his most terrifyingly savage, and wearing Jim Lee’s “instantly iconic costume” redesign to boot. This sadly short-lived skirmish proves an excellent hook to the upcoming shenanigans, particularly when it alludes to a master super-villain capable of stopping Victor Creed’s ferocious alter-ego dead in his tracks with a single command, and ordering him to “disengage” from a hero who has already humiliatingly battered the brute with his trademark batons.

Just as tensely penned is probably this publication’s almost obligatory exchange with Wilson Fisk, who is seen as a down and out Kingpin of crime scrambling around for a quality limousine in a disreputable garage. Seeming to not know the (new) incarnation of Daredevil isn’t the same blind lawyer he’d repeatedly locked horns with in the past, the dialogue between these two long-time foes is still top-notch, with the once “powerful crime lord” lacing his polite words with plenty of deadly menace and threat; “Time to earn some respect.”

Helping to add plenty of “Snappkt”, “Tnnk” and “Trrk” to the proceedings is the artistic team of Netho Diaz on pencils, J.P. Mayer with inks, and colorist Andrew Dalhouse, who together make Murdock’s “sleek new armoured costume” wholly believable. In addition, some of the splash-layouts showing Matt’s highly emotive struggle with his Catholicism and dedication to the law are incredibly well designed, and provide some wonderful insights into the titular character’s conflicting motivations.

Writer: D.G. Chichester, Penciler: Netho Diaz, Inker: J.P. Mayer, and Colorist: Andrew Dalhouse

What If? Civil War #1 - Marvel Comics

WHAT IF? CIVIL WAR No. 1, February 2008

Utilising a brief tale by Ed Brubaker entitled "The Stranger" as “a framing device around which the other two stories revolve”, Issue One of “What If? Civil War” probably helped the vast amount of its 58,909 readers in December 2007 appreciate just how wrong Tony Stark was to persecute his fellow heroes for not voluntarily submitting to the Superhuman Registration Act, as well as just how highly (and wrongly) Steve Rogers thought of his long-time friend before their differences arose. Indeed, Christos Gage’s plot for “What If Iron Man Lost The Civil War” lays the entire blame of the “Marvel Comics Event In Seven Parts” squarely upon Iron Man’s armoured shoulders for blatantly lying to the Sentinel of Liberty regarding his “plans for my twenty-first century overhaul.”

Admittedly, this particular eighteen-page epic undoubtedly lacks a lot of the emotional response Mark Millar’s mini-series generated, courtesy of a sugary-sweet plot which sees Cap team-up with an “honest” Shellhead so as to overcome a homicidal Thor cybernetic clone. But what it does provide is perhaps the only sensible solution to the super-powered pairs’ dilemma of just one government or person ultimately being responsible for both the training and secret identities of every costumed crime-fighter in the United States; “It’s not enough to be against something. You have to be for something better.”

Slightly more action-packed is “What If Captain America Led All The Heroes Against Registration?” by Kevin Grevioux, which manages to recreate much of the anger and resentment generated by the original 2006 crossover storyline. With Stark already dead following an Extremis injection, this marvellous reimagining unashamedly pits Steve Rogers and most of the Marvel Universe directly against the Senate and S.H.I.E.L.D. in a battle which somewhat resembles that seen in the “X-Men” comic book narrative "Days of Future Past".

Crammed full of pulse-pounding punch-ups against the impassive Sentinels, and the death of the spectacular Spider-Man, this dynamically pencilled fight-fest sets up Henry Gyrich and Maria Hill as two of the most despicably treacherous characters to inhabit a publication, with the deputy director’s cold-blooded murder of Jim Rhodes and subsequent framing of a dead Captain America proving particularly unforgivable. Indeed, such is the utter loathing engendered by Gyrich in his journey to become President and the despicable Hill’s ambition to be carried along on his coat-tails, that in many ways it is a shame this well-penned conspiracy from an alternative universe wasn’t awarded a limited series or ongoing title of its own.

Written by: Ed Brubaker, Kevin Grevioux & Christos Gage, and Art by: Marko Djurdjevic, Gustavo and Harvey Tolibao

Civil War #7 - Marvel Comics

CIVIL WAR No. 7, January 2007

Having read Mark Millar’s narrative for Issue Seven of “Civil War” it is arguably easy to see just why this comic book mini-series “polarized critics but… was a commercial success.” For whilst some within this publication’s 265,886-strong audience were undoubtedly rooting for Tony Stark’s mishmash of government sanctioned superheroes and supposedly reformed members of the Masters of Evil, those applauding Captain America’s defiance of the Superhuman Registration Act were probably left utterly disillusioned as to just what the Sentinel of Liberty was trying to achieve with his defiance.

True, Steve Rogers’ apparent obsession to knock the seven bells out of his armoured former friend for imprisoning so many of their team-mates inside the Negative Zone does cause the First Avenger to inadvertently wage an incredibly destructive war upon the very civilian population which he thought he was protecting. Yet, it’s difficult to imagine being bundled to the ground by a handful of emergency service operatives would shake the World War Two veteran so badly that he’d instantly remove his famous winged cowl and allow the authorities to place him in handcuffs; “Oh my god. They’re right. We’re not fighting for the people anymore, Falcon… Look at us. We’re just fighting.”

Similarly as disconcerting is this twenty-eight page periodical’s aftermath, which somehow tries to sweep all the damage and death caused by the Pro-Registration faction’s determination to incarcerate anyone who disagreed with their viewpoint, right under the rug simply because the likes of Mister Fantastic “cried for a full ninety-three minutes” upon seeing his estranged wife using her invisible powers to help with the clean-up. Reed Richards was so convinced that he was 'fighting the good fight' that he became partially responsible for the cold-blooded murder of Bill Foster. However, rather than be held accountable for such dishonourable actions, his experiments “on the whole” are apparently deemed “an enormous success” and Sue incredibly returns to her husband's side within the space of just a fortnight.

Tony Stark too seems to suffer no ill-consequences for his disappointingly dark actions, and is actually rewarded by the President of the United States with the directorship of S.H.I.E.L.D. Such pay-offs for unforgivably allying themselves with the likes of Radioactive Man, Venom and a seriously-deranged Thor clone really are quite baffling, and although the so-called “radicalised” likes of Spider-Man, Doctor Strange and Power Man form an Underground Movement to continue their opposition, Millar’s extreme lack of consequences for so many of this event’s main players probably left something of a bad taste in many bibliophiles’ mouths.

Writer: Mark Millar, Penciler: Steve McNiven, and Inker: Dexter Vines

Civil War #6 - Marvel Comics

CIVIL WAR No. 6, December 2006

The best-selling title of January 2007, at least according to “Diamond Comic Distributors”, Issue Six of “Civil War” must have fairly surprised some of its 259,251 readers with its depiction of both lead antagonists dipping into the dark well of the criminally “insane” in order to achieve their goals. True, Captain America quickly realises his mistake in recruiting the Punisher to his cause once Frank Castle cold-bloodily guns down the Plunderer and Goldbug following the villainous pairs’ attempt to join the rebels. But before this moment of murderous clarity, Steve Rogers seemed fairly content to allow the vigilante to access the Baxter Building’s incredibly complex security system for him and retrieve “the plans on the Negative Zone prison”.

Mercifully though, the Sentinel of Liberty’s lack of judgement doesn’t prove too detrimental to his anti-registration side’s plans to attempt a rescue of their super-friends incarcerated by the American authorities, and even provides Mark Millar with an opportunity to demonstrate just how much in awe Castle apparently is of the living legend when the vicious vigilante refuses to defend himself against Rogers during their distinctly one-sided fist-fight; “Get him out of here! And throw his guns in the incinerator! I must have been out of my mind to give that animal a shot on this team!”

However, the same realisation, and subsequent rejection of ‘dealing with the devil’ cannot be found with the increasingly flawed shenanigans of Tony Stark, who actually appears proud to be leading a group of shadily-sanctioned operatives such as the Taskmaster, Radioactive Man, Bullseye, Elektra and Venom into battle against many of humanity’s most morally-righteous freedom fighters. Indeed, this twenty-two page periodical’s double-splash conclusion provides an abundantly clear difference between the two opposing theologies, with Captain America’s so-called unlawful resistance comprising of some of Stan Lee’s mightiest heroes, whilst Iron Man’s ‘holier than thou’ agents strongly resemble the despicable Masters Of Evil…

Somewhat disconcertingly, this particular instalment to the “Marvel Comics event in seven parts” also arguably shows some signs of the impact its print deadline was having upon Steve McNiven’s artwork. Everything looks great up until the point, towards the end of the book, when the Golden Avenger unleashes his ambush upon the rebels’ prison break, and then, presumably due to the sheer amount of figures suddenly ‘on screen’ the Canadian artist’s pencilling momentarily deteriorates before picking back up again for the magazine’s final few pages.

Writer: Mark Millar, Penciler: Steve McNiven, and Inker: Dexter Vines

Civil War #5 - Marvel Comics

CIVIL WAR No. 5, November 2006

Apparently delayed by two months “to accommodate artist Steve McNiven”, Mark Millar’s plot to Issue Five of “Civil War” arguably focused far more upon Tony Stark’s fast evaporating relationship with Peter Parker than it did with the larger implications of “Marvel Comics' event in seven parts”, and in doing so demonstrated to this mini-series’ 272,584 strong audience just how desperate the billionaire industrialist had become to win the fight. In fact, the Scottish author’s similarly unscrupulous portrayal of S.H.I.E.L.D. Commander Maria Hill makes it difficult to imagine that their literary counter-parts and comic book fans alike would ever like/trust the two so-called heroic characters ever again; “Guess that’s thirty-one pieces of silver you’ve got now, huh? Sleep well, Judas.”

Similarly as disturbing as the egotistical pair’s utter arrogance in believing that they are completely justified to pursue any avenue, no matter what the cost, in order to secure victory over Captain America’s so-called rebels, is the Coatbridge-born writer’s debatably demeaning portrayal of “little Peter Spider-Man” as a seemingly helpless victim of Iron Man’s Machiavellian manipulations. Having finally found the courage to challenge Stark’s utilisation of a cyborg killing machine cloned from Thor, Web-head’s personality is seemingly regressed back to the human mutate’s adolescent days in the Sixties, when the teenager is still developing both emotionally and physically.

Resultantly, the unbelievably experienced costumed crime-fighter appears to do little else but surprisingly panic in the face of his pursuers Jester and Jack O’Lantern. Indeed, despite the pulse-pounding nature of the subsequent action sequence, which sees the two ‘reformed’ super-villains batter the wall-crawler into semi-unconsciousness with an exploding toy and a whiff of pumpkin gas, Millar would have any perusing bibliophile believe that a pitiful Parker’s alter-ego requires the help of the Punisher to defeat his two opponents, whilst the ordinarily hot-headed Johnny Storm is calmly shown serenely evading the entirety of S.H.I.E.L.D. Capekiller Team Nine and Eleven in the very next scene.

Happily however, despite this apparent ‘nerfing’ of Spider-Man’s super-abilities, this comic still provides plenty of sense-shattering entertainment on account of McNiven’s excellent pencilling. The aforementioned clash between the Web-slinger, Jester and Jack O’Lantern within the confines of a stinking underground sewer is superbly paced, with Stark’s colourfully-garbed recruits really socking it to the all-too vulnerable Parker within the space of a dozen beautifully illustrated panels.

Writer: Mark Millar, Penciler: Steve McNiven, and Inker: Dexter Vines

Marvel Two-In-One #3 - Marvel Comics

MARVEL TWO-IN-ONE No. 3, May 1974

Featuring a Gil Kane cover illustration which would actually go on to serve “as the template for Daredevil’s 1975 Slurpee” cup, as well as promising a sense-shattering shoot-out involving the Man Without Fear and a gang of well-armed Black Spectre soldiers, Steve Gerber’s narrative for Issue Three of “Marvel Two-In-One” probably ended up deeply frustrating the vast majority of its readers in May 1974. Indeed, with the bi-monthly’s repeated references to the storylines of other “Marvel Comics”, such as “Shanna, The She-Devil” and “Ka-Zar”, as well as the book’s unfinished plot disagreeably continuing straight into the next edition of “Daredevil”, it must have been difficult for this nineteen-page periodical’s audience not to see this publication as anything other than a blatant advertisement for some of editor Roy Thomas’ other titles.

To make matters worse, even the half-realised insight into “Daredevil’s ongoing battle with Nekra and the Mandrill” which this comic does depict isn’t arguably all that satisfying, courtesy of the Missouri-born author’s insistence to predominantly focus the opening third of “Inside Black Spectre!” on Reed Richards’ experiments upon the child-like Wundarr in order to design the super-powered alien a brand new costume. True, this sequence does lead to an enjoyable acrobatic display from Matt Murdock’s alter-ego, but it’s then rather trivialised by depicting the blind crime-fighter having to ask the Fantastic Four for his baton back like he was some hapless child who had inadvertently kicked their ball over into someone’s back garden; "Listen… I need your help. I, eh, left my billy club up on your roof, and…”

Adding to this book’s choppiness is an utterly whacky theatre date Murdock ‘enjoys’ with Foggy Nelson’s mysterious sister Candace. Featuring an actor dressed as Captain America who is then brutally gunned down by a suicidal Adolf Hitler lookalike, this farcical fuss seems to have been solely manufactured as a contrivance to have Matt chase after the Black Widow’s “bizarre aircraft” across New York’s skyline, and makes as much sense as Daredevil subsequently attempting to drop-kick Ben Grimm into submission so as to steal the Fantasticar from the top of the Baxter Building.

Resultantly, perhaps this comic’s one saving grace are Sal Buscema’s layouts, which together with Joe Sinnott’s inking, incredibly manage to bring many of the aforementioned oddities to dynamic life. The heroic duo’s fisticuffs against Nekra and her goon squad appear especially well-pencilled, with an enraged Ben Grimm tossing around his would-be attackers like they were skittles, and completely ignoring the best efforts of Natasha Romanova to bring the Thing down with her famous Widow’s Sting.

Writer: Steve Gerber, Artist: Sal Buscema, and Inker: Joe Sinnott

The Immortal Hulk #31 - Marvel Comics

IMMORTAL HULK No. 31, April 2020

Brilliantly bookending Issue Thirty One of “The Immortal Hulk” with a fascinating insight into the distinctly dark origins of Charlene McGowan, Al Ewing probably still managed to dishearten a fair few of this comic's 49,545 readers on account of him having to significantly cut down his coverage of the titular character’s highly-anticipated confrontation with the extra-terrestrial Xemnu as a result. Indeed, considering the build-up to Bruce Banner’s alter-ego matching brawn with the cybernetic alien, this publication’s eight-page long ‘fight footage' is frustratingly brief, especially when their frightful fracas is cut-short without a clear victor by the “science woman” translocating the green Goliath back to U.S. Hulk Operations within the blink of an eye.

Admittedly, this momentary displeasure bodes well for a rematch in a future edition of the ongoing series, and quite wonderfully plays into Dario Agger’s fiendish plans to portray “Xemnu from the Magic Planet” as a victim to the American media. But it is arguably such a pity that the pugilism couldn’t have continued for at least a sheet or two more so as to cover the arrival of Crusher Creel and his eagerness to test out his ability to absorb the engines of Gamma Flight's high-tech flying ship; “Ha. Know what I like best about these powers of mine? I got ‘em off a Trickster God. So it ain’t like there’s rules, exactly.”

Mercifully, the aforementioned flashback to Doctor McGowan’s time working for the Kingpin at a Mutant Growth Hormone (MGH) laboratory is thoroughly enthralling, and doubtless helped a lot of Hulk-Heads better understand the scientist’s desperate desire to once again work ‘legitimately’ when offered the opportunity by General Reginald Fortean. In addition, despite the fact she is clearly medically abusing “our source for mutant DNA”, Glowboy, the woman still manages to imbue her criminal actions with an aura of kindness, worrying that the young mutant “always looked tired.”

Regrettably however, Charlene’s scenes do somewhat disappoint when it comes to their artwork, with Javier Rodriguez’s pencils proving a bit too simplistic-looking when compared to the much more animated illustrations of Joe Bennett. It is abundantly clear from the pulse-pounding panels depicting Daredevil bursting through the drug centre’s sunroof that Ewing’s “old partner in crime from Royals” can produce some sense-shattering sequences. Yet somehow, the Spaniard’s sketches of McGowan debatably lack the dynamism Bennett provides the researcher with later on when she is talking down an enraged Hulk.

The regular cover art of "IMMORTAL HULK" No. 31 by Alex Ross

Doctor Strange [2015] #24 - Marvel Comics

DOCTOR STRANGE No. 24, October 2017

As cataclysmic confrontations between Karl Amadeus Mordo and this comic’s titular character go, Dennis Hopeless’ script for Issue Twenty Four of “Doctor Strange” must have pleased the vast majority of its 28,992 strong audience, with its excellent blend of heart-pumping shenanigans, multi-faceted strategies and dark incantations. Indeed, as conclusions to multi-part storylines go, the Missouri-born’s decision to depict the Sorcerer Supreme utilising his wits as opposed to simply relying upon exotic magical items, not only allows the rest of this book’s supporting cast to share in the ‘limelight’ as they collectively attempt to penetrate the Baron’s formidable protective bubble, but for once shows the Master Of The Mystic Arts relying upon his intimate knowledge of Hydra's “trumped-up pawn” so as to use his arrogant vanity against him; “No one was going to defeat you from the ground. Not while you held the Sanctum. I had to compel you to gather up your mindless beasts and ill-gotten spells -- and leave my house.”

Such a pleasantly surprising plot-twist also results in a far more physically dynamic battle than perhaps this publication’s bibliophiles were ordinarily used to, most notably Spider-Woman’s fantastic flying display behind the cockpit of the Phantom Eagle. Terrifically pencilled and coloured by Niko Henrichon, this “exhilarating… gun run in a zombie airplane with no roof” makes for a thrilling read, with Jessica Drew narrowly evading the tentacles of Mordo’s “great beasties of the Darkforce” and engaging in “a rousing round of hide-and-go death serpent”.

Likewise Benjamin Urich’s phantasmagorical swordplay against a “gangrenous horde” whilst inhabited by a spiritual Light Knight packs the Kansas State University alumnus' narrative full of scything sensationalism as the “investigative journalist for the New York newspaper The Daily Bugle” chops down an “abominable army of rot” with both his “luminous blade light” and bluster. It’s rare to see the chain-smoker portrayed as such an obvious action hero, and Hopeless’ dialogue strongly suggests just how much the reporter is enjoying himself by penning Ben confidently wading into a zombie host alongside a similarly super-powered Wilson Fisk.

Of course, this comic’s arguable highlight however, has to be the Baron’s utter astonishment at having been bested once again by a magician whose modern-day abilities are far inferior to his own. Dethroned by Strange’s astral projection “rope-a-dope” ruse, and faced with the combined physical might of such notable costumed crime-fighters as Daredevil, Luke Cage, Iron Fist, Cloak and Spider-Woman, the beaten Transylvanian nobleman is so enraged with frustration that he rather humorously stands indignantly transfixed before his foes spouting his unrealistic defiance until Matt Murdock mercifully socks him in the jaw.

Writer: Dennis Hopeless, Artist & Colorist: Niko Henrichon, and Letters: VC's Cory Petit