Posts tagged ‘apanelfromeveryDaredevil’

DAREDEVIL #159: Frank Miller’s second issue

daredvil frank miler

I wish I knew how much of the above was Miller and how much was writer Roger McKenzie.  This is the first time we “see” Daredevil using his senses, by which I mean the focus is not on the drawing of someone that Daredevil is hearing/smelling–the focus is on Daredevil lifting his head, like an animal smelling and searching for prey, and the sepia panels behind DD’s head show how he forms the picture in his mind.


DAREDEVIL #158: The First Frank Miller Issue

daredevil 158

Frank Miller started working on Daredevil in the middle of an arc about Black Widow and crazy animal-men and Heather Glenn.  He was brought in because things were getting chilly with Gene Colan (and many other longtime Marvel creators) as the company was sold and Jim Shooter became unapologetically corporate.

On the splash page, it says: “From time to time a truly great new artist will explode upon the Marvel scene like a bombshell! … [The creative team] confidently predict newcomer–Lanky Frank Miller is just such an artist!”

After the splash, the first few panels (above) immediately show how different Miller is from his predecessors: Look at the focus on motion.  When the villain jerks her hair, you can see her head moving–even though there’s no motion lines in the panel.  Look at the way her thigh curves in and tucks her shin, in the top panel, to provide support for her kick.  Even Natasha’s clothes seem to move.

DAREDEVIL #155-157

captain america daredevil

McKenzie’s arc suffers from fill-in/bad artists, but in #156 Gene Colan comes on board, with Klaus Janson inking, and really you can’t ask for anything better than that.

DAREDEVIL #152-154: Appreciate Roger McKenzie

first appearance of Ben Urich

First appearance of Ben Urich.

Lots of people, me included, give Frank Miller credit for basically creating the Daredevil that we know today.  (Or, at least, the Daredevil we knew before Mark Waid took on the title two years ago and completely renovated it.)  But Roger McKenzie’s brief run saw the introduction of Klaus Janson, who was at least 49% responsible for the great art during Miller’s run, it was written in a “noir” style that Marv Wolfman had approached but never embraced, and it focused on Heather Glenn, who was a huge part of the changes in DD’s character during Miller’s run.  It also used Heather and Matt’s relationship in a way that we hadn’t seen before.  Although Murdock had shared his identity with Karen Page, Karen was never really integral to Daredevil.  She was a side character, like a bond girl.  Glenn is fully enmeshed in the storyline.

Really, really good stuff.

I understand that it’s easy to forget about McKenzie because Miller’s work was unlike anything that ever preceded it, and changed the entire art form.  But McKenzie was damn good, and he laid a solid foundation for Miller.

DAREDEVIL #148-151


Lots of drama with Heather Glenn, and Jim Shooter kinda turns her into a crazy lady.  I mean, like talking to her teddy bear crazy.

I’m not a big fan of this run, but it’ll be over soon.  Roger McKenzie will take over and do a decent job before being taken over by … Frank Miller.



The first Klaus Janson issue.  Look at those shades and inks.  He changes the entire look of the book.

Story-wise, DD busts his girlfriend Heather’s dad, who (unbeknownst to Daredevil) wasn’t a bad guy but was a victim of The Purple Man.  This means that in later issues Matt Murdock works to defend the guy who Daredevil put in jail.  I think this was the first time he did this, but Frank Miller played with this idea quite a bit–the vigilante gets the suspect arrested, but the lawyer makes sure the system treats him fair.



Bullseye is quick becoming a fan favorite, but he’s still relying way too much on elaborate traps.  Still, I think this is the issue where he started to matter.

Incidentally, this is also the first issue of Daredevil that I ever bought.

DAREDEVIL #144-145


Jim Shooter takes over as writer, and begins with two fill-in artists, Lee Elias (above) and and George Tuska.  These issues pretty much suck.

DAREDEVIL #140-143

bullseye giant crossbow

Bullseye is still doing the death-trap thing.  And then the Bullseye story goes right into a Cobra/Hyde story, with another deathtrap.


Kinda seems like an old James Bond movie or the Adam West Batman show.



Very strange story.  First of all, it’s another fill-in–this time with art by Sal Buscema.  Second, it’s about a junkie mom and her hemophiliac kid.  Daredevil almost doesn’t matter to the story.  The treatment of drugs, including injectable cocaine, is more explicit and dark than anything in DD before.  This is another example of Marv Wolfman changing the tone of Daredevil, and turning it into a grittier, reality-based book.

There’s also a terrorism thread in the story.

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