shout at the Devil

continuing my ruminations on the Daredevil v2.0 ...

"Wake Up"
v2, #16-19
Brian Michael Bendis, David Mack, Mark Morales, Pond Scum

this story arc marks the entry of critically-acclaimed and fan favorite writer Brian Michael Bendis into the DD mythos. nimble enough to offer varied fare like crime noir (Jinx/Goldfish) and its superhero equivalent (Powers), as well as straight-up capes (Ultimate Spider-Man), Bendis seemed a perfect fit for a title like DD, whose themes of justice and sanctity of the law coupled with superheroing was right up his alley.

for his debut, Bendis throws everyone for a loop when he makes intrepid Daily Bugle reporter Ben Urich (Joey Pants in the movie) the central character and shows events from his POV. in fact, DD barely even makes an appearance in the first 3 issues, except in one young boy's fantasies. the premise is that the boy, Timmy, has withdrawn into himself after witnessing a confrontation between Daredevil and Timmy's father, the low-rent lameass villain Leap-Frog. something happened there, and with an abusive mother, Timmy just doodles and draws and narrates the story in his mind over and over. his classmates think he has a cool comic collection but finds him weird (aren't they all).

Ben risks being yelled at by notorious blowhard Bugle chief J. Jonah Jameson, because he's supposed to be covering the Kingpin trial (a retroactive story, we see). see, wouldn't it be cool to have supporting characters refer to each other in the movie equivalents?

Jonah: "the X-Men? a menace! if they sue us, give that shyster Murdock a call!"
Robbie: "they already did. and Murdock just turned us down. something about a conflict of interest."
Jonah: "why, that myopic sonofa-!"

David Mack switches chairs and churns out the art this time. we're all familiar with his painted work, and it usually works more often than not. however, those who expected an action-packed storyline (but they shouldn't, if they see the name 'Mack' on the credits) would rather be disappointed. Bendis goes for a layered story, and Mack obliges with his patented painted broadstrokes. look, he even got Leonardo DiCaprio to model as Peter Parker (eat that, Tobey Maguire!).

but then of course, if you see pages like this, you'd really think, 'why would i be paying $2.99 for something my little brother could draw?'. but then you're missing the point.

anyway, it turns out that what really happened was ... Timmy was instrumental in winning the day. and that kind of experience was traumatic.

well, duh! we all could have saved $9 if Bendis just revealed this 3 issues ago! i think he dragged out the story to give his pal Mack a few more bucks (kidding!).

not a bad debut for Bendis, but not a "stop the press" one ... especially for spoiled fans. i personally like his work right after the next story arc.

"Playing to the Camera"
v2, #20-25
Bob Gale, Phil Winslade, James Hodgkins, David Ross, Mark Pennington

September 2001 found DD being written by screenwriter/producer Bob Gale (Back to the Future series, 1941), and despite the artwork being handled by Phil Winslade, people probably stayed away because the covers were still being done by David Mack (kidding!). it did have a great premise: what if the ordinary joe on the street sued a superhero? trouble is, its not just an ordinary guy bringing a lawsuit - its philantrophist Samuel Griggs. and he wants the Nelson/Murdock firm to take the case, by virtue of principles. which makes sense because property damage always occurs during a big superhero/villain brawl. however, i thought such damage had always been insured; maybe that was for public buildings, structures and the like, not private property. anyway, aside from the secret ID pickle he faces if he takes the case (attorney, sue thyself), he detects that Griggs is telling the truth, and he was nowhere near Griggs' estate when the alleged damage happened.

"... for swinging without a license."

the landmines continue: Griggs holds a presscon even before Foggy and Matt officially take the case, and when the question comes up on how to serve DD himself, their intrepid legal secretary Elaine Kendrick hires old enemy The Jester to draw DD out and thus get served. and not to mention all the talking heads on TV have their own opinion, equally dividing the populace. if this were really happening in New York, it would be ratings heaven. brilliant angle for Mr. Gale, choosing to frame a story from the less-obtrusive details of daily superhero life.

"uh ... nothing ... because you'd be taking this case for free
because i'm such a hunk. a blind hunk, but still a hunk."

DD hires a lawyer, Kate Vinokur, to take his case (and pay in cash) and duke it out essentially against himself and Foggy. just when a settlement is about to be reached, Griggs rocks the boat against orders and pushes for a trial. his "DD impostor" theory falling apart, Matt catches a break when another witness corroborates the events in Griggs' estate that same night. it turns out this new witness, Paul Bradlee, and Griggs have the same shrink. Matt deduces the two must have been given post-hypnotic suggestions by this 'shrink' ... who turns out to be Miguel Eloganto, a.k.a. the Matador (DD's rogues gallery has more than a fair share of losers). however, bringing him face to face with Griggs, Eloganto reverses himself and disavows any knowledge of the whole thing; Griggs doesn't know him either. you can feel his frustration; i'd personally smash both their heads together, if i had a good lawyer.

so, jury selection commences then the trial begins. judge wants Kate's client to show up, but of course, Matt and Foggy have to be in the same courtroom as well. what to do, what to do? Daredevil does arrive, but Kate, having developed an attraction for the man in red, instantly realizes its not the same guy. she then tries to call DD's private cell just to find out what's going on, and thus we have a great scene for a great trial movie.

oh no ... Daredevil reveals his secret ID ... again.

only a shout-down by the judge about the use of cellphones in the courtroom prevents more drama. Kate is incensed about not being privy to DD's plan, but goes along with it anyway. and when DD finally gets called to the stand, he cleverly puts the ball back on the prosecution's court, challenging them to prove that it was really him marching into Griggs' office dragging the Matador. tensions rise further, when Matt and Elaine march in with a tape showing DD swinging by Times Square the exact same moment this other 'DD' was being cross-examined. you can imagine the chaos in the courtroom and the judge's skyrocketing blood pressure.

"i'm ... Ben Affleck!!!"

and the straw that breaks the camel's back crashes in thru a window: a third Daredevil! Terrence Hillman, announcing to everyone that he is Daredevil, hands Griggs a $50K check to cover the original damages, and says he's retiring, puts further doubt about the DD on the stand. Hillman says that's his replacement. now since the "wrong man" was put on trial, the judge declares a mistrial before expiring on the way to Beth Israel Medical Center. just kidding about the expiring part.

so what the hell is going on??

turns out everything was just a rat maze drawn up by the Ringmaster (another loser), to test his new false memory technology. everyone involved - Griggs, Bradlee and Eloganto had false memories implanted in them, and designed to trigger accordingly as the scenarios evolved. since there isn't any law against implanting false memories, DD allows Maynard Tiboldt to walk free.

uhhh ... could this be the ultimate final solution to Civil War? maybe we can get Steve Rogers back?? helloooooo????

anyway, the DD on stand was none other than Peter Parker, the Spectacular Emo Man. Hillman was just a wildcard (which the Ringmaster was impressed with), putting himself in debt to come up with $50,000 and really just wanting to impress a girl. like Dan Hill said, i know its crazy but its true.

hmm ... those words could be taken out of context ...

three nitpicky things:

i have quibbles with the art, mostly. Phil Winslade seems to be going for a 'throwback' feel, but some of it seems forced and body contortions are more painful than fluid. and i know Daredevil is referred to as 'Hornhead' but those things are reeeeeaaaaally huge. i'm surprised Peter or Kate didn't start calling him Horny (well, in Kate's case, that might be a tad unprofessional).

"and i resent you media types referring to me as the Horny Devil!"

there's also the 'case of the evolving hairstyle'. when Elaine Kendrick starts working for them, she had this neat schoolgirl 'do with a simple clip. she thinks she can score with Matt.

by the time the investigation goes underway, she's now seen with some kind of punk rock chick mullet.

and on the final day of the trial, she has this boy's bob thingie going on.

maybe Winslade was drawing his girl during the course of this story arc. but these issues came out twice a month (post 9/11), so could we blame pressure and deadlines here? but i would think you wont forget designs especially if you're constructing a story within a short time frame. its not like the next issue came out six months later. what's that, Winslade? you're claiming artistic license? o-kay. sounds like a good explanation as any. works for musicians who can't be beholden to proper grammar. (okay, i think the second was drawn by Dave Ross)

here's another example of the hair thing (and possibly even anatomical incorrectness). when we are introduced to Rene, Kate's assistant, she was this school-marmish redheaded mouse. much later, we see her again, with long, gorgeous hair, and sporting quite an elegant figure. i guess Dave Ross never read the previous issues. or women just start primping and getting makeovers when Daredevil is around. he's that hot.

speaking of relationships, what does this scene connote, if at all?

does it mean that Matt and Kate will be hooking up soon, and we are being teased as to what might eventually happen? two finely built human specimens, on the road to knocking boots? Mr. Gale really is a movie guy.

too bad, after all is said and done, Kate learns the hard way and saves herself some future grief.

"duh?"

the story ends with Matt and Foggy knocking back drinks in a bar, and Matt ruing the fact that Kate and him could never work out now. Foggy cracks that Kate would still be contacting him, since she still needs to bill him for services rendered. to this, Matt laughs heartily, almost sadistically even. would Kate be billing Daredevil, which means she either stays on rooftops at night to catch him, or hire the Jester again to serve the bill. or walk up to Matt himself and slap him with an invoice. either way, i hope Kate got paid.

mistrial. heh.

no sympathy for the Devil

recently, i finally got to update myself on Daredevil, an iconic character that didn't translate well on the big screen. really, i'd be scared more of Batman skulking around dark alleyways, although DD could probably find me a lot faster and know a lot more about me. and i would hire him as my lawyer in case i have to sue Batman. not that we would win, but am sure Bruce would rather settle out of court.

i remember the Daredevil reboot back in 1998 (when i started semi-collecting again back in Orlando) and it was such a big deal because they were getting Kevin Smith to write it. Frank Miller raised the bar so high that the succeeding writers had to make it work (Ann Nocenti) or else (D.G. Chichester's 2nd run, anyone? but i confess to liking "Tree of Knowledge").

that being said, let's take a walk in the park that is Daredevil version 2.0.

"Guardian Devil"
v3 #1-7
Kevin Smith, Joe Quesada, Jimmy Palmiotti

DD enters a new chapter in his life by having ... a baby! dumped by perennial girlfriend Karen Page, Matt seems lost and even his attempt to confess to a priest is interrupted by criminal activities. a Mexican Virgin Mary leaves her baby to him and all sorts of mysterious (hint, hint) things occur. partner Foggy Nelson is charged with murder. the child could be the risen Savior ... or not. Matt is confused like a teenage girl who can't choose. then Karen discovers she has AIDS and is used against Matt, furthering his confusion. not knowing whom to trust, he approaches Dr. Strange and Mephisto himself. turns out he got injected with some kind of drug which made him open to certain suggestions ("stab yourself in the eye! wait, that'd be useless!"). Matt's been played like a yo-yo, he should have just checked in at Toys R'Us - i heard they have a shortage of those toys. i guess being blind isn't all that cracked up to be.




not knowing what to do with a baby, he even enlists his always-available-booty call Natasha Romanova (the Black Widow) for baby duty, resulting in some of that patented Kevin Smith brand of humor ("he's got your grip.")

taking shelter with his long-lost mother in a church, he finds Karen in there as well. not to mention notorious assassin Bullseye (like Smith was going to write a DD story arc without him)! though we have to mention the fact that Colin, i mean ... Bullseye only misses with Daredevil, he hasn't missed when dealing with DD's friends. let's just say a church is not the safest place to be, if you have someone like Bullseye walking around.

this perhaps results in the best death in Marvel at that time - the demise of a whiny ex-hooker with AIDS. so far, they haven't resurrected her yet.

turns out everything - baby, AIDS, Bullseye, Foggy murder, etc. - was engineered by Mr. Special FX man himself, Mysterio (a.k.a. Bubble Head). a third-rate Spiderman villain, Quentin Beck couldn't find Peter Parker to star in his swan song (brain tumor and lung cancer). so he picks ... Matt Murdock. thanks to the Kingpin (who was then no longer the big Kahuna, but he appreciated the irony of helping Mysterio), Beck builds a Jerry Bruckheimer vehicle and almost drives Murdock to the edge, costing him Karen.

"i ... hate ... fishbowls!"

notes: reading the whole 7 issue run again, after all these years, still confirms what my friend Jego said when i lent him the whole shebang back then - "Kevin Smith has a diarrhea of the typewriter". man, the guy is wordy. and Mysterio? i applaud Smith's efforts to make a C-list villain go out on top. but fishbowl head ... ehhhh. not to mention, Smith's wrestling efforts with the keyboard seemed to contribute to the lateness of the title, and with the other political shitstorms going down in Marvel at that time, Mysterio was well and alive at the same time he was supposed to be dead. talk about Marvel's policy on killing!




"Parts of a Hole"
v3 #9-15
David Mack, Joe Quesada, Jimmy Palmiotti, David Ross, Mark Morales, Rob Haynes

with Joe Q establishing himself as a power broker within Marvel (due to the success of his handling of the Marvel Knights division - never mind the lateness of some titles), he brings in David Mack, otherwise known as the Guy Who Draws Kabuki, to write the next story arc. thankfully, we aren't subjected to too much of Mack's philosophizing and subtext analysis, although there is enough not to leave a doubt that it is Mack steering the ship.

the arc introduces a female character who isn't in control of her destiny and spends most of her screen time confused (a Mack specialty?), or exhibiting behavior driven by her misguided state. especially if the misguiding is being done by the Kingpin. Maya Lopez, gifted pianist, dancer and boxer, is being set up by Wilson Fisk, her guardian, to ultimately cross paths with Daredevil. she believes that Daredevil killed her father years back, and now, payback's a bitch. by the way, did i mention that Maya is deaf?

DD and Kingpin are opposing magnetic forces, both ultimately drawn to each other for yet again another conflict. this time, it starts with a Nelson/Murdock client who wants to spill beans on Fisk, being murdered right in their offices. Matt knows who ordered the hit; the Kingpin, right in the middle of rebuilding his criminal empire, dangles Maya in front of Matt to provoke an appearance by Daredevil. when Maya - now sporting the fitting nickname Echo - finally tangles with Daredevil, he fails to enlighten her as to his identity (lip-reading can be so confusing when you're being kicked in the face).

quick note: the playground mano-a-mano between Ben "I'm an Oscar Winner, Dammit!" Affleck and Jennifer "I Can Kill You With Just My Cuteness" Garner in the Daredevil movie was taken from the fight sequence in this storyline. although obvious changes have been made, the least of which is the female character.

if you think about it, this sequence does not make sense, position-wise*

* wait ... Maya lifts one end to whack him in the face, DD flails to the opposite end, just in time to meet the onrushing plank thanks to the dynamics of the see-saw. got it.

their second encounter results in a wounded ex-girlfriend, the Black Widow. by their 3rd, DD knows that he has to finish it once and for all. Mack hits the right notes with their duel in balletic grace, interspersed with flashbacks of Wilson Fisk growing up as bullied and ultimately the bully. conflict and isolation shapes his 'vision' on how to get far in the world, while Matt's loss of the same (literally) defines his destiny.

Matt reveals his identity to the ... oh, make that the 32nd girl in his life

the best and the worst parts here is seeing the Kingpin bite the dust twice - once from being shot several times and falling over to the East River, and the other taking point-blank shots from Echo herself. and each time, just like any fiendishly and deliciously annoying villain worth his salt, he rises from the dead.

what are they shooting him with? pellets???