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Daredevil by Brian Michael Bendis Omnibus, Vol. I

It took me a while to write this. Because it took me a while to figure out what to say. I honestly believe that the combined Bendis/Brubaker run on Daredevil has been perhaps the single most impressive run on mainstream comics in the past decade. It isn’t post-modern or retrospective, it isn’t flashy or innovative. It’s just a collection of good and clever stories, well told. Some of them reflect the state of the superhero in popular culture, some of them explore the role and function of the media as a supreme court of arbitration, but most of them are just good and clever noir stories. If you are looking to pick up a single collection of comic books, I would recommend this. It’s nominally a superhero story, but at its heart it’s a gritty urban thriller. But that’s enough hyperbole, don’t you think?

Better the devil you know?

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Daredevil: Yellow (Review)

The rest of the story you know too well. It’s been told a lot of ways, with many other people in my life, but this is the way I choose to remember it when I think of you.

– Matt Murdock

The first part of Tim Sale and Jeph Loeb’s informal ‘colours’ trilogy (Spiderman: Blue and Hulk: Grey being the rest of it), Daredevil: Yellow has a lot going for it beyond the two talents behind a trilogy of iconic Batman stories (Haunted Knight, The Long Halloween, Dark Victory). Cynics would describe it as the last classic that Loeb wrote. The truth is that it offers a wonderful eulogy for the carefree comic book stories of old, simple and ridiculous fare with simple storylines and clear-cut good guys and bad guys. It’s a nostalgia trip – which means it isn’t quite as compelling as the duo’s work on Batman – but it does lend the collection a nice feel to it. If you are in anyway interested in the olden days of comic books without the retro-post-modernism that typically accompanies such fare, this is the story for you.

Daredevil's come on leaps and bounds from his early days...

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Kevin Smith & David Mack’s Runs on Daredevil (Hardcover Vol. #1)

It’s said that imitation is the sincerest form of flattery. It’s also been said that Frank Miller’s Born Again pretty much defined Daredevil. So it should really come as no surprise that Kevin Smith borrowed from that particular story wholesale for his relaunch of the character back in 1999. It’s not necessarily a bad thing – Smith has the decency to admit that the concept isn’t incredibly original – and in a way it provides a suitable note upon which to relaunch the title.

Bring your child to work day was not the resounding success Matt Murdock expected...

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Could Quentin Tarantino Make “Daredevil”?

Last week it surfaced that Quentin Tarantino was invited to make Green Lantern before Martin Campbell took on the project. Being honest, I am actually more interested in what his Casino Royale would have looked like – he was interested in directing the project and keeping Brosnan in the leading role. It certainly would have been different from Campbell’s reimagining of the Bond series. But during the interview, Tarantino revealed that he might once have been interested in the idea of directing a comic book movie, but that has passed:

So there’s a little part of me that’s like, ‘Wow, if I was in my 20s, this would be the genre I’d want to specialize in’. But they weren’t making them then, or at least not the right ones. But there also is an aspect where I’ve kind of outgrown that a little bit.

I don’t think I’m alone in thinking that Green Lantern – with it’s massive space opera tapestry, inevitable reliance on hockiness that really won’t stand up to deconstruction and newl-emerged status as an A-list comic book hero – would not be ideally suited to Tarantino’s unique skillset. I racked my head thinking of some – Black Panther, Ant-Man, Starman – but I think I kinda settled on the hero would perhaps best suit his style. Daredevil.

Can Tarantino save Daredevil?

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Daredevil by Frank Miller Omnibus Companion

I’ve always seen Daredevil as a peculiarly Catholic superhero. Don’t ask me why. Maybe it’s the devil imagery. Frank Miller clearly sees the character as an Irish Catholic (he admitted that he believes the character practices) in an interview at the end of the first omnibus. It just seems to fit. There’s just something so human and organic about the character – so vulnerable and flawed – that he seems like some sort of lost soul amidst the pantheon of god-like superheroes. A man torn between heaven and earth. The fact that probably the greatest story told using the character is titled Born Again and his mother is a nun (as close as you can plausibly get to a virgin, I suppose) doesn’t exactly hurt, either.

Daredevil puts a novel twist on flag-burning...

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Daredevil by Frank Miller & Klaus Janson Omnibus

Comics twenty-five years ago were a very different place. Wackiness was more than welcome – it was encouraged. Deus Ex Machina endings were so common it was a wonder that they ever put the god back into the machine in the first place. The thought bubble hadn’t quite faded from use. But – most importantly – the colours were all bright and cheerful and the phrase “grim and gritty” hadn’t yet entered mainstream vocabulary.

Enter Frank Miller.

Frank Miller wasted no time making his mark on the character...

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Should Marvel Look at Merging Some of Its Smaller Projects?

There’s been a lot of buzz generated about the new “shared universe” that Marvel is generating on-screen in the run up to The Avengers, being released in 2012. It has generated fantastic buzz and discussion given there are only really two scenes that have been screened suggesting how the the format might work: the presence of Samuel L. Jackson at the end of Iron Man, welcoming Tony Stark into a wider “universe” and the one-scene appearance of Robert Downey Jnr. at the end of The Incredible Hulk. Undoubtedly next year’s Iron Man 2 will feature even more treats (as will Thor and Captain America: The First Avenger), but it’s interesting to see the fuss that two tiny scenes have generated. I really do think that Marvel are on to box office gold here, and I also think it’s an interesting (and honest) attempt to transfer the medium of comics to film. However, these are all playing into one giant box office buster. Might it be worth taking the same concept and applying it to some of Marvel’s smaller screen franchises?

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Fighting over top billing...

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