Daredevil started a new arc this week, as the fabulously smart caption box on the front of the latest issue informed me. Of anything that Marvel has implemented over the last few months, the caption box on the front page which says “all-new story starts now!” has been the most useful, and the one which I desperately hope more publishers take advantage of. I know Image like to have you read every issue of a comic, but it’s nice to have a definitive point where you can start reading a book with relatively little background info and give the whole thing a try.
I’ve not heard much talk about Charles Soule’s turn writing Daredevil, unusually, given that his time with She-Hulk was so memorable. For those unaware, Soule is also a practising lawyer himself, and he brought that knowledge into his run writing Jennifer Walters in a convincing and arguably star-making performance as writer. Here, with Marvel’s other big lawyer, I’d not heard anything, to be honest. All had gone quiet.
Soule’s run has started with the gambit “he’s hidden his identity again” and is running from there, with the big reveal of how the character managed it looking to be the big hook of the overall narrative. This current arc though, seems like a deliberate step away from the standard type of Daredevil story and an attempt to try something different and new with the character – hurling him into a crime caper in China, where he’s participating in a poker tournament. It’s all fairly simple to keep up with, although the narrative breaks from Matt Murdock across to Daredevil slowly introduce a more confusing thread, as we reveal that Matt’s activities are just a bluff for his alter-ego to investigate something else.
Which is quite neat, bluffing the reader into thinking this was Matt Murdock trying to make some extra money when actually there’s some kind of villain in the hotel he’s actually trying to get closer to. It draws from the Waid/Samnee characterisation of Daredevil before pulling away into something different, and perhaps more in-line with whatever the Charles Soule iteration of Daredevil will be. As someone jumping on the issue with this arc, it was a little disappointing to realise that the Matt Murdock I’m reading about is actually lying to me, so I don’t get to see what his actual character is – but then hey, I suppose that’s character as much as anything.
So I was fine with the story, which takes a few interesting detours although does feature a slightly dour, less appealing version of Matt Murdock than the last few years have gotten us all attuned to. With Goran Sudzuka presenting him as basically a blank slate for the entire issue as well, the comic doesn’t make him a particularly compelling protagonist, which slows the issue down and draws things out in order to make the bluff stronger. We’re holding to the interest of the game itself to pull us through the pages, tension building up because we want to see if he’ll win the tournament or not.
Sudzuka is a ridiculous artist who draws a face on every background character, merges the background into the foreground during fight scenes as a way to break panels apart, and generally does incredibly impressive work throughout. His take on the Casino captures the mix of shine, sleeze and dirt which you feel whenever you walk past a gambling table. There’s glamour and elegance, but at the same time everybody looks slightly discomforted by the experience and holds a slight grimace – when you transfer gaze from Daredevil to the people stood around him, things feel sinister and claustrophobic in a completely natural way. It’s not that everybody is out to get him here, it’s just that this is what casinos feel like.
The most noticeable aspect of the comic, though, is the colouring, which I’m not sure I enjoyed. Daredevil is not meant to be a bright comic, but this issue seemed surprisingly grim and dour for what was meant to be a high-stakes poker tournament. Matt Milla uses reds and blacks for the scenes set in the casino, mirroring the look of a roulette wheel but muddying and hiding quite a lot of Sudzuka’s work. Scenes outside the casino drop the red for a dark blue and dark green respectively, which means the whole issue feels less flashy than perhaps it could.
The casino loses sheen, the location work from Sudzuka doesn’t have much pop, and the fight scenes look grimy and harsh (which is the part of the colouring choice that really works nicely). Partway through the issue is a fight scene set in the astral plane, with Daredevil taking on a mind-reader, and it looks drab. Sudzuka does some really nice work on one panel in particular which has a snowy mountain as the backdrop. Daredevil and his assailant have a fight scene laid over the top of the mountain, their movements and swipes of swords throwing up snowy paths down the face of the slope and providing downward momentum which speeds up as the page reads onwards.
However, the colouring mutes absolutely everything, reducing the impact of the sequence dramatically. Perhaps not every superhero comic should have a bright shine to it, but this issue of Daredevil absolutely feels like it needed a pick-up. With everything muted (even the whites don’t have the gleam you’d see in, say, Moon Knight) there’s nothing to grab your immediate attention, and it’s easy to lose tracking on which panel to read at what time. I don’t have any of those pages to show you, though, so uh, just take my word on that one I guess. The preview pages are slick.
Letterer Clayton Cowles picks up for the reader and offers a route through some of the more dull pages, but it shouldn’t have to be presented like that – with a more dynamic colouring style, like as seen once Daredevil appears on the pages at the end of the issue, the artwork would fit the style of the script in a more convincing manner.
As things are, a reasonably solid comic trades in style for a moody atmosphere which doesn’t quite feel right for what we’re being shown. I found Daredevil #8 to be a mostly fine comic which just feels dull, slowed down, and less effective than it could have been. It’s certainly not Sudzuka holding the issue back, as he sets up the pages in sterling fashion, with a series of brilliantly constructed moments scattered liberally throughout the pages. And whilst Soule’s narrative gambit does hold back on Matt Murdock’s personality, he does offer an interesting story. But the colouring choice really feels like it holds things back, here. I still think the issue was decent, but it loses a lot of razzle-dazzle in an Boardwalk Empire-style palette of dour dullness.
Writer: Charles Soule
Artist: Goran Sudzuka
Colourist: Matt Milla
Letterer: Clayton Cowles
Publisher: Marvel Comics