The newest volume of “Daredevil” recently won a handful of Eisner awards! You know what that means — time for me to tear this beloved series a new one.
Okay, just kidding.
Written by Mark Waid
Illustrated by Chris SamneeDaredevil suffers his greatest loss ever — and that’s just the start of the story!
Alone and helpless, Daredevil is hunted in Latveria!
Meanwhile the law firm of Nelson & Murdock undergoes a drastic change!
Perhaps one of the greatest strengths of Mark Waid’s “Daredevil” is how well it stands as an example of how to make an ongoing comic. Writing for the trade is a common practice these days, and while it is not necessarily a bad thing, it can make a reader walk away feeling like “nothing happened” in that month’s issue. While “Daredevil” certainly has its arcs and its crossovers like any other modern monthly comic, Waid does an excellent job of making sure something happens in every comic. Sure, this seems like the most basic praise, but let’s consider this issue. Yes, it is part of a larger arc, and one that will probably have its shadow cast across the ongoing for quite a while, but this doesn’t mean this seems just like chapter two of ‘Daredevil: Senseless’ (horrible title my own). This issue is a story within the larger story; sure, it might be a basic one of “Daredevil is trapped and tries to escape,” but there is action, there is emotion, and there is intrigue. Waid does not ignore his publication format, and has created a comic that reads just as fine in monthly installments as it does in trade.
That praise aside, the writing of this issue does not “pop” quite as much as in previous issues. The story is much more internalized than in previous issues, but Waid’s experiment in sensory deprivation is not as effective as what he has done with Daredevil’s radar sense. Interesting? Oh, without a doubt. Engaging? Not so much. Waid tries hard to make the reader just as claustrophobic as Matt is meant to feel, but even though he finds ways around using panel after panel of black space, the sense of urgency that should be there just isn’t. Even though the reader experiences this issue mostly from Matt’s point of view (or lack thereof), it still feels like we are watching him, rather than experiencing what he is going through. This has not been a problem in Waid’s run so far, but considering the potential long-term ramifications of this issue, it might not be the most positive example of what is to come.
The real reason to pick up this issue — like with most issues of this series, with no offense to Mr. Waid — is for the art. Last issue was Chris Sammee’s first on the title, and while he did some solid work, it wasn’t great, especially when compared to series artists Paolo Rivera and Marcos Martin. Since then, though, Samnee has kicked it up five notches. Every panel in this issue is ideally composed, and every page is laid out wih delicate care. You don’t need strange panel shapes and designs to be a master storyteller; all that it takes is knowledge of how to use the most basic quadrilaterals effectively, which Samnee has. His style may be different from Rivera and Martin’s, but he still brings an old school substance-over-style approach that helps preserve a sense of visual consistency with the two Ditko-tinged wonders. He is vastly aided in this endeavor by series colorist Javier Rodriguez, who truly gets to show off in this issue. Like nearly every issue before it, this one is a treat for anyone’s eyes, and a treasure for those who appreciate fine comics art.
Writing-wise, “Daredevil” #15 may not be quite as good as preceding issues, but it is still an entertaining read that sets up what is to come while still providing its own, albeit brief, story. Visually, though, this is a fantastic comic, and a beautiful work of art. After a slightly hesitant start, Samnee comes up right next to the giants that are Rivera and Martin, proving that he deserves to be a part of this Eisner-winning cast of talent.
Final Verdict: 8.0 – Reservations aside, this is a definite buy.
