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Daredevil (1964) #158-161, 163-172
Daredevil by Frank Miller & Klaus Janson, Vol. 1
A classic Marvel hero defined by one of comics' greatest visionaries! A Marvel Comics mainstay since 1964, Daredevil got a new lease on life in a landmark 1979-1983 run by writer-penciler Frank Miller and inker-penciler Klaus Janson, whose daring reinvention of the character quickly made Miller one of the biggest and most influential stars in the comic-book industry. Miller put his own stamp on established cast members such as reporter Ben Urich, femme fatale Black Widow, mad assassin Bullseye, the saw-fisted Gladiator, and monstrous crime boss Kingpin. Miller also introduced Daredevil's mysterious mentor Stick, deadly ninja foes the Hand, and Matt's long-lost love Elektra, a beautiful assassin who would become one of Marvel's most memorable characters. Mixing traditional super-heroics with mysterious martial artistry, doomed romance, and dark personal drama, Miller's character-defining DD run is collected across three titanic trade paperbacks! Collecting Peter Parker, the Spectacular Spider-Man #27-28, and Daredevil #158-161 and #163-172.
336 pages, Paperback
First published November 19, 2008
440 people are currently reading
1276 people want to read
About the author
Frank Miller
1,350 books5,301 followersFrank Miller is an American writer, artist and film director best known for his film noir-style comic book stories. He is one of the most widely-recognized and popular creators in comics, and is one of the most influential comics creators of his generation. His most notable works include Sin City, The Dark Knight Returns, Batman Year One and 300.
Librarian Note: There is more than one author in the Goodreads database with this name.
Librarian Note: There is more than one author in the Goodreads database with this name.
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January 27, 2019
Daredevil by Frank Miller & Klaus Janson volume 1 contains Peter Parker, The Spectacular Spider-Man #27-#28, and Daredevil #158-#161 and #163-#172.
For a lot of his life before this volume, Daredevil was strictly a b-lister, a poor man's Spider-Man. In this volume, even before Frank Miller takes the writing reins as well as the art, begins the shift toward something more.
Quite a bit of what would later wind up on the Netflix show is introduced or refined here. Ben Urich deduces Daredevil's identity. Bullseye firmly establishes himself as Daredevil's arch-nemesis. Elektra is introduced. And probably the most impactful, the Kingpin and Daredevil lock horns for the first time. People forget that The Kingpin was a Spider-Man villain for a decade before he entered Daredevil's life.
The Spider-Man tales are Frank Miller's first experience with Daredevil, helping a blind Spider-Man take on the Masked Marauder. They aren't really linked to the rest of the tales other than featuring Daredevil. The Daredevil issues feature Black Widow, Daredevil's current girlfriend Heather Glenn, Bullseye, The Gladiator, the Mauler, Doctor Octopus, Bullseye, Elektra, and the Kingpin. That glosses over a lot of stuff, like Daredevil trying to stop a rampaging Hulk and winding up in the hospital.
With Roger MacKenzie at the helm, Daredevil was battling street level villains. Once Frank Miller takes the reins, the crime element increases exponentially and Daredevil gets caught in the Kingpin's orbit. Frank Miller's art is still in its embryonic phase, not yet where he would end up on Dark Knight Returns a few years later, but still a couple notches above a lot of the artists of the time period.
Daredevil by Frank Miller & Klaus Janson volume 1 is the beginning of Daredevil's metamorphosis from second-rate poor man's Spider-man to what he would later become in Miller's hands. Four out of five stars.
For a lot of his life before this volume, Daredevil was strictly a b-lister, a poor man's Spider-Man. In this volume, even before Frank Miller takes the writing reins as well as the art, begins the shift toward something more.
Quite a bit of what would later wind up on the Netflix show is introduced or refined here. Ben Urich deduces Daredevil's identity. Bullseye firmly establishes himself as Daredevil's arch-nemesis. Elektra is introduced. And probably the most impactful, the Kingpin and Daredevil lock horns for the first time. People forget that The Kingpin was a Spider-Man villain for a decade before he entered Daredevil's life.
The Spider-Man tales are Frank Miller's first experience with Daredevil, helping a blind Spider-Man take on the Masked Marauder. They aren't really linked to the rest of the tales other than featuring Daredevil. The Daredevil issues feature Black Widow, Daredevil's current girlfriend Heather Glenn, Bullseye, The Gladiator, the Mauler, Doctor Octopus, Bullseye, Elektra, and the Kingpin. That glosses over a lot of stuff, like Daredevil trying to stop a rampaging Hulk and winding up in the hospital.
With Roger MacKenzie at the helm, Daredevil was battling street level villains. Once Frank Miller takes the reins, the crime element increases exponentially and Daredevil gets caught in the Kingpin's orbit. Frank Miller's art is still in its embryonic phase, not yet where he would end up on Dark Knight Returns a few years later, but still a couple notches above a lot of the artists of the time period.
Daredevil by Frank Miller & Klaus Janson volume 1 is the beginning of Daredevil's metamorphosis from second-rate poor man's Spider-man to what he would later become in Miller's hands. Four out of five stars.
December 4, 2021
This collection, bringing together Peter Parker, Spectacular Spiderman 27-28, and Daredevil 158-161 and 163-172 really brings back memories.
I was a nerdy kid back then and paid 40 or 50 cents for these issues off the rack. Over the years I’ve kept most of my collection, but traded and / or sold some over the years and if I could go back to my 12-year-old self I would say, besides slipping little Lyn a list of the Super Bowl and World Series winners for the next 40 years, “KEEP the FRANK MILLER D&D issues”!
It’ll take me $$$ to get back some of the issues I once had and paid a few bucks for back then.
Sigh.
Anyway, great to read these stories again and it’s wild to think that this run turned the DD title around and brought him up from the B-listers to the mainstream Marvel sellers.
Miller and Jansen collaborated to make this an incredible noir-crime story. Daredevil’s ongoing feud with Bullseye and Kingpin, with Elektra making it all the more cool, is one of the great story arcs in all of comics.
And speaking of Bullseye, I still think he’s one of the premier Marvel villains, a chaotic evil operator on the scale of Joker. Like Molecule Man, the only reason he’s not more epic in scale is his serious mental illness.
For Marvel, Miller and all comics fans.
I was a nerdy kid back then and paid 40 or 50 cents for these issues off the rack. Over the years I’ve kept most of my collection, but traded and / or sold some over the years and if I could go back to my 12-year-old self I would say, besides slipping little Lyn a list of the Super Bowl and World Series winners for the next 40 years, “KEEP the FRANK MILLER D&D issues”!
It’ll take me $$$ to get back some of the issues I once had and paid a few bucks for back then.
Sigh.
Anyway, great to read these stories again and it’s wild to think that this run turned the DD title around and brought him up from the B-listers to the mainstream Marvel sellers.
Miller and Jansen collaborated to make this an incredible noir-crime story. Daredevil’s ongoing feud with Bullseye and Kingpin, with Elektra making it all the more cool, is one of the great story arcs in all of comics.
And speaking of Bullseye, I still think he’s one of the premier Marvel villains, a chaotic evil operator on the scale of Joker. Like Molecule Man, the only reason he’s not more epic in scale is his serious mental illness.
For Marvel, Miller and all comics fans.
September 11, 2017
Frank Miller's Daredevil is one of the main contributing factors to the creation of the Dark Age of Comics which, hyperbole aside, was an attempt to bottle the lightning created by Miller and Alan Moore across multiple series. Frank Miller, however, took a character who was always just shy of a second-rate Spiderman and turned him into a character who has had a movie as well as television series with multiple spin offs. As a comic book historian as well, it also generated a much more successful franchise by imitation with the Teenage Mutant Ninja Turtles being originally designed as a "homage" with the weirdness turned way up.
Unfortunately, the first volume of this collection is a complete and utter disaster. This isn't because of Frank Miller but because of the fact, clearly, someone thought they should try and get three volumes out of "Frank Miller's Daredevil" when there really were only two volumes of the series possible. In order to pad the length of the volume, they've included many issues where Frank Miller is the ARTIST rather than writer. No shade thrown on Marv Wolfman, Bill Mantlo, or Roger McKenzie but that's not what people came here to read. It's misleading at best and false advertising at worse.
In fact, only roughly four issues at the end of the volume are actually "Frank Miller's Daredevil" and you can tell they're the product of an entirely different sort of mind than the other authors. Marv Wolfman may be one of my favorite authors for his Teen Titans work but his Daredevil reads like Nightwing and I can't really tell who was written like who given the dates. Frank Miller's Daredevil is a darker and edgier interpretation of the character from the get-go and all the better for it.
Really, the first two-thirds of the book work as a kind of interesting "before and after." The first comic in the volume is a team-up with a blinded Spiderman against the Maggia where a genetic costumed evil-doer is planning to take over New York City unless the duo manage to defeat him. There's also a fight against a mentally ill man called the Gladiator
and some surprisingly decent Bullseye stories.
This is, notably, the time period where Matt Murdock is dating the Black Widow and there's a somewhat mystifying decision where Daredevil dumps her for an uninteresting socialite named Heather. Then again, it would be decades before people finally gave Natasha Romanova the respect she deserved. Nowadays, it just looks like Matt really is blind, deaf, and dumb for ending that relationship. Still, the worst issues are at the start of the book and feel like Spiderman comics with none of the Parker angst to get you through the punching garishly dressed villains. Matt doesn't have Peter's humor either.
As mentioned, the last quarter of the comic is where Frank Miller's Daredevil begins and has some classic issues of the kind we actually want to see. These include the introduction of Elektra Natchios, which still holds up today, and the return of the Kingpin after his "retirement" in the pages of Spiderman. Matt is shown as a flawed hero in these volumes as he's too free with his powers in public as a legal student plus prioritizes getting the Kingpin's files over saving his wife. Matt is unsympathetic and an absolute moralist, which makes him a character who can screw up royally.
All in all, I don't feel like I can recommend this volume for these four issues despite the fact they're really good and important to the understanding of Daredevil. The other issues, particularly the Bullseye ones, aren't bad, though. Actually, a couple of them are but that's because it's clear they didn't have any idea where they were going with Matt. Hopefully, the real Frank Miller's Daredevil will be on display in volume 2.
5/10
Unfortunately, the first volume of this collection is a complete and utter disaster. This isn't because of Frank Miller but because of the fact, clearly, someone thought they should try and get three volumes out of "Frank Miller's Daredevil" when there really were only two volumes of the series possible. In order to pad the length of the volume, they've included many issues where Frank Miller is the ARTIST rather than writer. No shade thrown on Marv Wolfman, Bill Mantlo, or Roger McKenzie but that's not what people came here to read. It's misleading at best and false advertising at worse.
In fact, only roughly four issues at the end of the volume are actually "Frank Miller's Daredevil" and you can tell they're the product of an entirely different sort of mind than the other authors. Marv Wolfman may be one of my favorite authors for his Teen Titans work but his Daredevil reads like Nightwing and I can't really tell who was written like who given the dates. Frank Miller's Daredevil is a darker and edgier interpretation of the character from the get-go and all the better for it.
Really, the first two-thirds of the book work as a kind of interesting "before and after." The first comic in the volume is a team-up with a blinded Spiderman against the Maggia where a genetic costumed evil-doer is planning to take over New York City unless the duo manage to defeat him. There's also a fight against a mentally ill man called the Gladiator
and some surprisingly decent Bullseye stories.
This is, notably, the time period where Matt Murdock is dating the Black Widow and there's a somewhat mystifying decision where Daredevil dumps her for an uninteresting socialite named Heather. Then again, it would be decades before people finally gave Natasha Romanova the respect she deserved. Nowadays, it just looks like Matt really is blind, deaf, and dumb for ending that relationship. Still, the worst issues are at the start of the book and feel like Spiderman comics with none of the Parker angst to get you through the punching garishly dressed villains. Matt doesn't have Peter's humor either.
As mentioned, the last quarter of the comic is where Frank Miller's Daredevil begins and has some classic issues of the kind we actually want to see. These include the introduction of Elektra Natchios, which still holds up today, and the return of the Kingpin after his "retirement" in the pages of Spiderman. Matt is shown as a flawed hero in these volumes as he's too free with his powers in public as a legal student plus prioritizes getting the Kingpin's files over saving his wife. Matt is unsympathetic and an absolute moralist, which makes him a character who can screw up royally.
All in all, I don't feel like I can recommend this volume for these four issues despite the fact they're really good and important to the understanding of Daredevil. The other issues, particularly the Bullseye ones, aren't bad, though. Actually, a couple of them are but that's because it's clear they didn't have any idea where they were going with Matt. Hopefully, the real Frank Miller's Daredevil will be on display in volume 2.
5/10
February 13, 2025
Read 02/11/2025
In preparation for the new Daredevil show coming out soon, which I am very excited for, I wanted to get into a Daredevily kinda mood, so I picked up this bc I was told it was THEE DD comic, essential Daredeviling. And apparently before Frank Miller picked up DD, it was set to be cancelled, & all it took was 3 issues from Frank before it had become so popular that they had to change it from a monthly comic into a bi-monthly (as in twice a month…or wait…is that bi-weekly?) AND, that this run was and still is iconic DD. A must read for any Daredevil fans, &/or a great starting off point for any interested in the famously blind acrobat.
I wasn’t disappointed.
For Bronze age comics, I was actually very pleasantly surprised. My edition had a few issues of “Peter Parker, The Spectacular Spider Man” in the beginning and I have to say, I wasn’t that into it at first. But by the time we got to DD, the art and color scheme totally changed, it was really quite staggering to see the shift in it’s aesthetic appeal when Frank Miller jumped into the Daredevil stuff. There was just something about the art that I found to be very aesthetically pleasing. Frank Miller’s use of black for shadows, backgrounds, & the thick line work just worked perfectly with the uniquely bright coloring, I felt that it fell in line with what was popular in other Bronze age comics but also managed to deviate a bit from the norm, the result was something that really stood out as especially pleasing to my eye, and enjoying the art more helped to keep me interested in the story as a whole.
The one thing that I’ve found to be present in all Gold, Silver, & Bronze age comics that is notably different than the more modern stuff that we have now (aside from the evolution of the art) is there is a lot of explaining and reiterating, which I definitely found annoying but understood was for the possibility that new readers could be jumping on at any point, making each issue somewhat self contained. There were iterations like “I can’t let on that my radar senses have also picked up on his tracer..” or “my radar senses reveal them regrouping…” Basically just explaining DD’s abilities over and over. By the end of vol. 1 the constant reiterating wasn’t happening quite as often & this really helped to get things moving in a steadier flow for me.
Plot wise it was interesting enough, altho at first things DID seem a tad predictable, which to be fair is nearly always the case with superhero arcs. DD is challenged, almost is beat, but then comes back & kicks ass. To be honest, DD didn’t even seem particularly adept at superhero’ing, if anything he seemed to be getting his ass handed to him almost every time, only to wind up making some last minute hail Mary & turning things around. I know this is a very typical story arc for any super hero but I would have liked a bit more ass kicking on DD’s part rather than making it seem like he’s constantly getting beaten up, altho I realize that even that would likely get tiresome as well if that were the storyline that was being constantly repeated. But by the end of Vol.1 we were getting into some deeper more complex plot lines and as a result I felt myself becoming more and more absorbed by them. We were introduced to both of Daredevil’s greatest foes— Bullseye & Kingpin—& we got a decent amount of backstory for them both. We also get some of DD’s romances (& admirers!) with Heather & The Black Widow, (aka Natasha) and Elektra who was created by Frank Miller & introduced for the first time in issue #168! By the end of the first volume I’d become wholly invested and felt that it was starting to read more like a book than a bunch of sequential one offs.
Also it’s worth nothing that for the majority of Vol. 1 Frank Miller and Klaus Janson worked together on the story & art, it was near the end of vol. 1 of the omnibuses that Frank Miller took over both the writing and the art, which seemed to correspond with when I became more thoroughly engrossed in the story arcs so I have very high hopes for volumes 2 & 3 being that Frank Miller will be writing the next two volumes and I’ve heard from everyone that his arcs are the best! So I am super excited to see where Frank Miller takes us and plan to make my way through as many Daredevil runs as possible before the new show, hopefully getting at least to Born Again after I finish the next 2 volumes of this.
In preparation for the new Daredevil show coming out soon, which I am very excited for, I wanted to get into a Daredevily kinda mood, so I picked up this bc I was told it was THEE DD comic, essential Daredeviling. And apparently before Frank Miller picked up DD, it was set to be cancelled, & all it took was 3 issues from Frank before it had become so popular that they had to change it from a monthly comic into a bi-monthly (as in twice a month…or wait…is that bi-weekly?) AND, that this run was and still is iconic DD. A must read for any Daredevil fans, &/or a great starting off point for any interested in the famously blind acrobat.
I wasn’t disappointed.
For Bronze age comics, I was actually very pleasantly surprised. My edition had a few issues of “Peter Parker, The Spectacular Spider Man” in the beginning and I have to say, I wasn’t that into it at first. But by the time we got to DD, the art and color scheme totally changed, it was really quite staggering to see the shift in it’s aesthetic appeal when Frank Miller jumped into the Daredevil stuff. There was just something about the art that I found to be very aesthetically pleasing. Frank Miller’s use of black for shadows, backgrounds, & the thick line work just worked perfectly with the uniquely bright coloring, I felt that it fell in line with what was popular in other Bronze age comics but also managed to deviate a bit from the norm, the result was something that really stood out as especially pleasing to my eye, and enjoying the art more helped to keep me interested in the story as a whole.
The one thing that I’ve found to be present in all Gold, Silver, & Bronze age comics that is notably different than the more modern stuff that we have now (aside from the evolution of the art) is there is a lot of explaining and reiterating, which I definitely found annoying but understood was for the possibility that new readers could be jumping on at any point, making each issue somewhat self contained. There were iterations like “I can’t let on that my radar senses have also picked up on his tracer..” or “my radar senses reveal them regrouping…” Basically just explaining DD’s abilities over and over. By the end of vol. 1 the constant reiterating wasn’t happening quite as often & this really helped to get things moving in a steadier flow for me.
Plot wise it was interesting enough, altho at first things DID seem a tad predictable, which to be fair is nearly always the case with superhero arcs. DD is challenged, almost is beat, but then comes back & kicks ass. To be honest, DD didn’t even seem particularly adept at superhero’ing, if anything he seemed to be getting his ass handed to him almost every time, only to wind up making some last minute hail Mary & turning things around. I know this is a very typical story arc for any super hero but I would have liked a bit more ass kicking on DD’s part rather than making it seem like he’s constantly getting beaten up, altho I realize that even that would likely get tiresome as well if that were the storyline that was being constantly repeated. But by the end of Vol.1 we were getting into some deeper more complex plot lines and as a result I felt myself becoming more and more absorbed by them. We were introduced to both of Daredevil’s greatest foes— Bullseye & Kingpin—& we got a decent amount of backstory for them both. We also get some of DD’s romances (& admirers!) with Heather & The Black Widow, (aka Natasha) and Elektra who was created by Frank Miller & introduced for the first time in issue #168! By the end of the first volume I’d become wholly invested and felt that it was starting to read more like a book than a bunch of sequential one offs.
Also it’s worth nothing that for the majority of Vol. 1 Frank Miller and Klaus Janson worked together on the story & art, it was near the end of vol. 1 of the omnibuses that Frank Miller took over both the writing and the art, which seemed to correspond with when I became more thoroughly engrossed in the story arcs so I have very high hopes for volumes 2 & 3 being that Frank Miller will be writing the next two volumes and I’ve heard from everyone that his arcs are the best! So I am super excited to see where Frank Miller takes us and plan to make my way through as many Daredevil runs as possible before the new show, hopefully getting at least to Born Again after I finish the next 2 volumes of this.
April 28, 2014
If you know anything about Daredevil, you know that he really came into his own as a character when Frank Miller took over writing the series.
I've read every issue of Daredevil leading up to this volume, and everything that makes him work as a character was already in place before Miller started penciling the series. There were good issues and bad issues before Miller got involved, but the formula was getting stale. Basically, there would always be a soap-opera subplot going on with blind lawyer Matt Murdock (Daredevil's alter ego), or with one of his romantic partners, or with his best friend and law partner Franklin "Foggy" Nelson. This subplot would string along for several issues, but each individual issue would be dominated by a colorful super-villain. Daredevil would do battle with this villain and crack wise like Spider-Man. That was about it.
The first half of this volume only showcases Miller's work as an artist. Roger McKenzie was still writing the series. Miller's first issue as both artist and writer is #168, and with that issue he ret-conned Elektra (the deadly Greek female assassin who is out to avenge her father's death) into Matt Murdock's life. Over the course of the next several issues, Miller created a dense criminal underworld with the Kingpin at its head and the vicious, psychopathic Bullseye as his most dangerous lieutenant. These issues are a joy to read. Plots and subplots are woven together seamlessly, and they have a great sense of griminess and nastiness, which suits the early 1980s NYC setting perfectly.
I've read every issue of Daredevil leading up to this volume, and everything that makes him work as a character was already in place before Miller started penciling the series. There were good issues and bad issues before Miller got involved, but the formula was getting stale. Basically, there would always be a soap-opera subplot going on with blind lawyer Matt Murdock (Daredevil's alter ego), or with one of his romantic partners, or with his best friend and law partner Franklin "Foggy" Nelson. This subplot would string along for several issues, but each individual issue would be dominated by a colorful super-villain. Daredevil would do battle with this villain and crack wise like Spider-Man. That was about it.
The first half of this volume only showcases Miller's work as an artist. Roger McKenzie was still writing the series. Miller's first issue as both artist and writer is #168, and with that issue he ret-conned Elektra (the deadly Greek female assassin who is out to avenge her father's death) into Matt Murdock's life. Over the course of the next several issues, Miller created a dense criminal underworld with the Kingpin at its head and the vicious, psychopathic Bullseye as his most dangerous lieutenant. These issues are a joy to read. Plots and subplots are woven together seamlessly, and they have a great sense of griminess and nastiness, which suits the early 1980s NYC setting perfectly.
January 26, 2024
This TPB collects Peter Parker, The Spectacular Spiderman #27-28 and Daredevil #158-161 and #163-172.
Between 1979-1983, the struggling comic Daredevil had a new talent infusion. Enter Frank Miller and Klaus Janson. Miller did the art and Janson was the colorist. This helped to revitalize the comic.
Miller's Daredevil run was not only important for the way in which he was able to detail the fighting and daredevil's movements. We are also introduced to Daredevil's more famous loves and hates. It is with Miller we truly get good versions of Elektra, Bullseye, and even a reworking of the Kingpin story.
Overall, I have to admit this is a good run. Not only are the characters interesting and we can see how important they will be in future stories. Also Miller's style of showing Daredevil's combat movement was also rather well done.
So, all in all, a nice collection of classic Daredevil stories from Frank Miller.
Between 1979-1983, the struggling comic Daredevil had a new talent infusion. Enter Frank Miller and Klaus Janson. Miller did the art and Janson was the colorist. This helped to revitalize the comic.
Miller's Daredevil run was not only important for the way in which he was able to detail the fighting and daredevil's movements. We are also introduced to Daredevil's more famous loves and hates. It is with Miller we truly get good versions of Elektra, Bullseye, and even a reworking of the Kingpin story.
Overall, I have to admit this is a good run. Not only are the characters interesting and we can see how important they will be in future stories. Also Miller's style of showing Daredevil's combat movement was also rather well done.
So, all in all, a nice collection of classic Daredevil stories from Frank Miller.
March 28, 2015
It's pretty well documented that Frank Miller serves as just the artist for a good chunk of this volume. I was shocked at just HOW much of it... it takes a long time to get to the good stuff. Some of the writing in the first 3/4 of the volume was so painful it made me wish I was blind, too, just so I wouldn't be able to continue. But alas, once you power through, Frank takes over in style and with authority. He creates Elektra in his very first issue for crying out loud... and it keeps getting better from there. Frank's 1/4 of this book is five-star quality. But holy smokes the first 3/4 is mostly brutal.
May 3, 2025
This tpb is not entirely written by Frank Miller. He is the artist only on the 1st 3/4 of the book. While I enjoyed that 1st 3/4 of the book it is really once Frank Miller takes over writing does this become the masterwork I was looking for! Therefore the 5 star rating I am giving this really only applies to the latter portion. Its tone changes and becomes the daredevil I know and love! This run is truly one of my favorites in the genre. Can’t wait to get the next editions.
June 13, 2016
Well this was a disappointment. I paid money to read frank millers daredevil but frank only writes the last four issues or so. Sure he does the art for all of it but he is known for his writing. I had to force myself to read this, I kept telling myself it'll be ok I'm sure frank takes over soon....he didn't. For 3/4 of the book a guy called roger Mckenzie does the writing and what he writes isn't awful, just really boring.
Even though frank only writes a few issues in this book those few issues are brilliant and I believe in those issues elektra is introduced for the first time. So if you really like daredevil or frank Miller get this but be prepared for Roger Mckenzie!
Even though frank only writes a few issues in this book those few issues are brilliant and I believe in those issues elektra is introduced for the first time. So if you really like daredevil or frank Miller get this but be prepared for Roger Mckenzie!
June 25, 2021
Even with my fandom towards Daredevil, from the comics to the Netflix series, I somehow avoided Frank Miller’s original run with Klaus Janson, which reinvented the Man Without Fear, leading to future creators taking their cues from Miller when they are tackling Daredevil. Apart from Born Again and The Man Without Fear – the former of which is my all-time favourite Marvel comic – I have three volumes that cover all of Miller’s initial run left unread, so now’s the time to rectify that.
Most of this first volume covers Miller’s time when he was just the penciller and Roger McKenzie was writing the Daredevil title. These issues, along with the two Bill Mantlo-scripted issues from Peter Parker, the Spectacular Spider-Man where Miller first drew Daredevil, this was at a time when the character was still a superhero, interacting with the Avengers and is currently in a relationship with Black Widow. He may have his rogues gallery like Bullseye and Gladiator, but also fought the likes of Doctor Octopus and even the Hulk.
I may not have any major issues with McKenzie’s issues, particularly the standout that is #164, in which Daily Bugle’s Ben Urich interviews Matt Murdock about his tragic backstory that led him to become Daredevil. However, this period during the comic still showcased the Man Without Fear as the poor man’s Spider-Man as the stories themselves are more of the generic superhero fodder, thus Miller felt unsatisfied with McKenzie’s scripts.
As the editor of the Daredevil title, Dennis O'Neil appointed Miller to write the series and that’s when things get interesting. From his first issue as writer/artist, Miller introduced Elektra, who dated Matt Murdock during their student attendance in Colombia University. Reunited with his long-lost love who is now a master assassin, it sets up a new conflict for Matt in wanting to save Elektra from her merciless nature.
Along with new characters, Miller brought new life to previously-established villains, such as Bullseye, who goes through a mental breakdown, caused in part by a brain tumour, which begins causing migraines, paranoia and hallucinations that everyone he meets is Daredevil. With Bullseye on a killing spree, not only does it set up the violent nature under Miller’s rule, but the flawed psychology that drives a lot of the characters in the comic, not least Daredevil whose decisions as a non-killing vigilante will have consequences along the way. Originally a Spider-Man villain, the Kingpin was introduced as Daredevil's new primary nemesis, which fits well with Miller’s crime-driven approach to his run and you can see this influencing Netflix’s show.
From start to finish, the one consistent fact of this volume is Frank Miller’s incredible art (enhanced by Klaus Janson’s inking), whether it is the superhero antics of the early issues, to the film noir style that Miller took over when he began writing. Under his run, Daredevil's New York looks darker and more dangerous than the city that Spider-Man lives in, with a strong emphasis on shadows. In terms of action, Miller knows how to create pace by using panels in creating a rhythm of movement for a sequence.
Overall, I liked the McKenzie-scripted issues, but it’s really when Frank Miller took over as penciller and writer, does the Man Without Fear go on a defining run.
Most of this first volume covers Miller’s time when he was just the penciller and Roger McKenzie was writing the Daredevil title. These issues, along with the two Bill Mantlo-scripted issues from Peter Parker, the Spectacular Spider-Man where Miller first drew Daredevil, this was at a time when the character was still a superhero, interacting with the Avengers and is currently in a relationship with Black Widow. He may have his rogues gallery like Bullseye and Gladiator, but also fought the likes of Doctor Octopus and even the Hulk.
I may not have any major issues with McKenzie’s issues, particularly the standout that is #164, in which Daily Bugle’s Ben Urich interviews Matt Murdock about his tragic backstory that led him to become Daredevil. However, this period during the comic still showcased the Man Without Fear as the poor man’s Spider-Man as the stories themselves are more of the generic superhero fodder, thus Miller felt unsatisfied with McKenzie’s scripts.
As the editor of the Daredevil title, Dennis O'Neil appointed Miller to write the series and that’s when things get interesting. From his first issue as writer/artist, Miller introduced Elektra, who dated Matt Murdock during their student attendance in Colombia University. Reunited with his long-lost love who is now a master assassin, it sets up a new conflict for Matt in wanting to save Elektra from her merciless nature.
Along with new characters, Miller brought new life to previously-established villains, such as Bullseye, who goes through a mental breakdown, caused in part by a brain tumour, which begins causing migraines, paranoia and hallucinations that everyone he meets is Daredevil. With Bullseye on a killing spree, not only does it set up the violent nature under Miller’s rule, but the flawed psychology that drives a lot of the characters in the comic, not least Daredevil whose decisions as a non-killing vigilante will have consequences along the way. Originally a Spider-Man villain, the Kingpin was introduced as Daredevil's new primary nemesis, which fits well with Miller’s crime-driven approach to his run and you can see this influencing Netflix’s show.
From start to finish, the one consistent fact of this volume is Frank Miller’s incredible art (enhanced by Klaus Janson’s inking), whether it is the superhero antics of the early issues, to the film noir style that Miller took over when he began writing. Under his run, Daredevil's New York looks darker and more dangerous than the city that Spider-Man lives in, with a strong emphasis on shadows. In terms of action, Miller knows how to create pace by using panels in creating a rhythm of movement for a sequence.
Overall, I liked the McKenzie-scripted issues, but it’s really when Frank Miller took over as penciller and writer, does the Man Without Fear go on a defining run.
May 10, 2014
1st half is rough, as miller was not at the helm for the writing. After he took over...brilliant and dark.
July 25, 2025
Well, I've finally hit the stuff everyone praises as some of the best the comic book medium has to offer (after starting it and then putting it down to instead go back and start from issue #1), and okay, this initial volume is not quite that yet. It's getting there though. This is a book with Frank Miller involved, but mostly as just the artist for a good chunk of it.
I will say that the art is really damn good for the time, and a clear sign of what Frank would go on to do in his long and illustrious career. The writing starts off pretty shaky though, probably from the lingering touches of other writers. Once it's clear that Frank is co-writing though, you can feel the changes coming on quick. He is going to rework this character and this title drastically.
My one big gripe with this book, and it's a bit unfair because this is a Frank Miller book, is that they didn't include Spectacular Spiderman #26. This story is the opening of a three issue Spiderman story with Daredevil, but Frank didn't work on it, so it's not here. We're just dumped into the story from issues #27.
On the other hand, boy and I glad it skips Daredevil #162. I read it on Marvel Unlimited and it may be my least favorite issue of any comic ever. It's just so clearly filler, and not even entertaining filler. It's like they dug up an old rejected story from the mid 60's, had Steve Ditko quickly rush some pages together, and released it. So be thankful for this omission.
Overall though, this is a great start to a classic era and I look forward to the next two volumes.
I will say that the art is really damn good for the time, and a clear sign of what Frank would go on to do in his long and illustrious career. The writing starts off pretty shaky though, probably from the lingering touches of other writers. Once it's clear that Frank is co-writing though, you can feel the changes coming on quick. He is going to rework this character and this title drastically.
My one big gripe with this book, and it's a bit unfair because this is a Frank Miller book, is that they didn't include Spectacular Spiderman #26. This story is the opening of a three issue Spiderman story with Daredevil, but Frank didn't work on it, so it's not here. We're just dumped into the story from issues #27.
On the other hand, boy and I glad it skips Daredevil #162. I read it on Marvel Unlimited and it may be my least favorite issue of any comic ever. It's just so clearly filler, and not even entertaining filler. It's like they dug up an old rejected story from the mid 60's, had Steve Ditko quickly rush some pages together, and released it. So be thankful for this omission.
Overall though, this is a great start to a classic era and I look forward to the next two volumes.
October 6, 2021
One of my favorite runs of comic books, especially Daredevil, as it balances fun Silver Age weirdness with a street level film noir feeling: the dramatic and the comic in a good balance. It's a turning point for the genre, and a visually appealing one, with a good feeling for what it wants to do. I adore the Bullseye-run, it establishes Daredevil's key villains and love interests for decades to come. A must read for comic book lovers.
December 23, 2024
The start of a legendary run in comics history.
I show and tell about it here :
https://youtu.be/_9ONoa46bt4
April 11, 2025
Frank Miller's legendary run on Daredevil starts in these pages along with artist/inker Klaus Janson. In this volume, we get to see the first appearances of Bullseye & Elektra as well as Daredevil's first battles with Kingpin. I thoroughly enjoyed this collected edition and look forward to reading volume two.
October 31, 2015
Έπιασα τον πρώτο τόμο αυτής της σειράς με μια λαχτάρα. Είναι αναβίωση που γνώρισε στα χέρια του ταλαντούχου Μίλερ, ένας έως τότε μάλλον αδιάφορος ήρωας.
Το πρώτο μισό του τόμου είναι σχεδόν ανυπόφορο. Καθώς ο Μίλερ ξεκίνησε να συμβάλει στις ιστορίες του Daredevil ως σχεδιαστής, θα περάσουν αρκετές σελίδες όπου ο αναγνώστης θα αναγκαστεί να διαβάσει ιστορίες κυριολεκτικά παιδαριώδεις, στις οποίες ανακυκλώνεται συνεχός το μοτίβου του σούπερ κακού τον οποίο ο τυφλός τιμωρός αντιμετωπίζει με πάσα επιτυχία. Καμία συγκίνηση, καμία εξέλιξη. Χαρακτήρες περιφέρονται σαν ανδρείκελα, δίχως καμία υπόσταση. Δεν είναι τυχαίο που για αρκετό καιρό ο Daredevil ήταν ένας ήρωας δευτέρας διαλογής στο πάνθεον της Μάρβελ. Οι ιστορίες αυτές μπήκαν μάλλον επειδή φέρουν το όνομα του Μίλερ και συμπληρώνουν την βιβλιογραφία Daredevil του Μίλερ.
Ωστόσο εξυπηρετούν και έναν άλλον σκοπό: μέσα από την αντίστοιξη του πριν και του μετα, καθώς ο Μίλερ αναλαμβάνει και το σενάριο των ιστοριών, ξεδιπλώνεται το ταλέντο του αλλά και το θράσος του να αλλάξει ριζικά μια σειρά κόμικς. Χαρακτηριστικά, από το τεύχος 168, όπου παρουσιάζεται εκ νέου η Ηλέκτρα, είνα εμφανές πως η ιστορία πατάει σε πολύ πιο στέρες αφηγηματικές τεχνικές από τον νεαρό τότε Μίλερ. Η γλώσσα ξεφεύγει από την άκαμπτη, δίχως φαντασία, διήγηση.Μειώνονται οι επεξηγηματικές τεχνικές, κατάλειπο άλλον δεκαετιών, που προσβάλλουν την αντίληψη και των πιο νεαρών αναγνωστών. Μπαίνουν ενέσεις χιούμορ και σπιρτάδας.
Και ξαφνικά ο κόσμος της Νέας Υόρκης ζωντανεύει, Στο υπόβαθρο γραφικές φιγούρες μονολογούν ή μια σκηνή προλογίζεται από κομπάρσους που όμως δίνουν τον παλμό όχι μόνο της ιστορίας αλλά όλου του πλαισίου υπό το οποίο δρα ο τυφλός τιμωρός. Χαρακτηριστική σκηνή εκείνη όπου δύο σινεφίλ σπασίκλες έχουν παραδοθεί σε αναλύση της ταινία�� ενώ από πίσω ο bulls eye έχει φρενιτιάσει βλέποντας παντού την Νέμεσή του, τον Ντεαρντεβιλ, και ξυλοφορτώνει άμοιρο κόσμο στην αίθουσα.
Αυτός ο τόμος αποδεικνύει το ταλέντο του Μίλερ, από όταν αναλαμβάνει την συγγραφή των ιστοριών. Δεν είναι μόνο η γραφή, αλλά η όλη σκηνοθεσία των ιστοριών. Τα καρέ μεγαλώνουν, οι σελίδες είναι πολύ πιο ωραίες, ευανάγνωστες. Και ο Μίλερ σχεδιάζει με πολύ μεγαλύτερο κέφι, διαμορφώνοντας ένα στυλ που έγινε μετέπειτα γωνστό στα Dark Knight και Sin City. Ωστόσο, ακόμα κι αν αυτές οι πρώτες ιστορίες μας δείχνουν γιατί χρειάστηκε ένας σοβαρός συγγραφέας για να αναβαθμίσει μια σειρά χαμένη, δεν παύει να ρίχνει την συνολική αναγνωστική τέρψη. Για 3 αστεράκια, και πολλά είναι.
Το πρώτο μισό του τόμου είναι σχεδόν ανυπόφορο. Καθώς ο Μίλερ ξεκίνησε να συμβάλει στις ιστορίες του Daredevil ως σχεδιαστής, θα περάσουν αρκετές σελίδες όπου ο αναγνώστης θα αναγκαστεί να διαβάσει ιστορίες κυριολεκτικά παιδαριώδεις, στις οποίες ανακυκλώνεται συνεχός το μοτίβου του σούπερ κακού τον οποίο ο τυφλός τιμωρός αντιμετωπίζει με πάσα επιτυχία. Καμία συγκίνηση, καμία εξέλιξη. Χαρακτήρες περιφέρονται σαν ανδρείκελα, δίχως καμία υπόσταση. Δεν είναι τυχαίο που για αρκετό καιρό ο Daredevil ήταν ένας ήρωας δευτέρας διαλογής στο πάνθεον της Μάρβελ. Οι ιστορίες αυτές μπήκαν μάλλον επειδή φέρουν το όνομα του Μίλερ και συμπληρώνουν την βιβλιογραφία Daredevil του Μίλερ.
Ωστόσο εξυπηρετούν και έναν άλλον σκοπό: μέσα από την αντίστοιξη του πριν και του μετα, καθώς ο Μίλερ αναλαμβάνει και το σενάριο των ιστοριών, ξεδιπλώνεται το ταλέντο του αλλά και το θράσος του να αλλάξει ριζικά μια σειρά κόμικς. Χαρακτηριστικά, από το τεύχος 168, όπου παρουσιάζεται εκ νέου η Ηλέκτρα, είνα εμφανές πως η ιστορία πατάει σε πολύ πιο στέρες αφηγηματικές τεχνικές από τον νεαρό τότε Μίλερ. Η γλώσσα ξεφεύγει από την άκαμπτη, δίχως φαντασία, διήγηση.Μειώνονται οι επεξηγηματικές τεχνικές, κατάλειπο άλλον δεκαετιών, που προσβάλλουν την αντίληψη και των πιο νεαρών αναγνωστών. Μπαίνουν ενέσεις χιούμορ και σπιρτάδας.
Και ξαφνικά ο κόσμος της Νέας Υόρκης ζωντανεύει, Στο υπόβαθρο γραφικές φιγούρες μονολογούν ή μια σκηνή προλογίζεται από κομπάρσους που όμως δίνουν τον παλμό όχι μόνο της ιστορίας αλλά όλου του πλαισίου υπό το οποίο δρα ο τυφλός τιμωρός. Χαρακτηριστική σκηνή εκείνη όπου δύο σινεφίλ σπασίκλες έχουν παραδοθεί σε αναλύση της ταινία�� ενώ από πίσω ο bulls eye έχει φρενιτιάσει βλέποντας παντού την Νέμεσή του, τον Ντεαρντεβιλ, και ξυλοφορτώνει άμοιρο κόσμο στην αίθουσα.
Αυτός ο τόμος αποδεικνύει το ταλέντο του Μίλερ, από όταν αναλαμβάνει την συγγραφή των ιστοριών. Δεν είναι μόνο η γραφή, αλλά η όλη σκηνοθεσία των ιστοριών. Τα καρέ μεγαλώνουν, οι σελίδες είναι πολύ πιο ωραίες, ευανάγνωστες. Και ο Μίλερ σχεδιάζει με πολύ μεγαλύτερο κέφι, διαμορφώνοντας ένα στυλ που έγινε μετέπειτα γωνστό στα Dark Knight και Sin City. Ωστόσο, ακόμα κι αν αυτές οι πρώτες ιστορίες μας δείχνουν γιατί χρειάστηκε ένας σοβαρός συγγραφέας για να αναβαθμίσει μια σειρά χαμένη, δεν παύει να ρίχνει την συνολική αναγνωστική τέρψη. Για 3 αστεράκια, και πολλά είναι.
April 24, 2025
Daredevil by Frank Miller and Klaus Janson Vol 1
By Frank Miller (Writer, Artist), Klaus Janson (Inker), D.R. Martin (Colorist) and many more...
Marvel, 1979-80
Synopsis: Frank Miller redefines the hero known as Daredevil by adding layers on layers to the character and not only that but he brings interesting takes to his rogues and inner circle.
Review: This run brings some major changes in tone and character work for Matt Murdock by evolving him into a more modern hero that fit the times. No disrepect to the greats of the past but this is my Daredevil, someone that is serious but witty at the same time. A man that could not be seen as a joke by his enemies but as a dangerous foe. But be able to flip the switch when someone that earns his full interest is faced befor him like the likes of Bullseye. This book suffers from having to many cooks in the kitchen for the first half. It creates the dilemma of not having a clear story that Matt has to endure. The stories itself from this half are fine, my favorites were the ones with Bulsseye that co-star Black Widow. There was also this story where Matt has to face off with The Hulk that was pretty good. The rest of the stories of the first half were filler and villain of the week stories that were decent but nothing to re-read any time. Just like most stories from this era of comics. The stories with Miller on the creative helm were great, you feel a tonal change that makes it distinctive to all the rest of the book. From the introduction of Elektra to the face off with Bullseye, it feels like a full on journey through the past and present of Matt Murdock. And don't get me started with the return of Wilson Fisk, Frank Miller makes you realize that Wilson Fisk is a realistic entity that no one is to mess with.
Rating:
3,25/ 5 Stars (first half)
4 / 5 stars (second half)
3,75/ 5 stars (combined)
A tale of two parts for the book, the latter part makes you wish for more.
By Frank Miller (Writer, Artist), Klaus Janson (Inker), D.R. Martin (Colorist) and many more...
Marvel, 1979-80
Synopsis: Frank Miller redefines the hero known as Daredevil by adding layers on layers to the character and not only that but he brings interesting takes to his rogues and inner circle.
Review: This run brings some major changes in tone and character work for Matt Murdock by evolving him into a more modern hero that fit the times. No disrepect to the greats of the past but this is my Daredevil, someone that is serious but witty at the same time. A man that could not be seen as a joke by his enemies but as a dangerous foe. But be able to flip the switch when someone that earns his full interest is faced befor him like the likes of Bullseye. This book suffers from having to many cooks in the kitchen for the first half. It creates the dilemma of not having a clear story that Matt has to endure. The stories itself from this half are fine, my favorites were the ones with Bulsseye that co-star Black Widow. There was also this story where Matt has to face off with The Hulk that was pretty good. The rest of the stories of the first half were filler and villain of the week stories that were decent but nothing to re-read any time. Just like most stories from this era of comics. The stories with Miller on the creative helm were great, you feel a tonal change that makes it distinctive to all the rest of the book. From the introduction of Elektra to the face off with Bullseye, it feels like a full on journey through the past and present of Matt Murdock. And don't get me started with the return of Wilson Fisk, Frank Miller makes you realize that Wilson Fisk is a realistic entity that no one is to mess with.
Rating:
3,25/ 5 Stars (first half)
4 / 5 stars (second half)
3,75/ 5 stars (combined)
A tale of two parts for the book, the latter part makes you wish for more.
March 17, 2016
It's my first time to finish a Marvel volume. Found this copy from the library and unfortunately the only Daredevil one. I'll probably buy the next when I get a decent job or something.
Daredevil is a masterpiece. The villains are awesome. The backstories are my favorite parts than the fighting sequences which were cool too. I have so many things I want to learn about these comic books. One of the things I learned is that several people can revive an old character and run it. This Daredevil by Frank Miller is uber-cool.
Also, Daredevil season 2 is coming out on Friday! And the other tab in my internet browser is an episode of Daredevil on Netflix because I am catching up! Why didn't I get into comic books sooner? Oh, because Philippine libraries don't have one and they're hella expensive.
Still deciding if I get into Captain America or that gay superhero...
Daredevil is a masterpiece. The villains are awesome. The backstories are my favorite parts than the fighting sequences which were cool too. I have so many things I want to learn about these comic books. One of the things I learned is that several people can revive an old character and run it. This Daredevil by Frank Miller is uber-cool.
Also, Daredevil season 2 is coming out on Friday! And the other tab in my internet browser is an episode of Daredevil on Netflix because I am catching up! Why didn't I get into comic books sooner? Oh, because Philippine libraries don't have one and they're hella expensive.
Still deciding if I get into Captain America or that gay superhero...
January 12, 2016
Se nota la mano de Frank Miller en el cómic y en la evolución del personaje, fundamental para que Daredevil pasara de ser un personaje de tercera categoría al demonio rojo que es ahora y los fans que tiene. Para aquellos a los que le gusten los súper héroes más realistas, este es el suyo. Y para leerlo y conocerlo, este cómic es imprescindible.
Sólo diré dos cosas más:
- Me ha encantado.
- Elektra: Una vez la amó… ¡Ahora ella es su enemiga más mortal!
Sólo diré dos cosas más:
- Me ha encantado.
- Elektra: Una vez la amó… ¡Ahora ella es su enemiga más mortal!
January 10, 2021
This is more like it!
🤓This volume introduces Elektra, The King Pin/Wilson Fisk and Black Widow!
This was my introduction to The Devil of Hell’s Kitchen. 🤓
April 7, 2016
Great stories
Miller's artwork and writing are such a great fit for Daredevil, and I have no complaints regarding the stories here told. The only complaint I do have is that the collection isn't quite big enough. It introduces Elektra but doesn't include any of her stories with DD.
Miller's artwork and writing are such a great fit for Daredevil, and I have no complaints regarding the stories here told. The only complaint I do have is that the collection isn't quite big enough. It introduces Elektra but doesn't include any of her stories with DD.
July 5, 2019
If you ask me, it’s hard to even conceive a better superhero than Daredevil. He’s got it all, and just in the right amount: Supernatural skills that essentially fall short compared to the set of skills he’s acquired through hard work and discipline, yet enough hot-headedness to screw up said hard work and discipline, a childhood trauma on top of another childhood trauma, plenty of brooding to last him five lifetimes and enough moral ambiguousness to save him from being disgustingly good. So much drama! Such tension! And his (new) costume is really cool, too.
That being said, Frank Miller and Daredevil suit each other like Johnnie Walker and a dark and stormy night. I am not aflutter about all of his works, but Miller does have the right kind of touch for fast-paced action and noir(-ish) atmosphere that “Daredevil” needs. And by the time he takes over, the standard early Marvel nonsense in form of obscure single-appearance characters and equally obscure plots and settings is history, so we can all focus on Hell Kitchen’s guardian devil and vigilante going against the mob and a shadowy ninja order.
The first issues in the Miller-Janson run are quite a challenge. You have to get past Daredevil being somewhat of Spiderman’s sidekick or nanny or whatever, which is beyond ridiculous. How does a highly-educated grown man with admirable boxing ninja abilities end up running after an annoying brat? After their affiliation has ended, “Daredevil” is still left with poor hand-me down villains and flat one-shot episodes. The (maybe unintentionally) comical Otto Octavius might be an apt antagonist for a hero adequately adored by five-year-olds, but not for someone at war against social and political scheming in the underworld.
As soon as the Kingpin, a devious spider of a mob boss who has sucked himself fat on the blood of his prey, is adopted into the “Daredevil” comics, as soon as Bullseye becomes not only unfathomably skilled but also completely deranged, so that none of his actions and motifs could possibly be grasped, as soon as Elektra is, paradoxically enough, consumed not only by personal rage but even more by emotional detachment, not unlike Daredevil himself, this become a proper comic for adult readers. One about personal profit and interests, spent passions and ideals, an underworld network spreading its tentacles throughout the city like a Kraken, and personal relationships reaching from dysfunctional to exploitative. In a way, the best thing about the general plot in Miller’s “Daredevil” is that it would work just as brilliantly without any superpowers, supermutations or super-gadgets. On top of that, you get great artwork with well-chosen perspective to match the dynamics of the action. Visually, this is simply an eighties gem of a superhero comic which look exactly like an eighties gem of a superhero comic.
In a sea of good things to offer, Miller’s grand feat is probably turning Daredevil into an antihero above anything else. He is determined to obsession, undoubtedly intelligent, a compete jackass, manipulative and self-absorbed, and you’re still dying to see what happens next. Miller’s only fail, on the other hand, are the unnecessary and completely moronic comic reliefs, in which inherently half-witted characters like Turk, Iron First or Luke Cage are propelled into unfathomable heights of imbecility, and an intelligent and compassionate man like Franklin Nelson becomes the butt of every idiotic schoolyard joke. Seriously, humour neither contributes to every situation nor should everyone consider themselves funny. So why (almost…) ruin something so perfect with embarrassingly dumb stunts?
That being said, Frank Miller and Daredevil suit each other like Johnnie Walker and a dark and stormy night. I am not aflutter about all of his works, but Miller does have the right kind of touch for fast-paced action and noir(-ish) atmosphere that “Daredevil” needs. And by the time he takes over, the standard early Marvel nonsense in form of obscure single-appearance characters and equally obscure plots and settings is history, so we can all focus on Hell Kitchen’s guardian devil and vigilante going against the mob and a shadowy ninja order.
The first issues in the Miller-Janson run are quite a challenge. You have to get past Daredevil being somewhat of Spiderman’s sidekick or nanny or whatever, which is beyond ridiculous. How does a highly-educated grown man with admirable boxing ninja abilities end up running after an annoying brat? After their affiliation has ended, “Daredevil” is still left with poor hand-me down villains and flat one-shot episodes. The (maybe unintentionally) comical Otto Octavius might be an apt antagonist for a hero adequately adored by five-year-olds, but not for someone at war against social and political scheming in the underworld.
As soon as the Kingpin, a devious spider of a mob boss who has sucked himself fat on the blood of his prey, is adopted into the “Daredevil” comics, as soon as Bullseye becomes not only unfathomably skilled but also completely deranged, so that none of his actions and motifs could possibly be grasped, as soon as Elektra is, paradoxically enough, consumed not only by personal rage but even more by emotional detachment, not unlike Daredevil himself, this become a proper comic for adult readers. One about personal profit and interests, spent passions and ideals, an underworld network spreading its tentacles throughout the city like a Kraken, and personal relationships reaching from dysfunctional to exploitative. In a way, the best thing about the general plot in Miller’s “Daredevil” is that it would work just as brilliantly without any superpowers, supermutations or super-gadgets. On top of that, you get great artwork with well-chosen perspective to match the dynamics of the action. Visually, this is simply an eighties gem of a superhero comic which look exactly like an eighties gem of a superhero comic.
In a sea of good things to offer, Miller’s grand feat is probably turning Daredevil into an antihero above anything else. He is determined to obsession, undoubtedly intelligent, a compete jackass, manipulative and self-absorbed, and you’re still dying to see what happens next. Miller’s only fail, on the other hand, are the unnecessary and completely moronic comic reliefs, in which inherently half-witted characters like Turk, Iron First or Luke Cage are propelled into unfathomable heights of imbecility, and an intelligent and compassionate man like Franklin Nelson becomes the butt of every idiotic schoolyard joke. Seriously, humour neither contributes to every situation nor should everyone consider themselves funny. So why (almost…) ruin something so perfect with embarrassingly dumb stunts?
June 21, 2018
If you want a look into Frank Miller's Career and his beginnings at Marvel and working on Daredevil, then this is a fantastic collection.... I guess. For me, it was enjoyable, readable, had its moments, but was disjointed enough to not always allow me to connect with the character. Here's the thing, this isn't a full sequential collection of Daredevil meaning, it doesn't include ALL the comics in a story arc. It's a collection of daredevil comics... and in that sense, connecting with it was a bit of a challenge and a bit of a letdown. Daredevil as a character has always been interesting for me but not one of the titles I ALWAYS gravitate to and I think this was a good collection to check out of the library but not something I'd particularly need to own. The story arcs were engaging, but more than a great story, there are great moments interspersed in this collection. I might have expected too much from this collection seeing it was Frank Miller but almost half the collection isn't written by Miller. He started off as penciler, then artist, then artist and writer, and the difference is marked in terms of tone and style. Also of note is that sometimes you'd come across a crossword puzzle/scrabble worthy word that felt completely out of place in the work, almost as if they'd used a word too often and pulled out some old school thesaurus. Don't get me wrong, nothing wrong with elevated language, but big words in small stories stick out like a sore thumb. Highlights here HAVE To be the "Devils" issue and a good chunk of the Kingpin's appearance in the latter episodes, but all in all, it's not even a collection I'd pick up to read again, which is a shame. You see the potential, but you see it coming up a bit short.
Maybe it's a bit too throwback (many of these titles were from the early 80's), but I think that more than that, it just felt as if Daredevil was still finding his footing. On occasion he sounded like Spider-Man, which was distracting. Another thing to highlight is that for a Marvel title, I was surprised by the amount of kills in this collection alone. It's almost as if they were purposely trying to put Daredevil out there as the darker Marvel title, even if Daredevil himself doesn't actually pull the trigger.
Like I mentioned before, more than a great story, it's a collection with great moments and several "par-for-the-course" plot lines that didn't necessarily hook me.
Maybe it's a bit too throwback (many of these titles were from the early 80's), but I think that more than that, it just felt as if Daredevil was still finding his footing. On occasion he sounded like Spider-Man, which was distracting. Another thing to highlight is that for a Marvel title, I was surprised by the amount of kills in this collection alone. It's almost as if they were purposely trying to put Daredevil out there as the darker Marvel title, even if Daredevil himself doesn't actually pull the trigger.
Like I mentioned before, more than a great story, it's a collection with great moments and several "par-for-the-course" plot lines that didn't necessarily hook me.
May 14, 2023
Daredevil, Vol. 1 is a decent graphic novel. It's a collection of his comics from the late 70s to early 80s. With these comics, we see him team up with Spider-Man, take on the Hulk, and face various foes, including, but not limited to, Doc Ock, Bullseye, and Kingpin.
Some, like Bullseye and Kingpin were great antagonists. Bullseye is strategic and his skills make him very difficult to stop. I enjoyed seeing the battles between him and Daredevil - it was a war of wits and skill. I wasn't a huge fan of seeing him go through hallucinations, but on the whole, I thought he was a well-written antagonist, particularly with his intellect and skills. As for Kingpin, he was also well-written. He is a complex character, and, just like with the show, he is devoted to Vanessa. He's also shrewd, manipulative, strategic, and brutal. He challenges Daredevil both physically and intellectually - and perhaps even more so than Bullseye in this book. I enjoyed seeing how his clash with Daredevil went in this one.
Yet, even though Bullseye and Kingpin were written well, the other characters were generally hit and miss. Aaron Soames was a compelling, three dimensional antagonist. Yet, most of the other antagonists were forgettable and/or not overly complex. Foggy, Matt's best friend, didn't do much in this comic either. We see how he is Matt's best friend, but we do not see much of him beyond that. Moreover, I wasn't a fan of how women (i.e. Vanessa Fisk and Elektra) were written in this book. They were often portrayed shallowly and referred to in insulting and demeaning ways.
Matt himself was written well overall though. We see his obsession with being Daredevil and fighting crime. It was great seeing how he used his senses and the strategies he employed. His no-kill rule is central to who he is and this was exemplified in this book (with the consequences of this addressed too). Plus, we get to see his backstory and how he became Daredevil.
With that said, the book did get too wordy at times. We're often told his tactics. And, there often was too much text (for a graphic novel) on the pages. It would have been better, in my opinion, to show rather than to tell us the story.
Overall, this book was okay. The plot had some intriguing moments and it kept me engaged. However, some characters were written better than others. The art was decent too.
Some, like Bullseye and Kingpin were great antagonists. Bullseye is strategic and his skills make him very difficult to stop. I enjoyed seeing the battles between him and Daredevil - it was a war of wits and skill. I wasn't a huge fan of seeing him go through hallucinations, but on the whole, I thought he was a well-written antagonist, particularly with his intellect and skills. As for Kingpin, he was also well-written. He is a complex character, and, just like with the show, he is devoted to Vanessa. He's also shrewd, manipulative, strategic, and brutal. He challenges Daredevil both physically and intellectually - and perhaps even more so than Bullseye in this book. I enjoyed seeing how his clash with Daredevil went in this one.
Yet, even though Bullseye and Kingpin were written well, the other characters were generally hit and miss. Aaron Soames was a compelling, three dimensional antagonist. Yet, most of the other antagonists were forgettable and/or not overly complex. Foggy, Matt's best friend, didn't do much in this comic either. We see how he is Matt's best friend, but we do not see much of him beyond that. Moreover, I wasn't a fan of how women (i.e. Vanessa Fisk and Elektra) were written in this book. They were often portrayed shallowly and referred to in insulting and demeaning ways.
Matt himself was written well overall though. We see his obsession with being Daredevil and fighting crime. It was great seeing how he used his senses and the strategies he employed. His no-kill rule is central to who he is and this was exemplified in this book (with the consequences of this addressed too). Plus, we get to see his backstory and how he became Daredevil.
With that said, the book did get too wordy at times. We're often told his tactics. And, there often was too much text (for a graphic novel) on the pages. It would have been better, in my opinion, to show rather than to tell us the story.
Overall, this book was okay. The plot had some intriguing moments and it kept me engaged. However, some characters were written better than others. The art was decent too.
July 9, 2017
If you want a look into Frank Miller's Career and his beginnings at Marvel and working on Daredevil, then this is a fantastic collection.... I guess. For me, it was enjoyable, readable, had its moments, but was disjointed enough to not always allow me to connect with the character. Here's the thing, this isn't a full sequential collection of Daredevil meaning, it doesn't include ALL the comics in a story arc. It's a collection of daredevil comics... and in that sense, connecting with it was a bit of a challenge and a bit of a letdown. Daredevil as a character has always been interesting for me but not one of the titles I ALWAYS gravitate to and I think this was a good collection to check out of the library but not something I'd particularly need to own. The story arcs were engaging, but more than a great story, there are great moments interspersed in this collection. I might have expected too much from this collection seeing it was Frank Miller but almost half the collection isn't written by Miller. He started off as penciler, then artist, then artist and writer, and the difference is marked in terms of tone and style. Also of note is that sometimes you'd come across a crossword puzzle/scrabble worthy word that felt completely out of place in the work, almost as if they'd used a word too often and pulled out some old school thesaurus. Don't get me wrong, nothing wrong with elevated language, but big words in small stories stick out like a sore thumb. Highlights here HAVE To be the "Devils" issue and a good chunk of the Kingpin's appearance in the latter episodes, but all in all, it's not even a collection I'd pick up to read again, which is a shame. You see the potential, but you see it coming up a bit short. Maybe it's a bit too throwback (many of these titles were from the early 80's), but I think that more than that, it just felt as if Daredevil was still finding his footing. On occasion he sounded like Spider-Man, which was distracting. Another thing to highlight is that for a Marvel title, I was surprised by the amount of kills in this collection alone. It's almost as if they were purposely trying to put Daredevil out there as the darker Marvel title, even if Daredevil himself doesn't actually pull the trigger.
Like I mentioned before, more than a great story, it's a collection with great moments and several "par-for-the-course" plot lines that didn't necessarily hook me.
Like I mentioned before, more than a great story, it's a collection with great moments and several "par-for-the-course" plot lines that didn't necessarily hook me.
July 13, 2017
Foi nas páginas de Daredevil que a carreira de Frank Miller se lançou. Quando chegou ao título, este era um banal comic de super-heróis, não aproveitando as especificidades do personagem em histórias que se mantinham na continuidade de luta contra super-vilões. Miller percebeu que havia ali pano para outras aventuras, modificando o personagem de banal super-herói em direção ao policial negro. Em vez de lutas contra super-seres, Daredevil irá lutar contra o crime nas ruas degradadas da Nova Iorque dos anos 80. Sendo um comic de super-heróis, Daredevil ganhará inimigos de uniforme, mas estes aspectos estão subordinados a uma narrativa maior de luta de um indivíduo contra o omnipresente crime, simbolizado pela figura opressiva de Kingpin, tão poderoso que nem precisa de eliminar o herói que contra ele trava um combate sem fim.
Miller também aprofunda quer a personagem de Daredevil, desenvolvendo bem o seu lado Matt Murdock, quer os personagens secundários que irão desempenhar papéis cada vez mais fulcrais nos arcos narrativos. Essencialmente, traçou as linhas que passaram a distinguir este personagem, entre tantos outros da Marvel. Inicia aqui a relação complexa e assimétrica com Kingpin, a inimizade letal com Bullseye, bem como a influente saga de Elektra.
Ao longo destas páginas sentimos o desenvolvimento de Miller como ilustrador e argumentista, começando pela simples ilustração até à progressiva evolução do seu traço estilizado. As sementes do estilismo iconográfico de alto contraste de Sin City são visíveis nestas páginas de Daredevil. Também, a forma como evolui no contar de histórias, notando-se progressivamente que desenvolve a banda desenhada como arte narrativa. Miller vai-nos dando sequências assombrosas de vinhetas, trabalhando com justaposições, enquadramentos, linhas de força e pesos visuais para guiar o olhar do leitor. A história conta-se não só com as palavras e os desenhos, mas fundamentalmente pelo dinamismo com que o olhar é conduzido, dando maior dramatismo à narrativa. Algo que distingue os melhores contadores de histórias da BD, uma preocupação que não era à altura muito comum no mundo dos comics.
Miller também aprofunda quer a personagem de Daredevil, desenvolvendo bem o seu lado Matt Murdock, quer os personagens secundários que irão desempenhar papéis cada vez mais fulcrais nos arcos narrativos. Essencialmente, traçou as linhas que passaram a distinguir este personagem, entre tantos outros da Marvel. Inicia aqui a relação complexa e assimétrica com Kingpin, a inimizade letal com Bullseye, bem como a influente saga de Elektra.
Ao longo destas páginas sentimos o desenvolvimento de Miller como ilustrador e argumentista, começando pela simples ilustração até à progressiva evolução do seu traço estilizado. As sementes do estilismo iconográfico de alto contraste de Sin City são visíveis nestas páginas de Daredevil. Também, a forma como evolui no contar de histórias, notando-se progressivamente que desenvolve a banda desenhada como arte narrativa. Miller vai-nos dando sequências assombrosas de vinhetas, trabalhando com justaposições, enquadramentos, linhas de força e pesos visuais para guiar o olhar do leitor. A história conta-se não só com as palavras e os desenhos, mas fundamentalmente pelo dinamismo com que o olhar é conduzido, dando maior dramatismo à narrativa. Algo que distingue os melhores contadores de histórias da BD, uma preocupação que não era à altura muito comum no mundo dos comics.
May 24, 2018
Marvel knows how to empty your pocket on stories you don't want.
Despite the credits Miller's and Janson's legendary run doesn't start when they first team-up for the art but when Miller takes on double duty as writer/artist and I bet that's what anyone who bought this book actually wanted. So when I see that two-thirds of the book is actually NOT written by Miller, the whole experience leaves a salty, bitter aftertaste, even though the book ends with good, even sometimes great material (best is yet to come by far).
There isn't a reason for the first, two-thirds to be included in this series which doesn't have Miller's brilliant writing or even his later artistic edge other than expanding this run into three volumes because...money...and it is double insulting when a companion book for this series is out, which could fit these issues better.
Sigh...still it does contain the beginning of one of the best, most influential runs of Super-hero comics.
Despite the credits Miller's and Janson's legendary run doesn't start when they first team-up for the art but when Miller takes on double duty as writer/artist and I bet that's what anyone who bought this book actually wanted. So when I see that two-thirds of the book is actually NOT written by Miller, the whole experience leaves a salty, bitter aftertaste, even though the book ends with good, even sometimes great material (best is yet to come by far).
There isn't a reason for the first, two-thirds to be included in this series which doesn't have Miller's brilliant writing or even his later artistic edge other than expanding this run into three volumes because...money...and it is double insulting when a companion book for this series is out, which could fit these issues better.
Sigh...still it does contain the beginning of one of the best, most influential runs of Super-hero comics.
November 2, 2020
I understand that in order to have a collection of Daredevil stories by team Frank Miller & Klaus Janson, you need to start when the creators first appeared on stories featuring Daredevil, even though the main title would not be written by Frank until several issues in. It seems like those stories before Frank’s words, but drawn by his pen and inked by Klaus, end up mostly in average territory for superhero comics in the late 70s and early 80s, with one-dimensional villains and silly plots and generally weak narrative chops, with dialogue that sounds unintentionally laughable and thin.
When Frank does come on board, at first with co-writing and then headlining, you get something that’s still a product of its time, but it just feels better. The narration boxes are poetic, the characters have interesting motivations and are better at expressing personality, and the plot is more nuanced. Characters have more room to breathe and exist and show what they are capable of and who they are. Take for example Elektra. She is a character created by Frank and gets introduced in issue #168, and we get a brief origin story where she goes from someone who is innocent and protected to someone who kills for hire. She is not rushed into hatching some harebrained scheme for revenge until she has a reason for doing so. She has a moment where she can be seen in one state, gets to say a few things and react to what others say in response, and then we get to see her in another state. Her development happens quickly, but it does not feel rushed. She gets the chance to become a character diametrically opposed to Daredevil, but she also has a romantic history with him, and for that she serves as a perfect foil to challenge him in a way that no straightforward psychopath like Bullseye is capable of achieving. Elektra is relatable, while Bullseye is not. Not to say that Bullseye’s arc itself was not entertaining, but being a different character with different motivations he serves a different purpose in the story. That’s what characterizes Frank’s work: each character has utility and a journey to take us on, and no one is stuck feeling the same way for long, and what changes that do come are earned and display who the characters are at that particular time and setting.
The art is deceptively simple. It looks like an old Marvel comic, but there is more to it. The figures are clean, but looking at close-ups you get to see some texture in the inking, which is something I have found characteristic of later Frank Miller-centric work, possibly due to a longtime collaborator in Klaus Janson. This inking tends to be heavier than expected and it creates a unique look that is capable of getting across emotion and posture. The action is dynamic and the panels switch between dramatic vantage points to accentuate feelings of danger and awe. The coloring is mostly flat or with slight gradients, which in some ways fits the era, but it does do its job. In no way is it monotonous, as certain scenes make clever use of color to convey the increasingly heightened sense that death is getting nearer, and explosions and fire are layered with yellow, orange, and red to express their destructive power.
While I did not have the best time with the beginning of this volume, and would have rather started with the good stuff rather than being a completionist, I am very much interested in seeing how writer/penciller Frank Miller & inker Klaus Janson will continue to build upon Daredevil’s rogues gallery and make him more rooted in darkness than ever before.
When Frank does come on board, at first with co-writing and then headlining, you get something that’s still a product of its time, but it just feels better. The narration boxes are poetic, the characters have interesting motivations and are better at expressing personality, and the plot is more nuanced. Characters have more room to breathe and exist and show what they are capable of and who they are. Take for example Elektra. She is a character created by Frank and gets introduced in issue #168, and we get a brief origin story where she goes from someone who is innocent and protected to someone who kills for hire. She is not rushed into hatching some harebrained scheme for revenge until she has a reason for doing so. She has a moment where she can be seen in one state, gets to say a few things and react to what others say in response, and then we get to see her in another state. Her development happens quickly, but it does not feel rushed. She gets the chance to become a character diametrically opposed to Daredevil, but she also has a romantic history with him, and for that she serves as a perfect foil to challenge him in a way that no straightforward psychopath like Bullseye is capable of achieving. Elektra is relatable, while Bullseye is not. Not to say that Bullseye’s arc itself was not entertaining, but being a different character with different motivations he serves a different purpose in the story. That’s what characterizes Frank’s work: each character has utility and a journey to take us on, and no one is stuck feeling the same way for long, and what changes that do come are earned and display who the characters are at that particular time and setting.
The art is deceptively simple. It looks like an old Marvel comic, but there is more to it. The figures are clean, but looking at close-ups you get to see some texture in the inking, which is something I have found characteristic of later Frank Miller-centric work, possibly due to a longtime collaborator in Klaus Janson. This inking tends to be heavier than expected and it creates a unique look that is capable of getting across emotion and posture. The action is dynamic and the panels switch between dramatic vantage points to accentuate feelings of danger and awe. The coloring is mostly flat or with slight gradients, which in some ways fits the era, but it does do its job. In no way is it monotonous, as certain scenes make clever use of color to convey the increasingly heightened sense that death is getting nearer, and explosions and fire are layered with yellow, orange, and red to express their destructive power.
While I did not have the best time with the beginning of this volume, and would have rather started with the good stuff rather than being a completionist, I am very much interested in seeing how writer/penciller Frank Miller & inker Klaus Janson will continue to build upon Daredevil’s rogues gallery and make him more rooted in darkness than ever before.
November 8, 2021
Kdo si chce udělat rekapitulaci Daredevilovi historie musí ke kořenům postavy, ty paradoxně nezačínají DD #1 ale právě tady, když se objevil Frank Miller. Jeho příchod k sérii má ještě samo o sobě zajímavý vývoj, prvně jej sledujeme čistě jako kreslíře. Jeho art je na tehdejší dobu dynamický a správně ponurý, když jej doprovází Klaus Janson tak to má i po letech velkou sílu.
Tak či tak příběh který Miller kreslí není nijak strhující, proto mě hrozně baví sledovat jak do toho Frank postupně kecá víc a víc. Na závěr sérii přebírá coby scenárista a kreslíř což je ve finále knihy a je to úplná paráda. Miller dodává výbornou gangsterku a přílivem zajímavých postav (je vidět, že tohle je hodně silná inspirace Zdardevila).
Takže ano, je to pořád povedená klasika jenž stárne velmi dobře a je vidět, že kdo chce DD psát, musí čerpat právě od Franka Millera. 4,5*.
Tak či tak příběh který Miller kreslí není nijak strhující, proto mě hrozně baví sledovat jak do toho Frank postupně kecá víc a víc. Na závěr sérii přebírá coby scenárista a kreslíř což je ve finále knihy a je to úplná paráda. Miller dodává výbornou gangsterku a přílivem zajímavých postav (je vidět, že tohle je hodně silná inspirace Zdardevila).
Takže ano, je to pořád povedená klasika jenž stárne velmi dobře a je vidět, že kdo chce DD psát, musí čerpat právě od Franka Millera. 4,5*.
May 24, 2022
Finalmente peguei para ler a fase do Miller em seu começo com o demolidor, e posso dizer que o encadernado é muito bom.
No começo, algumas histórias não são nada demais, não são ruins, mas também não possui nada de incrível. No entanto, ao longo das edições, você percebe que o Miller está pegando o personagem que ele acabou de pegar para escrever e vai traçando o caminho de algo maior, ou seja, ele pega o Demolidor de onde ele estava e vai elevando suas histórias, desenvolvendo mais a mitologia do personagem.
As edições finais do encadernado deixam o leitor instigado a querer mais, pois o que é estabelecido no primeiro encadernado possui elementos a serem desenvolvidos.
Miller preparou muito bem o terreno quando o assumiu o Demolidor para algo muito grandioso. Estou ansioso pela leitura das próximas edições.
No começo, algumas histórias não são nada demais, não são ruins, mas também não possui nada de incrível. No entanto, ao longo das edições, você percebe que o Miller está pegando o personagem que ele acabou de pegar para escrever e vai traçando o caminho de algo maior, ou seja, ele pega o Demolidor de onde ele estava e vai elevando suas histórias, desenvolvendo mais a mitologia do personagem.
As edições finais do encadernado deixam o leitor instigado a querer mais, pois o que é estabelecido no primeiro encadernado possui elementos a serem desenvolvidos.
Miller preparou muito bem o terreno quando o assumiu o Demolidor para algo muito grandioso. Estou ansioso pela leitura das próximas edições.
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