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The Friday Review: Daredevil: Born Again
Writer: Frank Miller I have a friend who regularly updates a book journal on her website. Suffice to say, she reads a great many books - anything from gothic potboilers to DIY manuals, to the occasional graphic novel. She has definite tastes, and can astutely assess a book in a few words. So, I was quite surprised to see her dismiss DAREDEVIL: BORN AGAIN with a one-word review thusly: "Eh." Well, I hope my friend won't mind if I proffer this rebuttal. DAREDEVIL: BORN AGAIN can be considered one of the cornerstones of what might be termed the Class Of 1986 - a group of books that changed the face of American comics from that point on. (Think of MAUS, WATCHMEN, BATMAN: THE DARK KNIGHT RETURNS, PUNISHER: CIRCLE OF BLOOD, SQUADRON SUPREME and THE SHADOW: BLOOD AND JUDGEMENT.) It helped kick-start the 'grim and gritty' trend, and marked a shift away from the traditional Marvel manner of storytelling initiated by Lee, Kirby, Ditko, et al. The innovation and pioneering spirit of those early days was still evident, though, and DAREDEVIL: BORN AGAIN built upon Miller's previous work on the title as well. Underneath all of the historical significance, there lies a gripping story, rooted in noir, which manages to deftly balance real-world concerns with spandex-fuelled exploits. DAREDEVIL: BORN AGAIN works by never losing sight of its lead character Matt Murdock's perspective - that he is an individual first and a costumed vigilante second. The irony lies, though, in the fact that, despite being blind, Murdock is more perceptive than most, extranormal abilities notwithstanding. The plot essentials should be familiar to many of you, but for those of you who've not yet read the book: Wilson Fisk, the self-styled Kingpin of Crime, has come into possession of the secret of Daredevil's true identity, the lawyer Matt Murdock. He got this information from Murdock's former paramour, Karen Page. Fisk uses the knowledge to embark on a campaign to systematically destroy Murdock's life - but what Fisk fails to take into account is that a man without hope is a man without fear. By and large, the impact of DAREDEVIL: BORN AGAIN is down to just that: fear. Murdock loses his job, his savings, his house and his credibility in rapid succession - all in such an insidious manner that we can't help but sympathise. After all, which of us hasn't fallen prey to a neglected bill or a bureaucratic bungle? Then, there's Murdock's brief descent into madness - the scenes where he ponders his fate in a rented hole-in-the-wall motel room are the most harrowing in the narrative. (Shame, though, that future DAREDEVIL writers have touched upon the delicate nature of Murdock's psyche with less sensitivity - in other hands, Murdock has now flirted with insanity an absurd number of times.) The book's tensions lie in the knowledge that Murdoch must hit rock bottom, and in wondering how he can make the slow climb back to a life of his own and regain his sense of self. It is Murdock's appearances in the Daredevil regalia that bookend the tale, and each are as different from each other as night and day. At the start, it is a release from his workaday life; by the climax, it has become a necessity. However, there are those who know of Murdock's dual identity - Ben Urich, Karen Page - who make no distinction between the two sides of his character. They see the costume as nothing more than a tool, and recognise that it is Murdock who carries out angel's work in devil's guise. As far as the plot and script are concerned, Miller is at the height of his powers here. Murdock's inner turmoil; Fisk's malevolence; Page's pathetic dependency; Urich's crusading compassion; Foggy Nelson's concern - all are believable and recognisable. However, there are plot lapses that leave the reader with questions. For one, the introduction of Sister Maggie (who may or may not be Murdock's mother) - she's clearly set up as something of a deus ex machina to come to Murdock's aid, but she is made all the more conspicuous by her sudden disappearance. (Kevin Smith took up this plot thread later on in the GUARDIAN DEVIL collection.) There's also a flaw in the use of the Avengers and 'Nuke' as plot devices rather than characters - 'Nuke' is a clichéd, shell-shocked super soldier, drugged up and unable to realise his war is over. It must be said, though, that Miller uses Captain America well to make some pointed remarks vis a vis the American Dream and the military reality. David Mazzuchelli's work on DAREDEVIL: BORN AGAIN is truly arresting. Sparse and moody lines; panel-to-panel progression that blends the best of old-school storytelling (the work arising from the EC Bullpen of the 1950s is brought to mind) with a decidedly modern 80s aesthetic; an economic sense of design that makes every sequence count. From the smallest transition, to full-page splashes that are absolutely breathtaking, the art is a revelation. Indeed, it's material to savour. More than fifteen years on, DAREDEVIL: BORN AGAIN still casts a long shadow, and with good reason. It is no doubt a mature work, but mature in the sense that it deals with adult themes without resorting to gratuity or excess. It has its flaws, but they don't detract from it overmuch. And with the movie on the way - said to be influenced greatly by Miller's work on the title and character - now is the time to investigate or revisit this collection. Stunning and riveting, DAREDEVIL: BORN AGAIN is absolutely essential. Just between you and me, I hope to get my friend to re-read DAREDEVIL: BORN AGAIN and reconsider her opinion. After all, what else are friends for? Brent Keane is a regular contributor to Ninth Art and PopImage and has also written for Opi8, Sequential Tart and Nerdbait. Ninth Art endorses the principle of Ideological Freeware. The author permits distribution of this article by private individuals, on condition that the author and source of the article are clearly shown, no charge is made, and the whole article is reproduced intact, including this notice. Back. |