Showing posts with label Ed Brubaker. Show all posts
Showing posts with label Ed Brubaker. Show all posts

Monday, May 11, 2009

Ambush Fail


Ninja fact #322: when attempting to blindside someone, or take him by surprise anyhow, you shouldn't yell at the top of your lungs.

This makes you wonder how Lord Hirochi (seen here attacking Master Izo, in DD II #115) managed to climb the ladder to become leader of one of the Hand's most prominent factions, if he's so incompetent. I'd blame it on the usual favoritisms.


Thursday, April 30, 2009

Lady Bullseye's Powers and Abilities.

According to the statistics of trusty Sitemeter, one of the recurring sets of search keywords that make people reach this blog these days is "Lady Bullseye". More than once, the search tags also include "powers and abilities" and the like.
Here's a list of the skills this new character has been shown to have so far:


- Peak physical condition -


From the very first panels in which she appeared - featuring her leaping across the rooftops of New York City with seemingly effortless grace - it was evident that Lady Bullseye is extremely agile and acrobatic.


- Hand-to-hand combat expert -


The above sequence shows the first encounter between Daredevil and the new villainess. She is clearly more than a match for our hero, in close combat. Her fighting style appears to be mostly agility-based.
An interesting note is that she's capable of going toe to toe with a fighter like Daredevil while maintaining a completely relaxed state, with her pulse rate remaining constant. Our hero even comments on how, rather than fighting, it seemed like she was performing a Yoga routine.


- Uncanny aim -


Seeing as how she took the name and insignia of Bullseye - the bad guy who never misses - it doesn't come as a surprise that Lady Bullseye would have been good at throwing weapons.
Truth to be told, she hasn't been seen using this ability that much, so far, and so it is unclear if she's as good as Bullseye at it. Certainly, if one is capable of nailing a human torso from yards of distance using a weapon not normally used for throwing (as shown in the above panel, in which a ninja is killed by a kodachi thrown by Lady Bullseye, in order to prevent him from spilling too much on the Hand's plans), then his/her aim must be quite good.


- Master of disguise -


As part of Lord Hirochi's plan, Lady Bullseye faced Matt Murdock under the guise of legal representative of his parents-in-law (who, behind the scenes, had been instigated to claim the custody of their daughter for themselves).
When they met in their civilian clothes for the first time, even with his heightened senses, Matt wasn't certain to be in front of his new adversary. Lady Bullseye's acting capabilities were so good that she was even able to alter her pulse rate.
Disguising oneself is in itself a pretty good ability in a ninja's arsenal. But being able to also fool Daredevil's heightened senses with a disguise is something truly remarkable.


- Proficient with eastern weapons -


Lady Bullseye favors particularly weapons such as kodachi (in the splendid image above she's shown removing - in a brutal yet coreographical way - two of those from Wilson's Fisk brawny figure), katana...


... and the traditional throwing stars (shuriken).


- Trained assassin -


The sequence above is taken from a flashback telling Lady Bullseye's origins. At that time, she was one of many teenage sex slaves, by chance freed by Bullseye in a raid against some Yakuzas. While escaping, she kills a wounded gangster by slashing his throat with a key.
The ease with which she killed the unlucky dude with such an ordinary object makes me wonder if her ninja training predates her decision to become Lady Bullseye, or if it's all just natural talent.
What is certain is that...


... her ability to slay unlucky dudes as if they were an afterthought didn't diminish with time.


- Professional Lawyer -



As was anticipated by Ed Brubaker (one of her creators), Lady Bullseye has a civilian identity. In it, she's Maki Matsumoto, lawyer for the Werner and Brock law firm. The fact that she's associate to a legitimate law firm is proof enough to say that she has the curriculum needed to be a professional lawyer.


Tuesday, March 31, 2009

Women. Can't Live Without Them...

As I told in the recap of the latest storyarc in my previous entry, Matt and Dakota's fugacious affair has been discovered by Milla's parents, thanks to the machinations of the Hand and to a private eye they hired to keep tabs (not to mention Matt's negligency in not properly closing the curtains of his bedroom windows when it would've been most opportune).

Be as it may, right after the deed, Matt was pretty tortured over the fact of having betrayed his wife (who, bears repeating, is currently in an insane asylum after having been driven crazy by one of Matt's enemies). Dakota tried to calm him down, in her own peculiar way:


So they temporarily resolve to try and forget about it and carry on with their lives. Until the Donovans show up at their office with the photos, that is.
At that point, it all became much more complicated to digest for the pretty private eye, who ran away without saying a word, leaving Matt and the others to try and figure out what to do. Here's what I would've said if I were Matt when, later, he tried to call her and got her answering machine:

(Disclaimer: the image below has been altered for the purpose of parody)




Saturday, March 28, 2009

"Lady Bullseye": The Aftermath.

Man.


...we didst not see that coming!


Confronted with the sudden and unexpected offer of having all of his current problems "solved" (according to the Hand's twisted logic) and becoming one of the Hand's leaders, our boy Matt Murdock refused! And with what a determination!
(I wasn't certainly referring to Brubaker's DD being able to land a hit on an A-list Villain again)



...yet...



Hell hath no fury like a sociopathic asian villainess with eastern martial arts training who gets no as an answer!

And so, Lady Bullseye leaves Daredevil with the promise of returning soon and making his life even worse!
(which, by the way, shouldn't be that much of a big deal by now for one with a personal history such as that of Matt Murdock, but still...)

The ninja organization, led by Lord Hirochi, has in fact temporarily withdrawn their agents, to travel to Europe and enact another part of their as of yet undisclosed plans...


Did I mention that, through their dark rituals, the nefarious Hand have managed to bring on their side the dreaded "Salt & Pepper" duo of Black Tarantula and White Tiger? The two ex allies of Matt are now as evil as they can be, subservient to the perverted will of Hirochi and with totally awesome glowing red eyes.


Plus, they now hate Matt and everything he stands for.


Not all hope is lost, however! Izo, ancient master of martial arts (and mentor of Matt's mentor), whose ninja-hacking skills are only surpassed by his obnoxiousness and love for anything that contains alcohol, is on the hero's side. His cunning and wisdom will certainly prove to be unvaluable to face the coming onslaught of the Hand.


At the same time, Matt had to make another suffered resolve. As part of Hand's plan to forcedly remove his problems, his wife's parents threatened to legally request the relieving of Milla's custody from him. Adding weight to this threat, they also revealed Matt they were in possession of compromising photos attesting his one-time tryst with his friend and P.I. Dakota North.


The decision was hard to make, but in the end Matt resolved to fight in court to maintain the custody of his wife. His trusted friend and associate Foggy Nelson, despite having advised him against this decision (arguing that at this point it could have been the best solution for Milla), will stand by his side on this front of the battle.


And so, the chapter introducing Lady Bullseye concludes with an open ending, nothing clearly foreseeable and several questions yet to be answered. The story will continue with the next five -part arc, titled "Return of the King". It will end with the 500th issue of Daredevil and will feature Wilson Fisk, the once Kingpin, returning to NY from his exile in Europe.

The hand is dealt.





Thursday, January 15, 2009

"...I hold her some more while she sleeps"




"And for the first time in a long, long time... I pray."

Sunday, December 28, 2008

The Issues of Brubaker's Run Christmas Carol




On the 1st issue of his run

Brubaker sent to me:


a Red-clad Vigilante

~~~


On the 2nd issue of his run
Brubaker sent to me:


Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 8th issue of his run
Brubaker sent to me:


A new Matador
Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 14th issue of his run
Brubaker sent to me:


Melvin going Nuts
A new Matador

Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 18th issue of his run
Brubaker sent to me:


Mister Fear
Melvin going Nuts
A new Matador

Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 19th issue of his run
Brubaker sent to me:


Many Artists Drawing
Mister Fear

Melvin going Nuts
A new Matador
Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 21st issue of his run
Brubaker sent to me:


Ox and Wrecker Fighting
Many Artists Drawing
Mister Fear
Melvin going Nuts
A new Matador
Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 24th issue of his run
Brubaker sent to me:


Milla beyond Saving
Ox and Wrecker Fighting
Many Artists Drawing
Mister Fear
Melvin going Nuts
A new Matador

Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 28th issue of his run
Brubaker sent to me:


Crooked Feds Sniping
Milla beyond Saving
Ox and Wrecker Fighting
Many Artists Drawing
Mister Fear

Melvin going Nuts
A new Matador

Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 30th issue of his run
Brubaker sent to me:


Dakota and Matt #*%ing
Crooked Feds Sniping
Milla beyond Saving
Ox and Wrecker Fighting
Many Artists Drawing
Mister Fear
Melvin going Nuts
A new Matador
Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 31st issue of his run
Brubaker sent to me:


Master Izo Drinking
Dakota and Matt #*%ing
Crooked Feds Sniping

Milla beyond Saving
Ox and Wrecker Fighting
Many Artists Drawing
Mister Fear

Melvin going Nuts
A new Matador
Foggy getting Stabbed
and a Red-clad Vigilante

~~~


On the 32nd issue of his run
Brubaker sent to me:


Lady Bullseye Kicking
Master Izo Drinking
Dakota and Matt #*%ing
Crooked Feds Sniping
Milla beyond Saving
Ox and Wrecker Fighting
Many Artists Drawing
Mister Fear
Melvin going Nuts
A new Matador

Foggy getting Stabbed
and a Red-clad Vigilante.


Happy Holidays from F's Kitchen!



Tuesday, December 23, 2008

The Motivational Poster-Boy



I was about to add another "ordinary" entry, when it occurred to me that this blog has reached its 50th post. I thought that a moderately important milestone such as this deserved a little more than that, and so I decided to insert a post about one of the reasons why Daredevil is so important to me.

From this comic book - let the self-righteous cool guys laugh about it as much as they want - I get motivation. Whenever I don't get it directly, I try to indirectly find it, by relating to the main character.
I think that relating to a character such as Matt Murdock/Daredevil, is simplified (especially in the stories of these years) by the fact that the hero is constantly shown facing adversities.
It is just like our everyday lives. Yeah, I mean that. Let's put aside the shiny and cool view of the world that the internet commonly gives us. That one world made of funny pics and memes, of easy chicks, of permanent fun, where the biggest problem is to find the witty line to write on a comment thread or to get enough friends on myspace.
Let's put all that aside, at the cost of being labeled as party-poopers, and face it: everyday life is hard. Life is full of opportunities and encounters, certainly, but also of problems.
And sometimes it's nothing short of a succession of adversities. Just like Matt Murdock's life.
We could be tempted to say that it's like that for just about any superhero, or even any fictional character. It could be. But I think that with Daredevil, it all looks much less fake.
Every superhero is shown having problems, but somehow, often, we see the generic hero being done with it by the end of the storyarc, often without further consequences, often with the problem solved hastily with some Deus (or should I say Daemon?) ex machina, so that he can move into the next event/storyline.
Daredevil is not like that. His problems pile up on one another. His enemies are always there, planning his destruction. His past choices come back to haunt him, and there's never an event that can be said to fully close a circle.
This type of scenario is certainly more similar to the course of real life.
The problems never go away on their own. They eventually go away (and are subsequently followed by others showing up), but only if we fight our way through them.


But in order to do that - to have the strength to do that - you need motivation.
It can come in different forms. You can have your friends cheering you up. Giving you their support and confidence. Reassure you that you can make it through. That surely helps. But, at least in my case, at the end of the day you have to unlock that strength by yourself, from within. To that end, sometimes it's more effective something like what's shown in the panel above, of DD being ambushed by the Ox (from DD vol.2 #99, by Brubaker and Lark).

I found the wording used to translate that in Italian even more brutal, but also, for this reason, even more direct and cutting (my compliments to the adaptor, Giuseppe Guidi of Marvel Italia) :

- Non vali niente, Murdock!


Which retranslates as "you ain't worth anything, Murdock!".
A phrase like that, meant to scoff, can at times shake a person from apathy and discomfort better than any encouragement. When I first read that I remember being moved to the point that I would've died to add captions saying something like "What the *%&$ are you saying you moron, YOU are the one who's not worth anything and you're in for an enormous butt-kicking for having said that".

Sometimes, right after life hits you hard, so hard that you feel like you'll never have the strength to stand up again, much less to fight back, I can feel just like that. Like if some voice is mocking me, saying "you're not worth anything". And right after that, that small spark ignites, that pride that makes you reply "hell, no!", and thanks to which it becomes possible to get back up.
It's the "never give up" spirit so underlined by Frank Miller in his run, particularly in the Born Again storyarc, in which Matt's willpower allows him to fully get back on his feet from a state complete annihilation, despite his greatest enemy's efforts at keeping him down.


When I think about it, this is what I admire so much of Matt Murdock. His force of will. That iron will that has allowed him to rise from the ashes everytime. That willpower that can, by all means and purposes, be really considered what makes him a superhero, much more than his hypersenses, or his peak human condition. Again, Miller comes to mind. Heightened senses, fighting skills and acrobatics are just tools - he said in the mind-blowing "Roulette" story. To be a hero, the man who has them needs first to be inspired. In the fictional world he lives in, Matt's inspiration comes from his father, a man far from perfect or invincible, but whose lesson, of never giving up and always struggling to do what's right, he will never forget.
In the same way, in turn, I dare say that Daredevil's refusal to give up the fight despite how desperate the situation may be, and staying true to what he believes in, inspires me.


A small reflection now. The condition typical of the present-day Daredevil, with misfortunes coming upon the protagonist one after another, with the hero never having a moment of rest, his life seemingly perpetually on the verge of ruination, has reached by now a point where it has become somewhat iconic.
For this reason, comic book readers (or even writers) often come up with the conception that this "depressing, anguishing tone" of the book is what Daredevil fans actually expect from it (or even what they demand from it), and that all of it is a standard set by Miller (who redefined the character and all of that).

Both these conceptions, the way I see it, are erroneous.
While it is true that Miller redefined the character, and that he modified the tone to a darker, more serious one, the depressing, anguishing atmosphere and the heavy-handed "grim and gritty" "hard-boiled" tone of today's DD is a more recent redefinition, which can be entirely attributed to Brian Michael Bendis. That said, if such a tone is the definitive way to write Daredevil today, if it has been brought to its excess as of recent or not, is entirely debatable.
But, as a matter of fact, anyone could pick up some issues from Miller's run, compare their tone with that used in Bendis' and see that the difference in this regard is more than evident.

Regarding the fact that DD's most attached readers have actually come to like or even expect the fact that Matt's life is constantly put through hell, I consider that to be a misconception derived from a superficial look of it.
In my opinion, Daredevil fans don't like the fact that Matt's life is full of difficulties in itself. They instead like reading how, despite the many, enormous difficulties in his life, Matt is able to find the strength to take them all on, and how he refuses to give up, no matter how unescapable the situation may seem.

Troubles and adversities may come, as they do in real life. What really matters is the spirit with which the hero fights through them.
And whenever the author manages to convey that...


... it feels good.

Saturday, December 13, 2008

Of Character Development and Chocolate Billy-clubs


Howdy, people.
This entry is intended as a reply to the debate started by Jon in his Me Geek, you Geek comic book blog and followed up by Christine in a dedicated post at The Other Murdock Papers. I thought that the idea of replying with a post in one's own blog was cool, so I copied it (in a way, it reminds me of the story mode of the game Starcraft, in which the story progressed with the changing of the point of view of the protagonists).

The object of the contention was the latest issue, DD #113, part three of the Lady Bullseye arc, in which, among other things, Matt meets and has a short fight with the new villainess for the first time. Jon's criticism, if I have gotten it right, is that there hasn't been enough DD in costume, in the preceeding issues and in this one, and that Daredevil gets portrayed as a "pansy", "getting his ass handed to him" by Lady Bullseye and getting saved only by the intervention of master Izo. I don't entirely agree with this, but I'll return to it later.
In a follow-up to this post, Jon continues by enumerating the rate of costume/action pages in the most recent issues, from #106 to #113 (all written by Brubaker, with the issues from #107 to #110 in cooperation with Rucka). Eight issues. We're talking about more than half a year worth of Daredevil stories, here.

Here's a passage from Christine's reply:

As I suspected, this DOES come down to a matter of taste. Good action that drives the story forward? By all means. Action scenes that take up page after page and eats up actual story progression and forces character development to take a back seat? No, thank you.

And here's another from a comment by Darediva to the first post:

Give me some good character introspection over asskicking in tights any day of the week. Well, maybe not on Saturday nights...

I'm aware that those I reported are just parts extrapolated from more integral replies (so bear with me), but what I wonder is, at the end of the day, does it come down to "action & costume time" versus "character development & introspection time"?
Also, are the two mutually exclusive?

The answer I gave myself to both of these questions after some reflection is no.
I don't really care about how much time the main character spends in or out of costume, or even how much time he spends fighting.
I do love a good fight scene, I think I do more than Darediva does, and probably more than Christine does. But what matters to me is what kind of fight scene.
What Matt does in it. If his abilities and his style are portrayed with consistency. If he's really shown for the amazing fighter he is. How the fight is coreographed.
Another important thing is how the reason behind his battle fits in the storyline.
In the light of all this, I do love when Matt fights to protect innocents. When he's shown as a great fighter, with a versatile style, mixing force, cunning and agility. As a fearsome opponent to face, hard to take down.
And, because of this, I don't like when he's shown to be fearsome only to flunkies or to the occasional street thug, or when he gets jobbed just because the plot requires so, with maybe a dumb excuse behind it ("oh, no! I can't focus when there's dog poo on the curb!"). I could do without these instances and the "action time" involved into it.

About the times when there's no action, the problem remains basically the same, only translated to the different situation.
What really matters remains what the main character does. Is he shown as the hero I recognize, admire, and even - I dare say - identify with?
I won't go into it, because it's pretty complex for me to explain (and I suspect, boring for you to listen) what kind of psychological representation I like of Matt/Daredevil. So I'll just provide two examples.

I liked a lot the "out of costume" moment when, in #110, Matt refused the reprimand Dakota's dad was unleashing on him and instead declared him how much he despised the corruption they were trying to keep covered and how he wouldn't have backed off from that fight for no reason. This moment, I enjoyed it better than any of the fight scenes in that storyline.

I dislike, instead, the general trend of having Matt insecure, troubled, and spending time to whine instead of acting.
I said it. That's what I don't like by now in Brubaker's run. Matt whines a lot. Whines instead of acting. And when he does act, often it's just "reacting" and thus playing right into the machiavellian games of his opponents, who are almost always shown to be one step ahead of him.
The sad thing is that this has affected pages of the recent storylines in a way that I don't enjoy them the way I hoped to.
Now, with the "Cruel and Unusual" storyarc, I don't know if it's because of some advice by Rucka, but I think that Brubaker has managed to regain some balance, in this sense.
As I said in Jon's first post, anyway, I'm still a little uncertain, as this may just be wishful thinking on my side. I used to believe a lot in Brubaker, back during "The Devil in Cell Block D". Eventually though, this honeymoon has rather abruptly ended, and now I'm sincerely afraid that Brubaker may pull off something that might again disappoint me.

We'll see. Some signs point toward Brubaker having regained the right grip again. For example, I don't agree on the fact that he "got his ass handed to him" by Lady Bullseye. I was afraid (see what I mean?) that the new villainess, being a debutting character, would have mopped the floor with DD, as a cheap way by the author to build her some credibility. Instead, Brubaker manages to make her a credible threat while at the same time showing that our hero is entirely capable of taking her on (a part of Matt believed he could take both her and four ninjas, before master Izo came and deprived him of all the fun).

So, this is what I think. Feel free to say yours - for this big comic book blog crossover ;) - in the comments below.

Thursday, November 6, 2008

Preposterous Plot Points #9 - "Ah, what the hell. I'll just make another private mass..."

Uh, so this priest walks into his apartment...

...no, wait. Let's start from the beginning.

Daredevil has just been kicked off a rooftop and into the dumpster right below by a fat yakuza gangster. I am not making this up. In fact he is in pretty bad shape and with a flu that is messing up his radar and heightened senses. We could say that he got trashed, but the pun would be horrible. Vowing to get revenge on the fatso as soon as he has recovered some strength (and, hopefully, stopped dripping from his nose), he decides to do as his cinematographic counterpart and go to seek shelter in a nearby empty church.

Not content to just sit on one of the empty benches, he goes to hide inside the confessional. In particular, he goes to occupy the priest's compartment.
Just like that. As if nothing was.
Last time I dared to try something like that in a church I was five years old. You'd think this would stop people from saying that Daredevil is a devout catholic, but trust me, it doesn't.
Luckily, no one comes by. Imagine if a old lady with a heart condition went there, kneeled at that confessional, started making her penance, believing her parson to be at the other side of the grille, only to discover afterwards that she had been telling her sins to a figure clad like Belzeebub.
Anyway, DD passes out. He wakes up later, to the words of what sounds like a honest-to-god confession.


As soon as his ears perceive the last words, he bursts out of the confessional. But whoever was there the moment before, has disappeared.
Wow. That was quick.
Either Hell's Kitchen is being colonized by a sect of catholic ninjas who disappear right after confessing (and without even waiting for the priest's absolution), or fatigue and flu have brought our hero's reaction time to equal that of a stoned frat boy.

This mystery settles in an angle of his mind, as our hero goes on with his life. Two days after that, he's in his office, checking recent suicide cases with his private eye, Dakota North. They find out that a woman has committed suicided several days before, by slitting her wrists, in her apartment at the Biltmore. A bell rings in Matt's head.
That night, as Daredevil, he goes to investigate.

I must confess that, being a non native English speaker, I was puzzled when I read "condo" at first. What could a "million dollar condo" be? A uber-elastic, hyper-durable, state-of-the-art contraceptive? No, turns out it's just a short for condominium. You learn something new every day.


His heightened sense of smell detects traces of wax lingering in the air. The type used in church candles, specifically. As he ponders about that, he's surprised by the noise of the apartment door being opened.
He, Daredevil, the hero with heightened hearing, whose purpose consists in having an uncanny awareness of everything surrounding him, is surprised by a sudden sound coming from the corridor right there. Not even hand ninjas can sneak up on him, he can even discern heartbeats, and yet he didn't hear any approaching sound, no breathing, no fumbling for the keys, not even footsteps. I call BS on that.
I forgot to say it in the beginning of this post, but just from this particular here you could tell that this story is written by Brubaker (script is by Ande Parks). DD's hypersenses here, in fact, seem to be working with the intensity required by the plot. Had Bendis been the writer, we would've had DD not only sensing the incoming person as soon as he reached the staircase, but also knowing what he had had for breakfast that morning by the time he had reached the third floor.

Oh, and there's the "Catholic guilt" thing.
I'll explain it for those who don't know. Catholic guilt is how "chic" pop culture labels guilt when it's coming from a catholic person.
Any ordinary guy could feel sorry about, who knows... having robbed a bank, or having ruined another person's life, or having stolen a lollypop from a little girl... et cetera. But if it's a person who is known to be catholic to do that, then it's Catholic guilt. Also, the more a person is implied to be a practicing catholic - the priest Matt heard before in the confessional, in this case - the more gusto the non-catholic takes in calling "catholic guilt" an ordinary feeling of remorse coming from this person.
It's one of those expressions that makes you feel oh-so-knowledgeable of how the modern world goes whenever you use it in a message board or in the plot of a crime drama tv series.
Not really defending any religion here (I'm an atheist), but I think it's a rather trite cliché, besides being utterly senseless.


Apart from the use of that expression in Matt's thoughts, a major development of the story is centered on the priest's incomprehensible behaviour. Basically, he had hired Little Loco, a young, filthy gang leader from the latinoamerican slums of the city, to brutally slay the lady living in his aparment and have it look like a suicide so that he could earn millions by selling it at increased price. After that, feeling guilty, he goes there, to celebrate private masses at night. Not once, but twice.

So, this man is an assassin (legally), is greedy, unscrupulous, willing to make deals with the most despicable criminals in the city, and then he feels the need to make midnight masses to atone for it.
Isn't that a little contradictory?
I also love how DD goes into "threaten with gritted teeth"-mode* without knowing anything of it all. As far as he could tell, the priest could've been feeling genuinely guilty for what was a mere suicide and was celebrating a mass out of this sense of guilt, or even just out of compassion for the soul of the suicide woman. That is certain a simpler (and more logical) explanation than jumping to the conclusion that the guy was the instigator.
Heck, he could've just interrogated him and detect if he was lying.
All this act with the "hypocrite catholic priest" was also ultimately unnecessary for the purpose of having DD find the killer. Matt could've picked dozens of clues or other traces thanks to his heightened senses in that crime scene, and those could've lead him to Little Loco just the same.
But apparently the idea of the "hypocrite-catholic-priest" as instigator was too alluring not to be used as a plot point.

In conclusion, notice also how, before leaving, DD ties up the hapless priest with some blankets.


Why on earth did he do that? Usually you tie up baddies so that the police can take them away when they come. But in this case, the priest wasn't doing anything of evidently illegal. He was entering an apartment of his property!





* Now I want extra points for the cacophonic alliteration.

Tuesday, October 7, 2008

'Nuff Said Month Aftermath


A-hem.
And so it is finished. End of the " 'Nuff Said" month.

Well, uh... what else to say?
(wow, I'm just realizing that one of the effects of this month has been that my blog writing skills have got a little rusty)

(Hmm. A lot rusty, actually)

It has been a fun and interesting diversion. A different way of blogging about Daredevil. I didn't exactly have an idea of what to do with it when I decided to start it. It would've been something on the line of Marvel's 'nuff said month event of february 2002, in which I would've regrouped together some blog entry ideas for which scarce if no text at all was needed, and most of the intended message was told through the pictures and their succession.


Trying to fit the usual monthly updates to series of posts like Preposterous Plot Points and Centrific Feats would've been a bit of a challange, but luckily I already had in mind the right idea for a "silent" Preposterous Plot Point (after all, when you have a splash page of a fattened DD in a tiny motorbike wearing a clownesque Kendo outfit, there's not really much to say to point out it is preposterous), and a centrific feat that needed no comments was not hard to find at all.
In the end, not all of the entries have been merely of the "pics sans text" type, but all of them, in a way or another, were related to silence or to situations where words were not needed.


I must admit that one of the reasons why I decided to start this 30 days spanning event was my desire to emulate a blogger much appreciated by me: Dave Campbell of the now defunct Dave's Longbox comic book blog (fans of that blog have maybe noticed how I try to imitate his style of blogging, sometimes). In that blog, Dave used to have themed events quite often, even if his used to be themed weeks (the relevant content week, the Kobra week, the Star Trek week, the nostalgia week...), not months. Knowing that I'm barely able to post something once per week, however, I was almost forced to make it a month-long event, so that I could fit enough entries in it without altering the usual pace too much.
In this sense, the results have been much satisfactory, seeing as how this has been my most prolific month in terms of number of posts.


I know I'm getting tediously cocky, so I'll cut the self-referring and get on to some reflections.

First off, it's not by chance that all of the contents have been extracted from the DD of the 2ks. And, certainly, it would've been impossible to make a 'nuff said month of the silver/bronze age DD, seeing as how there was never a moment of quietness in those days! Really, even when there was nothing to say, the writer just couldn't help putting a caption saying "you'll all agree that this panel doesn't need comments!" or "look at the masterful work of "gentleman" Gene in this sequence, true believer!".
It doesn't surprise me that most of the inspiration for entries came especially from the Bendis-Maleev run. That duo knew all too well how to tell a story through visuals rather than words. Bendis, particularly, was very good at scripting textless scenes, always making sure that all the ingredients were there to craft a scene that could astonish and impress the reader (as can be seen in the script sample put in appendix to issue #23 of vol.II, which is the issue the panels accompanying this entry are from).
While Bendis certainly had limits that I would never dream of denying, in his tenure as writer of Daredevil he has been a very good scenographer, capable like few other writers to pull awesome scenes out of the top hat, such as the one described here.


Another thing I noticed is how powerful images are to deliver a message. It is particularly true in a book like the modern day Daredevil, where introspection plays a very relevant role. And certainly, it must be said that sometimes adding words to a scene that doesn't need them simply "ruins the magic". Sometimes, a writer can really give more to the reader, in terms of emotions, if he refrains to explicitate what the character is thinking with a succession of invasive caption boxes, and just let the artist's skill and the reader's imagination do the job.


By adding an unnecessary caption, the reader is confined to the role of mere spectator, whereas, with just the right sequence of images you can instead capture him and involve him directly, and on a deeper level, in the story. About this, Brubaker and Rucka and the last entry of the month come to mind. How fantastic was it to see DD disable the crooked FBIs with no captions interrupting the flow of the action, and that would've made it all look like a sort of recap of what was actually happening? Also, how wonderful it was, in that last panel, ending silently, but with a protagonist finally smiling after so much sufferings?

There's a little downside to all of this, however. It, lies in the fact that, when there isn't enough text, the risk that the images fail to deliver the right message is always present. Sometimes there are concepts that just need to be made explicit. More than one person, for example, was perplexed that I said "I miss Bendis" in one of these entries. If it weren't for the fact that the plan was to reduce textual commentary to minimum, I would've specified that a certain kind of moments, a certain way of surprising the reader with an awesome scene coming out of the blue was the reason why I thought Bendis was to be missed. I thought that the sequence posted could've explained that completely, but apparently it didn't, and my comment was interpreted by many as an apology of Bendis' faults. Too bad. I guess you can't win them all.
Anyway, also because of that, in some of the future entries I'm going to expand on several of the themes that have been only slightly touched during this month.

And with this rather prolix reflection, the otherwise silent "'Nuff said month" concludes.













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Aw, it's just not like me to end like that, is it?


There. That's more like it. ;)