Daredevil #7
"Of Moles & Owls" Part 2
Writer: Stephanie Phillips
Artist: Flaviano
Colorist: Rico Renzi
Cover Artist: Lee Garbett
Publisher: Marvel Comics
Matt Murdock has been over the edge so many times—over and over, again and again—I'm not sure he even knows where it actually starts anymore.
One Long Night
We open with a montage, taking place over an indeterminate period of time. It shows Matt Murdock masking up as Daredevil, each new time his face is bloodier and more pummeled than the last. Throughout it all, he muses about the window washers for the Empire State Building—how they never complain about the building getting dirty again; they just go right back over the edge and clean it again. And again.
Daredevil is having his own version of the constant cleaning, as he finds himself up against representatives of most of the major gangs in the city. Hammerhead's men. Tombstone's. The Tracksuit Mafia (Bro!). Silvermane. The Inner Demons who follow Mister Negative.
It's never-ending.
All to find this kid who has a book, a supposed "insurance policy" of Wilson Fisk. And waiting in the wings to complicate things even more for Matt is his old flame (and wife, I think?) Elektra…
Bro…
Daredevil #7 is basically one long chase/action sequence. I have to admit I enjoyed seeing all of the players involved here. I mean, the Tracksuit Mafia? That's awesome, bro (I'm done with the "bro" comments now, I promise). And I'm a big fan of Mister Negative, so seeing his Inner Demons (well, their bodies—they were all unconscious by the time Daredevil got there) was cool too.
I enjoyed Daredevil's inner dialogue as the issue progressed. He knows he's pushing himself too hard (again), and he's rightly frustrated that it's all because of Wilson Fisk yet again. Being self-aware doesn't mean he's smart, though, and he just keeps on going. One beatdown after another.
As if the physical beatings aren't bad enough, he gets an emotional beating at the end. Here is Elektra, his great love. Once again, circumstances pulled them back together, only for the gap between their personal codes to drive them apart again. Spoiler: she ends up with the book, and when he suggests they use it together, she kisses him and leaves with it.
I do wonder if the pacing for this arc could be a little tighter. Last issue we started off with a lot of personal life content for Matt. Don't get me wrong, that was needed, but then it felt like the issue rushed a little after the costumes kicked in. Now this issue is nothing but costumed action. I just wonder if it could have been balanced out better. And I'm worried that we're just going to gloss over the consequences of him ducking out on Foggy and his "not a date" coworker last issue. I hope that's not the case. The balance between the personal and the superhero seems like it's a little out of whack, and I'd like to see it even up.
It seems like there's a bit of a mystery around the kid who was running with the book, too. He said "they" gave it to him and told him where to be. Who is "they?" What are they trying to accomplish? Just what is in the book? Elektra said it was the "truth" of New York. What does that mean?
I'm starting to get a little concerned that there are too many dangling mysteries in this book at once. There's Omen's prophecy, Omen himself, Harlan Vale and his plans for ESU, the book, the kid, Elektra… I hope this series doesn't turn into a JJ Abrams "mystery box" where it's just questions on top of questions, with no answers of any real note.
Race with the Devil
Stephanie Phillips once again shows that she understands Matt Murdock very well—I'm just not completely sold on the pacing of the story she's telling. Matt's internal monologue and comparing himself to the window washers is great, and the repetition of "over the edge again and again" throughout the issue fits his mindset as the long night continues. None of the villains got a lot of time to shine, but everyone seemed characterized accurately in the bits they did get.
I was not a big fan of Flaviano's art last issue. Part of it was that he's just so different than Lee Garbett, and part of it was some truly funky proportions on characters throughout the issue. I'm glad to say that his art seemed better this issue. I didn't identify any of those really weird poses, and Daredevil wasn't even depicted as Hulk-sized. He actually has some cool page layouts during some of the action sequences that are a bit looser in structure and actually reminded me a little of Devmalya Pramanik's work on Moon Knight. Truly a much stronger effort overall.
Rico Renzi's colors seem to fit the art better this issue as well. Daredevil's suit isn't as bright of a red as it was when Garbett was on art, but it's still a deep and dark shade that works well with the all-night issue. Everything is kept in shadows and black shades, and it all works well without just being all darkness. Much like the art, it's a stronger effort than I felt the last issue was.
Skipping Class
Daredevil #7 is a good all-action issue that sets up yet another mystery or two for Matt Murdock to deal with. His stubborn and self-destructive nature is on full display here and helps drive the story forward, and we get to see him in action against an interesting variety of different hoods and gangsters. I'd still like to see a bit more of a balance between the Matt Murdock and the Daredevil parts, and even though the art is better this month, I still miss Lee Garbett.