To start, I have enforced editorial control and demanded two things - the very first panel to be used will be from Daredevil Vol. 2 #82, the start of the Brubaker/Lark/Gaudiano run, and I've also asked to be involved in that chat (any excuse to chat Daredevil, really). Hit the jump to see what Dan and I think about the very first image presented to us in this exciting run.
I love establishing shots. I see one and I always think of two names: Sergio Leone and Brian Wood. Those guys knew how to set the scene - I always found Wood calling for full splash establishing shots of New York in DMZ so damn ballsy. I see the establishing shot as setting up location and all that but it really is a contract to the reader, it tells them how they need to feel about this world. Lark and Gaudiano do a magnificent job, with MattHollingsworth on colours, of bringing us Hell's Kitchen as it was and had to be at this very moment in time.
This came after Brian Michael Bendis and Alex Maleev's run on Daredevil and they capped events with *SPOILERS* Matt Murdock going to jail. Brubaker picks this up and has to find a through line. His way forward was to boldly stride into the darkness cracked open.Brubaker had no fear in making this title a true noir experience. I love that the team starts with Hell's Kitchen, and those gorgeous water towers, and the oppressive rain. This issterotypical Daredevil fodder, from the Frank Miller era and beyond, but it feels fresh. Thishyperreal almost photorealistic take brings Hell's Kitchen out of the comic and into our hearts, our cold black dead hearts.
Are you a fan of the water towers or do you think they're cliche?
I wish every story did this. I wish I could do this with every story.