Charles Soule was a virtual unknown when he started on Swamp Thing in 2013. Since then, he’s written some of comics biggest characters, from Superman and Wonder Woman to Deadpool and Wolverine. December saw him tackle the man without fear with the launch of a new volume of Daredevil. Drew sat down with Soule to go through issue 1 page by page, so get your copy handy and join us on the Commentary Track.
Retcon Punch: Let’s just jump in with page one. My first question is actually about the location. It seems like the Brooklyn Bridge is a more iconic Marvel landmark, and I’m wondering if you thought about any of those Brooklyn Bridge moments when you chose the Manhattan Bridge.
Charles Soule: Well, I live in New York, and the Manhattan Bridge is one of my favorite bridges — I run over it when I’m going for a run, and it has these great walkways along the side of it that are convenient for the scene that we’re trying to do here, whereas the Brooklyn Bridge has a walkway in the center, and there are roadways on either side. So that wouldn’t work for this particular scene. There’s a practical reason I picked the Manhattan Bridge; it has the walkways that let us do this thing. But, whatever: I just like the Manhattan Bridge.
Walking, or running or driving over the Manhattan Bridge, it arcs right over Chinatown, where the Brooklyn Bridge is south of Chinatown and sort of in the Financial District. So this was a way to tie this series very directly — straight up — to the Chinatown area, which is where a lot of the action is going to be set.
RP: Looking at the voiceover on this page and the next… it’s very identifying. We’ve got Matt introducing himself to us. How important is this as your introduction of your Daredevil?
CS: In a larger sense, it was important to me to make this feel like a re-introduction of the character to readers — that this was going to be a real chance to jump in. I mean, literally: you look at what Daredevil is doing and he’s leaping in, he’s being a daredevil, he’s jumping into a new situation, he’s leaping before he looks. I wanted to give that to readers in the same way. Tom Brevoort, and other editors I’ve worked with, they like to treat each comic book like it’s someone’s first comic book… and I think at a certain point, it can be tough to do that. But, for a number one issue, certainly, you gotta treat it like this is the reader’s first introduction to the character. The thing that’s challenging with these books — and I’ve been fortunate to do a lot of number-ones — is that you need it to be a satisfying experience for both for new readers and old readers. People who’ve never read Daredevil comics before, people who have been reading Daredevil for 40 years. That is a really tough needle to thread because some of those goals are contradictory. You don’t want it to feel to familiar, for people who have been reading the character for ages, but you also don’t want to throw in all these in jokes or references to stories past.
RP: I was struck by the amount of white on the page. I’m curious when in the conception of the series, when did Ron Garney and Matt Milla come on board and how much discussion was there over the finished look of this book?
CS: There was a ton of discussion about the finished look of this book. There are versions… I probably have four different version of page one and some of these other early pages in my inbox as far as coloring goes. They range from very fully-rendered, what you might consider a typical-comic-book look to, eventually, this. Again, my goal was to really make it feel different and — I don’t want to say “normal” comic book — just not that standard comic, computer-rendered thing that is all-the-rage. I also really wanted it to feel distinct from Chris Samnee’s work on Mark Waid’s run. They had a very particular, kind of technicolor look to what they did, bright colors and so-on. We knew the book was going to darker and we wanted it to feel like, when you opened this that you were getting something that was unique. It’s a whole experience. It can’t just be “oh, you’re getting another comic.” You’re getting something that’s going to be notable. The colors and the art and the writing — it all has to feel like you’re getting one of those memorable experiences. So much of comic reading is sort of disposable; you know the next one is going to come out soon, so you just read to find out what’s going on. We wanted to make this feel like it wasn’t that. This is meant to be more memorable and powerful than that. And whether or not we succeeded… time will tell, but that was the goal.
RP: I’m also struck by how different this style is from Ron Garney’s work that I’ve seen in the past. Did he come in with this style or…?
CS: He did. I don’t think anybody expected this from him. I’m not even sure that he expected this from him. We had a great chat this past weekend, just talking about plans for the book and kind of congratulating each other on our great launch and we talked about that very question. He felt that it was important for him to do something that was more of a statement — sort of like he was showing what he’s capable of now. And also something that was unrestrained. He specifically mentioned the experience he had on Men of Wrath — it was very clean for him — that’s a Jason Aaron creator-owned book that came up through Marvel’s Icon line. This is so different, but this seems to be the direction he wants to go, and thank God for that, because it just looks unbelievable.
RP: Moving on to Daredevil trying to use his radar sense off the bottom of the river —
CS: This is some of my favorite stuff in the issue, for sure.
RP: This is kind of our introduction to his abilities. What were your goals in this portion?
CS: Well, it’s the same thing. The whole opening sequence is designed to introduce readers to Daredevil; to his power set, the fact that he’s a heroic figure, that he’s saving someone’s life, that he’s smart, that he solves problems with his mind just as much as he does with his ninja-ing. One of the things that’s fun, and I’ve had this conversation with Mark Waid a little bit — who I should say, has been very very gracious about me working on a character that he had been writing on for years and years. Not only am I doing that, I’m not doing something that’s a direct sequel to what he did. He is one of the nicest people in comics, and he continued to be nice with this. But like I was saying, one of the fun things — and one of the challenges — about Daredevil is that you get to think of ways that a blind character with super senses would operate. What do they sense, or smell or hear? What do they understand about their environment that an ordinary person wouldn’t? And the way that someone who is very experienced at this, like Daredevil is, uses those skills as an expert. He’s been doing this since he was a little kid — twenty years now, or whatever — so he knows how to do it. But it also goes back to showing these things to the reader early on. If there is someone who doesn’t understand what Daredevil can do, what his powers are — and that’s very possible — they get a sense of it.
RP: How about the look of the radar sense effect?
CS: We asked how we could convey radar sense in this book in a way that doesn’t necessarily look exactly like it did in the previous version. That was amazing. I love that radar sense stuff — that’s probably my favorite. I probably even like it more than this. (laughs) But this is our version, and we needed a way to convey radar sense, but also not be what we saw before. Looking at the top of that page there, where Daredevil pinpoints that target, that’s what we landed on. It also had to work with the coloring and Ron’s drawing style. Yeah — lots of challenges in the design phase of this series, but I think we came up with a good solution.
RP: Turning the page yet again and now kind of getting to an explanation of what’s going on… at least from Daredevil’s perspective. So: tell me about your version of Daredevil. Who is this Matt?
CS: One of the things that I thought was incredibly successful about Mark’s dialogue — his portrayal of Daredevil — was the charming, swashbuckling side of him. And I really did not want to lose that here. Matt’s a lawyer right? And lawyers know how to talk (if they’re good, anyway). But also, because of the fact that his secret identity is back, I took the chance to make those personalities distinct in a way. So where Matt is right now is that he feels like — for the first time in many years — he can make Daredevil and Matt Murdock be separate entities. They do not have to act the same way. Daredevil can take risks in a way that Matt can’t.
I’m jumping around a little bit but one of this big brainstorms I had when I was thinking through this was this idea of getting his secret identity back. I feel — and feel strongly — that it is impossible for a practicing attorney to be a known vigilante. It’s impossible. I mean, he’s been disbarred many times! But he’d never get it back. He would not be allowed to practice law. I don’t care. It goes against the way the law is set up — it is just not supposed to be that way. But I also thought — you know, for me writing a Daredevil series — if he wasn’t going to be a lawyer, then… that’d be dumb. I am a lawyer. People want to see how I’m going to use that skill set in writing this book. That’s part of the appeal. So I needed a way to put it in so: secret identity is back. The whys and wherefores of that will be revealed later. But that’s my thought process. I needed to give him a chance to be both Daredevil and a lawyer. So he’s leaning into that — he’s letting Daredevil do things that Matt Murdock would never do, and vice versa.
It’s fun. I don’t think Daredevil has been written this way in a really long time — I think it was back in the Bendis days that his secret identity started to be unraveled a little bit. Certainly most of the hero community has known who he is for a long time. But in these stories, only one person knows who he is and that’s Foggy Nelson. You’ll see in future issues, but I’ve done some neat things with other heroes and villains and people in his world who don’t know who he is, but used to.
RP: The reveal of Blindspot is really fun. Matt knows something that nobody else knows. Is that an important dimension of that character?
CS: That he is able to turn invisible?
RP: That Daredevil can see him when no one else can.
CS: Yeah. It seems so obvious, in retrospect, but it wasn’t obvious. I mean, coming up with powers that are cool and make sense is not easy. And having them work thematically? He’s an undocumented Chinese immigrant, so he is somebody who, in many ways, is invisible in society. He washes dishes and stuff like that. Giving him powers, where that invisibility becomes a strength as opposed to a weakness, I thought that’d be a very cool way to go. The fact that Daredevil can see him and interact with him when he’s got his powers activated is kind of the cherry on top.
Y’know you have one idea and then another, it starts to takes on a life of its own. You know you’ve got something if it works really well, as I hope it does here. So, yeah, I was happy with figuring that out.
RP: Turning the page again to their conversation — they already have a casual rapport. Are we going to see their meeting at some point?
CS: Yes. There was an 8-page backup story in All-New Marvel Point One that told the story of the first time this guy, Sam Chung, met Daredevil, basically. He’s a guy who knew he wanted to protect Chinatown, his community, in the same way that a lot of other comic book vigilantes in New York do. So he had files on, you know: Spider-Man, Luke Cage, and Daredevil. He knew that he didn’t really know how to do the job, so he would go around town trying to hang around looking for them and hope that he could sign on with one of them, that one of them would be his teacher. Daredevil was the first one he actually found. He sort of met up with him and things happen to get to this point. The stuff in that “this happen” we’ll probably see at some point. In some ways though, I feel like that story — you kind of know how it goes. I’m sure there are some surprises there that we haven’t quite yet seen, but we’ll see. There are a lot of other stories that I’m really excited to tell before I tell “what did these guys do in the early days of their acquaintance. We’ll see what happens, but that’s kind of how I feel about it right now.
RP: The very final panel of this spread, where you see Sam’s distinctive shirt — was explicitly called for in the script, or was that added later to make Sam’s identity at the end clearer?
CS: It was called for. The tricky thing about this is that Daredevil and Blindspot do not know each other’s real names, so there was no opportunity in this scene for him to be called Sam Chung. In the stinger scene, the cliffhanger scene at the end, just because Tenfingers calls him Sam Chung wouldn’t have any reference for the audience because they don’t know he’s the same dude. So we had to find a way to do it visually, and I think the idea that he’s unzipping his suit there on the bridge is maybe a little tiny bit — I don’t know if he actually would, but in this case he does. Whether he actually would or wouldn’t, he is doing it.
RP: Moving on to Foggy’s apartment, Foggy makes it very clear that he doesn’t want to see Daredevil. How important is their relationship going to be as the series plays out?
CS: Foggy will be around, but I also felt — I took a lot away from Daredevil in this series, at least as it starts. He feels like he’s gained a lot, as he sort of explains it here. He’s gotten the ability to be a lawyer. He’s gotten the ability to take real risks with Daredevil again. He’s able to be a better Daredevil and a better attorney. He’s not always fighting against that question of “is Matt Murdock Daredevil?” — all that stuff is gone for him now. He feels like he’s achieved a certain amount of clarity. Which is great, but clearly he did something questionable to get that. Foggy is kind of like “Dude…” — this is an echo of scenes we’ve seen before. We even saw it on the Netflix TV show. Foggy is a smart man who has been able to establish himself repeatedly on his own — he doesn’t need Daredevil. He doesn’t need Matt Murdock, he doesn’t need Daredevil. At this point, his thinking about Matt is like, “I don’t need you here. Let me live my life; you live yours, if this is how you really want it to be.” I mean, there’s a lot more to it. This story will be told — kind of how all of that happened — but I probably won’t be getting to it until issue 15, somewhere around there.
RP: Is this the most we’re going to get in the way of teasing that, or will that be kind of a central question of the series?
CS: No, it’s a central question. You see a lot of it in issue 6, which I just finished last week. I’m gonna probably write 7 later this week, which will also look at it. You know, there’s a lot of weird questions associated with a guy who everybody knew as one person, and now they know them as two people. The way that the mechanics of this work — and I don’t think I’ve really explained this specifically yet — but basically, you just think of Matt Murdock and Daredevil as two people. You don’t think of them as one person anymore. So, anytime you’re hanging out with Matt Murdock, you’re hanging out with Matt Murdock, but not Daredevil, and vice versa. It sounds complicated, right?
RP: Well, I’m not sure how that happens, but won’t try to squeeze that out of you now. Moving on to Matt’s new digs in the office. There’s a lot of fun stuff going on here, but I’m particularly enamored of sequences where we get this kind of detailed explanation of Matt’s experience. That’s something that Waid did very well —
CS: Yeah, I think he did it extraordinarily well. I was very, very impressed with that aspect of the series, for sure.
RP: What does it take to get in Matt’s head in that way? Do you sit in a room with your eyes closed? How do you conceptualise the way Matt experiences the world?
CS: You know, I haven’t done that, but it’s probably a good idea, sitting in a dark room with my eyes closed. I think, for me, sight is the primary sense, and I’m sure that’s probably true for most sighted people — it’s the main way that we interact and think about the world. Whereas, I think when you’re looking at Matt, or trying to write scenes where he uses his senses — for him, I think he doesn’t have a primary sense. They’re all useful, and they all give him information in different ways at different times. When you’re writing sequences like this, you just sort of think “oh, okay, what would be a way to convey information here that isn’t sight, that isn’t radar?” It’s fun. I have some really fun ones coming up. I’m really thinking about him as a blind man, more than a hyper-sense man, I suppose. Because, you know, he has to play blind in a way we haven’t really seen in a long time because of the way the previous series’ worked. There’s lots of little — I think it’s in issue 2, actually — there’s a bit where his watch is a braille watch, like there’s things that he can’t see. Just because he has radar sense doesn’t mean he can see. I don’t want to spoil it, but there’s a lot of that stuff. The idea of the things he can’t see is a recurring theme throughout this series that I think will be interesting. He’s blind in many different ways. We’ll see how it goes with that. Hopefully I won’t hit that too hard, but that’s the hope.
RP: This character that you introduce here, Ellen King — is she going to be an important part of this series as it moves forward?
CS: Yep. She’s basically his gal Friday in the series, at least so far. She pops up anytime there’s a legal scene. We meet Matt’s boss, I believe, in the next issue, who’s based on a long-standing DA of New York, Morgenthau. But yeah, she’s around quite a bit. I did a lot of research on the DA’s office before starting this series because I’m not a litigator. I’ve never really gone to court and argued — I have a little bit, but not very much — and I’ve certainly never worked in the DA’s office. While I do have a legal background that gives me more insight than other people might have, there’s still a lot of internal process stuff that I really want to get right, so I had the help of a very sarcastic ex-Manhattan ADA who worked in this specific office. Like, literally, you know that elevator shaft office? I read in one review, some guy was like, “that’s impossible! That’s totally unsafe! Some elevator would fall on him!” First of all, the elevator doesn’t move, obviously. People aren’t going up and down that elevator shaft all day long. But my main contact for the ADA research was in this elevator shaft office, so it exists. He had it.
RP: Moving on to Matt’s pep-talk to Billy — it’s almost an anti-pep-talk, it’s so threatening. Some folks in comments on our site have suggested that with Matt’s move to being a prosecutor, there’s not as much room for compassion in his character. How is that going to play out in your run?
CS: I think it’s extrapolating quite a bit from one scene to say that Matt has lost compassion. I mean, he saved this guy, like, ten pages before. And he did it at potentially great injuring cost to himself. You know, he jumped off a bridge for this guy. On the other hand, he’s very much on the side of justice, and this dude is a sleazy guy. Perhaps it hasn’t been conveyed, or maybe we’re just so conditioned to thinking that somebody in this position needs help and should be coddled and so on and so forth, but Billy Li is not a good guy. At all. He’s a criminal. He’s an informant. He’s someone who is trying to survive the system the best he can, but it’s made clear on this page that he has many outstanding warrants on him, essentially. Convictions that can be called in at any time. He has committed crimes and has been convicted of them.
When I talk to my contact about the way these scenes go, it’s all leverage. This bargain? The “help us or you’ll go to jail” is a bargain that’s made all the time. These are not necessarily friendly relationships. These aren’t buddies. I mean, everybody’s a human being and so on and so forth, but this is how it is if you’re a DA, at least in part, in a situation like this. However, we will see many, many different sides to Matt’s legal practice as a DA. One of the great things about this series, I hope, is that we’ve never seen Matt be this kind of lawyer before. It’s very different for him. And hopefully that comes through. We’ll see!
RP: You mentioned earlier that, because Matt and Daredevil are different people in everyone’s eyes, he can really play up Daredevil as a character. I’m wondering if, in your mind, he’s doing that with Matt, as well.
CS: Yes. Absolutely. I think that he’s finding his way, to a certain extent. He has not been in this role for a while. His lives are split. He hasn’t been a prosecutor. There are all these things that are different now for him. His relationship is apparently done, with Kirsten McDuffie. His friendship with Foggy is on the ropes. But, at the same time, he’s got new relationships, like with Blindspot. There’s a lot going on for Matt. Whether that’s all good or bad, or how things go remains to be seen.
RP: Moving on to the final scene, should we be able to gather anything about these characters other than how weird this is?
CS: Maybe, but not really. Tenfingers, who he is, where he came from, what he wants, what he’s up to — all of that will become much more clear in the next couple issues. I think he’s a fascinating antagonist for Daredevil in ways that you’ll see — particularly in issue 4. He’s super weird. I think that design really nailed it on that last page. I mean, this guy has ten fingers, but on each hand. Did you notice that? (laughs)
Anyway, there’s a lot more to him, but I didn’t have 30 pages here, I had 20. I wanted it to feel like a big punch, just such a weird image. Particularly for something new. A big thing for me in taking on this run, and in a lot of the stuff that I’ve done I’m making up new stuff — there are some that would say that’s crazy because I’m giving characters to Marvel and so on. But you know what? I’ve loved the Marvel universe since I was a young kid, and the idea that I’m adding pieces to it is great. And for that matter, the DC universe, like Swamp Thing characters and all of that. What I’m getting at is that for this run, the first five issues will kind of focus on Tenfingers. You’ve got Blindspot. I’m going to continue to focus on new characters for at least the first year of the run. There’ll be some appearances by familiar characters, but it’s gonna mostly be new stuff. I think that’s a cool thing — there’s a lot of neat, amazing stuff that has come out of Daredevil in the past, and I wanted to take a shot at adding stuff to it myself.
I am very disappointed in Charles Soule for just disappearing Kirsten McDuffie. She’s a great character, and I was really hoping she’d stick around for the new series.
Fascinating seeing Soule discuss all this. A lot of it I’d worked out, but lots of interesting stuff to hear as well.
Nice to hear that we are going to see a lot more variety of Matt’s job as a prosecutor. I probably didn’t express myself well enough in the comments, but my issues were less that I think Matt Murdock has no compassion, and more than something fundamental to Matt Murdock has been lost by turning him from the Protector of the Small as a defense attorney to the Avenger of Evil as a prosecutor. That idea that no matter what happens, no matter what crises are happening as Daredevil, Mat Murdoch is ultimately a guy who dedicated himself to helping the little guy. A moral core that centres him, even as events may cause him to go in other directions.
So introducing Matt’s new role that emphasized that avenger aspect didn’t strike me as the best choice. While Soule is write in that all crooks can’t be coddled, it would be nice, since this is a first issue and therefore introducing to everyone ‘Soule’s Daredevil’, if this one was kinder. Let him do the bullying in Issue 3, but make clear up front that whatever he does in future issues, that strong moral core still exists, even in his new role as a prosecutor.
Love seeing these Commentary Tracks, and would love to see more
I love that Soule has long-term plans for Daredevil. He has this book plotted years ahead of time! I really appreciate that kind of commitment, especially in this “shorter run” comic culture that exists at the moment, especially at Marvel, which seems to be emphasizing “volumes” that tell complete stories as shorter runs over long-term storytelling. It’s nice to know that, sales willing, I can allow myself to get invested in this book for the long run.
Thank God Kirstin Mcduffie is gone.She is by far the worst love interest Daredevil has ever had.Soule is doing a wonderful job so far.Keep it up and ignore the pg haters.I love my Daredevil edgy.Hell’s Kitchen is not a nice place,scum should be treated like scum.Go prosecute those criminals Matt!!
I have spent a lot of time on this site discussing the importance of a central moral core to Daredevil, and of how Batman recently has done a fantastic job addressing the moral issues with the Batman premise.
RJ here has just demonstrated why it is so important. I love darker stories, I have praised the Bendis/Maleev Daredevil run recently, and outside comics, enjoy lots of really dark stuff. But dark stuff has to be done properly, because the goal of a dark story is to make sure that when RJ posts this comment, he is unjustified. ‘Scum should be treated like scum’ is a horrible ethical standpoint, and no matter how dark a story is, it should in no way endorse this viewpoint.
That’s my problem with the prosecutor stuff so far. It justifies RJ
Yeah, but RJ’s clearly oversimplifying a point he doesn’t think he needs to articulate – possibly because Soule articulates it pretty well in the interview. These are contentious relationships between people on opposite sides of the law – both can try to use intimidation on the other and we, as a society, have a moral bias for one form of intimidation over the other. We don’t see the ramifications of Matt being a hardass in the issue, and even if it showed him being wildly successful being a jerk, that’s not necessarily an endorsement of “treat scum like scum.” Especially in first issues, I think we rush to conflate observation with endorsement.
But I’m also a little disappointed to see one of your comments go so pointedly negatively toward RJ, who by call counts is saying something positive about the piece in question. I don’t believe that all of our commentary here has to be positive, but it is crummy to set RJ up as a strawman. “Justifying RJ” shouldn’t be something that you can point to as a universally bad thing. You know what I’m saying? Equating his opinion with something inherently bad (or even morally wrong) is totally tossing his tastes in the trash. Which of course, makes for shitty conversation.
Sorry, his comments striked far too accurately to me of a very particular, very nasty type of fan, and one far too close to some of the groups I mentioned studying in the Robin War comments (when I emntioned how the leaderless movements I have studied have a very fascist bent).
Cheering the idea of ‘treat scum like scum’ is, to me, a terrible moral view. I feel confident in saying that it is a view I don’t want to accept as valid, and will happily call out, especially as I’ve seen too many people take that sort of stance in art to very toxic places.
Nearly everyone I have ever seen who has said anything resembling ‘Keep it up and ignore the pg haters.I love my Daredevil edgy.Hell’s Kitchen is not a nice place,scum should be treated like scum’ have quickly proven themselves to be toxic, and the exact sort of people that if I was Soule, would desperately seek not to have in my audience. If I have mischaracterized RJ, I am sorry. The fact that, out of morbid interest, I study the opinions of the toxic and the horrible may make me overly harsh to an opinion like that, but nearly every time I have seen an opinion like that, even outside my studying the toxic, I have seen it descend into something horrible
If I am misrepresenting him, I am truly sorry. But most people who say stuff like that have proven to be people who are toxic at best, and at worst (very, very worst, to a level I would never accuse RJ of being without a hell of a lot more writing from him) an example of how their tastes reflect how they are a truly fucking vile person.
You guys are taking my comment way too seriously.I also like a compassionate Matt Murdock,the reason I came across as harsh is because Waid changed a lot of things about Matt and it was well recevied by reviewers on a nuclear level.Soule did one panel where Matt is acting tough on a really bad person and everyone is ready to take his head.I wasn’t a fan of the last series so it’s refreshing to see Daredevil going back to his roots.It’s not really about light or dark.I like good story telling just as much as the next fan but I wasn’t impressed by the last series tone or goofy characterization of Matt Murdock.If you wanna come for my head because I feel indifferent than you,than so be it.
And Matt,just because I feel a certain way about a fictional character’s world doesn’t reflect my beliefs as a human being.Just because I watch Friday the 13th that doesn’t mean I think it’s cool for a mass murderer to go around and kill a bunch of harmless teenagers.There is a line between fiction and reality.My defense for Soule may have came across as harsh and insensitive but I think the man deserves a chance.I haven’t enjoyed Daredevil for the last four years so I’m excited for this series and I’d hate to see it criticized harshly so early because Matt was being tough on one really bad person.
I’m right there with you, man. I actually really liked the characterization of Daredevil in Waid’s run, but because it reflected Matt’s agency. He chose (and had to actively choose) to be that relentlessly positive every fucking morning. I mentioned this is our conversation about the first issue, but I like that this switch back marks just as intentional of a shift for the character as it does for the creative team. I am happy that you get to see the flavor of Daredevil you like back on the page – and I’m also thrilled to see Matt taking the reigns and making an active choice about his life again.
Thanks so much for reading and commenting on our stuff – I love having these debates. Sorry if it skews personal sometimes! I know that’s never my intention.
Thank you.I don’t feel like I should be personally attacked,insulted or have my have my loyalty as a fan fan questioned for having a different opinion on Daredevil than someone else,especially since the accuser doesn’t know me.If he didn’t agree with what I said,fine.But to call me or refer to me as toxic fan was wrong.I will admit that I came across as a little defensive of Soule but that’s because I feel like he should be given more of a chance to flesh out Matt;s new status the same way Waid was given a chance to make Matt spit out jokes every other panel.I will also apologize to those who were offended by my comments.I love Daredevil more than any comic character,he’s very dear to me on a personal.So it feels so good to be able enjoy him again.
Seeing your other posts has made it clear my first impression was wrong. As I said above, I’ve seen many people prove to be truly toxic when they say similar stuff, and I guess this is proof I have spent too much time looking at the worst type of fans.
Trust me, there is nothing wrong with not liking Waid’s Daredevil. I really, really don’t like it, and will happily talk to you about everything wrong with Waid’s version. I would recommend thinking a little bit more about how you express an opinion. There is nothing wrong with like a dark Daredevil or Friday the 13th (or at least I hope not, because I love things that are much, much darker stuff than that). But I do believe that the reason why we love something is important, and it is worth thinking about why. To me, what makes a dark Daredevil story so great is the fact that it truly shows Daredevil’s heroism. He is a man with everything against him, who will continue to suffer, and yet all chooses to keep fighting. That even when the world is at its darkest, he still fights for good. It is because of this that I didn’t care for the prosecutor scene (even if I did like the rest of the issue). It is also why Waid’s run is so bad. Waid wants to have happy Daredevil, and never wished to actually address the fact that there is actual pain. So instead, he kept teasing and teasing, and leaving the payoff far too late, because it would hurt his happy comic.
Honestly, I feel that the reason I love dark Daredevil may be the same reason you like Daredevil, considering how dear he is to you on a personal level. So next time you want to talk about great Daredevil comics (and there are so many great stuff. Been reading the Bendis/Maleev stuff recently, which I love), try and discuss that sort of stuff. Because do you really want to be the guy who walks into a comment section and says ‘Daredevil is great because he treats scum like scum’ instead of ‘Daredevil is great because he faces true darkness, and never stands down’ or something like that? I hope you can understand how a line like ‘Daredevil is great because he treats scum like scum’ can set off warning bells to people, especially those with experience of some truly terrible people.
Still, when it comes to blame, I deserve a far, far, far greater portion, and wish to truly apologize. It was utterly atrocious of me, and I am truly sorry. I hope you can forgive me, and we can talk about all the awesome older Daredevil stuff
No problem,Matt.I was wrong for noy expressing myself better.I’m an educated enough Daredevil fan to give legitimate reasons of why I hated Waid’s whole tenure on the book.The fact that I haven’t been able to enjoy my favorite character for four years made me aggressive.I’ve spent a lot of time describing to people why I didn’t like the series so I guess I was a bit weary of doing it.But I should have doe it regardless.There is a number of things I hated with Waid,and I’ll list some.
1 Kirstin Mcduffie.She acts like a woman who hasn’t hit puberty.She’s down right annoying and immature.Her whole purpose for existence seems to be to antagonize Matthew in the most childish of ways possible.
2 The endless blind puns,jokes and gags were a bit much.I understand Waid wanted a lighter tone but a lot of the happiness felt forced.It seemed like the whole being depressed and pretending to be happy angle was only a plot device used as an excuse to write Daredevil happy-go-,lucky-.Matt’s always had a sense of humor but I think Waid pushed the envelope with it a bit too much.The wearing the “I’m not Daredevil” sweater,and the kissing the mobster bride was just out of character in my opinion.I don’t think he focused enough on Matt’s so-called-depression.
3 His fighting skills seemed to have reverted back to the pre Miller days were he won his fights by luck or circumstances.Matt Murdock is one of the best fighters in the Marvel universe and he was written as such in this run.
4.Him revealing his identity to the courts along with his powers and weaknesses was idiotic and unrealistic.Waid took a long piss on the whole Benids run by not making Matt suffer any real consequences for committing a numerous amount of perjury and other pats of the law.Bendis clearly explained why Matt just couldn’t simply tell the truth to the court.No matter how much good he does he’s breaking the law, and any penalties that doesn’t result with him being thrown in prison is simply crazy.But no,we get him going to San Francisco and fighting in a tuxedo maskless.
4. The tone.A lot of the tone felt like Scooby Doo horror when it tired to be dark.I’m not big on Chris Samnee’s art.And mostly every time something got serious there was some gag or joke a few panel or pages down.The criminals didn’t even fear Daredevil anymore.He even had a casual conversation with a henchman. I can keep going but I’ll stop here.
My big problem is that it constantly teased the question ‘Can Daredevil be happy?’ yet was never interested in answering it, because it would risk hurting the happy tone. There would be these suggestions, like Matt sitting in a dark room, while there was the party outside, or the teleporter guy actually trying to gaslight Matt by bringing up the darker parts of his history, but it never reached the point of truly challenging ‘happy Daredevil’. If Waid actually committed to a big, intense story where Matt’s attempts to be happy were truly tested, a story where everything went wrong, he truly got tested, and yet still managed to come out the other side as his happy self, I would have been fine. But Waid would keep saying ‘I’ll answer the question later’ until I quit out of frustration. If you aren’t willing to explore the central question of your run, why am I reading?
And I think having Matt Murdock actually admit to being Daredevil was a massive mistake. Because all Waid did was force Soule into a situation where a mind wipe story had to happen. Bendis’ solution managed the perfect balance between all the tension and drama of a revealed identity, and allowing Matt Murdock to still do things important to his character, like his legal career (Bendis even dedicated an entire story arc to a trial). Waid took it too far, by actually disbarring Matt Murdock, and forcing Soule into basically rendering over a decade of Daredevil stories as meaningless