The former and current Daredevils have had enough and Bullyseyeās just getting started in Daredevil #31. Written by Chip Zdarsky, drawn by Mike Hawthorne, inked by Adriano Di Benedetto, colored by Marcio Menyz, and lettered by Clayton Cowles, Daredevil #31 sees Matt waking up to realities of life on the inside, while Elektra wakes up to realities of parenthood, and Bullseye wakes upā¦ different.
Anna Peppard: Welcome back to Speak of the Devil! Jubilant Justin Partridge is away this month due to technical difficulties (which is not code for anything – he literally had technical difficulties!). God willing (assuming blessing busted computers isnāt beneath the notice of the almighty), Justin will return next month. In the meantime, Iāve recruited a new partner in rants and raves – none other than Resplendent Rob Secundus!
Rob Secundus: Happy to be here! Iāve loved this run thus far – itās my favorite Daredevil run in the modern era, at least since the Marvel Knights relaunch – and one moment in particular this week hit my Extremely Specific Daredevil Buttons.
Anna: Glad to hear it! I am also happy to be here, reviewing a book I liked just fine. Itās old news now that I havenāt always loved this run as much as I want to, but I will say – I deeply admire its consistency. Even here, with Mike Hawthorne filling in for regular artist Marco Checchetto and an overall āsetting things up for future issuesā feel, this was a solid issue with thoughtful plotting and some great individual moments. Letās dig in!
Heroic Parallels
Anna: Proceedings open with us checking in on Matt and Elektra in their respective locales, confronting repercussions from the last couple of issues. Mattās back in prison, still dealing with the injuries he sustained in the yard attack in issue #29 and contemplating the new mission he acquired in issue #30, in which he became an FBI informant regarding a suspicious prison labor program. Once again, he has his hubris called out by fellow prisoner Marcus. Once again, he doesnāt seem to listen. Elektra, meanwhile, is dealing with her ward Aliceās understandably emotional response to shooting a guy to protect Elektra during the warehouse brawl. For some reason, Elektraās reassurance that the guy wasnāt alive anyway – since he was a resurrected Hand soldier composed of dust and magic – doesnāt make Alice feel better. She calls Elektra a ācrazy #$@%ā and storms out. Elektra isā¦ displeased.
I liked the ways Matt and Elektraās stories parallelled and reflected each other, in general and in these opening scenes in particular, where Hawthorneās art and Manyzās colors did some interesting things communicating those thematic relationships. The scenes with Matt in prison are drab, dull, and claustrophobic, while Elektraās loft is airy and glowingly bright, courtesy of her huge highrise picture window – always a useful symbol for showing someone whoās both connected to the city and isolated (or alienated) from its sweaty bustle.
Yet Mattās situation and personality are very similar to Elektraās. Mattās trapped not by walls, but by his own single-minded stubbornness, which Marcus, echoing Kirsten in the last issue, suggests is also a form of selfishness. And Elektraās freedom is an illusion; sheās trapped by the same circular stubbornness, trying to turn Alice into a version of herself before falling back into familiar habits, riding her anger and arrogance into a flurry of violence that gets her into a room with Izzy Libris, but doesnāt get her what she wants. Because it turns out Izzy is trapped too, by cycles of violence leading to grief leading to a deal with the Hand, which can only lead to more grief and violence.Ā
Rob: I think, in Mattās case, what this arc is exploring in that trap, in those cycles, is a very Catholic idea of (and problem with) notions of penance and atonement. There are a few, I think, valuable ideas in the whole Catholic conception of āconfession,ā but ideas that are also easily harmful. The theological foundation of the sacrament – in opposition to the Protestant notion that sin is between you and God – is that you must confess to an appointed member of your community, because any ill you do harms not only yourself but also that community, even if thereās no clear, apparent harm done, because every person in that community is metaphysically connected. Real atonement and contrition is necessary, and then honest admission of guilt is necessary, but the sacrament is not complete until after one has left the confessional and performed an assigned penance, typically a set of meditative prayers, though occasionally some more concrete reparative actions.
In devout Catholic practice, the Catholic is not supposed to fully participate in the community – they are barred from the eucharist, the sacrament literally called ācommunionā – until that penance is complete, until the individual has completed that reflection, meditation, or reparative action. Matt has adopted the American Legal System as his confessor, and heās taking sentencing for that penance. But the confessional – a place where religious patriarchs speak to those under their authority with the presumed backing of their God – has historically been often, often severely abused, and substituting out the priest for the carceral state doesnāt exactly help. Even in situations utterly devoid of abuse, the confessional is often a place of stagnation.
Penance is ideally designed to bring about real growth in the individual and real reunification with the community, but in practice it is typically empty. Three Hail Marys are recited not like a meditation, a space for reflection, but like a spell that will excuse your own failings. Weāre seeing that with Mattās penance here. By so single-mindedly insisting on his penance, heās fighting against the intended outcome of penance: change.Ā
Anna: That reminds me of a complaint I made way back in my first appearance in this column, about Zdarskyās Matt being too Catholic. Thatās not meant to sound anti-Catholic. (All religions are diverse and complicated!) Itās just that in the past, Iāve perceived Mattās spiritual and cultural influences as being more diffuse, combining Western and Eastern faiths and philosophies. To me, heās felt a bit cut off from that in this series in ways I find frustrating, since it can read like stagnation or even regression; Matt seems, to me, like heās learning lessons heās learned before. But of course – thatās a common complaint of long-running serialized stories, and remains very subjective.
At least Matt does take a different tack here – going straight after the warden with reckless confidence and a Mike Murdock-esque smile. Yet this doesnāt feel like a step forward since if anything, heās behaving even more individualistically than before. I continue to wish I found it easier to believe in Matt in this series, rather than always shaking my head at his latest step toward the next inevitable cumuppenance. Iām still rooting for him, but if Iām being completely honest, I prefer being able to love him, and right now, I canāt quite get there. I know thatās probably the point; weāre deconstructing the problematic fantasies this straight white man profers. But still.
Rob: I think going after the warden too just confirms Matt further in his myopic ideas of justice. This run has largely focused on how deeply unjust American institutions are at every level. The police are corrupt, the politicians are corrupt, and they both are nothing compared to the people those institutions actually serve, the ruling class. Matt still thinks thereās just a Bad Guy in the system he can take out, rather than recognizing that the system itself is designed to allow people like this warden to flourish, and to flourish by exploiting those in their power.
Anna: It seems a touch strange to me that Matt wouldnāt already understand the broken-ness of the system, given the fact heās both a lawyer and a vigilante, but I know what you mean; Mattās not properly aware of the full extent of the systemās broken-ness, or his implication in maintaining the system through his privileged belief in the promise of justice (either legal or spiritual).
Though Elektra is also caught up in repetitive cycles, I have some hope she might be moving toward something new – a more complicated understanding of her relationship with the community around her or even a better understanding of herself and what drives her.
A few art notes, relevant to Elektra: though I always miss Checchetto, Hawthorne does a good job maintaining the series tone. And as we discussed in the last column, I like him a lot on the quiet character-building scenes. I particularly loved his posture and expression work for ācivilianā Elektra. Weāre not so far removed from every single female character in every single superhero comic constantly mugging for the male gaze that I donāt notice and appreciate depictions of women that make them look strong, sexy, and human. Elektra’s characterization (both narratively and visually) is definitely the thing I like best about this series as a whole; sheās rarely felt as real to me as she does in this series, and this issue continues that trend.
Villainous Parallels
Anna: Some of the seriesā villains are similarly dealing with repercussions; others are setting new schemes in motion. Mike Murdock – who is still impersonating Matt – is presented at a top-secret meeting with all the Hellās Kitchen crime bosses who arenāt Wilson Fisk or Izzy Libris. Hammerhead et al arenāt especially eager to trust this (supposed) āformer ex-assistant D.A.,ā and they shouldnāt, since Mikeās buddy Butch – the still-mysterious son of Fisk – is in the corner rocking a beanie, a cool slouch, and a very smug smile. But Mike makes the proverbial offer they canāt refuse. He says the D.A. is preparing to take down Izzy Libris. The other crime bosses can either wait for that to happen, possibly going down with her, or take her out themselves. Hammerhead roughs up Mike before saying āscrew it,ā while Mike and Butch exchange a knowing look.
What did you think of this development, Rob? Did it add intrigue, or was this mob coup too paint-by-numbers?
Rob: This plotline continues to bring me joy because it is very paint-by-numbers – but itās a paint-by-numbers mob coup featuring Matt Murdockās fictional alter-ego turned sentient, independent, living fiction incarnate, and then finally turned Real Boy, and his best friend, a Kingpin Jr who did not exist until said walking-fiction got his hands on reality-warping magic. Itās the kind of utter bonkers nonsense that canāt happen outside of not just comics, but extremely long-running, shared universe superhero comics. And Iām invested in Wilson Fiskās timeline baby and Matt Murdockās newly-real grifting brother as characters rather than just buck wild gimmicks.
Anna: Well when you put it like thatā¦ I am now 110% on board! Youāve perfectly described what I similarly adore about Mike. I also liked the thematic things this issue does with the villains, evoking more parallels and reflections, with each other and with the stories of our heroes. That includes Izzy Libris but also Fisk and Butch, as well as the ever-delightful Mike. Elektraās excessive violence is very obviously linked to Fiskās on the page where their shouting, snarling faces mirror each other, each of them performing violent interrogations that are as much for their own benefit as anyone elseās. Questioning the righteousness of heroes by comparing them to villains is hardly a new tactic, but itās effective.
Rob: One of the things that has cemented this run as my favorite modern Daredevil story is that emphasis on character parallels and foils. I find it brings the narrative a sharp focus beyond most contemporary superhero comics. But when it comes to Butch and Mike – the two characters who are most clearly reflections of other characters in the series – I donāt know what theyāre doing here yet. I donāt really understand what Mike has to say about Matt, or Butch about Fisk. This isnāt a critique, though; it feels like theyāre headed somewhere, and Iām excited for that picture to become clearer.
Anna: I remain excited for Mike to replace Matt permanently. (Iām kidding, of course! Or am Iā¦???)
Eye on Bullseye
Anna: Weāve been building to the return of Bullseye for a while now, with glimpses of him trapped in stasis in a super-scientific lab before his breakout at the end of the last issue. Fisk is desperate to get Lester back; trying to find Bullseye is most of what our not-so-honorable mayor gets up to in this issue. While itās understandable Fisk wouldnāt want Bullseye in the wind and outside his control, we still donāt know what Fisk was doing to him in the lab. We also know little, at this point, about Bullseyeās personal goals; we only know heās free, armed, and deadly as ever. Wait, I lied, we know one other thing – that Bullseye now has an angel who talks to him, imparting upon Lester a holy mission to kill everyone.
I wasnāt the biggest fan of the scene at the end of the issue where Bullsye shoots the anonymous man in the crowd. I wasnāt shocked by it; guns, and the things that guns do, are nearly as common in superhero comics as they are in every other action genre, and Iāve seen Bullyseye do this type of thing many times before. I also know itās hypocritical of me to criticize the violence here while celebrating beautiful violence elsewhere (as in our previous column, where I praised Checchettoās dreamy, psychedelic rendition of the warehouse fight). And yet, guns in superhero comics, especially when theyāre being used against non-superpowered civilians, always make me uncomfortable; itās an intrusion of real(ish) violence into a space of fantasy violence, and this scene in particular, with its mass shooter vibes, was a bit too real for me. Donāt get me wrong – intrusions of realistic violence can be productive. It can be valuable to remind us of the consequences of violence within a genre that often glosses over them. But for me, it depends how itās handled.
Here, this intrusion of real(ish) violence was aestheticized and spectacularized in ways that glorified Bullyeyeās power; the man Bullyeye shoots is caught in a moment of frozen, weightless grace before his fall, and on the final page, weāre positioned on the ground between Bullseyeās legs looking up at his crotch and perfectly sculpted body as he celebrates his kill. Again- thereās nothing particularly unusual about this scene. Iām not calling out this comic for some out-of-bounds offense. But I have been wondering more and more in recent years – especially in and around the use of superhero symbols by the militant alt-right – whether itās worth thinking more deeply about the functions of such images. This scene presents a very disturbing power fantasy while doing very little (if anything) to critique it.
Then again: maybe this scene stood out because this series is usually more thoughtful about the consequences of violence. Thatās kind of the central theme, after all, and it continues to take new forms month after month. Just thought Iād mention it as something to keep an eye on moving forward.
Rob: As a Columbine and DC Sniper era kid, these types of scenes should be too real for me, but at this point I suppose Iām far too desensitized? That desensitization in and of itself, I think, should condemn the ongoing approaches to depicting gun-violence, particularly in escapist media. Weirdly, I think the visuals might be more successful if it pushed it further into glorification; if, instead of standard Male Superhero Glorification, the art went further to depicting a beautiful, or transcendent Bullseye, the contrast between the beauty of the art and the horror of the violence might have resulted in something shocking, something appropriately grotesque. Or, on the other hand, Bullseye could be denied the standard Male Superhero Glorification and depicted as something disgusting. Or – but no, Iām not going to keep listing what ifās. I think there are a large number of ways this scene could be rethought successfully, but as it actually stands it feels thoughtless. As you say, glossed over.
If I treat this development in the abstract (which is, I know, often not a very productive way to approach art like this, when the cultural context is so serious, so important), I like the shift in Bullseye. Iāve never cared for the character; to me, heās like the Joker, but even more boring. In his essence, heās just a guy who is good at doing violence and not feeling guilty about it, which is the least interesting antagonist for a guy whose deal is heās good at violence but feels very guilty about it. Too often he feels less like a character and more like a narrative tool to inflict misery on Matt and his supporting cast, and thus plays into all the worst (and often misogynistic) impulses of Daredevil writers. To give him an actual goal, and an extreme one at that – a motivation that is comparable to Thanosā in some depictions – fixes the character for me. He has a cosmic-level goal.
Heās not just an assassin now, but someone devoted to the assassination of all sentient life, but also without any kind of cosmic-level tools. He has no infinity gauntlet to snap. I would have been happy to never see the character appear in this run, but this shift leaves him ready for more interesting stories than getting hired to kill someone, or killing someone to piss off someone else. That heās got an evil angel in his brain put there by the state as it attempts to use his violence for its own benefit – for me, that sets him up to play thematically with both Matt and Fisk in really interesting ways moving forward.Ā
But if I step back into reality again, if I no longer stay abstract – is any of that worth it? Is making a supervillain more interesting or narratively utile worth the cost of putting a mass shooting into an escapist adventure story with superheroes sold to children? I really donāt know. It probably isnāt worth it.
Anna: I love that reading of whatās going on with Bullysye and his angel. I also love those suggestions for how different visualizations might have generated different meanings. While I like Hawthoreās style, itās certainly more staid than Checchettoās; I can imagine Checchetto communicating the spooky religiosity youāre describing more effectively than Hawthorne did here.
Though I admit your critiques of Bullseye are totally justified, I have historically liked him. I enjoy his single-minded-ness and pathetic-ness; he doesnāt even try to disguise the fact heās centrally motivated by a fear of not measuring up to Matt. Then again, probably my favorite modern-ish take on Bullseye was in the Bendis/Maleev run, where heās teased as a big bad, only for Matt to defeat him easily, and humiliate him to boot (carving that bullseye symbol into his forehead). Thereās an argument to be made that Mattās moved beyond the threat Bullseye represents, and maybe thatās what this twist on the character is about. In past columns, Iāve described this series as having something of a āgreatest hitsā feel. It would be great to see Zdarsky and Co. put a unique stamp on one of Daredevilās arch nemeses.
Marvelous Musings
- Today in unfortunate ad placement: the tribute to John Paul Leon that was inserted between beats of a comical exchange between Mike Murdock and Hammerhead. Both were lovely; neither benefited from this choice.
- Iām not sure if Iām convinced by Izzyās remorse. I wouldnāt be surprised if itās part of a long game.
- Iām worried about Alice. Does she, like, attend school? Does she have any other family? While Iām enjoying Elektra subverting the āmotherhood turns a bad woman goodā trope by being a decidedly problematic mother, a few more glimpses of Alice and Elektraās day-to-day realities might help me feel a bit more grounded in that storyline.
- I <3 Mikeās saucy cocked eyebrow after Hammerhead decks him. I also enjoyed Hawthorneās very shark-like modelling of Hammerhead. Also-also: I looked at a lot of shark pics to figure out why itās perfect. Itās definitely the wide-set eyes.
- Looks like weāre heading for a showdown between Elektra and Bullseye. That could go a lot of different waysā¦ weāll have to wait and see!