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Daredevil Visionaries - Frank Miller, Vol. 2

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During Frank Miller's first nine issues on Daredevil, numbers 158-161 and 163-167, the stories were written by Roger McKenzie with Miller supplying pencils. (Number 162 was a non-McKenzie/Miller fill-in issue.) It was only with number 168 - the first issue in this collection - that Miller was handed the writing chores as well. That's when Daredevil, since its inception in 1964 one of Marvel's second tier books, truly hit its stride.

In his very first outing, Miller slammed a home run when he created Elektra Natchios, ninja assassin and Matt Murdock's (Daredevil's) old college girlfriend. Miller has since admitted the basic plot skeleton was lifted from Will Eisner's famous old Spirit story containing the first appearance of Denny Colt's ex-girlfriend Sand Saref, including the idea of the hero's old flame becoming in the present his criminal enemy, that she was turned evil by her father's violent death, the final kiss on the docks, etc. That doesn't change the fact DD #168 is an incredibly powerful piece of comics storytelling - just not as blindingly original as some people like to believe.

Frank Miller was hardly comic books' first writer/artist. Jack Cole with Plastic Man; Neal Adams with Deadman; Steve Ditko with The Question, Mr. A, The Creeper, E-Man, etc.; Jim Starlin with Warlock; Mike Grell with The Warlord; Dave Sim with Cerebus; all predated Miller. But he did weigh-in as an outstanding member of a group that's never been large.

Not to come across like I'm downgrading Miller's accomplishments here - I'm not - but it's worth noting that, for a first time big league comic book writer and neophyte penciller, he had a powerful support team. Marvel Comics' then-Editor-In-Chief, Jim Shooter, one of the greatest writers of comics' Silver Age, and even then penning some of Marvel's best stories (he STILL had it, and in spades), took an early interest in Miller's Daredevil and, as Miller put it, "proceeded to kibitz ferociously." Klaus Janson, a seasoned comics pro, had inked Miller since his start on Daredevil, and (another Miller quote), "had to sand down many a rough edge, and rescue many a panel outright." McKenzie and Miller had spent countless hours discussing the character before Miller ever soloed. So the kid had just a wee little bit of help.

None of which changes the fact that under Miller's tenure as writer/artist, Daredevil began to absolutely kick butt. McKenzie, long before Frank Miller showed up, had already begun the metamorphosis of DD from a second rate Spider-Man, instead casting him as a second rate Batman. Grim 'n' gritty, doncha know. Miller, combining his love of hyper-violent Japanese manga like Lone Wolf and Cub with a penchant for hard-boiled crime writers like Jim Thompson, took that basic idea and ran with it. Under his aegis, Matt Murdock's world became a battleground against street thugs, gangsters, hitmen, secret societies of assassins. Demonstrating an artistic sensibility heavily influenced by Eisner, rooms became chiaroscuro landscapes cut by light and shadow. The Kingpin, a laughable Spider-Man foe, was elevated by Miller to the pantheon of Marvel villains, a grotesque giant ruling New York's underworld with an iron fist inside an iron glove. Bullseye, a minor DD baddie for years, became then and forevermore Daredevil's Joker, his arch-nemesis. In these stories we find love betrayed, murder, revenge, psychosis. Our hero was driven by violence and loss to the very edge of insanity - and maybe just a tiny bit beyond.

All heady stuff, the likes of which comic books had never seen. It was a time, and a comic, where you almost literally couldn't wait 30 days for the next issue. I was there, and I loved it. For those of you who weren't there, or, like me, already own these issues but just want the stories in this square bound, paperback, heavy slick paper format as well - so you can hand the book to Frank Miller Daredevil virgins, showing them how great these stories are without cracking the seal on your mylar encased, backing boarded, mint condition originals - you NEED this book. Daredevil Visionaries: Frank Miller Volume 2 collects some of the greatest super-hero comics ever.

For those of you who read the first volume of the Daredevil Visionaries series, you know that Frank Miller was a very talented artist working with subpar scripts, being forced to draw Ol' Hornhead in silly predicaments against weak adversaries. All of that changed with this book.
Daredevil was changed forever as soon as Miller took over the writing duties as well. The story begins as Elektra, Daredevil's college sweetheart-turned-assassin, returns to New York to collect a bounty. Meanwhile, Bullseye has escaped a hospital where he was about to undergo surgery for a deadly brain tumor. The tumor makes him hallucinate that everyone is Daredevil. Bullseye maims and kills various innocents before the real Daredevil can reel him in. While all of this is happening, Wilson Fisk, the former Kingpin of Crime, is forced back into the underground when his loving wife is kidnapped by his mob enemies. The enemies want the documents that Kingpin has that could incriminate all of them.
As plots twist and turn, Daredevil faces many things. As Bullseye lay unconscious in front of an oncoming train, Daredevil must decide whether he lives or dies. He also has to square off against Elektra, the deadly league of ninja known as The Hand, and even Kingpin himself. Before it's all over, Bullseye will be cured of his tumor and will be deadlier than ever, Kingpin will have regained control of the underworld, and Elektra will die.
Miller's prose is as dynamic as his artwork. Any comic writer can make you feel a punch or kick, but Miller is of a rare breed that can not only make you feel the fighting, but the emotion as well. When Elektra determines that Daredevil, who, as Matt Murdock, was the only love she ever knew, is a hindrance to her and her mission, you can feel her heart sink. When Kingpin's wife is captured, you can feel the blood boiling in his veins. When Daredevil is shackled and thrown into a water main, you can feel his panic. You get the idea. Miller is able to mesh the emotion and substance of a suspense novel with his top-notch artwork, and it really hits home. In short, Daredevil fans are treated with substance and style that is rare in comic books. Frank Miller proved with this collection that he is the premiere writer/artist of our age. I can't say enough about him, or this book. It is essential for all comics fans, not just Daredevil devotees. You will not be disappointed.

When Frank Miller was only drawing and co-plotting "Daredevil" in the late 70's and early 80's the issues were a lot of fun, but once he took over the writing chores... wow. "Daredevil Visionaries: Frank Miller, Volume 2" reprints the first dozen or so "Daredevil" issues featuring Miller as both writer and artist, and wait 'til you see the leap in quality from the undeniably entertaining stories seen in volume 1, where Miller was only the artist and sometimes plotter. How good are these stories? Well, right out of the box, we meet Daredevil's first love turned killer-for-hire Electra (in Miller's FIRST issue as writer!); get plunged into a major gangwar featuring the Kingpin, Bullseye, and the mysterious group of ninja assassins known only as "The Hand"; meet yet another previously unseen figure from Daredevil's past, his streetwise and battle-scarred teacher and mentor "Stick"; and experience all kinds of other fun stuff still talked about twenty years after the stories first appeared. And I haven't even talked about the memorable, operatic Daredevil #'s 180, 181, and 182, the classic issues that close this volume. By the way, the storyline of the upcoming Daredevil movie was heavily influenced by this fan-favorite run of stories, so why not experience them in their original form first? Great stories, great art, and even some humor (in the form of recurring, not-very-efficient crooks Turk and Grotto)-- what more can you want?

Just before Frank Miller on Daredevil: The series was bi-monthly and in danger of cancellation; Marv Wolfman had created a villain with potential called Bullseye, but Wolfman's run on Daredevil was not his finest work, and even the Bullseye stories seemed silly; the Daredevil series was being used to introduce new superheroes like Torpedo, who fizzled, and Paladin, who remains a somewhat popular supporting Marvel character, but what of Daredevil himself? The character was having the same old adventures, and bringing back the wonderful Gene Colan as artist just made the book a too-familiar throwback. Enter Frank Miller. And let's skip right to issue #s 168-182 while we're at it, which, collectively, make up the brilliance of what they are now calling Daredevil Visionaries - Frank Miller, Volume 2.

Four magic words: Daredevil, Bullseye, Kingpin, and Elektra. Lion, tiger, bear, and Elektra, oh my. Marv Wolfman, in his tremendously underrated run on Amazing Spider-Man #s182-200ish, had retired an old Spidey foe named the Kingpin from organized crime. Frank Miller took him and made him into the perfect Daredevil nemesis once Kingpin's only redeeming feature, his wife, was killed in an explosion apparently caused by old rivals. And every good crime boss needs a top-notch assassin; Bullseye would be such a good candidate if he weren't trying to kill the Kingpin. Bullseye would also like to kill Daredevil as a thank-you to Daredevil for defeating him in combat and saving his life...but Daredevil's old love, Elektra, is back, and she has decided to rekindle their passionate love by trying to kill Daredevil. Love and hate. Business and pleasure (assassination, that is). Politics and Organized Crime. Power Man and Iron Fist. Daredevil versus Bullseye. Daredevil versus Elektra. Elektra versus Bullseye. It's all here, controlled somewhat by the Kingpin and with the ninja group called The Hand lurking in the shadows, but through all the character-juggling and plot-twisting, Daredevil--he is, after all, the star of this show--becomes an awesome, compelling presence in his own book, all the more impressive given the supporting cast. He retains some humour (I'd forgotten the light touch Miller can apply when necessary to soften the mood for even a few panels), and has never seemed more like a fearless blind man with astonishing super-powers.

What else? The Punisher shoots his way into the story, at the very end of this Volume (it was inevitable). My favourite "old school" Daredevil foe, the Gladiator, figures into things. Daredevil takes a fascinating inner journey to confront his own worst demon. Ben Urich, reporter, assists Daredevil with alligators in the sewers, while Foggy Nelson, lawyer partner of DD's alter ego Matt Murdock, shows Matt how to handle a tricky trial. Elektra tries to kill them both, when she's not busy with The Hand's most feared ninja-assassin, the legendary and possibly unkillable Kirigi. Elektra tries to kill him too. The Kingpin seems to put a contract out on someone in the cast every thirty pages or so; the constant battles between the principals are a repeated delight because the overall plot of the whole affair is quite the opposite: completely delightfully unpredictable.

I haven't even mentioned the art. Go look at it. A panel is worth a thousand words. But my thesaurus doesn't give a thousand words for "incredible". The art is incredible . The art is Frank Miller and Klaus Janson. Look up "incredible" in my thesaurus and it says "Frank, Miller, Klaus, Janson".

These are some of the greatest superhero adventures in the history of comics. Whatever other graphic novels you want to have around the house, this is not the one you overlook. This is the must, have, Frank, incredible get, Miller, stunning, it, amazing, now!

If you're a DD purist, then you'll probably buy Volumes 1 and 3 as well, but for me, I won't buy them because this is where the series truly takes off and stays in the air. At first, sifting through the pages of this rather thick book in my comic shop, I thought it would be full of cheesy dialogue because, well, young writers like Frank Miller were greenhorns at the time, so that's what I expected, but I was proven very wrong. He had that magic touch even then as he does now. The internal monlogues that make the "Sin City" books (as well as "The Dark Knight Returns") famous are definitely here, especially in one particular issue I was impressed with, the one which revolves around the first-person perspective of Daily Bugle reporter Ben Urich as he tries to dig up dirt on a corrupt politician. Also, you will find in these pages the famous issue 181, which is considered a classic and a crowning achievement in the DD mythology. This book is so good that you can practically read the whole thing through, but my only problem with this volume is the Powerman/Iron Fist crossover issue. It was hard to believe Frank Miller actually did it (I'm sure he did it on purpose) because it is so out of place with the other stories he was telling. The dialogue is flat, and the situation, although contributing to a greater plot that dominates the rest of the arc, is pointless. My personal favorite is the "Gangwar" trilogy, which re-introduces The Kingpin in a more endearingly kick-ass light. Other than that, I seriously recommend this one along with "Man Without Fear", which I believe offers a greater perspective on what I am more than certain is the best volume out of three.

Back in the Fall of 1981,I was only 13 when I happened to browse a rotary stand featuring the December comic book issues(Marvel,DC,Harvey,Gold Key,et al)at a local convenient store in my neighborhood.On the rack was a lone copy of 'Daredevil #177'.I had only a vague knowledge of this interestingly "blind superhero" beforehand.But when I flipped through the 20 odd pages of this particular issue,I was imperceptibly captivated by the comic's dark and mysterious impressions,mostly due to the artist's noir-style(the instant atmospheric quality of the use of light and shadow contrasts)and overall,unsettling mood.

My earliest experiences with this specific style of comic book presentation were the classic '70's Neil Adams' Batman issues that gloriously brought a long overdue return to Batman's original persona-The Dark Knight!At such a tender age(8-12 years old),I had absolutely no conscious sense of artistic style and intention.All I knew,instinctively,was that those Batman issues were unlike anything I had encountered via comic books.So when I first saw 'Daredevil #177'(and even Moon Knight #14,for that matter-thank you! Mr. Bill Seinkiewicz!)it immediately evoked those earlier Batman issues.From there on,I was hooked on Daredevil and this fascinating artist/writer:Frank Miller.

I,subsequently,purchased all the following issues,and back issues as well,of course(as far back as #170,anyways,because they were all I could afford;earlier ones being expensive even back then!).For me Daredevil wasn't the same when Frank Miller left after issue #191(absolute classic issue!all the more,because of the amazing Terry Austin's inks!).From Daredevil #158-#167,you have Miller complimenting Roger McKenzie's sub-Miller writing(however,still classic issues;don't get me wrong!).And from Daredevil #183-#191,you have Klaus Janson doing most of the art a la "Miller" no doubt,but NOT Miller,nonetheless(I remember,initially,being confused when I first got issue #185,thinking the artist credit was a typo!).So for me,those brilliant,groundbreaking issues spanning Daredevil #168-#182 were and still are(I know the "Born Again" arc is a highwater mark in the Daredevil oeuvre,to be sure)THE standard for which to measure all others,including non-Daredevil titles!-Elektra was introduced! The Kingpin was brilliantly revised! Bullseye set a new standard for villianry! Miller's art revolutionized the medium to a realistically "grim'n'gritty" rendering,imitated by many(for better or for worse),and his writing also set a new standard for the maturity and modern evolution of comic books,dealing with such topical issues as:corrupt politics,urban city life,psychological impediments(see aforementioned issue #177),criminal psychopathology,social consciousness,drug and smoking addiction,relational pathology(Daredevil's/Matt's relations with women:Elektra,Heather Glenn),and a pervasive postmodern feeling overall,etc,etc.This was not simply just generic superhero saves:damsel in distress/the world/American values/the mayor/fill in requisite blank.This was closer to real life as a "beyond our world" comic book could get(save,perhaps, those aforementioned Neal Adams' Batman classic issues).I remember thinking to myself as a young teenager that these Daredevil comic books were "grown up",adult-like,unlike your standard comic books.Quite frankly,I found Frank Miller's vision of,not only Daredevil,but comics,in general,a rather liberating experience,in terms of where I felt I fitted as an often confused and frustrated young man.

Ergo,this TPB(Daredevil:Visionaries Vol.2)is a must have,especially for the non-initiated.It,undoubtedly,represents comic book history.

Way back in the early '80s, when I was not yet a teenager and was still an avid comic reader, I picked up issue #181 of Daredevil. Was it the fact that it was a double-issue that drew me to it? Was it the hopes that it would be a collector's item? Was it the cool splahpage depicting DD getting shot right through the head (in Bulleye's imagination)?

Who knows. But I remember thinking that there was an unusual and well-handled amount of violence (I still wonder how it all got past the Comics Code at the time) in the book and a minimal amount of actual dialogue and narrative. Which shouldn't be so surprising, since Frank Miller started out as an artist.

But that's why it's so great to have these issues - #168-182 - collected in this volume. Volume 1 collects the issues where Miller handled the artistic chores on the series, and feature pretty second-rate writing, and are really only for completions sake. Volume #2 picks up with the onset of Frank Miller as writer and artist, and forever changed the tone and importance of Daredevil in the Marvel universe.

The first issue's writing - featuring the debut of Elektra - is actually pretty clumsy and over-eager in places. It's obvious Miller really wanted to prove that he was able to write. But as the issues progress, Miller becomes more confident and sure of his abilities and his voice and progressively the storytelling leans more and more towards showing rather than telling.

Not only were these issues a breakthrough for Miller in becoming a unique writer, it was a major shift in the Mrvel style of comics. Marvel superheroes were always the wose-cracking, hip, and cool characters. Suddenly, Miller was exploring DD's fears and motivations and how he 's willing to bend and even break the rules when he gets emotional enough.

The best part of the story here is the Kingpin and his attempts to get influence in New York's political arena. I would've preferred more emphasis on that then all the ninja oriented stuff (and Kirigi - the energizer bunny of assasins). I think Miller would've too, judging from how his writing has progressed over the years.

Volume #3 collects some of the most important works in Daredevil history (and also some of Miller's sloppiest and laziest), but this volume is the more consistent and linear of the two. (oh - but best of all is Born Again - an ABSOLUTE must) Check 'em all out, whether it's to introduce yourself or re-read Miller's origins as a writer and Daredevil's history.

Ultimately, the worst thing you can say about Miller, is that DD took years to find a quality scribe again after he left the book. And that's a pretty impressive feat...for an artist.

For those of you who have only experienced Frank Miller's writings in the form of the ultra-violent, zero character driven "Sin City" or the literary wasteland that is "All Star Batman and Robin the Boy Wonder" then I am here to tell you that ol' Frank was good...once upon a time in a magical land known as the 1980's. This was a time when Miller took a second rate Spider-Man and transformed him into an even better version of Batman. A character with flaws, prone to violence, but who also had actual human relationships. The dialog is distinctly 80's but the story is well crafted. When Electra dies (sorry for the spoiler)you actually believe Matt Murdock's reaction. Not only that but the villains are believable as well whether its the DD version of the Joker found in the surprisingly frightening Bullseye, or the man-mountain that is the Kingpin. Even the depiction of the Kingpin's wife makes you feel as though this is based on a real person.
Frankly I don't know what happened. I would hate to think that if Miller went back to this book it would be nothing but slapping kids around and muttering "I'm the god damned Daredevil" but back in the 80's Miller was all over awesome like a fat kid on a cupcake. Read it and enjoy fellow nerds, enjoy.

Frank Miller set the bar for all the rest. This, of all the three Frank Miller Visionaries, is the best, as he did both the writing and art work, a first in comics. Thus, that was but one of many that he set an example as. His stories also set an example. He was undoubtedly one of the best at imbedded storylines. By that, I mean that he had a central focus, a story arc if you will. However he did not have Daredvil fighting the same bad guy each issue. Instead, the arc was about growth, in which all was related to one focus. He created the character Elektra, who has endured two decades, despite her death 14 mere issues after her first appearence. She has been drawn dynamically in hundreds of varying styles, but all have been related to that first time by Miller. Millers work in this volume was the central plot in the Daredevil movie, and his character Elektra has been given her own movie and her own comic in recent years. All in all, if you want a true Daredevil book, then you want this.

There is a slight problem with the way the Daredevil Visionaries Series is described on Amazon. Make sure you know that this is VOLUME 2! Not Volume 1, which has the same description and reviews. THIS ITEM IS VOLUME 2! Volume 1 is out of print and difficult to find. THIS IS VOLUME 2!!! I CAN'T SAY IT ENOUGH! Enjoy.