Daredevil #24 Review
Writer: Chip Zdarsky
Penciller: Mike Hawthorne
Inker: JP Mayer
Colourist: Mattia Iacono
Letterer: Clayton Cowles
Publisher: Marvel Comics
This issue portrays the final maneuvers leading up to Daredevil's all-important trial. Matt has a few more ducks to line up, and he also works through the last surprise twist thrown at him -- the presence of his twin brother Mike. Then we get into the courtroom, where the dramatic twists come hot and heavy.
The tone of the comic is an interesting blend of low and high stakes. Legal maneuvering can come off as pretty bland unless the storytellers are careful to clarify what matters to the characters and why. This team does a great job of that.
Chip Zdarsky's script is a model of polished storytelling. The prose is strong and natural, albeit not spectacular. The pace clicks along like … I was going to compare it to a metronome, but that's inaccurate. The author modulates the pace to fit the plot developments, slowing down for complex moments and speeding up for exciting ones.
The art team delivers a powerful performance that echoes regular artist Marco Checchetto's style while simplifying the characters and settings a little. Mike Hawthorne stretches his faces to convey emotion, a tactic that is mostly, but not entirely, successful. The artist is at his best with the issue's serving of Daredevil acrobatics, where the hero seems to pop off the page and become larger than life.
Inker JP Mayer and colourist Mattia Iacono have a lot to do with keeping this issue consistent with the volume as a whole. The lines are thin and precise, with lots of hatch-shading. The colours are slightly muted but still chosen with care. As has become typical for Daredevil, heavy shadow work plays a strong role in shaping the panels.
The latest plot developments put Matt in tension and get the reader invested in the trial. Matt faces doubt and uncertainty right up to the point he enters his plea -- a last minute surprise realigns his plans just before he speaks.
What effectively becomes the B-Plot of the issue is a real estate problem. After the latest big street-fight, a large chunk of Hell's Kitchen is going up for sale. Daredevil tries to enlist Tony Stark to keep it out of the Stromwyns' hands, but that plan goes awry before the issue is over.
Daredevil #24 accomplishes the goal of taking us to Daredevil's trial. A strong, smart script and solid art make the final hours of Matt's pre-trial life compelling. Although it rises to a dramatic peak in the final scene, the rest of the comic is filled with the rock-solid groundwork that's become characteristic for this volume.
Penciller: Mike Hawthorne
Inker: JP Mayer
Colourist: Mattia Iacono
Letterer: Clayton Cowles
Publisher: Marvel Comics
This issue portrays the final maneuvers leading up to Daredevil's all-important trial. Matt has a few more ducks to line up, and he also works through the last surprise twist thrown at him -- the presence of his twin brother Mike. Then we get into the courtroom, where the dramatic twists come hot and heavy.
The tone of the comic is an interesting blend of low and high stakes. Legal maneuvering can come off as pretty bland unless the storytellers are careful to clarify what matters to the characters and why. This team does a great job of that.
Chip Zdarsky's script is a model of polished storytelling. The prose is strong and natural, albeit not spectacular. The pace clicks along like … I was going to compare it to a metronome, but that's inaccurate. The author modulates the pace to fit the plot developments, slowing down for complex moments and speeding up for exciting ones.
The art team delivers a powerful performance that echoes regular artist Marco Checchetto's style while simplifying the characters and settings a little. Mike Hawthorne stretches his faces to convey emotion, a tactic that is mostly, but not entirely, successful. The artist is at his best with the issue's serving of Daredevil acrobatics, where the hero seems to pop off the page and become larger than life.
Inker JP Mayer and colourist Mattia Iacono have a lot to do with keeping this issue consistent with the volume as a whole. The lines are thin and precise, with lots of hatch-shading. The colours are slightly muted but still chosen with care. As has become typical for Daredevil, heavy shadow work plays a strong role in shaping the panels.
The latest plot developments put Matt in tension and get the reader invested in the trial. Matt faces doubt and uncertainty right up to the point he enters his plea -- a last minute surprise realigns his plans just before he speaks.
What effectively becomes the B-Plot of the issue is a real estate problem. After the latest big street-fight, a large chunk of Hell's Kitchen is going up for sale. Daredevil tries to enlist Tony Stark to keep it out of the Stromwyns' hands, but that plan goes awry before the issue is over.
Daredevil #24 accomplishes the goal of taking us to Daredevil's trial. A strong, smart script and solid art make the final hours of Matt's pre-trial life compelling. Although it rises to a dramatic peak in the final scene, the rest of the comic is filled with the rock-solid groundwork that's become characteristic for this volume.
A Look Inside
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