Frank Miller toma las riendas de una serie a punto de ser cancelada y la enriquece con un tono de cine negro y una miríada de conceptos nuevos (Elektra, la Mano) o renovados (Bullseye, Kingpin) para insuflarle nueva vida. Pero en un formato u otro, en inglés o castellano, hay que tenerlo en la colección del cuernecitos que todo el mundo debería tener en casa. Miller’s only fail, on the other hand, are the unnecessary and completely moronic comic reliefs, in which inherently half-witted characters like Turk, Iron First or Luke Cage are propelled into unfathomable heights of imbecility, and an intelligent and compassionate man like Franklin Nelson becomes the butt of every idiotic schoolyard joke. One about personal profit and interests, spent passions and ideals, an underworld network spreading its tentacles throughout the city like a Kraken, and personal relationships reaching from dysfunctional to exploitative. A minor issue, plotted around the goofy looking character of the Gladiator, a leftover of the pre-Miller era, when Daredevil was fighting a rouge gallery of buffoons.

That being said, do not skip over the stories before Elektra was introduced because the events that happened previously will have an impact on the story later on in the book. Of course, 1980 Marvel were never going to get away with Sin City levels of maturity, although one could always have hoped, yet for al the talk of street level grit and grounded storytelling, there was still a little too much of the silver age tainting this run, at least early on, before Miller found his feet when he started writing it, anyway. Se devora sin pausa, atrapado por una buena historia llena de matices y por la infinidad de recursos y experimentos que hace Miller en sus viñetas. Certainly chief among these has been Miller’s uniquely classical take on superheroic narrative, “300,” and his “Sin City” books, each of which entered motion pictures with historic successes, and each now in Miller's creative phase of achieving its highly-anticipated sequel. Una vez que Miller se pone al mando del guión, ya desarrolla arcos mucho más extensos y complejos, con personajes con motivaciones complejas que no necesitan pensar y o decir lo que van a hacer antes de hacerlo en plan "oh no, ese asesino va a asesinar bien asesinada esa dama en apuros, debo pararlo con mis bastones, si lo lanzo en este ángulo le dará al cubo de basura, a la escalera de incendios y al gato negro costroso comiendose una raspa de pescado y lo detendrá" y acto seguido, el siguiente panel nos muestra esto.Traditional super-heroics mix effortlessly with mysterious martial artistry, doomed romance and dark personal drama. Probably the main knock on this comic is that it hearkens from a time where a significant proportion of all things relating to comic book superheros took place somewhere in New York City.

A classic superhero run with fluid and well framed action, tight storylines, and some surprisingly tactful characterization. not only kicked off the series of Batman films based on his redefinition, but a craze for such material that has thrown dozens of such heroes into multiple film franchise heaven. Pero bueno volviendo a lo que tenemos entre manos, nos encontramos con grandes historias como el retorno al crimen de Kingpin, la propia Elektra, la Mano, los ninjas blancos, Stick, Viuda Negra, Punisher, Bullseye y el gran final demoledor de la ruleta rusa donde en unas pocas paginas se deconstruye (toma ahí) todo el genero de los superheroes. Esta etapa es también importante porque marca un antes y un después ya no solo para el personaje, sino también para el autor y para el género de superhéroes en general.En esta etapa de daredevil, Frank Miller comenzó a alejarse del tono superheroico habitual en la serie, en lugar del elenco de supervillanos tradicionales de la serie, Miller decidió darle un gran protagonismo a Kingpin, que no era habitual en la colección hasta el momento, convirtiéndole en una figura omnipresente en los bajos fondos de la ciudad, una sombra que movía los hilos y que resultaba un enemigo prácticamente intocable, así Miller le dió a la serie un tono más realista y urbano.

Your friendly neighborhood blind devil stopping petty criminals on the street of Hell's Kitchen with sarcasm even more than punches. Here we get to watch (for the first time in comics), a character move from a typical spandex-clad, fighting hero with a secret identity to a thoughtful and troubled person who contemplates murder and love. Anyhow, from then on, Wilson Fisk (I think Miller gave Kingpin his actual name) will become Daredevil's nemesis. My criticism of his run lies solely with the fact that he wasn’t also providing the story for these issues.I recommend this book to anyone who likes their comic books with more rounded characters and clever, engaging plots! I'd read the Stan Lee silver age Daredevil omnibus, and although far from awful, was just a little too dated to fall in love with it. are mostly Miller as artist, and they're more typical superhero fare (though they set up villains like Bullseye and the Gladiator who carry into Miller's issues proper). Frank Miller used every issue he had on this run to tie into the last one he wrote and made everything connected.