Daredevil Collection 15 – Dreamer | American Review


Published on Oct 29, 2017


The Marvel fan, you know that Daredevil is not a series like the others and the tones of the adults that distinguish the make of the model. He was responsible for the great Frank Miller in his legendary run took the monthly of the Red Devil, and turned it into a masterpiece of noir. After Miller, the authors who have succeeded have had to deal with him and Daredevil has been one of the few comic-book Marvel that he could be put on the same level as the Vertigo.

But among those who have dealt with Matt Murdock, Ann Nocenti was the most subversive and provocative in the absolute. His long-term run caused a ruckus, especially among readers who are more traditionalists and conservative, both because of the strong stance of the writer, the openly feminist and extreme left, both for the situations of the narrative would have been unthinkable. In any case, its management has passed to the history as one of the best of the publication of Daredevil, and now Panini Comics has decided to publish the first episodes.

We must, however, specify that the stories the most successful were those made by the trio Nocenti/Romita Jr./Williamson, who constitute a long-term story-line. Before the advent of Romita Jr. as the regular artist, however, Ann had already signed a number of books of the series. These episodes almost always minions that gave it the opportunity to compete with the character. He also began to write it immediately after the conclusion of the masterpiece Born Again, and stand comparison with the magical duo of Miller/Mazzucchelli would have terrified anyone.

Ann however did not seem to care and began to set his Devil. Matt Murdock has lost the license of the lawyer and merely by external legal counsel, in a social centre run by the beloved Karen Page, in the heart of Hell's Kitchen, run-down neighbourhood in New York. In the perspective of Ann arbor, this neighborhood represents the failure of the american dream. The America of the Nocenti is compromised by the corruption of the political, military and economic, and the criminals are the result of a society that is discriminatory and classist. In this context, the Devil acts as a vigilante, trying, in the best possible way, to help those in trouble.

The fury ideological Nocenti is expressed immediately in the first episode of his management, that of no. 236, based on the figure of the psychopath Hazzard, which, like the Nuke from Born Again, was made such by the military. Devil, helped by the Black Widow, confronts him but the Nocenti seems to almost stand on the part of the psychopath, which is considered more of a sick care to a thug to punish. In practice, according to the writer, the real crime is inherent in the authority.

This concept is often used. If the no. 238 is at the bottom of a typical superhero story focuses on a clash between daredevil and Sabretooth, which is connected to the crossover Massacre Mutant, which at the time included the X-tested, and the no. 245 tells us about a simple adventure of Red Devil in the company of the Black Panther, who tries a criminal to subject it to the judgment of the Coupled, the other episodes introduce the villain hallucinating that they are metaphors for the ills of society that Ann intends to denounce.

The disturbing Rot, for example, is a fool haunted by the disease, and through him the Nocenti takes advantage of it to point the finger on the scourge of pollution and the lack of scruples of the multinationals. The shape-shifter Trickster is another worthy representative of the madness and alienation that is rampant in America and the drug-dealer Danny Guitar, however, the priest, voodoo, and gives you the ability to highlight the damage caused by superstition and religions.

In the n. 242, the Nocenti addresses the theme of class struggle with an outcast that poisons the rich, and rei, to be simply such. The topic is treated in a naive and schematic (the rich are corrupt and dishonest to the party taken and due to the poor deserving students may not get the success in the life) but it's still in line with the attitude maximalist Ann. Overall, the stories are interesting, written very well (the texts and dialogues are the real strong point of the author), even if not comparable to those illustrated by John Romita Jr.

The aspect graph is discontinuous, since in that period the Daredevil had not been a designer fixed and the level is necessarily fluctuating. Between the penciler involved, the best is certainly the legendary Barry Windsor-Smith depicts the story of the beginning of the book with the refined style and pre-raphaelite which characterises it. There are then a Sal Buscema undertone in the story with Sabretooth, Todd McFarlane novice, still far from the spectacular style that make it in the nineties a star, and the negligible Louise Williams, Keith Pollard, and Chuck Patton who remain on the anonymous andante.

In fact, the volume is worthy of attention and, I repeat, the adult in tone, and abnormal to the standard narrative of the Marvel. We hope, however, that Panini Comics can reproduce well the later stories, those yes really not to be missed.


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