It’s so obvious once Waid’s proved that’s the case, but no-one’s thought to do it before. Numerous fill-in artists contribute, with Omnibus cover artist Michael Allred, Marcos Martin, and Javier Rodriguez the best of them, all distinctive and clever.įew writers working in Waid’s era have his ability to surprise the reader so consistently, represented from the start by pitting Daredevil against a stock Marvel villain uniquely able to mess with his power set. He’s no slacker either, the majority of his panels being middle and long distance viewpoints involving full figures and backgrounds. There’s less flash about Samnee’s pages, but when studied, they’re remarkable, compact and efficient while still allowing for some dynamism as per the sample art. For all of Rivera’s beautiful pages to begin with, it’s Chris Samnee whose collaboration with Waid defines the series.
He devises a striking visual definition of how the blind Matt Murdock ‘sees’ the world used by all subsequent artists. Paolo Rivera (sample art left) sets the tone, and his notable sense of graphic design immediately marks his pages as different, but always also prioritising storytelling clarity. Very important in cementing Waid’s run as classic is his being blessed with a selection of extremely gifted artists. The general tone, however, doesn’t avoid some very dark events, not least afflicting a long-running supporting character with cancer. This, though, was deliberately pitched as a far lighter, fun Daredevil, harkening back to the 1960s in spirit rather than the eternal darkness that had consumed the feature in Miller’s wake. After Frank Miller and Brian Michael Bendis, Mark Waid wrote Daredevil’s third character-defining run, combining consistently interesting personality moments with imaginatively conceived action scenes and plenty of surprises.
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