(Photo: Marvel Entertainment)
I haven’t read many superhero comics lately. Late at night, the ride isn’t so comfortable when he drags himself to Captain America with a ski mask shoe on his head and Spider-Man takes off in a relaxed way. The celebration of state-sponsored violence is so common in superhero comic strips that it is seen as an essential element of the genre; it makes these crusaders in captivity reprehensible. In the history of slavery there is at least a moral nihilism that refuses to excuse violence and instead observes an inhuman creature called Frank Castle and other monsters on which it takes terrible vengeance. It is better to call this form of authoritarianism death than to pretend that cruelty is a great ideal. Rapists aren’t heroes, they’re just prison guards.
That’s the problem Sorvigolov’s been struggling with since day one. This avoids the indulgent urge to discuss the meaning of superheroes and avoids writing the Marvelcanon as a very special episode, knowing that these fictions reflect very real beliefs and conditions. The construction of 19 songs to the height of hell is dedicated to creating a form of practice in the genre dedicated to the ideas of justice and heroism.
This is evident from the canvas painted for Daredevil 20. The hero is obsessed with guilt, realizes the incredibly high cost of violence and knows he is a murderer. His work as an overseer showed the humanity of the same people he beat on the streets for years. At the same time, powerful forces, both in government and in the capital, have worked to make his neighborhood, Hell’s Kitchen, the literal embodiment of his name, in order to reap the benefits. The police will not protect the community and only lawless men and women are willing to take to the streets. Help does not come, and a rare and powerful man, whose conscience is obsessed with the guilt of his great failure. It is a solid starting point that faithfully reflects the perspective and themes of Sorvigolov since the first edition. What it says so clearly about our present moment is not accidental proof of the public conscience of its creators.
It is the clarity of serial beliefs that keeps this issue alive. There is so much going on in these pages that the plot can be staged because the themes are integrated in the environment, circumstances and characters. There is no need for the kind of big speeches that populate Millar and Bendice in Marvel comics, if the authors don’t forget that they have to say what they think after a superhero battle. The solutions and actions presented on the site speak for themselves and offer a complete overview of the shock of the ideas they embody. Detectives North and Daredevil, even in heroic roles in the fight against mercenaries, are always full of conflicting motives and have never been presented to the reader as role models. Especially the North continues as one of the best sons of the line as an officer and realizes that he has to break with the police to protect his community.
The highlight that comes with Daredevil #20 is also a really exciting comic book, which makes it clear that you don’t need ill-considered comfort to enjoy a superhero fight. Still-Man, Rhino and Bully are just a few of the antagonists who control the different sequences fed by adrenaline, intelligently using superpowers and panels to make each fight effective. Of particular interest is a series that reveals Chechetto’s important contribution to this series. Daredevil’s final position against the hordes of destroyers from the outside requires a series of seemingly impossible events, but the stakes and neatly framed panels ensure a step-by-step encounter that is one of the best actions in any superhero strip this year. It is an amazing achievement that illustrates the specific form of expression of heroism. This moment is not based on the banality of ordinary kindness, but reflects how the daredevil can be the right person for a given moment. His success is based on his inability, his faith and his beliefs that enable him to be a hero today.
It is also ideal for the last pages of Sorvigolov’s no. 20. There is no simple balance or banal call for self-forgiveness; this is not a comic book that balances the blows and the dead like so many modern superhero stories. The fire was not caused by Wilson Fiske or the Stromwins, it was Sorvigolov’s fault that the man died, and he cannot expect this to happen, confirming the same violent methods that left a mother without a son and a brother alone in the world. It is the end that refuses to celebrate or honor the actions that have harmed the communities for as long as this fictional Hell’s Kitchen has. It is a confirmation of the worldview and ambitions that the daredevil has defined from the beginning.
Daredevil 20 has given me so much to think about for the past two weeks. The order of discovery, in which reporters are called in because the police don’t help, reminded me how grateful I was for the reporters when the police pointed guns at the demonstrators and surrounded them in the streets of my city. The daredevil does not predict our moment, but rhymes with it. It’s also something that really makes it easier to read. It does not call into question the violent repression of people labeled as criminals as a good deed in itself, but it does call into question the state of our society and what it calls justice. Zdarsky, Chechetto and their comrades in arms have found a solution that rejects propaganda rooted in the superhero genre to fight against something worth more than cheap insurance. The result is a series that is brutal, exciting and able to make more than the recent judgments that can usually be found in the pages of Marvel comics. Daredevil is a rare series of superheroes who are able to face the historic moment and yet offer us a vision of true heroism.
Written by Marvel Comics
by 10. June 2020
Compiled by : The Zdarsky chip
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Envelope Julian Totino Tedesco
Disclosure: owned by CBS Interactive, a division of ViacomCBS.