Daredevil: A Cold Day in Hell

This week, as a result of the comics which were released, I finally got around to reading a brace of comics which had been sitting on the side for a couple of months, combining their read with that of their final issue.

Daredevil: Cold Day in Hell #1-3 is a mini-series by Charles Soule, Steve McNiven and Dean White that follows the Man Without Fear in a seemingly Dystopian future where his powers are no more. Now a regular blind man, Matt Murdock has ceased being both Lawyer and Vigilante to help the needy of Hell's Kitchen in a post-war, hero-less world. However, when a terrorist attack result in a radioactive explosion, Matt is caught in the blast and, with it, his powers are returned. Now, Daredevil is back as he hunts those responsible for the attack and the girl they took who may hold the key to the return of heroes.

This was a comic which I came across by accident, when I just happened to see the first two issues sitting on my LCS' shelf just after the release of Issue two. Having always been a fan of both Daredevil and Charles Soule (both his work generally and his Daredevil run), I decided that a three issue story was worth picking up, especially with it being two issues deep at the time.

And, to start, it certainly seemed like my faith was being rewarded. Soule presented us with a character and a world very different to what we know, both of which have been through a life of pain, suffering and loss. Soule's characterisation of Murdock is certainly something a lot calmer and less angst-ridden that his past rendition. The character is characterised as a priest in story and it certainly makes sense: the former Man without Fear, feels much kinder and introspective while also more leaning on his Catholicism when giving his outlook on the world.

However, it is the action and, in particular the mystery which Soule presents which really intrigues me. We are thrown into this story with so little context; a broken New York, a war, no more heroes, some unknown enemy, even characters having lost their powers, all of these facts are given with almost no context like they've happened and now we move on, but it is still questions which flood my mind. Then more continue to join them with the beginning of the main story as the explosion occurs are Matt returns to duty.

Meanwhile, the art from McNiven and White perfectly matches this world and story which Soule creates. The last McNiven title I remember reading was Marvel's original Civil War, which was visually clean and stylised series while Dean White's name is one I haven't seen since Black Science and his deep colour palette. So, to see the pair of them come together to produce this series' artwork, a rough, broken, cold style that makes me think of Spread (amongst other brutal looks) is really a change that I was not expecting. Of course, my surprise doesn't change the fact that their combined work exemplifies the world perfectly, with the image of the elderly Matt in his tattered Daredevil costume being a truly creepily great visual.

Unfortunately, as the series wore on, I have found my interest to wane as the the pacing seemed to slow down tremendously, while the questions about the immediate threat, as well as the larger world, are not really provided answers. Further to this, there seems to be a plot hole involving the child macguffin between issues 1 and 2, which throws me off. Also, the revelation of the villains identity didn't seem to be revealed except in the second issue's recap page, which I thought a little annoying that his identity wasn't easier to figure out.

By the end, the story concludes in a very inconclusive way. That said, this was Matt's story and with it over, I guess what happens afterwards is kind of moot. At the end of the day, this was the story of a soldier of God being called upon one last time to shepherd in a new era that he never sees. Will it succeed? Will it fail? I guess all Matt can do is hope and trust in God's plan (a reoccurring theme of the story).

All in all, this was a read somewhere between ok and good. I certainly wish more had been revealed about the world it was set in to give the objectives greater weight, but it was still an enjoyable read. I just don't know if it's one that I'll end up returning to.

The (final) Return of Lazarus!

It's been a few weeks since I posted anything and that wasn't by design. Sadly, a confluence of life and motivation ends has certainly stalled my initial plans to write once a week (even if there was no expectation on myself to do so). That said, I've finally carved out some time and so ... I'm back.

What's also back (and is now dominating my mind) is Greg Rucka and Michael Lark's Lazarus saga, which returns with it's fourth series (third ongoing) since it started nearly 12 years ago and first issues since mid-2022 with Lazarus Fallen #1 & 2.

Taking place three years after the events of Lazarus Risen, the world continues to change. Forever and her genetically identical little sister Infinity have been missing, on the run from the Carlyle family they used to serve and the machinations of their father, who has regained power from other daughter Johanna with plans to rebuild the Lazarus project. However, Forever has no plans to just run and hide as she approaches members of the Free (along with an old, familiar face) with plans to dismantle the families who control the world.

Ever since this series in it's entirety began, I've been absolutely engrossed by the world, characters and story we've been treated to. However, I have to admit, as the wait for a follow up to Lazarus, X+66 and Risen took longer to appear, I have become more and more concerned about whether we would see any resolution to this story and even if it would hold up to the quality of what came before.

Fortunately, upon realising that Fallen had been released (news of its return prior to release day had somehow skipped me by) and now having read the first two issues, I'm glad to see that Rucka and Lark have returned with all cylinders firing once again.

Rucka's story is a perfectly paced reintroduction to the world, with all of the players (who were alive, at least) returning for this final run, the status quo is revealed gradually through the first issue, with Carlyle in a sort of disarray and trying to find its footing as the free seemingly begins to push to accomplish their own plans (and look to be making a greater focus, story wise, through the series' endgame). However, it's with the reveal of an old friend that we begin to see Rucka's new plan take shape, with the rogue Lazari planning to undo all that her father built (albeit, with some resistance). Suffice to say, both the quiet exposition of the first issue and the greater action of the latter issue both perfectly compliment each other, never feeling jarring in its transition and always being captivating.

Then there is Michael Lark's artwork and, to be honest, what can I say about this work? I've loved Lark's work for a long time; from Gotham Central to Daredevil and then, ultimately to Lazarus, Michael Lark's style is a work of art that deserves praise equal to Sean Phillips on Criminal. But with these first two issues of Fallen, along with Santiago Arcas' colours, it looks like he's stepped it up a notch, with every panel looking like it imbues far more emotion than before. Now, maybe I just don't remember the prior instalments accurately or maybe the art has upped the quality but, either way, it all looks fantastic and I'm totally on board with it.

There is one gripe and it involves the French translation in issue 2 and how it is provided to us. Is there a story reason for it? A publishing reason? Either way, it's a little confusing but, I will admit, it doesn't affect how great these reads are. Also, Rucka's back page input feel a little more, dare I say, cynical. Now, this isn't a gripe, simply a concern although, to be fair, it shouldn't be an unexpected one given the world we now live in and how it's changed since the first issue back in 2013. However, it does make me wonder if what the world has become will affect this story, if (by some miracle) it hasn't already.

Suffice to say though, Lazarus is back!!! With (according to Rucka's own writings in the back) only 18 more issues left, I'm quietly hopeful that there will be no more breaks (well, not like the last one at least. There is a reference to three 'Trade breaks of 3 months apiece), although who knows. Still, Lazarus Fallen #1 and 2 have been read and I'm more than eager to get to #3 as quickly as possible.

DC All In: The Atom Project #1 - 6

It's week three of my DC All In readthrough and that means it's the third of four series. It's also the final in the ever so subtly connected trifecta after Challengers of the Unknown and the Question All Along the Watchtower (because they all lightly speak/hint of each other).

It's time for Justice League: the Atom Project (because it gets 'Justice League' at the front of it for some reason).

Written by Ryan Parrott and John Ridley with art by Mike Perkins and colours by Adriano Lucas, the Atom Project follows a trio of heroes with the word 'Atom' in their name. In the wake of past events where Amanda Waller stole all the powers in the world, some powers have not returned to their original holders but have instead inserted themselves into people who are wholly unprepared for the experience. As the Atoms, Ray Palmer and Ryan Choi, attempt to undo this mess, they find an unusual assist in Captain Atom the metal covered powerhouse who also lost his powers, but has instead gained a new ability, the ability to absorb and transfer any power. However, while the Atoms see this as a great tool, others see the heroic captain as a weapon, leading to his escape and going on the run, with many powerful people hot on his heels.

A little bit of a convoluted mess when I recap the story, I must admit, as I read the series issue by issue, month by month, I must admit that I felt the story itself was as much of a mess as my recap. However, upon re-reading it in a whole, I feel that the Atom Project is yet another example that DC really need to add a recap page to their comic issues (something I've mentioned before).

Anyway, I digress.

I feel that Parrott and Ridley have written an engaging thriller, something in the vein of the Fugitive crossed with Lucy. What I really enjoy about this series is it's focus on the nature of power, with multiple characters treating the literal power the Captain Atom holds in different ways. In fact, I really felt that this idea really helped fleshed out the character of Captain Atom, a character I've only encountered fleetingly (the most during Justice League Generation Lost ... I really need to re-read that). Here though, Captain Atom is depicted more as a real person who, despite his dedication to the Military, is an individual who puts the wellbeing of all above all else (including, possibly, his own life).

This is counter to the antagonists, all of whom have differing motivations but all desire control of Captain Atom's new power set. From the villainous Inferno, wanting to further their own ends, to the Air Force General who seeks this power to reinforce his country's status and even the usually heroic Ray Palmer, who despite wanting to help his titular counterpart, is also seeking validation for his skills.

In fact, two of these three villains are possibly a negative for the story in my eyes. While my knowledge of Ray Palmer isn't much more extensive than that of Nathaniel Adam (a.k.a Captain Atom), the image of Ray shrinking into nothingness at the conclusion of Identity Crisis (I really need to re-read that too) is seared into my brain. As such, seeing him here, as this hyper-focused scientist who attempts to contain Capt. Atom gives him bad guy vibes in the same vein as Mr Terrific in Challengers or the Unknown and feels a little jarring.

However, it's the other villain, Inferno, which I struggle with as it feels almost shoe-horned in. Whereas the inclusion of General Eiling makes sense, more so given John Ridley's attachment to the series (his prior works have always given me a sort of counter-authoritive vibe), Inferno (who, I'll be honest, I'm unsure if they are actually the real Inferno from the JLU series, given their late stage identity reveal, or just other villains using a smokescreen) feels like a shoe-horned supervillain to ensure the title maintains its Superhero connection and not negatively tar any authoritive organisation (which, sadly, would have made for a more interesting pay-off I think).

Beyond the role of the villains, the story also struggles due to the time jumps between past and present, making things a little difficult to follow.

I've spoken tonnes about the writing and story (which is my strength), but while art critique is not a huge proportion of my wheel house, I have to say that I really enjoyed the artwork here. Between them, Mike Perkins and Adriano Lucas utilise a real moody art style, which really brings out the thriller-esque notions of the story. As I looked over those panels, I got a real Mitch Gerads vibe to it, especially from his Sheriff of Babylon work, crossed with Rick Burchett's work on the Archie comics series, the Black Hood.

Overall, despite the bad points I mentioned, the Atom Project was, overall a good read. Entertaining, intriguing and, maybe above all, a little thought provoking, this series came from a place where I generally thought it wasn't for me to one that I'd certainly like to check at again in a couple of years.

And that's usually a good thing to be to remain in my collection.

So, that's 75% of DC All In done. Up next; Black Canary: Best of the Best.