There is a corridor. At the end of it, there is a closed door. Behind that, a kidnapped boy. Men come and go, speaking in untranslated Russian.
And so, at the end of the second episode of Netflix's Daredevil show, the scene is set for the most memorable action set piece in the entire series — and arguably one of the best in TV history. Thousands of words have been spilled over this fight scene online already. Let's apply our heightened senses to work out why, and whether the show lifted any tricks from its paper-and-ink brethren.
Created in 1964 by Bill Everett and Stan Lee --- with substantial input from Jack Kirby and Wally Wood --- Daredevil has been brought to life on the page by an extraordinary roster of comics greats, including Gene Colan, David Mazzucchelli, Frank Miller, Alex Maleev, and, in recent years, Chris Samnee, Paolo Rivera, and Marcos Martin. The striking red suit that he's worn since his seventh appearance is one of the best costumes in comics, and creates an irresistible contrast against the grime of Hell's Kitchen. For this special gallery, we've picked out some of our favorite Daredevil pin-ups and images to pay tribute to ol' hornhead.
Back in February, digital book subscription service Scribd made the rather surprising announcement that it would start offering comics from publishers including Marvel, Valiant, IDW, Boom and others in its $8.99 per month subscription, making it a sort of Netflix for comics (as well as books).
Now, Scribd is promoting the actual Netflix's new Daredevil series by recommending some of the comics on its service that can best introduce readers to the character. They've got some pretty good ones. Check out what Scribd is suggesting as a primer after the jump.
Do you have burning questions for writer Brian K. Vaughan? Well, good news, because for most of the day today, he's taking over the Panel Syndicate Twitter account and answering people's questions. Just last week, Vaughan and artist Marcos Martin finished their 10-issue maxiseries The Private Eye that they offered under a "pay-as-you-like" model on the Panel Syndicate website. In addition to answering questions, Vaughan is talking about comics he likes, posting videos, and more. He promises no spoilers during his tweeting today, though, so if you haven't read the series yet, you can still check out the feed.
We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, as well as the special qualities of comic book storytelling, but because cartoonists, illustrators and their fans share countless numbers of great pinups, fan art and other illustrations on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwork that we come across in our regular travels across the Web. Some of it’s new, some of it’s old, some of it’s created by working professionals, some of it’s created by future stars, some of it’s created by talented fans, and some of it’s endearingly silly. All of it is awesome.
In common with a fairly significant chunk of the comics community, Brian K. Vaughan was in New York on September 11th, 2001, and witnessed the events of that day first-hand. Sublimating his experiences into his art, Vaughan penned Ex Machina, a modern masterpiece that used an alternate version of 9/11 to explore America's relationships with its heroes. But just as the long-term effects of September 11th are still palpable, Vaughan has continued to explore the anxieties of post-9/11 American throughout his work.
Internet privacy is easily one of the most confusing realities of life in the 21st century. It's the best ongoing story in collective awareness, complete with heroes, villains, victims and martyrs, turning points, and insane plot twists that regularly put The Good Wife to shame. PRISM, Wikileaks, Julian Assange, Chelsea Manning, Edward Snowden, XBox One, social engineering, News International, Anonymous, and even our stupid Facebook updates are all involved. Every player and plot-line are all tangled up in a worried knot that gets bigger and more complex every year. It's all one story, and we're all living it; spectators, beneficiaries, victims, and contributors. It's one of the defining issues of our age, a still-forming zeitgeist that could be explored for years to come.
Just not in comics. Because nobody's going to top Brian K. Vaughan, Marcos Martin, and Muntsa Vicente's The Private Eye.
We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, but because cartoonists, illustrators and their fans share countless numbers of great images on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwork that we come across in our regular travels across the Web. Some of it’s new, some of it’s old, some of it’s created by working professionals, some of it’s created by future stars, some of it’s created by talented fans, and some of it’s endearingly silly. All of it’s awesome.
Before you get too wrapped up in Zero Year, this Wednesday you'll have a chance to get caught up on Year One. Because that's how we do things in comics now: we go backwards. On sale this week is a brand new collection of two great Year One stories that sharpened up the continuity of their respective characters, and added new depth and clarity to backstories that were previously kinda flat and fuzzy. Batgirl/Robin: Year One gathers two separate miniseries that could each claim to be the definitive story for their Bat-family members: Robin: Year One by Chuck Dixon, Scott Beatty, and Javier Pulido; and Batgirl: Year One by Scotty Beatty, Chuck Dixon (same writers, different listing) and Marcos Martin. And let me tell ya, Batgirl and Robin are two great tastes that go great together.
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