daredevil (1964) #175
trying to convince him and herself that she's winning the idgaf war

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@matt-murderdock
daredevil (1964) #175
trying to convince him and herself that she's winning the idgaf war
A very jaunty pose
Daredevil #169
You’ve died once, they say.
If I like a character, I'll read everything about them in chronological order. Now I'm doing this with Matt, Gambit and Cyclops, but before them, Natasha was the first, so I can safely say that I know everything about her.
And I can also say with confidence that Matt is, without exaggeration, the only person who can lecture Natasha at some moments, say that she is wrong, give advice on how to do better, and bring to the surface the real emotions that she hides from everyone around her.
Only Nick Fury and Logan can behave this way with her, and they are like father figures to her + superiors, so she listens to them naturally. In the most modern comics, Yelena can do this, but she’s always courteous, and in the end, she sags under Natasha’s pressure.
Matt, on the other hand, is much younger than her, and he, like everyone else, could assume that she was already taught by remarkable life experience, that she herself knows what's best, that she really is such a strong and independent woman, as she always positions herself.
But sometimes she really doesn't know what to do; sometimes she really needs guidance; sometimes she's very lonely and lost in a foreign country where she doesn't even have any friends outside of work; sometimes she just wants to feel like a vulnerable woman who doesn't need to deal with everything alone —and Matt knows exactly when it's necessary.
(I know there are more examples in more earlier and recent comics, I just currently reread this moment in Nocenti’s run)
Matt always goes for women who can fight but do you think he could fall in love with a woman who really wanted to be an intimidating bad ass and unfortunately ended up being adorable instead?
I would actually push back on this and say that Matt doesn't often go for women who can fight. Karen, Heather, Milla, Nyla, Mary, Mindy...none of them are fighters. Glori is scrappy and willing to get her hands dirty, and Kirsten has obvious self-defense experience, but even still, neither of them are professionally trained. And Matt fell for Maya's mild-mannered alter ego before he knew she could kick his ass. Matt likes dating civilians, or at least, has shown a tendency to do so.
With that said, though, obviously he has dated fighters (Elektra, Natasha, Maya, Misty, Dakota), so it's not like he avoids them. And while he loves to play the hero, he does also get enjoyment out of being with someone who can match him in this way. And hey, adorableness is always a plus, so I don't see why not! Matt's dating history is vast and varied; he can fall in love with just about anyone if the mood is right.
(Unless they smoke. That's a dealbreaker.)
Matt Murdock and Danny Rand something something giant dorks together
Foggy: "What are you guys doing here?" Danny: "We're friends. You're in trouble." Foggy: "I-I didn't even know you were still together." Danny: "Special occasions." Daredevil vol. 2 #78-79 by Brian Michael Bendis, Alex Maleev, Dave Stewart, and Cory Petit
Danny and Luke rescue Foggy Nelson from Reporter Hell.
This takes place during the "Murdock Papers" storyline, in which Matt Murdock's secret identity has become front page news for the second time in a very short period of time. Matt himself has vanished (he's gone off to try and solve the problem as Daredevil), leaving Foggy, his law partner and best friend, to face the hordes of reporters who failed to break the story the first time around and are eager for a second crack at it. A unique and, to me, compelling element of the Bendis/Maleev DD run is the heavy presence of the news media—through the spotlighting of characters like Ben Urich and J. Jonah Jameson, and also through the press's inclusion in the run's broader exploration of superheroes as public figures.
Luke and Danny first met Foggy back in the early 80s via Heroes for Hire, when Foggy employed them to serve as bodyguards for Matt, who (gasp! shock!) had found himself in the mob's crosshairs. They previously knew him, however, by reputation; Nelson & Murdock was a high-profile law firm, and Foggy had also recently served a term as the New York District Attorney. Following the bodyguarding job (which did not go well) and then a team-up with both Daredevil and Foggy (which went a bit better), the group ended up becoming close acquaintances, and eventually, close friends. While it is unsurprising for Danny and Luke to hang out with Matt, as fellow NYC superheroes with frequent team-up opportunities and a lot in common, it is even more meaningful to me to see their fondness for Foggy, who they continued to protect through the rest of Daredevil volume 2 and, notably, during the "Shadowland" event, where Foggy's life was actively in danger. I also love the way Luke and Danny's time-honed and trademark teamwork is on full display here, even in this relatively low-stakes situation, with Danny stealthily checking in on Foggy and hurrying him away while Luke stands out front, drawing the attention and metaphorical bullets while telling the crowd to %@$# themselves.
There is a parallel that I greatly enjoy between Danny and Luke and Foggy and Matt as two of Marvel's most prominent and enduring pairs of business partners/best friends. As Danny says here, they weren't officially operating as the Heroes for Hire at this time. But Luke and Danny are only ever "not together" in the same way that Foggy and Matt are ever "not together": they are a matched set, a bonded pair, brothers (their words) for life, and so in one way or another, they are always together.
(As a side-note: I'm almost positive that Alex Maleev was trying to draw Danny's costume from memory in those initial panels, because what the heck is he wearing?)
Matt and his tucked out socks
ELEKTRA NATCHIOS and MATT MURDOCK in DAREDEVIL: THE MAN WITHOUT FEAR #3
Daredevil, Matt Murdock by Kelly Brack
Spider-Boy #13 - "Late Entry" (2024)
written by Dan Slott art by Paco Medina & Erick Arciniega
"All right, whoever is in there is dead"
Reading Daredevil in the 1980s and I finally got to the baffling part that is common to every written work by Frank Miller, that is when the reader must ask "Damn it Frankie why you gotta make things weird for us?"
Digging your dead girlfriend's grave to touch her face... Hey you do what you gotta do, but is it really necessary for this story? And does that make sense to Matt's character? Was this moment earned? This felt more gratuitously creepy and paranoid of Murdock than anything else, not a boring development, just an out-of-place one, shocking, but not as meaningful as it could be, dissonant. Maybe this will all be explored later and I hope it does, as of right now I'm feeling like I always feel at some point reading Miller, perplexed but somehow still unsatisfied
From Daredevil #182 (1982)
Natal na Cozinha do Inferno.
Uma página de "Superaventuras Marvel #85" (Abril, 1989), incluindo uma história originalmente publicada em "Daredevil #253" (Marvel, 1988). Arte por John Romita Jr. e Al Williamson.
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Christmas in Hell's Kitchen.
A page from "Superaventuras Marvel #85" (Abril, 1989), featuring a storyline originally published in "Daredevil #253" (Marvel, 1988). Art by John Romita Jr. and Al Williamson.
Longa vida ao Rei do Crime.
Duas páginas de "Grandes Heróis Marvel #47" (Abril, 1995), incluindo uma história originalmente publicada em "Daredevil #300" (Marvel, 1992). Arte por Lee Weeks e Al Williamson.
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Long live the Kingpin.
Two pages from "Grandes Heróis Marvel #47" (Abril, 1995), featuring a storyline originally published in "Daredevil #300" (Marvel, 1992). Art by Lee Weeks and Al Williamson.
Daredevil in A.X.E.: Judgment Day #4
Daredevil #15 - "Introductory Rites XV" (2024)
written by Saladin Ahmed art by Luigi Zagaria & Jesus Aburtov