Frank Miller used every issue he had on this run to tie into the last one he wrote and made everything connected. Al mismo tiempo Miller fue introduciendo en un ejercicio de retrocontinuidad bien realizada personajes nuevos como Elektra, una antigua amante del pasado convertida en asesina y el maestro Stick, que le enseñó a dominar sus sentidos aumentados de joven, todo esto lo trenzó en un arco de larga duración en el que presentó también a la organización criminal de la mano, un grupo de asesinos ninja a sueldo que adquirieron gran protagonismo en esta etapa y luego serían utilizados recurrentemente en esta y otras colecciones. When I first started collecting comics, I often saw references to Frank Miller’s Daredevil being a ‘legendary’ early run from the early-1980s. Es esta una época dura para ser un fan de Daredevil, porque uno ve con estupor como la vergüenza ajena brota por doquier y como algo que nada tiene que ver con los últimos 40 años y mas con la etapa tontuna que casi lo lleva a la cancelación en la etapa pre-Miller, es encima aplaudido hoy en día. And the continuous pandering to the reader, apologising and telling them that Daredevil would be punching someone again soon if they had the temerity to do a few pages of 'boring' set up.

But even in less important chapters of their run such as this, Miller and Janson manage to pool out some interesting visual ideas.Se devora sin pausa, atrapado por una buena historia llena de matices y por la infinidad de recursos y experimentos que hace Miller en sus viñetas. The tension drives Matt to reveal his secret to Karen Page – but rather than bringing her closer, this revelation pushes her away! Visually, this is simply an eighties gem of a superhero comic which look exactly like an eighties gem of a superhero comic. I was never a huge fan of Daredevil but since I've started collecting the recent stuff by Mark Waid (which is excellent by the way) I felt I finally needed to get this omnibus and explore what I was told was some of the best stories and art in comics history. Stories that are intricately connected to the loose story threads that were made before Miller wrote on the book and he ties those ends up beautifully in the end.

The stories are good and fast paced, and the artwork by Frank Miller and Klaus Janson are spectaculair. Not only does this collection re-invent the Man Without Fear, but it also shapes his world in ways that are still very much felt in Marvel comics, movies, and TV shows to this day. Miller’s only fail, on the other hand, are the unnecessary and completely moronic comic reliefs, in which inherently half-witted characters like Turk, Iron First or Luke Cage are propelled into unfathomable heights of imbecility, and an intelligent and compassionate man like Franklin Nelson becomes the butt of every idiotic schoolyard joke. On the back, a shadowy stylised figure, not much more than a silhouette, representing where - who knows how consciously or unconsciously - Miller's hand wanted to go, and will go from Ronin on. I won't spoil anything despite this being old but the amount of world building, chaos, and sadness this book contains is awesome.Las tintas de Klaus Janson le vienen al dedillo al dibujo de Miller, quien por entonces no había revertido al estilo feísta que empezó a tener a partir de 300 y que ha empeorado considerablemente con el paso de los años. The (maybe unintentionally) comical Otto Octavius might be an apt antagonist for a hero adequately adored by five-year-olds, but not for someone at war against social and political scheming in the underworld. I really love how Miller’s characterization of the Kingpin, especially after the death of his wife, and the whole Death of Elektra story arc.