Editor's Note: Daredevil #114 arrives in stores tomorrow, December 24.

"Lady Bullseye: Part Four"

You have to admire the smartness with which Ed Brubaker has orchestrated the current arc of Daredevil. This issue allows the writer to begin paying off a lot of the minor plot points that have been set up over the past few issues, as well as tying older elements of the DD mythos into his current story, reinforcing its strength as both a standalone superhero yarn and as a part of the larger saga of Matt Murdock's life.

Some of the developments of the issue are fairly predictable, but no less effective for it. For example, the fate of the White Tiger always seemed like a likely development after last issue's cliffhanger, and anyone who noticed a similarity between Master Izo and DD's old sensei, Stick, will be unsurprised by one of this issue's minor revelations. However, some are less predictable, whether it's the way in which Matt's tryst with Dakota comes back to haunt him, the intrusion of Milla's parents into Matt's life, or the hints at the true identity and motivations of Lady Bullseye herself. These aren't just revelations for their own sake, either: all of them work to move the story forwards, so that no scene feels unnecessary or surplus to the requirements of plot.

Brubaker shows a winning attention to detail, too, whether it's in his references to elements of his own previous work on the book (so as to give the sense that everything in this story has grown organically out of what has come before), or in working plot points from older DD stories into the current arc. Here, Matt and Milla's unsigned divorce papers (from Bendis' run) are used against Matt by a third party. It's a story point from a few years ago that lesser writers may not even have remembered existed, let alone been able to reuse them in their own work in so natural a fashion.

Brubaker's characterisation is also rock-solid. Whether it's the mounting frustration and stress that's evident in Matt's opening monologue, the level-headed directness of Foggy (who clearly cares for Matt deeply, but is unafraid of contradicting him if he thinks it's in his best interests), or the brisk but informative characterisation of secondary players like Danny Rand or Master Izo, there's a real sense that these are living and breathing fully-formed characters rather than mere vessels for the plot.

As ever, Brubaker is ably assisted by his art team, who effortlessly bring every scene to life. Whether it's a legal discussion, a rooftop fight sequence or a scene of gambling in a seedy underground bar, each sequence is conveyed clearly and is given a fitting tone by Gaudiano and Lark. The artists never let the pages become visually repetitive or boring (mixing close-ups with longer shots and changing their angles of vision so as to firmly establish the staging of every scene), and the facial expressions and body language of their characters reflect the emotional content of Brubaker's script effectively.

Special mention must also go to colourist Matt Hollingsworth, whose work here plays an important part in setting the mood of each scene. Whether it's the stuffy oranges of Matt's offices, the sickly pale greens of the stairwell discussion between Matt and Foggy, or the deep, rich, and vibrant reds, blues and purples that accompany the scenes involving the Hand and Lady Bullseye, it's clear that Hollingsworth has carefully considered the emotional heart of each sequence and chosen a palette to match.

If previous issues of "Lady Bullseye" have seen writer Ed Brubaker line up plot points like dominoes, this issue sees him begin to tip them over in expert fashion, bringing Matt's life crashing down around him and creating problems for both his civilian and superhero identities. Daredevil readers wouldn't have it any other way.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---