Marked for Death is a trade paperback collection of some of the earliest artwork by Frank Miller in the Daredevil comic book series. The compilation consists of issues 159-161,163, and 164. Issue 162 isn't included because it was a filler issue done by another artist.
This is some of Miller's earliest work, and possibly his very first truly creative real work. Daredevil was doing poor enough in 1979 that it was just about to be cancelled, so they gave the artwork over to this nobody who was just starting out in the business. To the few who read it, it was obvious that there was a new great talent in the comic book industry.
There is a little bit of history for me here, because issue #161 was one of the first comic books I ever bought. My brother and I split the cost of a number of comics, and this issue came out in September of 1979. So many comics at that time were so formulaic, and uninteresting as opposed to the older Jack Kirby work from the early 60's which I had been reading in reprint form. I knew this issue was great instantly, and I remember telling my brother to read it next, and we were both in awe.
These issues aren't written by Miller, only drawn, but his influence can be felt. The writer was Roger McKenzie, who's other work I can not think of at all. The inker was Klaus Janson who later teamed up with Miller on numerous other projects, including Miller's magnum opus, "The Dark Knight Returns". I wouldn't be surprised to find out that Miller re-wrote some of the issue to fit his artistic style. Most comics previously were just words on a script that were given artwork. Miller seems to be a true student of film editing, and knew the power of wordless panels, editing between frames, and how to carry motion from one frame to the next.
The first three issues compose a story about a villain named Bullseye seeking revenge on Daredevil. Bullseye is a great villain, but Miller's art really made him shine. His power was that in his hands anything could be a deadly weapon. He was just a natural at throwing and using everyday items, and knew what to target on a human body to be the most effective. Miller has him throw vases, a picture frame, baseballs, a water flotation device, and even a tobacco pipe with deadly results. An early famous moment for Miller was when in a much later issue having Bullseye throw a playing card from his fingers slitting another man's throat. Comics usually didn't show violence like that, and that was very shocking at the time.
In the series beginning Bullseye is enlisting the aid of a group of assassins led by the now retired Slaughter. He has been brought out of retirement by the promise of a half million dollars to kill Daredevil. Slaughter takes it, but doesn't realize that Bullseye is pretty sure he will fail, but wants him to try so that he can film and later study Daredevil's moves and techniques. Bullseye lost to Daredevil in hand to hand combat, and wants desperately to defeat him during their next conflict. Slaughter's men do fail after a long battle and Bullseye plans for his next phase continuing next issue.
In the next issue we see Bullseye planning to kidnap Daredevil's ex-girlfriend, who is also a super hero named Black Widow. She is an ex-Russian secret agent who has some of Daredevil's athletic ability, but no other powers for these issues. In a wonderfully drawn battle, she is knocked unconscious and captured by Bullseye. Daredevil goes to a local bar to find information on who hired Slaughter. Knowing that causing enough of a stir would send some informant running after Slaughter, for him to follow.
The next issue, #161, and my first introduction to Miller, starts with Daredevil tracking the informant right back to Slaughter. Slaughter is smart enough to know that the only way the informant could escape Daredevil is if he let them, so he tells his men to prepare, but it is too late. Daredevil is there and thinks he has trapped Slaughter. Unfortunately, Bullseye expected all this and was ready. Almost this entire issue is one fight scene or another. Widow escapes in an incredibly well done scene that I had never forgotten when I saw this issue reprinted here over a decade later. Unable to defeat Bullseye however, it is up to Daredevil to finish the job. The final scenes of the issue between Daredevil, Bullseye and Slaughter are very unusual for a comic book at this time. One of the characters basically breaks down and is unable to finish someone else off. Very untraditional for a story at the time, and I'm not sure if I've ever seen it repeated.
These first three issues are masterpieces of Miller's and the last two unfortunately fall flat in comparison. The fourth issue is a solo issue where Daredevil fights the Hulk. I don't think the writing was anything special, but Miller's artwork does have some strong points. I especially liked the way that he drew the Hulk so large and covered with muscles, but still looking realistic next to ordinary people.
The final issue is a retelling of Daredevil's origin. This was the first time Miller did this, and I think he has honestly done it three other times since! I'm not exaggerating. He really likes retelling his origin, usually adding facts and changing some of the details. Miller seemed to draw this issue as almost a homage to the great artist that he considers to be the greatest comic book artist of all time, Jack Kirby. Many of his panels are clearly replications of Kirby's original origin story of Daredevil from 1963.
Miller's art throughout these issues clearly show a specific technique. I've always loved the way his characters moved. They move realistically, and he has a great sense of depth. Only a very good artist can bring this out. There is a real flow that someone who studies martial arts can actually follow. When fighting, you can actually imagine the muscles tensing and flexing as a punch or kick is thrown.
There are many nice artistic touches throughout these issues. Matt Murdock (Daredevil's real identity) is standing in a window, and a long shadow is being cast along the ground towards our viewpoint. In his shadow he has the two horns that are a part of his costume. Another interesting scene is in a bar fight where we are told what is going on by a television in the background that is showing a wrestling match, and what the announcer says on the TV is what is happening during the bar fight with Daredevil and a dozen guys.
He also has a two page spread of Daredevil trying to rescue Black Widow who has been tied to roller coaster tracks with a car barreling towards her. The panels are intercut between various views of the coaster racing along the tracks, and Daredevil swinging to the rescue. Towards the end, what we see is Daredevil inexplicably running away, apparently to let the coaster kill Black Widow. It is only after the car has hit her, and the body flies to the pavement below does the 'camera' zoom in, and we can see that it isn't Black Widow but only a dummy. Daredevil was able to sense this, but a lesser comic would have shown us the façade before hand, or at least would have failed to make it a suspenseful rescue attempt.
These issues are everything even the modern comics want to be. They are well written, well drawn, exciting, and use the graphic novel medium to its full potential. Although over twenty years old, these are still a good read today.
Note: Miller's greatest Daredevil series was entitled "Born Again", but Epinions doesn't have the trade paperback listed here, so all I can do is suggest that you seek it out if you want to see one of the greatest works in the field of graphic novels.
Recommended:
