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by Dave Scrimgeour and Kevin McCluskey    Writer- Frank Miller Artist- David Mazzucchelli Colours- Max Scheele Letters- Joe Rosen Editor- Ralph Macchio Editor In Chief- Jim Shooter Publisher- Marvel Comics synopsisBen Urich and Glorianna O'Breen fight for their lives, as their investigation lands them smack in the middle of The Kingpin tying up his loose ends. Matt helps Karen go cold turkey to fight her addiction to heroin, whilst Fisk plays his trump card and unleashes a Nuke on Hell's Kitchen in order to draw Matt Murdock out, which results not only in devastating consequences for the residents, but also the rise of their guardian. Dave Issue 232 of Daredevil, certainly a bright, eye catching cover. Slightly demonic looking, with Nuke's eyes. What do you think? Kev Yeh, man. There's certainly a lot of bold, primary colours on that cover. Dave Interesting to note that "Nuke" was the name of the drug used in 'Robocop 2,' which was written by Frank Miller as well. I guess he really likes the name "Nuke." Kev Right enough. That hadn't occurred to me. Good catch, Sir. Did you watch any of 'Jessica Jones?' Dave I didn't get around to it. Kev He's kind-of used in that. They made a few changes so that the character fit the show better, but it's a pretty interesting take on him. Dave This Nuke character, from the offset, is a complete maniac. He's most definitely suffering from PTSD, yet he's a colourful looking character, with the WWE-style face paint on. And before 'The Matrix' came out, he's taking the red pill. Kev Ha, ha! Yeh, I thought that about the red pills and 'The Matrix' too. And you're right about the wrestling comparison, because Nuke looks really like WCW Sting from 'The Great American Bash' in 1990. Dave Yep, he sure does. I like the panel of him free falling from the helicopter. It reminds me of an old 80's computer game layout, but it's nice though.  "All Along The Watchtower." Kev It really does, doesn't it? Like 'Operation Wolf,' or something. Dave Then we have the panel of the guys getting blown-up in the watchtower, which is reminiscent of 'The A Team' a bit, but a lot more gruesome. Kev It reminds me of 'Rambo' or 'Commando' as well. Dave This guy is a pure war machine. It would have been interesting to see him up against The Punisher. That would have been some carnage there. Kev Yeh, true. They're bound to have crossed paths at some point, eh? Dave Yeah. The use of colours in this action scene is colourful enough to make it eye-catching and visually strong. I think it keeps it diverse. The artwork throughout this series has been absolutely top-notch. Kev Definitely. Mazzucchelli is a G.O.A.T. and Scheele compliments and enhances his work so well. Yeh, it's a nice representation of the red mist of the drugs taking him over. Dave Also, the use of drugs as an adrenaline stimulant is a gutsy move. There is plenty of narrative used, as the story switches to New York, with the Kingpin, again, showing the reach of his power and how he has the dirt on everybody who works for him, to make sure they will be obedient. Kev It's certainly interesting that even high ranking Generals in the US military are nervous around Fisk. It's also interesting that Fisk is beginning to fear Daredevil.  "You have many questions, & although the process has altered your consciousness, you remain irrevocably human." Dave I am starting to get annoyed with Karen Page now and her self pity. Yes, we know what she has done, but without that there wouldn't be this story, I suppose. Kev Yeh, we’re now being told how much Karen withheld when she give up Matt’s identity. She’s being portrayed in a much more sympathetic light now. She’s one of the good guys. But it is kind-of difficult to move past the fact that she sold Matt out, despite her reasons and her circumstances. She comes across as very self-serving. Even her claim that Matt is the last piece of her soul, kind-of makes what she did even worse. Dave I feel the narrative in this panel is much too cluttered, but they really do like to use the full-page panels to introduce the title of the issue, don't they? It's a staple. Kev That has become a bit of a trademark, hasn't it? It's a fantastic looking panel though.  "Lonely rivers sigh, "Wait for me, wait for me." I'll be coming home, wait for me." Dave It certainly is. Quick narrative jump again to Ben Urich and Foggy in Central Park, I'm guessing. Only because it's the only area I would know. It was always used in film and TV. Kev Ha, ha! Yeh, me too. I like Joe Rosen’s choice of font for Ben Urich’s inner monologue. It reminds me very much of one that would have been used in a old newspaper. It's very fitting. Dave I like the difference in colour for each of the characters in the first panel of Ben and Foggy in the park. Foggy is doing the evasive routine with Ben, who is trying to figure out if Foggy knows about Matt's alter-ego.  When the park is so busy, there's a queue for the bench. Kev There's definitely a battle of wits occurring between the two of them, no doubt. Dave There certainly is. Kev I love that top tier of panels on the page with Glori taking the photos. Particularly the third one.  "Flashy, flash! Watch the birdy." Dave This a recurrent theme, with her taking photos, as later-on, it becomes even more relevant to the story and her character. Even in the 80's, people are obsessed with photos. Just without the mobile phones. Kev Ha, ha! Yeh. There's been a noticeable shift in the character of Glori in this issue. She's much more proactive and, dare I say it, colder and more cynical. Nuke rather violently asserting his desire to drink only American-made beer is actually quite comical. Dave Yeah, he's a complete fanatic. Kev I like Fisk drinking his cup of tea in a classy manner, as he bribes the commissioner with the photos of the cocktail waitress, with the saucer and everything, How smarmy is that? Dave Yeah, that's a great panel of The Kingpin, with just his silhouette. Again, these really suit him. Just to show his sheer physical frame. Plus, the contrast of the cyan coloured background works well against it.  "I sat today, cup of tea in hand.....all I could do was reach for the off switch." Kev It really does. Mazzuccelli is just ridiculously good. As is Scheele. That top tier the page of Matt shaving is outstanding. It’s of such a mundane scene, it really has no right whatsoever to be that good.  This month's review is brought to you in conjunction with our proud sponsor, Dollar Shave Club. Dave I know, it flows so well, this story, swiftly jumping back and forth, like in real-time, so we see what each of our characters are doing at the same moment. That panel underneath of Karen lying on his bed is another great panel. All the colours and tones blend so well. The only thing for me, is that I feel there is too much narrative in this issue.  Karen Page and her deflated, officially licensed Daredevil sex doll. Kev You may have a point there actually. It is quite a wordy issue, that's for sure. Yeh, the composition of that panel is fantastic as well. Dave I think we know what’s about to happen in the next set piece, in the Tombs, as soon as we hear the name "Coogan." Kev Yeh. We knew that interview with Lois was about to go sideways immediately, that's for sure. As verbose as it may be, it is interesting seeing Matt as Daredevil, and his need to be Daredevil from a more sober Karen’s perspective. “He’s like a God when he does that.” More religious comparisons, and her seeming to worship of Matt when he’s Daredevil. Dave I'm not sure I got Glori’s logic in a life or death situation, to just casually click away with the camera. The early days of social media unfolding here, with the need to capture everything on camera. The close up of her clicking the camera is like she is on a photo shoot or something. She's even taking them from different angles. Kev Man, that's what I was leading to earlier, when I spoke of her change in character. It's brutal, isn't it? She comes across like a proper sadistic voyeur in this scene. Really not actions that endear her to you at all. It's nasty, dark stuff, the way she keeps snapping away with the camera as the chaos ensues all around her. The clicks of the camera, in time with Urich pistol whipping Blanders, are particularly effective. She seems to have turned from a sweet, sensitive character, to a cold-hearted voyeur. It's really odd and very, very unsettling. Dave Or is it Frank Miller’s idea of putting dark humour into this scene maybe? Kev Hmmm. I don't know, man. It certainly didn't make me laugh. It just made me feel like I needed to take a bath in bleach. I suppose what it does do, is show that the cesspit of mid 80's New York has even contaminated someone like Glori, who is not a native New Yorker. It changes everyone it touches. And not for the better. Dave It's only after Ben goes ballistic and beats the guy to death, that she becomes aware of what is actually going on. But she does show some humanity in the look she gives him. Perhaps she was meant to be feeling a little guilt too. Kev That's true actually, yeh, but it was after the fact. It's almost like she catches herself in the act and is taken aback by her own actions. I think you're spot on about her feeling guilty though.  "Trashy, trash! Wash the dirty." Dave You got to love Frank Miller’s writing in his heyday. He pulls no punches, and it borders on insanity. Kev Yeh, it's proper arresting and immersive stuff, but even here, there are early indications of the direction he would ultimately go in. The pages with Nuke, including the one coming up with Kingpin, have that nasty, politically nihilistic, skewed patriotism to them that has plagued a lot of his later work. In saying that, Miller's portrayal of Fisk as a master manipulator, is excellent. Using Old Glory and talk of his own son as a vet, as well as his own "patriotism" to curry favour with Nuke. Even the use of the term “our boys.” That's good stuff. Also, I like the way Miller differentiates between Captain America and Nuke as products of different times and different wars. Vietnam was still such a fresh scar on the American psyche in the mid ‘80s. Dave Is Kingpin referring to Captain America when he mentions first predecessor? I'm not really familiar with Miller’s later work, but come to think of it, ‘Robocop 2’ was a messy sequel to the original, with some way out-there stuff. The Kingpin is adopting a more paternal tone to address Nuke, and he's obviously aware of this man’s unstable nature, and knows exactly how to push his buttons to make him work in his own favour. Clever old Fisk. That's true about the 80's American obsession with the Vietnam war. A war they couldn't win because of politics. How many movies in the 80's were about that, even though the Cold War was going on? Plus, how they approached that loss, through the use of the advancement of technology was illustrated by shows and films such as 'Firefox,' 'Airwolf,' 'Knight Rider' and 'Street Hawk' to name but a few. America had an obsession with technology in the 80's and they became convinced that the way to win future wars is through superior technology. Kev Yeh. And it appears that they were right. To a large extent, anyway. From what I remember, I think 9/11 had a pretty significant effect on Miller. Apparently he pitched a story, 'Holy Terror, Batman!' to DC where Batman battled Al Qaeda after a terrorist attack on Gotham City and it came across as more Islamophobic than anything else. Ultimately it was never published by DC and it became an original graphic novel, featuring a new, creator owned, character of his, 'The Fixer.' And then of course, there was the never to be completed 'All Star Batman,' where he had Bruce emotionally and physically abusing a young Dick Grayson, telling him to survive by eating the rats in the Batcave, smacking him about and uttering the now infamous, "I'm the goddamn Batman!" line. Probably not his best work. He seemed to callous significantly as he got older. And he wasn't exactly as soft and gentle as a baby's bottom to begin with. Fisk definitely plays the paternal card, doesn't he? Sneaky. Manipulative. He must be a Republican and he must’ve voted for Reagan due of his deregulation policies. The whole of this page is outstanding. It evokes such a palpable atmosphere. Dave It's a very clever, politically oriented, speech to jack up Nuke. And guess where it leads to? Daredevil. Kev He basically just lets Nuke off the lead and sics him on Matt, doesn't he? I love how Fisk sees himself as a corporation. This concept of corporations as individuals, and hence having the rights of an individual, an actual living, breathing entity, a person, is a fascinating one. And one that has been abused over the years to protect corporations legally, in the courts. This also then feeds into the concept of America as a conglomerate of these corporations/individuals. USA inc. With the press, and the media in general, as a potential enemy. "Fake news!" This is all starting to sound very timely and current, with Fisk essentially being Trump. Ha, ha! Dave There are some great panels in that speech. It creates quite an eerie atmosphere, with the use of the shadows. And that one with Nuke standing to attention in the middle of the panel, as Fisk is talking, is nothing short of superb. Great attention to detail.  The Unholy Trinity. Kev And the way Fisk clutches Old Glory close to his chest as well, it's just creepy.  Sometimes, in order to be a patriot, you have to break the law. Dave Even the next panel, that jumps back to Hell’s Kitchen shows, from an aerial point of view, the griminess and grittiness of this neighbourhood. It's in stark contrast to the corporate world inhabited by a hermit like Kingpin, who lives in this tower, surveying and controlling everything from his perch. It's certainly an interesting contrast to the streets of Hell’s Kitchen and how Matt is now almost auditioning for a part on 'Iron Chef USA' in his spare time.  "You're the heart and soul of New York City." Kev Ha, ha! He'd make for great TV. You're right about the contrast in living conditions. Crime pays, apparently. The rich get richer, the poor get poorer. This is all still very relevant to the world we live in, 23 years after this was first published. Not much has changed. Not much ever changes, I suppose. And you're right about that panel of Hell's Kitchen, man. It's fantastic. Dave Yet it shows the confines of how the rich have to live with less freedom of movement than those not so well-off can have. The Kingpin is actually inhibited by his status and power. He spends a large chunk of his time confined to this tower, whereas we see Matt all over Hell’s Kitchen. Kev True. Fisk is a victim of his own success in that regard, isn't he? He lives in a bit of a cage. It's a gilded cage, sure, but it's still a cage. And it's one of his own making. He almost observes life, rather than living it. Dave He is essentially trying to exercise control from the self-imposed prison he is in. Kev Yeh, he loves nothing, if not control, does old Wilson. Urich is still in shock after pistol whipping Blanders to death. Dave Yeah that last panel on the page, of the diner, creates a cosy looking atmosphere, but he's totally in shock. “Best burger I've ever had". He's badly needing food. Kev Definitely. And Glori is back to giving it the whole, "Terrible neighbourhood..." speech. And then it all kicks off. That kiss between Matt and Karen as she gives him the Daredevil suit after being blown up by Nuke is a bit odd. That whole scene is, to be fair. It’s a bit over the top. Dave Nuke is some size. Qayan from 'Son of the Demon' size. There's a nice, fast paced build-up to a showdown with Daredevil emerging. Kev Yes. They've certainly established his physicality as a potential match for Matt, and the pace really does pick up here, doesn't it? It goes from 0-60 in one page. Dave Yep, the panel with the helicopter is a bit OTT, but quite comical. Very ‘80’s. This geezer gives John Rambo a good run for his money. I like the narrative of what Matt picks-up on. The immediate carnage of people dying. It's quite brutal really and a bit unsettling.  "Get to the choppa!" Kev It is. But with a character like Nuke, it's exactly the sort of thing you'd expect him to do, drop in on a neighbourhood in New York and start executing innocent bystanders. Although, whether anyone is innocent in Miller's mid-80s New York is open to debate. We're back to Nuke leaping out of helicopters and executing people. And the fact that Matt runs towards this carnage says a lot about our hero. Dave Plus, Joe Rosen has gone a bit Batman 1960's with the sound effects from Nuke’s weapons. I’m just waiting on "Ka-pow" to be used. Ben Urich’s one line in this situation is to Glori, "...get your camera." ????????? Don't encourage her please. Perhaps there should have been a speech about taking photos in the middle of a fight. It's certainly interesting to see how Matt tackles a foe like Nuke, using his own unique skill set.  "Terrorists, your game is through, 'cause now you have to answer to America....." Kev Ha, ha! Oddly enough, circling back to your Punisher comparison, it's almost exactly like a panel of Frank Castle in one of 'The Punisher' issues we reviewed. Compositionally anyway. Ever the reporter, is Ben Urich. Nothing else matters as much as the story. I love how Mazzuccelli draws Daredevil holding the billy club after it bounces off Nukes head, then ricochets off the brick wall before returning to his hand. It’s like the way a loose drummer would hold a drumstick. Dave Is Nuke so far out of it on these pills that the billy club to the side of the head didn't phase him? Kev I think so. I think he's supposed to be off his face on this cocktail of barbiturates. Miller tackled the drugs theme in his Punisher/Daredevil story, 'Child's Play,' as well. Do you remember that one? Dave The title rings a bell, but cannot remember any of it. Kev It was reprinted in 'The Punisher Weekly' comic that we got as kids. It had the school kids dealing and getting high on angel dust, if I recall correctly. Which ties back into 'Robocop 2' as well, with the "Nuke", I suppose. Dave Yep. Miller likes his drugs. The final panel is superb, with Daredevil poised for action and the burning inferno in the background. It's certainly well named, is Hell’s Kitchen. It looks like it's straight out of Hell itself at this point. That is good wall art, that page. Kev It's a cracking panel to end on. It really hypes you up, as a reader, for the big showdown next issue. Dave Yeah. It seems Matt has really grown from his downfall and has learned to be more patient, whereas the Kingpin is becoming more unravelled and cannot wait to implement another situation to draw Daredevil out. His illusion of control is really crumbling now. Kev Definitely. The tables are certainly turning by this point. Matt is in the ascendancy and Kingpin is falling. (D) & (K) Next: 'Armageddon'' 
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