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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 synopsisThings boil over and Hell's Kitchen burns, as The Kingpin unleashes an unstable Nuke upon Matt Murdock's neighbourhood, prompting none other than The Avengers themselves to step into the fray to put a stop to the madness. Meanwhile, Fisk attempts to expand his reach into more legitimate business and political affairs, whilst Steve Rogers digs into the all too familiar programme that made Frank Simpson, with fatal results for the Vietnam veteran. In the aftermath, Matt attempts to build a new life with Karen, and Fisk plots to tear him down once again. Dave This is it, the final part of ‘Born Again.’ It’s an explosive cover to signify an explosive issue. Kev It certainly is. It's 'Armageddon,' alright. There's lots of kinetic energy in that cover, and it's a nice use of the explosion as a light source. Dave Plus, it has a chaotic feel to it, which is certainly in keeping with the mood created by this issue. Kev That's a good point. The chaotic nature of it all hadn't really occurred to me, but it certainly feels that way after the controlled, micro-managed, staged events of The Kingpin's plan over the last six issues. I love the energy in the splash page as well, but then again, I’m a sucker for a water tower. I also love the depiction of Matt’s agility as he moves, cat-like across the rooftop. That's an excellent panel. Dave It is a testament to Daredevil’s natural athletic skills and how good he is, not only in hand-to-hand combat, but also at avoiding more imminent threats like an armed helicopter. This issue is amping up the action.  "Flip, flop and fly." Kev It definitely is. Mazzuccelli’s fantastic at these action scenes, both close quarter stuff and the bigger, more explosive set pieces. This is the steam, in the pressure cooker that is this story arc, being released. Kind-of like Nuke himself, who is clearly suffering from Vietnam War induced PTSD. Dave Yeah, some quick, sharp, effective techniques by Daredevil, which no doubt would have floored lesser opponents, but he knows he has his work cut out for him here. Nuke is like 'Rambo' meets 'The Manchurian Candidate.' Kev That's a good comparison. Dave That’s a good panel, the one with the Kingpin standing with the binoculars in the shadows, watching the fight with a desperate Wesley pleading for the lunacy to stop.  "...where true to dirt perps go incogninant." Kev Yeh. It's a cracking panel. Even Wesley thinks Fisk has gone too far here and is pleading with his boss to call off the chaos and the slaughter, and Kingpin’s response of, “This is war. I have done no more than transport it--from a South American jungle—--to Manhattan--to Hell’s Kitchen.” is an interesting take on events, to say the least. This seems like Miller commenting on the Vietnam, American foreign policy situation, and the lack of support for those veterans who “bring the war home” with them when they return. Dave Yeah. The Kingpin is perhaps overestimating his hold when he quotes about the army not wanting anyone to know that they have loaned Nuke to him. Do you think Wesley knows how much this can backfire on Kingpin, who seems blinded by his need to destroy Daredevil? Kev I think so, yeh. I reckon Wesley is the voice of all the Kingpin's lieutenants here, despairing over how Fisk has taken his eye off the bigger picture, as he has become increasingly myopic and singularly focused on destroying Matt. This is beginning to strike me as being very much like ‘The Dark Knight Returns,’ structurally. In that it starts off as relatively small and self-contained, yet by the final chapter it is really quite epic. Almost operatic. Dave I like the panel which is a close up of the Kingpin looking through the binoculars and the reflection in the lenses is of the burning city. Kev Yep, that's another excellent panel. With a panicky Wesley fretting away in the background. “Forget nerves--so many victims.” Matt is finding it difficult to concentrate on the fight, due to the civilian casualties as a result of it. It’s also just dawned on me that the protagonist's fight commentary in the Guy Richie 'Sherlock Holmes' films is very reminiscent of this kind of comic book caption box, inner monologuing that describes the thought process behind our hero's fight strategy. Dave It's certainly a nice back-kick by Daredevil, which knocks Nuke straight off the roof of the building, and another nice panel where we get to see the reactions of the crowd as Nuke is falling towards them. It’s a nice, monotone background to highlight the presence of Nuke as he hurtles towards them at breakneck speed. Oh, and this idiot, Glori, again with the camera. Kev Agreed, that panel of Nuke falling to the car, with the chaos playing out under his falling body is excellent. Ha, ha! Yeh, Glori has become an accident just waiting to happen, hasn't she? She's become so reckless at this point, putting her safety at risk for the sole purpose of getting her photographs, that even an old newshound like Ben Urich is concerned for her safety. Dave Haha. Yeah, even Ben Urich is calling her an idiot for her act of sheer stupidity here.  "I seen the mother goose with the eggs, that seemed to be fallin', fallin,' fallin'." Kev Nuke’s repetition of “Our boys" is becoming quite tragic. And that's a fantastic panel, “Forgive me,” as Matt takes out the chopper and the pilot with Nuke’s grenade launcher. Dave It is. Plus, it really is a roller coaster of a fully charged action scene. That panel of Nuke in flames is straight out of a horror flick, yet Matt is still standing fiercely opposite him, ready to continue in the Murdock way, not backing down from a fight. In many ways, The Kingpin and Daredevil are similar people, in that they don't know when to stop. Kingpin with his personal fixation on destroying Daredevil and Daredevil with his tenacity to keep fighting on. Kev Definitely. Both are ridiculously driven. And cue the Avengers. This is very much like Superman's appearance in ‘Dark Knight Returns.’ Miller likes to acknowledge that these street-level heroes exist in a wider comic book, superhero world. This is probably my favourite Iron Man suit actually and it looks superb when illustrated by Muzzucchelli, especially in that rain. I also love the composition of the second panel on this page, with Iron Man’s hand obscuring Nuke’s face. It makes the reveal of it in the next panel, and Cap's reaction to it in the panel that follows, hit even harder. And that look of despair on Cap’s face says it all, really. Dave Yeah, I really like the introduction of The Avengers as well. It is the big boys coming in to tidy things up. "Not being stupid, Matt backs away". Each picture shows an imposing, superpowered hero, as opposed to the street level hero of Daredevil. It gives the feeling of them being worlds apart, almost like the B-level meets the A-level. There's some great artwork in this scene and it adds a refreshing new element to the story.  "If you have a problem, if no-one else can help, and you can find them....."  ".....maybe you can hire the A-Team." Kev That's a good catch about Matt backing off. I missed that myself. He knows full well that he’s outmatched here. Yeh, the starting line-up are off the bench and in the game at this point, alright. Miller's definitely breaking out the big guns here. “Please, Mr. Glazer…...do not refer to our organisation as a syndicate. It dates you.” Ha, ha! Kingpin throwing all the shade at Mr. Glazer, right there. I love how he’s basically telling Glazer that it’s not a group effort criminal organisation, anymore. He's letting him know that they're a legitimate business now, he’s the CEO and he's in charge. And Glazer immediately knows he’s messed up as soon as he mentions Fisk’s wife. Ouch! Dave Yeah. Big mistake to insult The Kingpin in front of his lackeys. He is giving that look that lets us all know what is going to happen and that this won't end well for a certain individual. Kev Definitely not. Kingpin put a Darth Vader on Glazer there. Dave Nice panel of the view from the ground of Fisk tower in the shadows. It shows how huge it is and portrays a sense of menace, stature and power.  Oh, err, Mr. Glazer. Chance'd be a fine thing. Kev Yep. Fisk is a man at the top of his mountain. Glori comparing what has happened with Nuke in Hell’s Kitchen to the troubles in Ireland is an interesting choice from Miller. Again, his referencing real world events really does help ground these stories in a sense of reality. Dave It does, yeah. The Kingpin’s closing statement is him cementing his authority with a ruthless display of how brutal he can be. "We all understand each other...don't we gentlemen." Kev Ha, ha! Yeh. Fisk leaving it in no doubt who's in charge here. Dave I really like the aerial view from inside the church. It's one of those eye catching images that is full of rich detail and the colours used equally match the quality of the linework.  "...., hallowed be thy (Name).....Papa don't preach." Kev That panel is excellent, I agree. The composition of it is superb. Dave It is. Matt and Karen are certainly wasting no time in getting it on with each other. Kev I know. With everything that's gone on as well. And in a church to boot. I mean, c'mon! Get a room guys. Typical Catholics. I have to say though, I’m not buying that Steve Rogers is over 300 lbs. I know you could make a superhero comic book logic argument about super serum muscle and bone density and all that, but Steve Rogers is supposed to be what, 6ft 2"? With a frame like that, which is relatively lean looking, he's never 300 lbs. I do, however, like the exchange between Matt and Steve Rogers regarding whether Steve is an employee of the American government. Dave That panel of him towering over Daredevil, as he puts his hand out to halt him, looks like it’s meant to make him look this 300 lb specimen though. Kev Yeh, true. That is an excellent panel. Okay, maybe 300lbs WITH the shield. Dave It's interesting that Matt went to meet with Cap out of uniform. He was taking a chance that someone could see him high-flying about. Kev Definitely. I thought that as well. Just leaping about in his civvies. I suppose, now that he's not got his side life, as Matt Murdock the lawyer, maybe he doesn't feel he has quite so much to lose anymore if his identity as Daredevil were to be revealed. Dave I like that Daredevil line, "So what’s it to you?" and the Cap response, "He wears the flag." Which is, of course, reminiscent of his own past. Plus, I also like Daredevil’s saying, " I hadn't noticed," before he leaps off the building like an Olympic diver. The panel of Cap standing alone, atop the building with the sunset in the background, is a gem of a panel.  Captain America, Old Glory indeed. Kev Yeh, that's a lovely panel of a forlorn Rogers, with excellent colour work by Scheele. “It doesn’t mean anything to them, thinks the soldier. To them it’s just a piece of cloth.” Steve Roger’s sense of responsibility surrounding Nuke is telling, isn't it? Miller’s relationship with his country and its government always seems very complex, and it's starting to show through more and more here. I like that Jonah springs for the two colours in order to get the red and blue of Nuke's face paint on the cover of The Bugle.  Fake news! Dave This is where the story shifts into the angle of Cap’s interest in Nuke, and we actually get a bit more characterisation on Frank Simpson here. I’m not sure about the panel of the building in black with the army insignia on it, and also the following panel of the General speaking to Fisk on the TV. They're slightly 80's cheesy looking. Then again, this was the 80's. It's a bit A-Team looking to me. From the works of Stephen J. Cannell.  The monolith from '2001: A Space Odyssey.' Kev Ha, ha! You may have a point there, yeh. That panel perhaps hasn't aged quite as well as others in this run, no. You're right, there's a definite shift in the narrative here, isn't there? It almost feels like Miller had something else on his mind, or something else that he needed to get off his chest. Still, we get to see that Fisk even has the American military, or at least parts of it, in his pocket, and the General's stuttering and stammering as he tries to fob Cap off is quite amusing. I also like how he punches the word "loyalty" in an attempt to get Cap to back off and drop it. "I am loyal to nothing, General--except the dream." I love Cap. He's just so good and wholesome. Dave Miller’s take on Cap shows a more reflective side to him, as well as the all-American patriot. Kev For sure. It's a Steve Rogers that truly is a 'man out of time.' A Cap in a post-Vietnam War America. An America in which a Nuke is arguably more in keeping with the national consciousness at the time. Dave Yeah. At this point, Daredevil is shunted to the side in his own story. I'm not sure Cap would slap another army officer. It seems a bit out of character for him. Kev It is, definitely. But, it’s just enough of a slap to knock him out for a bit, not enough to do him any real damage. He pulled it just enough. Cap's being forced to go against his better judgement and compromise himself slightly here in order to get to the bottom of all this. I do like that the colours of the pills Nuke's popping are the colours of Old Glory. Miller is using Cap to illustrate America's fall from grace here. Again, he's definitely not afraid to slip some real world-events in here, no matter how uncomfortable they may be. Dave It's very current for the time. Especially with the whole PTSD affecting soldiers element of the story. Kev Yeh, even nowadays we're still pretty uncomfortable dealing with the effects PTSD has on soldiers. You only need to look at the unemployment and homeless statistics for military veterans to see that this is just not being dealt with properly. Dave That's another great panel of Cap sitting at the computer mainframe desk, totally immersed in 80's technology. It's such a great panel, with so much narrative happening in this one page. And the artwork is terrific. They’ve been a real standout in this issue, these one page splashes. Plus, the colour palate is also spot on. Kev It's an amazing page, isn't it? The focus being pulled on Cap's eyes as he unveils the nefarious nature of what became of the Super Soldier program, plus his part in it all, as well as the panels of the computer screen running down the right hand side of the page, is a superb example of layout. It's fantastic storytelling by all involved.  Wait until Cap discovers the internet in about 15-20 years time, the sheer amount of porn will blow his old mind. Dave Cap is looking at a modern day Captain America programme really, and how it is used by the twisted world of politics. And not for the greater good either. Kev It's definitely a reflection of how the US was beginning to be perceived by the wider world, and also how it was beginning to see itself, I suspect. No longer the John Wayne style cowboy hero, the cavalry riding in to save the day, but more an evil empire with blood on its hands. Dave Yeah the morals are shifting from a wholesome image, with the intention of good, to underhanded deals, unscrupulous politicians and army generals, using these people purely as weapons for their own needs. Money, greed and power go hand in hand in hand in this new era. Kev That’s true. An America where a Gordon Gekko, "Greed is good," Wilson Fisk type of gangster is more fitting as the face of the country, than a boy scout like Steve Rogers. I suppose Miller has shown here that the lines between organised crime, the government, the military and legitimate business interests are finer than we’d like to believe. I love how Matt is trying to justify the Daredevil costume to Karen, but her response it just a dismissive, "Right, right..." She's essentially saying he looks like a tool. Dave I overlooked that scene with Matt and Karen about the costume, she is one cynical woman indeed. Kev The scene with Matt and Karen is one of the very few bits of throwaway humour in this arc. Dave Silly mistake for them to guard Nuke in such a close quarter way, then leaving him to pop as many pills as he can do in one go, knowing his psychological instability. Did they not realise the man may turn on them? Kev That was a rookie error, alright. They've definitely underestimated Nuke's potential to turn on them here, yeh. Which is stupid, considering they've essentially made him a drug addicted attack dog. It's also interesting that Fisk's idea of going legit and getting the respect of the legitimate business community, is to blackmail his way out of a life of crime. He's such a contradiction and a hypocrite. Dave The Kingpin likes the whole legitimate look and all the bullshit ceremonies and accolades that come with it. This breakout from his cell is leading to the inevitable showdown between Nuke and Cap, sort-of like the main match-up at a WWF event for the heavyweight title. Kev Ha, ha! Hulk Hogan Vs Sgt. Slaughter. Although, that wouldn't be until a good few years after this was published. Those panels of Cap putting Nuke through the wall, using the shield are class. Good action again by Mazzucchelli. Cap sympathises with Nuke, as they are both soldiers, but they're definitely soldiers born out of two very different wars. Two very different worlds in fact. "There was so much hope in that time. His time." Miller’s really leaning in to 'The Man Out Of Time' thing with Cap here. "Those are our boys." Cap and Nuke are flipsides of a coin. Two different faces of America.
Dave Cap probably sees a part of himself in Nuke, as they both are experiments. Cap is the experiment gone right and Nuke is the experiment gone, not exactly wrong, but an experiment purposely manipulated by others in power to be completely at their command through the use of drugs, with no free thought whatsoever. Kev Totally. I'm liking the cutting between Matt and Cap's inner monologue. Again, Miller and Mazzucchelli are making use of this rapidly-cutting-between-scenes technique to build tension, as they have done throughout this run. Dave Yeah, and as we enter the final chapter of this story, the tension is building, and you know that there is about to be another battle. I like the energy when Daredevil dives in and pushes Cap and Nuke away from the imminent gunfire, very speedy and deftly done too.  Pretty unsportsmanlike for a boxer to be taking a dive like that. Kev Mazzuccelli's just fantastic at conveying that motion and velocity, isn’t he? This whole run has been an absolute feast for the eyes. Matt fair got off the roof and into that guy's taxi quicksmart, eh? And a blind joke too? Very good, Frank. Well crafted. Excellent description of Matt's heightened senses again, when he's driving the cab though. Dave Haha, yeah. I suppose that joke, "Are you blind?" with him driving the taxi cab was to be expected. Kev Definitely. You couldn't leave that on the table. Dave No. The rain lends an extra touch to the action of a scene and adds the element of nature into the drama. Kev True. The rain is worth it, even if it's just for that full page of the drenched Nuke's dead body on Ben Urich's table in the Bugle. Dave I know. It’s a cracking full page panel too.  Accusations of the United States using waterboarding as an interrogation technique proved to be unfounded. Kev The look of resignation on Matt's face, when he realises Nuke is not going to make it is fantastic. And just like that; it's over, Nuke is dead. Matt uses him to expose Fisk, who goes back to plotting against Matt, whilst Matt tries to rebuild some semblance of a life with Karen. It's kind-of a downbeat ending. There’s no real conclusion. No real finality. But then again, I suppose there are no real conclusions in life except death. And even death doesn't stick in superhero comics. They're all middle. Dave Yeah, Fisk kind-of gets his comeuppance, but again, all he does is he uses the time to methodically plan. And the plan will be another ploy to destroy and ruin Daredevil. I don't think deep down Fisk really wants Matt dead. It’s almost like Daredevil is an estranged brother to the lonely child of Wilson Fisk, so the game will resume at some point. Just like a vicious cycle repeating and repeating. I think, for Daredevil, this could be a sort of happy ending, his life is constantly marred by tragedy, so in effect this is an upbeat moment for him. He probably knows this won't last for too long though. It's a nice, full page panel to close on, nice bright colours in it, and a smiling Matt and Karen. But being the world of Daredevil, it'll be pretty short lived. And Mazzuchelli signs his name on the bottom right. Was that his last issue on Daredevil or did he continue after this?  Hey, Fisk, you might want to get that conjunctivitus checked out. Your eyes are a little bit pink there. Kev Yeh, those full pagers certainly are a contrast to each other. Death, with the one of Nuke on Urich's table and rebirth, with the one the one of Matt and Karen, smiling, walking hand-in-hand down a sunny Hell's Kitchen street. Fisk definitely fetishises Matt and the destruction of his life, doesn't he? That's a great point about Fisk being the lonely child and almost just needing someone or something to play with. But like a cat playing with a mouse though. A predator toying with its prey. He needs the power dynamic of life and death to be in his favour. He needs that feeling of superiority and control. I think Matt feels free at this point, but, as you said, temporarily. The responsibilities and the sheer weight of being Matt Murdock have been lifted from his shoulders by Fisk. Fisk has done him a favour in a really twisted, perverted way. That’s also a good spot with Mazzucchelli’s signature, because it looks like it was his last actually, yeh. Dave That’s probably a good place for us to round up as well then. Any closing reflections on "Born Again"? Kev I think it's interesting that Miller had Nuke and Cap as the climactic battle, not Matt and Fisk. It looks like he wanted to use Nuke to make a statement. You'd think that the story was building to a showdown with Kingpin, but no, he must've been saving that for the future. Like I said, all middle. This is considered a classic though, and rightfully so. You got any closing thoughts? Dave Just like you said, it’s deservedly considered to be a classic. It has some fantastic artwork in it, some great storytelling, and done at breakneck speed at times. It is a great character driven story, with all the pitfalls that come to a man who fell down and was “reborn,” so to speak. It also highlights the complicated relationship between Daredevil and Kingpin, as well as illustrating just how manipulative the Kingpin of crime can be. In closing, this really is a must read for any Daredevil fan.  The Freewheelin' Matt Murdock. The end. (D) & (K)
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