Daredevil #5 & 6, by Chris Samnee (storytellers, #5), Mark Waid (storyteller, #5 & 6), Javier Rodriguez (colorist, #5 & 6, storyteller #6), Alvaro Lopez (inker, #6), Joe Caramagna (letterer, #5 & 6) - The way Samnee drew the cheeks on the nun to the left of Matt and his mother, I can't help feeling like she just smelled something bad. Did Little Matt just beef?Issue 5 is the tale of how Matt convinced the world Foggy Nelson was dead. It involves a walk in the park, a mechanized Leapfrog, Foggy "sacrificing" himself to save a bunch of lives, and Hank Pym. Waid is really invested in helping Hank Pym as a character, isn't he? Just little ways, but repeatedly. It's fine, he's not trying to make some grand arc of it, just showing Pym is a good guy, whatever his issues and past screw-ups. I really like the "shush" face Samnee gives Matt on page 19. It's kind of exaggeratted, which makes it kind of funny. He's worried someone might hear the guy everyone thinks just blew up say he's alive, but apparently he's not worried someone might have decided to keep eyes on Daredevil and so is seeing him with the guy everyone thinks just blew up, plus Ant-Man.
For issue 6, we venture into Original Sin tie-ins, as Matt remembers at least one occasion where his father hit his mother. So Matt would like to talk to his mother, who had become a nun when he was very young. But she's gone, arrested. She and some of the other sisters spray-painted graffitti on the outside of a military base's walls, and we arrested, detained without lawyers, and sent to wakanda. Which strikes Matt as strange, especially when he goes to the base and finds it deserted. So he hides out in the Wakandan embassy and listens. And overhears an American general talking with the Wakandan military attache, a Lt. N'banta. Turns out the U.S. leased the base to certain elements in the wakandan military so they could create weapons they wouldn't have been allowed to in their home country. Matt attempts to steal the flash drive, but forgets Wakanda is the most advanced nation on the planet, and it wouldn't be hard for a suitably corrupt and unscurpulous member of their government to find something to incapactitate a man with heightened senses. So Matt gets his ass kicked and hurled out of an embassy window by two pencil pushers, and is mockingly informed his mother is already on a plane to Wakanda.
I'd always figured it was canon that Matt's mother left because his father hit her. He was a fighter by trade, and one not above making poor decisions under pressure, taking the easy way at times. So sure, I could see him losing is temper and punching her. But I guess it would be different from the inside, especially for Matt who bases so much of himself on what he believes to be his father's example. As for this situation, this is one of those times when I'm confused as to ShIELD's reach, not to mention the Avengers. Because this feels like
the sort of thing they would have oversight on, and could exert pressure if they so desired. So either they can't, because it's an ostensibly legal deal, or they don't care, because they're getting something out of it. And N'banta admitted it's highly illegal, so the first one is out. Or they're just lazy and incompetent, which sounds about right.
Rodriguez' colors seem much more vivid when he's working over his own art. Maybe because Samnee uses much heavier blacks inking his work than Alvaro Lopez does on Rodriguez'? Either way, the page where Matt is straining to listen, but thoughts of that memory keep cutting in, that was choice. The deep reds as Matt's working to block everything else out, but that memory keeps cutting in, done in more normal colors. The reds are like pain or anger, the immediate problem he's using to distract himself from this other issue. I was going to say larger, but I'm not sure that's true. Finding out what he seems to have about his father hurts, but his mother being sent to a hostile foreign land to cover up chemical weapon skullduggery is somewhat more dire. Also, the scene where Maggie holds her hand up to the glass, in the gesture you see so often in scenes in prisons. Except Matt can't see, and his radar sense just picks up the glass, so all he "sees" is a series of bars in front of him.
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