Marvel’s Daredevil (Netflix, 2015-present): Comic Influences

Started by Silver Nemesis, Tue, 23 Feb 2016, 22:16

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As someone who has read almost every Daredevil comic ever printed, I have to say the Netflix TV show is about as faithful as live-action comic adaptations come. Season 1 showrunner Steve DeKnight has highlighted several creative talents whose work on the comics proved especially influential:

Quote"Loeb wanted to make a gritty, grounded and realistic series, hearkening back to those Daredevil comics we read as kids — the Frank Miller, Brian Michael Bendis and Alex Maleev runs."

Frank Miller and John Romita Jr's Daredevil: The Man Without Fear (1993-1994) has been cited by numerous members of the cast and production team as a particularly significant influence. Daredevil: Yellow (2001-2002) by Jeph Loeb (who also served as executive producer on the TV show) and Tim Sale was also a big influence, as was the Brian Michael Bendis/Alex Maleev run.

There are an insane number of comic references littered throughout the first season, so I think the best way to highlight them all is to go through each episode individually. Fair warning though, this is a long analysis. And obviously it contains spoilers. So if you haven't watched Daredevil season 1 yet, stop reading now and go watch it. But for everyone else, let's begin.


The first thing to comment on with this episode is the title. Obviously it's taken from boxing terminology, but it also evokes the title of the third chapter of Daredevil: Yellow: 'Stepping into the Ring.'

The episode begins with a flashback depicting the pivotal moment where Matt Murdock is blinded as a child. We don't see the accident itself, but we are told that Matt pushed an old man out of the way of an oncoming vehicle, only to have a radioactive substance splashed in his face in the ensuing crash. This is consistent with his origins in the comics, as portrayed in the very first Daredevil comic ever published: 'The Origin of Daredevil' (Daredevil Vol 1 #1, April 1964). In both the comic and the TV show, we are spared the moment where Matt's eyes are struck by the radioactive substance; instead the incident is verbally relayed to us by awestruck bystanders.

In Stan Lee's original version of the story Matt was 15 years old at the time he lost his sight. In the TV show he is 9. This reflects Frank Miller's revised take on Daredevil's origins in Daredevil: The Man Without Fear, where Matt was portrayed as being slightly younger at the time of the accident.

The opening scene introduces us to Matt himself, played in the flashbacks by Skylar Gaertner, and his father, 'Battling' Jack Murdock, played by John Patrick Hayden. Like Matt, Jack first appeared in Daredevil Vol 1 #1.

One last thing to say about this scene is that location photos reveal one of the vehicles involved in the crash has 'Rand Industries' written on its side. Obviously this is a reference to Danny Rand, aka Iron Fist.

We then transition to the present day where we see the adult Matt Murdock for the first time, played by Charlie Cox. In the comics Matt is 6'0 and has red hair. Cox is 5'10 and has naturally brown hair, but dyed it a dark shade of red/auburn for the role.

Despite being marginally shorter than the comic book Daredevil, Cox is overall a very good physical match for the part. He has a strong jaw line and sports a coating of stubble similar to the David Mazzucchelli Matt in the 'Born Again' arc (Daredevil Vol 1 #227-233, February-August 1986).

Several other artists have portrayed Daredevil with a stubble-coated jaw over the years. The following comparison is with John Romita Jr's cover art for the trade paperback edition of Ann Nocenti's Daredevil: Lone Stranger (1989).

Some fans have observed that Cox bears a striking resemblance to artist Tomm Coker's depiction of Matt in Daredevil: Noir (2009). Joe Quesada had wanted Cox to play Matt for some years prior to the series, which has led to speculation that Coker may have intentionally modelled Matt on Cox in the first place (Quesada was editor-in-chief on Daredevil: Noir). Alternatively, it may simply be a coincidence.

Cox gained 20lbs of muscle in preparation for the role. In addition to working out with weights, he also underwent training in boxing, Wing Chun and Kali. His physique mirrors that of his comic book counterpart.

The first time we see the adult Matt he is in a confessional booth in church. Matt's Catholicism is an important part of his characterisation in the comics and informs his moral and philosophical outlook. It was hinted at as early as Tony Isabella's 'They're Tearing Down Fogwell's Gym' (Daredevil Vol 1 #119, March 1975), but was more explicitly incorporated into the canon by Frank Miller during his run in the late seventies/early eighties.

The first time Matt was shown attending confession in the comics was in Ann Nocenti's 'Cremains' (Daredevil #267, June 1989), part of the 'Lone Stranger' arc. He has subsequently been shown to go to confession in several other stories, including Frank Miller's Elektra Lives Again (1990), Kevin Smith's Guardian Devil (1999) and Andy Diggle's Shadowland (2010).

It is during the confessional scene that we are introduced to Father Lantom, played by Peter McRobbie. Lantom first appeared in the comics in 'East Coast/West Coast', Part 1' (Runaways Vol 2 #9, December 2005).

The next scene gives us our first look at Daredevil's all-black vigilante suit. The show's makers have confirmed this costume was inspired by the similar suit Matt wore in Miller's Daredevil: The Man Without Fear. Both costumes feature black gloves, matching top and trousers and a black bandana that covers the upper half of Matt's head and face.

The Man Without Fear prototype costume was in turn based on the one Matt wore during his college years, as seen in 'Elektra' (Daredevil Vol 1 #168, January 1981).

Matt has improvised similar outfits in later comics, such as this example from Daredevil Vol 2 #84 (June 2006).

The black outfit has proven popular with fans and was featured in Tim Sale's alternate cover art for Daredevil Vol 5 #1 (December 2015). Joe Quesada's original concept art for the black suit was also used as an alternate cover for the same issue.

Also present in this scene is Turk Barrett, played by Rob Morgan. In the comics Turk is an opportunistic small-time crook and occasional informant for Daredevil. He's shown up frequently over the years, often accompanied by his equally inept pal Grotto, and usually serves the role of comic relief or lackey for a more important villain. He first appeared in the comics in 'A Life on the Line' (Daredevil Vol 1 #69, October 1970).

The fight scene at the docks bears similarities with a scene from 'Marked for Murder!' (Daredevil Vol 1 #159, July 1979), one of the earliest Daredevil stories to be drawn by Frank Miller. In the comic Daredevil tackles a group of criminals on the waterfront, leaping up onto the crates and disappearing into the shadows while his enemies search for him in a state of panic. Also note how he hurls his billy club at a crate so it ricochets and hits an enemy, just like he does with the stun baton in the TV show. Turk is present in both versions of the scene.

Daredevil's fighting style in the comics is a mixture of Ninjutsu, Aiki Jujutsu, Jujitsu, Kung Fu, Capoeira, Judo, Aikido, wrestling, Filipino stick fighting and American-style boxing. According to the TV show's official Facebook page, the MCU Daredevil's fighting style is a mixture of Muay Thai, grounding-and-pounding, Kung Fu, Judo, Aikido, Capoeira, Taekwondo, Escrima, tricking, and pro-wrestling. The end result is a gymnastic fighting style that accurately captures the agility, speed and technique of the comic book Daredevil.

Daredevil is often depicted using his gymnastic skills to dodge gunfire in the TV series. It may appear he's randomly somersaulting through the air, but the Daredevil in the comics uses a similarly acrobatic technique to avoid being shot. Daredevil doesn't possess superhuman speed and therefore cannot dodge bullets in the traditional sense. He can however sense the direction in which the guns are pointing via his radar, and can intuitively position himself out of harm's way before the bullets are actually fired.

At one point during the fight, Daredevil throws Turk's taser baton so that it bounces off a crate and hits another bad guy in the face. Daredevil's ability to throw his billy club with expert precision, making it ricochet in such a manner that it hits all his enemies and returns to his hand, is one of his signature moves in the comics. We see him do this numerous times throughout the show. Here's an example of him doing it from Daredevil: Yellow.

Matt lowers his voice when in costume for the dual purpose of intimidation and disguise. He's described as doing this in Daredevil: Yellow.

Following the scene at the docks we get the title intro sequence. This includes a red devil-horned figure resembling Matt's classic costume from the comics. The onscreen title logo is also taken straight from the comics.

Matt has occupied several different accommodations over the years, the most memorable being his brownstone in Hell's Kitchen. But when he first appeared in 1964 he lived in an apartment on the top floor of a building in an unidentified part of New York. He occupies a similar apartment in the TV show. Matt's living quarters in the comics have always featured secret exits on the roof that allow him to sneak out at night in his Daredevil costume. In the TV show we see him walking up a staircase in his apartment whenever he sets out to fight crime, suggesting a similar roof exit to that in the comics.

The next character we meet is Foggy Nelson, played by Elden Henson. Foggy is yet another character who made his debut in Daredevil Vol 1 #1. In both the comics and the TV show, he's Matt's best friend, former college roommate and legal partner at Nelson & Murdock: Attorneys at Law.

In the TV show Matt and Foggy are friends with a New York cop named Brett Mahoney. Mahoney first appeared in the comics in 'Vanguard: Chapter One' (Marvel Comics Presents Vol 2 #1, November 2007).

Matt and Foggy inspect a potential property in which to set up their law firm. On the door opposite theirs is a logo for Atlas Investments. Marvel Comics was originally known as Timeley Comics, before changing its name to Atlas Comics in 1951. The Atlas logo on the door is based on the Atlas Comics logo.

Also during this scene is the first of several references to the Chitauri invasion that occurred at the end of The Avengers (2012).

We are then introduced to Karen Page, played by Deborah Ann Woll. Karen also made her debut in Daredevil Vol 1 #1. In the comics she met Matt and Foggy after applying for the position of secretary at their offices. But in the TV show, they first meet her after she's been arrested on a charge of murder.

During their initial meeting, Matt is able to listen to Karen's heartbeat to tell if she is lying. He possesses the same lie detector skill in the comics.

The character of Wesley also makes his first appearance in this episode, played by Toby Leonard Moore. In the comics Wesley was Wilson Fisk's right-hand man during the 'Born Again' storyline. He first appeared in 'Apocalypse' (Daredevil Vol 1 #227, February 1986).

Wesley blackmails a cop named Clyde Farnum into killing Karen Page in her cell. This is probably a coincidence, but Farnum is the surname of the Daredevil villain Masked Marauder, who first appeared in 'Enter... Spider-Man' (Daredevil Vol 1 #16, May 1966).

During their conversation, Farnum mentions Don Rigoletto. Rigoletto is referenced a number of times throughout the series as a mob boss who mysteriously disappeared. In the comics Rigoletto was the previous Kingpin of New York before Wilson Fisk. He first appeared in issue 3 of Frank Miller's The Man Without Fear miniseries, in which he was betrayed and murdered by his personal bodyguard – Wilson Fisk.

Throughout the first half of the series, the villainous characters are forbidden from saying Fisk's name out loud. The phrase "We don't say his name" is repeated several times in this context. This recalls a similar plot point in the 'Born Again' story arc where Kingpin frightened Ben Urich off from his investigation of Matt Murdock's disappearance. Urich was instructed to never say or think Matt's name again. In both stories, this illustrates the terrifying psychological influence Fisk exerts over others.

The fact Fisk is able to have a prisoner killed in their cell is typical of his power in the comics. There's a similar plot point during Ed Brubaker's 'The Devil in Cell-Block D' story arc (Daredevil Vol 2 #82-87, April-September 2006) where Matt himself is in prison and Foggy is ostensibly murdered while visiting him. In both scenarios a guard facilitates the murder under the influence of the villain. And in both stories that same guard is later found dead.

In Brubaker's story the inmate who actually stabbed Foggy is also later found dead. And like the assassin in the first episode of the TV show, he is found hanged in his prison cell as the result of an apparent suicide.

In Brubaker's story it's ultimately revealed that Fisk was not behind this sequence of events. But the fact the real villain was able to trick Matt into thinking he was illustrates how this is typical of the Kingpin's MO.  He makes sure the trail never leads back to him, even if it means leaving a pile of corpses to cover his tracks.

An important scene in the first episode takes place at a construction site. It is here we are introduced to one of the show's other major villains, Leland Owlsley (played by Bob Gunton). In the comics Owlsley is better known as 'the Owl'. He is a vicious crime boss equipped with razor-sharp claws, superhuman strength, a distinctive owl-like hairstyle, a green cloak and hollow bones that allow him to glide through the air. Gunton's Owlsley is never actually referred to as 'the Owl' in the series, and on the surface appears to have little in common with his comic book namesake.

However if we look at the Owl's very first appearance, back in 'The Owl, the Ominous Overlord of Crime!' (Daredevil Vol 1 #3, August 1964), we find a more grounded take on the character, and one which would seem to be the basis for the television version. The Owl did not originally wield claws or display superhuman strength and his appearance was considerably less freakish than in later comics. He did have an owl-like hairstyle, but it was less exaggerated than it is today and his appearance was otherwise fairly ordinary. And although he did glide through the air, his ability to do so was not attributed to hollow bones or any other supernatural power. Instead it's implied his cloak is the source of his gravity-defying skills, although later stories would contradict this.

When he first appeared in Daredevil Vol 1 #3, the Owl was a Wall Street crook who used his expertise in finance to amass his ill-gotten fortune. He is described as being "the most ruthless financial wizard of all time". Likewise, the Owl in the TV series is a financial expert who handles all of Kingpin's creative accountancy for him. The Owl's personality in the comics is that of an arrogant, sharp-tongued bully who doesn't suffer fools easily; very much like the personality of the Gunton Owlsley in the TV show. It's also worth noting that although the Gunton Owlsley generally wears suits, Melvin Potter fits him for a knife-proof green outfit resembling his comic book costume in episode 8.

So while the Gunton Owlsley is different from the version of the character most comic fans will be familiar with, he's not all that far removed from the Owl's original Silver Age incarnation as portrayed in his debut story. The television version also mentions having a son named Lee, which is possibly short for Leland Jr. In the comics Owlsley has a daughter, not a son. But some fans have speculated his son may show up in a future season to avenge his father's death, and that this second Owl will more closely resemble the younger, animalistic version from the contemporary comics. Season 1 showrunner Steve DeKnight has hinted this rumour may have some truth to it.

In the TV show Owlsley is an ally of the Kingpin. In the comics Owl and Kingpin have often been depicted as rivals, but the former has occasionally worked for the latter; for example, during the 'Return of the King' story arc (Daredevil Vol 2 #116-119 & Vol 1 #500, April-September 2009). The following panel is from Daredevil Vol 2 #118.

Also present at the construction site meeting is a mysterious Japanese figure named Nobu (played by Peter Shinkoda), who is revealed later in the season to be a member of the Hand. The Hand is a ninja clan created by Frank Miller and Klaus Janson that first appeared in 'The Assassination of Matt Murdock' (Daredevil Vol 1 #174, September 1981). The founder of the Hand in the comics was a man named Kagenobu Yoshioka. The name 'Nobu' may be derived from the name 'Kagenobu'.

Nobu also has parallels with the comic character Kirigi, who also made his debut in Daredevil Vol 1 #174. I'll go into more depth on that subject later.

In the TV series the Hand is attempting to acquire real estate in New York, though the purpose behind their actions remains a mystery. This is similar to 'The Devil's Hand' arc in the comics (Daredevil Vol 1 #501-504, October 2009-January 2010) in which the Hand was acquiring property in Hell's Kitchen to use as a construction site for Shadowland.

One final thing to mention about the construction site scene in the presence of a mysterious elderly Chinese woman named Madame Gao (played by Wai Ching Ho). Though her true nature has yet to be revealed, some viewers have theorised she may be the Iron Fist villain Crane Mother.

During the climactic fight scene we see a flashback where Jack tells Matt he wants him to study every chance he gets so he won't end up an uneducated pug like his old man. Jack told Matt the same thing in the comics.

Once Daredevil has subdued his opponent, he sends the memory stick containing the Union Allied pensions file to a newspaper called the New York Bulletin. Steve DeKnight has confirmed that this paper would have been The Daily Bugle, only the deal between Sony and Marvel to bring Spider-Man into the MCU had not been struck at the time the first season of Daredevil was in production.

With Karen's name cleared, she goes to work for Matt and Foggy as their secretary, just as he did in the comics. The early Stan Lee Daredevil stories featured a prominent love triangle between these three characters, and the TV show hints at similar tensions on screen.

In the comics Matt has a history of being attracted to vulnerable women. In the first season of the TV series he experiences romantic tension with Karen Page and Claire Temple, both of whom end up in positions of vulnerability where they need to be rescued by him.

The final montage from the first episode sees Matt going to Fogwell's Gym, the same gym where his father used to train, and working his frustrations out on a punching bag. He's done this many times in the comics, with perhaps the most memorable example being in 'Born Again'. The following comparison is taken from 'Saved' (Daredevil Vol 1 #231, June 1986).

On the wall of the gym is a poster advertising Battlin' Jack's fateful bout against Carl 'Crusher' Creel. Creel is better known by his alias the Absorbing Man and had already appeared in the MCU during the first two episodes of Agents of S.H.I.E.L.D. season 2. Originally it was Rocky Davis that Jack fought in his final bout back in Daredevil Vol 1 #1. But it was later retconned so that 'Rocky Davis' was the ring name of Carl Creel. Later comics, such as Daredevil: Yellow, have simply referred to Jack's final opponent as Creel.

Also during this final montage we see the Chinese villains preparing drugs for distribution on the streets of New York. The packaging of the drugs is marked with the wingless dragon symbol of Iron Fist's arch enemy, Steel Serpent.

Meanwhile the Hand are shown inspecting their plans for 'Black Sky'. As mentioned earlier, I suspect 'Black Sky' is a reference to the Shadowland storyline from the comics.

We hear a mysterious deep voice speaking to Wesley towards the end of the episode, but the identity of the speaker is not yet revealed. So I'll save that for later.

And that more or less covers episode 1.


The plotline in episode 2 about Matt rescuing a child from traffickers is loosely based on issues 4 and 5 of The Man Without Fear. In the comic the child in question was Dominique 'Mickey' Morom, while in the TV show it's a little boy who's being used as bait by the Russian mafia to lure Daredevil into a trap. In both stories the kidnappers are in cahoots with Wilson Fisk, though his involvement is never made public.

The most significant addition to the cast in episode 2 is Rosario Dawson as Claire Temple. Claire is an amalgamation of two characters from the comics. Firstly her namesake, who debuted in 'Vengeance is Mine!' (Luke Cage, Hero for Hire Vol 1 #2, August 1972).

And secondly Linda Carter, aka 'Night Nurse', the mysterious physician who patches up New York heroes from her secret medical practice. Night Nurse first appeared in Linda Carter, Student Nurse Vol 1 #1 (September 1961). The Daredevil in the comics has visited Night Nurse several times over the years. The following example is from 'The Murdock Papers: Part V' (Daredevil Vol 2 #80, February 2006).

Matt uses the alias 'Mike' to conceal his true identity from Claire. Matt used the name Mike during an infamous storyline from the sixties where he pretended to be his own sighted twin brother. He first adopted the alias in 'Enter: The Leap-Frog!' (Daredevil Vol 1 #25, February 1967) and has reused it in several subsequent stories. Michael is also Matt's middle name in the comics.

This episode is interspersed with flashbacks featuring the young Matt and his father, Jack. During one of these scenes Jack visits Matt in hospital after he is blinded and tries to comfort him.

At one point Jack tells Matt, "It ain't how you hit the mat. It's how you get up." This recalls a scene in Daredevil: Yellow where Matt remembers the one rule his father lived by: "The measure of a man is not in how he gets knocked down to the mat. It is in how he gets up."

Another subplot in this episode sees Foggy and Karen going out for a night on the town together and getting drunk. This is likely inspired by a similar scene in chapter 3 of Daredevil: Yellow.

It quickly becomes clear that Foggy has a crush on Karen, just like he did in the early comics. He takes her to Josie's Bar for a late night drink. In the comics Josie's Bar is a dive where many small-time crooks hang out, including Turk and Grotto. A running gag is that Daredevil always ends up trashing the place and breaking the window whenever he roughs up the clientele for information. But in the TV show it's portrayed as a more respectable establishment frequented by the good guys. Josie and her bar first appeared in the comics in 'In the Hands of Bullseye' (Daredevil Vol 1 #160, September 1979).

Josie herself is played by Susan Varon.

In one scene Matt is able to detect an intruder in Claire's apartment by his scent. His olfactory skills are similarly well developed in the comics.

During another flashback scene Jack is approached by a crooked promoter called Roscoe Sweeney, who instructs him to take a dive during his upcoming fight against Creel. In the comics Sweeney – also known as 'Fixer' – made a similar arrangement with Jack in Daredevil Vol 1 #1.

But Jack has a crisis of conscience and decides to do his best against Creel. He makes two phone calls in preparation for this: one to a bookie telling him to put all his money against Creel, and the second to a mysterious woman. This is likely Grace/Sister Maggie, Matt's mother, who left her husband and child during a period of severe postpartum depression and became a nun. She first appeared in the comics during Miller's 'Born Again' storyline. Her abandonment of Jack and Matt was depicted in 'Original Sin' (Daredevil Vol 4 #7, August 2014).

Back in the present, Matt intimidates one of the Russian thugs by making him think he's prepared to kill him. The Daredevil in the comics has a strict policy against killing, but has sometimes pretended otherwise in order to frighten information out of his enemies. The following example is from 'Without Fear: Part VI' (Daredevil Vol 2 #105, April 2008).

The scene where Daredevil ties the thug to a water tower and tortures him is similar to a scene from 'Body Count' (Daredevil Vol 1 #292, May 1991). In the comic Daredevil uses water to torture the criminal, while in the TV episode he uses a blade.

Jack's opponent during the flashback bout is Carl 'Crusher' Creel. The fight is shown in the comics, but in the TV show we only hear the commentary on the television. In both versions Jack defies the Fixer's instructions and knocks out his adversary.

Jack is then murdered in an alleyway by Roscoe and his thugs. Matt is asleep in their apartment at the time but awakens upon hearing the gunshot. This detail is lifted from Daredevil: Yellow.

The messed-up condition of Jack's face when Matt finds him reflects the brutal injuries he sustained in Frank Miller's version of the murder, as depicted in The Man Without Fear.

The final scene of episode 2 is the famous hallway fight. This is inspired by the final chapter of The Man Without Fear where Daredevil rescues Mickey from the child traffickers. In both stories he engages in a brutal brawl with the thugs guarding the kidnapped child.

And in both stories he manages to overpower the criminals and rescue the kid.


The opening scene of this episode is punctuated by a flashback in which Turk sells a defective firearm to the assassin John Healy. This isn't a specific comic reference as such, but is nevertheless typical of the dodgy criminal schemes Turk gets up to in the comics.

Ben Urich makes his debut in this episode, played by Vondie Curtis-Hall. The one obvious difference to mention between the live action Ben and his comic book counterpart is that the TV version is black. But besides that, and the fact the TV version doesn't smoke, Curtis-Hall's portrayal of the character is very faithful to the source material. Ben's characterisation in the TV show is heavily indebted to Frank Miller's depiction during the early eighties. Ben first appeared in the comics in 'Betrayal' (Daredevil Vol 1 #153, July 1978).

Ben is one of the most important characters in the Daredevil mythos and his role can be seen as roughly analogous to that of James Gordon in the Batman mythology. This is largely due to the lasting influence writer Frank Miller had on the portrayal of both characters.

It's also in this episode that we meet Ben's wife, Doris, played by Adriane Lenox. Doris first appeared in the comics in 'Blind Alley' (Daredevil Vol 1 #163, March 1980). In the TV show she's depicted as suffering from some form of Alzheimer's, but in the comics she has no such affliction.

During his first scene, Ben learns from an informant that Rigoletto was murdered. This is consistent with Rigoletto's fate in The Man Without Fear, where he had his neck snapped by Fisk.

Ben works at the New York Bulletin. As I mentioned earlier, this was intended to be a stand-in for The Daily Bugle. In keeping with that comparison, the character of Ellison (played by Geoffrey Cantor) can be seen as a stand-in for J. Jonah Jameson, Ben's editor in the comics. The arguments between the two characters are typical of Ben and Jameson's fights in the source material. Also note the grey colouring of Ellison's beard, similar to Jameson's salt & pepper hair in the comics.

Some of the headlines visible in Ben's office reference other events from earlier MCU productions. These include 'Battle of NY' in reference to the Chitauri invasion at the end of The Avengers (2012) and 'Harlem Terror' in reference to the Hulk's fight against Abomination at the end of The Incredible Hulk (2008).

It's mentioned in this episode that Matt and Foggy studied at Columbia University. This is also their alma mater in the comics.

The main storyline in this episode sees Fisk sending Wesley to hire Nelson and Murdock to defend one of his assassins. Fisk has tried to solicit their services in the comic too, even hiring Foggy to work for one of his shell corporations during the 'Born Again' storyline. Foggy eventually found out he was working for Fisk and resigned in 'Blindspots' (Daredevil Vol 1 #256, July 1988).

Another thing worth mentioning about Daredevil Vol 1 #256 is a plotline similar to this episode where Fisk's shell company, Kelco, is on trial for dumping pollutants that caused the blindness of a young boy. In both the TV episode and the comic, the defendant in the trial is an agent of Wilson Fisk, and Fisk attempts to rig the outcome by sending his goons to intimidate a female juror. Matt is able to identify the juror by the sound of her heartbeat and sets out to help her. In the comic he convinces her to change her vote, while in the TV episode he deprives Fisk's thugs of the leverage they have against her so she can withdraw from the jury.

The final scene of this episode gives us our first proper look at Wilson Fisk, aka The Kingpin, who first debuted in 'Spider-Man No More!' (The Amazing Spider-Man Vol 1 #50, July 1967). We heard his voice towards the end of episode 1, but this is the first time we glimpse him in the flesh. Portrayed by Vincent D'Onofrio, this version of Fisk is more realistically proportioned than the character in the source material. In the comics Fisk is meant to be 6'7 and 450lbs, while D'Onofrio is 6'3 and weighed 280lbs at the time of filming. Even so, D'Onofrio bears a striking resemblance to the Fisk from the comics.

Also in this scene we meet Vanessa, played by Ayelet Zurer. Vanessa first appeared in 'Spider-Man Wanted!' (The Amazing Spider-Man Vol 1 #70, March 1969).


Vanessa mentions to Fisk that one of her earlier suitors wore a white suit and ascot. This is a nod to Fisk's signature outfit in the comics.

A key scene in this episode occurs between Karen and Ben in an auction house. This visually recalls a memorable scene from 'Spiked!' (Daredevil Vol 1 #179, February 1982) where Ben met with an informant in a cinema, only for Elektra to murder the informant by stabbing him through the back of his seat with a sai. This incident had a traumatic effect on Ben and was referenced numerous times in later stories via flashbacks. The way Ben positions himself on the row behind Karen's chair seems to intentionally evoke the way Elektra sat behind him in the comic scene.

The relationship between Karen and Ben as they work together to investigate the Union Allied liquidation is reminiscent of Ben's working relationship with Dakota North during Ed Brubaker's run on the comics.

Perhaps the most memorable scene in this episode is the brutal murder of Anatoly by Wilson Fisk. The Kingpin in the comics is fiercely protective of his beloved Vanessa. He also displays zero tolerance for insubordination from his allies and has been shown to casually murder them with his bare hands upon the slightest gesture of disrespect. His savage killing of Anatoly is very typical of the character's violent temperament in the source material.

Anatoly also happens to be the name of one of Fisk's ancestors in the comics. Not a comic reference per se, but I thought I'd mention it.

Right at the end of the episode, Fisk mentions Melvin Potter for the first time. Potter is the comic book villain better known as Gladiator who first appeared in Denny O'Neil's 'There Shall Come a Gladiator' (Daredevil Vol 1 #18, July 1966). As in the comics, the TV version is a tailor. I'll say more about Potter later in this analysis.


Matt is shown to speak fluent Spanish during his conversation with Elena Cardenas. He also speaks Spanish in the comics, as illustrated by this example from chapter 3 of Daredevil: Yellow.

An interesting thing to note about Fisk and Vanessa's relationship in the TV show is that she accepts his criminal nature almost instantly. In the comics Vanessa was a more moral character who at one point persuaded Fisk to relinquish his life of crime and adopt a law-abiding existence away from New York. It was only years later that her own moral constitution gradually decayed and she became as corrupt and evil as Fisk himself. But in the TV show she acclimatises to his wicked nature a lot quicker.

Turk is revealed to be working for Fisk in this episode. He's worked for Kingpin many times in the comics over the years.

Fisk's war against the Russian mafia is somewhat similar to his war against his former lieutenants upon returning to New York during Frank Miller's 'Gang War' storyline (Daredevil Vol 1 #170-172, May-July 1981). In the comic he launches a campaign of terror against the criminals who took over New York in his absence, cutting off their narcotics distribution channels, attacking their enforcers and spreading disinformation to make them think they're at war with one another. And he does most of this in one night, stepping in the following day to reclaim control of the city's underworld. In the TV show he uses similar tactics of violence and disinformation to take down the rival gangs and assume control of their territory.

The final scene of this episode, where Daredevil is caught in the headlights of a police car as the cops try to arrest him, is adapted from issue 5 of Frank Miller's The Man Without Fear.


This episode picks up immediately where the last one left off, with the handcuffed Daredevil fighting the cops to escape capture. This is also taken from The Man Without Fear.

One of the most intriguing elements in this episode is the sniper who frames Daredevil. Many viewers have observed that he has an ace of spades in his bag when he takes out his rifle. Long time fans will know that playing cards are a signature weapon of the assassin Bullseye, who ranks alongside the Kingpin as Daredevil's arch enemy in the comics. The fact this mysterious character is also an expert marksman adds fuel to the theory that it might be Bullseye. Bullseye first appeared in the comics back in 'Watch Out for Bullseye – He Never Misses!' (Daredevil Vol 1 #131, March 1976).

Towards the end of the episode, Daredevil takes on a police SWAT team. We've seen him do this in the comics too, as seen here in 'The Devil's Hand: Part III' (Daredevil Vol 1 #503, December 2009).


This episode introduces the eponymous character played by Scott Glenn. Stick was created by Frank Miller in 'Hunters' (Daredevil Vol 1 #176, November 1981). The TV version is more or less identical to the character in the comics. Both are emotionally distant, foul-mouthed blind martial artists who take Matt under their wing at a young age to train him. Glenn's appearance matches the comic character perfectly.

When the nun is taking Stick to meet Matt for the first time, she makes a cryptic allusion to the boy's mother. This is another nod to Sister Maggie from the comics.

One of the first things Stick teaches Matt is how to identify the constituent ingredients in anything he tastes. The Matt in the comics can do this too, as seen here in Daredevil Vol 1 #1.

Matt's training sessions are conducted in a secluded basement, as they were in the comics.

Stick makes a number of allusions to a 'war' throughout this episode. This refers to the ongoing conflict between the Chaste and the Hand, two opposing ninja clans that were introduced into the canon during the Miller/Janson run. The Hand are evil ninja who dress in red and worship a demonic being known as 'the Beast'. In order for the Beast to enter our world, it must take possession of a suitable vessel. Matt Murdock was one such vessel, which was why the Chaste sought him out to train him so he'd be prepared should the Hand come looking for him. Matt was finally possessed by the Beast during the events of the Shadowland arc (2010). The numerous references to 'Black Sky' throughout this episode are likely allusions to a similar plotline.

Daredevil starts wielding two sticks in this episode, foreshadowing his use of Kali and his trademark dual billy clubs in the comics.

Stick uses a bow and arrow in this episode, as he often does in the comics. Daredevil's enhanced reflexes are deftly demonstrated when he intercepts one of the arrows and swats it out of the air. Daredevil also deflected one of Stick's arrows in 'Where Angels Fear to Tread' (Daredevil Vol 1 #177, December 1981).

The final scene of the episode is a direct panel recreation of the conversation between Stick and Stone from issue 2 of The Man Without Fear.

The muscular figure with his back to the camera is Stone, another member of the Chaste. Stone first appeared in 'Overkill' (Daredevil Vol 1 #187, October 1982).


This episode explores Wilson Fisk's back story through a series of flashbacks. The comic book Fisk described himself as having been "an unpopular, blubbery child" in 'Last Rites Part IV: Long Live the King' (Daredevil Vol 1 #300, January 1992). The depiction of his younger self in the TV show (played by Cole Jensen) is consistent with this description.

In 'Trial and Error' (Daredevil Vol 2 #13, October 2000) Fisk mentions intentionally covering up his own past, similar to how he does in the TV series. He also hints at being shaped by poverty and fear as a youth, much like his live action counterpart.

'Vision' (Daredevil Vol 2 #15, April 2001) reveals snapshots of Fisk's childhood via flashbacks. We see his father (played in the TV series by Domenick Lombardozzi) portrayed as a belligerent drunk who was constantly fighting with Wilson's mother.

Wilson was regularly picked on by the other children.

In both the comics and TV show he committed his first murder at the age of twelve using a hammer. This was first depicted in Daredevil Vol 1 #300 and later again in Daredevil Vol 2 #15. In the comic Fisk used the hammer to strike a can of gasoline, causing it to ignite and immolate the maintenance man who was holding it. In the TV show he uses the hammer to beat his father to death.

Fisk's attack on his father recalls a similar flashback scene from 'Return of the King Prologue' (Daredevil Vol 2 #116, April 2009) where the young Wilson tries to stop his father from beating on his mother.

Fisk mentions to Vanessa that he'd spent some time in Asia. In the comics both Fisk and Vanessa lived in Asia for a while prior to Frank Miller bringing them into the Daredevil mythology in 'The Kingpin Must Die!' (Daredevil Vol 1 #170, May 1981).

The scene where Daredevil tries to prevent Blake from being murdered in his hospital bed is similar to a scene from the 1989 TV movie Trial of the Incredible Hulk. In both stories an agent of the Kingpin enters the hospital room of a patient who is witness to Fisk's criminal machinations. The agent attempts to murder the resting patient, only for Daredevil to emerge from the shadows and attack them. In the 1989 film Daredevil (played by Rex Smith) is successful in saving the witness, but in the TV episode he's too late.

Both stories also resemble a scene from 'Trapped by... the Fellowship of Fear!' (Daredevil Vol 1 #6, February 1965) where Daredevil prevented the Fellowship of Fear from murdering Foggy as he slept in his hospital bed. Once again, the purpose of the murder was to eliminate a witness.

Blake's murder scene also recalls the death of Lieutenant Manolis during the 'Born Again' arc. Like Blake, Manolis was a cop who'd taken money from Fisk. And as with Blake, the Kingpin had Manolis murdered in his hospital bed to prevent him from testifying against him.

We see Melvin Potter for the first time in this episode, played by Matt Gerald. As in the comics, he is portrayed as a physically imposing tailor with an aptitude for making costumes.

Potter's workshop is filled with nods to the comics. The first shot we see during this scene is a close-up of a saw blade. These are Gladiator's signature weapons in the comics.

There is also a poster on the wall in the background advertising an old film called Revenge of the Gladiators. The figure depicted on the poster visually recalls Gladiator's appearance in 'Warriors' (Daredevil Vol 1 # 226, January 1986). The design of the poster itself is clearly modelled on David Mazzucchelli's cover art for that same issue.

The knife-proof suit Potter makes for Owlsley resembles the Owl's green costume from the comics.


One of the thugs who attacks Karen in this episode is identified as Pike. In the comics Joseph Pike is a small-time crook who showed up during the Miller/Janson run. He first appeared in 'Arms of the Octopus' (Daredevil Vol 1 #165, July 1980).

The scene where Foggy saves Karen from her attackers by throwing a baseball at one of them is somewhat similar to a scene from 'Pariah' (Daredevil Vol 1 #229, April 1986) where he saves Glorianna from a mugger by throwing a bowling ball at him.

Matt consults Father Lantom several times in this episode, seeking advice regarding the guilt and moral conflict he is experiencing. In the comics Matt has been shown to seek guidance in church on numerous occasions, either by consulting priests or by speaking with his mother, Sister Maggie. In this episode he makes the conscious decision to break his moral code and attempt to kill Fisk. He made the same decision with regards to Bullseye in the classic story 'Last Hand' (Daredevil Vol 1 #181, April 1982).

Matt visits Vanessa's art gallery and expresses an interest in paintings. Matt is a connoisseur of fine art in the comics and his home is decorated with numerous paintings and sculptures.

Kingpin's heartbeat has a distinctive sound that Matt instantly recognises. This recalls the first time Daredevil heard Fisk's pulse in the comics, as depicted in 'In the Kingpin's Clutches' (Daredevil Vol 1 #171, June 1981), where he noted how unusually powerful Kingpin's heartbeat sounded.

The 'Nelson & Murdock – Attorneys at Law' sign makes its debut in this episode.

Following the murder of Elena Cardenas, Daredevil takes to the streets in search of a lead. The montage where he's shown roughing up lowlifes for information is typical of his modus operandi in the comics. Although he refuses to kill, he's not above breaking bones and dangling informants off rooftops in the pursuit of answers. Daredevil was one of the first mainstream comic book heroes to adopt this brutal method of working the streets. The following example is from 'Lady Killer' (Daredevil Vol 1 #173, August 1981), where Daredevil is furiously searching for a criminal who assaulted his friend and colleague, Becky Blake.

Matt is able to read print with his fingertips owing to his enhanced sense of touch. The following example is taken from 'Saved' (Daredevil Vol 1 #231, June 1986).

This episode's nonlinear narrative flits back and forth between a fight taking place in the present and the earlier events leading up to it. During the fight scene, Nobu wears the red shinobi shōzoku sported by members of the Hand.

This episode explores in greater depth the Hand's attempts to purchase real estate in Hell's Kitchen. As I mentioned earlier, this is likely a reference to the Shadowland arc from the comics.

I also mentioned earlier that Nobu has similarities with the comic villain Kirigi. Kirigi was a demonic ninja and champion of the Hand during their first story arc. Likewise Nobu is presented as the Hand's champion when Fisk requests an assassin in the TV show. The drawn-out fight between Daredevil and Nobu closely resembles the battle between Elektra and Kirigi in the comics. The comic book duel commenced in 'Gantlet' (Daredevil Vol 1 #175, October 1981). Kirigi initiated the fight by hurling throwing blades at Elektra, and she in turn swatted them out of the air.

Kirigi then proceeded to attack Elektra using a kyoketsu-shoge.

The fight is resumed and concluded on the waterfront in 'Hunters' (Daredevil Vol 1 #176, November 1981), climaxing with Kirigi being set on fire. He then rises and briefly continues to advance in a state of immolation, just as Nobu does.

Nobu's fiery death also evokes the way members of the Hand vanish into smoke upon being slain.

Kirigi was subsequently resurrected by the Hand in 'Overkill' (Daredevil Vol 1 #187, October 1982) before finally being killed a second permanent time in 'The Widow's Bite' (Daredevil Vol 1 #188, November 1982). It remains to be seen whether Nobu will rise from the ashes in a similar manner.

There's some ambiguity regarding the moral implications of Nobu's death in the TV show. Matt upholds a strictly pro-life attitude to fighting crime in the comics and refuses to kill his opponents. That said, there have been exceptions. Daredevil has been shown to slay members of the Hand during almost every encounter with them. The argument could be made that this isn't killing, as Hand ninja are generally the resurrected demonic forms of warriors who've already previously died. But in the TV series it has yet to be established whether the members of the Hand are ordinary humans or supernatural beings. Either way, Daredevil has killed numerous members of the Hand in the source material. The following example is from Daredevil: The Devil's Hand (2010) by Andy Diggle and Roberto De La Torre.

Season 1 showrunner Steve DeKnight weighed in on this issue during an interview, downplaying Matt's actions as a "deflection" rather than a deliberate killing act. So you could argue that Daredevil simply defended himself in such a way that turned Nobu's lethal attack back on him.

Daredevil's battle against Nobu is also visually similar to his duel against Ikari in Daredevil Vol 3 #25 (June 2013).

Having barely survived his encounter with Nobu, Daredevil then has to face off against the Kingpin for the first time. Matt launches an ineffective attack on Fisk, after which Kingpin counterattacks with a devastating beat down. The first time the comic book Daredevil encountered Kingpin was in 'In the Kingpin's Clutches' (Daredevil Vol 1 #171, June 1981). Daredevil underestimated Kingpin's speed and strength and attacked him, only for Fisk to casually knock him out with a single blow.

Fisk's fighting style in the TV show is very much like his fighting style in the comics, consisting largely of bone-snapping grapple techniques and brutal punches that emphasise savage strength over grace.

The beat down Fisk delivers in the TV show closely resembles his fight with Matt in 'Purgatory' (Daredevil Vol 1 #228, March 1986), which was part of the 'Born Again' arc. In this issue Matt, having suffered a mental and emotional breakdown, lumbers over to Fisk's office and makes a clumsy attempt to attack him. Fisk then proceeds to pummel Matt with a brutal succession of blows that leaves him teetering on the brink of death.

In the comic Fisk then has Matt's body dumped in the river. In the TV episode Matt willingly jumps into the river to avoid being shot.

The final scene of this episode sees Foggy discovering Matt is Daredevil when he finds him lying injured on the floor of his apartment. Foggy didn't discover Matt's secret in the comics until 'Inferno: Part Three' (Daredevil Vol 1 #347, December 1995). In this story Matt had suffered an emotional breakdown as a result of an identity crisis. Karen and Foggy find him in his costume on the floor of his apartment. In the comics Foggy finds Matt in a state of mental crisis, while in the TV show he finds him in a state of physical crisis. But in both stories Matt's secret is out of the bag as far as his best friend is concerned.


The central focus of this episode is the relationship between Matt and Foggy. Foggy is deeply hurt upon learning his best friend has deceived him. His comic book counterpart was similarly upset when he learned of Matt's deception. The following scene is from 'The Devil's Work' (Daredevil Vol 1 #353, June 1996).

Through flashback scenes we see Matt and Foggy as roommates at college, which is also how they met in the comics. Their first meeting was depicted in 'A Time to Say Farewell' (Daredevil Vol 1 #-1, July 1997). Foggy makes an awkward remark about Matt's blindness upon first meeting him, which serves as an icebreaker in both the comic and the TV show.

In the TV show they are students at Columbia University. This is also where they studied in the comics.

During one of the flashback scenes Foggy mentions a 'Greek girl' that Matt briefly dated. This refers to Elektra Natchios. Matt also met Elektra during his college years in the comics, as first depicted in 'Elektra' (Daredevil Vol 1 #168, January 1981). This issue was written by Frank Miller, who later revisited Matt and Elektra's college romance in The Man Without Fear.

Another flashback shows Matt and Foggy as interns for a law firm that represents the Roxxon Oil Corporation. This company has been referenced numerous times throughout other MCU productions. The Roxxon Oil Corporation first appeared in the comics in 'The Coming of Nomad' (Captain America Vol 1 #180, December 1974).

Another flashback shows Matt donning a mask for the first time to take on an abusive father who's been molesting his own daughter. The bandana Matt wears across his eyes in this scene resembles a similar item he wore during an early battle in The Man Without Fear.

Elsewhere in this episode, Senator Randolph Cherryh makes his first onscreen appearance during Fisk's party. Cherryh first appeared in 'Where Angels Fear to Tread' (Daredevil Vol 1 #177, December 1981). In both the comics and TV show he's portrayed as a corrupt politician on the payroll of Wilson Fisk.

Owlsley mentions Cornelius van Lunt. In the comics Cornelius Van Lunt is the alter ego of the villain Taurus, who first debuted in 'Did You Hear the One About Scorpio?' (The Avengers Vol 1 #72, January 1970).

This episode ends on a cliffhanger with Vanessa being poisoned. The idea of Fisk's enemies targeting Vanessa to get at him has been explored several times in the comics, perhaps most memorably during Frank Miller's 'Gang War' story arc (Daredevil Vol 1 #170-172, May-July 1981) where Kingpin's enemies lured him back to New York from Japan by kidnapping his wife.


Matt explains to Claire how he meditates in order to recover from physical injuries. Later on we see him sitting cross-legged on the floor, eyes closed, attempting to heal himself of the wounds inflicted by Nobu and Fisk. He's been shown to do this in the comics on a number of occasions. The most extreme example of Matt's recuperative abilities was when he effectively returned from the dead during the 'Inferno' arc (as depicted in Daredevil Vol 1 #262-263, January-February 1989) after being 'killed' by the combined forces of Bullet, Bushwacker, Ammo, the Wildboys and Typhoid Mary. The following example is from Daredevil Vol 2 #48, part of Brian Michael Bendis and Alex Maleev's 'Hardcore' storyline (Daredevil Vol 2 #46-50, June-October 2003), where Matt is meditating to heal himself after yet another attack by Typhoid Mary.

The scene where Daredevil roughs up Turk for information is typical of their dealings in the comics.

When Daredevil enters Melvin Potter's workshop we see a distinctive textile on one of the surfaces. This is part of Gladiator's costume from the comics.

Potter seems to suffer from some sort of emotional or cognitive impairment in the TV show. He has a similar affliction in the comics. Potter was originally depicted as an evil sadist during his early Silver Age appearances, but later writers opted for a more sympathetic portrayal that rooted his violent actions in psychological confusion rather than innate wickedness. The TV show follows the more sympathetic characterisation.

Potter hurls a saw blade at Daredevil during their fight scene. In the comics Gladiator can shoot saw blades using projectile weapons mounted on his wrists. The following scene is from 'Golden Age: Part III' ( Daredevil Vol 2 #68, February 2005).

The fight between Daredevil and Potter is based on their battle in 'Warriors' (Daredevil Vol 1 #226, January 1986). In this story Potter – who by this point had reformed and was living a law-abiding existence – was blackmailed into resuming his criminal career as Gladiator. Daredevil fights Gladiator, unaware that Potter is being forced against his will to commit crimes, and their duel ends with Matt beating his enemy into submission. To Daredevil's surprise, Potter then degenerates into tearful sobs and explains that Betsy has been kidnapped by his blackmailers.

Betsy is mentioned in the TV show but doesn't appear on screen. In the comics Betsy Beatty is Potter's social worker who helped him turn his life around. She debuted in 'Till Death Do Us Part!' (Daredevil Vol 1 #166, September 1980). Betsy is an attractive and kind-hearted young woman who always stands up for Potter, and he in turn loves her with tremendous loyalty. In both the comic and the TV show her life has been threatened; in the comic by a gang of kidnappers, in the TV show by Wilson Fisk. In both stories Daredevil feels guilty about beating on Potter and promises to help him save Betsy.

In the TV series Potter is the one who makes Matt's red costume for him. He's been shown to make Daredevil's costumes in the comics too, such as during the 'Born Again' arc.


Early in this episode Karen jokes about "moving on to the hard stuff". In the comics Karen became a drug addict prior to the events of 'Born Again'. Her guilt over killing Wesley recalls her guilt over betraying Matt's secret identity during that same story arc.

A memorable scene in this episode has Matt displaying his parkour skills as he leaps across the rooftops of New York. This is typical of how he manoeuvres around the city in the comics, right down to the poses he strikes in midair. The following example is from The Man Without Fear.

Owlsley is revealed to be the one responsible for poisoning Vanessa in this episode. This is similar to a subplot during the 'Gang War' arc where Fisk's right-hand man, Lynch, was revealed to be complicit in an assassination attempt on Vanessa. In both stories Fisk's ally had tried to remove Vanessa from the equation in order to give Fisk his edge back. And in both stories Fisk discovers the act of betrayal and responds in a suitably violent fashion. More on that later.

Madame Gao says something to Owlsley about returning to her homeland, somewhere 'much farther' than China. This is likely an allusion to K'un-Lun, City of the Immortals.

The most shocking moment of this episode comes during the final scene when Fisk murders Ben Urich. This is a pretty dramatic departure from the source material. While Ben has had run-ins with some of Daredevil's enemies in the comics, including Fisk, he has always survived to write about it afterwards. In fact the acclaimed 'what if' scenario presented in Brian Michael Bendis and Klaus Janson's Daredevil: End of Days (December 2012-August 2013) even shows Ben outliving Matt Murdock himself and writing Daredevil's obituary.

Fisk expresses a grudging respect towards Ben before killing him. He's expressed a similar respect towards Ben in the comics too, with one example being when Fisk personally requested Urich to act as a public go-between during his negotiations with the FBI during 'The Murdock Papers' storyline (Daredevil Vol 2 #76-81, October 2005-March 2006). The following scene is from 'The Murdock Papers: Part I' (Daredevil Vol 2 #76, October 2005).

The scene where Fisk murders Urich also resembles a scene from Brian Michael Bendis and Alex Maleev's 'Hardcore' storyline where Kingpin kills a former consigliore named Dini. Dini awakens in the night to find Fisk sitting in a shadowy corner of his bedroom. Fisk kills both Dini and Urich because they had in some way offended a member of his family: Dini was complicit in the murder of his son, Richard Fisk, while Ben had interviewed his mother in the pursuit of a story. In both scenes, Fisk takes a moment to calmly explain why he is about to kill his victim prior to performing the deed. The following panels are from 'Hardcore: Part I' (Daredevil Vol 2 #46, June 2003).


The final episode of the first season begins with Ben's funeral.  Ben outlived his wife in the comics, but in the TV show Doris outlives him.

Matt tells Father Lantom he's holding up like "a good Catholic boy". Matt's also been described this way in the comics. The following example is from 'The King of Hell's Kitchen: Part III' (Daredevil Vol 2 #58, May 2004).

Kingpin's showdown with Owlsley recalls his confrontation with Lynch in the aforementioned Daredevil Vol 1 #72. In both stories Fisk attacks his former ally upon discovering they're responsible for an attempt on Vanessa's life.

His betrayer then draws a weapon and attempts to defend himself. Lynch opens fire on Fisk with a gun, while Owlsley tries subduing him with a stun gun.

Both attempts fail and Fisk furiously murders his former ally with his bare fists. He beats Lynch to death in the comic, while he hurls Owlsley down an elevator shaft in the TV show.

Comic writer and Daredevil co-creator Stan Lee makes a cameo in the form of a photograph hanging in the police station.

The plot about Fisk's criminal activities being exposed to the public recalls Dan Chichester's 'Fall of the Kingpin' arc (Daredevil Vol 1 #297-300, October 1991-January 1992) in which the comic book Fisk's empire crumbled in a similar manner. Both versions of Kingpin were finally brought to justice for their crimes.

Matt returns to Potter's workshop to collect his red costume. At the beginning of this scene we see a close-up of the designs for Gladiator's wrist-mounted saw blade weapon from the comics.

Also in the background of this scene are the metal stilt-trousers worn by the comic villain Wilbur Day, aka Stilt-Man. Stilt-Man was one of Daredevil's earliest opponents, making his debut in 'The Stilt-Man Cometh!' (Daredevil Vol 1 #8, June 1965). Nowadays Stilt-Man is regarded as something of a joke and is usually only referenced as comic relief. In 'Stilts' (Daredevil Vol 1 #186, September 1982) Turk Barrett briefly assumed the identity of Stilt-Man, though his stint as a costumed villain was predictably short lived.

One of the lorries at the depot where Kingpin changes transportation has 'Atreus Plastics' on the side. In the comics Matt's late fiancé, Heather Glenn, discovered her company was in cahoots with an explosives manufacturer called Atreus Plastic, as depicted in 'Good Guys Wear Red!' (Daredevil Vol 1 #184, July 1982).

Kingpin's transportation is halted when a billy club is hurled through the windscreen. The following panel is from 'The Unravelling!' (Daredevil vs. Punisher Vol 1 #5, December 2005).

We now get our first proper look at Daredevil's red suit. In the TV show it is mostly red but features some prominent black areas. This may be a deliberate attempt to reflect the anatomical shading depicted in the comic art. Although Matt's suit is completely red in the comics, artists often colour large areas of it black to indicate shadows and break up the design.

The protective nature of the suit evokes the armoured costume the comic book Daredevil adopted in the nineties following the 'Fall from Grace' arc (Daredevil Vol 1 #319-325, August 1993-February 1994). The red and black colour scheme is reminiscent of Daredevil's costume from Secret Wars (2004-2005).

The mask features two horns and red eye lenses, just like the mask in the comics. The Majority of artists over the years have depicted the mask as leaving the lower portion of Matt's nose exposed. However some artists have extended the design to cover his nose, and we see a similar design in the TV show. The following example is Joe Quesada's cover art for 'Orisha' (Daredevil: Father #3, November 2005).

Daredevil's billy clubs are carried in a leg-holster worn on his left thigh, despite the fact Charlie Cox is right-handed. This is because the Daredevil in the comics is left-handed.

The 'DD' emblem is conspicuously absent from his chest in the first season, though the two buckles on his belt form a somewhat more abstract 'DD' pattern.

During the final fight Daredevil clicks his billy clubs together to form a staff. He often does this in the comics too, as seen here in 'Conflict' (Daredevil Vol 1 #323, December 1993).

Daredevil avenges himself against Fisk by cornering him in an alleyway and defeating him in one-on-one combat. Daredevil has defeated Fisk in combat far too many times to list, so I'll just give one example from 'Last Rites Part IV: Long Live the King' (Daredevil Vol 1 #300, January 1992), which was the final chapter of the 'Fall of the Kingpin' arc. Here Kingpin's criminal empire has been toppled, much like it is in the TV show. Daredevil chases him down and delivers a decisive beating that serves to avenge the one Fisk gave him a few years earlier during the 'Born Again' arc.

The image on the newspaper during the final scene between Matt and Karen is Alex Maleev's cover art from 'The King of Hell's Kitchen: Part V' (Daredevil Vol 2 #60, July 2004). This picture was recreated in one of the show's promotional images.

Fisk's final scene shows him in his prison cell. This is the only time in the first season that we see him wear white, the colour of his signature outfit from the comics.

Fisk is securely behind bars, Nelson & Murdock's law practice is open for business, and Hell's Kitchen enjoys a brief rest from crime beneath the unseeing yet watchful eyes of Daredevil. But the peace is short lived as a scream echoes through the night. Daredevil wastes no time in leaping into action, drawing his billy clubs and striking one of his classic comic book poses as he descends into battle.

And that concludes this analysis of Marvel's Daredevil season 1.

Absolutely phenomenal work. I haven't seen the show yet but I really want to now.

Quote from: The Dark Knight on Tue, 23 Feb  2016, 23:57
Absolutely phenomenal work. I haven't seen the show yet but I really want to now.

Cheers, TDK! You should definitely check it out. And with less than a month to go until season 2, now's the perfect time.