Daredevil (2019-) Annual #1

Daredevil Annual #1

Marvel Comics

Writer: Chip Zdarsky

Artists: Manuel Garcia & Chris Mooneyham

“One More Day” is a loaded title for Marvel fans. It brings back memories of one of the most controversial Spider-Man stories. When Marvel revealed that this annual was called “One More Day”, it signified something big. Zdarsky knows exactly what he’s doing using this title. He’s telling us this is an important issue and playing with our expectations. Thankfully, this issue is much better than its web-headed predecessor. The continuity changes within are far more interesting than erasing a fan-favourite marriage.

I won’t reveal too much in this review, but I will say that this issue isn’t about Matt Murdock. It focuses on his formerly made-up twin brother Mike. If you don’t know your Daredevil history, Mike was a character Matt made up. He pretended Mike was Daredevil to allay suspicions about himself. He then staged Mike’s death and said he had trained a replacement. The character faded into obscurity until Charles Soule’s Daredevil run manifested Mike into existence. Long story short: Inhuman weirdness. One of my favourite things about ongoing comics is when writers reuse elements of past stories for their own purposes. Zdarsky makes great use of Mike Murdock here.

This issue deals with the idea of someone who knows they don’t really exist. Mike’s memories never really happened. It paints a picture of the differences between the Murdock brothers. It also provides a fresh perspective on their father through Mike’s eyes.  It’s a diversion from the main story, but an effective one that sets things in motion. Hell’s Kitchen is already in chaos, and it looks like Mike Murdock will only add to that.

This issue has two pencillers, and they complement each other nicely. Manuel Garcia’s grounded artwork fits in with Checchetto’s work on the ongoing issues. Chris Mooneyham’s style works wonderfully for the flashbacks. It perfectly toes the line between rough and clean. It is gritty and evocative and enhances the emotional weight of Zdarsky’s writing. Rachelle Rosenberg’s rich colour work holds together the two distinct styles. The inks by Le Beau Underwood deftly play with the shadows and dark moral playground of Hell’s Kitchen. Keeping the same colourist and inker for both time periods helps unify them and adds cohesion to the story.

Overall, this is an effective annual that enriches the ongoing Daredevil story. Zdarsky makes continuity changes that will have legitimate consequences going forward. It’s a pretty radical revision to the Murdock history, but it feels organic. I can’t wait to see how it plays out in future issues.