Over the course of his career, Daredevil has squared off with some of the Marvel Universe's most brutal, capable and powerful fighters. So, the blind vigilante-lawyer knows how to take a beating, but he always finds a way to get back on his feet. What happens, though, when he suffers an injury that shatters both his body and his will? How does he pull himself back together? And can he still be the same Man Without Fear he used to be?
These are some of the driving questions behind writer Chip Zdarsky and artist Marco Checchetto's brand new volume of Daredevil, which begins in February. Their opening arc tackles the fallout of the recent “Death of Daredevil” arc, which concluded the series' previous volume, where Matt Murdock suffered a near-death experience that made him reexamine his motivations for being Daredevil.
Zdarsky and Checchetto spoke exclusively with CBR about their plans for Daredevil, how Matt Murdock's archenemy, Wilson Fisk, figures into those plans and their love for street-level Marvel heroes.
CBR: Chip, you're moving from Spider-Man to Daredevil, and one of my favorite recent works by you was a Star-Lord series that brought Peter Quill down to the street level. That suggests to me you have an affinity for Marvel's Manhattan-based urban vigilantes. What is it about these characters that make them so appealing to write?
Chip Zdarsky: It’s the humanity of them. Daredevil especially feels like a character you can explore more through a lens of reality than, say, the Fantastic Four, or even Spider-Man. He’s the most human and complex of the Marvel characters, I find.
Marco, I discovered you and became and became a fan via the work you did with the Punisher and Daredevil years ago. In recent years you've done sci-fi tales with your Star Wars work,and post apocalyptic/dystopian ones with Old Man Hawkeye. So, what's it like to return to a street-level comic like Daredevil?
Marco Checchetto: Thanks a lot. I’m very happy. The street-level characters like Spider-Man, Daredevil and Punisher are my favorites to draw. Drawing these characters makes me forget that it’s a job, even if my approach is still professional. I know them very well, I have my favorite runs and I have a very clear idea of how I would like to draw these heroes.
Your run begins with Daredevil getting back up from a brutal near-death experience and dealing with some realizations about the cyclical nature of what he does. What did that mean for your approach to the character? What kind of storytelling opportunities did your predecessor, Charles Soule, give you by ending his run with "The Death of Daredevil?"
Zdarsky: Charles left him pretty broken physically, and while [writer] Jed [MacKay] got him back up and running in [the currently unfolding] Man Without Fear [miniseries], there are repercussions to what he just went through.
I had lunch with Charles early on in the planning, and I made a joke about how the previous Daredevil writers always try to fuck over the incoming writers with cliffhangers. That’s when he told me he was “killing” Daredevil, and I immediately regretted making my joke.
Daredevil can be grim, moody and brooding, but he also has a swashbuckling side where he clearly loves what he's doing. Will we see that side of him in your run? What's your sense of the character when you pick up with him?
Zdarsky: It’s like he’s been in a cage for weeks, but is he ready to be let out?
We’re going all in on what violence does to a person, to a world, and how Matt reconciles that with his beliefs. He’s incredibly complicated and I’m doing my best to do a deep dive into his psyche.