A man without hope is a man without fear.

This volume brings together the episodes 226-233 published in 1986. The episode 226 is a form of warm-up lap (he also was relegated at the end of volume), episodes 227 to 233 form the story entitled "Born again ".

In episode 226, Melvin Potter (Gladiator) resumes his life of crime by robbing jewelry stores. Matt Murdock's hard to believe he and turncoat and he decided to investigate even if it suffers from a strong sense of depression. This story is written by Denny O'Neil and Frank Miller and drawn by David Mazzucchelli and Dennis Janke. She looks like a trial run before "Born Again". This is a bit short, a bit Manichean and sometimes left in the illustrations. By cons, it allows readers to get an idea of ​​the emotional state of Matt Murdock.

Episodes 227-233 (Frank Miller scenario illustration of David Mazzucchelli) - Somewhere in the middle of nowhere in Mexico, Karen Page unveils the secret identity of Daredevil to a dealer to get a fix. In New York, it's winter, Matt Murdock is unemployed, and the morning mail brings bad news and hassle: the bank refuses to honor checks, the taxes inspect its accounts and block its accounts, an audio cassette of his girlfriend and no jobs ... and the factor that brings an order to appear in court on a charge of corruption against Matt Murdock. Glorianna O'Breen (the girlfriend of the moment Matt) suffered a rampage in his apartment and will find refuge and comfort from Foggy Nelson. Ben Urich is bullied. And not a thug knows anything, even under the beatings by Daredevil.

Frank Miller Daredevil transformed from 1980 to 1983: a character on the verge of losing its monthly series, Daredevil has become the symbol of the revival of superhero comics. These episodes were combined into 1 Daredevil, Daredevil Daredevil 2 and 3. In 1986 it is up the days of these 7 episodes, as writer. The leasehold is the same: to mix superhero genre, ingredients urban thriller. The Kingpin has recovered the secret identity of Daredevil and it uses all means at its disposal to strip Matt Murdock of all that he has, literally (employment, housing, material possessions, money) and figuratively (friends, hopes for the future). The descent into hell is that of a man who loses everything to the sense of its fight against crime in a colorful costume. In this sense Miller took another step toward maturity, toward sophistication of stories that can be told with a superhero. Violence is still present, the superpowers of Matt Murdock also, but it is indeed an omnipotent criminal who crushes a former adversary through information. The codes of noir (blackmail, necks and battery, intimidation, underworld, etc.) are integrated into the story naturally and organically. The character of Murdock generates empathy in the while remaining an unlikely individual player in real life, even if only because of his ability to see despite his blindness.

But yet in the first two thirds, Frank Miller did not completely manage to overcome certain stereotypes or some narrative facilities. Foggy Nelson remains a character is limited to 2 or 3 superficial psychological characteristics. Glorianna O'Breen postpones Matt's affection on a Foggy suddenly, whole and not credible. And I really wrong with the providential arrival of the good sister and with his secret identity, although Miller plays the game "no, I did not say." At the time I can not believe for a moment that real people have played this game of hide and seek consent, both this providential appearance is more like a big drama of string in the bombshell kind impossible swallow (how could she stay and work in the neighborhood frequented by Matt without it never crosses?), that meaningful development of the story. Miller succumbs to sensationalism that serves the story, the more it enriches.

But next to these infantile remanences, Frank Miller built sequences and situations of maturity in this medium unthinkable at that time. There are first the terrible blackmail victim is Ben Urich: implacable machination to crush the individual and muzzle the truth. Miller brilliantly tightens the vise. And then there was Karen Page. Unable to confine the role of the tragic traitor, it exists as a junkie like never before in a comic. Miller portrays a woman aware of his decline, suffering from lack slave to his addiction, physically emaciated, paying of his person, abject in his own eyes. On one side, Karen Page are so it brings out the facilities of the script like so many unforgivable blunders, on the other it has such veracity that it eclipses everything else and she carries the narrative that she turns it into intelligent and sensitive novel about addiction and lack.

Karen Page longer exists especially as David Mazzucchelli deals well with her. He treats his physical appearance so that the reader can not ignore the ravages of drugs and his trade on his physique. There are neither complacent nor voyeurism, just a woman damaged. In the first episode, Mazzucchelli seems completely under the thumb of Miller, to copy his famous layout: a vertical box on the height of the page, and boxes stacked nearby. Then gradually he gains confidence to a very traditional layout wisely juxtaposed rectangular boxes. It also gains in efficiency and precision in his features, more marked, more meaningful. The illustrations are becoming more organic, simple, clear, near these humans. The most innocuous box appears every time the most effective. How to forget the kissing scene cinema outside the station (Episode 230)? Karen Page implements all its know-how for a disgusting gesture, spineless, resigned, atrocious. The symbiosis between the drawing and the text turns this vision into a banal vision of absolute horror.

And then came the 232 episode, the narrative (Scenario and drawings) suddenly switches to the hardcore superhero register. I remember that at first reading I was particularly taken aback and disappointed by this change in tone. On re-reading, I fully appreciated the fact that Murdock also regains its place among the superheroes, Miller efficiency in this register, and the obvious characteristics of the said place of Daredevil against other superheroes. Miller is also a field day with Captain America he transforms into a credible and respectable patriotic vision (a feat). Miller and Mazzucchelli even manage to make Nuke credible and tragic.

This edition ends with breeding blankets without logo or text, 24 pages of penciled Mazzucchelli, and Miller script for episode 233.

"Born again" out of the ordinary superheroes, Daredevil and Matt Murdock transfigures and reaches a sophisticated fictional narration, despite some facilities. On re-reading, I was surprised and moved by the unexpected humanity of Karen Page and Nuke.