Daredevil 272

Liberation by Ann Nocenti and John Romita Jr

One Sentence Overview:  Having helped Brandy Ash rescue poorly looked after farm animals from her father, Daredevil is uncertain about whether he has a role to help her look after another escapee, a mysterious young woman only known as 'Number Nine'

Woah!  Not too many issues of Daredevil open up with a splash page of a naked woman!  And, to add to the irony, this is an issue about the rights of women, their subjugation and ways of empowerment.  My eye is initially caught by John Romita Jr's stunning (though completely chaste) interpretation of an ecstatic 'Number Nine', a genetically enhanced young blonde woman, thanks to Skip Ash's diabolical plans for his own 'Stepford Wife'.  However, the text surrounding the picture gives context to why this girl, who appears so free, is actually a product of her environment, specifically the pressure to be an idealised version of what a woman should be.  Number Nine is haunted by "Cinderella myths... glamor myths, Hollywood myths" and by "glossy magazines, parading endless perfect faces, manicured fingers, well-turned heels".  

Skip's plans have taken away the need for this woman to make her own independent mark in her life, instead turning her into a male fantasy - not only beautiful and (relatively) submissive but also bullet proof!  (Well, hey this is a comic book after all.) 

There's a brilliant scene that also encapsulates Number Nine's twisted thinking.  In Brandy's kitchen, she's in heated food preparation, telling Daredevil and Brandy that she is "destined to cook".

The title of the tale, 'Liberation', gives a clear indication of Ann's thinking.  In the previous tale, Daredevil was interestingly a little caution in supporting Brandy Ashe's rescue of the animals her father was keeping in overcrowded captivity, worried that she hadn't thought through where the freed animals would end up.  As such, Daredevil represents a paternalistic view - one that fears that those who are dependent upon a (invariably alpha male) group leader are unable to cope outside of those structures.  I like that Ann doesn't have DD copmletely buy into Brandy's views straight away - it chimes with the Matt Murdock who was reluctant to let Karen Page go off to find her own way in Hollywood (see DD67), preferring she stay under his wing, or who wanted to control his relationship with Heather Glenn (see, for example, DD186).

Here, once Number Nine has been liberated, Matt's happy for Brandy to look after her so that he can go off for the next adventure somewhere else.  "Time to move on," Daredevil tells Brandy, "You ladies will be fine.  I'm sure you can teach each other a lot."  This little passage is a brilliant little insight from Ann into the male psyche, particularly regarding commitment issues.  For her part, Brandy rails against DD's notion of being the "big romantic solitary man", instead preferring for him to step up and help Number Nine and her because it's the right thing to do. 

Like a typical male, Daredevil skulks off at the first opportunity, though not without some pause for thought.  "We could all use some liberating from our programming," he muses before continuing, "Am I running away?"  Well, I think it's quite clear from the tone of the script so far, Matt, that yes, you very much are.  Oh, if only a man had written this issue, then you wouldn't be feeling so darned guilty...

And that's that, is it?  Well, luckily for the girls, Skip's hired an assassin called Shotgun who helps fulfil Matt's need for an alpha male role, to be a protector.  So with this guy on the patrol, he's back with the girls ready to help out!  I'm not sure that's a case of Matt doing the right thing or Ann pointing out his inadequacy at being able to accept a role in this adventure that is not functionally male.  There is another way of looking at this - Matt's uncertainty reflects male suspiscion of feminism and their role in this worldview.  In running away, is Matt fearing emasculation by not staying behind and helping Brandy in providing a restorative or caring role with Number Nine?

There's more paternalism on show elsewhere with a scene change early on in the story to the moon, Attilan, home to the Inhumans.  There's nothing in this comic to indicate why we move to these otherworldly folk, though it's obviously setting up a future storyline.  However, it is interesting to see that Ann continues the theme of Number Nine's tale to this alien environment.  Here Gorgon, carrying a couple of women who he has managed to inebriate, is challenged by his fellow Inhuman, Karnak. 

However, Karnak is not so much bothered by the potential date rape scenario as to the fact that Gorgon has brought two women into the Royal Court, the implication being that one does not do such a thing.  By scripting this, Ann comments upon the rules and regulations of political, religious and social organisations that exclude women from the epicentres of power.  Ironically, it is the drunken Gorgon who is on the side of his female companions against the more measured and seemingly intelligent Karnak. 

This is all contrasted with a nice little vignette between the Inhumans leader, Black Bolt, who reveals that his ire can be mollified by his wife, Medusa.  Before we yield too much praise to Black Bolt, this scene also reveals that naughty BB has apparently kidnapped his wife's child.  Yes, even the most noble of male Marvel superheroes are still not averse to a bit of female subjugation when they can get away with it. 

The most blatantly feminist piece of writing from Ann in her run to date and I love how much she's managed to cram into a (predominantly) boys' comic about costumed blokes hitting each other.  This is certainly not 'preaching to the converted'.  A writer should challenge her readers' ways of thinking and there's no doubt here that Ann succeeds. 

Cast
Daredevil/Matt Murdock

Number Nine
Brandy Ash
Skip Ash
Shotgun
Black Bolt
Medusa
Karnak
Gorgon
Chuck
Jack

Rating: 8 out of 10