Daredevil 275 - Acts of Vengeance

One of the more unusual battles spawned by "Acts of Vengeance" must surely be pitching Daredevil against the powerful robot Ultron. On the face of it this is surely absurd yet the devil is in the detail.

Daredevil #275

Writer: Ann Nocenti
Penciler: John Romita, Jr
Inker: Al Williamson
Letters: Joe Rosen
Colours: Max Scheele
Editor: Ralph Macchio
Editor-in-Chief: Tom DeFalco

The Daredevil issues of "Acts of Vengeance" come from an unusual and now largely forgotten era of the series. It's true that Daredevil has lots of forgotten eras, but this is by Ann Nocenti, who until 2006 was the most prolific writer on the title when she was just pipped by Brian Michael Bendis at the end of his run. It says something about Daredevil that it has chalked up over six hundred issues (across multiple volumes with the original numbering returned to a few times), yet its three most prolific writers (Stan Lee is the third) each wrote in the range of only about 50 to 57 issues. The book did a bit better with artists with its most prolific, Gene Colan, turning in nearly a hundred issues. By contrast this issue's penciler, John Romita, Jr, is near the end of a run of thirty issues.

Part of the reason why this period isn't so well remembered is the setting. Daredevil is best known as a New York lawyer by day and vigilante by night, prowling the darker parts of the city. So an extended storyline that takes him out into the countryside and has him meet the Inhumans, Gorgon, Karnak and Lockjaw probably isn't going to spring to mind when one thinks of the series. However the underlying theme of the current storyline is a familiar piece of social commentary that Ann Nocenti's work is especially noted for. Daredevil has found himself at a farm house owned by Skip Ash, a geneticist who has conducted experiments on humans including creating "Number Nine", who can instantly heal and has been mentally conditioned to be an idealised traditional housewife and cheerleader. This brings conflict with Skip's natural daughter Brandy, an artist and ardent feminist, leading to arguments about programming. Daredevil himself ideally just wants to be alone, to escape all the other people with problems around him, but he too reacts to his societal programming.

This creates a good environment for a contrast with the guest villain from the crossover. At first the idea of pitching Daredevil against Ultron may seem absurd, but this is a highly conflicted Ultron. Doctor Doom, yet again, is selecting and overseeing the dispatch of the foe and has reconstructed the android, incorporating all twelve sets of previous brain patterns in the hope of creating the perfect mix. However this instead gives the android multiple personalities that conflict over his purpose and direction as he realises he is flawed and thus his (re)creator is flawed, but Number Nine's perfection attracts at least some of Ultron. Like Number Nine, and indeed like Brandy and other characters, Ultron is driven by his programming with conflicting influences trying to determine what course of action he should follow. It's a good metaphor without being overstated. The actual fight only starts near the end of the issue as Daredevil, Gorgon and Karnak find Ultron, but it makes for a convincing strong power level.

This is a surprisingly thoughtful issue given that the elements at first sight look absurd. Instead we get a foe with an internal struggle that matches the environment into which he is sent, providing a good exploration of an android all too often used for over simplistic battles. This may not be the traditional urban environment that Daredevil is known for, a result of the crossover turning up in the middle of a protracted storyline, but it provides a strong tale none the less.

Daredevil #275 has been reprinted in:

• Acts of Vengeance Crossovers Omnibus (2011)
• Daredevil Epic Collection: Heart of Darkness (2017)