by Graham Osborne
There are no words to truly describe how awesome Daredevil is, the fluidity of the story, as well as the relatively small amount of screen time dedicated to the titular hero both help to keep the action sequences exciting without overpowering the main thrust of the story and characters. It is a wonderful piece of storytelling.
There are no words to truly describe how awesome Daredevil is, the fluidity of the story, as well as the relatively small amount of screen time dedicated to the titular hero both help to keep the action sequences exciting without overpowering the main thrust of the story and characters. It is a wonderful piece of storytelling.
In the Blood manages to continue the trend of taking the hero out of the picture by almost leaving both Murdock and Daredevil out of the episode in its entirety, choosing instead to focus on the elusive Wilson Fisk alongside Karen Page and Ben Urich’s investigation into her former employers, with Murdock languishing in a relatively small role as he takes on the Russian Mob to save Claire after the events of episode two.
The focus on Vincent D’Onofrio’s Fisk allows for plenty of time to make the character more human. All too often the villain of a film or TV series is given minimal characterisation with most of their actions written off as “because they’re evil.” This is a workable solution, but can occasionally lead to the viewer questioning why the action should make sense within the realms of the narrative; for a prime example, see every James Bond villain. Also, taking the time to flesh out the shadowy figure of Fisk makes him much easier to relate to; his awkward conversation with art dealer Vanessa (Ayelet Zurer) belies a much gentler figure, albeit one who is running a criminal empire. His actions at the end of the episode convey his ruthless business manner, and show why the rest of the criminal underworld respect him so.
The focus on Vincent D’Onofrio’s Fisk allows for plenty of time to make the character more human. All too often the villain of a film or TV series is given minimal characterisation with most of their actions written off as “because they’re evil.” This is a workable solution, but can occasionally lead to the viewer questioning why the action should make sense within the realms of the narrative; for a prime example, see every James Bond villain. Also, taking the time to flesh out the shadowy figure of Fisk makes him much easier to relate to; his awkward conversation with art dealer Vanessa (Ayelet Zurer) belies a much gentler figure, albeit one who is running a criminal empire. His actions at the end of the episode convey his ruthless business manner, and show why the rest of the criminal underworld respect him so.
The investigation being undertaken by Urich and Page has a much calmer tone in comparison to some of the other events that have happened so far throughout the series, though it seems reasonably likely that this will have changed by the end of the season. There is plenty happening within the episode, and each storyline is juggled magnificently.
With so much going on, there is a worry that the show will eventually drop the ball with a plot or character, but until then, (if it does happen) there’s absolutely nothing stopping you from enjoying the ride.
With so much going on, there is a worry that the show will eventually drop the ball with a plot or character, but until then, (if it does happen) there’s absolutely nothing stopping you from enjoying the ride.
RSS Feed
