Month: June 2026

DAREDEVIL: COLD DAY IN HELL (2025)

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There is no greater hubris in superhero comics then making an extended homage of The Dark Knight Returns. While not the best work of Frank Miller’s career his miniseries of an aged Batman returning to confront the mean streets of 1980s America has been a titanic influence on superheroes for 40 years. The first issue of Daredevil: Cold Day In Hell begins with 16-panel pages illustrating a retired hero reuniting with his old friend before taking a long walk home, lamenting the lousy weather of the season and the current state of juvenile violence in a world without heroes. Charles Soule was risking outright plagiarism for some of this, but fortunately the story quickly deviates and lets his own voice for Old Matthew Murdoch shine through. Highlighting Daredevil’s religious belief that this one last chance at meta-human heroism is an opportunity to atone for previous transgressions and fit into a grand narrative of redemption.

While mimicking a Batman classic as closely as possible at the start it assiduously avoids mimicking its story or thematic content. Miller’s Batman is a thundering giant barely contained within the confines of his world once he gives over to his compulsion to never give up. Soule envision the latter days of Daredevil as a humble ordinary man who has lost much and longs for the glory. And when he gets to relive the apex of his youthful vigour. Matt Murdock is only interested in making the most of this unique opportunity with the wisdom to make up for past mistakes, and hope to avoid any further ones. The extended homage deliberately courts the comparison between the two characters in order to highlight their individual strengths in the eyes of the writer.

The series is bolstered by Steve NcNiven manning the pens. I never have issue with his work but this is certainly more ‘interesting’. NcNiven acquitted himself admirably with Civil War, Fantastic Four and Old Man Logan. Here his work is electric. Historically he aims for a more realistic and very clean approach but this time, seemingly channeling Geof Darrow, he goes into a more expressive direction. Highlighting how ugly and worn down these characters are while also experimenting with how much you can play with page layouts in very interesting ways. He even inked most of this book himself and coloured the first issue himself. Although Dean White took over the colours for the second and third issues they seemingly work to match each other styles and the hand-over is imperceptible.

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Batman: The Doom That Came To Gotham

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Mike Mignola had a long history with DC before he left to begin his decade spanning and critically lauded Hellboy franchise in 1994. As the artist for Gotham by Gaslight he can be partly credited for the entire Elseworlds imprint that was popularised during the 1990s. His covers for the outstanding Dark Night Dark City (1990) storyline by Peter Milligan and Kieron Dwyer and his own single issue collaboration with Dan Raspler and Mark Chiarello on Batman: Legends of the Dark Knight #54 in 1993 proved to be a solid showcase for the skills he would take into his independent work.  Yet in 2000 he returned to pen his own Elseworlds miniseries of a Batman emerging in the 1920s to confront a great evil engulfing his home city.

Mignola handled the script for this project yet Troy Nixey and Dennis Janke handle the pencils and inks. Thanks to long-time Hellboy colourist Dave Stewart and the very clear, rectangular layouts it is always clearly a Mignola project. I’m not necessarily impressed with Nixey’s faces or his depiction of Batman but he draws a good depiction of everything else and nails the grotesque horror and supernatural components. Right from the beginning as Bruce Wayne investigates the lost expedition of Oswald Cobblepot things take a turn for the eerie and never lets go.

Core to the appeal of Elseworlds is to see familiar characters reimagined in different times and places. Alternative futures and pasts and histories divorced from our own.  Doom That Came To Gotham is not afraid to make huge swings.  It might feel over staffed at times, but it willingness to extend beyond the traditional Batman mythology to explore other characters is welcome. There is the occasional tacky wink to the audience but still several excellent and radical interpretations of these characters as figures within a Lovecraftian mystery.

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