The biggest complaint I can imagine being levied against Daredevil Noir is that, so far, there is no real reason why this is a “Noir” book rather than just another re-telling of an early Daredevil story. Throughout its first issue, Daredevil Noir does little to establish itself as a non-traditional Daredevil story in the way that X-Men Noir did with Magneto flashing a badge or Spiderman Noir did with Spiderman using a gun and going to speakeasies. Aside from the antique typewriter-style font on the narration boxes and Newsies kids yelling out newspaper headlines, the only major change from Matt Murdock’s usual world is that Murdock appears to be an assistant to Foggy Nelson P.I. instead of a lawyer. And while I can accept that it is accurate that this book really doesn’t shake up the world of Daredevil that much, I found Daredevil Noir #1 to be so thoroughly enjoyable that I just can’t begin to care that they haven’t reinvented the wheel.

The artwork is beautiful and dark, very much reminiscent of Michael Lark’s current work on Daredevil–Tomm Coker’s use of precipitation in the dark and grimy city strongly reminded me of comparably gorgeous work in the last issue or two of Daredevil. Alexander Irvine’s story works well, told in flashback from what seems to be a final confrontation with Wilson Fisk, we reflect on Daredevil’s history, Murdock’s desire for vengeance, a leggy dame who needs Nelson and Murdock’s help, and gang leaders discussing how to handle this new crimefighter. Matt Murdock’s story is just very well-suited for the noir treatment–perhaps that’s why so little of it was changed to make it work. The story of a kid who grew up in Hell’s Kitchen with a father who was killed by mobsters for failing to take a dive seems like it should have been set in 1940’s New York from the start, and that’s one of the many reasons this book really clicked with me. I’m looking forward to seeing what comes next.