I chose to do my first blog on the first issue of Marvel Daredevil LGY#613 which is called the man without fear written by Zdarsky and Checcetto. This edition has a lot of messy grounded colures and the cover is really dynamic. 

In this issue, the hero does uncommon things which are pushing and threatening a cap whereas he was supposed to be working together. Also, there are a lot of flashbacks and then we see Daredevil alone in all threads in a one-night stand. Basically, the story is about the hero wants to get back to the game after being crushed by a truck. 

For those who only started to read this issue, they are not capable enough to keep up with the sequence of events because this issue does not actually explain what we have missed. The story was written as a lifetime movie. In this issue, there is a lot of work done on the characters development but little in actions’ development. 

It wasn’t seen as a horrific but rather as more like a detective story. It is a really good first issue because it shows how the writer balances his life through visualities. Zdarsky dives in and focuses on the Catholic aspects of Daredevil.

Here is a radical twist from holly sacred setting from a church to a daily life setting in a bedroom.     

 

In these images, it is obvious that punch of strangers is being followed by Daredevil.    

The panel has a view of nighttime of a city with bolding the word “CHOK ” which signifies the blood that comes out of the hero. Even though the reader does not get to see the actual accident, they still can sense that the man is aggressively and physically approached by another man throughout the signs that the author chose to use especially the use of vocabulary which is been mentioned and discussed by McCloudUnderstanding Comics, Ch. 2. Also, the time that the reader takes to read the comic does not necessarily mean that it has to deal with the timing and rhythming of these comics. But it has to do with the author and how he directs the reader through the narrative choices. As well, Bongco argues that In comics, time is a function of space, and panels serve as divisions of time,” (80). McCloud provides a diagram which explains the six different timing transitions. The first panel-to-panel transition is moment-to-moment, which can take place over a few seconds. The second is action-to-action, which is also usually quick but is focused on a single action. The third is subject-to-subject, which can take place within one scene. Next is scene-to-scene, which brings the reader across different settings. Fifth is aspect-to-aspect which brings the reader across different scenes, ideas, emotions, or aspects.

Eventually, there is non-sequitur where comic panels don't share any sort of relationship (McCloud, 70-74). These distinctive timing transitions fill in as an author's narrating tools. Without a doubt, the creator of these panels could have made an alternate storyboard with more boards that happen in the middle of the left and ideal to give more detail of the occasion. authors must choose which panels are important to make the ideal comprehension of the event, just as work that is stylishly satisfying. They pick what they will put in the panel and what they should forget for the per user’s conclusion. A per user’s comprehension of the story is one of the greatest variables when settling on innovative choices.

To Be Continued ...Next Issue