Plot
This comic takes us to a future where New York is a city in ruins, its bridges destroyed, and there is much misery. Matt Murdock, being a good Catholic, wants to make a change and runs a homeless shelter with hot meals every day and beds to spend the night. This place is located in Hell's Kitchen and is called Battle Jack's House.

Matt Murdock is an old man and no longer has his powers, making him a very fragile, blind person.

After offering food, an explosion occurs in the subway, releasing radioactive gas that causes Matt's powers to return. He quickly begins to locate the wounded and finds a wounded Captain America, holding onto the rubble to save a little girl. For her, some mercenaries detonated the bomb. They want her. Daredevil rescues her, but Cap is unable to.

Daredevil tries to pursue the mercenaries, but his body, although still agile, his bones are not as powerful, and they escape from them, but he is very clear about his essence.

The mercenaries give their boss Captain America's shield as a reward. This character is wrinkled and struggling to maintain his pulse, so he stabs his hands with needles. He joyfully celebrates with the shield and shows it to Frank Castle, who is tied to the wall with his arms and hands severed, in a feverish state. Everything points to this terrible being being... BULLSEYE, who identifies that Daredevil has returned.

This comic is a masterpiece of storytelling that reimagines the future of this important character, capturing his essence and bringing him back at his worst. It's the best tribute to a classic like The Dark Knight Returns, but with his own vision. In other words, this is an instant cult masterpiece.

Art
It's mind-blowing, achieving dizzying sequences and dramatic body language with Steve McNiven's unique touch, with that germ-like texture that highlights all those mesmerizing details.

Summary
Matt, depowered and retired as Daredevil, tries to help a world in ruins, affected by an apocalyptic catastrophe in a grim future, but when his powers awaken, he must once again become the Man Without Fear.
The end of the comic includes Charles Soule and Steve McNiven's detailed creative process, spanning several pages. It's definitely a must-read. more

I don’t remember the last time I enjoyed a daredevil comic this much. Probably not since Waid. I read some of the Soule run but didn’t love it. I like Zdarsky but didn’t love the run. And I’ve never been a Mcniven fan. Perhaps I set my expectations low, because this blew me away.

A great book. Kind of wish we were getting a movie version of this Superman

This was a different heart breaking twist for the origin of Kal-El. In this story, the Kents are still warm. But here Kal-El has to leave the Kents not because he wants to find his own path. But because he's forced to and how the Lazarus team is attacking the Kents, and they tell him to leave. This leaves a Superman without any hope and optimism, and how everything he touches he destroys.

Again, it's subtle but it clearly shows the difference between this Superman and the other main Supermen. Absolute Superman continues to be my personal favorite series out of the bunch thanks to Jason Aaron's writing. And honestly, Carmine Giandomenico's art works well for this issue, even if I do miss Rafal Sandoval. more

Both beautiful and sad. I was moved by this. Well done Jason Aaron.

Good event, even though there are a couple of things that don’t seem very credible. Specifically, the heroes’ plan so far seems completely stupid. It falls into the common trap we see in this kind of trope, where heroes face an extremely intelligent villain: instead of making the villain smarter and more capable, the heroes are just made dumber and more emotional, falling into every trap. That said, I see a lot of criticism about Doom’s open-border plan—considering he’s of Romani origin an

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I guess not everyone likes this but I enjoyed it.
It’s not structured in a traditional manner. I don’t mind how he threw us into it. There are writers that take a year of story telling to get to this point.
And I like the art. Very dynamic and expressive.

I’ve finally read this. Difficult to rate this, other than I don’t like it and it’s not a story I ever wanted to read, which doesn’t mean it’s poorly written or illustrated.

It’s a companion to Superman space age and Batman dark age. But those work much better, perhaps because the approach works for those characters.

But yeah I don’t like it and don’t recommend it. more

The ending is bad, not horrible, I've read much worse from Russell, just bad. 5 out of 6 issues were really bad, #5 was the only good one. This could have been a much better book if it was written by someone other than Mark Russell who thinks being overly grim and pessimistic is cool and smart. Also, I didn't like that line that "In reality, there's no such thing as a hero", agree to disagree very much there. more

Just finished reading the collection of this story. Very well written and illustrated. A great companion to Superman space age.

When I first read this story, I thought it was uplifting. but this was a tragic story, yet it had enough ingredients and details to separate itself from the main comics. I liked ow Gotham is now the City of tomorrow, and it ended on a very strong note. I would highly recommend this else world book to other people. It rocks hard.

I will continue to read this for now. There is some great art in it. But this issue didn’t give me much from a story perspective. This issue had the feel of a filler to pad out a story arc.

I'm starting to realize that I only like this book because of Evan Cagle. The guest artists are annoying and the story is just cosmic gibberish to me.

Wow some people hate this. I thought it was pretty well done. To each their own.

Batman: Dark Age #1 isn't your typical Batman origin story, & that’s only a small part of what makes this book so good. After working together on the hit Superman: Space Age, Mark Russell teams back up w/ artists Mike & Laura Allred to deliver a fresh, & sometimes brutal, take on the Dark Knight's beginnings.

As mentioned, the future-defining events of Crime Alley unfold differently yet their impact is no less heavy. Bruce isn’t present for the events & isn’t immediately thrown into a journey of revenge. Instead, we meet a Bruce who has become Gotham's resident "delinquent son," a brooding rich kid w/ a penchant for trouble & paying off the cops to avoid consequences. We also get to see a fun new twist on Bruce’s first meeting w/ Selina Kyle, which sets up the next issue.

Russell's narration, delivered by an older, possibly unreliable Bruce, casts a cynical light on Wayne Enterprise & the power struggles which occurred until Bruce came of age. He is seemingly aware of the evil organization, the False Face Society, who ran things at Wayne Enterprise in his stead & was behind his parent’s murder. They are hellbent on eliminating the only Wayne heir, but Alfred does everything he can to ensure that doesn’t happen. The older Bruce’s recollections of Alfred’s impact on his life are some of the best writing in the book.

Mike Allred's designs are a perfect match for Russell's narrative. He utilizes a retro motif the exudes nostalgia w/ bold lines and it’s complemented superbly by Laura Allred’s vibrant colors. The two create a Gotham that is feels classic, yet unsettling. The world feels like it's teetering on the brink of chaos, a perfect breeding ground for the Russell’s script. It’s a great juxtaposition to the all-white, pristine future Gotham the two create to show how Thomas Wayne envisioned what the city could have become.

This was a bold & audacious reinvention of the Batman origin story. It's a dark, suspenseful tale that will leave you eager to see where this alternate history takes us next & how this version of Bruce ends up becoming the Caped Crusader. more

This is making me wish Russell would replace Zdarsky on the mainline Batman series. Thoughtful and intelligent writing. I love Zdarsky but his Batman run has been such a disappointment.

I’m enjoying this. Even if the heros come off stupid.

Messed up. I would have rated higher if it had a better final act.

This is one frustrating comic. Panels of awesomeness.
Tonal shifts that make it fall apart at times. While entertaining, the stuff with Warlord’s bridge just doesn’t fit into the story being told. Some awesome ideas like eclipso trying to fill the darkseid void, foxy the infant cosmos, flash splitting himself with both not being enough.

One of the better issues in this story, if not the best.

Best issue of the series so far.

A near perfect first issue. I really enjoyed this.

It’s fine.

Very cool new vision for the character. I really enjoyed it. Amazing art.

Good ending to a solid mini series.

Just getting around to reading this. Crazy messed up book and I like it.

This is a mixed bag of an issue. Part of it progresses as one might expect, but the fourth wall breaking Zanni is a little strange. The supernatural element doesn’t fit Nightwing very well and it’s a huge jump from the street level story that’s been unfolding with the street gangs and Dick Grayson’s concern for the kids of Bludhaven who’ve been caught up in the violence. The relationship between Dick and Barbara is still depicted well and is still the basis for the title. Dan Watters continues to develop relevant themes around Dick that evoke thoughtful consideration. more