Aside from the 70's Casino romp that was Daredevil #9, this was the best issue of Charles Soule's Daredevil run thus far. This is the vision that Soule & Garney had for DD, yet, because of a few missteps and false starts along the way, was unclear until now. Which is funny because so much of what Muse strives for in this issue can work as an allegory for Soule /Garney as artists, as well. There's definitely a meta-theme here about the nature of inspiration and the sacrifices one must make to create something truly original. And yes, Muse is still sick and psychotic, but he stands out as a compelling villain because, in his mind, he is not a villain. He is merely an obsessed artist cultivating creativity wherever it may be found--damned be the consequences. Plus, there's the character design of Muse, which all credit to Garney, is just so compelling, and disturbing, to look at. Writing wise, Soule adds some real consequences to Blindspot's rookie quest as Daredevil's protege. However, as you know, it's comics and there's Inhumans about in the city, so we'll see if these consequences hold any weight. Thankfully, Matt's inner dialogue has finally found its footing, as Soule succinctly portrays Matt's fierce commitment to duty, along with his historical proclivity to guilt, well throughout the issue. While it's easy to see how 'Dark Art' will impact Daredevil the hero, it's very unclear how these events will influence Matt Murdock, the human. So much of the human charm and emotional complexities of Matt Murdock has been missing in Soule’s run, almost to the point where I question whether he even likes Matt Murdock the human being. With 'Dark Art,' all the narrative and thematic focus shifts to Daredevil, while Matt Murdock, the lawyer, the friend, the charmer, go virtually ignored. The best Daredevil stories strike a balance between both sides of the character, between Matt, the guilt-ridden yet principled lawyer and Daredevil, the guardian o