At last, Bullseye becomes the Bullseye we know and love. This is his first battle sequence against one of Matt’s girlfriends–Black Widow.
You can see how different Frank Miller was from all who came before him. In his hands, combat is hard. Fists make contact–the impact is not covered by a sound effect. And Bullseye isn’t just a novelty act who can make any item into a weapon–he’s a brutal source of animalistic violence.
And it’s not just the villains. These issues introduce Josie’s bar, where Daredevil regularly pummels lowlifes for information.
This is the first appearance of Josie’s Bar, and Daredevil smashes the front window.
This will be a recurring event.
Of course Daredevil wins in the ends, freeing Black Widow–in a scene at an amusement park. Note that she’s not just sitting around waiting to be rescued:
Strong women (and remarkably weak ones) were a hallmark of Miller’s run. (Notably, Elektra.)
The twist is that, once he realizes he’s lost, Bullseye retreats into insanity.
There have been psychotic breaks before in comics (but they’re rare). This one will have lasting impact on the Bullseye character.
This is also when we learn definitively that Ben Urich is investigating Daredevil–and suspects he is Murdock. The relationship between Daredevil and Ben Urich becomes a major component of the Daredevil storyline, sort of like Captain Stacy and Spider-Man. Reporters and cops always seem to be friends with capes.
Roger McKenzie is still credited as writer, but I can’t imagine Frank Miller didn’t have a lot of input as to script, storyline, plot, etc. He’s not getting credit for any of it yet, but he will be soon enough.
Also: Another Turk appearance:
