Marvel's Daredevil (2015)

“Not everyone deserves a happy ending.” — Matt Murdock

A city bleeds and a hero is born.

Elastic’s main titles for Daredevil — Marvel’s hardboiled foray into the world of episodic on-demand television — announce the series in grand fashion. Viewers are introduced to the violent, murky New York City that blind lawyer slash masked vigilante Matt Murdock calls home. An insidious, corrupting force is set upon the world, seeping out into the city, blood red, trickling down from the highest towers like hot wax, drowning the streets below. It’s there that a figure emerges — the Devil of Hell’s Kitchen — shaped by the city, formed by all that fear and ill intent — a part of it but compelled to oppose it.

Echoing the sloshing Chianti of Hannibal’s all-too-brief main titles and the raging black ooze of The Girl with the Dragon Tattoo, Daredevil’s blood-soaked opener serves as memorable calling card for the series. John Paesano’s minimalist main title track also leaves an indelible mark, the melancholy notes of a piano – like the show’s hero – are an island in a sea of darkness. Head bowed, horns out, a great weight washing over his shoulders. Good, bad, or something in between, this place makes you what you are.

A discussion with Elastic Creative Director PATRICK CLAIR, Illustrator/Designer YI-JEN LIU, CG Lead ANDREW ROMATZ and Fluids Lead MIGUEL A. SALEK.

First of all, congrats on the Emmy nominations for Daredevil and Halt and Catch Fire! Are you rooting for one or the other?

Patrick: We love them both. They were both made in such different ways at such different times. Halt and Catch Fire was created with a really small team, and it was a very creative design process with lots of iterations between me and Eddy Herringson. Daredevil was much more epic.

I directed that with the CGI…

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