By all logic, it's a story that shouldn't work. The power gap between hero and villain is huge. The villain's logic doesn't always follow. And the continuity between chapters is hardly air tight.

Yet, one of Daredevil's best Silver Age adventures overcomes all of that. It's a story that isn't much remembered today, and fans of the grim and gritty DD may not like it much. But a three-part Stan Lee story in late 1967 and early 1968 still stands out as one of DD's best.

You see, this is the story where Daredevil got to take on Dr. Doom single-handedly.

First a bit of background. The Lee-Gene Colan era is in full swing. Each issue is pretty free wheeling. As documented many places, Stan gave his artists lots of leeway. And Gene Colan took every bit that Stan would give him. In issues 35 and 36, DD and the Trapster had mixed it up all over Manhattan. The two opponents tumbled down into a New York subway station (evidently during off hours -- it's practically deserted). The police arrested the Trapster but didn't see an injured Daredevil. Our hero lays there for a while until he hears a noise. And then, in the final panel of issue 36, there's Dr. Doom.

Things were only getting started.

At the start of issue 37, Doom is beating our hero senseless. This is probably an example of Colan getting revved up to start an issue with an action scene. That's because as anyone who had read Fantastic Four stories featuring the good Doc knows, Doom does not normally resort to mere physical violence. Stan's fix? He has Doom mouthing something about how DD is so beneath him on the power scale, it'd be a waste to use his more sophisticated weapons. Okay, whatever. In the Lee-Colan days, you didn't have the time to think too much about these possible lapses.

DD is quickly overcome and Doom takes him to a waiting limousine. DD revives, tries to escape but is eventually taken to the Latverian embassy (presumably it's a consulate - the embassy would be in Washington). Some cat and mouse games ensue, including DD in a giant-sized room (how this is accomplished is never really explained; DD's senses tell him everything is real and he knows he hasn't shrunk).

All of this leads up to Doom's main plot: utilizing a device that switches bodies. At issue's end, DD (in Doom's body) is behind bars while Doom (in DD's body) is gloating about how he's going to destroy the FF.

It's a typical Stan Lee cliffhanger except for one thing: DD is blind. Wouldn't Doom notice? Wouldn't Matt react to seeing for the first time since he was a child?

One month later, in January 1968, a classic Colan cover graces issue 38. "The Living Prison" begins with Matt reflecting on being able to see (Stan later explained they didn't have enough space to work this in at the end of issue 37). But our hero can't dwell on being able to see, much as he might like. He correctly deduces that Doom treats the hired help pretty badly and wouldn't bother letting them in on his plans. So DD/Doom basically calls them down to the cell and orders them to let him go. He quickly adopts Doom's persona in treating the lackeys with contempt and tells them to chase down Daredevil.

While our hero isn't noted for being a scientific whiz, he does figure out Doom's communication devices and calls the FF to let them know what's happening. The Thing is suspicious (it is a rather tall tale, after all) but Reed Richards figures its on the up-and-up because DD knows the FF's communication frequencies.

Meanwhile, evil genius Doom (in DD's body) is only slowly figuring out that everything about DD isn't what it seems. He concludes (somewhat improbably) that DD uses the eye filters on his mask to deliberately obscure vision to heighten the other senses. (WHY?) Just goes to show evil geniuses don't always have it all figured out. In Doom's case, I guess he's thinking so much about how he's going to destroy the FF.

Then, Doom's flunkies descend on Doom/DD. Doom, though, again starts duking it out with them (guess fisticuffs can be habit-forming). In the middle of the fight, he proclaims only one man -- Victor Von Doom -- could fight so savagely. (Huh? I thought he never fought with his fists). Then, he removes one of DD's gloves to reveal -- a ring only worn by the ruler of Latveria. He mouths some mumbo-jumbo about making sure the ring stayed with him no matter which body his mind was in. The flunkies immediately make a beeline back to DD/Doom.

Our hero, in the meantime, is walking in the middle of Manhattan in Doom's body. He is then mugged by the lackeys. DD, not knowing all the devices in Doom's armor (much less how to work them), is starting to get overwhelmed. Then, a New York policeman happens by and arrests the flunkies.

DD/Doom quickly recovers and eventually catches up to the wily villain. He tells Doom to wait and listen to the next radio newscast. Our hero even hands Doom a transistor radio. DD/Doom returns to the embassy (or consulate), gets on the horn to officials back in Latveria and orders them to declare war on every surrounding neighboring country.

Well, that's the kind of thing that makes news and shortly therefter Doom (still in DD's body, remember) hears about it. He rushes back to the embassy, though being in DD's body must be somewhat intoxicating. He's depicted moving in very graceful ways (courtesy of Colan's artwork). Nothing is made of this, though it provides an interesting question: In the body transferring process, has some of DD's mind patterns been imprinted on Doom? And vice versa?

Anyway, our hero is patiently waiting for Doom to arrive. Their bodies are then switched. There's a brief (one panel) moment where DD seems to have some regret as his vision disappears. He quickly acts, grabs a nearby ax and destroys the body-switching machine (It must have taken Doom a lifetime to build this machine and since he can only live one lifetime...). Yet, Doom is rather calm and simply lets DD leave.

Anti-climatic? Not quite.

Doom then gets on the horn to the FF (guess those frequencies weren't as secure as Reed thought) and warns the FF that Doom is on the way...

Instead of waiting another month, we're told to get a copy of FF 73. In that issue comes a 20-page action fest courtesy of Stan Lee and Jack Kirby.

The FF (minus Susan Richards; she's pregnant and has been sent out of town by Reed) is getting ready for an assault by Doom. Reed has built some kind of giant energy cannon (I guess that's what it is) while the Human Torch is flying off to scout for the approaching Doom.

Our hero is calmly walking on the ledge of a building. Kirby goofs and draws DD's mask without eye filters in one panel. Before the reader can linger over this miscue, the Torch is attacking DD. Luckily, he maneuvers the Torch to flying into the top of a water tower. After fishing out the unconscious Torch, Spider-Man happens by and is, naturally, curious about what's going on. After a quick recap, Spidey volunteers his services and says he just saw Thor and will get him.

Before DD can say anything, Spidey is approaching Thor. One problem: Thor has been stripped of most of his powers by Odin (his hammer is no good for flying, for example). But Thor, being the noble (if long-winded) sort doesn't let that stop him from helping out.

DD, however, grows impatient and is heading to the Baxter Building. (WHY?) He's thinking he needs to tell Reed the secret of Doom's body-switching device. This doesn't quite follow, given Matt doesn't know *how* it works. Nevertheless, DD is under attack once more...

Suffice to say there's fighting a plenty. Our heroes divide into groups, DD fighting Reed, Spidey taking on the Torch and Thor duking it out with the Thing. The latter merits a full-page panel.
Thor: For Asgard -- and Honor Imperial!!
Thing: It's Clobberin' Time -- right back atcha!
The fight is broken up by none other than Susan Richards who returns and uses her force fields to break everything up. She's seen the news and knows that Doom is back in his home country.

Was this escapist nonsense? You bet. But looking back on the saga, one is impressed by the sheer amount of fun the creators seemed to be having. And the story moved. It's not until well after its conclusion that a reader even thinks much about the gaffes and inconsistencies. That's one reason why the story marks one of DD's high points during the Silver Age.