DAREDEVIL: YELLOW #4

Cover shows sharp corners, strong glossy surface, and no visible spine stress or ticks. Colors appear vibrant with no fading or staining evident, and there is no visible creasing or edge chipping in this photo. Book is in a protective sleeve, and interior/back cover were not assessed, so grade is capped conservatively based on the single visible surface.

Daredevil: Yellow was the first of the color-titled miniseries by writer Jeph Loeb and artist Tim Sale, published under the Marvel Knights banner in 2001 and framed as a letter from Matt Murdock to the late Karen Page. The six issues revisit the earliest Daredevil continuity – the yellow-and-black costume, the founding of Nelson and Murdock, and the courtship that defined Murdock's private life – with Sale's painted covers and stylized interiors and Matt Hollingsworth's muted palette establishing the visual approach the team would carry through Spider-Man: Blue and Hulk: Gray. Issue four sits in the middle of that arc, advancing the Murdock-Page-Nelson triangle rather than delivering a first appearance or origin beat, and its value rests on the series' standing as a signature Loeb/Sale collaboration rather than on any cataloged key event.

Market behavior for the title is concentrated at two points: the first issue, which draws the slab attention, and the complete six-issue run, which is how most copies change hands. Individual middle issues rarely appear as standalone certified lots, and the raw market treats them as inexpensive back-issue stock available in high grade because 2001 direct-market printing and immediate collector interest preserved many copies. Demand did firm after Tim Sale's death in 2022, when interest in his catalog broadened beyond the Heroes-era audience, but that lift landed mostly on first issues, original art, and the collected editions rather than on mid-run singles.

Buyers here are Sale completists assembling the color trilogy, Daredevil run collectors, and dealers filling sets for display alongside the hardcover editions. Across grades the spread is compressed rather than steep: raw copies trade as commodity moderns with little separation between very good and near mint, while certified 9.8 examples command a real multiple simply because so few have been submitted. A collector wanting the story is better served by the run or the collection; a collector wanting a graded shelf copy should expect the census, not the print run, to set the price.