It isn't an overstatement to say that, since it was re-launched in 1998 under the "Marvel Knights" banner, 'Daredevil' has consistently one of the best mainstream superhero comics in publication. Propelled by cult film-maker, Kevin Smith, and indie comics veteran, David Mack, then taken to even greater heights by fan favourite writers, Brian Michael Bendis and Ed Brubaker, 'Daredevil' re-entered a peak only achieved during the legendary Frank Miller run.
It isn't a stretch to say that the main reason for this resurgence of 'Daredevil' greatness was due entirely to the fact that Marvel allowed these top creators the freedom to do pretty much whatever they wanted with the series. When Marvel faced bankruptcy in the face in the late '90s, they did what Hollywood did in the '70s when desperation became too much - they financed talented young creators to simply "create" without interference from executives and suits from the marketing department. The Marvel Knights imprint was one of Marvel's first experiments during this period, and being published under this banner meant that Daredevil essentially existed in his own "corner" of the Marvel Universe. Even after 'Daredevil' shedded the Marvel Knights skin, it still retained its creative freedom, and any references to the wider Marvel Universe were friendly, sometimes amusing, gestures to remind the reader that other things were happening outside of Hell's Kitchen.
But when Marvel decided to revert to the original numbering with 'Daredevil' #500 (which, under vol. 2, would have been #120), it wasn't just a number on the cover that "went back". Due to the events of the 'Secret Invasion' crossover, Daredevil was no longer playing in his own little corner. Marvel, now one of the biggest brands in the world, have returned to an editorial dictatorship not seen since before the looming bankruptcy. 'Daredevil', the only major superhero title they still published that wasn't interwoven into the myriad of crossovers and "blockbuster events", needed to conform or die.
And so this story, written by an incredibly talented writer who, no doubt, had hardly any actual say in what to write, is the bridge to that end. From the very beginning, Daredevil is thrust into the fallout from 'Secret Invasion'. But, while there's not a great deal else that deals with the events of the wider Marvel Universe, this story serves no purpose other than to set the stage for the "blockbuster crossover event" of summer 2010, 'Shadowland'.
I don't want to comment on 'Shadowland' itself (I'll no doubt do that in spades for its own review), but I will say that there is very little point in reading 'The Devil's Hand' unless you plan on following it up with 'Shadowland'. When you take away the wider implications of this "new chapter" of Daredevil's career, 'The Devil's Hand' isn't actually a bad story. Seeing DD contend with the fallout from 'Secret Invasion' is, admittedly, interesting. However, Daredevil's new role as the leader of The Hand, while also an interesting development, isn't explored as well as it could have been. Half of the book is too busy concerning itself with the same plots that we've seen a million times before, thinly masked by the pretence that "everything is different now" because of 'Secret Invasion'. He may be dressed up as Hawkeye now, but that's still Bullseye tormenting DD. There's yet another vacuum for power in Hell's Kitchen now that, once again, the underworld sees the Kingpin as finished. But the Kingpin, of course, is really just playing with everyone, especially Daredevil. Meanwhile, Foggy Nelson is disbarred and cracking under the pressure, while Matt Murdock is slipping further than ever over the edge. That about sums up the first half.
As far as the same old story goes though, at least this one tries to be somewhat different. It's not bad, but it's not especially good. It gets a lot more interesting in the second half, but cuts short just as the "new direction" looks like it might show its worth (which, by the way, it won't). Interesting but avoidable.