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Frank Miller is one of the most influential people in American comics.
His work, while still quite young, on Marvel's
Daredevil in the early 1980s gained him
celebrity and helped to generate the revisionist movement in American super-heroics. His
1983-1984 mini-series for DC Comics, entitled Ronin, was a trailblazer for creator
control and better printing processes. In 1986, Miller unleashed a series of works that were
revolutionary and that still remain widely influential: his seminal
The Dark Knight Returns; his collaborations
with David Mazzucchelli on Daredevil's
Born Again storyline and then on
Batman's
Year One; and his collaborations
with Bill Sienkiewicz on the Daredevil graphic novel,
Love and War, and on the highly
experimental
Elektra: Assassin.
Following this, Miller moved to Hollywood and worked on the clever
Robocop 2, released in 1990; Miller also worked on Robocop 3, released in 1993.
1990 saw his delayed masterpiece,
Elektra Lives Again; 1993 saw
Miller return to Daredevil with
The Man Without Fear, illustrated by
John Romita, Jr. Miller also collaborated with Geof Darrow on
Hard Boiled and
The Big Guy and Rusty the Boy Robot. He collaborated with Dave Gibbons on the
Martha Washington series, beginning with Give Me Liberty. 1991 saw the debut of Miller's long-running independent series, the
stylistic black-and-white series
Sin City; several mini-series, one-shots,
and graphic novels would follow. In 1993 and 1994, Miller wrote an issue of
Spawn for Image Comics, returning to write
Spawn / Batman, his first work with Batman since the mid-1980s. In 1997, his
Bad Boy one-shot was published. And in 1998, he took a break from his continuing Sin
City work to create 300, a beautiful historical work about Spartans during the
Persian Wars. 2001 saw Miller's much-celebrated return to Batman with the very
successful
The Dark Knight Strikes Again.
He remains a vital voice in American comics, and even his more obscure work is very much worth
following. Miller's miscellaneous projects are as follows:
Following these is a list of other sites of interest. |
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Ronin was a six-issue mini-series, published in the prestige format
by DC in 1983. The series is remembered as historically important for creative freedom: Miller
was given unprecedented creative freedom for a mainstream publisher. Ronin is also
remembered for its format: it was the first series published in the prestige format, books of
48 pages on thicker, slicker paper -- in a time when most comics were still newsprint.
Moreover, the series is remembered for Miller experimenting with panel
constructions, pacing, and artistic style. Unburdened by the restraints of work-for-hire on
company-owned super-heroes, as well as the limitations of newsprint, Miller formulated a new
artistic style, distinct from his earlier
Daredevil work -- setting the artistic
stage for Miller's seminal
The Dark Knight Returns. Even the offset
printing of comics in real color required some attention, including visits to the press to
make sure the comic correctly carried Lynn Varley's moody color.
The series itself featured a samurai from 13th-Century fuedal Japan, cast
into the future along with his demonic, magical adversary. (Although few would say it, this
premise would also be that of Cartoon Network's acclaimed Samurai Jack.) Both the
choice of protagonist and the artistic style -- including the slower, more deliberate pacing --
was influenced by Miller's study of manga, primarily
Lone Wolf and Cub. The equally
compelling and amusing future into which the out-of-place honor-bound protagonist is thrown was
characterized by an expanding mechanical building that consumed the city in which it was
placed, and has been characterized as cyberpunk.
| Ronin #1 | |||
| Ronin #2 | |||
| Ronin #3 | |||
| Ronin #4 | |||
| Ronin #5 | |||
| Ronin #6 | |||
| Ronin | collects Ronin #1-6 |
The story of Martha Washington, always written by Frank Miller and
illustrated by Dave Gibbons, began in Give Me Liberty, a four-issue prestige-format
mini-series published by Dark Horse Comics in 1992. Begun in conversations between Miller and
Gibbons in the mid-to-late 1980s, in the wake of their stellar successes on
The Dark Knight Returns and
Watchmen (respectively): a series
blending political satire and Americana (for which the English Gibbons had a particular passion)
began to be developed. The hero would be someone who rose from abject circumstances through
self-pity to become a truly heroic figure, and to emphasize this initial difficulties Miller
made the protagonist a poor black woman named Martha Washington -- a name with rich American
resonance. The setting would be the near future, as the United States had broken up into
several extremist nations. Some of the most powerful sequences were those of young Martha
growing up in a ghetto, using her intelligence subversively, and joining the military as a way
out. Among the creative characters in the series was the Surgeon General, a government
minister who interpreted the removal of disease rather liberally. Among the creative devices
in the series was a gigantic robot of the mascot of the Big Boy fast food hamburger company,
a robot outfitted with cannons and weapons and that marched through the rainforest to secure it
for the company's beef interests. A wild romp through political satire and a bizarre,
dystopian future America, the series remains memorable if not quite revolutionary.
Give Me Liberty was followed by the five-issue mini-series Martha
Washington Goes to War in 1995, also published by Dark Horse Comics. The three-issue
mini-series, Martha Washington Saves the World, followed in 1999.
| Give Me Liberty #1 | |||
| Give Me Liberty #2 | |||
| Give Me Liberty #3 | |||
| Give Me Liberty #4 | |||
| Give Me Liberty | collects Give Me Liberty #1-4 | ||
| Martha Washington Goes to War #1 | |||
| Martha Washington Goes to War #2 | |||
| Martha Washington Goes to War #3 | |||
| Martha Washington Goes to War #4 | |||
| Martha Washington Goes to War #5 | |||
| Martha Washington Goes to War | collects Martha Washington Goes to War #1-5; published in November 1995 | ||
| Martha Washington Saves the World #1 | |||
| Martha Washington Saves the World #2 | |||
| Martha Washington Saves the World #3 | |||
| Martha Washington Saves the World | collects Martha Washington Saves the World #1-3; published in 1999 |
Tales to Offend was a delightful little book, a single issue with
two tales of the delightfully horrible space adventurer Lance Blastoff -- as well as a
Sin City short.
Bad Boy is a brief graphic novella that was published in a single,
oversized issue. Drawn by Simon Bisley, it was published by Oni Press in 1997.
| Tales to Offend #1 | contains two stories featuring the delightfully horrible space adventurer Lance Blastoff, plus the 8-page Sin City tale "Daddy's Little Girl"; features a cover in the EC style; cover-dated July 1997 | ||
| Bad Boy | larger than magazine size; published by Oni Press |
300 was published by Dark Horse Comics as a five-issue mini-series
in 1998. Featuring an artistic style closest to Miller's
Sin City work, though modified for color,
the series was a feast for the eyes, using the two pages as its central unit, with large images
and inset series of panels running over the fold between pages. The story was historical, that
of the Spartans' brave stand in 480 B.C. -- during the Persian Wars -- at the mountain pass
called the "Hot Gates." The tough Spartans do not talk overly much, and the dialogue of the
series is mercilessly sparse -- as well as touching.
| 300 #1 | |||
| 300 #2 | |||
| 300 #3 | |||
| 300 #4 | |||
| 300 #5 | |||
![]() Larger Version Available |
300 | collects 300 #1-5; twice the width as normal comics, allowing Miller's double-page spreads to breathe beautifully on a single, wide page; hardcover
[REVIEW AND PURCHASE THIS BOOK] |
Books on American comics and scholarly study of the same, once quite rare,
were steadily on the rise when The Comics Journal, the longest-running sophisticated
magazine on American comics, announced with little fanfare that it would begin a series of
books entitled The Comics Journal Library that would collect the interviews from the
journal's history, organized by creator with some new material. Though the first volume was on
Jack Kirby, the second was devoted to Frank Miller and represents a significant source for
studying Miller's body of work.
| The Comics Journal Library, Volume Two: Frank Miller | collects interviews from The Comics Journal #70 (from 1981), #101 (from 1985), #118 (from 1987), and two separate interviews from #209 (from 1998), along with a new interview for this volume; the 1987 interview, which concerns censorship, has three similarly-themed sidebars, (1) excerpts of Miller's statements from a panel conversation published in The Comics Journal #77, (2) a letter by Miller from #97, and (3) a short interview of Miller from #113; Elvis Mitchell introduction; includes a career overview by Larry Rodman; uses much art from Miller's work, including covers and a few obscure pieces (including pages of movie scripts) available nowhere else; published by Fantagraphics Books in 2003 |
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