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Sequart.com ComicsFiles
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Chronologies
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Frank Miller
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Daredevil
· Daredevil #158-161, 163-167: Miller penciled these issues, inked by Klaus Janson (with Josef Rubinstein for #153, which featured the Hulk). These issues were mostly written by Roger McKenzie, with Frank Miller credited as co-plotter for #165 and #166, McKenzie’s last issue. David Michelinie stepped in to write #167. Daredevil was bimonthly at the time, and these issues carried cover dates of May, July, September, and November of 1979, followed by March, May, July, September, and November of 1980. #162 (cover-dated January of 1980) had art by Steve Ditko, a script by Michael Fleisher, and no involvement by Miller (or Michelinie, for that matter). #158 opens with Matt Murdock dating Heather Glenn, but the two break up in #160 and, by #163, Murdock sees Heather with another man. Natasha, the Black Widow and one of Daredevil’s love interests, appears in #158 and #160-161, in which she is captured and used as bait by Bullseye. She returns to Russia in #165 after she watches Daredevil help Heather out of a predicament and witnesses their rediscovered love. In #166, Glenn has again moved in with Murdock, a situation that persists until the end of these issues. #166 also features Foggy Nelson’s marriage. Along the way, Ben Urich investigates the connection between Murdock and Daredevil, beginning with #159 and running until #164, in which a successful Urich confronts Daredevil in the hospital and thus provides Daredevil with an opportunity to narrate his origin. Daredevil battles Bullseye (#159-161, ending in Bullseye going mad), the Death-Stalker (#158, in which the villain dies), the Hulk (#163), Doctor Octopus (#165), the Gladiator (#166), and an old man denied pension by his employer (#167, in which this sympathetic villain dies and Daredevil punches the employer). All in all, these issues show some great strength but are bogged down by standard super-heroic scenarios: the last story, for example, has the kind of humanitarian twist that would be welcome in Will Eisner’s Spirit stories – if not for the fact that the villain with whom even the hero comes to identify wields a suit of battle armor. These issues are available in toto in Daredevil Visionaries: Frank Miller, Volume 1 (Marvel Comics, 2000), a 176-page re-colored volume that smoothly and successfully removes the eye-straining Ben Day dots of the original. A previous volume, Daredevil: Marked for Death (Marvel Comics, 1990), reprinted #159-161 and #163-164 (featuring the Bullseye trilogy, the Hulk story, and the Ben Urich / origin story), but it lacks the re-coloring and glossy paper of its superior successor. For more information, see The Continuity Pages: Daredevil > Frank Miller Era (1979-1982).
· Daredevil #168-181: Miller took over as writer of the title with #168. He continued as penciler and Klaus Janson continued as inker. #168-170 were bimonthly and cover-dated January, March, and May of 1981. Daredevil went monthly with #171, cover-dated June of 1981. #172-181 were therefore cover-dated July of 1981 to April of 1982. Daredevil #181 was oversized and featured the famous death of Elektra. These issues were collected in Daredevil Visionaries: Frank Miller, Volume 2 (Marvel Comics, 2001). A previous volume, Daredevil: Gang War (Marvel Comics, 1992; reprinted, 1999), collected #169-172 and #180, but it lacks the slick paper and effective re-coloring work of its successor. For more information, see The Continuity Pages: Daredevil > Frank Miller Era (1979-1982).
· Daredevil #182-191: Miller continued as writer and penciler, while Klaus Janson continued as inker (through #190). #182-191 were cover-dated May of 1982 to February of 1983. These issues were collected, along with additional material, in Daredevil Visionaries: Frank Miller, Volume 3 (Marvel Comics, 2001). Punisher vs. Daredevil #1 (cover-dated June of 2000) previously reprinted, on normal comics paper, #183-184 (along with #257, from 1988, nicely written by Ann Nocenti and penciled by John Romita, Jr.), complete with the Ben Day dots. For more information, see The Continuity Pages: Daredevil > Frank Miller Era (1979-1982).
· The Elektra Saga #1-4: This mini-series reprinted, in slightly altered form to fit the pages and to eliminate most of the Ben Day dots, material from Daredevil #168-190 in an attempt to tell the full story of Elektra. The four oversized issues carried cover dates from February to June of 1984. Marvel published a 192-page collection, appropriately titled The Elektra Saga, in 1989. Because the material is slightly altered, whereas other collections simply reprinted selected issues, this collection cannot be rendered obsolete and stands as a separate retelling. For more information, see The Continuity Pages: Daredevil > Frank Miller Era (1979-1982).
· Daredevil #227-233: These issues saw Miller return to the series he had catapulted to fame. He wrote these issues, which were illustrated by David Mazzucchelli. I don’t know what the cover-dates for these issues were, but I own Daredevil #238, which carries a January of 1987 cover date. Working backward, Daredevil #233 would have had an August of 1986 cover date and Daredevil #227 a February of 1986 cover date. A collection of these issues, entitled Daredevil: Born Again, was published by Marvel in 1987. For more information, see The Continuity Pages: Daredevil > Frank Miller Redux (1986-1987).
· Daredevil: Love and War: Also known as Marvel Graphic Novel: Daredevil. Miller provided the writing and Bill Sienkiewicz the art. This original graphic novel carries a 1986 cover date. It almost certainly was published prior to Elektra: Assassin #1, given that Bill Sienkiewicz would almost certainly have had to complete this graphic novel prior to beginning eight months of solid work. Though this graphic novel features the Kingpin, as does Daredevil #227-233, the two seem to make no reference to each other. Because Daredevil #227 was published late in 1985 with a February of 1986 cover date, it is fairly likely that this original graphic novel appeared during those issues rather than before. I have therefore placed it between the two sequential works. For more information, see The Continuity Pages: Daredevil > Frank Miller Redux (1986-1987).
· Elektra: Assassin #1-8: Miller provided the writing and Bill Sienkiewicz the art. These issues were cover-dated from August of 1986 to June of 1987. They feature Elektra with no reference to her death in Daredevil #181. The original issues carried the line “The Lost Years” on the inside front cover after the title logo, but the 2000 edition of the trade paperback states the following on its back cover: “Whether she’s been miraculously resurrected or this is an untold tale from Elektra’s past is left for the reader to decide.” And, indeed, ambiguity is a major feature of the story, which contains mind reading and mind transfer, strange brain physiology, cyborgs, and a multiple stream of consciousness narrative that makes one feel as insane as some of the characters. The whole story, which also features Nick Fury and S.H.I.E.L.D. as well as arguably centering around a(n exaggerated) Presidential election and an unidentified monster (who seems a hallucination until it interacts with multiple characters and helps determine the story’s ending), may well be a hallucination itself, though this bogs us down in our own narrative expectations. Sienkiewicz’s art is stunningly good and remarkably varied, and the plot is noteworthy for its cyborgs, which clearly precipitate Robocop 2. The overall effect is that of a ton of brilliant elements comprising a tapestry that seems flawed as a whole. A collection quickly followed, but then went out-of-print until Marvel published a new edition in 2000. For more information, see The Continuity Pages: Daredevil > Frank Miller Redux (1986-1987).
· Elektra Lives Again: Miller wrote and provided the art for this absolutely stunning original graphic novel, published in 1990. For more information, see The Continuity Pages: Daredevil > Ann Nocenti Era (1986-1991).
· Daredevil: The Man Without Fear #1-5: Miller wrote it; John Romita, Jr. penciled it; and Al Williamson inked it. These five issues, telling Daredevil’s origin and expanding his early association with Elektra, were cover-dated from October of 1993 to February of 1994. A 160-page collection followed in October of 1994. For more information, see The Continuity Pages: Daredevil > D. G. Chichester Era (1991-1995).
Batman
· A short Batman story: Miller penciled a brief Christmas Batman story, scripted by Dennis “Denny” O’Neil and inked by Steve Mitchell, in 1980. It was reprinted in The Complete Frank Miller Batman, a 300-page limited volume from Longmeadow Press that also included Batman: The Dark Knight Returns and Batman: Year One, in 1989.
· Batman: The Dark Knight Returns #1-4: Miller wrote and provided the pencils, while Klaus Janson provided the inks, replicating the successful team from Daredevil. #1 was cover-dated March of 1986. These four issues introduced the prestige format in the U.S. and, with Watchmen (by Alan Moore and Dave Gibbons), is remembered for utterly transforming the super-hero genre. Batman: The Dark Knight Returns also led to the Elseworlds series, stories featuring DC characters set outside of normal continuity. DC published a 200-page collection late in 1986.
· Batman #404-407: David Mazzucchelli illustrated Miller’s scripts here as he had for Daredevil #227-233. Whereas Miller had tackled the end of Batman’s career in Batman: The Dark Knight Returns, here he concisely but convincingly addressed Batman’s first year fighting crime, including a well-characterized portrayal of Gordon and a revisionist portrayal of Catwoman. DC Comics collected these four issues as Batman: Year One in 1988. For more information, see The Continuity Pages: Batman > Year One Era (1986-Present).
· Spawn / Batman: Written by Miller, this was illustrated by Todd McFarlane, the creator of Spawn. Though this original graphic novella (of approximately 48 pages) billed itself as a “companion piece” to Batman: The Dark Knight Returns, it really takes place within Spawn’s stories, where it finds reference outside of this particular work, and takes place prior to Batman: The Dark Knight Returns, which it references not at all.
· A brief Batman: The Dark Knight Returns sequence: Miller illustrated the Batman: The Dark Knight Returns sequence in Superman and Batman: World’s Funnest (DC Comics, 2000), which also featured other major talents depicting major eras and events in DC history. The book was written by Evan Dorkin, and it is notable that it parodies Batman: The Dark Knight Returns (mostly because of its grim effects on later works) in the very sequence Miller illustrates.
· Batman: The Dark Knight Strikes Again #1-3: Miller wrote and illustrated this sequel to Batman: The Dark Knight Returns. Intervals of about two months separated each of these 80-page issues. So successful, the first issue was the top-selling book in comic book shops of the last five years.
Sin City
· Dark Horse Presents: Fifth Anniversary Special and Dark Horse Presents #51-62: The first and best Sin City story, written and illustrated by Miller. Published in serial form by Dark Horse Comics, which collected this story simply as Sin City in 1993.
· Sin City: A Dame to Kill For #1-6: The first Sin City mini-series, written and illustrated by Miller. Dark Horse collected these issues in 1994.
· Sin City: The Big Fat Kill #1-5: Written and illustrated by Miller; published by Dark Horse Comics, which collected these issues in 1996.
· Sin City: That Yellow Bastard #1-6: Written and illustrated by Miller; published by Dark Horse Comics, which collected these issues in 1997.
· Sin City: Family Values: An original graphic novel, written and illustrated by Miller, published by Dark Horse Comics in 1997.
· Sin City: Hell and Back #1-9: Written and illustrated by Miller, published by Dark Horse Comics from 1999-2000. Longer and featuring more color than any previous Sin City story, Dark Horse collected it all later in 2000.
For more information, see The Continuity Pages: Sin City.
Martha Washington
· Give Me Liberty #1-4: Written by Miller with art by Dave Gibbons and published by Dark Horse Comics, this four-issue prestige-format mini-series was the best of the Martha Washington series.
· Martha Washington Saves the World #1-3: Written by Miller with art by Dave Gibbons and published by Dark Horse Comics, this series took Martha Washington into space as she fought a sentient computer with plans for world domination.
For more information, see The Continuity Pages: Frank Miller.
Miscellaneous
· Wolverine (first series) #1-4: Miller provided the art for this four-issue mini-series, written by Chris Claremont. The project was an early spin-off from X-Men, then written by Claremont, and led to a long-lived ongoing Wolverine series. For more information, see The Continuity Pages: X-Men.
· Ronin #1-6: Miller wrote and provided the art for this six-issue mini-series, published by DC Comics with cover dates from July of 1983 to August of 1984. Each issue was oversized, and #6 featured a gatefold concluding sequence that folded out. DC published a 300-page collection in 1987. This work has grown in popularity over time. At worst, it is considered a dry run for Batman: The Dark Knight Returns, allowing Miller an opportunity to radically transform his art. At best, it is a successful work in its own right, full of successful experiments in paneled storytelling and in fusing medieval Japan (through Lone Wolf and Cub, a great influence on Miller) with a somewhat antiseptic and fascistic future. For more information, see The Continuity Pages: Frank Miller.
· Hard Boiled #1-3: Miller wrote this unforgettable magazine-sized mini-series, illustrated by Geof Darrow and published by Dark Horse Comics. Dark Horse would collect the three issues in 1992, then subsequently release Big Damn Hard Boiled, which featured the incredibly detailed art in black and white and on even larger pages.
· Spawn #10: Miller wrote this issue of the incredibly successful series that helped launch Image Comics. Todd McFarlane, Spawn’s creator, illustrated the issue, which was the third of four issues written by fantastic guest writers (otherwise including, respectively, Alan Moore, Neil Gaiman, and Dave Sim). Miller would return to Spawn in Spawn / Batman. This issue is collected in Spawn Volume 2, first published in 1996.
· The Big Guy and Rusty the Boy Robot #1-2: Following on Hard Boiled, Miller and Darrow collaborated again on these two issues, which were published by Dark Horse Comics with pages considerably larger than magazine size. Dark Horse collected the two issues in 1996, then subsequently released an even larger black and white version. Strangely, given the small number of pages (however large those pages might be) and the great violence detailed, these two characters were picked up and developed into a cartoon show for children, which included its own toy line.
· Bad Boy: Miller wrote this graphic novella, illustrated by Simon Bisley and published by Oni Press in 1997. Bad Boy was published in an oversized, spineless format. For more information, see The Continuity Pages: Frank Miller.
· 300 #1-5: Miller wrote and illustrated this often beautiful tale of the Spartans against the Persians at the “hot gates.” Published by Dark Horse Comics, these issues were collected in 1999 into a luxurious hardcover with twice the width as the original comic books, making each two-page set of panels fit on a single, widescreen page. For more information, see The Continuity Pages: Frank Miller.
· A brief Orion story: Miller illustrated a brief but stylish back-up story, entitled “Nativity” and scripted by Walter Simonson, in the third issue of Orion, Simonson’s attempted relaunch of the Jack Kirby’s New Gods. The story was collected, along with the rest of Orion #1-5 and two other short stories, in Orion: The Gates of Apokalips.