[comics] Frank Miller’s “Famous Detective Pin-Up” portfolio … a gallery of Frank Miller art about classic pulp detectives.

[comics] The UKCAC ’86 Portfolio [Page 1 | Page 2 | Page 3 | Page 4 | Page 5 | Page 6 | Page 7 | Page 8 | Page 9 | Page 10 | Page 11 | Page 12] … A great collection of sketches produced at a UK Comic Convention in 1986. Sketches from Alan Moore, Dave Gibbons, Frank Miller, Bill Sienkiewicz, Kevin O’Neill and many more…

[comics] Steve Oliff’s Hand Painted Colours for 1982 Wolverine art from Frank Miller and Joe Rubinstein … Spotted on The Bristol Board.

[comics] Frank Miller: ‘I wasn’t thinking clearly when I said those things’ … Revealing interview with Frank Miller. ‘It’s worth noting that whatever his detractors may think of his politics, Miller still happily inveighs against “white, heterosexual family values” and has no interest in defending his views on Occupy Wall Street. “I wasn’t thinking clearly,” he confesses. Does he support Donald Trump? “Real men stay bald,” he says with a grin, lifting his hat to run a hand over his bare scalp.’

[comics] If Frank Miller drew Bananaman …

[comics] Remembering Frank Miller’s Ronin [Intro | Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6] … a long, detailed look at Frank Miller’s first attempt to breakout from the confines of mainstream comics …

‘Though it didn’t sell well when first released, Ronin has never been out of print and has continued to gain accolades from fans and pros alike. It’s now seen in its rightful light: as an audacious, bold attempt by a young creator to step outside of his comfort zone. Many praise Miller’s daring and smart storytelling, while also praising his “fusion” art style. The love story at the center of the book also merits attention for its wonderful sweetness and intriguingly kind approach to the couple.’

[comics] “You know, honey… …we never talk…”

[comics] Original hand-painted color guides by Frank Miller … some interesting original art found on The Bristol Board …

[comics] Comics You Should Own – Elektra: Assassin … another look at one of my favourite comics … ‘I suppose this should be called a guilty pleasure, because there’s only a little in these comic books that is socially redeeming in any way. From the first few pages, Miller and Sienkiewicz grab us by the throat and refuse to let go. It’s impressive, when you read these in one sitting, how the creators keep the high level of energy over eight issues. There’s very little fluff here, which is amazing, considering the padding we often see in comics today. Even the “down time” in this book is packed with little details, both in the writing and the art, that doesn’t leave us much time to catch our breath…’

[comics] Elektra: Assassin’s Political Satire Cuts Deep 30 Years Later … revisiting Miller & Sienkiewicz’s masterpiece … ‘I can’t overstate how much fun Miller and Sienkiewicz are having in this series. They’re two virtuoso talents at the peak of their powers, making satiric hay out of politics, government, the military, gender stereotypes and other comic books, which were (and still generally are) weak sauce compared to this.’

[comics] Gallery of Frank Miller Covers to Daredevil … the cover below is Miller inked by Wally Wood. This was Wood’s last work on Daredevil.

[comics] Bizarro Back Issues: ‘RoboCop vs. The Terminator’ … Chris Sims wonders if RoboCop vs. The Terminator was Frank Miller’s last great comic … ‘All of which is to say that this comic end up blowing up into a scene where an army of RoboCops fights an army of Terminators, and not only is it so awesome, it’s also completely justified by the story being told. Assuming, of course, that you’re the kind of person who requires justification to see Walt Simonson drawing an army of Terminators fighting an army of RoboCops.’

[comics] After His Public Downfall, Sin City’s Frank Miller Is Back (And Not Sorry) … fascinating profile of Frank Miller …

At the turn of the millennium, Miller and Varley were working on their long-awaited Dark Knight sequel. It was initially hatched as a romp, a reinjection of Day-Glo fun into what had become a relentlessly grim superhero landscape. They were about halfway through the series on September 11, 2001. By this time Miller had moved back to New York, and the assault on his home disturbed him deeply—which again quickly became apparent in his work. In the later issues, Batman decides to let an alien force destroy Metropolis and its citizens, Captain Marvel is killed, and Batman kills a genetically manipulated Robin by hurling him into a lava-filled chasm. “I think there was a PTSD effect,” Varley says of 9/11. “I think many people didn’t get over it, that it will continue to affect their lives forever. And I think Frank is one of those people.”

[comics] Dear Hollywood: Stop Using Frank Miller’s Batman Stories As Source Material … ‘Experimentation is what has kept superhero comics alive from Batman’s first appearance until this year’s Batman Day. Indeed, The Dark Knight Returns and Year One were huge risks when they hit the stands. But on the big screen, DC is beating Frank Miller’s ideas into the ground. There’s nothing inherently wrong with Miller’s twin Batman epics. But there is something creatively bankrupt about studios focusing on them so monomaniacally. As Miller himself once said, “There are 50 different ways to do Batman and they all work.” Our fate is sealed for Batman v. Superman, but we have to imagine a better future. If an ambitious filmmaker wants to make a truly innovative Batman movie, he or she needs to put Frank’s hard-boiled sagas back on the shelf…’

[comics] Matt Fraction on Batman #405 … interesting analysis of two pages from Frank Miller and David Mazzucchelli’s “Year One” arc on Batman … ‘Miller’s still calling shots here more often than not. The longer and longer I’ve written comics the less and less interested in that control I become; besides, if you write your shit the right way the variations of interpretation any artist worth a good goddamn will come at you with will all be what you wanted or better anyway… There are no significant coloring notes at all nor environmental ones — the rain it would appear was entirely Mazzucchelli, the time of night and everything else Lewis, smartly working backwards from the following issue.’

[comics] Cover Version: Daredevil 230 and Cutting Techniques … an analysis by Matt Fraction of one issue of Frank Miller and David Mazzucchelli’s classic “Born Again” arc … ‘Miller’s work, which at its most baroque during this phase could be almost Faulknerian in its narrative shifts, tells “Born Again” across multiple plotlines and times. There are two different first person narrators and a close-third omniscient narrator. there is literally one instance of a nondiagetic narrative insertion in the issue of three total across the whole storyline. And the cuts come anywhere and everywhere — at some points across four different locations/times/storylines on a single page. what i really wanted to do was pick his sense of cutting apart a little bit, just to get a feel for how they did it. i wanted to pay attention to that tonight.’

[comics] Tom Spurgeon On Frank Miller’s Daredevil … ‘Frank Miller was basically a zygote he was so young when those issues were coming out. Having arrived in comics at the end of the realism and relevance period, Miller could pick and choose which elements best suited his general approach to the character. Like a lot of writers, he ratcheted up the specter of violence by moving characters away from settling matters with their fists and into an era where everyone you ran into had a bladed weapon of some sort and wasn’t afraid to use it. There were a few guns, and a lot of guts. Wading into a bunch of guys with swords and knives felt different than seeing a hero plough into a wave of Moloids or a bunch of random dudes from the Serpent Society, slugging away all the while. It seemed an appropriate response to what we expected from entertainment in a post-Dirty Harry world.’

[comics] Some Thoughts on David Mazzucchelli’s Daredevil: Born Again Artist’s Edition … ‘This is a book made more for looking than for reading, I couldn’t stop reading it. It’s Miller’s finest application of his hard boiled noir obsession to comic book heroes. There’s an emotional intelligence here that immerses us in the particular world being depicted, so that the characters around Daredevil, particularly the writer Ben Urich, assume primary importance. Urich is intimidated, his wife is nearly killed, and finally he himself kills, all in harrowing detail, and all because of the ripples from his subject’s actions. Yes, the Catholic redemption of Daredevil is important, but nothing is more (to use Mazzucchelli’s phrase in his introduction) gut-wrenching than watching the smashed up lives of the minor characters.’

[comics] ‘Dark Knight Returns’ Page Up for Auction … ‘The original artwork for the splash page from issue No. 3, which features Batman leaping through the skyline along with his new Robin, Carrie Kelley, the first female to hold that role, is up for bidding at Heritage Auctions. The bid is currently at $100,000.’

[comics] (Fake) Frank Miller is on Twitter … ‘HOPE ROB LIEFELD DONT SAY BALLS NASTY. FRANKY, HE NO SHIV, HE SAY RELAX, MY MON.’

[comics] Master Post: Frank Miller … fabulous Scans_Daily post showcasing some Frank Miller miscellanea from the 1980’s …

[comics] Frank Miller’s ‘Dark Knight’ brought Batman back to life … a look back at Miller’s Dark Knight Returns … ‘For his part, Miller says, “There are 50 different ways to do Batman and they all work. In fact, I’ve probably done about ten of them. I was once asked if I felt like I’d been handed a Ming vase” when he first took on the character. “I said no, it’s more like an unbreakable diamond. I could smash it against the wall or ceiling without hurting it. It’s just a matter of finding a facet no one’s used before.”‘

[comics] Funny Adam West Batman / Frank Miller Dark Knight Returns Mashup …

[comics] Revenge of the Dark Knight — profile of Frank Miller … ‘Miller got famous for fight scenes that played like ballet across comic book pages bounded by rooftop water towers and dingy alleyways of Hell’s Kitchen in New York. Now he is far from his New York world and getting further from comics, where he has been a beloved figure; if this Hollywood player’s romance is a passing affair, can he comfortably go back to just the small pages? “That’s the hardest question. I love that community and love the freedom I have had there and the success there and appreciation. But I’m on this new adventure right now.”‘

[comics] Frank Miller and Jeff Smith’s All-Star Shazam …

[film] 300 — movie trailer for Frank Miller’s 300. ‘Spartans! Ready your breakfast and eat hearty… For tonight we dine in hell!’

[comics] ‘300’ Comic-to-Screen Comparison — blog entry comparing images from Frank Miller’s comic on the Battle of Thermopylae to the movie trailer for 300. [via linkbunnies.org]

[comics] 10,000 Reasons Civilization is Doomed … ‘Reason 281: Frank Miller’

[comics] WonderCon ’06: Holy Terror, Batman! — details on Frank Miller’s new 911-inspired comic … ‘Miller doesn’t hold back on the true purpose of the book, calling it “a piece of propaganda,” where “Batman kicks al Qaeda’s ass.” The reason for this work, Miller said, was “an explosion from my gut reaction of what’s happening now.” He can’t stand entertainers who lack the moxie of their ’40s counterparts who stood up to Hitler. Holy Terror is “a reminder to people who seem to have forgotten who we’re up against.”‘

[comics] The Story Behind the Microsoft Font Comic Sans — It’s all Frank Miller and John Constanza’s fault: ‘I started with the font drawing software Macromedia Fontographer, trying to make the capitals in a similar form as the lettering used in DC, Marvel and all other company’s comic books. The Dark Knight Returns a Batman book was one of the books I referenced often.’

[comics] Dourdevil: Grit! — Alan Moore and Mike Collins spoof Frank Miller’s Daredevil Run …