Frank Miller
Frank Miller is an American comic book creator, screenwriter, and director known for his comic book stories and graphic novels such as his run on Daredevil, for which he created the character Elektra, and subsequent Daredevil: Born Again, The Dark Knight Returns, Batman: Year One, Sin City, Ronin, and 300.
Miller is noted for combining film noir and manga influences in his comic art creations. He said: "I realized when I started Sin City that I found American and English comics to be too wordy, too constipated, and Japanese comics to be too empty. So I was attempting to do a hybrid." Miller has received every major comic book industry award, and in 2015 he was inducted into the Will Eisner Award Hall of Fame.
Miller's feature film work includes writing the scripts for the 1990s science fiction films RoboCop 2 and RoboCop 3, sharing directing duties with Robert Rodriguez on Sin City and Sin City: A Dame to Kill For, producing the film 300, and directing the film adaptation of The Spirit. Sin City earned a Palme d'Or nomination.
Early life
Miller was born in Olney, Maryland, on January 27, 1957, and raised in Montpelier, Vermont, the fifth of seven children of a nurse mother and a carpenter/electrician father. His family was Irish Catholic.Career
Miller grew up a comics fan; a letter he wrote to Marvel Comics was published in The Cat #3. His first published work was at Western Publishing's Gold Key Comics imprint, received at the recommendation of comics artist Neal Adams, to whom a fledgling Miller, after moving to New York City, had shown samples and received much critique and occasional informal lessons. Though no published credits appear, he is tentatively credited with the three-page story "Royal Feast" in the licensed TV series comic book The Twilight Zone #84, by an unknown writer, and is credited with the five-page "Endless Cloud", also by an unknown writer, in the following issue. By the time of the latter, Miller had his first confirmed credit in writer Wyatt Gwyon's six-page "Deliver Me From D-Day", inked by Danny Bulanadi, in Weird War Tales #64.Former Marvel editor-in-chief Jim Shooter recalled Miller going to DC Comics after having broken in with "a small job from Western Publishing, I think. Thus emboldened, he went to DC, and after getting savaged by Joe Orlando, got in to see art director Vinnie Colletta, who recognized talent and arranged for him to get a one-page war-comic job." The Grand Comics Database does not list this job; there may have been a one-page DC story, or Shooter may have misremembered the page count or have been referring to the two-page story, by writer Roger McKenzie, as "Slowly, painfully, you dig your way from the cold, choking debris" in Weird War Tales #68. Other fledgling work at DC included the six-page "The Greatest Story Never Told", by writer Paul Kupperberg, in that same issue, and the five-page "The Edge of History", written by Elliot S. Maggin, in Unknown Soldier #219. His first work for Marvel Comics was penciling the 17-page story "The Master Assassin of Mars, Part 3" in John Carter, Warlord of Mars #18.
At Marvel, Miller settled in as a regular fill-in and cover artist, working on a variety of titles. One of these jobs was drawing Peter Parker, The Spectacular Spider-Man #27–28, which guest-starred Daredevil. At the time, sales of the Daredevil title were poor but Miller saw potential in "a blind protagonist in a purely visual medium", as he recalled in 2000. Miller went to writer and staffer Jo Duffy and she passed on his interest to editor-in-chief Jim Shooter to get Miller work on Daredevil's regular title. Shooter agreed and made Miller the new penciller on the title. As Miller recalled in 2008:
''Daredevil'' and the early 1980s
Daredevil #158, Miller's debut on that title, was the finale of an ongoing story written by Roger McKenzie and inked by Klaus Janson. After this issue, Miller became one of Marvel's rising stars. However, sales on Daredevil did not improve, Marvel's management continued to discuss cancellation, and Miller himself almost quit the series, as he disliked McKenzie's scripts. Miller's fortunes changed with the arrival of Denny O'Neil as editor. Realizing Miller's unhappiness with the series, and impressed by a backup story Miller had written, O'Neil moved McKenzie to another project so that Miller could try writing the series himself. Miller and O'Neil maintained a friendly working relationship throughout his run on the series. With issue #168, Miller took over full duties as writer and penciller. Sales rose so swiftly that Marvel once again began publishing Daredevil monthly rather than bimonthly just three issues after Miller became its writer.Issue #168 saw the first full appearance of the ninja mercenary Elektra—who became a popular character and star in a 2005 motion picture—although her first cover appearance was four months earlier on Miller's cover of The Comics Journal #58. Miller later wrote and drew a solo Elektra story in Bizarre Adventures #28. He added a martial arts aspect to Daredevil's fighting skills, and introduced previously unseen characters who had played a major part in the character's youth: Stick, leader of the ninja clan the Chaste, who had been Murdock's sensei after he was blinded and a rival clan called the Hand.
File:Daredevil cover - number 168.png|thumb|upright|Daredevil #168, Elektra's debut. Cover art by Miller and Klaus Janson
Unable to handle both writing and penciling Daredevil on the new monthly schedule, Miller began increasingly relying on Janson for the artwork, sending him looser and looser pencils beginning with #173. By issue #185, Miller had virtually relinquished his role as Daredevil's artist, and he was providing only rough layouts for Janson to both pencil and ink, allowing Miller to focus on the writing.
Miller's work on Daredevil was characterized by darker themes and stories. This peaked when in #181 he had the assassin Bullseye kill Elektra, and Daredevil subsequently attempt to kill him. Miller finished his Daredevil run with issue #191, which he cited in a winter 1983 interview as the issue he is most proud of; by this time, he had transformed a second-tier character into one of Marvel's most popular. Additionally, Miller drew a short Batman Christmas story, "Wanted: Santa Claus – Dead or Alive", written by Dennis O'Neil for DC Special Series #21. This was his first professional experience with a character with which, like Daredevil, he became closely associated. At Marvel, O'Neil and Miller collaborated on two issues of The Amazing Spider-Man Annual. The 1980 Annual featured a team-up with Doctor Strange while the 1981 Annual showcased a meeting with the Punisher.
As penciller and co-plotter, Miller, together with writer Chris Claremont, produced the miniseries Wolverine #1–4, inked by Josef Rubinstein and spinning off from the popular X-Men title. Miller used this miniseries to expand on Wolverine's character. The series was a critical success and further cemented Miller's place as an industry star. His first creator-owned title was DC Comics' six-issue miniseries Ronin. In 1985, DC Comics named Miller as one of the honorees in the company's 50th-anniversary publication Fifty Who Made DC Great.
Miller was involved in a few unpublished projects in the early 1980s. A house advertisement for Doctor Strange appeared in Marvel Comics cover-dated February 1981. It stated "Watch for the new adventures of Earth's Sorcerer Supreme—as mystically conjured by Roger Stern and Frank Miller!". Miller's only contribution to the series was the cover for Doctor Strange #46. Other commitments prevented him from working on the series. Miller and Steve Gerber made a proposal to revamp DC's three biggest characters: Superman, Batman, and Wonder Woman, under a line called "Metropolis" and comics titled "Man of Steel" or "The Man of Steel", "Dark Knight" and "Amazon". However, this proposal was not accepted.
''Batman: The Dark Knight Returns'' and the late 1980s
In 1986, DC Comics released the writer–penciller Miller's Batman: The Dark Knight Returns, a four-issue miniseries printed in what the publisher called "prestige format"—squarebound, rather than stapled; on heavy-stock paper rather than newsprint, and with cardstock rather than glossy-paper covers. It was inked by Klaus Janson and colored by Lynn Varley. The story tells how Batman retired after the death of the second Robin and, at age 55, returns to fight crime in a dark and violent future. Miller created a tough, gritty Batman, referring to him as "The Dark Knight" based upon his being called the "Darknight Detective" in some 1970s portrayals, although the nickname "Dark Knight" for Batman dates back to 1940. Released the same year as Alan Moore's and Dave Gibbons' DC miniseries Watchmen, it showcased a new form of more adult-oriented storytelling to both comics fans and a crossover mainstream audience. The Dark Knight Returns influenced the comic-book industry by heralding a new wave of darker characters. The trade paperback collection proved to be a big seller for DC and remains in print.By this time, Miller had returned as the writer of Daredevil. Following his self-contained story "Badlands", penciled by John Buscema, in #219, he co-wrote #226 with departing writer Dennis O'Neil. Then, with artist David Mazzucchelli, he crafted a seven-issue story arc that, like The Dark Knight Returns, similarly redefined and reinvigorated its main character. The storyline, "Daredevil: Born Again", in #227–233 chronicled the hero's Catholic background and the destruction and rebirth of his real-life identity, Manhattan attorney Matt Murdock, at the hands of Daredevil's nemesis, the crime lord Wilson Fisk, also known as the Kingpin. After completing the "Born Again" arc, Frank Miller intended to produce a two-part story with artist Walt Simonson but it was never completed and remains unpublished.
Miller and artist Bill Sienkiewicz produced the graphic novel Daredevil: Love and War in 1986. Featuring the character of the Kingpin, it indirectly bridges Miller's first run on Daredevil and Born Again by explaining the change in the Kingpin's attitude toward Daredevil. Miller and Sienkiewicz also produced the eight-issue miniseries Elektra: Assassin for Epic Comics. Set outside regular Marvel continuity, it featured a wild tale of cyborgs and ninjas, while expanding further on Elektra's background. Both of these projects were critically well received. Elektra: Assassin was praised for its bold storytelling, but neither it nor Daredevil: Love and War had the influence or reached as many readers as Dark Knight Returns or Born Again.
Miller's final major story in this period was in Batman issues 404–407 in 1987, another collaboration with Mazzucchelli. Titled Batman: Year One, this was Miller's version of the origin of Batman in which he retconned many details and adapted the story to fit his Dark Knight continuity. Proving to be hugely popular, this was as influential as Miller's previous work. A trade paperback released in 1988 remains in print, and is one of DC's best selling books. The story was adapted as an original animated film video in 2011.
Miller illustrated the covers for the first twelve issues of First Comics' English-language reprints of Kazuo Koike and Goseki Kojima's Lone Wolf and Cub. This helped bring Japanese manga to a wider Western audience. During this time, Miller had been in dispute with DC Comics over a proposed ratings system for comics. Disagreeing with what he saw as censorship, Miller refused to do any further work for DC, and he took his future projects to the independent publisher Dark Horse Comics. From then on Miller was a major supporter of creator rights and became a major voice against censorship in comics.