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This is a collage featuring humor in The Dark Knight Strikes Again by Frank Miller, and a rebuttal to accusations that Frank Miller's comics are all darkness, grim and gritty. There is character driven humor in his Batman comics with lighter moments of comic relief with humorous banter between the characters. Frank Miller wasn't trying to eliminate humor, quite the opposite. Superman's "It tickles!" Which is Frank Miller's tribute to a classic Golden Age Superman cover from Superman #32 (1945) by Wayne Boring. And the Flash disarming and depants Luthor's solders is a hilarious way to stop them and embarrass and humiliate them.
Frank Miller explained, "I felt that in the midst of all of this sturm and drang (grim and gritty), we’d (the comic book industry) lost some of the central joy of the heroes. I wanted to get right back to the bone and break it all down, and show you that the Flash was cool because he’s really quick, and I don’t give a damn about his marriage. The Atom’s cool because he gets really little. The way I chose to make that cooler was instead of showing him getting smaller; I showed everything else around him getting bigger (from the Atom's perspective). But again, I don’t care about the Atom’s love life. One after the other, I was looking at the characters and getting back to what made them so cool at their core."
convergingtoacenter.blogspot.c…
Frank Miller said, "I've seen all these characters of my childhood fall into disarray. Things have gotten so dreary. The elegance of Gil Kane is gone. You don't see the sheer joy of Green Lantern's power ring. The magic of somebody like the Flash-somebody who's able to move so fast that you can't see him move-is gone. There's no sense of the basic wish that any of these characters have. Allow me a disclaimer: I'm talking about the overall direction I see superhero comics going, not damning each and every title out there. I'm sure there's some good stuff going on that I just haven't seen. But the trend is depressing, and dumb. Why Green Lantern became a drunk driver (Green Lantern: Emerald Dawn (1990) by Keith Giffen) when he can fly always loses me. And I'm told they turned him into a mass murderer as well (Green Lantern: Emerald Twilight (1994) by Ron Marz). The fun's gone out of it. I want to try my hand at bringing it back. Perhaps there is a touch of nostalgia in this, and if so, I'm not ashamed about it."
www.comicbookresources.com/?pa…
As to Frank Miller's changing drawing style, he was freeing himself of the Neal Adams conventions, he was developing his own drawing style. As Kelley Jones said, "One of the things that always really made people cut the mustard was developing a style is the single most difficult thing to do and in developing a style you have to develop your mind, so..Yeah, and it's hard to do. It's hard to do. If you just find that, well, this guy is doing this, and people seem to respond to it, I'll just do that, too. Well, after a while you have fifty guys all doing the same thing and it's wallpaper. Seen it once, seen it all." www.comic-art.com/interviews/j…
Frank Miller said on the documentary Masterpiece: Frank Miller's Batman: The Dark Knight Returns (2013), "In the course of drawing Batman, he's transformed across the (Dark Knight Returns) series. He starts out as kind of a Neal Adams Batman. And he ends of being more like the incredible Hulk or something. I felt by the mid-point of the series I really found my Batman."
Frank Miller, Comics Interview # 31 (1986): "I base my Batman on Jerry Robinson's and Dick Sprang's. The strongest presentation of the character to date has come from the Forties. There was something in the art back then that made him look huge."
Frank Miller explained on the documentary Masterpiece: Frank Miller's Batman: The Dark Knight Returns, "In Dark Knight, we (Frank Miller and inker Klaus Janson) began to drift apart creatively, because I was into all of the European stuff and the Japanese stuff, and all of that, and he was still very much in the tradition of DC (Neal Adams-esque). There was one issue where I redid a bunch of it because I wanted a certain look."
"I try to adapt my style as I go,” Frank Miller explained. “You’ll see Sin City looks nothing like Ronin. 300 doesn’t look like anything I’d ever done before. The work I’m doing now is very much its own thing. It’s a matter of an artist adapting to the material.” Pretty ballsy. www.nycgraphicnovelists.com/20…
Frank Miller explained in Frank Miller: The Comics Journal Library (2003), "By the way of Alley Oop (1932 comic strip by V.T. Hamlin), again, I was trying to make the (superhero) stuff less formal. I wanted the superheroes to build up the parts of them that I thought would make them look the most heroic. In the case of Batman, I went big shouldered and big formed and obviously gigantic hands and feet. It was a variation on what I do, for instance, with the women in Sin City, where they break down to a few curves to evoke. It was an attempt at something, because I thought everything had gotten too damn realistic. I like to enjoy what comic books can do that film can’t." 4thletter.net/2009/04/sons-of-…
In Amazing Heroes # 102 (1986) Frank Miller congratulated David Mazzucchelli for trying to develop his own art style on Batman: Year One. "David is, I believe, a realist, but he's also a cartoonist. David's work is not photographic in the least, but he does his best to make his work believable. His work is becoming more direct, less decorative, less deliberately pretty. Step by step, he's freeing himself of a lot of the post-Kirby (Neal Adams) conventions of the '60s and '70s that have almost swallowed up comics, and he's moving into work that I think is closer to his own heart. His work is finding it's own place, going directly back to the era of Johnny Craig, and even further back to the era of Alex Toth."
Frank Miller explained in Frank Miller: The Comics Journal Library (2003), "I'm getting cartoonier. My feeling is that we can really not compete with films, and we might as well do what we do better. Also, I'm turned on by the stuff that guys like James Kochalka are doing. Because it's reminding me of why I got into drawing comics. The absolute personal nature of it. When I read a Kochalka book, I feel like I did when I was an 8-year-old kid with some folded-over typing paper stapled in the middle and I was just drawing. It's deliberately unprofessional. I like that aspect of it and feel the energy of that is something that has to be recaptured."
Frank Miller explained, "I felt that in the midst of all of this sturm and drang (grim and gritty), we’d (the comic book industry) lost some of the central joy of the heroes. I wanted to get right back to the bone and break it all down, and show you that the Flash was cool because he’s really quick, and I don’t give a damn about his marriage. The Atom’s cool because he gets really little. The way I chose to make that cooler was instead of showing him getting smaller; I showed everything else around him getting bigger (from the Atom's perspective). But again, I don’t care about the Atom’s love life. One after the other, I was looking at the characters and getting back to what made them so cool at their core."
convergingtoacenter.blogspot.c…
Frank Miller said, "I've seen all these characters of my childhood fall into disarray. Things have gotten so dreary. The elegance of Gil Kane is gone. You don't see the sheer joy of Green Lantern's power ring. The magic of somebody like the Flash-somebody who's able to move so fast that you can't see him move-is gone. There's no sense of the basic wish that any of these characters have. Allow me a disclaimer: I'm talking about the overall direction I see superhero comics going, not damning each and every title out there. I'm sure there's some good stuff going on that I just haven't seen. But the trend is depressing, and dumb. Why Green Lantern became a drunk driver (Green Lantern: Emerald Dawn (1990) by Keith Giffen) when he can fly always loses me. And I'm told they turned him into a mass murderer as well (Green Lantern: Emerald Twilight (1994) by Ron Marz). The fun's gone out of it. I want to try my hand at bringing it back. Perhaps there is a touch of nostalgia in this, and if so, I'm not ashamed about it."
www.comicbookresources.com/?pa…
As to Frank Miller's changing drawing style, he was freeing himself of the Neal Adams conventions, he was developing his own drawing style. As Kelley Jones said, "One of the things that always really made people cut the mustard was developing a style is the single most difficult thing to do and in developing a style you have to develop your mind, so..Yeah, and it's hard to do. It's hard to do. If you just find that, well, this guy is doing this, and people seem to respond to it, I'll just do that, too. Well, after a while you have fifty guys all doing the same thing and it's wallpaper. Seen it once, seen it all." www.comic-art.com/interviews/j…
Frank Miller said on the documentary Masterpiece: Frank Miller's Batman: The Dark Knight Returns (2013), "In the course of drawing Batman, he's transformed across the (Dark Knight Returns) series. He starts out as kind of a Neal Adams Batman. And he ends of being more like the incredible Hulk or something. I felt by the mid-point of the series I really found my Batman."
Frank Miller, Comics Interview # 31 (1986): "I base my Batman on Jerry Robinson's and Dick Sprang's. The strongest presentation of the character to date has come from the Forties. There was something in the art back then that made him look huge."
Frank Miller explained on the documentary Masterpiece: Frank Miller's Batman: The Dark Knight Returns, "In Dark Knight, we (Frank Miller and inker Klaus Janson) began to drift apart creatively, because I was into all of the European stuff and the Japanese stuff, and all of that, and he was still very much in the tradition of DC (Neal Adams-esque). There was one issue where I redid a bunch of it because I wanted a certain look."
"I try to adapt my style as I go,” Frank Miller explained. “You’ll see Sin City looks nothing like Ronin. 300 doesn’t look like anything I’d ever done before. The work I’m doing now is very much its own thing. It’s a matter of an artist adapting to the material.” Pretty ballsy. www.nycgraphicnovelists.com/20…
Frank Miller explained in Frank Miller: The Comics Journal Library (2003), "By the way of Alley Oop (1932 comic strip by V.T. Hamlin), again, I was trying to make the (superhero) stuff less formal. I wanted the superheroes to build up the parts of them that I thought would make them look the most heroic. In the case of Batman, I went big shouldered and big formed and obviously gigantic hands and feet. It was a variation on what I do, for instance, with the women in Sin City, where they break down to a few curves to evoke. It was an attempt at something, because I thought everything had gotten too damn realistic. I like to enjoy what comic books can do that film can’t." 4thletter.net/2009/04/sons-of-…
In Amazing Heroes # 102 (1986) Frank Miller congratulated David Mazzucchelli for trying to develop his own art style on Batman: Year One. "David is, I believe, a realist, but he's also a cartoonist. David's work is not photographic in the least, but he does his best to make his work believable. His work is becoming more direct, less decorative, less deliberately pretty. Step by step, he's freeing himself of a lot of the post-Kirby (Neal Adams) conventions of the '60s and '70s that have almost swallowed up comics, and he's moving into work that I think is closer to his own heart. His work is finding it's own place, going directly back to the era of Johnny Craig, and even further back to the era of Alex Toth."
Frank Miller explained in Frank Miller: The Comics Journal Library (2003), "I'm getting cartoonier. My feeling is that we can really not compete with films, and we might as well do what we do better. Also, I'm turned on by the stuff that guys like James Kochalka are doing. Because it's reminding me of why I got into drawing comics. The absolute personal nature of it. When I read a Kochalka book, I feel like I did when I was an 8-year-old kid with some folded-over typing paper stapled in the middle and I was just drawing. It's deliberately unprofessional. I like that aspect of it and feel the energy of that is something that has to be recaptured."
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