Resource created by Lucy Sutters
Frank Miller – A Case Study
Batman Returns…
In 1986 DC Comics released the first issue of Batman: The Dark Knight Returns (commonly
shortened to DKR), a four-issue mini-series printed in the new prestige format, and written
and drawn by Miller, with colours by Lynn Varley and inks by Klaus Janson.
The story tells how Batman, retired after the death of Robin, returns to fight crime in a
future where crime and violence have taken over. Meant as a possible finale for
Batman, Miller created a tough, gritty portrayal of the Dark Knight. It showed a new form
of more 'adult-oriented' storytelling to a mainstream audience, as well as diehard comics
fans. Receiving massive amounts of media publicity, Miller found that he had not only
redefined Batman in comics, but had managed to remove the campy image many had
of the character from the 1960s television series.
DKR influenced the
comic book
industry by
heralding a new
wave of darker,
more 'realistic'
characters in
comics, and along
with Batman: The
Killing Joke, it was
also a major
influence on Tim
Burton's Batman in
1989. The trade
paperback proved
to be a huge seller
for DC and remains
in print 20 years
after first being published.
 Looking at the two images of Batman
(above and below), analyse the
differences between the two artistic
impressions.
 In looking at the idea of a ‘hero’, how
do the two representations differ?
 What impression do you get of the
world in which Batman lives from both
images?
 Which representation of Batman do
you think would appeal to a younger
audience and why?
Resource created by Lucy Sutters
Sin City and beyond…
In 1991 Miller started work on his first Sin City story. Serialised in Dark Horse Presents issues
51 to 62, this was Miller's first completely solo work as he wrote and drew the story in
black and white to emphasize its film noir* origins.
Proving to be another success for Miller, the story was
released in a trade paperback. This first Sin City "yarn"
was re-released in 2005 under the name The Hard
Goodbye. Sin City proved to be Miller's main project
for much of the remainder of the decade as Miller
told more Sin City stories within this noir world of his
creation, in the process helping to revitalize the
crime comics genre.
Frank Miller’s style is dark, angular, violent, and crisp
within the Sin City series. He focuses on the
underworld of society, drawing out the ‘sin’ from
within our world and heightening it for dramatic and
comic effect. Miller mocks and satirises our world,
portraying it with aggression and using sins to make
us appear weak and ineffectual.
Look at the artwork from Sin City
(above and below).



How does it fit into the
‘noir’ genre?
Who do you think this style
of comic is targeted
towards?
Why do you think this form
of comic appeals to an
audience?
* Film noir is a style of crime or
detective film, which was popular
in the 1940’s and 50’s, but has
been revived in popular projects recently, such as Sin City (2005), The Usual Suspects (1995), and
Chinatown (1973). The genre tends to have the following stylistic features:
 minimal, high-contrasted lighting (often broken or fragmented, shots of shadowed shutters
or fans are common)
 dramatic orchestral music
 rain/dreary backgrounds (elements of pathetic fallacy)
 sadistic violence
 a downbeat plot with an unhappy ending
The genre has similar characters as suggested by Propp, but with a darker twist:
 an anti-hero – usually a tough, cynical trenchcoat-clad male protagonist, such as an
alcoholic detective.
 The femme fatale – literally, the ‘fatal woman’. Beneath her mask of femininity and sexual
allure, this character is usually deadly, and lures the male protagonist into danger for her
Resource created by Lucy Sutters
own purposes. She is often characterised with red lips, smokes and wears provocative
clothing.