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Mark Millar

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from 1997’s JLA #9, by Morrison, Oscar Jimenez et al“A Semi-Unhinged, Essentially Humourless Loner Struggling with Rage and Guilt”: The American Superhero Comics of Mark Millar, Part 9

Continued from last week. Grant Morrison’s ambition was, it appears, to free the DCU from the constraints of both wonder-killing editorial dictats and the conventions of the Dark Age. Yet unregulated creative anarchy doesn’t seem to… [more]

From 1997’s JLA Secret Files #1, by Grant Morrison, Mark Millar, Howard Porter et alA Thousand Batmen Blooming: The American Superhero Comics of Mark Millar, Part 8

Continued from last week. The superhero genre had become more and more susceptible to the myth of the definitive version. It was a fan-consuming fallacy which presumed that each character possessed an irreducible core of utterly… [more]

JLAPulling Out of the Dark Age?: The American Superhero Comics of Mark Millar, Part 7

Continued from last week. It’s only to be expected that Millar’s work on the JLA would mesh with Grant Morrison’s agenda. But it is remarkable how closely and effectively Millar’s contributions reflected his friend’s wider ambitions… [more]

by Morrison, Millar, Paul Ryan, John Nyberg et al, from 1997’s The Flash #130“How Can You Possibly Live in a World Without Superheroes?”: The American Superhero Comics Of Mark Millar, Part 6

Continued from last week. Who was responsible for what in Morrison and Millar’s many collaborations? Credit boxes are often little help at all. Stories which carried the Morrison/Millar by-line were on occasion the product of an… [more]

cover to 1998’s Superman Adventures #25, by Rick Burchett, Terry Austin & Marie Severin“Nice to Meet You, Big Guy!”: The American Superhero Comics of Mark Millar, Part 5

Continued from last week. Though he’d never again see one of his scripts feature in any of the Batman’s many headlining titles, Millar would return to the character over and over again throughout the Nineties. It’s… [more]

From LOTDK #79 by Millar, Yeowell, Giordano“Just Don’t Do It Again”: The American Superhero Comics of Mark Millar, Part 4

Continued from last week. How was it possible for Millar to show so much respect for Bruce Wayne’s back story while portraying such a deeply unconvincing Dark Knight? Though the writer’s take on Wayne was ludicrously… [more]

Cover to December 1971’s Batman #239, in which lay O’Neil, Novick & Giordano’s Silent Night, Deadly Night“There are Some Things in Life It’s Best not to See”: The American Superhero Comics of Mark Millar, Part 3

Continued from last week. The suspicion that Millar idled his way through his years at 2000AD is at least in part countered by the contents of Favourite Things. For it seems unlikely that he would have… [more]

cover to 1996’s LOTDK #79 by Steve Yeowell and Dick Giordano“Yes, Alfred. Time for Bed.”: The American Comics of Mark Millar, Part 2

Continued from last week. Favourite Things was the first mainstream superhero tale that Millar had ever sold. Previously, he’d depicted the costumed crimefighter as a horror-hybridised symbol of corruption and cruelty, as with The Saviour and… [more]

scan1Enter Mr. … Miller?: The American Comics of Mark Millar, Part 1

Continued from here. Exactly when Grant Morrison landed Mark Millar the job of scripting Swamp Thing is hard to pinpoint. Millar has hinted that the GLASCAC comic convention in the late April of 1993 may have… [more]

scan1AThe Best of Millar: The 10 Most Enjoyable Examples of Mark Millar’s Work for UK Publishers, 1989-1997

As in last week’s “worst-of”, the following selections are presented in no order of preference; 1. Tales From Beyond Science: Long Distance Calls, with artist Rian Hughes, from 1992’s 2000AD #776. Just as I could… [more]

scanAAAThe Worst of Millar: The 10 Least Commendable Examples of Mark Millar’s Work for UK Publishers, 1989-1997

Shameless? will be moving on in the new year to discuss Mark Millar’s post-1993 career with a host of American publishers. But before setting out in the direction of Swamp Thing, Skrull Kill Krew and… [more]

behind the Simon Davis cover to 1997’s 2000AD 1030 lies Millar’s last published Judge Dredd story“Our ‘War-is-Fun’ Attitude”: Shameless? Part 37

Continued from last week. Hindsight suggests that Canon Fodder marked the beginning of the end of Millar’s relationship with 2000AD. It was by no means the last of his scripts to appear in the comic,… [more]

from Canon Fodder II, by Neil Long/Kew-W & Chris Weston, as reprinted by 2000AD in 2009“Where’s Canon Fodder?”: Shameless? Part 36

Continued from last week. Though pinpointing exactly when Millar stopped working for 2000AD is an difficult business, he’d most definitely moved onto the American market by the time Canon Fodder returned without him in 1996. With the… [more]

cover to 2000ad 864 by Gary Erskine“I Only Wanted To Be Loved”: Shameless? Part 35

Continued from two weeks ago. Canon Fodder reads as if two distinct stories had been awkwardly spliced together. In its first half, it’s the tale of how the Canon, Doctor Watson and Mycroft Holmes desperately combine… [more]

scan340“Keep Calm. I’ll Wrap This Up Quickly.”: Shameless? Part 34

Continued from last week. The world-building that Millar had begun to invest in Canon Fodder was unusually rich, distinctly quirky, and full of promise. Yet that surprising combination of Catholicism, Holmesian characters, alt-world SF and superheroes… [more]

from the 2008 reprint of Canon Fodder, by Mark Millar & Chris Weston“Bones Gnawed to the Marrow”: Shameless? Part 33

Continued from last week. “I had no idea what I was doing for the most part and just learning how to do very basic stuff then. Only good stuff I’d recommend would be Big Dave (which… [more]

scan1“Two Tickets for My Next Performance”: Shameless? Part 32

Continued from last week. So how did Morrison and Millar use the pages of Big Dave to express their contempt for homophobia? Starting from the premise that their readers were similarly liberal-minded, they studded the strip’s… [more]

by Steve Parkhouse, Morrison & Millar, from 1993’s 2000AD #845“We Were Just Trying to Bring Peace to the Planet”: Shameless? Part 31

Continued from last week. The urge to stereotype Millar’s beliefs in the light of his least liberal scripts is an understandable one. Yet his work is anything but consistent on matters of social justice. As I’ve… [more]

by Parkhouse, Millar and Morrison, from 1993’S 2000AD 846“Bog Off Back to Mars”: Shameless? Part 30

Continued from last week. It’s not that Big Dave is without its pleasures, although the vast majority of them are to be found in Steve Parkhouse’s boisterously dynamic artwork. Though even he couldn’t compensate for the… [more]

2000AD #843“A Few Sandwiches Short of a Picnic”: Shameless? Part 29

Continued from last week. Given the evidence, it would be hard to argue that much of Millar’s work for 2000AD wasn’t worryingly homophobic. The best that might be said of a number of his scripts is… [more]

By Millar, Curt Swan, Kim Demulder et al, from Swamp Thing #165.“He’s Camp as Christmas, but He’s Good as Gold”: Shameless? Part 28

Continued from last week. The debate about the attitudes expressed in Millar’s work towards LGBT issues is hardly a new one. Even as early as 1993, Monaghan’s pseudo-interview with Millar and Morrison in Comic World #18… [more]

Art by Casanovas + Jr, from Robo-Hunter: Serial Stunners Part 4 in February 1993’s 2000AD #882.A Safe Pair of Hands?: Shameless? Part 27

Continued from last week. Millar’s longest running assignment at 2000AD had been Robo-Hunter, for which he wrote several hundred pages between 1991 and 1993. (*1) Created by writer John Wagner and artists Jose Ferrer and Ian… [more]

scan1“What’s the Point Chief?”: Shameless? Part 26

Continued from last week. Laughter can be used to reveal prejudice before the mind has the chance to stifle it. But the Millar of the period gave no sign that he disapproved of his own heartless… [more]

Art by Anthony Williams, from Babe Race 2000: chapter 1, from 2000AD #883, 1994“Never Trust A Woman… Women Will Eat You Alive”: Shameless? Part 25

Continued from last week. But Millar’s work for Fleetway often went far beyond casual, unthinking sexism. As the months passed and the examples of this piled up, he gave every impression of being a died-in-the-wool misogynist.… [more]

scan one“Comic Books Most Dripping-Wet Liberal”: Shameless? Part 24

Continued from last week. The image of Millar as a tykish, daring and promising newcomer was wearing through by the end of 1992. What had at first seemed like boyish ambition, conspicuous potential and a novice’s… [more]