[action] The Spartans march as a mix of superheroes, Greek gods and an armed version of Chippendales, while the Persian hordes are a mutated version of 1001 night, led by a pierced black giant who is more reminiscent of a New York nightclub king than the historical king Xerxes I. The blood splashes across the benches, and in the cinema chair, cartoonist Frank Miller grins the widest of all.
At the height of the 1980s, Miller was king of the mound in the American comic book industry, following sparkling updates of Batman in The Dark Knight Returns (1986) and Batman: Year One (1987). Miller was ready for new challenges, but ended up working in Hollywood. He tried ultraviolet-laden script, contemporary satire with heavy lab and all-black humor, but after RoboCop 2 (1990) and RoboCop 3 (1993), Miller swore he would never have anything more to do with Hollywood since the scripts were tampered with to such an extent that they were almost unrecognizable to the author.
At the same time, Miller had also smoked obscurely with Marvel and DC Comics, the superhero giants in the comics industry, due to copyright disputes. Thus, he began to create his own worlds for the smaller publisher Dark Horse Comics, which ironically had built up with good continuations of films such as Aliens, Predator. . .
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