Frank Miller was once the wunderkind of American comics. While so many top comic writers are British (Grant Morrison, Warren Ellis, Alan Moore, Neil Gaiman, and Garth Ennis being the most popular writers of the modern era) Miller created a uniquely American style of hard boiled sex, violence and pathos. DKR helped found the Dark Age of comics after all.
Looking at his works chronologically though, Miller's last home run seems to be That Yellow Bastard, written half way through his Sin City period. That was in 1996, fifteen years ago.
So here we have Miller, the American in a field dominated by Brits, over the hill and remixing his old style. The story's two main characters are obvious pastiches for Batman and Catwoman. The art is very reminiscent of Sin City. The content, according to Miller in interviews, is "a piece of propaganda". The reader is left to sort through these seemingly disparate elements.
Holy Terror, on a purely technical level, is very strong. The pounding urban rain has never looked better. Splotches of white amidst the downward lines suggest impressionistic artistic frenzy. Empire City's Lady Liberty strikes an imposing and majestic figure over the landscape. Close ups of the nails and razor blades packed into the terrorist's bombs lend an epic feeling to a scene that is just two people huddling on a rooftop. In fact, I thought the nail motif was a nice artistic touch.
The figures fall into the Frank Miller 2.0 mold, with the exaggerated hands and head from late Sin City and DKSA. For some reason, Miller seems intent to find as many excuses to draw the bottom of people's shoes as possible.
One of the most visually arresting sequences is when the casualties of the terrorist bombing are depicted with a series of grids. When it starts we have a grid with medium sized portraits. The second grid has smaller portraits, therefore more people, but has started to fade out. There is then two pages of increasingly more divided grids, completely empty, on a white background. This is an extremely impressive command of sequential art.
The sparse use of color is used to convey extra information, a green car and red shoe buried in the rubble reminds of the little red dress in Schindler's List. When "Catwoman" goes undercover by stealing a burqua, the audience can tell it's her because her eye's are always colored in green.
There are some technical flaws, though. The character designs feel old. Natalie is Catgirl from DKSA mixed with Gail from Sin City. The Fixer is Batman with a pair of Gats. A pair of girl assassins are Miho crossed with the twins from Sin City. There were honestly one or two panels where I stared at it, trying to figure out what the hell was going on. One remixed element that is improved upon is Miller's famous talking heads. Here, the heads are there, but they offer silent commentary. Miller doesn't waste space or time with political commentary. We know what they will say, he just shows that they are there and lets us fill in their rants.
The actual content is an entirely different matter. The story could be summarized thoroughly on a napkin, with room left for some illustrative doodles. A work can function without story if it has good characters. Holy Terror does not have good characters, though.
The story starts with "Batman" chasing "Catwoman", who has just stole something irrelevant. They take turns punching each other and making out. Then the terrorists strike! From there the plot functions basically like the first Sin City story. Our heroes steal a car to get around and torture bad guys for info. This leads us all the way to the final battle. Again, not much going on story wise.
Thematically, Holy Terror is a far right fantasy about the nigh omniscient threat that evil Muslims pose to Western civilization. The bad guys fortress? It's in a mosque. Truly. The narration tells us that this mosque was built by Saudi Arabia and is basically a sovereign nation inside America. Remember kids, mosques are scary. The first bombing is carried out not by a bearded Taliban looking fellow, but a cute Muslim college girl. A humanities student wearing pink. Second lesson kids, no matter who they are, how they dress or what they seem to believe, they might be a foot soldier in the Evil Muslim Conspiracy. Remember also that terrorists are evil untermensch, so it's totally cool to torture and kill them at will.
Once the bombs start going off, terrorists, bearded guys with ak-47s and burqa clad women with stinger missiles, come out of the woodwork to begin a military assault on the city. (They were probably hiding inside the Park 51 community center!)
This could maybe be dismissed as a fantasy if it wasn't for two things: the opening text is a quote from Muhammad about killing infidels, and the last page tells us the book is dedicated to Theo Van Gogh, who was murdered by extremists. Seemingly Miller wants the audience then to tie this violent paranoid exercise in far right wish fulfilment into reality.
Whether it's his intent or not, this and 300 would make a great start to a Neo-Nazi graphic novel reading list. In fact, if Legendary wanted to make coin on this, they should market it en masse to right wing reading lists. It's got all the required elements: Lady Liberty, who gets blown up early on, is wearing a blindfold, telling us society is blind to the terrorist threat. "Batman's" greatest help? A secretive guy named David with a Star of David tattooed on his face. (really) Translated, Israel is our only true ally! The police commissioner is corrupt and the police useless when the chips are down. Translation: Only hard violent men stand between us and the Islamic hordes. Only guys like the Fixer and David have the strength of will to torture and kill their way to victory.
While I still respect Frank Miller for his past work, Sin City, Daredevil, Batman, Ronin, etc etc, he's been in a slump for a long time now, and I don't see it reversing in the near future. The man possesses technical skills, but even his short.dialogue.bursts lack the charm they once had. My hope is that if Frank Miller keeps making comics, he gets someone else to write them.
Looking at his works chronologically though, Miller's last home run seems to be That Yellow Bastard, written half way through his Sin City period. That was in 1996, fifteen years ago.
So here we have Miller, the American in a field dominated by Brits, over the hill and remixing his old style. The story's two main characters are obvious pastiches for Batman and Catwoman. The art is very reminiscent of Sin City. The content, according to Miller in interviews, is "a piece of propaganda". The reader is left to sort through these seemingly disparate elements.
Holy Terror, on a purely technical level, is very strong. The pounding urban rain has never looked better. Splotches of white amidst the downward lines suggest impressionistic artistic frenzy. Empire City's Lady Liberty strikes an imposing and majestic figure over the landscape. Close ups of the nails and razor blades packed into the terrorist's bombs lend an epic feeling to a scene that is just two people huddling on a rooftop. In fact, I thought the nail motif was a nice artistic touch.
The figures fall into the Frank Miller 2.0 mold, with the exaggerated hands and head from late Sin City and DKSA. For some reason, Miller seems intent to find as many excuses to draw the bottom of people's shoes as possible.
One of the most visually arresting sequences is when the casualties of the terrorist bombing are depicted with a series of grids. When it starts we have a grid with medium sized portraits. The second grid has smaller portraits, therefore more people, but has started to fade out. There is then two pages of increasingly more divided grids, completely empty, on a white background. This is an extremely impressive command of sequential art.
The sparse use of color is used to convey extra information, a green car and red shoe buried in the rubble reminds of the little red dress in Schindler's List. When "Catwoman" goes undercover by stealing a burqua, the audience can tell it's her because her eye's are always colored in green.
There are some technical flaws, though. The character designs feel old. Natalie is Catgirl from DKSA mixed with Gail from Sin City. The Fixer is Batman with a pair of Gats. A pair of girl assassins are Miho crossed with the twins from Sin City. There were honestly one or two panels where I stared at it, trying to figure out what the hell was going on. One remixed element that is improved upon is Miller's famous talking heads. Here, the heads are there, but they offer silent commentary. Miller doesn't waste space or time with political commentary. We know what they will say, he just shows that they are there and lets us fill in their rants.
The actual content is an entirely different matter. The story could be summarized thoroughly on a napkin, with room left for some illustrative doodles. A work can function without story if it has good characters. Holy Terror does not have good characters, though.
The story starts with "Batman" chasing "Catwoman", who has just stole something irrelevant. They take turns punching each other and making out. Then the terrorists strike! From there the plot functions basically like the first Sin City story. Our heroes steal a car to get around and torture bad guys for info. This leads us all the way to the final battle. Again, not much going on story wise.
Thematically, Holy Terror is a far right fantasy about the nigh omniscient threat that evil Muslims pose to Western civilization. The bad guys fortress? It's in a mosque. Truly. The narration tells us that this mosque was built by Saudi Arabia and is basically a sovereign nation inside America. Remember kids, mosques are scary. The first bombing is carried out not by a bearded Taliban looking fellow, but a cute Muslim college girl. A humanities student wearing pink. Second lesson kids, no matter who they are, how they dress or what they seem to believe, they might be a foot soldier in the Evil Muslim Conspiracy. Remember also that terrorists are evil untermensch, so it's totally cool to torture and kill them at will.
Once the bombs start going off, terrorists, bearded guys with ak-47s and burqa clad women with stinger missiles, come out of the woodwork to begin a military assault on the city. (They were probably hiding inside the Park 51 community center!)
This could maybe be dismissed as a fantasy if it wasn't for two things: the opening text is a quote from Muhammad about killing infidels, and the last page tells us the book is dedicated to Theo Van Gogh, who was murdered by extremists. Seemingly Miller wants the audience then to tie this violent paranoid exercise in far right wish fulfilment into reality.
Whether it's his intent or not, this and 300 would make a great start to a Neo-Nazi graphic novel reading list. In fact, if Legendary wanted to make coin on this, they should market it en masse to right wing reading lists. It's got all the required elements: Lady Liberty, who gets blown up early on, is wearing a blindfold, telling us society is blind to the terrorist threat. "Batman's" greatest help? A secretive guy named David with a Star of David tattooed on his face. (really) Translated, Israel is our only true ally! The police commissioner is corrupt and the police useless when the chips are down. Translation: Only hard violent men stand between us and the Islamic hordes. Only guys like the Fixer and David have the strength of will to torture and kill their way to victory.
While I still respect Frank Miller for his past work, Sin City, Daredevil, Batman, Ronin, etc etc, he's been in a slump for a long time now, and I don't see it reversing in the near future. The man possesses technical skills, but even his short.dialogue.bursts lack the charm they once had. My hope is that if Frank Miller keeps making comics, he gets someone else to write them.
2/5
Miller is cramming all these shoe bottoms into his comic because shoes are considered unclean in the Muslim faith. He's basically drawing trying to cram as many middle fingers into his comic as possible.
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