Jan 2, 2020
n.y.e looks — 1989
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n.y.e looks — 1989
In 1992's Marvel Comics Presents #98, Scott Benson and John Stanisci follow up a decade-old plot thread from Frank Miller's early Daredevil stories, and Stanisci does a bit of a latter-day Miller imitation.
A fantastic opening image from 2010's Shadowland: Elektra #1, by Zeb Wells and Emma Rios; in context, it's also a homage to Frank Miller and Klaus Janson's Daredevil #190.
Whoa. The letter column in 1973's The Cat #3 features another letter from a Frank Miller who I think is THAT Frank Miller, as well as a furious anti-feminist letter from one "Cincinnatus." The story itself is written by Linda Fite and drawn by a really weird combination: penciler Paty Greer (later Paty Cockrum, and one of my favorite little-heralded Marvel artists--she also drew one romance story shortly before this, one issue of Amazing Spider-Man, a Vision & Scarlet Witch story in What If?, a six-pager in an issue of Epic Illustrated, and not much else besides), and veteran inker Bill Everett, who makes most of the story's characters look like Atlanteans. And "I.O. Belag" is the kind of character name that just has to be an anagram or pun--maybe on "Bellagio"?
John Byrne's Sensational She-Hulk was basically one long string of metafictional jokes; in 1989's #5 (inked by Bob Wiacek), we got this parody of the back-issue ads that ran most months in those days. Bonus Frank Miller parody, too.
Bullseye and the Kingpin turn up in Captain America #373, 1990 (by Mark Gruenwald, Ron Lim and Danny Bulanadi), and anyone would think they'd suddenly landed in a page of Frank Miller's Daredevil.
Kingpin shows up, and immediately Web of Spider-Man #84, 1992, by Howard Mackie, Alex Saviuk and Keith Williams, starts looking as much as possible like Frank Miller's Daredevil. Miller's initial run on Daredevil had ended nine years earlier. (The rest of the issue doesn't especially look like this, but the big white spaces around the establishing shot with the color-hold background? Total Millerism.)