When Denny O’Neil took over the editorial reins of Daredevil, he, too, took Miller under his wing. “He was one of the best students I ever had,” O’Neil said. “We would play volleyball on Sunday afternoons, and when everybody would walk to Nathan’s for hot dogs afterward, he’d ask me questions about my work. He became like a second son.” They shared meals two or three times a week, picking apart stories and discussing their craft. O’Neil hired Miller to draw an Amazing Spider-Man annual, and together they plotted a story in which Spider-Man, looking for Doctor Strange, found himself at a punk-rock show at the Bowery club C.B.G.B. It was a perfect introduction to Frank Miller’s aesthetic: while the rest of Marvel’s heroes were still lingering at stale discos, Miller ripped it up and started again, with a stripped-down vocabulary and a throwback to the grit, violence, and threat of the early 1950s.

Text from Marvel Comics: The Untold Story.

Miller’s art on Amazing Spider-Man Annual #14 is breathtaking throughout. Perhaps the stakes felt a little higher than usual?

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