The infamous Frank Miller, who rose to fame in the '80s with his work on "Daredevil" and "The Dark Knight Returns," wanted to explore his love of old crime novels and classic film noir. Of all the comics in the world, "Sin City" was never seen as the most probable to receive Hollywood's attention. It also makes its lack of cultural footprint all the more surprising. In hindsight, it makes the major success of "Sin City" feel like an even bigger surprise than it was when released in 2007.
Comic books for adults, tackling themes and concerns of audiences not in the key Disney demographic, are aching to be given such lavish adaptations. Vaughan's "Saga" or the melancholy of Craig Thompson's "Blankets" to the screen. It seems like a wasted opportunity, to not bring the richness of creators like Brian K.
There are exceptions, from the mundane realism of "Ghost World" and "American Splendor" to the rip-roaring golden age adventuring of "The Adventures of Tintin." Alas, these examples are few and far between, especially when compared to their caped contemporaries. Comic books are like any other artistic medium: they encompass seemingly limitless potential across styles, themes, genres, and intents. Of course, the trend is currently for superheroes and hasn't expanded much beyond that limited subgenre.
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