![]() Īs you turn the first few pages of Polyp, what strikes you is the stylistic verve of the unique colour palette, limited to the printer’s primaries ”“ cyan, magenta and yellow. That is until Asterios Polyp, which he chose to both write and draw. ![]() An adaptation of Paul Auster’s City of Glass and a highly personal three-volume work called Rubber Blanket were the only full-length works he produced other than the occasional New Yorker illustration. ![]() ![]() While most artists would capitalise on their mainstream success to dive headlong into more fan-friendly projects, Mazzucchelli did something no one quite expected ”“ he walked away from the industry and chose to indulge in alternative, quieter projects. One was Daredevil: Born Again, the story of a hero’s fall into despair and subsequent resurrection and the other, Batman: Year One, a definitive origin story steeped in noir and crime fiction. Miller and Mazzucchelli collaborated on two projects ”“ both destined to become superhero classics. That individualistic spark appealed to creator Frank Miller, then at the peak of his game. ![]() His style at that time was fairly run-of-the-mill, straight-laced superheroics, marked with the occasional burst of expressionist creativity, especially when he inked his own pencils. David Mazzucchelli’s career began in the mid-Eighties, when he drew a bunch of monthly issues for Marvel’s Daredevil. ![]()
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