Hubbry Logo
Mark MillarMark MillarMain
Open search
Mark Millar
Community hub
Mark Millar
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Mark Millar
Mark Millar
Mark Millar
View on Wikipedia
from Wikipedia

Mark Millar MBE (/ˈmɪlər/;[1] born 24 December 1969) is a Scottish comic book writer who first came to prominence with a run on the superhero series The Authority, published by DC Comics' Wildstorm imprint. Millar has written extensively for Marvel Comics, including runs on The Ultimates, which has been called "the comic book of the decade" by Time magazine and described as a major inspiration for the 2012 film The Avengers by its co-story creator Zak Penn,[2] X-Men, Fantastic Four and Avengers for Marvel's Ultimate imprint, as well as Marvel Knights Spider-Man and Wolverine. In 2006, Millar wrote the Civil War mini-series that served as the centrepiece for the eponymous company-wide crossover storyline and later inspired the Marvel Studios film Captain America: Civil War.[3] The "Old Man Logan" storyline, published as part of Millar's run on Wolverine, served as the inspiration for the 2017 film Logan.[4][5]

Key Information

Millar has written numerous creator-owned series which have been published under the unified Millarworld label, including Wanted with J. G. Jones, Hit-Girl & Kick-Ass with John Romita Jr., Nemesis with Steve McNiven, Superior and Supercrooks with Leinil Francis Yu, The Secret Service with Dave Gibbons and Jupiter's Legacy with Frank Quitely. Some of these series have been adapted into live-action and animated series and feature films, such as Wanted, Kick-Ass, Kingsman: The Secret Service, Jupiter's Legacy and Super Crooks, as well as videos games like Wanted: Weapons of Fate and Kick-Ass: The Game.

In addition to his work as a writer, Millar serves as an executive producer on all film and television adaptations of his comics. Between 2012 and 2016, he was employed by 20th Century Fox as a creative consultant for adaptations of his Marvel comic series Kick-Ass and The Secret Service (Kingsman).

In 2013, Millar was appointed a Member of the Most Excellent Order of the British Empire (MBE) for services to film and literature.

Early life

[edit]

Millar was born on 24 December 1969[6] in Coatbridge, Scotland. He spent the first half of his life in the town's Townhead area and attended St. Ambrose High School.[7]

Millar has four older brothers,[8][9] and one older sister, who are 22, 20, 18, 16 and 14 years older than him, respectively.[9] He was first introduced to comic books at age 4 by his brother Bobby, who at the time was attending university and, as of 2010, worked at a special needs school.[10] The first comics that Millar read were the seminal The Amazing Spider-Man #121, which featured the death of Gwen Stacy, and a Superman book purchased by Bobby that day.[9] Millar's interest in the medium was further cemented with the black-and-white reprints of other comics that his brothers purchased for him,[8] which he enjoyed so much that he drew a spider web across his face with an indelible marker that his parents were unable to scrub off in time for his First Communion photo a week later.[9]

In the mid-late 1970s, Millar frequently appeared as a guest on the long-running Scottish kids TV programme Glen Michael's Cartoon Cavalcade, which he was a regular fan of at the time. On one occasion, he was invited onto the show to talk about the history of comics and, in a 2010 interview with the Scottish newspaper Daily Record, Millar has stated that Glen Michael's TV programme was where he first discovered superheroes.[11]

Millar's mother died of a heart attack at age 64, when Millar was 14, and his father died four years later, aged 65.[9] Although Millar enjoyed drawing comics, he was not permitted to go to art school because his family frowned upon such endeavours as a waste of time for the academic Millar, who studied subjects like chemistry, physics and advanced maths. He initially planned to be a doctor, and subsequently decided that becoming an economist would be a viable alternate plan, but later decided that he "couldn't quite hack it" in that occupation.[8] He attended Glasgow University to study politics and economics, but dropped out after his father's death left him without the money to pay his living expenses.[9]

Career

[edit]

1980s–1990s work

[edit]

Millar was first inspired to become a comic book creator after meeting Alan Moore at a con in the mid-1980s.[12][13] Years later, when an 18-year-old Millar interviewed Scottish comic book writer Grant Morrison for a fanzine, he told Morrison that he wanted to create comics as both a writer and an artist. Morrison, who then-recently returned to comics after spending most of the decade touring with their band The Mixers and had limited experience with both writing and drawing stories earlier in their career, suggested that Millar focus on one of those career paths, as it was very hard to be successful at both, which Millar cites as the best advice he has ever received.[14][8] Soon after, Millar sold his first script, Saviour, to an independent Leicester-based publisher Trident. Illustrated by Daniel Vallely, Morrison's former bandmate in The Mixers and, earlier, The Fauves,[15] Saviour provided a mix of religious themes, satire and superhero action that quickly brought Millar to the attention of the wider British comics industry and resulted in several script commissions for the long-running anthology 2000 AD and its sister title Crisis.[16]

In 1992, Trident's owner Neptune Distribution went bankrupt,[17] leaving both Saviour and The Shadowmen, Millar's second series at the publisher, unfinished. By that time, Millar already became a semi-regular contributor to 2000AD and its adjacent titles, and his output included several Robo-Hunter serials, a six-part prison story "Insiders" for Crisis, a Judge Dredd spin-off series Red Razors, as well as numerous newspaper strips starring Dredd himself for Daily Star. The following year, Millar, Morrison and writer John Smith were given editorial reins over 2000AD for an eight-week run titled "The Summer Offensive".[18] The controversial initiative resulted, among other things, in the first major story co-written by Millar and Morrison, Big Dave.[19]

In 1994, Millar crossed over to the American comic book industry, taking over the long-running series Swamp Thing, published under DC Comics' Vertigo imprint. The first four issues of his run were again co-written with Morrison, who, according to Millar, "came on board <...> to make sure that DC selected me above anyone else pitching for the gig".[16] Although Millar's further work on Swamp Thing brought some critical acclaim to the ailing title, the book's sales were still low enough to warrant cancellation by the publisher. For the next few years, Millar continued to write sporadically for 2000AD and various American publishers, often co-scripting the stories with Morrison, with whom he shares the writing credit on the mini-series Skrull Kill Krew for Marvel, a short run on Vampirella for Harris, a year-long run on The Flash as well as Aztek: The Ultimate Man for DC.[20][21]

Several of Millar's unrealized projects of this period include a revamp of Marvel's 2099 imprint[22] and an "end-of-the-world" storyline for Marvel Tales,[23] both co-created with Grant Morrison. In late 1998, Millar and Morrison, along with Mark Waid and Tom Peyer, developed an extensive proposal for the Superman titles that was scheduled to launch in January 2000.[24] The proposal was greenlit, and the team's tenure as collaborative writers was scheduled to begin with upcoming editor Eddie Berganza's first issue. Upon returning from his vacation, then-current DC editor Mike Carlin was shocked to discover that big changes were being implemented to Superman without his knowledge and vetoed the project.[25][26] In 1999, Millar also developed pitches for Phantom Stranger and Secret Society of Super-Villains[27] as well as a revamp of his debut series Saviour.[16][28]

In the late 1990s, Millar made the first attempt to branch out from comics into screenwriting with a vampire-themed black comedy-drama Sikeside.[29][16] The script was eventually picked up by Channel 4 with Millar as both writer and director, and, although it was initially written as a TV movie, the production company asked Millar to develop it into a six-episode series instead.[30] Described as "Buffy meets Trainspotting" and planned to be filmed in Millar's hometown of Coatbridge,[31] Sikeside was ultimately cancelled during pre-production. In a 2010 interview, Millar mentioned that he has sold the rights to the script to producer Angus Lamont who wanted to turn it into a film for a theatrical release.[32]

In 1999 and 2000, Millar wrote a newspaper column for The Evening Times.[33]

Marvel and DC career

[edit]
Millar signing a copy of Superman: Red Son at Midtown Comics in Manhattan

Millar started gaining notice at DC Comics for his work on the all-ages comic book series Superman Adventures, which featured stories set in the continuity of Superman: The Animated Series. Millar, a self-proclaimed Superman fan,[14][34] stayed on the title for two years and received two Eisner Award nominations[35] while penning one-off stories featuring the version of the character from the mainline DC Universe. Millar's best known Superman story, the three-issue Elseworlds mini-series Superman: Red Son, was first announced in 1998,[36] even though Millar finished most of the script two years prior.[14] As the series' original artist Dave Johnson fell behind the schedule, Millar opposed the idea of using other artists for the remaining pages.[26] DC eventually brought in artist Kilian Plunkett to complete the book in 2002.[37] Red Son, which Millar first came up with as a child after reading Superman #300,[36][37] was published the following year and later adapted into an animated film of the same name.

In August 1999, it was announced that Millar and Scottish artist Frank Quitely will be taking over The Authority,[38][39][40] an ongoing series published by DC Comics' Wildstorm imprint, on the recommendation of the outgoing writer and series' co-creator Warren Ellis.[41][42][28] Millar's trademark style of over-the-top violence mixed with satire, pop culture references and mature themes was met with critical and commercial success[43] while the book itself suffered from censorship enacted by DC starting with the new creative team's very first issue[44] and continuing into Millar-written spin-off mini-series focusing on the team's former leader Jenny Sparks.[45] As a result, the creators repeatedly requested a "Suggested for Mature Readers" label for the series but the idea was vetoed by then-Publisher of DC Comics Paul Levitz.[46] Meanwhile, DC published a "lost" Superman Adventures script by Millar to capitalize on his newfound success,[47] while Millar himself considered a move from his native Scotland to the United States,[48] deliberating between staff position offers made by Wildstorm and DC Comics' main competitor Marvel.[49]

In June 2000, Marvel announced that Millar will join its then-upcoming "Ultimate" line of comics as the writer on Ultimate X-Men,[50][51] since Brian Michael Bendis, who was previously attached to the series, decided to focus his attention on the inaugural "Ultimate" launch of the Spider-Man title.[52] The line, designed to simplify and streamline the company's long-running fictional continuity for mainstream audiences, was met with instant critical and commercial success[53] and, soon after the launch of Ultimate X-Men, Millar announced that he had signed a two-year contract for a staff writing position at Marvel.[49] As part of the deal, Millar and his family relocated to New York City.

In November 2000, Millar and Quitely announced their plans to leave The Authority after the third story arc,[54][42] which was supposed to run in issues #22–25 (cover-dated March–June 2001) if the series was to maintain a monthly schedule. However, soon after the first issue of the arc was published, it was announced that Quitely had signed an exclusive contract with Marvel[55] and would therefore leave the title earlier than planned.[56] Wildstorm assigned Art Adams to finish the last issues[57] and hired writer Tom Peyer and artist Dustin Nguyen to create another four-issue story arc that would fill the publishing gap[58][59] while Adams worked on his portion of the series. Then, following the 11 September 2001 attacks, Wildstorm decided to postpone the release of the remaining three issues[60] and further edit the completed but not yet released work for sensitive content,[58][44] which eventually drove Adams away from the title. The Authority #29, Millar's last issue on the series, was published with art by Gary Erskine and the cover date of July 2002. Another Millar-written The Authority spin-off, a one-shot story tentatively titled Apollo/Midnighter,[41] was announced for a 2000 release[61] but never produced.

In 2002, Millar and artist Bryan Hitch further expanded Marvel's Ultimate line with The Ultimates, a reimagining of the company's Avengers team.[62] The title also proved highly successful, although it suffered from delays in shipping due to Hitch's personal issues.[63] The Ultimates was eventually cancelled after 13 issues and two years of publication with the aim of relaunching the title so that more issues could be produced in advance.[64] The Ultimates 2 launched shortly thereafter[65][66] and also suffered from delays, this time due to Millar's newly-diagnosed chronic condition and increased workload at Marvel.[67][68] The second volume as well as the creative team's run on the title ended in 2007 with another 13th issue.[69] Millar and Hitch's work on The Ultimates inspired two Marvel Animated Features titled Ultimate Avengers[70][71] and the subsequent 2012 Marvel Studios feature film The Avengers, directed by Joss Whedon.[2] Actor Aaron Taylor-Johnson, who portrayed the character Quicksilver in the 2015 sequel film Avengers: Age of Ultron, stated that it also drew inspiration from the Ultimate comics.[72]

In 2002 and 2003, Millar wrote a column for Comic Book Resources.[73] Around the same time, Millar's website included a teaser for a 6-issue Punisher series with artist Steve Dillon,[74] although no official announcement was made by Marvel. In 2003, Millar and artist Terry Dodson launched Trouble at Marvel's newly-revived Epic imprint,[75][76] a series meant to re-popularize romance comics that ended up both a sales and critical failure.[77][78] That same year, Millar renewed his exclusive contract with Marvel for two more years.[79][80] The following year, he penned two 12-issue runs for titles published under the Marvel Knights imprint, launching Marvel Knights Spider-Man again with Dodson[81] and taking over the Wolverine ongoing series with artist John Romita Jr..[82] Millar and Ultimate Spider-Man writer Brian Michael Bendis launched a new ongoing series for the Ultimate Marvel imprint, Ultimate Fantastic Four[83] but left it after just six issues due to scheduling problems.[84] Millar and artist Greg Land were announced as the creative team for a new Thor ongoing series but the pair took over Ultimate Fantatic Four instead.[85] Millar's return to the title introduced, among other things, the concept of Marvel Zombies.[86] During this period, Millar was assigned to write a trilogy of mini-series that would introduce Galactus to the Ultimate Universe but he left the project due to other commitments at Marvel[87] and health issues.[88]

In 2006, after renewing his exclusive contract with Marvel for two more years,[67] Millar launched the most well-known and best-selling work of his career, the 7-issue mini-series Civil War with artist Steve McNiven that acted as the centrepiece of the company-wide crossover storyline of the same name.[89][68] The story revolved around the passing of the Superhuman Registration Act in response to the death and destruction unintentionally caused by superheroes on a regular basis and the resultant schism in the superheroic community, with Captain America and Iron Man taking opposing sides of the debacle.[90] The storyline had lasting impact on the fictional Marvel Universe[91][92] and served as the inspiration for the 2016 Marvel Studios film Captain America: Civil War.[3]

In 2007 and 2008, Millar attempted to pitch a new series of Superman films to Warner Brothers but the studio went with David S. Goyer's pitch for Man of Steel instead.[93][94] During that time, he also had two pitches rejected at Marvel, a Blade story with Richard Corben and a Ghost Rider story with John Romita Jr., as both characters already had ongoing series at the time and Marvel did not believe either property could support more books.[95] In 2008, Millar returned to the Wolverine ongoing series for an extended dystopian storyline "Old Man Logan", illustrated by his Civil War collaborator Steve McNiven.[96][97] Elements of this story inspired the 2017 20th Century Fox film Logan.[4][5] Also in 2008, Millar reteamed with The Ultimates co-creator Bryan Hitch for a run on the mainline Fantastic Four series[98][99] and launched the mini-series Marvel 1985 with artist Tommy Lee Edwards.[100][101] The three titles, running concurrently, are notable in that Millar purposefully wrote them as interlinked[102] through the introduction of the character Clyde Wyncham, who also appeared in Millar's creator-owned series Kick-Ass that was published under Marvel's Icon imprint.[103] In 2009, Millar returned to the Ultimate Universe with a number of limited series released under the Ultimate Comics: Avengers banner,[104][105] his last Marvel work to date.

In 2011, Millar abandoned work-for-hire in favor of working full-time on his creator-owned properties.[106][107]

Millar and the Wanted co-creator, artist J. G. Jones at the Big Apple Convention, 2 October 2010

Millarworld

[edit]

In 2003, Millar introduced Millarworld, a unified label for his future creator-owned comics, set in a new shared fictional universe.[108] The initial line-up consisted of Wanted[109] (published by Top Cow and subsequently adapted into a Savage Dragon crossover by Erik Larsen, a feature film starring Angelina Jolie and Morgan Freeman, and a video game),[110] Chosen (published by Dark Horse),[111] The Unfunnies (published by Avatar)[112] and the unreleased one-shot Run.[113][114][115] Another unreleased project was King and Country, a political drama involving the British royal family repurposed from a TV series pitch Millar created in 2005. According to Millar, the book was supposed to be published in the form of a fully-painted graphic novel by a "big book publisher".[95] In 2008, the Millarworld line expanded with two new releases, War Heroes at Image, and Kick-Ass, published under Marvel's Icon imprint and adapted into a feature film two years later. The ownership of the Millarworld series is split 50/50 between Millar and the collaborating artist.[116]

In 2010, Millar and British publisher Titan launched a pop culture-themed magazine CLiNT[117][118] that featured serializations of Millar's creator-owned comics as well as a number of short stories by up-and-coming creators submitted via the Millarworld forum.[119] Other magazine contributors include Frankie Boyle, Stewart Lee, Jonathan Ross and Jimmy Carr. In 2011 and 2012, Millar organized the Kapow! Comic Convention in London.[120] The 2011 Kapow! event was notable for setting two Guinness World Records, the "Fastest Production of a Comic Book" and "Most Contributors to a Comic Book". Millar began work at 9 am, plotting a 20-page Superior story, followed by more than 60 comic book creators—including Sean Phillips, Dave Gibbons, Frank Quitely, John Romita Jr., Jock,[121] Doug Braithwaite, Ian Churchill, Olivier Coipel, Duncan Fegredo, Simon Furman, David Lafuente, John McCrea, Liam Sharp[122]—who appeared on stage throughout the day to create a panel each. The black-and-white book was completed in 11 hours, 19 minutes and 38 seconds, then published through Marvel's Icon imprint on 23 November 2011, with all royalties being donated to Yorkhill Children's Foundation.[121] In 2015 and 2016, Millarworld held Talent Contest events where entrants had to write and/or draw short stories based on some of the company's properties.[123][124] The winning entries were published as two anthology specials in 2016 and 2017, respectively.

Most of the Millarworld series have enjoyed interest from Hollywood over the years. In 2008, Michael De Luca optioned War Heroes for Columbia Pictures.[125][126] In 2010, Nemesis was optioned by 20th Century Fox with Tony Scott attached to direct.[127] Three years later, Fox optioned Starlight.[128] 2014 saw the release of Kingsman: The Secret Service, directed by Matthew Vaughn.[129] That same year, Superior was optioned by Fox with Vaughn attached as producer.[130] The following year, Huck was picked up by Studio 8,[131] while an adaptation of Chrononauts was announced to be in development by Universal.[132] In 2016, Waypoint Entertainment optioned both Supercrooks and American Jesus[133] (which had previously been optioned by Matthew Vaughn's Marv Films in 2009),[134] while Lorenzo di Bonaventura began development on Jupiter's Legacy.[135] That same year, Joe Roth and Jeff Kirschenbaum signed on to produce Empress with XXX: Return of Xander Cage writer F. Scott Frazier set to pen the screenplay.[136]

In August 2017, it was announced that Millarworld has been purchased for an undisclosed sum by Netflix.[137][138][139] Millar noted it was the third time in history a comic book company had been purchased by a production studio, comparing the buyout to the 1967 purchase of DC Comics by Kinney National Company (subsequently renamed to Warner Communications)[140] and the 2009 acquisition of Marvel Comics by The Walt Disney Company.[141] As part of the deal, Millar and his wife Lucy continued to run Millarworld as President and CEO, respectively,[142] developing new properties to be produced by Netflix. Comics adapted to film before the deal, such as Kick-Ass and Kingsman, were not included in the package.[137][138][139] The first of Millarworld properties to be adapted at Netflix was Jupiter's Legacy, which premiered in May 2021 with an eight-episode season.[143] It was followed by the anime series Super Crooks in November 2021.[144]

On May 27, 2025, it was announced that Millar would reunite with Romita for a new comic project entitled Psychic Sam. The premise follows Sam Nicoletti, a man who begins hearing a voice that tells him about murders the day before they happen. The comic, published under Side Hustle Comics (separate from the Millarworld imprint), launched as a Kickstarter campaign later that same day. It was announced that a film adaptation was in the works from producer Ivan Atkinson.[145]

Public image

[edit]

Over the years, Millar has earned a reputation as a controversial and outspoken writer. In interviews, he openly criticized the business practices of the American comics industry in the 90s,[146] the comic book writing trend of decompression popularized in the early 00s,[147] the tendency of Big Two publishers to oversaturate the market with tie-ins and spin-offs in the mid-00s[148] as well as the DC Comics' management of The Authority during his tenure as the title's writer.[149][150] In his writing, Millar has incorporated the themes of domestic abuse (The Ultimates),[151] teenage pregnancy (Trouble),[152] child molestation (The Unfunnies)[153] and rape,[28][154] the latter sometimes for comedic effect.[53][155] In August 2013, when asked by Abraham Josephine Riesman of The New Republic about the use of rape as a plot device in more than one of his comics, Millar responded, "The ultimate [act] that would be the taboo, to show how bad some villain is, was to have somebody being raped, you know. I don't really think it matters. It's the same as, like, a decapitation. It's just a horrible act to show that somebody's a bad guy."[156] The comment drew criticism from industry peers and comic book journalists.[157][158] Similar incidents include Millar publicly expressing amazement at the fact that non-caucasians can get Down's syndrome[159] and referring to all gamers as "pedos" in an interview.[160]

Millar frequently employs unusual tactics to promote himself and his work, such as the public bet with Harry Knowles regarding the casting of the lead actor in then-upcoming Superman film in 2004,[161] which Millar used as a way to advertise his run on Wolverine.[162] That same year, Millar claimed that rapper Eminem was in talks to take the lead role of Wesley Gibson in the film adaptation of his creator-owned series Wanted, whose likeness Millar had the character illustrated with,[163] which resulted in public denial by Eminem's management via Variety.[110] In 2006, Millar auctioned the right to name the protagonist of his then-upcoming creator-owned series Kick-Ass.[164] In 2016, he organized a "treasure hunt" for advance copies of Jupiter's Legacy hidden in ten cities around the world.[165] In 2017, Millar established a charitable foundation and launched a multi-year campaign to promote it.[166]

Throughout the 90s and early 00s, Millar was close friends with fellow Scottish writer Grant Morrison.[167] The pair frequently collaborated on works published by British and American publishers and appeared together at various events.[16][53] Morrison was seen as the mentor figure in their relationship,[30][168][169] as evidenced by a humorous strip created by Garth Ennis and Dave Gibbons for an anniversary issue of 2000 AD in which Millar appeared in the form of a small droid repeating a single phrase, "me and Gwant".[170] The pair was also parodied in an issue of Simpsons Comics written by Gail Simone, shown fighting over whose then-ongoing X-Men series—Millar's Ultimate or Morrison's New—is more important.[171] Sometime around 2004, Millar and Morrison seemingly cut all communication and never interacted in public again, which, according to Morrison, happened because Millar wanted to break away from the image of Morrison's protégé after the success he had with The Authority and Ultimate X-Men.[172] When asked about the state of their relationship in a 2011 interview, Morrison responded thus, "I wish him well but, no, there is no good feeling between myself and Mark Millar for many reasons most of which are he destroyed my faith in human fucking nature."[173]

Awards and accolades

[edit]

In August 2011, Millar appeared in his native Coatbridge to unveil a superhero-themed steel archway beside the Monkland Canal, created by sculptor Andy Scott with the help from the students at St. Ambrose High School, Millar's alma mater.[7] The six-metre-high archway, created as part of the efforts to reinvigorate the canal, was inspired by Millar's work, depicting a superhero named Captain Coatbridge and two superheroines.[174]

In June 2013, Millar was appointed a Member of the Most Excellent Order of the British Empire (MBE) for services to film and literature on the Queen's Honours Birthday list.[175][176][177]

Award nominations

[edit]

Award wins

[edit]

Influences

[edit]

Millar has cited Alan Moore and Frank Miller as the two biggest influences on his career, characterising them as "my Mum and Dad." Other comic book creators he names as influences include Dave Sim,[181] Grant Morrison, Peter Milligan, Warren Ellis, and Garth Ennis.[8]

In 2013, Millar listed Superman, Flash Gordon, The Spy Who Loved Me, Star Wars, and The Incredibles as his five favorite films.[182]

Personal life

[edit]

Millar is a practicing Catholic who abstains from using profanity in his personal life. He met his first girlfriend Gill, who lived nearby in Coatbridge and attended the same school as him, at the age of 17. The couple married in 1993 and divorced in early 2009.[9] They have one daughter, Emily, who was born in 1998.[16] Millar's second wife, Lucy Unwin,[175][177] gave birth to their first child in November 2011,[183] and the second in March 2014.[184] Millar and Unwin married in May 2016.[185] As of 2010, they reside in Glasgow's West End.[10]

In 2005, Millar was diagnosed with Crohn's disease.[186][67][187]

Political views

[edit]

Speaking about his political views, Millar has described himself thus, "I regard myself as traditionally left of centre and progressive, a Eurosceptic in the Bennite mould, and the policies espoused by the coalition formed under the Yes umbrella are the closest to my own particular ideology."[188]

Before the 2014 Scottish independence referendum, Millar was cited as a supporter of Scottish independence by groups[188] such as the National Collective,[189] and made comments interpreted in support of independence.[188][189] However, in the run-up to the referendum, Millar stated that he was "genuinely undecided".[190] In a January 2015 interview with The Herald, he stated, "Originally I was Yes and then about six months before I started having doubts, and then I just went silent on it because I saw the country going mad. People who I love were falling out with each other."[184] In 2020, Millar explained on Twitter that he is not a "tribalist" when it comes to Scottish independence, stating, "After the Blair era I was tempted for a year or two" regarding the matter, but questioned whether an independent Scotland could function economically.[191][192]

Millar supported British withdrawal from the European Union and endorsed a Leave vote during the 2016 United Kingdom European Union membership referendum, stating that it would be a path towards Scottish independence.[193]

Bibliography

[edit]

Adaptations of Millar's work

[edit]

Film

[edit]
Year Title Director(s) Studio(s) Based on Budget Box office Rotten Tomatoes
USD$
2008 Wanted Timur Bekmambetov Universal Studios Wanted by Millar and J. G. Jones $75 million $341,433,252 71%[216]
2010 Kick-Ass Matthew Vaughn Lionsgate Films
Universal Studios
Marv Films
Plan B Entertainment 		Kick-Ass by Millar and John Romita Jr. $30 million $96,188,903 76%[217]
2013 Kick-Ass 2 Jeff Wadlow Universal Studios
Marv Films
Plan B Entertainment 		Kick-Ass 2 and Hit-Girl by Millar and John Romita Jr. $28 million $60,795,985 29%[218]
2014 Kingsman: The Secret Service[219] Matthew Vaughn 20th Century Fox
Marv Films 		The Secret Service by Millar and Dave Gibbons $81 million $413,998,123[220] 73%[221]
2016 Captain America: Civil War[222] Anthony and Joe Russo Marvel Studios
Walt Disney Studios
Motion Pictures 		Civil War by Millar and Steve McNiven $250 million $1.132 billion[223] 91%[224]
2017 Logan James Mangold 20th Century Fox
Marvel Entertainment
The Donner's Company 		Old Man Logan by Millar and Steve McNiven $97 million $616.8 million[225] 93%
Kingsman: The Golden Circle Matthew Vaughn 20th Century Fox
Marv Films 		The Secret Service by Millar and Dave Gibbons $104 million $410.8 million 52%
2020 Superman: Red Son Sam Liu Warner Bros. Animation
DC Entertainment 		Superman: Red Son by Millar, Dave Johnson and Kilian Plunkett 89%[226]
2021 The King's Man Matthew Vaughn 20th Century Fox
Marv Films 		The Secret Service by Millar and Dave Gibbons $100 million $125.9 million 43%

Television

[edit]
Year Title Showrunner(s) Studio(s) Based on Rotten Tomatoes
2021 Jupiter's Legacy Steven S. DeKnight
Sang Kyu Kim 		Netflix
Di Bonaventura Pictures 		Jupiter's Legacy by Millar and Frank Quitely 41%[227]
2021 Super Crooks Motonobu Hori Netflix
Studio Bones 		Supercrooks by Millar and Leinil Francis Yu 100%[228]
2023 The Chosen One Everardo Gout Netflix
 American Jesus by Millar and Peter Gross 75%[229]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mark Millar

View on Grokipedia
from Grokipedia
Mark Millar (born 24 December 1969) is a Scottish writer and renowned for crafting high-concept narratives that blend gritty realism with spectacle, including series like Kick-Ass, Kingsman: The Secret Service, Wanted, Jupiter's Legacy, , , and Marvel's Civil War. His early career involved writing for British anthology comics before gaining prominence at with the Ultimates line, which reimagined Avengers characters in a contemporary, deconstructive style that influenced subsequent cinematic adaptations. Millar's independent imprint, , produced creator-owned titles emphasizing bold, cinematic storytelling, culminating in its acquisition by in 2017 for development into films and series, marking a pivotal shift from print to multimedia franchising. While praised for revitalizing tropes through unfiltered violence and moral ambiguity—evident in works like and Superior—his output has drawn criticism for prioritizing shock value over depth, though empirical success in adaptations underscores its commercial viability.

Early Life

Childhood and Formative Influences

Mark Millar was born on December 24, 1969, in , , the youngest of six children in a working-class Catholic family. The family lived in the Townhead area of , a deprived industrial town near , on a council estate amid economic hardships common to the region's post-industrial decline. With four older brothers and one sister, Millar grew up in a large household where resources were limited, shaping a pragmatic outlook influenced by his parents' emphasis on practical careers like or . At age four, Millar was introduced to comics by his older brother Bobby, starting with American superhero titles such as The Amazing Spider-Man #121, featuring the death of Gwen Stacy, and a Superman issue. These early exposures, accessed through familial sharing rather than personal purchase given the household's finances, ignited his interest in storytelling and sequential art, contrasting the gritty local environment with escapist narratives of power and morality. Local libraries in Coatbridge supplemented this, providing access to imported U.S. titles that emphasized heroic archetypes over the emerging British anthology styles. By his teenage years, Millar's fandom deepened through encounters with key figures like at comic shop signings, reinforcing his aspiration to write professionally. Still in high school, he sold his debut script, Saviour, to the independent publisher Trident Comics around age 18, with the series debuting in late 1989 and blending and messianic themes under artist Daniel Vallely. This early breakthrough stemmed from self-taught persistence amid limited formal resources, prioritizing narrative innovation drawn from his foundational readings over institutional training.

Entry into Comics

Millar briefly attended the studying politics before dropping out around 1989 after his father's death, opting to support his family and commit to writing full-time. This decision reflected the high entry barriers in , where formal offered little direct advantage over raw persistence and self-directed skill-building amid a fragmented industry reliant on unsolicited submissions and personal pitches. His debut came early with Saviour, a six-issue series self-conceived during high school and published by the independent Trident Comics from 1989 to 1990, marking one of the first verifiable credits for a teenager breaking into print. Earlier, at age 13 in 1982, Millar had submitted an unsolicited proposal for Conquered—a story of and human resistance—to DC Comics, only to face rejection, underscoring the routine dismissals that tested newcomers' resolve in an era when publishers prioritized established names over unproven talent. Subsequent gigs included contributions to Fleetway Publications' 2000 AD, starting in the early 1990s with Judge Dredd shorts and spin-offs like Red Razors (1991), amid a British scene plagued by low page rates—often under £50 per script—and widespread title cancellations as readership dwindled under competition from video games and television. Independent anthologies offered sporadic outlets but amplified instability, with creators like Millar juggling freelance instability for exposure. This UK grind, contrasted with the US market's higher advances and broader distribution, fueled Millar's networking in circles, positioning him for eventual transatlantic breakthroughs despite initial provincial isolation.)

Professional Career

Early Independent and UK Work (1980s–1990s)

Millar entered the British comics industry in the late , beginning with independent publisher Trident Comics on the series Saviour, a four-issue he wrote in 1989–1990, illustrated by Daniel Vallely and Nigel Kitching, which explored apocalyptic themes but achieved limited distribution amid the niche market. His early output emphasized short-form contributions rather than ongoing titles, reflecting the constraints of small publishers reliant on sporadic sales in a contracting domestic scene. Transitioning to Fleetway Publications, Millar contributed to 2000 AD starting around 1990, scripting strips such as the horror tale "" and co-writing Psi Division stories with , alongside work on the Rogue Trooper spin-off . These were typically brief runs of 2–6 episodes, constrained by the anthology format and editorial demands for high-volume, disposable content, with 2000 AD's circulation hovering below 100,000 copies weekly by the mid-1990s amid rising competition from American imports. He also penned scripts for Fleetway's Sonic the Comic, adapting the character in issues from 1993 onward, prioritizing rapid production over depth due to the title's nature and modest sales. The 1990s saw British publishers like Fleetway grapple with declining readership and financial instability, exacerbated by the global comics market's speculative bust around 1996, which curtailed anthology viability and pushed creators toward larger U.S. outlets for sustainable gigs. Millar's UK efforts yielded no major commercial hits, with fan reception mixed on forums and reviews citing inconsistent quality in shorts like those in magazine, where he contributed political-edged tales alongside peers like . This environment of short-lived projects and low page rates—often under £50 per script page—limited output volume, with Millar producing fewer than 100 pages annually across titles. Seeking broader opportunities, Millar secured his initial U.S. foothold in 1996 with DC Comics' , an all-ages animated tie-in series, writing issues #27 ("Luthor's Gift"), #28 (body-swap with ), and others up to #52, marking a shift from anthologies to licensed properties with higher print runs exceeding 50,000 copies per issue. These assignments, totaling around a dozen stories, highlighted his adaptability but remained entry-level work amid DC's preference for proven American talent, underscoring the causal pull of the market's contraction toward U.S. publishers' stability.

Rise at DC/WildStorm and The Authority (Late 1990s–Early 2000s)

In late 1999, following DC Comics' acquisition of WildStorm Productions, Mark Millar joined the imprint as a writer, contributing to its push for more provocative superhero narratives amid the post-Image Comics era of creator-owned edginess. He took over The Authority from Warren Ellis starting with issue #13 in March 2000, collaborating with artist Frank Quitely to escalate the series' depiction of a rogue superhero team willing to employ extreme violence against global threats unresponsive to traditional authority. This run deconstructed superhero tropes by portraying the Authority as proactive enforcers who toppled dictators and reshaped nations without regard for democratic niceties, emphasizing ultraviolence as a tool for anti-establishment heroism that challenged the moral passivity of conventional caped crusaders. Millar's Authority issues achieved commercial success, sustaining high sales in a market shifting toward bolder, widescreen storytelling, and influencing the wave of gritty, deconstructive in the early by normalizing graphic action and cynical takes on power structures. The series' emphasis on heroes imposing order through overwhelming resonated in an industry recovering from the speculative bust of the , helping capitalize on demand for titles that blended spectacle with sociopolitical edge. Quitely's detailed art amplified the visceral impact, contributing to spin-offs and specials that extended the franchise's reach despite editorial interventions toning down some content for broader appeal. Later arcs under Millar, particularly issues #22–23 in 2003, incorporated allegories to the , with the intervening in a fictional nation's weapons program, which some fans interpreted as endorsing preemptive interventionism and sparked backlash for diverging from the team's earlier anti-imperialist roots. This storyline fueled debates in comic fandom, highlighting tensions between Millar's intent to provoke real-world parallels and reader expectations for consistent ideological critique, ultimately leading to DC's of elements and contributing to the series' cancellation amid polarized reception.

Marvel Comics Contributions (2000s)

Millar joined Marvel Comics in 2000 as part of efforts to revitalize the Ultimate imprint, launching with Ultimate X-Men #1 in February 2001, co-written initially with Brian K. Vaughan and illustrated by Adam and Andy Kubert. His run on the series, spanning the first 33 issues through arcs like "The Tomorrow People" and "Return to Weapon X," emphasized gritty, contemporary reinterpretations of X-Men lore, focusing on mutant-human tensions and espionage elements absent from the mainline continuity. This work contributed to the Ultimate line's early momentum, with the series achieving consistent sales in the top tiers of direct market comics during its initial years. In 2002, Millar debuted The Ultimates #1 with artist Bryan Hitch, reimagining the Avengers as a government-funded black-ops team in a post-9/11 geopolitical context, blending superhero action with realistic military tactics and moral ambiguity. The 13-issue first volume, collected as Super-Human in 2002, sold strongly despite production delays after issue #6, maintaining demand through Millar and Hitch's cinematic storytelling that influenced subsequent event-driven narratives. Praised by Time magazine as a defining comic of the decade for its deconstruction of heroism, the series boosted the Ultimate imprint's visibility and laid groundwork for Marvel's shift toward high-concept, media-adaptable crossovers. Millar's most commercially dominant Marvel work came with Civil War (2006–2007), a seven-issue limited series illustrated by that ignited a company-wide crossover event dividing superheroes over mandatory registration following a catastrophic Stamford incident. The storyline, pitting against , topped comic sales charts in 2006 and became Marvel's best-selling to date, with over 200,000 units sold for the collected edition by 2023. It exemplified the evolution of 2000s event by integrating tie-ins across dozens of titles, generating sustained narrative momentum and foreshadowing real-world debates on security versus liberty, while directly inspiring the 2016 MCU film that grossed over $1.1 billion. Closing the decade, Millar reunited with McNiven for Wolverine: Old Man Logan in Wolverine #66–72 (June 2008–September 2009), depicting an aged Logan in a dystopian future ravaged by villain conquests, drawing from Mad Max-style post-apocalyptic tropes to explore themes of regret and redemption. The arc's self-contained intensity drove single-issue sales spikes, with #66 marking a high point in the series' circulation, and its enduring popularity led to adaptations including a 2017 film earning $226 million. These collaborations underscored Millar's role in elevating artist-writer synergy, prioritizing widescreen visuals and blockbuster pacing that propelled Marvel's transition from niche comics to multimedia franchises.

DC Comics Projects and Returns

Mark Millar wrote the three-issue Elseworlds miniseries Superman: Red Son, published by DC Comics from June to November 2003, with art by Dave Johnson and Kilian Plunkett. The story depicts an alternate history in which Superman's rocket lands in the in 1919 rather than , leading him to become a communist champion who reshapes global geopolitics during the . It explores themes of power, ideology, and heroism through Superman's role as a Soviet enforcer confronting American counterparts like Batman and , earning praise for its bold reimagining of the character's mythos and Cold War-era paranoia. The series received critical acclaim and an Eisner Award nomination for Best Limited Series. – wait, no wiki, but from other: actually, sources confirm acclaim, but nomination from knowledge, but to cite, perhaps skip if not direct. Millar contributed to DC's animated tie-in series in the late 1990s and early 2000s, including stories collected in Vol. 4: The Man of Steel. In 1998, Millar collaborated with , , and Tom Peyer on the " 2000" pitch, a 21-page proposal submitted to DC to revitalize the line for the new millennium, emphasizing cyclical storytelling and character evolution, though it was not greenlit. Millar pitched an eight-hour Superman saga, structured as a trilogy of films released annually, drawing Godfather-like epic parallels, but it was rejected by DC in the late 2000s. In 2022, Millar teased a return to DC Comics for a new Superman story, confirming discussions for a six-part series as recently as 2024, though priorities shifted amid independent projects and Marvel overtures. These efforts highlight Millar's recurring interest in Superman, praised for innovative pitches but occasionally critiqued for dense scripting that prioritizes spectacle over subtlety in character arcs.

Millarworld Founding and Key Creator-Owned Titles (2004–2017)

In 2004, Mark Millar established as a creator-owned imprint to retain rights over his original , departing from traditional work-for-hire arrangements at major publishers like Marvel where creators receive fixed page rates without ongoing backend participation in adaptations or merchandising. This shift allowed Millar to split profits 50/50 with collaborating artists, fostering financial incentives aligned with long-term commercial potential rather than publisher-controlled exploitation of creator ideas. By partnering with imprints such as and Marvel's for distribution, Millarworld enabled production of high-concept stories designed for transmedia appeal, with early pitches to Hollywood studios securing option deals to fund development and provide upfront capital independent of comic sales alone. Key early titles under Millarworld included Wanted (2003–2005, published by Top Cow/Image), which depicted a villainous fraternity in a twisted superhero world and became the industry's top-selling creator-owned comic of the prior decade through its provocative narrative and rapid adaptation rights sale to Universal Pictures before completion. This was followed by Kick-Ass (2008–2012, with John Romita Jr.), a satirical take on amateur vigilantism that shattered prior records as the highest-selling creator-owned series, driven by its debut issue's strong initial orders exceeding 20,000 copies and subsequent graphic novel sales surpassing 100,000 units shortly after release. Later successes encompassed Nemesis (2010, with Steve McNiven), a brutal cop-killer thriller optioned by Fox; Superior (2010–2012, with Leinil Francis Yu), exploring wish-fulfillment superpowers; and Kingsman: The Secret Service (2012, with Dave Gibbons), a spy parody that secured film rights pre-publication via Millar's direct outreach to producers like Matthew Vaughn. This model prioritized IP ownership to capture value from adaptations, yielding seven-figure deals for multiple properties by 2017 and critiquing the industry's page-rate system that leaves creators without residuals despite generating billions in media revenue for publishers. Millarworld's pre-Netflix trajectory demonstrated how creator control could achieve sustainable independence, with titles collectively optioned by studios including Paramount and Fox, underscoring a causal link between retained rights and diversified income streams beyond periodical sales.

Netflix Era and Media Adaptations (2017–Present)

In August 2017, acquired , the independent comic publishing imprint founded by Mark Millar, marking the streaming service's first company purchase. The deal, valued by sources at an estimated $30–50 million, allowed Millar and his wife Lucy, who co-run the entity as a subsidiary, to retain operational involvement in developing new content and overseeing adaptations of the library's properties. This acquisition positioned 's titles—previously licensed for successes like the Kingsman films (2014–2021, produced by 20th Century Fox prior to the deal)—for exclusive screen versions, aiming to leverage Millar's track record of commercially viable narratives. Netflix's initial Millarworld slate emphasized serialized adaptations, beginning with Jupiter's Legacy, a live-action series based on Millar's 2013 comic that premiered on May 7, 2021. The eight-episode production, budgeted at an estimated $200–250 million across development and marketing, depicted generational conflicts but drew criticism for uneven pacing, tonal inconsistencies, and deviations from the source material's of heroism. It earned a 38% approval rating on and a 6.7/10 on , leading to cancellation on June 2, 2021, after one season amid low viewer retention and failure to build a franchise anchor. Subsequent releases showed varied execution but limited longevity. Super Crooks, an animated spin-off from the Jupiter's Legacy universe adapting Millar's 2012 , launched on November 25, 2021, as a 13-episode heist story featuring supervillains. Produced with , it received positive notices for its kinetic animation and irreverent tone, scoring 100% on (from six reviews) and 7.1/10 on , yet Netflix did not renew it for additional seasons, suggesting insufficient audience metrics despite critical favor. Similarly, The Chosen One, a six-episode live-action adaptation of Millar's American Jesus trilogy (relocated to 1990s ), debuted on August 16, 2023, following a boy discovering messianic powers. The series garnered a middling 5.6/10 on , with reviews faulting its predictable plotting and underdeveloped elements, and it concluded as a limited run without extension. Projects like , a dark fantasy about a secret magician society based on Millar's 2018 comic, have faced prolonged development hurdles since announcement in 2018. Initial pilots were shelved amid script revisions and Netflix's content reevaluations, with reports of the project being deprioritized or passed on internally by 2022, though Millar indicated resumed activity as late as 2021. By 2024–2025, production listings suggested potential filming in starting March 2025, but no confirmed greenlight has materialized, highlighting adaptation challenges. Overall, 's efforts have yielded mixed returns, with high-profile flops like Jupiter's Legacy underscoring risks in translating Millar's print sales (e.g., over 1 million Jupiter copies) to streaming viability, where viewership data and critical alignment often dictate continuation amid the platform's high cancellation rate for genre series.

Recent Ventures and Potential Returns (2020s)

In December 2023, Millar shifted his Millarworld publishing imprint to Dark Horse Comics, encompassing over 20 franchises and more than 40 individual volumes for reprints and deluxe editions, alongside launches of five new series in 2024 and four additional titles planned for 2025. This move followed Netflix's 2017 acquisition of Millarworld, which yielded mixed adaptation outcomes, including the 2021 cancellation of Jupiter's Legacy after one season amid critical panning and an estimated $200 million production cost that failed to recoup viewership expectations. Other efforts like Supercrooks and American Jesus underperformed relative to hype, prompting a pivot toward comics-centric strategies to rebuild audience engagement through print accessibility. Dark Horse's involvement has facilitated expanded print runs and premium formats, such as the oversized hardcover Library Edition collecting the 2014 series, scheduled for release on September 16, 2025. New 2025 titles include , a five-issue arc launching August 27 exploring the villain's global domination scheme, signaling Millar's intent to leverage established properties for serialized momentum. These initiatives coincide with industry trends favoring creator-owned reprints amid declining adaptation viability, potentially enhancing Millarworld's revenue through higher circulation and collector appeal. In September 2024, Millar disclosed discussions with for an untitled project he characterized as "bigger than Civil War," his 2006-2007 event that grossed over $1 billion in related media. By May 2025, he confirmed ongoing talks for a Civil War sequel concept, positioning it as a high-stakes return to mainstream narratives after focusing on independent ventures. Such a collaboration could yield substantial commercial returns, given Millar's track record of event-driven sales—Civil War alone sold millions in and inspired blockbuster films—though execution risks persist in a market saturated with crossovers. Overall, these ventures underscore a strategic recalibration toward print-first IP development, with media potential contingent on proven comic viability post-Netflix setbacks.

Creative Approach and Themes

Literary and Artistic Influences

Mark Millar has identified Alan Moore and Frank Miller as his greatest influences in comics writing, citing their groundbreaking approaches to narrative structure and character depth as formative during his early career. A personal encounter with Moore further motivated Millar to enter the industry professionally, shaping his ambition to innovate within superhero storytelling. In the late 1980s and early 1990s, as part of the emerging British comics scene, Millar also drew from contemporaries like Warren Ellis, whose experimental style in titles such as Transmetropolitan informed his own shift toward bolder, more provocative scripting. Beyond comics, Millar's Catholic upbringing instilled a deep appreciation for biblical narratives, particularly the New Testament's account of an ordinary man ascending to extraordinary power, which resonated with archetypes and subtly informed his interest in the medium from childhood. This literary foundation evolved alongside his fandom roots in the , where exposure to pulp adventure genres transitioned into professional work blending moral and epic elements. In adapting concepts to film and creator-owned projects, Millar incorporated influences from British spy fiction, notably the James Bond series; for The Secret Service (basis of Kingsman), he referenced the franchise's origins, including Sean Connery's portrayal of a rough Scottish outsider refined into a sophisticated agent, to craft modern tales grounded in class mobility and action spectacle.

Signature Styles, Motifs, and Innovations

Millar's narrative style emphasizes high-concept premises that interrogate superhero tropes through provocative, streamlined ideas amenable to cross-media adaptation. Works like Wanted (2003–2005) exemplify this via a central hook positing a world conquered by supervillains, building to a revelatory twist where the protagonist discovers the "heroes" of lore were villains and embraces the inverted hierarchy, subverting reader expectations of redemption arcs. This approach prioritizes structural surprise rooted in logical extrapolation from altered premises, as Millar has described pitching stories as "one-sentence wonders" designed for immediate conceptual grasp. A hallmark is the deployment of ultraviolence not for gratuitousness but to enforce causal realism, depicting superhuman feats' physical and psychological tolls on untrained or ordinary participants. In Kick-Ass (2008), amateur vigilantes endure disfiguring injuries and fatalities from rudimentary combat, illustrating how real-world ballistics and anatomy render idealized heroism untenable without institutional support. This grounded depiction directly informed the 2010 film adaptation, which replicated the comic's blueprint of visceral consequences amid absurdity, contributing to its $96.1 million worldwide gross despite an R rating limiting mainstream appeal. Motifs of flawed heroes and power's corrosive effects recur, with protagonists often starting as relatable underdogs who devolve under unchecked authority, reflecting Millar's view of human agency as inherently prone to self-serving distortion absent external checks. Innovations include event structuring that eschews binary good-versus-evil binaries; Civil War (2006–2007) pioneered moral ambiguity in crossover narratives by framing superhero registration as a debate between collective security and individual liberty, compelling icons like Iron Man and Captain America into peer conflicts without designating a triumphant ideology, thus prioritizing ethical trade-offs over resolution.

Thematic Explorations of Power, Heroism, and Politics

Mark Millar's works frequently deconstruct the archetype of the by examining the causal consequences of unchecked power, revealing how even benevolent intentions can devolve into tyranny or when applied at scale. In Superman: Red Son (2003), an alternate history where is raised in the , the character's alignment with communist ideology initially promises utopian efficiency but ultimately results in authoritarian stagnation and ethical compromises, mirroring empirical outcomes of 20th-century communist regimes such as economic inefficiency and suppression of dissent. Similarly, Jupiter's Legacy (2013–2016) portrays a analogue who, after decades of unchallenged heroism, imposes draconian rule to enforce moral order, illustrating how prolonged superhuman authority erodes democratic norms and fosters resentment among successors, as the elder heroes' legacy becomes "poisonous" to their disillusioned children. These narratives prioritize causal realism over endorsement, positing that superhuman power amplifies human flaws rather than transcending them, a theme drawn from historical precedents like the failures of centralized planning and personality cults. The costs of heroism emerge as a recurrent motif, emphasizing the post-heroic power vacuums that invite chaos. In Old Man Logan (2008–2009), a dystopian future unfolds after ' defeat leaves a villain-dominated wasteland, where Wolverine's retirement and subsequent regrets underscore the fragility of heroic victories and the realistic backlash from suppressed threats, akin to historical power transitions following empire collapses. This approach critiques the superhero genre's often sanitized by depicting heroism not as an eternal bulwark but as a temporary restraint on inevitable , with Logan's arc highlighting personal tolls like guilt and physical decline that render sustained guardianship untenable. Millar's exploration of political interventionism appears in The Authority (2000–2002), where the team's aggressive global enforcement against dictators and threats serves as a for post-9/11 , evoking debates over the by portraying decisive action as both necessary and perilously unchecked. The series' brutal tactics—such as summary executions of tyrants—invite interpretations as endorsing intervention to prevent atrocities, yet also warn of the moral hazards of superhuman , where ends justify means but risk alienating allies and breeding cycles of violence. Critics have praised Millar's nuance in balancing heroic ideals against their practical failures, crediting him with revitalizing the through unflinching realism that avoids ideological preaching. Others accuse his works of cynicism, arguing that the relentless strips characters of aspirational core, reducing heroism to inevitable or . This duality reflects Millar's intent to provoke reflection on power dynamics without prescribing solutions, privileging empirical outcomes over partisan .

Critiques and Commercial Impact

Millar's comic works have achieved notable commercial success through media adaptations, with films crediting him as story creator generating over $1.04 billion in international revenue as of recent tallies. Key properties including Wanted (2008, $342 million worldwide), Kick-Ass (2010, $98 million worldwide), and the Kingsman series (2014–2021, over $600 million combined) exemplify this, collectively approaching $1 billion in grosses from three major franchises alone. The 2017 Netflix acquisition of , his creator-owned imprint founded in 2004, further validated this model by securing rights to his library and future titles for an undisclosed sum involving multimillion-dollar payouts to collaborators, enabling expansions into TV and film. Critiques of Millar's style often center on an over-reliance on , , and formulaic plotting, with detractors arguing these elements substitute for deeper character development or originality. In Kick-Ass (2008–2012), portrayals of underage vigilantes engaging in extreme brutality—such as child assassins dismembering foes—drew accusations of gratuitous , intended as of tropes but seen by some as endorsing unchecked aggression. Similar patterns appear across titles like Wanted and Nemesis, where repetitive high-concept twists (e.g., secret villainous cabals or inverted hero-villain dynamics) and power fantasies have prompted claims of recycled, populist formulas prioritizing spectacle over nuance. Notwithstanding subjective dismissals of his approach as "edgy" or hackneyed—evident in online forums decrying repackaged ideas—Millar's empirical track record underscores a revitalizing influence on the creator-owned market. By demonstrating how independent titles could yield blockbuster adaptations and sustain imprints like , his ventures have incentivized creators to pursue properties with potential, shifting focus from direct- (often under 50,000 copies per issue) toward long-term franchise viability amid declining traditional comic revenues. This causal link between his successes and broader market dynamics prioritizes verifiable financial outcomes over stylistic critiques.

Public Perception and Controversies

Awards, Accolades, and Industry Recognition

Millar received the 2000 Will Eisner Comic Industry Award for Best Title for a Younger Audience for Superman Adventures, shared with Aluir Amâncio, Terry Austin, and other contributors. In 2001, he shared the Eisner Award for Best Serialized Story for The Authority #13–16 with and Trevor Scott. He earned nominations for Best Writer at the Eisners in 2000 for Superman Adventures and in 2001 for The Authority and Ultimate X-Men. Superman: Red Son (2003–2004) received a 2004 Eisner nomination for Best Limited Series, highlighting its alternate-history premise amid critical reception for innovative deconstruction. These early-2000s honors coincided with Millar's runs on DC/Wildstorm and Marvel titles, recognizing narrative boldness during a revival era, though wins remained selective relative to output volume. For UK-based recognition, Millar won the for Favourite Comics Writer in both 2004 and 2005, voted by fans for ongoing excellence across projects like The Ultimates. Such accolades underscore peer and readership appreciation in Britain, where emphasized creator impact pre-digital shifts in voting. In broader spheres, Millar was awarded an honorary by in 2012 for contributions to literature. He received the (MBE) in the 2013 for services to literature and drama, acknowledging his influence on as a medium. These honors reflect sustained industry esteem, decoupled from peak sales of later creator-owned hits like Kick-Ass, which garnered commercial but not equivalent award traction.

Public Image and Media Presence

In the early 2000s, Mark Millar cultivated a public persona through active engagement in online comic book forums, where he and supporters defended his works against criticisms of excessive violence or narrative choices, as seen in discussions around titles like Civil War. This fan-facing approach emphasized direct interaction, fostering loyalty amid debates over his "edgy" style. Following the 2017 sale of Millarworld to Netflix, Millar's image evolved into that of a media executive, with interviews highlighting his business strategy, such as leveraging comics for adaptations and scaling intellectual properties. As president of Netflix's Millarworld imprint, he positioned himself as a creator-turned-entrepreneur, discussing operational shifts like content development for streaming. Self-promotion played a central role in this transition, with Millar crediting proactive hustling—via sites like Millarworld and responses to industry critiques—for amplifying his visibility and commercial breakthroughs. Millar's media presence expanded through digital platforms, including a YouTube channel Millar Time for creator interviews and teasers, alongside consistent activity on Instagram (over 41,000 followers as of recent counts) and X, where he shares updates on projects and industry insights. In 2025, he publicly dismissed cancel culture as defunct, asserting it no longer constrains provocative content creation, a stance that underscored his unapologetic executive voice. While this aggressive self-promotion elevated Millar's profile—driving adaptations and deals—it also drew heightened scrutiny, with online communities and media amplifying debates over his methods and output, from perceived hype to ethical concerns in collaborations.

Political Stances and Interpretations of Works

Millar's comic works frequently explore political power structures, with interpretations varying across ideological spectra. In The Authority (1999–2002), the titular team's unilateral global interventions against tyrannical regimes, disregarding international consensus, have been read as endorsing hawkish preemptive action reminiscent of the 2003 Iraq invasion, reflecting post-9/11 security paradigms where superhuman authority bypasses bureaucratic inertia to enforce order. This portrayal critiques multilateral paralysis but also raises left-leaning concerns about unchecked devolving into , as the team's god-like enforcement prioritizes ends over democratic means. Conversely, Jupiter's Legacy (2013–2019) depicts generational clashes over and heroic restraint, where the elder Union's adherence to a non-interventionist code preserves capitalist stability amid depression, while the protagonist's radical push for systemic overhaul culminates in dystopian rule under Blackstar—a Superman analogue enforcing collectivist edicts through terror, portrayed as a monstrous perversion of egalitarian ideals. Right-leaning readings frame this as a defense of and against socialist upheaval's inherent authoritarian drift, evidenced by the regime's brutal suppression mirroring historical communist excesses; left critiques, however, highlight the Union's stasis as complicit in perpetuating inequality, underscoring power's corrupting stasis regardless of ideology. These themes arise from empirical historical touchpoints rather than partisan dogma, such as real-world financial crises informing Jupiter's backdrop of hero-impotence and The Authority's roots in early-2000s geopolitical tensions. Millar, self-identifying as left-of-center, has nonetheless advocated industry balance, arguing in 2024 that conservative writers excel at gritty vigilante archetypes like The Punisher, whose demands unflinching moral clarity often at odds with progressive . Critics have labeled his output Blairite neoliberal—interventionist yet market-preserving—evident in portrayals skeptical of both radical collectivism and heroic overreach, privileging pragmatic realism over utopian blueprints. This duality fosters defenses of heroic against systemic failures while probing power's universal temptations toward tyranny.

Major Controversies and Responses

Millar's Kick-Ass series, launched in 2008, drew criticism for its graphic depictions of violence, with detractors arguing it glorified vigilantism by portraying underage protagonists engaging in brutal, unchecked acts against criminals. Critics contended the narrative's emphasis on amateur superheroes triumphing through extreme measures undermined realistic consequences, potentially endorsing extralegal justice. In response, Millar maintained that the story satirized superhero tropes by amplifying their inherent absurdities, insisting the violence served to highlight the impracticality and peril of real-world imitation rather than promotion. A related flashpoint emerged with Kick-Ass 2 in 2012, where a scene prompted accusations of trivializing as mere plot fodder, comparable to non-sexual brutality. Millar defended the inclusion by equating it to commonplace action tropes in media, stating in 2013 that "the thing is something that happens in as well" and questioning why it warranted special outrage over punches or shootings. He argued this reflected gritty realism in fiction, dismissing heightened sensitivity as inconsistent with broader tolerance for graphic content, though opponents viewed his stance as minimizing trauma's distinct impact. In November 2011, Millar publicly supported amid backlash over Miller's blog post decrying the movement as "pro-rapist" and akin to law support. Labeling detractors a "cyber-mob," Millar contended the uproar exemplified intolerant , emphasizing that reasonable people could hold divergent political views without personal attacks, and that Miller's body of work merited respect beyond one opinion. He framed the defense as upholding free expression against what he saw as disproportionate online vitriol, contrasting it with constructive debate. More recently, in June 2025, colorist Matt Hollingsworth urged a boycott of the Chrononauts library edition rerelease by Dark Horse Comics, alleging Millar withheld royalties owed from the 2015 original series despite contractual obligations. Hollingsworth, posting on BlueSky, stated he would receive no proceeds from the edition and encouraged fans to abstain to avoid funding Millar, citing illustrator Sean Murphy's similar grievances over unpaid backend deals. As of October 2025, Millar had not issued a direct public rebuttal, though supporters characterized the effort as an orchestrated cancellation attempt amid industry disputes.

Personal Life

Family and Private Relationships

Mark Millar was previously married and has an eldest daughter, Emily Brooks Millar, from that relationship, who has pursued a career in art and comics. Millar married his long-term partner Lucy Millar (née Unwin) on May 12, 2016, after they had already started a together. The couple has two younger daughters; their first child was born in November 2011, followed by a second. The family has been based in Glasgow's West End, providing a stable home environment that Millar has credited with grounding his personal life despite his international career demands. By 2021, plans were underway for a relocation to in southern England to accommodate family needs, though the family maintained strong ties to .

Health, Relocation, and Later Interests

In , Millar experienced a severe adverse reaction to medication that left him critically ill and nearly fatal, requiring hospitalization before he recovered sufficiently to resume his professional activities. This incident, described by Millar as being "pole-axed" by the treatment, underscored his resilience, as he returned to prolific output in and adaptations without prolonged interruption. Millar maintains his primary residence in , , having opted against relocating to despite lucrative Hollywood overtures, a choice he attributes to the grounding influence of his Scottish roots amid the detachment of industry hubs. This decision has supported sustained creativity, countering potential burnout from transatlantic demands, as evidenced by his ongoing development of projects like those under Netflix's imprint while rooted in familiar environs. In later years, Millar's interests have extended to film production, where he serves as on adaptations of his works, including Kingsman and Jupiter's Legacy, leveraging his comics to bridge print and screen. Philanthropically, he co-founded the Millar Foundation with his wife Lucy to fund educational initiatives, such as school trips for children from his former primary school in Coatbridge, reflecting a commitment to community uplift using proceeds from his career. By August 2025, Millar balanced these pursuits with personal recharge, vacationing in alongside family, signaling deliberate prioritization of well-being.

References

  1. https://www.mrmarkmillar.com/about
  2. https://www.mrmarkmillar.com/
  3. https://about.netflix.com/news/netflix-acquires-millarworld-1
  4. https://www.theguardian.com/books/2017/aug/08/mark-millars-superhero-rise-from-comic-book-nerd-to-netflix-winner
  5. https://www.scotsman.com/news/mark-millars-journey-from-glasgow-to-gotham-3098477
  6. https://www.tvinsider.com/people/mark-millar/
  7. https://www.theguardian.com/tv-and-radio/2021/apr/28/superman-dad-comics-legend-mark-millar-jupiters-legacy-carrie-fisher-covid-hollywood
  8. https://www.heraldscotland.com/news/15459197.mark-millar-coatbridge-superhero-universe-netflix-deal-major-milestone-glittering-career/
  9. https://kick-ass.fandom.com/wiki/Mark_Millar
  10. https://www.the-independent.com/arts-entertainment/films/mark-millar-kingsman-kickass-netflix-comics-millarworld-a7934116.html
  11. https://www.undertheradarmag.com/interviews/scotland_week_comic_book_writer_mark_millar/
  12. https://www.hollywoodreporter.com/movies/movie-news/mark-millar-comic-conquered-1236388384/
  13. http://heroesof2000ad.blogspot.com/2015/07/no-37-mark-millar.html
  14. https://blogblowfish.wordpress.com/2015/10/07/history-of-the-british-comic-industry-part-7-the-awful-80s/
  15. http://www.sequentialtart.com/archive/dec01/tth_1201.shtml
  16. http://sequart.org/magazine/37332/the-best-of-millar-the-10-most-enjoyable-examples-of-mark-millar-work-for-uk-publishers-1989-1997/
  17. http://www.2000ad.org/thrillpower/2kad6.html
  18. http://sequart.org/magazine/37318/the-worst-of-millar-the-10-least-commendable-examples-of-mark-millar-work-for-uk-publishers-1989-1997/
  19. https://www.academia.edu/39745459/The_British_Invasion_in_Comics_Adapted
  20. http://sequentialtart.com/archive/mar02/millar2.shtml
  21. https://www.dc.com/graphic-novels/superman-adventures-1996/superman-by-mark-millar
  22. https://www.amazon.com/Superman-Adventures-Vol-Mark-Millar/dp/1401275117
  23. https://www.cbr.com/wildstorm-a-celebration-of-25-years-to-uncensored-authority-artwork-mark-millar-frank-quitely/
  24. https://www.sequentialtart.com/archive/aug00/millar.shtml
  25. http://sequart.org/magazine/3440/exposing-status-quo-super-heroics-in-mark-millars-the-authority/
  26. https://www.cbr.com/mark-millar-most-influential-controversial-modern-writer/
  27. http://sequart.org/magazine/899/mark-millars-the-authority-and-the-polemic-over-iraq/
  28. https://www.amazon.com/Ultimate-X-Men-Omnibus-Vol-X-men/dp/1302946358
  29. https://www.comicbookherald.com/the-complete-marvel-reading-order-guide/ultimate-marvel-universe-reading-order/
  30. https://www.marvel.com/comics/series/664/ultimates_2002_2003
  31. http://sequart.org/continuity-pages/ultimate-marvel/the-ultimates/mark-millar-the-ultimates/
  32. https://www.them0vieblog.com/2012/04/27/ultimate-comics-avengers-by-mark-millar-omnibus-reviewretrospective/
  33. https://bleedingcool.com/comics/civil-war-is-marvels-best-selling-graphic-novel-ever/
  34. https://www.oklahoman.com/story/entertainment/books/2007/01/26/marvels-civil-war-series-tops-comic-sales-chart-in-2006/61821531007/
  35. https://www.amazon.com/Civil-War-Mark-Millar/dp/078512179X
  36. https://www.amazon.com/Wolverine-Old-Logan-Mark-Millar/dp/0785131728
  37. https://leagueofcomicgeeks.com/comic/2660865/wolverine-old-man-logan-marvel-premier-collection-tp
  38. https://www.dc.com/graphic-novels/superman-red-son
  39. https://www.dc.com/talent/mark-millar
  40. https://scans-daily.dreamwidth.org/7974632.html
  41. https://www.firstshowing.net/2008/mark-millars-superman-pitch-revealed-as-godfather-like-epic/
  42. https://comicbookmovie.com/comics/marvel-comics/mark-millar-says-hes-planning-marvel-comics-return-for-a-project-that-is-way-bigger-than-civil-war-a213447
  43. https://www.hollywoodreporter.com/movies/movie-features/behind-netflixs-bold-bet-comics-king-mark-millar-1031336/
  44. https://ultimatepopculture.fandom.com/wiki/Mark_Millar
  45. https://www.animationmagazine.net/2017/08/netflix-buys-kingsman-comic-co-millarworld/
  46. https://imagecomics.com/creators/mark-millar
  47. https://www.wired.com/2010/04/kick-ass-hardcover/
  48. https://deadline.com/2010/08/fox-and-tony-scott-plot-movie-version-of-mark-millars-nemesis-60421/
  49. https://www.theguardian.com/books/2018/jun/12/mark-millar-kingsman-kick-ass-the-magic-order
  50. https://forums.thetechnodrome.com/showthread.php?t=58506
  51. https://www.hollywoodreporter.com/movies/movie-news/netflixs-first-acquisition-kingsman-comics-publisher-1027202/
  52. https://about.netflix.com/en/news/netflix-announces-First-slate-of-series-and-films-based-on-the-stories-of-mark-millar
  53. https://www.hollywoodreporter.com/tv/tv-news/jupiters-legacy-canceled-netflix-season-2-1234965510/
  54. https://www.imdb.com/title/tt5774002/
  55. https://deadline.com/2021/05/netflix-mark-miller-super-crooks-jupiters-legacy-magic-order-prodigy-1234750645/
  56. https://www.rottentomatoes.com/tv/super_crooks/s01
  57. https://www.imdb.com/title/tt14272628/
  58. https://www.netflix.com/tudum/articles/the-chosen-one-release-date-news
  59. https://www.imdb.com/title/tt1405354/
  60. https://bleedingcool.com/tv/the-magic-order-american-jesus-super-crooks-millar-updates-series/
  61. https://thecinemaholic.com/netflixs-the-magic-order-scheduled-to-start-filming-in-chicago-in-november/
  62. https://www.forbes.com/sites/joshweiss/2023/12/05/mark-millar-bringing-millarworld-catalogue-over-to-dark-horse-comics/
  63. https://www.darkhorse.com/Blog/3929/mark-millars-millarworld-moves-dark-horse-comics-n
  64. https://www.forbes.com/sites/scottmendelson/2021/06/03/jupiters-legacy-is-a-painfully-predictable-disaster-for-netflix/
  65. https://theplaylist.net/netflix-kills-jupiters-legacy-pivots-supercrooks-series-20210603/
  66. https://www.comicsbeat.com/mark-millar-moves-millarworld-to-dark-horse-and-heres-what-it-means/
  67. https://www.darkhorse.com/Books/3014-252/Starlight-Library-Edition-HC
  68. https://www.darkhorse.com/Blog/4390/blood-will-spill-again-in-nemesis-forever
  69. https://bleedingcool.com/comics/mark-millar-marvel-bigger-than-civil-war/
  70. https://screenrant.com/marvel-civil-war-sequel-mark-millar-disney-too-political/
  71. https://www.impulsegamer.com/mark-millar-interview-batman-netflix-reborn/
  72. http://www.sequentialtart.com/archive/mar02/millar2.shtml
  73. https://www.beliefnet.com/entertainment/celebrities/interviews/mark-millar-god-and-comics.aspx
  74. https://www.mrporter.com/en-us/journal/lifestyle/the-comic-duo-711524
  75. https://www.cbr.com/mark-millar-wanted-big-twist-better-in-movie/
  76. https://www.denofgeek.com/movies/mark-millar-interview-kingsman-foxs-marvel-films/
  77. https://www.theguardian.com/film/2010/mar/26/kick-ass-comics-film-adaptations
  78. https://www.popmythology.com/analysis-marvel-civil-war-mark-millar/
  79. https://dc.fandom.com/wiki/Superman:_Red_Son_Vol_1
  80. https://imagecomics.com/comics/series/jupiters-legacy
  81. https://www.comicpow.com/2013/09/05/jupiters-legacy-and-mark-millars-view-of-america-the-first-two-issues/
  82. https://www.overthinkingit.com/2017/04/05/hopes-end-logan-death-mutant-metaphor/
  83. https://bfwclassroom.com/2024/03/07/cic-50-years-of-wolverine/
  84. http://sequart.org/magazine/23691/on-how-superman-would-win-the-war/
  85. https://gutternaut.net/2019/11/mark-millar-the-late-blooming-success/
  86. http://kalinara.blogspot.com/2010/03/miller-vs-millar-rant-about-cynical.html
  87. https://www.youtube.com/watch?v=psft_EbGwFg
  88. https://www.the-numbers.com/person/376060401-Mark-Millar
  89. https://www.theguardian.com/business/2017/aug/08/netflix-can-spawn-a-disney-marvel-like-millarworld-superhero-universe
  90. https://www.reuters.com/article/world/netflix-buys-comics-publisher-millarworld-to-feed-films-and-tv-idUSKBN1AN2AL/
  91. https://newrepublic.com/article/114150/mark-millar-kick-ass-2-author-comics-sickest-mind
  92. https://shigekuni.wordpress.com/2010/05/08/backasswards-mark-millars-kick-ass-and-wanted/
  93. http://www.edrants.com/mark-millar-the-pursuit-of-popularity/
  94. https://simoneandthesilversurfer.wordpress.com/2013/11/12/interlude-4-my-life-in-comics-part-1-mark-millar-is-an-overrated-idiot/
  95. https://www.comicsbeat.com/mark-millar-vs-image-comics-sales-chart/
  96. https://bleedingcool.com/comics/mark-millar-mbe/
  97. https://forum.rpg.net/index.php?threads/comics-a-defense-of-civil-war-and-mark-millar.314110/
  98. https://forums.superherohype.com/threads/whats-up-with-mark-millar-and-his-hyper-violent-comics.463841/
  99. https://www.reddit.com/r/comicbooks/comments/2a59ll/what_did_mark_millar_do_to_offend_people_so_deeply/
  100. http://wordballoon.blogspot.com/2019/12/mark-millar-barefoot-netflix-exectutive.html
  101. https://www.businessinsider.com/netflixs-mark-millar-on-jupiters-legacy-and-millarworld-plans-2021-5
  102. https://bestjackettpress.substack.com/p/newsletter-192-a-self-promotion-how
  103. https://bobmitchellinthe21stcentury.wordpress.com/2008/02/28/kick-ass-a-coatbridge-special-about-the-new-comic-from-mark-millar-and-john-romita-jr/
  104. https://ifanboy.com/articles/mark-millar-says-he-makes-comic-books-first-and-foremost/
  105. https://www.youtube.com/@millartime5717
  106. https://www.instagram.com/mrmarkmillar/?hl=en
  107. https://x.com/mrmarkmillar?lang=en
  108. https://bleedingfool.com/comics/kick-ass-creator-mark-millar-says-cancel-culture-is-over/
  109. https://keycomicsvault.com/2025/06/07/mark-millar-controversy-matt-hollingsworth-wont-work-with-him/
  110. https://www.youtube.com/watch?v=Ggo9-9JO_Xg
  111. https://wethenerdy.com/interview-with-mark-millar-on-jupiters-legacy/
  112. https://www.pennlive.com/entertainment/2013/08/kick-ass_2_mark_millar.html
  113. https://comicsalliance.com/mark-millar-rape-kick-ass-2/
  114. https://www.digitalspy.com/comics/a505225/kick-ass-writer-mark-millar-downplays-sexual-violence-in-comics/
  115. https://www.portlandmercury.com/sexual-politics/2013/08/16/10254809/my-least-favorite-piece-of-misogyny-this-week-mark-millar-edition
  116. https://comicsalliance.com/mark-millar-defends-favorite-writer-frank-miller-from-fan-back/
  117. https://www.cbr.com/mark-millar-defends-frank-miller-against-cyber-mob-mentality/
  118. https://icv2.com/articles/news/view/21517/millar-defends-miller
  119. https://bleedingcool.com/comics/matt-hollingsworth-boycott-mark-millar-chrononauts/
  120. https://www.comicsbeat.com/award-winning-colorist-matt-hollingsworth-calls-for-fans-to-boycott-chrononauts/
  121. https://fandompulse.substack.com/p/mark-millar-faces-coordinated-cancel
  122. https://www.dailyrecord.co.uk/entertainment/celebrity-interviews/comic-book-genius-mark-millar-2896530
  123. https://www.glasgowtimes.co.uk/news/14488269.coatbridge-comic-king-mark-millar-marries-long-term-girlfriend/
  124. https://bleedingcool.com/comics/mark-millar-leave-scotland-surrey/
  125. https://www.dailyrecord.co.uk/entertainment/celebrity/scots-comic-book-genius-mark-1004163
  126. https://www.dailyrecord.co.uk/news/scottish-news/comic-book-writer-mark-millar-24002188
  127. https://www.bbc.com/news/uk-scotland-glasgow-west-40849525
  128. https://www.imdb.com/name/nm2092839/
  129. https://www.mrmarkmillar.com/foundation
  130. https://www.instagram.com/p/DNk5KpmM2he/
Add your contribution
Related Hubs
User Avatar
No comments yet.