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CSBG Archive

Year of the Artist, Day 219: Bill Sienkiewicz, Part 3 – Elektra: Assassin #1 and 8

elektraassassin5005 (2)

Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Bill Sienkiewicz, and the issues are Elektra: Assassin #1 and 8, which were published by Marvel and are cover dated August 1986 and March 1987. Enjoy!

By 1986, Sienkiewicz was almost at the point where he really couldn’t do mainstream superhero comic anymore, as he had moved so far beyond the sensibilities of the superhero audience that the two sides couldn’t see each other any longer. Obviously, he still drew some “mainsteam” books – The Shadow is sort of a mainstream superhero book – but he was reaching a point where unless he pulled back, he wouldn’t really be suitable for it anymore. Elektra: Assassin is, in many ways, the apotheosis of his superhero work – it’s absolutely gorgeous, it features a very mainstream character and a mainstream organization, it has a lot of fighting, but it’s also where Sienkiewicz showed that he was too “weird” to do normal stuff for the Big Two. We’ll see below what I mean!


As Sienkiewicz became more avant-garde, he also started showing a sense of humor, even in places where you might not expect it. Elektra is reminiscing about her life, and she thinks about before she was born, when she was still in her mother’s womb. Sienkiewicz draws a relatively simplistic, child-like version of pregnancy, as Elektra is sitting in the womb, waiting to be born. We get a simple sun, with thick yellow spokes showing its magnitude as it beats down on the Greek islands. Elektra’s mother lies supine on the sand, and Sienkiewicz uses lighter pencils on her and the hand in Panel 1, separating her from Elektra a bit and making her mother slightly less of a presence (considering that she’s about to die, that’s probably what’s going on). Sienkiewicz, keeping with the child-like drawing (as Elektra is remembering this, so it’s filtered through her childhood memories), gives both her mother and Elektra rosy cheeks, simply using red circles to show it. In Panel 1, notice that he uses heavier lines for the star of the story, while also opening her eyes wide, implying the fear she feels from being all alone in a scary place. When her father touches her mother, we get Panel 2, where Sienkiewicz draws her happy, a good shift from the scared girl in Panel 1. All of this is done very simply, but it’s still very powerful.


This is the next page, and it’s a good indication of the kind of stuff Sienkiewicz was doing at this point. In the present, Elektra is getting tortured, and Sienkiewicz draws two evil dudes who are really caricatures of evil dudes. Yes, there are some very realistic-looking evil dudes in this comic, but Sienkiewicz was starting to become more cartoony in his figure work even as he was becoming more avant-garde with everything else. It’s a weird tension that tends to work pretty well. In case you didn’t know, Elektra: Assassin is written by Frank Miller, and it’s interesting to read it knowing that he was doing The Dark Knight Returns about the same time (the final issue of DKR arrived in shops about three weeks before issue #1 of this series), because Elektra: Assassin is satirizing the very ultra-violence that Miller proudly displays in DKR, and Sienkiewicz’s depiction of the evil characters is part of that. They’re cartoons, sure, but they still do horrible things. In Panel 1, we get the electricity flowing all over the panel, as Sienkiewicz paints in the current and adds the herky-jerky sound effects as Elektra gets zapped. Then she flashes back again to her dad getting shot on the day she was born (obviously, he didn’t die). Sienkiewicz changes his style back to the simplistic, child-like recollections of Elektra, using big, basic shapes, abstract figures, and notes to explain what we’re seeing. He even makes sure to imply that Elektra is an unreliable narrator, as in Panel 4 (if we count the inset panel of her face as Panel 2), she says that her father was shot multiple times, then corrects herself in Panel 5. It’s a clever way to show that we might not want to believe Elektra in this story.

Story continues below


Elektra, of course, trains with Stick and his other students, and Sienkiewicz does an amazing job with this flashback. Again, he uses basic shapes to simplify the art, even though the movement within each panel is very nice and the painted background is beautiful. He uses bold lines to make both Stick and Elektra more clearly defined, as they’re standing in a bleak landscape that leaves no room for subtlety. He paints them blue to match the frigid setting, making the scene even cooler, and he doesn’t use red from the fringe on Elektra’s robe and on Stick’s sash, dulling the hue down to pink to make it a bit cooler. Elektra has a shaved head, of course, which allows Sienkiewicz to infantilize her a bit, as she’s unworthy in Stick’s eyes, but it also makes her less of a human, even, which is how Stick sees her. In Panel 3, we can see her eyes (we see them better on the next page), and Sienkiewicz makes them cartoonish, with the irises filling up the entire socket, much like we see in cartoons when someone thinks something is unbelievably cute (I’m looking at you, Mabel Pines!). This creates an impression of utter innocence, which makes Stick’s treatment of Elektra even worse in the reader’s mind and makes her eventual “corruption” even sadder. The roughness of the art also implies that it’s a memory – Elektra remembers this in raw form, and that’s what we’re seeing.


Issue #8 features a lot of violence, obviously, and Sienkiewicz uses a lot of red paint and goes a bit abstract in places to show a more chaotic vibe. The explosion in Panel 1 is all paints, it appears, as the bleachers blow upward and Sienkiewicz uses a lot of red, orange, and yellow. The sound effect grows as it rises, buffeting the S.H.I.E.L.D. helicopter at the top of the page. Notice that the top of the explosion is black, as it’s the remnants of the “Beast” that Elektra has been battling throughout the book. Sienkiewicz’s odd design of the helicopter makes it look more menacing, as that tall section above the cockpit seems to fly in the face of physics. In Panel 2, Sienkiewicz draws Elektra using the force of the explosion to fly upward so she can fire her crossbow at the helicopter, which we see in Panel 3. The flames obscure Elektra and John Garrett in Panel 4, as we simply get an outline painted red, blending them into the background. Garrett still takes a round to the chest, but as he’s mostly robotic by this time, it doesn’t do much. The riot of hot colors in this sequence is nicely done, as it creates a storm of violence, at the center of which is our heroine.


There are people in this world who didn’t think Sienkiewicz could do beautiful artwork anymore because his style was too avant-garde. Those people, obviously, were wrong. ‘Nuff said!


As his style became more … stylized, Sienkiewicz didn’t draw action the same way he did earlier in his career, but that didn’t mean he couldn’t draw good fight scenes. Here Elektra faces off against Perry, another S.H.I.E.L.D. (or ex-S.H.I.E.L.D.) super-cyborg, and Sienkiewicz uses the old tools of the trade – pencil and ink. Perry is a bit abstract, with his hair standing straight up like that, which Sienkiewicz draws simply by using long line segments unconnected to a scalp, but his body his solid and his face, while a bit cartoonish, is cleanly drawn. When Elektra chops his head off, Sienkiewicz uses thick inking lines to create the violent collision of her sword and his cybernetics, and he draws pieces of electronics flying away on the arc of her sword, giving us an even better idea of the violence of her stroke. Sienkiewicz uses a sickly green for the background, as this book is partly about demonic possession, and this kind of green creates the feeling of nausea that Elektra feels when she confronts the “Beast.” Sienkiewicz doesn’t change the skin tones of Elektra and Perry, showing how invasive this feeling is but also making Ken Wind, the new president, stand out a bit more as his face is paper-white. We’ll get to Wind in a moment!

Story continues below


One of the satirical aspects of the book is Ken Wind, who wins the presidency in this series. Wind (not like the watch, but like the air!) appears to be the perfect 1980s liberal, and Miller opposes him with an incumbent who looks very much like Nixon. Both men are reprehensible, but it turns out that Wind is so because he’s a creature of the Beast, so when he wins the election, he immediately begins saber-rattling toward the Russians. One thing Sienkiewicz began to do as he experimented with his art is use more multimedia, as we see with Ken Wind, who is always just a photograph whose expression very rarely changes (when I wrote about this series, one of the commenters wrote that he heard it was Sienkiewicz’s own face, which would be hilarious). Wind is always facing the reader no matter how his body is arranged, too, which is somewhat disconcerting. Notice that in this panel, he’s not looking at Garrett and his expression is incongruent with his actions – it’s part of the satire, as he’s the consummate politician, never letting events bother his plastered-on expression. Even Miller’s dialogue is part of the joke, as Wind is always platitudinous even when he’s trying to kill you. Meanwhile, notice again that Perry is an evil cartoon, while Sienkiewciz takes some time to make sure Elektra looks like a real person. This continues the dichotomy I noted above, and it’s an interesting contrast. I’m not sure if Miller/Sienkiewicz is suggesting we don’t take actual evil all that seriously, but there’s something to it, I’d reckon!

Elektra: Assassin is a masterpiece, and it’s one of those comics that looks more interesting based on what happened subsequently with the creators. As unsubtle as this is, compared to later Miller works, it’s the most opaque satire you can get, and it comes at a point when Miller was still able to recognize when he had gone too far and needed to deflate his own ego (I’m not too sure he gets that anymore). Meanwhile, Sienkiewicz continued to experiment, and while the stuff he had done before this comic showed where he could go, Elektra: Assassin was really the break between his mid-1980s experimental work and everything that came after it.

Tomorrow … well, that’s a good question. I’ll get back to you. There’s so much it could be! Don’t fret, though – there are still plenty of comics to check out in the archives!


Still the best Marvel storyline IMO.

He lit his candle in the rain at Woodstock, spilled his very own blood at Altamont, burned his draft card at Berkeley, marched on Washington, carried U.S. banner of peace through the bullets at Kent State, he cried for John, for Martin, for Bobby, he is the sould of the love generation, the spirit of the ’68. Democrat. Liberal. The next president of the United States. Remember America – not Wind like a watch, but Wind — like the air!

(best comic this side of Hitman, btw)

tom fitzpatrick

August 7, 2014 at 2:29 pm

I think around this time, FM and Sienkiewicz collaborated again on another Elektra-related spin-off: a OGN called DAREDEVIL: LOVE AND WAR. Another gorgeous Sienkiewicz book.

However, if memory serves me right, Sienkiewicz tried his hand at writing as well in a terrific mini-series: STRAYTOASTERS.

The ’80’s were very good to him.

Imraith Nimphais

August 7, 2014 at 2:35 pm


This LS was nothing short of phenomenal in every way imaginable. Elektra: Assassin (and the Love and War OGN) are among my most prized pieces in my library.

Angel: Yeah, it’s pretty good, isn’t it?

Jeremy: I would love if some politician ran an advertisement like that. I can’t believe someone never did!

tom: Love and War is quite good. Stray Toasters is from 1988. So yeah, the 1980s were a good time for Sienkiewicz.

Imraith: I’m glad you approve! :)

You skipped over New Mutants?! AUUUGH! :p

I was going to comment that Wind’s face looked pretty out of place there, and then you explained why! It reminds me a bit of the Witches’ lairs in the fantastic anime Puella Magi Madoka Magica- there’s a bit of medium blending there as well.

One of the most underrated comics. It gets overshadowed by the other mid-eighties heavyweights but I think it deserves just as much acclaim. Miller and Sienkiewicz created nothing short of a masterpiece.
It’s a shame the newer printings of the trade have that generic cover. The original of Elektra aiming her bow and arrow at a ballon with Wind’s face on it while standing on Garrett’s shoulders as he rides a tricycle with a smoking gun in his hand is the best possible representation of the tone of the story. I love that piece, might be my pick for the best Sienkiewicz cover ever.

I know that we are supposed to be discussing Sienkiewicz, but , man, Frank Miller was on fire at this stage in his career. Just look at what he produced during the 1986-87 timeframe: THE DARK KNIGHT RETURNS, DAREDEVIL: BORN AGAIN, BATMAN: YEAR ONE, ELEKTRA: ASSASSIN. That’s one hell of a peak.

Frank Miller held 3 spots in the top ten of CSBG’s 2013 Top 100 Comic Book Storylines! Morrison and Moore only got one a-piece in that top ten! The guy was a legend. It’s too bad that’s firmly in the past tense these days.

Elektra was actually the first graphic novel I ever bought. It kinda spoiled me for graphic novels as a whole, I admit! And Elektra stories, too. Miller’s storytelling is great, but Bill’s art lifts it to the stratosphere.

I seriously wonder what happened to Frank Miller to turn him from this great writer and artist into a complete and total hack. It couldn’t have been his divorce or 9/11 because his work was slipping way before those things ever happened.

Maybe Image rip-offs of his work started to influence him a bit.

In any case, this was probably the first Sienkiewicz work I ever read and I really loved it. His compositions are absolutely crazy, you couldn’t film this comic book (at least, not if you wanted it to maintain any sense of artistic integrity) but Sienkiewicz demonstrated a real ability to generate beautiful artwork in-between some of the craziness.

Also, Ken Wind looks like Kennedy. Was that intentional?

David Mack kneels at the altar of Electra Assassin.

So, Greg, are we moving towards Bill’s more painted work? Jimi Hendrix: Voodoo Child may well be one of the best painted graphic novels ever done.

Solid Snake: I suppose the Kennedy/Wind resemblance is intentional, although if it’s true that Wind is a photograph of Sienkiewicz himself (it doesn’t look too much like he does today, but it’s been almost 30 years), I’m not sure how intentional it was supposed to be. Given that the president at the beginning of the book looks like Nixon, I’m fairly sure we’re supposed to get a Kennedy vibe from Wind.

marty: Unfortunately, I don’t own Voodoo Child. I wish I did, but I don’t. This entry is a good show of his painted work, I think, and today’s entry is a mixture of painting and pencil and ink work, so I think it’s a good point along his evolution. But no Hendrix, unfortunately! :(

I have never actually read Elektra: Assassin all the way through, just bits & pieces. I seriously doubt I would have been able to appreciate it when it first was published since I would probably have been too young to appreciate the political & social satire of Miller’s story, as well as the madness of Sienkiewicz’s artwork. One of these days I really should read the entire miniseries, though, if only for the artwork. Looking at Greg’s overview of just these two issues, it is just amazing to behold the numerous diverse styles that Sienkiewicz utilized within this series to create a wide range of atmosphere, characterization and emotion.

By the way, regarding whose photo was used for Ken Wind, here’s an excerpt from Kuljit Mithra’s interview with Bill Sienkiewicz in January 2000…

Mithra: Whose idea was it to use the photo of ‘Ken Wind’? Whose photo is that?

Sienkiewicz: Mine, and Ken Wind doesn’t exist except in pieces. It weirded me out, when years later George Bush chose Dan Quayle as his V.P. I thought, “Ken Wind has come to life.” Turns out it was not too far from the truth.

You can read the entire interview on Mithra’s awesome Daredevil website Man Without Fear.

Without Sienkiewicz breaking boundaries would we have had Dave McKean as a comic artist? Probably not. And there are certainly others of whom the same can be said.

Pete Woodhouse

August 9, 2014 at 3:48 pm

The second image on the second page you reproduce (“–shortly before noon on August thirteenth–“) looks very much like a portrait of Miller at the time, by the way. I’d be very surprised if it wasn’t based on him.
Awesome pages.

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