Islam elude me too." In November 2011, Miller posted remarks pertaining to the Occupy Wall Street movement on his blog, calling it "nothing but a pack of louts, thieves, and rapists, fed by Woodstock-era nostalgia and putrid false righteousness." He said of the movement, "Wake up, pond scum. America is at war against a ruthless enemy. Maybe, between bouts of self-pity and all the other tasty tidbits of narcissism you've been served up in your sheltered, comfy little worlds, you've heard terms like al-Qaeda and Islamicism." Miller's statement generated controversy. In a 2018 interview, Miller backed away from his comments saying that he "wasn't thinking clearly" when he made them and alluded to a very dark time in his life during which they were made. Personal life Miller was married to colorist Lynn Varley from 1986 to 2005. She colored many of his most acclaimed works (from Ronin in 1984 through 300 in 1998) and the backgrounds to the 2006 movie 300. Miller has been romantically linked to New York-based Shakespearean scholar Kimberly Halliburton Cox, who had a cameo in The Spirit (2008). In response to claims that his comics are conservative, Miller said, "I'm not a conservative. I'm a libertarian." Style and influence Although still conforming to traditional comic book styles, Miller infused his first issue of Daredevil with his own film noir style. Miller sketched the roofs of New York in an attempt to give his Daredevil art an authentic feel not commonly seen in superhero comics at the time. One journalist noted,Ronin shows some of the strongest influences of manga and bande dessinée on Miller's style, both in the artwork and narrative style. Sin City was drawn in black and white to emphasize its film noir origins. Miller has said he opposes naturalism in comic art: "People are attempting to bring a superficial reality to superheroes which is rather stupid. They work best as the flamboyant fantasies they are. I mean, these are characters that are broad and big. I don't need to see sweat patches under Superman's arms. I want to see him fly." Miller considers the renowned Argentinian comic book artist Alberto Breccia as one of his personal mentors, even declaring that (regarding modernity in comics), "It all started with Breccia". In that same regard, Miller's work in Sin City has been analyzed by South American writers and artists –as well as European critics like