Madeline Miller

Frank Miller Basin city es una ciudad que caido bajo una corrupción generealizada, hace ya mucho tiempo. Todo el mundo la llama ya Sin City, la ciudad del pecado. Bajo esta premisa se desarrollan multitud de historias, de las que la ciudad no es sólo un fondo, es un personaje más. Frank Miller consigue meternos de lleno en medio de las calles, compartiendo las penurias de los personajes y las pequeñas alegrías. Su dibujo en blanco y negro recuerda a la fotografía del cine negro de los años 30. Tras esta semejanza en las formas Miller consigue renovar el género con historias profundas y en ocasiones desgarradoras.

Hell and Back, the final volume of Frank Miller's signature series, is the biggest and baddest Sin City of them all! This newly redesigned edition features a brand-new cover by Miller - some of his first comics art in years! It's one of those clear, cool nights that drops in the middle of summer like a gift from on high. If it weren't for the rent, Wallace wouldn't have a care in the world. Then he sees Esther, about to throw it all away - and throw herself off a cliff. Wallace jumps in after her, saves her life, and falls in love, but before he can find out what she was running from, she's gone again, kidnapped. But Wallace isn't the kind to lose his head. He's calm. Like a monk. Like an executioner. And he'll find her. With a new look generating more excitement than ever before, this third edition is the perfect way to attract a whole new generation of readers to Frank Miller's masterpiece!

One of "Sin City's" most fascinatingly conflicted characters, Dwight, returns in "The Big Fat Kill", the third volume of Frank Miller's seminal noir comic and the inspiration for one of the segments of the blockbuster "Sin City" film! This third edition is newly redesigned and features a brand-new cover by Miller - some of his first comics art in years! For Dwight, sometimes standing up for his friends means killing a whole lot of people. Not for revenge. Not because they deserve it. Not because it'll make the world a better place. There's nothing righteous or noble about it. Dwight's gotta kill them because he needs them dead. With a new look generating more excitement than ever before, this third edition is the perfect way to attract a whole new generation of readers to Frank Miller's masterpiece!

Frank Miller changes the game in the fourth volume of his signature crime series, introducing the only truly heroic figure in Sin City's world of vice, Detective Hartigan. A highlight of the series, and the inspiration for one of the segments of the blockbuster Sin City film, That Yellow Bastard returns in a newly redesigned edition, with a brand-new cover by Miller - some of his first comics art in years! The worst thing to be in Basin City is an honest cop, but it's Hartigan's last day on the job, and he plans to go out with a bang. Little Nancy Callahan, age eleven, has been kidnapped by a psycho who likes to hear children scream, and Hartigan's going to find her no matter what it takes. Hell of a way to start retirement . . . With a new look generating more excitement than ever before, this third edition is the perfect way to attract a whole new generation of readers to Frank Miller's masterpiece!

Frank Miller's first-ever original graphic novel is one of Sin City's nastiest yarns to date! Starring fan-favorite characters Dwight and Miho, this newly redesigned edition sports a brand-new cover by Miller, some of his first comics art in years! There's a kind of debt you can't ever pay off, not entirely. And that's the kind of debt Dwight owes Gail. The girls of Old Town have their own family values, their own laws, and when someone too dumb to know better breaks them, an example needs to be set. Dwight's got his own reasons for taking the job, and deadly little Miho . . . Miho likes to play with them a little first. With a new look generating more excitement than ever before, this third edition is the perfect way to attract a whole new generation of readers to Frank Miller's masterpiece!

Sin City is the title for a series of comics by Frank Miller, told in a film noir-like style (now known as Neo noir). The first story originally appeared in "Dark Horse's Fifth Anniversary Special" (April, 1991), and continued in Dark Horse Presents #51–62 from May 1991 to June 1992, under the title of Sin City, serialized in thirteen parts. Several other stories of variable lengths have followed. All stories take place in Basin City, with frequent recurring characters and intertwining stories.

300 is a graphic novel, written and illustrated by Frank Miller with painted colors by Lynn Varley. It depicts the Battle of Thermopylae and the events leading up to it from the perspective of Leonidas, king of Sparta. The comic was particularly inspired by the 1962 film, The 300 Spartans, a movie that Miller watched as a young boy.

Every page of the comic was illustrated as a double-page spread. When the series was gathered into hardcover form, the individual pages were twice as wide as a normal comic. Miller's art style for this project was similar to his Sin City work, although the addition of color is an obvious difference.

Soon we can see 300 in live action movie.

Marking a departure for Miller from an entire career of serialized stories, this 128-page epic spilled out of him all at once... and you can't help but read it the same way! Family Values is a milestone among Miller's work, allowing him enough room to tell this classic story of grit and revenge exactly the way he wanted to. With deadly Miho running on roller-blades, Dwight running on adrenaline, and the Sin City mob on clean-up detail, this yarn from the Town Without Pity is not to be missed.

Sin City launched the long-running, critically acclaimed series of comics novels by Frank Miller. Having worked on some of the most important comic books in the 1980s, including Marvel Comics's Daredevil and the influential Batman graphic novel The Dark Knight Returns, Miller was already a heavy-weight cartoonist, but he hit his stride with Sin City. It gave him the freedom that doesn't come when working on someone else's characters. While the art isn't as polished as in later books, it is in many ways the quintessential Sin City story: tough-guy Marv finds the girl of his dreams, an incredible beauty named Goldie. But when Goldie is murdered on their first night together, Marv scours the bars and back alleys of Sin City to find her killer in hopes of avenging her death.

In a Sin City short story, "The Babe Wore Red," Frank Miller deviated from his stark black-and-white artwork by adding tiny bits of color throughout the story. The girl's dress was red, her lips were red--you get the picture. In That Yellow Bastard, the fourth Sin City graphic novel, Miller's experiment with yellow ink is also a tremendous success. The setup is simple. On the last day before he retires, Hartigan, an old cop, gets a call about an 11-year-old girl who has been kidnapped by a lunatic. Hartigan has got just one more thing to do before he retires: save the girl. Saving her is the easy part, because Hartigan has uncovered something really bad that is not going to stop until it catches up with him. That Yellow Bastard is nerve-racking to the very end. --This text refers to an out of print or unavailable edition of this title.