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Sin City Volume 4: That Yellow Bastard (3rd Edition) Paperback – November 2, 2010


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Sin City Volume 4: That Yellow Bastard (3rd Edition) + Sin City, Vol. 3: The Big Fat Kill + Sin City Volume 5: Family Values (3rd Edition)
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Product Details

  • Series: Sin City (Dark Horse) (Book 4)
  • Paperback: 240 pages
  • Publisher: Dark Horse Books; 3rd edition edition (November 2, 2010)
  • Language: English
  • ISBN-10: 1593072961
  • ISBN-13: 978-1593072964
  • Product Dimensions: 8.9 x 6.1 x 0.8 inches
  • Shipping Weight: 1.1 pounds (View shipping rates and policies)
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (41 customer reviews)
  • Amazon Best Sellers Rank: #78,123 in Books (See Top 100 in Books)

Editorial Reviews

Amazon.com Review

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.

Review

www icomics.com 15 March 2005: ""If you're going to read just one Sin City book, That Yellow Bastard is a great choice to make." The Guardian Guide, April 23-29 2005: " Graphic novels rarely get this graphic-in content or style." --This text refers to an out of print or unavailable edition of this title.

More About the Author

Frank Miller is one of the seminal creative talents who sparked the current gigantic sub-industry of motion pictures featuring comic book- initiated product. A sub-industry which had become a super-industry. This most profitable aspect of this millennium's film production, now producing an annual flow of box office profits in the Billions of dollars, was launched when Frank Miller's graphic novel re-take on the classic comic book hero, Batman, resulted in an entertainment industry-wide reconsideration of the genre in the deeper and darker vision Miller brought to it.

Miller re-defined the presentation of comic book characters and heroic fiction with his grand-daddy of graphic novels, "The Dark Knight." This revolutionary work
not only kicked off the series of Batman films based on his redefinition, but a craze for such material that has thrown dozens of such heroes into multiple film franchise heaven. Certainly chief among these has been Miller's uniquely classical take on superheroic narrative, "300," and his "Sin City" books, each of which entered motion pictures with historic successes, and each now in Miller's creative phase of achieving its highly-anticipated sequel. Miller's co-direction of "Sin City" has made him one of the hottest
directors... as well as a guiding creative force...for the new genre. Or one might say "super genre."

Miller's latest graphic novel, Holy Terror, is his first original graphic novel in ten years. Join The Fixer, a brand new, hard-edged hero as he battles terror in the inaugural release from Legendary Comics.

Customer Reviews

4.8 out of 5 stars
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The artwork is awesome and the story is great too!
D. Rodgers
Frank Miller gave noir a new, gritty face with the "Sin City" series, and his favorite is reportedly "That Yellow Bastard."
E. A Solinas
And Hartigan can't let a little thing like the rest of his life stand in the way of her salvation.
Scott Schiefelbein

Most Helpful Customer Reviews

45 of 47 people found the following review helpful By Spaz (junebug2@texas.net) on July 4, 1999
Format: Paperback
If Dirty Harry worked out of Sin City, he would be Hartigan. The strict moral code, the unorthodox way of handling things, the utmost respect for the law and the utmost disrespect for anyone who tries to break it; it's all there. But Dirty Harry never worked in Sin City, and Dirty Harry always had the law on his side.
If Sin City ever produced an honest-to-god hero, it is Hartigan. He's not a thug like Marv, and he's not a criminal like Dwight. His faults aren't faults at all, but obstacles placed before him because of his greatest strengths. He suffers immeasurably for wanting to help someone. He suffers even more for wanting to help her again.
If Dwight is the one that gets away, it's because he is no better than the world he inhabits. Hartigan is the one that pays, because the world can not endure a hero as pure as Hartigan. That Yellow Bastard is the proof that Frank Miller gives as to why the enduring heroes in Sin City such as Marv, Dwight, and Miho aren't heroes at all, but merely grim reflections of the city that they live in. They have made the necessary adaptations to exist in an ugly place like Sin City. They aren't necessarily bad people, but they do bad things. Sin City isn't necessarily a bad town, but bad things happen there. But Hartigan is a good person that does good things. Sin City is not a place for a man like Hartigan to exist on the same terms as a man like Dwight. It is not fair, but it is the truth.
That Yellow Bastard is the greatest of the Sin City books because in it we see Sin City in all of its awful glory; a place where hope doesn't come in its simple, most beautiful form, but instead as a hideous mutation that is disarming and unpleasant.
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12 of 12 people found the following review helpful By Brian on July 30, 2005
Format: Paperback
That Yellow Bastard is the best of the Sin City series because it not only has Frank Miller's usual brutally-graphic violence (and man is it brutal) and hard-hitting action (this book contains the best car chase ever) but it also tells the tale of a man trying to do good in a city that dares to care. A man who tries to fight against the corruptive scumbags who run the city like a pack of hungry wolves. That man is Dec. John Hartigan, the ONLY straight cop in Basin City.

Enter John Hartigan, a gruff, well-built, old-timer who suffers from angina and carries a big-ass revolver, relevant to Bruce Campbell's "boomstick". Hartigan is a man on a mission. His mission: to save Nancy Callahan, age 11, before he retires. She has been kidnapped by sicko rapist/killer, Junior who, unfortunately is a son of a very powerful senator, who is corrupt like most in Sin City. Hartigan goes in guns blazing, knocking-out his partner and suffering a sudden heart-attack along the way. He doesn't know that he's made the biggest mistake of his carrer. But that's why we like Hartigan because he manages to do good while risking his own life. He is the most noble character in the whole series.

Hartigan puts Junior in a coma, but in the process is shot-up pretty bad and put in a coma too. He is then framed for raping Nancy (even though she was saved) and put in solitary confinement. Life is basically over for Hartigan, but while in prison he gets letters from Nancy, who has changed her name because she is still in danger. But when Hartigan stops getting letters, he goes mad.

After eight long years, Hartigan is let out've prison and goes to look for Nancy, who is being stalked by a yellow-skinned creature that distinctly resembles Junior!
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8 of 8 people found the following review helpful By Scott Schiefelbein VINE VOICE on December 23, 2005
Format: Paperback
Frank Miller's "Sin City" series has set a gold standard for the graphic novel in recent years. Not only does Miller's stark black-and-white artistry elevate the genre, it suits its hardboiled world to a T.

And Miller has created some wonderful characters to inhabit his nest of vipers. Generally, the "Sin City" stories involve clashes between anti-heroes and villains . . . heroes are hard to come by, and the most likely candidates are either murderous hookers with hearts of gold, or berserkers like Marv who may be killers, but are killers with hearts of gold (deep, deep down, of course).

Finally, in "That Yellow Bastard," Miller gives Sin City a hero in true sense of the word. Hartigan is the lone good cop in the nation's most corrupt police force in the nation's most corrupt town. He's on his last night before retirement, but he knows that an eleven year-old girl has been kidnapped and is doomed to die most horribly.

And Hartigan can't let a little thing like the rest of his life stand in the way of her salvation.

What could have been a single night of bloodshed turns into a decade of misery, torture, hope, vengeance and love for Hartigan, his beloved damsel in distress Nancy, and the Yellow Bastard.

For the Yellow Bastard is more than a sadistic murdering rapist . . . he's the only son of Senator Roark, the leading light in the ruling family of Sin City. The rules are simple, even for a cop -- you cross Roark, you get destroyed. Roark doesn't just kill you . . . he exacts vengeance like Kaiser Soze.

Miller's artistic nihilism has never been better, as the cold solitude of Hartigan's lost world comes through on every page. And the well-publicized use of yellow to depict the Yellow Bastard couldn't be a better choice.
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