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Sin City Volume 4: That Yellow Bastard (3rd Edition) Paperback – March 1, 2005

by Frank Miller (Author, Artist)

4.7 248 ratings

Part of: Frank Miller's Sin City

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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!

Part of Series

Frank Miller's Sin City
Print length

240 pages
Language

English
Publisher

Dark Horse Books
Publication date

March 1, 2005
Dimensions

6 x 0.76 x 8.97 inches
ISBN-10

1593072961
ISBN-13

978-1593072964
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Editorial Reviews

About the Author

Frank Miller began his career in comics in the late 1970s, first drawing then writing Daredevil for Marvel Comics, creating what was essentially a crime comic disguised as a superhero book. It was on Daredevil that Miller gained notoriety, honed his storytelling abilities, and took his first steps toward becoming a giant in the comics medium. After Daredevil came Ronin, a science-fiction samurai drama that seamlessly melded Japanese and French comics traditions into the American mainstream; and after that, the groundbreaking and acclaimed Batman: The Dark Knight Returns and Batman: Year One, both of which not only redefined the classic character, but also revitalized the industry itself. Finally able to fulfill his dream of doing an all-out, straight-ahead crime series, Miller introduced Sin City in 1991. Readers responded enthusiastically to Miller's tough-as-leather noir drama, creating an instant sales success. His multi-award-winning 300 series from Dark Horse, a telling of history's most glorious and underreported battle, was brought to full-blooded life in 1998. In 2001, Miller returned to the superhero genre with the bestselling Batman: The Dark Knight Strikes Again. Frank Miller continues to push the medium into new territories, exploring subject matter previously untouched in comics, and his work consistently receives the highest praise from his industry peers and readers everywhere. In 2005, with the hugely successful Sin City movie release, codirected with Robert Rodriguez, Miller added a director's credit to his already impressive résumé and introduced his characters to an entirely new legion of fans worldwide.

Product details

Publisher ‏ : ‎ Dark Horse Books; 0002- edition (March 1, 2005)
Language ‏ : ‎ English
Paperback ‏ : ‎ 240 pages
ISBN-10 ‏ : ‎ 1593072961
ISBN-13 ‏ : ‎ 978-1593072964
Item Weight ‏ : ‎ 14.4 ounces
Dimensions ‏ : ‎ 6 x 0.76 x 8.97 inches

Best Sellers Rank: #749,947 in Books (See Top 100 in Books)
- #930 in Dark Horse Comics & Graphic Novels
- #1,827 in Mystery Graphic Novels
- #3,247 in Media Tie-In Graphic Novels

Customer Reviews:
4.7 248 ratings

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Frank Miller

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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.

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Ryan Sean O'Reilly

Phenomenal and innovative noir series!

Reviewed in the United States on June 18, 2019

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Imagine getting punched in the gut by some rogue lunatic underworld gladiator who promptly collapses into your kitchen chair and chomps down on a bowl of cheerios with his oversized mitts as you crouch on the floor stunned and drooling blood…there’s a knock on the door and you pick up your corpse of a body to stare through the peephole at a knife-wielding leather-clad dame grimacing while rare classic cars skid onto the scene followed by screaming cop sirens tolling in debauchery and corruption…then the color drops out and real nice like everything goes noir…  REVIEW OF VOLUMES 1-4, and 6: Frank Miller set his Sin City “yarns” in a timeless noir chronology. His inspiration was cool cars, hot dames, and muscle dudes in trench coats. Mission accomplished. The stories are put together in multiple volumes and flip back and forth in time, occasionally providing different perspectives from past scenes as the view point switches. The storylines interweave in expert ways over the course of the collections and it’s fun to see od characters come up again in the background or do things you haven’t seen before as you follow a new protagonist around with new problems and goals. The world he creates is not vast. Everything revolves around a single city and its outskirts, constantly driving inward at the characters who rule or fight or flee from this place. All the spots to which they bring you really manage to pop with a lurid black and white reality. Throughout the vast majority of narratives there is thoughtful inner monologue by the rotating cast (usually the protagonist but sometimes even secondary or background characters). We get a front seat ride in many heads, nestled right up against all the twisted struggles that torment these people. We also get to see the tarnished dreams and bitter regrets that motivate them to do what they do, whether it is for a perceived good or simply a personal selfish proclivity. Either way we are there with them in all the glory of what a first-person perspective can provide. This insight really fleshes out the people who inhabit the Sin City world and (along with the visuals) helps to distinguish the ensemble which further develops if you read through multiple volumes. The dialog is gritty and loose, mostly used sparingly. There were times I felt a repetition in the patterns and speech, but this ultimately complimented the strong distinct style being evoked. The mood was very specific and excellently achieved. Even though the stories are set in a nameless and timeless decade, they feel grounded and real. There is nothing generic here. The author did double duty in this series by also penciling the drawings. He also made the decision to go almost entirely black and white with almost no colors (with a few exceptions)—you can smell the plethora of black ink as you turn the pages. The resulting style is heavy handed, like everything else in this work, but utterly flawless in its delivery. His use of action and choosing what to show and when or how to show it all fell into place to maximize the narrative. The Sin City stories marry so many different elements in a perfect way that the creator is able to achieve amazing results without ever feeling over played or too intrusive. These are the hard streets of Basin City where the players make the rules and everyone else goes along, or they pay the price. Sometimes it’s the higher ups and sometimes it’s the dregs. Nobody is immune. People get caught up in their own rachets and games and sheer humanity of being human. Everything you could want in stories like this are here. The corruption, the violence, the passion, the dreams, the loyalty, the betrayal, the revenge, the comeuppance, the chase, the desperation—all of it! Podcast: If you enjoy my review (or this topic) this book and the movie based on it were further discussed/debated in a lively discussion on my podcast: "No Deodorant In Outer Space". The podcast is available on Apple Podcast, Spotify, Tune-In Radio, Stitcher, Google Play Music, YouTube or our website.

One person found this helpful

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Hartigan saves little Nancy Callahan in Miller's comic noir

Reviewed in the United States on June 6, 2005

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Although I still have a preference for Marv and narrative of "The Hard Goodbye," the first of Frank Miller's "Sin City" graphic novels, I think that artistically he hits full stride in the fourth, "That Yellow Bastard." It is just mildly ironic that this becomes the first volume in the series to add any color to Miller's black and white world. But whereas "The Hard Goodbye" had an almost kitchen sink approach with Miller pretty much trying everything he could come up with for black & white (or white & black) illustrations, I find there is much more of a coherent artistic vision and a rhythm to way in which Miller goes from predominantly black to predominantly white pages, and back again.

"That Yellow Bastard" begins with tough cop John Hartigan, whose good heart is going bad on him, trying to stay alive long enough to do one last case before he dies. Somebody has been raping and murdering little girls for some time and now they have taken 11-year-old Nancy Callahan. Hartigan is able to save Nancy from Roark Junior, the son of Senator Roark, but takes four bullets in the process. Junior is in worse shape, having an ear and both of his "weapons" removed by Hartigan's bullets. If an old man dies and a little girl survives, then Hartigan considers that a fair deal. But this bloody encounter is but the first act in this particular comic noir.

The first episode sets the rules for Hartigan's world, where protecting women is hard-wired into the psyches of tough guys like him. Even when Hartigan finds out that Nancy grew up and filled out, that does not change his mission (just complicates it a bit). Granted, the age difference would make more sense if he was her grandfather, but then there is a consistency to what Hartigan means when he says that he loves Nancy, even if she is inclined to read it a different way. There is a leap in the narrative at one point that you might find a bit hard to accept (i.e., confession leads to immediate release), but you have to admit it is a lot easier to be a pariah out in the world than stuck in prison (and I think Junior would have wanted it that way).

Again, the art work here is Miller at what I consider to be his best, but attention must also be paid to the sense of pacing that he shows in several scenes (most notably when Hartigan pulls himself together for the final confrontation with Junior). There are easily a dozen great looks at Hartigan's grizzled face, and a 15-page sequence, spanning two chapters, of Nancy dancing at the club, consisting of not only full-page shots but also two-page spreads, as she mesmerizes her audience. With "That Yellow Bastard" readers who were introduced to the graphic novels by the film that incorporated three of the first four volumes will be heading into new territory with "Family Values." It will interesting to see when and how Miller tops artistically what he came up with for this one.

3 people found this helpful

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J. D. Estrada

If you like it Raw, this is the book for you

Reviewed in the United States on July 20, 2008

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Frank Miller doesn't pull many punches when he writes. I use the word raw to describe his writing because honestly, there is no more appropriate word if you ask me. His characters exist and breathe unapologizingly in the world of Basin City and That Yellow Bastard is way at the top of the best Sin City books for a reason. You have a hero that doesn't have an ounce of quit in him and who's pushed beyond what's even amorally admisible. Hardigan is the type of hero everyone says they would be in a situation such as that but quite frankly, I don't think there exists someone who is as unbreakable as Hardigan. Moral dilemmas don't exist when it comes to saving a kid from a rapist but it all gets way complicated when push comes to shove comes to murder. The beauty of Sin City is that even though it's noir fiction, you can't help but believe these characters, feel their pain, feel their anger and silently nod as some questionable decisions regarding what's right in this world are taken by a hero that shows that being a hero sometimes means not giving a damn and taking your hatred for one Yellow Bastard to the brink of sanity.

2 people found this helpful

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woodrow locksley

POWERFUL STUFF

Reviewed in the United States on May 27, 2001

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This Sin City graphic novel is one of Miller's best. Hartigan is Miller's most likable Sin City hero as he is a rare honest cop who will not back down for anyone. There is a lot of good drawing;the image of Harigan in a floating cell underscores his isolation in prison is one of the best examples. Miller may be the best artist in using black and white to create mood perspective and contrast. The grim ending is a little too nihilistic for my taste but this is a quality work.

One person found this helpful

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S Bhattacharjee

Miller's masterpiece

Reviewed in India on November 18, 2017

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Sin City is in many ways Miller's third masterpiece, after the Dark Knight saga and his stint with the Daredevil. The stark black-and-white images are often glaring in realism, and the storylines are often amazing. The series has never ceased to amaze me each time I take to it.

One person found this helpful

Giacobbe Rainaldi

Five Stars

Reviewed in Canada on September 4, 2014

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Great Read

Got A Ukulele

Thrill a minute

Reviewed in the United Kingdom on February 6, 2007

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What can I say - brilliant.

I chose to review this one and not the others as

a) people who read the series will suspect review the first one only, and

b) this is is my favourite of them all (personally)

Buy all of these books, 1-7, they are all truly great stories. Some people have knocked the graphical style of these books - to me, they are one of the high points - they has a superb style all of their own. Millers dialogue, jokes, slang and story are all superb - great film noir, and add in his sound effects (SPAK! HEFF!) and he really has made this series unique Miller.

Finally, I'm not a fan of comparisons with films - usually graphic novels are changed dramatically (often for the worse) in the movies. Sin City is different. I thought it was a cracking film and is incredibly faithful to the books (although in differing order). Therefore, for once I can say, if you liked the film you'll love the book, as opposed to if you hated the film dont be put off by the book.

Cinematic, thrill a minute series.

5 people found this helpful

Jamie Sutton-Nagra

Excellent

Reviewed in the United Kingdom on June 7, 2019

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Stunning art and excellent writing, got into it after watching the movie so many times.

lin zhongyue

probleme de colis

Reviewed in France on November 19, 2018

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probleme de colis couverture abimé

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