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!
Full Product DetailsAuthor: Frank Miller
Publisher: Dark Horse Comics,U.S.
Imprint: Dark Horse Comics,U.S.
Edition: 3rd edition
Dimensions: Width: 15.20cm , Height: 1.70cm , Length: 22.90cm
ISBN 10: 1593072937
Publication Date: 09 February 2005
Audience: General/trade , General
Publisher's Status: Out of Print
Availability: In Print
Limited stock is available. It will be ordered for you and shipped pending supplier's limited stock.
Table of Contents
Tom writes: Having spent years redefining the comics industry with critically acclaimed works like The Dark Knight Returns, Batman Year One and some of my absolute favourite stories in the pages of Marvel Comics' Daredevil, Miller began working on what would become his most successful creator owned work. Free of the constraints that come with working on characters like Superman or Batman the end result is Miller at his self indulgent best and I love him for that - but don't ever get me started on him at his worst! We comic book nerds are a passionate bunch! Page after brutal page is filled with excessive violence, dirty cops, philosophical assassins, ass kicking prostitutes and the many broken men and women that you will come to love and hate in equal measure. Marv, the protagonist of the Hard Goodbye is a perfect example of this. When I first read The Hard Goodbye I was so conflicted by Marv and his actions. After years of reading superhero comics I had become desensitized to the violence on a comic book page. But every punch thrown and every gun fired carries a weight with it in a way most super hero comics don't. Though the art may only be black and white, I never saw Marv existing in a morally black and white world. He's sadistic but not incapable of tenderness; in fact Marv's emotional extremes paint him as almost childlike; he would be pitiful if he weren't so terrifying! The notion of these contradicting ideals coming into conflict is reinforced by Miller's minimalistic art that relies almost entirely on thick black like work contrasted with stark white backgrounds. Over the years Frank Miller's style has evolved with every project he undertakes and I think this book in particular is a perfect synthesis of story and art.
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