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August 22, 2014

These Are the 25 Most Gorgeous Moments From the Sin City Comics

By Abraham Riesman

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The Sin City movies deserve praise for their daring visuals, but they’ve got nothing on the original comics. Between 1991 and 2000, legendary (and endlessly controversial) writer and artist Frank Miller cranked out more than 1,000 pages of hard-boiled neo-noir under the Sin City banner. The plots weren’t groundbreaking — they all centered around tough guys and slinky dames getting caught up in deadly schemes and brutal fisticuffs. But one thing was inarguable: The artwork was beautiful.

Miller played with extreme contrasts and vivid textures in a way that had rarely been attempted in the medium (though he owed a heavy debt to the pioneering quasi-noir of Will Eisner’s The Spirit comics of the 1940s), creating visuals as experimental as they were unforgettable. With Sin City: A Dame to Kill For (co-directed by Miller and Robert Rodriguez) hitting theaters this weekend, we revisited the entire Sin City corpus and picked out the series’$2 25 most incredible panels (in no particular order). Spark up a cigarette, put on your trench coat, and get ready for black-and-white action!

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The first Sin City saga opened with scarred hunk Marv narrating a canoodling session with a woman named Goldie, and this panel, taking up the bottom of the sixth page, was one of the most striking that Miller had drawn in his career. It was the beginning of a running motif: the sensation that the characters are floating in a void that doesn't obey the laws of physics. The first Sin City saga opened with scarred hunk Marv narrating a canoodling session with a woman named Goldie, and this panel, taking up the bottom of the sixth page, was one of the most striking that Miller had drawn in his career. It was the beginning of a running motif: the sensation that the characters are floating in a void that doesn't obey the laws of physics.

The first Sin City saga opened with scarred hunk Marv narrating a canoodling session with a woman named Goldie, and this panel, taking up the bottom o...

The first Sin City saga opened with scarred hunk Marv narrating a canoodling session with a woman named Goldie, and this panel, taking up the bottom of the sixth page, was one of the most striking that Miller had drawn in his career. It was the beginning of a running motif: the sensation that the characters are floating in a void that doesn't obey the laws of physics.

Throughout the Sin City stories, there are moments when characters leave town, and Miller usually takes the phrase "head for the hills" very literally. If a character is driving away from the titular city, all of a sudden his or her car appears to be on some kind of mountain that runs at an almost 180-degree angle away from its point of departure, and perspective folds in on itself so we can see the steel canyons as a receding backdrop. Throughout the Sin City stories, there are moments when characters leave town, and Miller usually takes the phrase "head for the hills" very literally. If a character is driving away from the titular city, all of a sudden his or her car appears to be on some kind of mountain that runs at an almost 180-degree angle away from its point of departure, and perspective folds in on itself so we can see the steel canyons as a receding backdrop.

Throughout the Sin City stories, there are moments when characters leave town, and Miller usually takes the phrase "head for the hills" very...

Throughout the Sin City stories, there are moments when characters leave town, and Miller usually takes the phrase "head for the hills" very literally. If a character is driving away from the titular city, all of a sudden his or her car appears to be on some kind of mountain that runs at an almost 180-degree angle away from its point of departure, and perspective folds in on itself so we can see the steel canyons as a receding backdrop.

Another motif, of course, is unusual violence. Miller is rarely content to have his deaths be simple gunshots, stranglings, or stabbings — he often sweetens the deal with quirks. For instance, here we have super-assassin Miho lobbing off someone's head in a physically impossible manner, leaving the startled reader with a similar facial expression as the victim. Another motif, of course, is unusual violence. Miller is rarely content to have his deaths be simple gunshots, stranglings, or stabbings — he often sweetens the deal with quirks. For instance, here we have super-assassin Miho lobbing off someone's head in a physically impossible manner, leaving the startled reader with a similar facial expression as the victim.

Another motif, of course, is unusual violence. Miller is rarely content to have his deaths be simple gunshots, stranglings, or stabbings — he often sw...

Another motif, of course, is unusual violence. Miller is rarely content to have his deaths be simple gunshots, stranglings, or stabbings — he often sweetens the deal with quirks. For instance, here we have super-assassin Miho lobbing off someone's head in a physically impossible manner, leaving the startled reader with a similar facial expression as the victim.

Fair warning: The first Sin City tale, The Hard Goodbye, pops up on this list more than any subsequent story. Miller has never really topped the overflow of visual ideas he had when he introduced readers to his neo-noir yearnings. Take this panel, in which Marv tries to escape a locked cell by tossing his formidable body weight against a metal door. It's a deeply unnatural image, in which he seems to be in a different gravitational pull than his companion. And yet, it's profoundly evocative — you know exactly what's happening, as odd as the representation might be. Fair warning: The first Sin City tale, The Hard Goodbye, pops up on this list more than any subsequent story. Miller has never really topped the overflow of visual ideas he had when he introduced readers to his neo-noir yearnings. Take this panel, in which Marv tries to escape a locked cell by tossing his formidable body weight against a metal door. It's a deeply unnatural image, in which he seems to be in a different gravitational pull than his companion. And yet, it's profoundly evocative — you know exactly what's happening, as odd as the representation might be.

Fair warning: The first Sin City tale, The Hard Goodbye, pops up on this list more than any subsequent story. Miller has never really topped the overf...

Fair warning: The first Sin City tale, The Hard Goodbye, pops up on this list more than any subsequent story. Miller has never really topped the overflow of visual ideas he had when he introduced readers to his neo-noir yearnings. Take this panel, in which Marv tries to escape a locked cell by tossing his formidable body weight against a metal door. It's a deeply unnatural image, in which he seems to be in a different gravitational pull than his companion. And yet, it's profoundly evocative — you know exactly what's happening, as odd as the representation might be.

Speaking of bodies and gravity, here's another example of a male figure tossed through the air, though this time we're back in that void I warned you about. This is a great example of minimalist cartooning, in a way: If you take away that line of white spit (or is it blood?) and remove the first panel, it might look like protagonist Dwight is in some kind of dream, or floating in a pool. But adding in a simple panel and a simple line make all the difference, conveying forward momentum and brutal violence. Speaking of bodies and gravity, here's another example of a male figure tossed through the air, though this time we're back in that void I warned you about. This is a great example of minimalist cartooning, in a way: If you take away that line of white spit (or is it blood?) and remove the first panel, it might look like protagonist Dwight is in some kind of dream, or floating in a pool. But adding in a simple panel and a simple line make all the difference, conveying forward momentum and brutal violence.

Speaking of bodies and gravity, here's another example of a male figure tossed through the air, though this time we're back in that void I warned you ...

Speaking of bodies and gravity, here's another example of a male figure tossed through the air, though this time we're back in that void I warned you about. This is a great example of minimalist cartooning, in a way: If you take away that line of white spit (or is it blood?) and remove the first panel, it might look like protagonist Dwight is in some kind of dream, or floating in a pool. But adding in a simple panel and a simple line make all the difference, conveying forward momentum and brutal violence.

Anyone who's read Sin City can tell you who the creepiest character of them all is: the nimble, silent, perpetually smiling cannibal known only as Kevin. He was played with expert menace by Elijah Wood in the first Sin City movie, but it's hard to top the way Miller depicted him on the page. In this three-part panel, he has more command of his body than any other character (except, perhaps, Miho), and never looks like he's breaking a sweat while he genially demolishes even the mountainlike Marv. That smile ... that smile! Anyone who's read Sin City can tell you who the creepiest character of them all is: the nimble, silent, perpetually smiling cannibal known only as Kevin. He was played with expert menace by Elijah Wood in the first Sin City movie, but it's hard to top the way Miller depicted him on the page. In this three-part panel, he has more command of his body than any other character (except, perhaps, Miho), and never looks like he's breaking a sweat while he genially demolishes even the mountainlike Marv. That smile ... that smile!

Anyone who's read Sin City can tell you who the creepiest character of them all is: the nimble, silent, perpetually smiling cannibal known only as Kev...

Anyone who's read Sin City can tell you who the creepiest character of them all is: the nimble, silent, perpetually smiling cannibal known only as Kevin. He was played with expert menace by Elijah Wood in the first Sin City movie, but it's hard to top the way Miller depicted him on the page. In this three-part panel, he has more command of his body than any other character (except, perhaps, Miho), and never looks like he's breaking a sweat while he genially demolishes even the mountainlike Marv. That smile ... that smile!

The first page of this short story is remarkable for how different it is from anything else Miller drew throughout Sin City. For one thing, we see a vehicle that isn't a car, which is very unusual. But even more notably, the whole page is a gorgeous homage to the pulp noir comics of the 1940s and '50s, with its crowded mix of stylized typography, sound effects, in media res action, and exposition. The first page of this short story is remarkable for how different it is from anything else Miller drew throughout Sin City. For one thing, we see a vehicle that isn't a car, which is very unusual. But even more notably, the whole page is a gorgeous homage to the pulp noir comics of the 1940s and '50s, with its crowded mix of stylized typography, sound effects, in media res action, and exposition.

The first page of this short story is remarkable for how different it is from anything else Miller drew throughout Sin City. For one thing, we see a v...

The first page of this short story is remarkable for how different it is from anything else Miller drew throughout Sin City. For one thing, we see a vehicle that isn't a car, which is very unusual. But even more notably, the whole page is a gorgeous homage to the pulp noir comics of the 1940s and '50s, with its crowded mix of stylized typography, sound effects, in media res action, and exposition.

Remember how we were talking about the void? There's never been a better example of Miller playing around in it than what we see here. In That Yellow Bastard, wronged cop John Hartigan winds up in a jail cell for years of his life, and Miller conveys how hard-up John is by subverting your visual expectations: the bars are white, not black; the prison is nonexistent, not crowded and loud. He's stuck in his cell, but his cell is unstuck in time and space. Remember how we were talking about the void? There's never been a better example of Miller playing around in it than what we see here. In That Yellow Bastard, wronged cop John Hartigan winds up in a jail cell for years of his life, and Miller conveys how hard-up John is by subverting your visual expectations: the bars are white, not black; the prison is nonexistent, not crowded and loud. He's stuck in his cell, but his cell is unstuck in time and space.

Remember how we were talking about the void? There's never been a better example of Miller playing around in it than what we see here. In That Yellow ...

Remember how we were talking about the void? There's never been a better example of Miller playing around in it than what we see here. In That Yellow Bastard, wronged cop John Hartigan winds up in a jail cell for years of his life, and Miller conveys how hard-up John is by subverting your visual expectations: the bars are white, not black; the prison is nonexistent, not crowded and loud. He's stuck in his cell, but his cell is unstuck in time and space.

Miller had played around with overhead shots of people waking up from beds in his pathbreaking run on Marvel's Daredevil, and in the first Sin City volume, he perfected that motif. This panel comes right after the gravity-free ecstasy of Marv's night with Goldie, and all of a sudden, we're in a world that's cramped, dirty, and dappled with detail. Who among us hasn't had a morning that feels like this image? Miller had played around with overhead shots of people waking up from beds in his pathbreaking run on Marvel's Daredevil, and in the first Sin City volume, he perfected that motif. This panel comes right after the gravity-free ecstasy of Marv's night with Goldie, and all of a sudden, we're in a world that's cramped, dirty, and dappled with detail. Who among us hasn't had a morning that feels like this image?

Miller had played around with overhead shots of people waking up from beds in his pathbreaking run on Marvel's Daredevil, and in the first Sin City vo...

Miller had played around with overhead shots of people waking up from beds in his pathbreaking run on Marvel's Daredevil, and in the first Sin City volume, he perfected that motif. This panel comes right after the gravity-free ecstasy of Marv's night with Goldie, and all of a sudden, we're in a world that's cramped, dirty, and dappled with detail. Who among us hasn't had a morning that feels like this image?

No list of Sin City images would be complete without Nancy Callahan, the town's most beloved stripper. Frank Miller is a dirty old man, in many respects, so there are waaaaay too many full-page panels of Nancy doing her thing in cowboy chaps (and not much else). But, that said, he puts a lot of passion into those images. This one's my favorite because it turns Nancy into a superhero: even though she's just dancing, she might as well be Batman here. It's an interesting and unintentional contrast between a strong female form and a creepy male gaze. No list of Sin City images would be complete without Nancy Callahan, the town's most beloved stripper. Frank Miller is a dirty old man, in many respects, so there are waaaaay too many full-page panels of Nancy doing her thing in cowboy chaps (and not much else). But, that said, he puts a lot of passion into those images. This one's my favorite because it turns Nancy into a superhero: even though she's just dancing, she might as well be Batman here. It's an interesting and unintentional contrast between a strong female form and a creepy male gaze.

No list of Sin City images would be complete without Nancy Callahan, the town's most beloved stripper. Frank Miller is a dirty old man, in many respec...

No list of Sin City images would be complete without Nancy Callahan, the town's most beloved stripper. Frank Miller is a dirty old man, in many respects, so there are waaaaay too many full-page panels of Nancy doing her thing in cowboy chaps (and not much else). But, that said, he puts a lot of passion into those images. This one's my favorite because it turns Nancy into a superhero: even though she's just dancing, she might as well be Batman here. It's an interesting and unintentional contrast between a strong female form and a creepy male gaze.

Rodriguez and Miller wisely kept this moment almost entirely intact in the first Sin City movie. Dwight interrogates a baddie in a messy bathroom and shoves his head into an unflushed toilet. But the depiction is as striking as the moment is gross. Miller doesn't use the standard visual shorthand of warped light to convey that we're looking from underwater — instead, he uses abstract lines to signal that the guy's head has been pounded in, turning his face into a commedia dell'arte mask. The viewer is quite literally in the shit Rodriguez and Miller wisely kept this moment almost entirely intact in the first Sin City movie. Dwight interrogates a baddie in a messy bathroom and shoves his head into an unflushed toilet. But the depiction is as striking as the moment is gross. Miller doesn't use the standard visual shorthand of warped light to convey that we're looking from underwater — instead, he uses abstract lines to signal that the guy's head has been pounded in, turning his face into a commedia dell'arte mask. The viewer is quite literally in the shit

Rodriguez and Miller wisely kept this moment almost entirely intact in the first Sin City movie. Dwight interrogates a baddie in a messy bathroom and ...

Rodriguez and Miller wisely kept this moment almost entirely intact in the first Sin City movie. Dwight interrogates a baddie in a messy bathroom and shoves his head into an unflushed toilet. But the depiction is as striking as the moment is gross. Miller doesn't use the standard visual shorthand of warped light to convey that we're looking from underwater — instead, he uses abstract lines to signal that the guy's head has been pounded in, turning his face into a commedia dell'arte mask. The viewer is quite literally in the shit

If M.C. Escher designed a dystopia, it'd look like this. If M.C. Escher designed a dystopia, it'd look like this.

If M.C. Escher designed a dystopia, it'd look like this.

Thankfully, Miller doesn't take himself 100% seriously throughout Sin City, and there are more than a few moments of delightful visual humor. This one isn't just funny, it's also a startling and alarming way to depict a violent act. This isn't the moment before impact, nor is it the moment of death, nor is it even the moment when the victim realizes he's going to die. All he's done is notice that something's off. Thankfully, Miller doesn't take himself 100% seriously throughout Sin City, and there are more than a few moments of delightful visual humor. This one isn't just funny, it's also a startling and alarming way to depict a violent act. This isn't the moment before impact, nor is it the moment of death, nor is it even the moment when the victim realizes he's going to die. All he's done is notice that something's off.

Thankfully, Miller doesn't take himself 100% seriously throughout Sin City, and there are more than a few moments of delightful visual humor. This one...

Thankfully, Miller doesn't take himself 100% seriously throughout Sin City, and there are more than a few moments of delightful visual humor. This one isn't just funny, it's also a startling and alarming way to depict a violent act. This isn't the moment before impact, nor is it the moment of death, nor is it even the moment when the victim realizes he's going to die. All he's done is notice that something's off.

More visual humor, largely granted because this scene consists of exactly one panel. We never find out who Marv is torturing, nor what happened before or after this moment. It's an entire interrogation scene, complete with a one-liner, in just a few square inches. More visual humor, largely granted because this scene consists of exactly one panel. We never find out who Marv is torturing, nor what happened before or after this moment. It's an entire interrogation scene, complete with a one-liner, in just a few square inches.

More visual humor, largely granted because this scene consists of exactly one panel. We never find out who Marv is torturing, nor what happened before...

More visual humor, largely granted because this scene consists of exactly one panel. We never find out who Marv is torturing, nor what happened before or after this moment. It's an entire interrogation scene, complete with a one-liner, in just a few square inches.

Hell and Back, written late in the '90s, is a lackluster story, narratively and visually. But it does have this unforgettable page, in which an abandoned factory gets thrown into quietly surreal negative space. Hell and Back, written late in the '90s, is a lackluster story, narratively and visually. But it does have this unforgettable page, in which an abandoned factory gets thrown into quietly surreal negative space.

Hell and Back, written late in the '90s, is a lackluster story, narratively and visually. But it does have this unforgettable page, in which an abando...

Hell and Back, written late in the '90s, is a lackluster story, narratively and visually. But it does have this unforgettable page, in which an abandoned factory gets thrown into quietly surreal negative space.

Speaking of quiet negative space, here's a great image of the calm before a storm. Note Miller's decision not to have his protagonist leave any footprints in the snow, meaning the whiteness on the ground might not even be snow — it could just be that ever-present void. Speaking of quiet negative space, here's a great image of the calm before a storm. Note Miller's decision not to have his protagonist leave any footprints in the snow, meaning the whiteness on the ground might not even be snow — it could just be that ever-present void.

Speaking of quiet negative space, here's a great image of the calm before a storm. Note Miller's decision not to have his protagonist leave any footpr...

Speaking of quiet negative space, here's a great image of the calm before a storm. Note Miller's decision not to have his protagonist leave any footprints in the snow, meaning the whiteness on the ground might not even be snow — it could just be that ever-present void.

At first glance, this might look like a very NSFW depiction of cunnilingus, but it's not. It's the tearful, shameful reunion of Dwight and his femme fatale former lover. This manly, violent dude is reduced to a praying mess at her feet, bathed in broken light. At first glance, this might look like a very NSFW depiction of cunnilingus, but it's not. It's the tearful, shameful reunion of Dwight and his femme fatale former lover. This manly, violent dude is reduced to a praying mess at her feet, bathed in broken light.

At first glance, this might look like a very NSFW depiction of cunnilingus, but it's not. It's the tearful, shameful reunion of Dwight and his femme f...

At first glance, this might look like a very NSFW depiction of cunnilingus, but it's not. It's the tearful, shameful reunion of Dwight and his femme fatale former lover. This manly, violent dude is reduced to a praying mess at her feet, bathed in broken light.

This is a master class in something comics do that no other medium can: depict a sequence of discrete events with a static image. There are only two panels here, two pictures, two frozen moments of time. But there are no fewer than ten actions that occur! Head hits wall, gun fires, bullet hits, bad guy screams, gun fires, bullet hits, guy screams, gun fires... and so on. And yet, like all great comics art, it's done so simply that you don't even register how elegant and efficient the image is. This is a master class in something comics do that no other medium can: depict a sequence of discrete events with a static image. There are only two panels here, two pictures, two frozen moments of time. But there are no fewer than ten actions that occur! Head hits wall, gun fires, bullet hits, bad guy screams, gun fires, bullet hits, guy screams, gun fires... and so on. And yet, like all great comics art, it's done so simply that you don't even register how elegant and efficient the image is.

This is a master class in something comics do that no other medium can: depict a sequence of discrete events with a static image. There are only two p...

This is a master class in something comics do that no other medium can: depict a sequence of discrete events with a static image. There are only two panels here, two pictures, two frozen moments of time. But there are no fewer than ten actions that occur! Head hits wall, gun fires, bullet hits, bad guy screams, gun fires, bullet hits, guy screams, gun fires... and so on. And yet, like all great comics art, it's done so simply that you don't even register how elegant and efficient the image is.

Sin City's houses are, with few exceptions, done in Mission Revival style. In addition to conveying his American West setting, the Mission Revival also allows him to make these beautiful little tiled rooftops. They're such a delightful mix of order and chaos, sequence and error, rows and imperfections. This panel doesn't let anything get in the way of his rooftop obsession. Sin City's houses are, with few exceptions, done in Mission Revival style. In addition to conveying his American West setting, the Mission Revival also allows him to make these beautiful little tiled rooftops. They're such a delightful mix of order and chaos, sequence and error, rows and imperfections. This panel doesn't let anything get in the way of his rooftop obsession.

Sin City's houses are, with few exceptions, done in Mission Revival style. In addition to conveying his American West setting, the Mission Revival als...

Sin City's houses are, with few exceptions, done in Mission Revival style. In addition to conveying his American West setting, the Mission Revival also allows him to make these beautiful little tiled rooftops. They're such a delightful mix of order and chaos, sequence and error, rows and imperfections. This panel doesn't let anything get in the way of his rooftop obsession.

This one's just a masterpiece. Miho is getting the jump on a henchman, but also appears to be jumping in from some parallel universe. She's on rollerblades, her body is comfortable and erect, her ax is pointing away from her target, and the lowlife doesn't even have time to process what he's seeing. Another example of Miller not settling for conventional violence and taking us into a brutal dreamscape. This one's just a masterpiece. Miho is getting the jump on a henchman, but also appears to be jumping in from some parallel universe. She's on rollerblades, her body is comfortable and erect, her ax is pointing away from her target, and the lowlife doesn't even have time to process what he's seeing. Another example of Miller not settling for conventional violence and taking us into a brutal dreamscape.

This one's just a masterpiece. Miho is getting the jump on a henchman, but also appears to be jumping in from some parallel universe. She's on rollerb...

This one's just a masterpiece. Miho is getting the jump on a henchman, but also appears to be jumping in from some parallel universe. She's on rollerblades, her body is comfortable and erect, her ax is pointing away from her target, and the lowlife doesn't even have time to process what he's seeing. Another example of Miller not settling for conventional violence and taking us into a brutal dreamscape.

Sin City: Where the good guys' capes are at the bottom of their coats and the buildings are all in photo-negative. Sin City: Where the good guys' capes are at the bottom of their coats and the buildings are all in photo-negative.

Sin City: Where the good guys' capes are at the bottom of their coats and the buildings are all in photo-negative.

I just love the disgusting, comical incongruity of this image of a naked sniper in an easy chair. Oh, also, Miller may draw a lot of skeezy images of naked women, but I'll give him this: He's also totally unafraid to draw penises. I just love the disgusting, comical incongruity of this image of a naked sniper in an easy chair. Oh, also, Miller may draw a lot of skeezy images of naked women, but I'll give him this: He's also totally unafraid to draw penises.

I just love the disgusting, comical incongruity of this image of a naked sniper in an easy chair. Oh, also, Miller may draw a lot of skeezy images of ...

I just love the disgusting, comical incongruity of this image of a naked sniper in an easy chair. Oh, also, Miller may draw a lot of skeezy images of naked women, but I'll give him this: He's also totally unafraid to draw penises.

Forced perspective at its finest. Forced perspective at its finest.

Forced perspective at its finest.

As That Yellow Bastard enters its final act, John hobbles toward a building edifice that might as well be the Black Gate of Mordor ... except it's drawn with giant splashes of white, which goes to show how much Miller is willing to experiment with the emotions we can get from black-and-white imagery. As That Yellow Bastard enters its final act, John hobbles toward a building edifice that might as well be the Black Gate of Mordor ... except it's drawn with giant splashes of white, which goes to show how much Miller is willing to experiment with the emotions we can get from black-and-white imagery.

As That Yellow Bastard enters its final act, John hobbles toward a building edifice that might as well be the Black Gate of Mordor ... except it's dra...

As That Yellow Bastard enters its final act, John hobbles toward a building edifice that might as well be the Black Gate of Mordor ... except it's drawn with giant splashes of white, which goes to show how much Miller is willing to experiment with the emotions we can get from black-and-white imagery.

We'll close out with one of the most iconic Sin City images of all. Marv walks alone through a manmade canyon, drawn without the aid of computers, where one's eye can only see light's total absence or undiluted presence. We'll close out with one of the most iconic Sin City images of all. Marv walks alone through a manmade canyon, drawn without the aid of computers, where one's eye can only see light's total absence or undiluted presence.

We'll close out with one of the most iconic Sin City images of all. Marv walks alone through a manmade canyon, drawn without the aid of computers, whe...

We'll close out with one of the most iconic Sin City images of all. Marv walks alone through a manmade canyon, drawn without the aid of computers, where one's eye can only see light's total absence or undiluted presence.

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  • sin city a dame to kill for
  • comics
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  • noir
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  • frank miller
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Emmys 2019: See Every Red-Carpet Look  Laverne Cox, Jameela Jamil, Indya Moore, and more. 
By Vulture Editors
vmas 2019 Aug. 26, 2019
See Every Red-Carpet Look From the 2019 VMAs  Lizzo, Taylor Swift, Megan Thee Stallion, and more stars strut down the carpet at the MTV Video Music Awards. 
By Vulture Editors
gallery June 25, 2019
The Look Book Goes to a Little Tina Turner Audition  Dozens of 8-to-12-year-old actresses lined up for the opportunity to play a young incarnation of the star in Broadway’s Tina: The Tina Turner Musical. 
By Katy Schneider and Jane Drinkard
obituaries June 17, 2019
Socialite, Artist, and Style Icon Gloria Vanderbilt Has Died at 95  Her son, Anderson Cooper, delivered an obituary on CNN this morning. 
By Sarah Spellings
gallery June 17, 2019
See Photos of Natasha Lyonne, Busy Philipps, and More in the Vulture Emmy Studio  For your consideration. 
By Vulture Editors
gallery June 10, 2019
See the Faces of the 2019 Tony Winners  Bryan Cranston, Rosemary Harris, and more. 
By Vulture Editors
gallery May 15, 2019
A Trove of ‘Lost’ New York City Crime Scene Photos, Unearthed After 82 Years  Seventy-three prints from legendary photographer Weegee were stashed in a kitchen cupboard and unseen until now. 
By Christopher Bonanos
gallery May 6, 2019
The Faces of 2019 Tribeca Film Festival  Jennifer Lawrence, Zac Efron, Ethan Hawke, and more. 
By Vulture Editors
gallery May 3, 2019
See the Faces of the 2019 Tony Nominees  Laurie Metcalf, Jeremy Pope, Jeff Daniels, and more. 
By Jackson McHenry
oscars 2019 Feb. 25, 2019
See Every Red-Carpet Look From the 2019 Oscars  Lady Gaga, Glenn Close, Regina King, Constance Wu, and more stars strutted down the carpet at the 91st Academy Awards. 
By Vulture Editors
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