Review of the comic book "Sin City" by Frank Miller

You can't help but love Frank Miller. You can hate Frank Miller. But no one can deny the genius of Frank Miller. The American author was one of the main characters of the dark era of comics of the 80s - without his "Daredevil" and "The Return of the Dark Knight," the industry could now be completely different and not at all in a good sense of the word.

Miller's works have always been distinguished by their multilevel history, "gray" vision of the world, complex moral dilemmas and down-to-earth realism. But sometimes, like any other artist, Frank wanted something simple and stylish. In the early 90s, after a decade of working for Marvel and DC, he signed a contract with the newcomers of Dark Horse and began to create Sin City. About

In an interview, Miller said that he was inspired to create Basin City by classic tabloid novels. The romanticization of criminals, the demonization of cops, a simple world with good and evil - after a decade of working on "gray" themes, the author decided to take a break by creating an absolutely black-and-white story, both in drawing and philosophy.

Frank took the moralizing stories of the 30s, adjusted the contrast of the image to the maximum and presented them to the readers of the 90s. Given the collapse of the USSR and the turbulent times of the Gulf War, the audience immediately seized on a simple and obvious world. The inversion of Sin City added a special charm - the rebellious generation X was disappointed with the state and the usual conservative system, which Miller shamelessly took advantage of. The comic turned out to be transparent as a tear: the corruption and venality of the authorities turned Basin City into an advertising showcase of such virtues as bravery, loyalty and integrity. It's not for nothing that The Rolling Stones' song Sympathy for the Devil was the inspiration for the author.

But let's return directly to the "Hard Goodbye". Marv's adventures is probably the best example of imitating classic noir works - a tough guy in a long raincoat who spends his whole life relying solely on himself and destroying scum with his principles. Miller doesn't even waste time revealing the character's motivation, personality, or psychology. He is an absolute protagonist, ready to protect the underprivileged and sacrifice himself for a higher (but rather mundane) goal. And where without psychological trauma, which at that time was an additional plus in the piggy bank of romanticizing the hero.

However, it should be understood that without the visual design, Miller's script would hardly have been so memorable to readers. The innovative approach to drawing helped to distinguish Sin City from other comics. The use of only black and white colors does not just refer to the era of monochrome cinema - the contrasting palette emphasizes the duality of Basin City and does not allow us to perceive the characters in a realistic way. The characters of "Heavy Farewell" are not complicated or complex - they are just dark silhouettes that live solely for the entertainment of the reader.

Already in later stories (starting with "The Yellow Bastard") Miller will start using specific colors that only enhance their impact on the story. If Frank hadn't been able to resist adding variety to the first volume, it would have been impossible to achieve such an effect. At the same time, I want to note that I do not like the style of the author's drawing - however, in this case, the ridiculous and disproportionate silhouettes performed by Miller only add to the atmosphere.

I had no complaints about the publication: the picture is very bright and contrasting, and the translation does not cause any complaints. Moreover, if we had Dashiell Hammett novels, we would like the editors and translators of Sin City to work on their adaptation.

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