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Alternate cover edition - ISBN13: 9781593072995Can anything be darker than noir? Try Frank Miller's Sin City series. The tasty Hell and Back features Wallace, a brooding artist with a decided talent for hurting people, and Esther, a stunningly beautiful actress accidentally mixed up in a slavery ring that extends far and deep enough to transcend the word conspiracy. The taAlternate cover edition - ISBN13: 9781593072995Can anything be darker than noir? Try Frank Miller's Sin City series. The tasty Hell and Back features Wallace, a brooding artist with a decided talent for hurting people, and Esther, a stunningly beautiful actress accidentally mixed up in a slavery ring that extends far and deep enough to transcend the word conspiracy. The tale twists, turns, and backtracks, teasing the reader with hints of terror to come--until the explosive climax. Miller's art is exactly right for his words; he uses more black than white, and color only when appropriate. The chapter dealing with Wallace's drug hallucinations is beautiful, heartbreaking, and terrifying in turn. Readers interested in the human dark side should find out what fans of Sin City already know: Frank Miller has seen it and wants to share. --Rob Lightner...

Title : sin city vol 7 hell and back
Author :
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ISBN : 31829988
Format Type : Paperback
Number of Pages : 320 Pages
Status : Available For Download
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sin city vol 7 hell and back Reviews

  • Algernon
    2018-11-09 05:02

    I have read this last album twice, once for the actual story and secondly trying to summon some of the enthusiasm I had for the start of theSin Cityseries. The best I could come up with is thatHell and Backis an improvement on albums five and six, but the storyline is a rehash of the standard Miller plot of one tough guy going on a rampage for a dame he just met and the artwork (the best selling point of sin city for me) is looking like a rough draft: unpolished, doodling lines, sketched characters instead of the clean, stark, daring poster quality of the beginning. Some panels are better than others, but unfortunately they are mostly the ones presenting nude women, which serves only to underline the lack of new ideas and the resort of the artist to cheap thrills.This particular peeve with the artwork is the reason I decided not to include any screen caps in my review. (you can check my previous reviews for examples of the artwork) I feel I have given Miller one too many free passes for the dubious portrayal of all his feminine characters as wanton hookers with murderous instincts.Briefly the plot has a badass former special forces soldier with artistic inclinations (he paints ‘classy’ nudes) rescuing a beautiful and scantily dressed lady from jumping off a cliff into the Pacific. Wallace is cut from the same broad cloth as Marv, Hartigan and Dwight. His bad luck is to come late on the scene and suffer a little in comparison with the tough guys that came before him. Esther is a bit passive, more damzel in distress than active participant in the plot, probably because she has to compete for attention with a couple of cold blooded killers that happen to have super hot bodies.The album has a subtitle suggesting to the reader that this is a love story. Of course, a Sin City love story cannot be told without a brutal intrusion of the underworld into the niche the lovers try to carve for themselves in the corrupt town. Somebody kidnaps the voluptuous Esther and army boy Wallace must go through hell to get her back. All the usual suspects are present : corrupt cops, mafia bosses, assassins, the girls of Old Town, muscle cars, weapons of every design imaginable, drugs, conspiracy theories. Wallace speciality is unarmed combat, although towards the end, as the bad guys multiply, he goes full Rambo on them with knifes and machine guns and explosive devices. To make the story longer, there are two femmes fatales that try to seduce Wallace : one old acquaintance identified by the blue colour in her panels, named Delia, and a new one in orange wearing a skin tight leotard, named Maxine.The highlight of this last album is a long sequence of Wallace hallucinating after he is pumped full of drugs by a third female foe. The importance of the section lies not only in the artwork and the occasional flash of humour, but in the homage paid by the artist to his sources of inspiration:- Lone Wolf and Cub, the cult Japanese anime of a samurai and his child- The album 300, also by Frank Miller and dealing with the Spartans at Thermopylae- Hellboy- Rambo- Die Hard- Robocop- A couple of Marvel superheroes- Dirty Harry- A few more that sort of escaped my patchy pop culture educationThe list above alone should be enough indication of the style embraced by Frank Miller in his seven albumSin City. The finale of the long journey is spectacular in its own ultraviolent and foul mouthed fashion, and I am not going to spoil it in my review. I will mention only that it leaves the door open for future albums, although for me the setting has just about worn out its welcome. It might be a good idea for the author to leave well enough alone and stop here, unless he can summon the energy and the creativity of the first couple of albums.The four star rating here is mostly a general impression for the whole outfit, rather than the three I was considering for the last instalment.

  • Carmen
    2018-11-05 03:55

    Miller pulls ANOTHER 4-star review from me in a surprising comeback. *slow clappingWallace is a veteran and an artist. He's polite and deadly.I like him.He meets a woman who's about to commit suicide by jumping off a building. Esther. He saves her and they go for drinks. They get to know each other. Just when they're about to have their first kiss, Wallace is shot with a tranquilizer dart and Esther is kidnapped.Now Wallace must find Esther and bring down an evil human-trafficking ring.......This was great. I really liked the writing, the plot, and the illustrations. Miller has a lot of fun here by sending Wallace on a crazy drug trip in the middle of the book. He see's other cartoon characters, dinosaurs, everything. It goes on for pages and pages and it's very fun and creative.The love story is also sweet. Wallace is just a great, stand-up guy and I had no problems with how he treated any females in the book. That's probably a first for me with Frank Miller.

  • Foad
    2018-11-09 07:13

    آخرین جلد از مجموعه کمیک "شهر گناه" اثر نویسنده ی معروف "فرانک میلر".این جلد نسبت به دو سه جلد قبلی خیلی بهتر بود. داستان خیلی خوبی داشت. چندتا از شخصیت هایی که تکلیفشون معلوم نشده بود توی کمیک های قبل، کمابیش تکلیفشون معلوم شد.شخصیت اول این کمیک، خیلی بهتر از شخصیت اول بیشتر کمیک های قبلی (دوایت) بود. اگه به من بود، ترجیح میدادم این رو شخصیت اصلی بیشتر کمیک ها بکنم. حالت آروم و مهربان و درونگرا و هنرمند و کمابیش عارف مسلکش، مخصوصاً با موی سیاه بلند و ته ریش، خیلی دوست داشتنی بود.

  • Stuart
    2018-11-05 01:20

    Sin City, Vol. 7: Hell and Back: Treads very familiar territoryOriginally posted at Fantasy LiteratureHell and Back is the seventh and final volume in Frank Miller’s SIN CITY series. The artwork is still dramatic, and the story and characters are hard-boiled, dark, and intense. The bad guys are nasty, and the femme fatales have curves that kill (literally, almost). Of course we have the loner anti-hero tough guy, a lethal weapon who isn’t looking for trouble, but trouble seeks him out. We’ve got all the familiar elements of a Frank Miller Sin City story. And that’s either great if you like this formula, or a bit tiresome if you were looking for something new.Having read all seven volumes now, it’s clear what kind of story Miller likes to tell, and with the exception of the dreadful Vol 5: Family Values, he does it pretty well. His black-and-white artwork and noir style really was fresh and exciting when it first came out, but it hasn’t really evolved all that much. Much of Hell and Back retreads familiar ground, with the exception of a very vivid hallucinatory dream sequence that provides Miller an excuse to pay tribute to many of his favorite characters such as the Spartans from 300, Lone Wolf & Cub, Captain America, Rambo, Astro Boy, Dirty Harry, Moses, Robocop, even Dr. Seuss.I enjoyed Hell and Back, but I think Miller has said all he needed to say in the first four volumes, The Hard Goodbye, A Dame to Kill For, The Big Fat Kill, and That Yellow Bastard. Booze, Broads, & Bullets was good because it was short vignettes, but again resembled earlier story elements. So I think you’d be fine just enjoying the first four volumes, as they also benefit from having been incorporated into the two Sin City films, because it’s a lot of fun to compare the artwork of the comics and the movies.Hell and Back concerns a former Navy Seal named Wallace who is now a starving artist. One day he saves a woman named Esther who tries to throw herself off a cliff into the sea. When he rescues her, he discovers she is embroiled in a whole lot of weird underground criminal business, and he then encounters femme fatale number one, Delia the blue-clad sexy assassin. In case that isn’t enough, there is another skin-tight leopard-patterned lady named Maxine to make things more interesting. Then there are the usual thugs, crooked cops, and assassins to crank up the action, and Wallace goes from quiet slacker-guy with Converse shoes and long hair to invincible one-man killing machine. We’ve been here before, right? It’s all done fairly well, and this is the longest Sin City story, but it really doesn’t blaze any new trails, so I recommend it for die-hard fans and completists only.

  • David Schaafsma
    2018-11-07 04:14

    The big finish seventh volume of Sin City, where Miller pulls out all the stops to create a long epic story. He slows down, so this is longer, but the pace serves a kind of operatic intention, a. . . big finish! So there's a long drug-induced sequence that brings in comics history and pop culture and different types of art, and color. . . as part of pulling out all the stops, part of the dramatic finish, putting in everything visually that he can think of. . . think of the orchestra of the opera building to a flourish, that crescendo.And this story involves a highly likable character, Wallace, a veteran and an artist, who falls in love with and is dedicated to rescuing Esther, who has been kidnapped. He's a tremendous warrior at the same time sort of polite and subdued and understated in that macho way. We like the guy, so in the middle of all the razzmatazz we have an intimate story of chapters we come to care about. So this has all the broads and battles, the sex and violence of all the others, but it leads to an operatic romantic finish, complete with a big red heart for Valentine's Day! Turns out Miller is an old softie after all. Well, in this one and a few other volumes he proves he can make you care, move you.True, it's not so directly connected to the other tales, as they so often are, so this in that sense stands kind of alone as a volume, but most of the motifs visually and narratively remain. It is common to say we mostly all hate Miller now, and I have been one of these haters, but this is one great series. It's not deep narrative, it's a swirl of brush and a curve of the hip as emblematic of this kind of work. Sin City is a kind of parody of noir Las Vegas, but it is part of our popular conception of it, and is one that lives on, thanks to Miller, in our imagination.

  • Sam Quixote
    2018-11-10 05:18

    “Hell and Back” is the seventh and final volume in Frank Miller’s superb Sin City series and while it’s his longest Sin City book it’s also his most underwhelming. The plot centres around an ex-Navy SEAL turned artist called Wallace who saves a beautiful woman called Esther from drowning only to see her abducted. Incensed and in love, he sets out to save her from her captors. In a poetic way, the last Sin City book mirrors the first: Marv and his search for Goldie’s killer, a woman he barely knew, and Wallace and Esther’s abductors, also a woman he barely knows. They’re both chivalrous knights in their own way and their single-minded quests are exciting and mesmerising for their singularity of purpose. But while “The Hard Goodbye” was a blistering and brutal read, “Hell and Back” is Sin City by-the-numbers which, rather than end the series with a bang, just kind of ends.What is Sin City by-the-numbers? Cool car, protagonist who can fight like a god with a devil-may-care attitude, damsel in distress, lotsa violence (decapitations and the like) and shots of sexy women in revealing outfits (or none at all). Throw in corrupt cops with warped potato-like mugs, the familiar black and white artwork with singular colours like red or blue to offset the noir feel and emphasise a character or trait (usually on the women), and you’ve got your basic Sin City book. But is this a bad thing? Generally no. I quite liked “Hell and Back”, it’s fun, it’s enjoyable, it holds up well after years of re-reading, and the full colour section where Wallace is on drugs and sees famous characters (Captain America, Rambo, Hagar the Horrible) or characters Miller created (the Big Guy and Rusty the Boy Robot, and the shot of King Leonides of Sparta with a rifle – damn I want that on my wall!) are all highlights in the book. And even if it is a familiar story we’ve seen before, it’s a great story I’m happy to read again when it’s done this well – even if “Hell and Back” is the weakest in the Sin City books, it’s still head and shoulders above most comic books at their best. My only complaint was the lack of meshing this book has with other Sin City books. One of the best qualities of this series was how each book’s story would mix with another book’s story so we would see a scene from “A Dame to Kill For” in “The Hard Goodbye”, or a scene from “Booze, Broads, and Bullets” in “The Big Fat Kill”. We see a few characters we’ve seen before in “Hell and Back” but they’re minor characters like the big nose bartender and Manute. There’s no Marv, no Dwight, no Old Town, no Kadie’s Bar – it’s doesn’t feel like this book is a conclusion of sorts. Maybe that’s not what it’s supposed to be but I always thought a final book in a series ought to acknowledge the journey it’s taken to get to the final book and either go all-out in terms of outdoing the stories it’s told before or try to include as many of the series’ characters for a kind of summation. Instead “Hell and Back” feels like another book in the series rather than the final one. But those are minor gripes. The book is a great read and as action-packed and bombastic as every book in the series has been. While it doesn’t offer anything new to readers who’ve read the previous 6 books, it’s a solid story that’ll keep you hooked throughout. I wish I could say it’s the best way a series as brilliant as Sin City could bow out on but I can’t. Nevertheless, Sin City remains a masterpiece by one of the greatest comics writers/artists there ever was.

  • Jesse A
    2018-11-07 03:57

    A great final volume. A top notch slow burner. Fantastic!

  • Ben Winch
    2018-11-14 05:57

    Say now, for what it was this little piece of retro cinematic noir-pulp wasn’t bad. I love the use of frame (every page a different pattern, with bodies arched splayed spreadeagled across it) and the art, though primitive (not to say hamfisted) in many ways, packs more of a punch than comics I’ve seen by artists, at first glance, far more proficient. The power of story conjoined with pictures. The use of visuals to power story. And there’s a hallucination sequence in the middle that’s just gold, referencing Dirty Harry, the Cat in the Hat, Lone Wolf and Cub, and literally lighting the book with sudden colour – it’s stomach-churning and hilarious. Only one thing: why oh why have comics gotten so dark, damn it? Granted, Miller’s book isn’t half so gratuitous as some of ’em (I bought a random selection from the discount bin recently and every title was soaked in gore, plus I’m reading The Invisibles and some of that just leaves me dirty) but cynical gothic apocalypse-conjuring seems to have the industry by the throat. Still I like the mood here, the style, the timeless non-places (Basin City and environs, the Last Hope Hotel) where it’s set. Inspiring, but not something to take too seriously, dark as it may be at its core. POSTSCRIPTHaving just read Sin City #1, which didn’t grab me like this one, and looked up Frank Miller online I have some reservations. First up (and this shows what a comics newb I am) Miller, far from being the young untrained indie talent I took him for, is an old pro from the seventies with famous Marvel and DC titles under his belt. Which doesn’t change the quality of the book of course, but does change my estimation of his talent. Not that I won’t be checking out more Miller, but I think I’ll give Sin City a rest for now, since that first issue was plenty bloodthirsty. A hooker-eating cannibal in league with a crooked priest? Please. I’m gonna go take a shower.

  • Andrew
    2018-10-31 05:09

    I would recommend trying to get this book in the individual comics because the covers and other miscellaneous art are the most enjoyable thing about this book. The story was typical for Sin City, so if you've read the other volumes you know what to expect. The sixth chapter was a nice detour from the norm, however, as our protagonist (view spoiler)[ engages in a battle while drugged and the real-world actions are reflected in strange dreams.(hide spoiler)]I can't say I recommend this anymore than the other volumes of Sin City. Its my conclusion that a person should pick up a random volume of these series and read it, and that should be enough Sin City for one life time (unless, of course, you really enjoy the read.)It's a shame that Miller's career ended with such a whimper, as I really enjoy his 80's work (Daredevil. especially Born Again; Ronin; and Batman.

  • Luis Reséndiz
    2018-10-28 02:00

    en contra tiene que es un volumen cuyo argumento es casi idéntico al de, por ejemplo, a dame to kill for. pero en serio idéntico, con la salvedad de que el protagonista aquí es wallace --una especie de trasunto de dwight. otra cosa en contra: como todos los volúmenes de sin city (y como mucho del noir, también), es profundamente machista --a veces borda la autoparodia, incluso, quién sabe si voluntaria. otro posible defecto --o quizá solo soy yo-- es que la resolución de todo el caso, que se antojaba ominoso, intrincado, infernal es sencilla, deusexmachinosa y un tanto insatisfactoria.a favor, por otro lado, está el hecho de que el arte de miller alcanza aquí de nuevo buenos momentos, puntos altos que si bien no llegan a lo mejor de su trabajo sí se encuentran en un lugar digno. hay un momento especialmente bueno, en el que la paleta de colores cambia de blanco y negro contrastadísimo (la norma en sin city) a full color híper saturado. la razón es que es un "viaje sicodélico" (miller tiene la imaginación de un tío católico de ochenta y siete años a la hora de recrear los efectos de las drogas) experimentado por el protagonista pero que le sirve a miller de elogio autoreferencial a buena parte de su carrera --sale elektra, por ejemplo, y ronin, y algunas otras cosas más-- y que, todo sea dicho, resulta bastante simpático.otra cosa padre es que la trama visita --nomás por encimita, no esperemos ninguna referencia culta de miller-- la divina comedia. eso está allí en el viaje sicodélico que describo pero, también y más afortunadamente, en el título: hell and back. un volumen más que digno para acabar sin city, la neta.

  • Hilary
    2018-11-12 04:52

    Hell and Back is probably the best of the Sin City volumes. Instead of telling a story of hideous corruption (which it certainly includes) and dark resignation,Hell and Back tells the story of moving past Sin City, effectively offering a more hopeful ending for those who have read from the start.Wallace is an ex-soldider with a heart of gold. He saves a woman, Esther, from suicide only to get far more than he bargained for when he ends up drugged, and her kidnapped the following day. What follows is a hunt down the dark rabbit hole of conspiracy. Human trafficking, sex slavery, the black market of organ selling... any number of things. Wallace is cutting to the heart of it to save the woman he loves. For once, Sin City might just get left behind at the end of it all.This volume told the most cohesive story, and also offered up some of the most bizarre asides. Here we get the full-color drug trip, the twisting road of conspiracies and the knowledge such things might just always exist. Here we have a hero with a heart of gold, and more, the brains to not fall for so stupid a trap but rather to set his own. It's a satisfying volume, and a fine send off to the series. Well worth the read - it also would make a killer film.

  • abatage
    2018-11-11 06:17

    I'm not sure why this volume ended up being the largest of the series - there's certainly more action than dialogue, which might account for more panel space required, but the story seems to say less than most of the others that came before it.Miller's characters never really need a whole lot of motivation for anything they get themselves into, but all Wallace needs in this book is a damsel in distress... not even one he knows. Depth isn't something I'd associate with Miller at the best of times, but the reasoning presented in this book is at the bottom of the minimal barrel. Maybe this superficial structure is why it's hard to take any of the characters seriously and actually give a damn (a stark contrast to characters like Marv in the first book).However, the return of Delia (Blue Eyes) and an interesting angle on the Sin City underground (is any part of the city actually above board?) makes this book worth a read. The art threw me a few times because it steps outside of the style established firmly throughout the series, but it's used with purpose (full colour when Wallace is tripping, etc.) and for the most part, doesn't remove itself too far.Seems like an odd way to round off the series, but I'll take it. A third of the length could have been shaved off for more concise pacing, but again, it's nothing worth getting in a twist over.

  • J K
    2018-11-02 03:55

    The last one, sniff. Great fun as here they let loose with a trippy sequence with loads of cameos, and colour that reminds me of the Ghost in the Shell's manga colourising. So, as usual, beautiful, savage, pure pulp wonderfulness from 1990s era Frank Miller.

  • Dan
    2018-10-27 05:51

    Couldn't get into this and honestly I liked all the other volumes, but I didn't feel anything for the characters. Mostly new characters and the use of color just made this not seem enjoyable as the other previous volumes.

  • Eve Kay
    2018-10-18 00:16

    Initially the drawing in this one was bad but half way it got good. I liked all the animals and super heros and such. The story itself was very basic Sin City, somehow the hero just beats up everybody. It wasn't the most ludicrous of all of them, but it was puts-a-smile-on-your-face-cause-it's-kinda-dumb.

  • مصطفي سليمان
    2018-11-09 01:08

    بعد مأساة الكام جزء اللي قبل كدا النهاية كانت كويسةوالاس شخصية جيدة للغاية اينعم متداخلة مع شخصيات لها نفس الهدف بنت واتخطفت ف بيقتل نص البلد بسببهازي ميرف ما عمل ف الجزء الاول مثلالكن هنا الشخصية لطيفة كان فيه كان حلقة سخيفة ومملة ميللر اذن مش بتاع الحاجات الطويلةواكيد مش مخرجاكيد يرحمنا ويركز ف الكتابة والرسموالاس شخص واضح انه يعني برنس جوه نفسه كدا بيلحق بنت بتنتحر ف اول عددوبيحبها هووب بتتخطف منهبيحاول يعرف ف بيمشي علي خيط قدامهبيروح ع بيتها صحبتها بتلبسه ف الحيطةلغاية ما العصابة بتحاول تقتلتهحلقة الهلوسة بتاعت لما اتحقن وحاولوا يقتلوه مريبة جدا يمكن العدد الوحيد الملون ف شغل ميللر ف السلسلة ديطبعا بيطلع عين أم العصابة واللي ويتشدد ليهماينعم تاريخ الشخصية مش واضح قوي ولا ايه علاقته ب المدينةولا الشخصيات التانية بس ف العموم شغاله

  • Jedhua
    2018-11-02 05:07

    My Brief Bookshelf Overview: gave-up-before-finishing, grim, story-not-intriguing-enoughAdditional Notes: This collection contains Sin City: Hell and Back issues #1-9.While this might not have been as bad as, say, Family Values, Miller carries the same change in artsyle he started in volume five, and at 300 pages, I didn't feel at all motivated to continue following yet another lackluster introduction. I think I'd be in the minority when I say this, but I found Miller's art to be far superior before volume five, and upon starting that volume, I was actually pretty convinced he wasn't the artist. I think it had something to do with his method of shading or something. I'm just glad to be done with this series; I've got a long list of books in my "to-read" shelf that I've been really excited about.

  • Caitlin
    2018-10-20 07:03

    This is actually one of my favorites in the Sin City series. I enjoyed the first three and then got tired of the same formula Miller uses for all of them. Hell and Back is still the lone soldier fighting against corruption but it's more interesting than that. I liked that he fought so hard to save someone he barely knew and that the theme of Sin City corrupting all it touched. Much more interesting characters than some of the other Sin City volumes and finally a woman besides Miho who doesn't just rely on sex to achieve her goals. And the artwork, as always, was excellent.

  • John
    2018-11-07 02:14

    A fitting end to the series.This one was one helluva roller coaster ride.Ladies galore and plenty of bad guys.Their was also a intermission of comic relief were the man good guy Wallace has a drug induced haze were he sees the following a dinosaur,raggedy Ann,a Spartan,Captain America,Rambo,Dirty Harry,and the cat in the hat just to name a few.Lot of laughs plenty of action.Im really going to miss this series.

  • MarinaLawliett
    2018-10-31 00:18

    La parte de la sobredosis y las alucinaciones es perfecta! 10/10 todo

  • BrokenMnemonic
    2018-10-29 02:57

    I started reading the Sin City graphic novels knowing nothing more about them than that there'd been a movie based off a number of the stories, and I've not been in a particular rush to finish them, but I've grabbed each as it's turned up in one or other of my local secondhand bookshops. This volume feels distinct from the others in two ways: it has a somewhat upbeat ending in terms of both outcome and tone, and it has a genuinely entertaining action sequence in which the protagonist is fighting while tripping balls, with the hallucinations giving the author a chance to pay homage to decades of personal influences from Dr Seuss to Rambo and Lone Wolf and Cub.I think this is the last graphic novel in the run, and it's better than at least one of the others; it feels like a good volume for the series to finish on, because it feels as if the author has reached a point where he doesn't really have anything else left to say, or that he wants to say. Whereas the previous graphic novels in the run have reveled in being starkly-drawn, filled with noir-pattern corruption and violence turned up to eleven, I appreciate this one finishing the way it did. While it largely echoes the route taken in the previous graphic novels, it was nice to see the run end in a way that feels like an ending; while I'm glad I read the run through, I'm not sure I'll rush back to read it again. I have conflicting feelings over how well the various graphic novels draw on noir stereotypes and push them to extremes, compared to how much I actually like or agree with those stereotypes to begin with. In some ways, I think this might be my favourite of the graphic novels because it steps back from that somewhat - which I guess indicates that this maybe isn't for me. On the other hand, as I said, I'm glad I read it, and there are a number of minor touches in this volume that I liked.

  • Miguel Plante
    2018-11-05 07:02

    Même s'il mène une chaude lutte à «That Yellow Bastard», le dernier volume de la série est probablement ma préférée. L'intrigue, toujours centrée sur un éternel homme baraqué tombé obsessivement amoureux d'une femme fatale et qui fera absolument tout pour la sauver, est cette fois-ci servie avec une totale maîtrise de Miller. L'esthétisme toujours clair-obscur, à l'éclairage tranchant et net, apporte quelques nouveautés bien intéressantes, comme un mémorable trip de drogue meurtrier qui déjoue pour la première (et la dernière) fois de la série le teint monochrome habituel de Miller.Bon, l'intrigue perd encore une fois de son charme tant elle est similaire aux épisodes précédents. À cet effet, «That Yellow Bastard» emporte toujours la palme. Heureusement, le dernier volume a une finale à couper le souffle, cruelle de beauté et d'horreur. Un renversement intelligent qui ira à l'encontre du cheminement habituel des personnages de la série. Et si un néophyte désire se plonger dans l'univers tordu, vicieux et sensuel de Sin City rapidement et en ne lisant qu'un seul volume, c'est bien «Hell and Back» qu'il lui faut.

  • Jeni
    2018-11-14 23:15

    This one may have been my favorite of the bunch. Way to end it strong. (view spoiler)[Plus it's a good bookend as this is basically The Hard Goodbye with a happy ending. (hide spoiler)] The hero in this story was actually likable, really likable, plus a few old characters and some awesome new ones (I don't know who red assassin lady is, but I like her). It also features a few new things in a Sin City story, like a gay couple of men, a trans who is taken seriously, a woman who doesn't have a perfect body who is still portrayed well, and shock of all shock eye candy that isn't a naked woman! (Gasp.) Though they are obviously still in the book, let's not get carried away.It was a little odd to see the character references as it makes me wonder in what world Basin City exists. Especially weird were the references to Superman and Captain America because of the whole comic book thing.I enjoyed the series overall though it had its high points and low points. The artwork is amazing and the story classic noir.

  • Nutkin
    2018-11-08 02:50

    I just happened to read this while my partner had it from the library because I had always heard good things about Sin City & loved the films, especially the style.It was a mistake.Miller has a very specific art and story style for Sin City and this volume continued to follow it. It felt like the art was messier than usual in a way that I didn't enjoy and the storyline felt like a rehashing of the other story lines in Sin City. The hallucination section was a nice twist though re: art.If you enjoyed all of the other basic elements in Sin City story lines centred around flawed men trying to do the right thing while women throw themselves at them, you'll probably still like this. I couldn't finish it fast enough or dislike it more.

  • Michel Ortega
    2018-11-12 23:02

    The last of the 7, in my opinion, one of the best of the series.This love-drama, full of action, concludes the story of Sin City in a way that captures all the feelings and memories of the characters that makes Sin City the city that we love.I’m not disappointed with this ending, au contraire, I’m happy with such a beautiful ending.

  • Mat Davies
    2018-10-29 03:52

    Decent ending to the Sin City series. Overall, I don't think the stories in the second half of this series are as good as the first half. Nonetheless, Long Hair is a good character here and the blue and red tinted chapters build on the Yellow Bastard well. I miss the old characters though.

  • Martin Chalupa
    2018-10-27 01:11

    A next volume and still high quality. This one contains new characters in a well-known environment of Sin City. I really enjoyed reading this book. I love the main character. I hope there will be more volumes following story in this one.

  • Donald
    2018-10-26 00:07

    Another gruesome tale from Sin City! This time the hero is Wallace and the damsel in distress is Esther. It's a good action story with a pretty gnarly 'reveal' toward the end. I enjoyed it, and am crossing my fingers that another tale will come some day!

  • Eric Leeson
    2018-11-13 23:58

    Might have been my favourite volume. The action, the grit and the plot remind me a lot of the movie "Taken". One man's quest to stop a kidnapping and the larger situation he discovers and his moral need to make it right. A great story!

  • Robert Brudos
    2018-11-11 03:59

    In retrospect, probably the best Sin City volume.