Frank Miller's spellbinding scripts and pulse-pounding pencils herald one of Daredevil's greatest eras, just in time for the Kingpin and Bullseye's efforts to rob the Man Without Fear of everything he holds dear. Featuring the first appearances of Elektra, Stick and the Hand! The daring discovery that drew Ben Urich into Daredevil's domain of darkness! Such forgotten-yet-formidable foes as Death-Stalker and the Gladiator! Guest-starring the Hulk, the Avengers and Power Man and Iron Fist!

«And I — I have shown him... that a man without hope is a man without fear.» The definitive Daredevil tale! Karen Page, Matt Murdock's former lover, has traded away the Man Without Fear's secret identity for a drug fix. Now, Daredevil must find strength as the Kingpin of Crime wastes no time taking him down as low as a human can get.»

Legendary artist Frank Miller opened a noir opus in Sin City. This critically-acclaimed triumph-honored by both an Eisner Award and the prestigious National Cartoonists' Award-combines the pulp intensity of writers like Spillane and Cain with the gritty graphic storytelling that only Miller can deliver. Sin City is the place-tough as leather and dry as tinder. Love is the fuel, and the now-infamous character Marv has the match... not to mention a condition. He's gunning after Goldie's killer, so it's time to watch this town burn! Frank Miller is one of modern comic's first talents to publish a comic book that he created, crafted, and owned. That book is Sin City, which grew from the wellspring of Miller's passionate desire to create a comic book with two distinct qualities — it wouldn't be a superhero comic, and it had to be a crime comic. Enter Marv and Goldie. And a psychotic killer. And a crime-drenched town. And a corrupted diocese. Sin City is a town like no other, but most places resemble it in one way or another. In real life, thugs live everywhere and women sell their bodies all the time, but if everyday life is a storm, Sin City exists in the eye of a hurricane.

Criminals have always called the shots in Sin City, whether bootleggers, gamblers, or politicians. But ever since the first dame set up shop in Old Town, those side-streets have been run by the women who walk the night. It's been a delicate truce, but now there's a messy body and the mob's looking to reclaim those licentious streets. They're going to have to put down a tight band of dangerous women and a guy named Dwight to do it. Now Dwight, he knows something that the mob's gotta learn the hard way: sometimes standing up for your friends means killing a whole lot of people...

Just one hour to go. Hartigan's polishing his badge and working himself up to kissing it goodbye, it and the thirty-odd years of protecting and serving, tears, blood, and triumph that it represents. He's thinking about his wife's smile, about the thick, fat steaks she's picked up at the butcher's, about the bottle of champagne she's got packed in ice, about sleeping in 'til ten in the morning and spending sunny afternoons flat on his back. But with one hour left to go, he gets word about that one loose end he hasn't tied up: a young girl who's helpless in the hands of a drooling lunatic. Just one hour to go... and Hartigan's gonna go out with a bang.

Marking a departure for Miller from an entire career of serialized stories, this 128-page epic spilled out of him all at once... and you can't help but read it the same way! Family Values is a milestone among Miller's work, allowing him enough room to tell this classic story of grit and revenge exactly the way he wanted to. With deadly Miho running on roller-blades, Dwight running on adrenaline, and the Sin City mob on clean-up detail, this yarn from the Town Without Pity is not to be missed.

The most diverse volume of Sin City material available, Booze, Broads, & Bullets, showcases Frank Miller's vignettes and color experiments from throughout the years of his groundbreaking crime series, and includes art created especially for the original collection. A good entry point for new readers wondering what Sin City is all about — or longtime readers who can't get enough — Miller has painted a gritty, decadent, and gloriously dirty portrait. Have a taste of the city... just one little taste. Just one.

The Dark Knight Strikes Again is Frank Miller's follow-up to his hugely successful Batman: the Dark Knight Returns, one of the few comics that is widely recognized as not only reinventing the genre but also bringing it to a wider audience.Set three years after the events of The Dark Knight Returns, The Dark Knight Strikes Again follows a similar structure: once again, Batman hauls himself out of his self-imposed retirement in order to set things right. However, where DKR was about him cleaning up his home city, Gotham, DKSA has him casting his net much wider: he's out to save the world.The thing is, most of the world doesn't realize that it needs to be saved — least of all Superman and Wonder Woman, who have become little more than superpowered enforcers of the status quo. So, the notoriously solitary Batman is forced to recruit some different superpowered allies. He also has his ever-present trusty sidekick, Robin, except that he is a she, and she is calling herself Catwoman. Together, these super-friends uncover a vast and far-reaching conspiracy that leads to the President of the United States (Lex Luthor) and beyond.The Dark Knight Strikes Again is largely an entertaining comic, but much of what made The Dark Knight Returns so good just doesn't work here. Miller's gritty, untidy artwork was perfect for DKR's grim depiction of the dark and seedy Gotham City, but it jars a bit for DKSA, which is meant to depict an ultra-glossy, futuristic technocracy. Lynn Varley's garish coloring attempts to add a slicker sheen, but the artwork is ultimately let down by that which worked so well for DKR — this time around, it just feels sloppy and rushed. The same is true of the book's denouement, which happens so quickly that it leaves the reader reeling and looking for more of an explanation. Moreover, DKSA is packed full of characters who will mean little to those unfamiliar with the DC Comics universe (e.g., the Atom, the Elongated Man, the Question).Perhaps the book's biggest failing is that where The Dark Knight Returns gave comic book fans a base from which to evangelize to the uninitiated, The Dark Knight Strikes Again is just preaching to the converted. Comic book superhero fans will find much to enjoy here, but others would be better off sticking with the original.

If any comic has a claim to have truly reinvigorated the genre, then The Dark Knight Returns by Frank Miller — known also for his excellent Sin City series and his superb rendering of the blind superhero Daredevil — is probably the top contender. Batman represented all that was wrong in comics and Miller set himself a tough task taking on the camp crusader and turning this laughable, innocuous children's cartoon character into a hero for our times. The great Alan Moore (V for Vendetta, Swamp Thing, the arguably peerless Watchmen) argued that only someone of Miller's stature could have done this. Batman is a character known well beyond the confines of the comic world (as are his retinue) and so reinventing him, while keeping his limiting core essentials intact, was a huge task.Miller went far beyond the call of duty. The Dark Knight is a success on every level. Firstly it does keep the core elements of the Batman myth intact, with Robin, Alfred the butler, Commissioner Gordon, and the old roster of villains, present yet brilliantly subverted. Secondly the artwork is fantastic — detailed, sometimes claustrophobic, psychotic. Lastly it's a great story: Gotham City is a hell on earth, street gangs roam but there are no heroes. Decay is ubiquitous. Where is a hero to save Gotham? It is 10 years since the last recorded sighting of the Batman. And things have got worse than ever. Bruce Wayne is close to being a broken man but something is keeping him sane: the need to see change and the belief that he can orchestrate some of that change. Batman is back. The Dark Knight has returned. Awesome.