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[7/10]Its not like I didnt know what to expect. Its right there in the title: violence, drunkenness and sex. And its not like the previous five albums were dealing with a different subject matter. But Im starting to wonder what is wrong with me that I come back so eagerly to Frank Millers hellhole of a town. On a rational level, I tell myself its the nod to all the classic hardboiled novels to come out of the Great Depression and the Prohibition. And its also the daring, original graphic style pioneered by Miller. The devil sitting on my left shoulder is whispering in my ear though: youd better go and join a Perverts Anonymous society: Hello, my name is Algernon and I like to look at pictures of naked ladies with chains, and swords and guns and stuff! Taken individually and out of context of the Sin City series as a whole, the short stories included here dont amount to much, which maybe explains why they are collected so late in an album. For readers already familiar with the universe and with the main actors, the stories work well at fleshing out some backstories and at re-creating the atmosphere of darkness, desire and danger that defines life in Basin City. One important bonus for me is the fact that a lot of the shorts were written early in the development of the series, so the artwork is in general better than the disappointing Family Values episode.<Just Another Saturday Night opens the collection with the most iconic character, at least for me, in Sin City: Marv, the hulking brute that seems to be built from granite. Shooting him is useless, it will only serve make him angry, and you really dont want to be around when Marv is pissed off. Especially if he forgot to take his medication. Taking revenge on a gang of frat boys out to have fun on a Saturday Night by setting the homeless on fire is just a regular day for Marv. Like the girls of Old Town, Marv is both judge and executioner for tresspasers of the honor code of the underworld. The timeline is also interesting, as it offers a different take of the key moment from That Yellow Bastard when Nancy meets Hartigan in Kadies Bar. Fat Man and Little Boy is Frank Millers attempt at humour. Two cheap goons for hire that we had seen in cameo appearances in the previous two albums, are now trying to dump a dead body from the docks. The jokes are relying mostly on their pretentious conversation, riddled with long, difficult words and affectations of sophistication. It works, but I still think Miller is at his best at internal monologues delivered in short, unadorned, tense sentences. The Customer Is Always Right could have been great, but its too short to develop any kind of connection with the two characters who met on a rainy night on a high rise balcony. Their conversation is long of innuendo and short on specifics. I couldnt decide if the lady is clothed or not. I think Miller drew her as a nude, and then added some lines to suggest an evening dress. (Hm! I guess I should study her panels a little more!) Silent Night has some of the best artwork in the whole series, and again stonefaced Marv is the lead character. The rendering of snow and the deep shadows cast by the hulking Marv create a feeling of claustrophobia and anxiety. The silence rules, as none of the actors utters a word until almost the last panel, and I dodnt think the story needed any. As for the plot, Marvs role as the Sin City justitiary is reinforced when he goes alone against a gang of sex traffickers. And Behind Door Number Three... is a very short short about the other band of Sin City vigilantes, the hookers from Old Town. When a stranger starts to cut up with a butchers knife the women he lures into his bed, the hookers set a trap for him and let tiny Miho teach him a lesson in the use of sharp blades. Blue Eyes is one of the rare examples of Miller adding colour to his usual black & white palette. After yellow and red, we have now a femme fatale defined by the colour blue. Frank Miller is a great admirer of stereotypes when it comes to his ladies: theyre all smoking hot, all willing to drop their clothes and jump into bed with the male leads, all terminally dangerous to mens health and sanity. A small time crook takes refuge in Kadies Bar (I believe all roads in Sin City ultimately lead to this place), running from a hired killer. While drooling over Nancy the stripper girating on a raised scene, this guy Jim runs into his old flame Delia, who apparently wants him back. If it sounds familiar, it is because it is almost word for word the scene from A Dame To Kill For between Dwight and Ava. And likewise, it will probably not result in a happy ever after. Rats is pretty forgettable, and unconnected to any other previous events, as far as I can tell. A man sits alone in a hotel room, thinking about his past as a Nazi killer and doing disgusting things to rats. Daddys Little Girl continues the trend of whimpering, scantily clad ladies causing troubles for the men they set their eyes on. Amy, a barely legal nymphet, asks her older lover to help her get rid of an overbearing father. The poor slob falls for one of the oldest tricks in the business - killing for sexual gratification. The story sets out to be provocative and it succeeds, in a weird, sleazy way. Wrong Turn and Wrong Track are one story that for some reason was split into two unequal parts. Moral of the story: dont stop at night to pick up damsels in distress, especially if they have blue eyes and very short dresses. Delia is turning into a regular of the series (I cheated a little by looking through the album no. 7, where she plays a lead role). Even if Delia is the typical Miller deadly temptress, the story is worth checking out for the panels set in the Santa Yolanda Tar Pits, the Basin City abandoned amusement park, filled with giant statues of dinosaurs. The Babe Wore Red is the last short story, and I almost told myself that if this babe is another killer with doe eyes, I will throw the book at the wall. It comes close, but this last dame appears to be in real distress, when our old acquaintance Dwight discovers her hiding in the bathroom of an apartment where one of his friends has just been murdered. A sniper shooting through the bathroom window throws the babe into the vigilantes arms, and they run for their lives. More shootings and beatings follow, and later some revelations about the drug related activities of the dead man and about the secret identity of the red dress.Verdict: 2,5 stars for the stories 4.5 stars for the artwork.recommended mostly for fans of the series and for completists.
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