Tagged: Sin City

Marc Alan Fishman: Can I Love the Art But Not the Artist?

I’ve been perplexed. As I’m sure so many of you have been paying at least a modicum of attention to the comings and goings of our President, no doubt you’ve seen a rise of discourse throughout your social feeds and TV screens concerning the separation of art and the artist.

OK, it’s really an argument about whether using the national anthem as the background for non-violent protest is offensive. Okay. Follow me here, kiddos.

Among the master debaters I’ve followed, one argument floated to the top of my gaze. It was the notion that professional athletes are in fact paid to entertain and therefore should be reprimanded and subjugated to dismissal from their jobs if their actions fail to entertain the fanbase of said sports team from which they hail. In short, I think that argument is hilariously off-base. Professional athletes are in fact paid to play a game. Yes, they are company men who must project the professional je ne sais quoi of their team out in the real world. But they are American and are actually free to act as they see fit. Taking a knee during a song is not a fire-able offense. Period.

If you disagree, I know no amount of my chortling will change your mind. I welcome you to leave my column. Door is over there to the left, marked “Ignorance is bliss.” You find that offensive? Too bad. This is America and I can label my door anyway I want. Especially when the door isn’t real.

This whole kerfuffle led me down a path though – taking to heart the idea that certain artists (musicians, writers, fine artists, etc.) whose work I am fond of may hold different political, religious, or personal opinions than my own. And upon learning these things… could I in fact still enjoy their art separate from themselves?

Let’s start with comic books. Bill Willingham, Frank Miller, Ethan Van Sciver, and Chuck Dixon have each let slip their leanings towards a more conservative mindset. I’d even go as far as to say that I once followed one those men on Facebook before learning of said leaning. A few ranty posts later, I delightfully unfollowed them and skipped on down the road. I’ve read (and loved) a ton of Fables. Green Lantern: Rebirth remains one of my favorite series of all time. The Dark Knight Rises and Sin City are masterpieces worthy of college class theses.  And Chuck Dixon penned nearly a baker’s dozen of books I absorbed in my adolescence. Knowing what I know about who each of these men may have voted for hasn’t stopped me from loving any of their work since.

That being said, I felt no need to read Holy Terror.

While I personally never liked Kid Rock or Ted Nugent, I’d be lying if I said I’ve never bobbed my head to Bawitdaba or Cat Scratch Fever.

Remove the political leanings of any of the known conservative actors – Arnold Schwarzenegger, Clint Eastwood, Vince Vaughn, Chuck Norris, Angie Harmon, or even that Jew-loving Mel Gibson to name but a few – and I could easily rattle off any number of their works that I’ve willingly forked over cash to enjoy. All the while knowing about their personal viewpoints being dissonant from my own.

It we cannot separate the art from the artist, we push ourselves down a slippery slope. While I wish the matter was black and white (pun intended, I suppose), shades of grey still permeate my periphery. The other day I happened upon a marathon of The Cosby Show and was tempted to revel in what I largely consider one of the best sitcoms of all time. But Bill Cosby himself feels tainted to me. And while I know deep down Hulk Hogan is likely amicable to everyone in his personal life, or those men he danced with in the squared circle. But I’d be lying if I said that when I hear I am a real American play during some nostalgic top ten on WhatCulture: that I don’t immediately recall Terry Bollea’s racist gaffe. And it causes me to just go ahead and skip to the next video. So is life.

Where to fall now, though? For me, the litmus test lies in the totality of the person, and the quality of the art. There’s an algorithm to determine where my personal line of demarcation exists, but I’d like to think that if a person is civil in their ability to voice their opinion, if they consider the time and place when to share it and their ability to listen to the opposition with an open mind, then let them do and be free.

Let their art stand on its own, should it be art that is separate from their personal opinions. Because without that open mind, I know I’m only shuttering myself to worlds not yet explored. And that would be wholly un-American of me.

Mike Gold: Sinful Sin City

I had a whole rant plotted out in my mind, but when my fingers hit the keyboard I decided against it. Perhaps I’m mellowing in my antiquity. I hope not, as being not-mellow is how I make my living. Maybe it’s because I’m going to this weekend’s Baltimore Comic Con, always a wonderful event, and I’m awash in breathless anticipation.

Well, either way, I’ve got a deadline and ComicMix’s editor-in-chief is an asshole (not to be confused with this column’s editor, Adriane Nash, who is not an asshole) and I’ve got all these Sin City thoughts attacking my brain like anti-bodies at a clown orgy and I’m willing to share. Let’s see how long it takes for me to become non-mellow.

Fellow ComicMixer Martha Thomases and I saw Sin City: A Plot To Kill With last week. I enjoy going to the movies with Martha because, together, we tend to like just about everything we see. We have a spirited and usually positive conversation afterwards, often at the fabled Katz’s Delicatessen on New York’s lower east side, where we both enjoy the pickles.

This time, well, not so much. Maybe it’s because we were creatively filling time before the Doctor Who season debut. Maybe because we went to an Italian restaurant where they didn’t serve pickles, although the garlic bread was great. But, you see, I’m spending all this time talking about food instead of the movie. That alone should tell you something.

It’s not that A Plot To Kill With was a lousy movie. It was, essentially, a remake of the first one. The rule of thumb for sequels and remakes is “what about this is different from the original and, at the same time, worthwhile.” There are plenty of sequels that equal or exceed the source material: From Russia With Love, Godfather II, Spider-Man II (the real one, not the doppelganger featuring the Flying Nun), and quite a few others. But if “they” were to do a sequel to The Maltese Falcon (and they sort of did, and it sucked) it would have to pick up a dozen years later with Humphrey Bogart waiting for Mary Astor to get out of prison.

Oh, wait. They did that. It was called Blues Brothers 2000.

Sin City Il Secondo brought us nothing new. The Frank Miller comics-to-movies style is no longer new. It’s been used in most subsequent Frank Miller films. These days, I watch that stuff and I wonder if Lynn Varley gets royalties. Most of the multiple plotlines simply vanish into a haze that is more boring than it is confusing. There’s some truly fine performances from Joseph Gordon-Levitt, Powers Boothe, Dennis Haysbert, Christopher Meloni and Christopher Lloyd, but storywise I’m reminded of what happened when they poured acid on the Toons in Who Killed Roger Rabbit.

Worse still, the amazing thing about the first movie – the surprisingly powerful performance from Mickey Rourke – was just lame. His character was predictable and not engaging and, even worser, his Marv prosthetics weren’t as impressive as they were in the first movie. He looked like he was wearing a Ben Cooper mask.

Sin City Le Deuxième was one of those unfortunate movies that got worse upon reflection. When we left the theater we didn’t particularly feel we wasted our time. With each passing day, that feeling faded and by now I want my time back.

I looked up the opening weekend box office receipts. Sin City Zwei pulled in $24.00. That means: a) we didn’t see it in 3-D, and b) we were the only ones in North America who paid to get in.

And that means the entire rest of North America is smarter than we were.


Box Office Democracy: “Sin City: A Dame to Kill For”

I was remarking to a friend a few weeks back that I was afraid that I had grown out of Sin City, that the franchise I had loved so much as a teenager/young adult was just beneath me now.  I don’t think that’s it though, not entirely, popular culture itself seems to have absorbed the things it likes from Sin City and moved on.  All that’s left is a movie that feels just as old and tired as the original film felt new and fresh nine years ago.

Before I go any further I have to shower praise on Joseph Gordon-Levitt, a man who seems to have been born to play noir leads.  While this is no secret to anyone who saw his dynamite performance in Brick it’s a treat to watch him do this work and a crying shame that there aren’t more opportunities for him to do it.  His scenes are easily the best in the movie as they crackle with an ephemeral energy that can’t quite hold on when he’s not on screen.  He’s helped a bit by a story that clicks more thematically with classic film noir but there’s no denying that he’s pushing the entire movie higher with his performance.


The Point Radio: That Funny Guy, Ron Funches

He’s “That Guy” – the funny one! Ron Funches is making a big name for himself, taking his unique style of comedy to NBC’s UNDATEABLE and @MIDNIGHT on Comedy Central. So what makes HIM laugh? We find out, then we explore the CSI reality show that started it all. MEDICAL DETECTIVES is headed back to cable and we talk to the guy who is guiding it there –  plus Rosario Dawson becomes a part of DAREDEVIL.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

Watch the new trailer for Frank Miller’s “Sin City: A Dame To Kill For”

Co-directors Robert Rodriguez and Frank Miller reunite to bring Miller’s visually stunning “[[[Sin City]]]” graphic novels back to the screen in SIN CITY: A DAME TO KILL FOR. Weaving together two of Miller’s classic stories with new tales, the town’s most hard boiled citizens cross paths with some of its more notorious inhabitants. SIN CITY: A DAME TO KILL FOR is the follow up to Rodriguez and Miller’s 2005 groundbreaking film, FRANK MILLER’S SIN CITY.
New Posters for “Sin City: A Dame To Kill For”

New Posters for “Sin City: A Dame To Kill For”

Co-directors Robert Rodriguez and Frank Miller reunite to bring Miller’s visually stunning [[[Sin City]]] graphic novels back to the screen in SIN CITY: A DAME TO KILL FOR. Weaving together two of Miller’s classic stories with new tales, the town’s most hard boiled citizens cross paths with some of its more notorious inhabitants. SIN CITY: A DAME TO KILL FOR is the follow up to Rodriguez and Miller’s 2005 groundbreaking film.

SIN CITY: A DAME TO KILL FOR will be in theaters August 22, 2014.

The Wind Rises Vocal Cast Announced

The Wind RisesWe remain enchanted by the offerings coming from Japan’s Studio Ghibli and the latest release, The Wind Rises, has a very impressive vocal cast. Check out the formal details:

BURBANK, Calif. (December 17, 2013) – An A-list roster of voice talent has been assembled for the English-language version of Studio Ghibli’s The Wind Rises, which opens in select North American theaters on Feb. 21, 2014, expanding wide on Feb. 28, 2014. The film marks director Hayao Miyazaki’s final feature, as the legendary animation veteran announced his retirement in September 2013.

In The Wind Rises, Jiro dreams of flying and designing beautiful airplanes, inspired by the famous Italian aeronautical designer Caproni. Nearsighted and unable to be a pilot, he becomes one of the world’s most accomplished airplane designers, experiencing key historical events in an epic tale of love, perseverance and the challenges of living and making choices in a turbulent world. The voice cast of the English-language version follows.

  • JOSEPH GORDON-LEVITT (Don Jon, Sin City: A Dame to Kill For) lends his voice to Jiro Horikoshi, who harbors strong ambitions to create his own beautiful airplane. A bubbling mix of wild excitement, extreme focus, individualism, pride, realism and idealism, Jiro also has a cool and brilliant mind and is recognized for his talent.
  • JOHN KRASINSKI (The Office, Promised Land) provides the voice of Honjo, Jiro’s college friend and fellow aviation engineer.
  • EMILY BLUNT (The Young Victoria, Edge of Tomorrow, Into the Woods) voices Nahoko Satomi, a beautiful and cheerful girl who is a passenger on the same train as Jiro on the day of a natural disaster. Ten years later, they reunite.
  • MARTIN SHORT (Father of the Bride, Saturday Night Live) was tapped to portray Kurokawa, Jiro’s grumpy boss.
  • STANLEY TUCCI (Julie & Julia, The Hunger Games films, The Devil Wears Prada) provides the voice of Caproni, an airplane creator known worldwide from the dawn of Italian aviation through the 1930s, who appears in Jiro’s dreams to stir up, advise and voice Jiro’s thoughts and emotions.
  • MANDY PATINKIN (Homeland, The Princess Bride) lends his voice to Hattori, the senior designer at Mitsubishi.
  • WERNER HERZOG (Jack Reacher, filmmaker Grizzly Man) voices Castorp, a mysterious visitor to Japan who encounters Jiro at a mountain resort.
  • WILLIAM H. MACY (Shameless, Fargo) steps into the role of Satomi, Nahoko’s father.
  • MAE WHITMAN (Parenthood, The Perks of Being a Wallflower) was called on to voice Kayo Horikoshi, Jiro’s younger sister, who adores him. Whitman also voices Kinu, Nahoko’s caretaker.
  • JENNIFER GREY (Dirty Dancing, The Cotton Club, Ferris Bueller’s Day Off) provides the voice of Mrs. Kurokawa.
  • DARREN CRISS (Girl Most Likely, Glee) lends his voice to Katayama, a jovial junior engineering colleague of Jiro.
  • ELIJAH WOOD (Wilfred, Grand Piano, The Lord of the Rings trilogy) voices Sone, a studious engineering colleague of Jiro.
  • RONAN FARROW (From Up on Poppy Hill) is the voice of the Mitsubishi Employee.

Also featured in the English-language version of The Wind Rises are Zach Callison (Sofia the First, Mr. Peabody and Sherman,  Steven Universe), who voices young Jiro; Eva Bella (Frozen, Despicable Me 2, Almost Heroes 3D), who lends her voice to young Kayo; and Madeleine Rose Yen (Broadway’s War Horse, Irving Berlin’s White Christmas), who provides the voice of young Nahoko. Rounding out the English-language voice cast are Edie Mirman (Epic, Howl’s Moving Castle English-language version) as the voice of Jiro’s mother, and David Cowgill (Madagascar) as the voice of the flight engineer.

The English-language voice cast of The Wind Rises is directed by Gary Rydstrom, a seven-time Academy Award®-winning sound designer (Saving Private Ryan, Titanic) who worked on Wreck-It Ralph and Brave. Rydstrom also directed the English-language versions of The Secret World of Arrietty and From Up on Poppy Hill. The English-language version of the film is produced by Studio Ghibli and executive produced by Frank Marshall, who produced dozens of landmark films, including the Indiana Jones series, The Bourne Legacy and War Horse, and executive produced the English-language versions of Studio Ghibli films PONYO, The Secret World of Arrietty and From Up on Poppy Hill. Mike Jones (In the Event of a Moon Disaster) is credited with the English-language screenplay adaptation for The Wind Rises.

The Wind Rises was released in Japan in July 2013, topping the Japanese box office and the $120 million mark. The film opened for Academy Award® qualification engagements in New York and Los Angeles Nov. 8-14, 2013, showcasing the original film in Japanese with English subtitles.


In The Wind Rises, Jiro dreams of flying and designing beautiful airplanes, inspired by the famous Italian aeronautical designer Caproni. Nearsighted from a young age and unable to be a pilot, Jiro joins a major Japanese engineering company in 1927 and becomes one of the world’s most innovative and accomplished airplane designers. The film chronicles much of his life, depicting key historical events, including the Great Kanto Earthquake of 1923, the Great Depression, the tuberculosis epidemic and Japan’s plunge into war. Jiro meets and falls in love with Nahoko, and grows and cherishes his friendship with his colleague Honjo. Writer and director Hayao Miyazaki pays tribute to engineer Jiro Horikoshi and author Tatsuo Hori in this epic tale of love, perseverance, and the challenges of living and making choices in a turbulent world.

From Studio Ghibli, The Wind Rises is slated for limited release in North American theaters on Feb. 21, 2014, and expanded release on Feb. 28, 2014, under the Touchstone Pictures banner.

Win a Copy of Trance!

TranceDanny Boyle’s Trance is now available on DigitalHD and will debut on Blu-ray add DVD July 23. To celebrate, we have 1 copy of the disc to giveaway to a lucky reader.

Trance brings us tons of twists and turns in the plot as multiple layers of backstabbing occur.  Movies with unexpected turns have become a favorite of audiences. It’s a difficult task to make sure that the twist is unpredictable, but when it is done correctly, double-cross heist films make great additions to movie history. Here, we lay out some of our favorite twisty-turny heist films.

From Academy Award-Winning director Danny Boyle (Slumdog Millionaire) comes an “exhilarating brain-twister” (New York Post)! After a blow to the head during his attempted robbery of a $27 million Goya painting, Simon (James McAvoy, X-Men: First Class), a fine-art auctioneer, awakens to find that the painting – and his memory – are missing. Forced by his ruthless crime partner Franck (Vincent Cassel, Black Swan) to undergo hypnosis, Simon enters into a deadly love triangle with his seductive hypnotist (Rosario Dawson, Sin City). As the plot twists, the line between reality and dream becomes blurred in this fast-paced, unpredictable, “sexy and suspenseful” (Empire) thriller.


HeatA series of unexpected changes puts the police close on the trail of Neil McCauley and his crew as they plan yet another bank robbery. After a brutal beating to the crew, only a few are left to carry out the plan. McCauley goes through a lot of difficulties and even develops a mutual understanding with Lieutenant Hanna. In the end, this heist may prove to be too difficult and could be the last string for the crew.

The Bank Job

The Bank JobTerry, Kevin, Dave, Bambas, and Guy thought they had it made when they were given the chance to rob a London bank for millions. The job seemed simple enough for the crew, who made plans to dig a tunnel and empty the bank’s safety deposit boxes. Things got a little more complicated once they realized one of the boxes held scandalous photos of British Royalty, Princess Margaret.  Through a series of twists and turns, members of the crew were tracked down and only a few made it out alive.

Training Day

training_day-300x210Jake Hoyt had no idea what he was getting himself into when he started his first day of work as a narcotics officer.  His new partner, Detective Alonzo Harris, has planned to steal millions of dollars from a drug dealer and save himself from the Russian Mafia. Alonzo may have surprised the audience with his scheming, but in the end a plot twist leaves the money in the hands of Jake.

The Score

The ScoreBack from retirement, Nick Wells plans to steal a scepter and complete one final heist. He teams up with another robber, Jack Teller to complete his plan. It turns out that Jack and Nick do not make such a great team. Both the robbers become selfish and want the scepter for themselves. In the end, Nick has much more experience and is one step ahead of his partner in crime.

After The Sunset

After the SunsetMax Burdett and his wife Lola promised to retire from the business forever and moved to a tropical island.  An FBI agent who had been trying to convict the couple for years followed them to the island, but unknowingly became friends with the retirees.  When a cruise ship with a large diamond is scheduled to visit the same island, the stone is taken by a well-planned heist. In the end, the diamond ends up in the hands of the person who is least expected after a few series of back-stabbing situations.

The Trance Blu-ray offers up the following  Special Features:

BD Exclusive Features

●    Theatrical Feature Blu-ray

●    Deleted Scenes
●    Trance Unraveled (Easter Egg)
●    The Power of Suggestion-Making Trance
●    Kick Off
●    Danny’s Film Noir
●    Hypnotherapy
●    The Look
●    The Final Rewrite
●    Danny Boyle Retrospective
●    Short Film: EUGENE by Spencer Susser
●    Theatrical Trailer
●    UV Copy

DVD Exclusive Features

●    Theatrical Feature
●    Hypnotherapy
●    The Look
●    The Power of Suggestion-Making Trance
●    The Final Rewrite
●    Theatrical Trailer

To win, tell us which feature film James Marsden has not appeared in:

  • Enchanted
  • Superman Returns
  • Looper
  • Hairspray

You must have your answer submitted no later than 11:59 p.m., Sunday, July 6. The decision of ComicMix will be final.

Martin Pasko Hates Comic Book Movies

Pasko Art 130627It might surprise you that a writer who spent so much time writing coverage on Warner Bros. film scripts for DC and won an award for an animated TV series about Batman … Hates. Comic. Book. Movies.

Usually. Not always, but most of the time. There’s a reason for that, though.

By virtue of my peculiar set of writing credits, I am a graduate of the Berlitz course in Geek-to-Hollywood translating. Doesn’t mean I have to like it, just make enough bank off it to pay back the student loan.

Ever since comic book artist lizards first started crawling out of the four-color slime and evolving into knuckle-dragging primates with Panaflexes on their shoulders, the meme that comics are little more than frozen movies – when what they more closely resemble is storyboards with half the frames cut out of every scene – has visited a host of unfortunate consequences on the medium we supposedly celebrate here.

For one thing, the intrusion of the Hollywood mentality on mainstream comics often results in exactly the sort of Big Mistake that Hollywood itself makes. (Mistake in the art crime sense, mind you, not the ka-ching, ka-ching sense.)

“Auteurs” we have up the wazoo, but directors who write their own stuff are seldom well-served by their writers. The two disciplines aren’t necessary mutually-reinforcing. And it’s a far rarer creature than we generally assume who can do both well. Which is why I think most talented comic book artists probably should have their typing fingers broken. Not everybody who graduates from UCLA film school is Orson Welles, and not everyone who buys a diploma from Joe Kubert’s school is Frank Miller.

And, to put a metaphor into the Cuisinart and push for “puree,” this epidemic of the sins of one medium being visited on another is a two-way street. You can’t get good movies out of styling or constructing a film as if it were a comic book, though Chthulhu knows Hollywood now seems to be trying to.

The two media aren’t the same. Each has a grammar of its own which is part of its unique appeal. (After too many instances of watching Robert Downey, Jr. debase himself and repudiate his profound talent by playing flying Spam, I hesitate to use the word “charm.”) And if you conflate the two, IMO you dilute the unique appeal of both.

That, uhm, whack Batman TV series in ‘66 not only proved that, but leveraged those differences to create its signature whackness. By “transliterating” — as opposed to adapting — the tropes and conventions of one medium (the “Meanwhile…” V.O.s, the POW!s and the ZAP!s, the “I’m a duly deputized law enforcement officer” even though I look like I just escaped from Liberace’s closet) into a completely different medium, it commented on the absurdity of superheroes from a non-Geek perspective. Which is why Geeks hated it.

No amount of redesigning the Spandex as Tutti-Frutti Kevlar can hide the self-evident fact that any grown-up celebrity-wannbe who goes outside looking like that will do his 15 minutes of fame in Celebrity Rehab. But I preferred the Batman: Animated stuff because it worked in animation: everything was stylized, appropriate to the surreality of it all. You could accept that Batman existed when he stood next to a Commissioner Gordon who looked like an inverted pyramid with eyes, in a suit jacket whose lapels grazed his earlobes. By contrast, Christian Bale’s teeth-gritting just looks silly.

The live-action stuff used to make me giggle. Now, of course, it just pisses me off as much as mainstream comic book pacing does: you can’t figure out WTF is going on in any of these things unless you’ve seen the previous five entries in the series. And date night at the Octoplex still costs more than five “floppies.”

All that said, I eagerly look forward to being dragged to see Sin City: A Dame For Our Rape Culture, secure in the knowledge that I won’t be too pissed off to fall asleep on it. If Frank and Rodriguez light this one the same way they lighted the first one, I won’t be able to see WTF is going on there, either, and won’t have to care.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman


Scott Allie, Dark Horse Editor-In-Chief

Scott Allie becomes Dark Horse Comics Editor-In-Chief

Scott Allie, Dark Horse Editor-In-ChiefDark Horse Comics has announced that Scott Allie has been promoted to editor in chief. Allie, who celebrated his eighteenth year with the company last month, made his mark at Dark Horse quickly when he began editing Mike Mignola’s [[[Hellboy]]] only a month after joining the Editorial department. Since that time, he has gone on to both write and edit some of the company’s top-selling books, including [[[Buffy the Vampire Slayer]]] and cult favorites like The Goon, and he continues to collaborate with Mignola, including co-writing the upcoming series B.P.R.D. Hell on Earth: The Abyss of Time.

He has shepherded multiple projects with names outside the comics industry, such as Lance Henriksen with [[[To Hell You Ride]]] and Gerard Way with The Umbrella Academy. Along with Dark Horse’s director of public relations, Jeremy Atkins, and recently appointed VP of Marketing, Matt Parkinson, Allie helped to develop and edit the company’s first foray into digital publishing with the critically acclaimed anthology MySpace Dark Horse Presents. Most recently, he engineered a three-month publishing initiative that showcases some of the company’s best horror titles and introduces new miniseries by top-tier talent.

“I’ve worked with Scott, day in and day out, for more than fifteen years now. In all that time he’s talked me off any number to cliffs, kept me going, kept me focused and organized (as much as anyone could), and, quite simply, made it possible for me to produce the best work of my career,” said Mike Mignola. “He’s been everything I could ever want in an editor and I cannot imagine a better choice at Dark Horse for editor in chief. Congratulations, Scott—you more than deserve it.”

“I’m delighted and relieved to hear that my great collaborator Scott Allie has been made editor in chief, because, to be perfectly honest, I thought he already was,” said Buffy the Vampire Slayer creator Joss Whedon.

“I’m very excited about this promotion for Scott. The position has been his goal for some time now and he’s worked very hard to achieve it,” said Dark Horse’s president and founder, Mike Richardson. “It has been very rewarding to watch Scott’s evolution as an editor over his eighteen years with the company and I look forward to working with him in his new role to make Dark Horse the best comics company in the world.”

“The first Dark Horse book I ever picked up was the DHP fifth-anniversary issue with the first chapter of Sin City. Now I’ve spent most of my adult life here, and every day it still feels new,” said Scott Allie. “I’m grateful to be at the core of what Mike Richardson’s created, working with him and Randy Stradley and an incredible list of people I admire inside and outside Dark Horse.”