The Fade Out 12 (January 2016)

The Fade Out #12

Well, it’s definitely great. The last issue of Fade Out is a great comic. And it’s a great close to the series. But does it elevate Brubaker and Phillips to that superior level of comic book creators, the ones only mentioned with hushed tones and reverence? I don’t know.

I don’t know yet.

I’ll have to reread The Fade Out someday, in one sitting, and decide. Because the pacing of this issue is key and I’m reading it in a single dose, but it was clearly broken out in plotting as part of a bigger whole. As a single serving, it’s that great success I just said. Brubaker and Phillips wrap things up and then wrap them up again. In doing so, they take readers through not just a recap of the story, but a recap of the experience of the comic, making them reexamine their own interpretations of the comic.

It’s really good writing. Brubaker’s comfortable with the cast, comfortable readers will get their sometimes abbreviated appearances. There’s a lot going on this issue, with Brubaker dropping two revelations (both make a reread seem like a good idea).

Phillips excels through all those complications. He even has this wonderful “Is that Clark Gable? I know that’s George Sanders” forties Hollywood visual in-joke element. He and Brubaker are doing a film noir as a comic, but stepped back, but still using film noir visual queues.

I don’t know what a perfectly finished Brubaker comic feels like (or, if I do, I can’t remember), but The Fade Out comes the closest.

CREDITS

Tomorrow, When the World is Free; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

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The Fade Out 11 (November 2015)

The Fade Out #11

Ed Brubaker is about to deliver. He and Sean Phillips are break the skylight and get onto the roof. The Fade Out, an entirely grounded detective story set in Hollywood, is about to be where Brubaker joins the very small group of comics writers who I will buy regardless. Because what they do will be something special, even if its mainstream, because their styles may not reflect how comics are progressing as a narrative art form right now, but they will in a few years.

It’s like if Sleeper: Season Two had actually been as good as the first series. It’s like if Captain America really were as good as Catwoman. Brubaker jumps between projects with impatience. He gets excited for the new shiny. Only Fade Out doesn’t have the shiny, it just has the skills. It has the writing and the art and the writer’s understanding of what the art is going to do to this story. Brubaker understands how the comic book is going to read and he lets it inform how he’s writing.

It’s entirely commercial, entirely artistic and sublimely elegant.

He could screw it all up next issue, of course.

That would be very sad.

As for the comic itself, Brubaker gets around to revealing some things Gil should have known about from Charlie. Not to mention the reader. The reader should have known too. Except it works better here defining Charlie as a person, making him more understandable. It’s a genre standard and Brubaker pulls it off.

Then it’s Gil and Charlie on an adventure. It’s amazing. And Charlie’s narration of it, with how the plot progresses and then how Phillips illustrates it, that adventure is where Brubaker and Phillips do something extraordinary. They show how comics noir is its own genre. They prove the argument of their last ten years of work.

Even if The Fade Out flops next issue, Brubaker and Phillips have done something extraordinary with it.

CREDITS

Anyone Else But Me; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 10 (October 2015)

The Fade Out #10

Brubaker’s winding up. This issue of The Fade Out is the part of the detective novel where the detective–in this case Charlie, who’s not particularly good at it–is collecting all the final details to have his breakthrough. In fact, the narration hints Charlie’s confident in his conclusions, which means Brubaker’s got next issue to stir it up more and then the last issue to let it all settle. Not a bad structure, but it does mean there isn’t much to this issue.

There’s exposition and some revelation, but there’s no character development. Brubaker sets the issue during the wrap party for the movie, which should be a big thing. It’s not. It’s a logical narrative progression–Charlie using the party for cover on his investigating–as the story wraps up.

The last few issues of The Fade Out have been breathtaking. This issue’s good, narratively important, but it’s not breathtaking. It’s a necessity and it coasts on existing momentum. Fingers crossed Brubaker is able to stir up some speed in the next issue.

Phillips’s art, of course, is breathtaking. One never has to worry about him.

CREDITS

Where Angels Fear to Tread; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 9 (September 2015)

The Fade Out #9

I don’t know if I’d noticed before but probably not–Brubaker’s narration for Fade Out has the possibility of not just being a noir touch but also an actual part of the narrative. There’s like a single use of “you” referring to the reader so I’m reading a bunch into it like part of the mystery is figuring out who’s telling the story at the end. I’m probably wrong.

But if Brubaker was going to wait to reveal that narrative device, this issue would be the one to reveal it in. Gil and Charlie duke it out and the flashback reveals their back stories, separate to some degree, but mostly together. And the reveals make you want to go back and reread the earlier issues to see how Brubaker constructed it all.

There’s a lot in the flashback. Even though the present action takes place in a couple hours–at most–and is largely just one conversation leading up to the soft cliffhanger, Brubaker is able to make the issue dense with that flashback. It takes place over a decade or so, Phillips getting to illustrate a variety of settings, Brubaker able to work up tension in the flashback itself and not just how it relates to the present action.

Very cool; very good issue.

CREDITS

Living in a Memory; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 8 (August 2015)

The Fade Out #8

It’s another strong issue of Fade Out, which isn’t a surprise. Brubaker and Phillips are doing great work.

But it actually looks like Brubaker is doing something a little different with this series. His famous (are they famous, they should be) aside issues–which I believe he’s been doing since Catwoman–this issue features the first time (at least in my memory) someone else gets caught up on that aside.

Charlie finds out Maya’s story from her aside issue. It’s kind of crazy to see, just the way Brubaker handles it, having two protagonists collide. It shakes things up for The Fade Out, which didn’t need a shaking, but the shaking works out perfectly anyway. Brubaker shows he has the skill to do the series without a lot of leaps and jumps, so when he does those leaps and jumps, they’re all the more impressive.

Fade Out’s turning out great.

CREDITS

A Dead Giveaway; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 7 (June 2015)

The Fade Out #7

The Fade Out doesn’t feel like anything but itself. Seven issues in and Brubaker and Phillips have shed any comparisons to their previous work; it’s another in their line of collaborations, but it’s wholly independent from them. One of the factors for it standing on its own so quickly is the lack of fantastical elements. It’s about creating the fantastic through “regular” human ugliness.

This issue opens with Charlie and Maya off on the beach enjoying a getaway weekend. Phillips has his delicate sex scenes, which give each panel a certain weight and pacing of their own, and even when Brubaker hints at the main plot lines, it’s gentle, conversational. The reader is on a getaway too. But, like Charlie, the escape can only last so long.

It’s not really a getaway so much as a scenic bridge. And maybe the best bridging issue I can remember, thanks to Phillips.

CREDITS

The Sound of Waves; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 6 (May 2015)

The Fade Out #6

It’s a good issue of Fade Out but something feels off. Like Brubaker is backing off a bit in the narration–he’s set up the story, he’s telling the reader a whole lot about Gil and Charlie and how they feel and so on. There’s still a great story for Charlie and Maya.

It’s also where Brubaker embraces the regular reader. The previous issue had some big events and he doesn’t recap them here. If you aren’t on board with the series, you don’t get any more help.

Brubaker moves things along in a big way with Gil’s storyline getting clearer–Charlie’s is still a muddle, the noir screenwriter fumbling his way through a noir while Gil’s being the actual hero. Brubaker introduces a Little Rascals stand-in troupe for some plot fodder; it’s what feels off. It’s too much of an Ellroy homage.

Nice art from Philips as always.

CREDITS

To Set the World on Fire; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 5 (April 2015)

The Fade Out #5

It’s a sort of gentle issue of The Fade Out, with Brubaker and Phillips heading to the country. The movie production is doing location shooting–albeit on sets, but they’re away from the studio and things are developing. Charlie the protagonist continues his flirtation with the replacement girl while his flashbacks reveal his relationship with the original. Blacklist Gil goes and gets drunk and finds himself in a pickle.

Plus there’s Hollywood stuff. There’s the tawdry stuff out of James Ellroy, but Brubaker’s got a lot about how the characters react to being away from the studio. While in Hollywood, The Fade Out just seemed like a noir set during the making of a film noir, but on location? Brubaker’s showing his research through Charlie’s narration. The setting feels fresh, real.

And Brubaker doesn’t go for a cliffhanger. He brings up some things, he stirs a pot, then it ends.

CREDITS

The Broken Ones; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 4 (January 2015)

The Fade Out #4

Even though there’s sensational material in the issue, the issue itself isn’t sensational. Brubaker is very measured. He’s meticulous in the plotting, giving just enough hints and just enough callbacks to the previous issues to get to some big surprises. By the time the issue ends, The Fade Out is something of a different comic than it was before.

There are three big reasons. First, the previous issue where Brubaker changed up format. Second, the sensational material–the Red Threat in Hollywood. Third, the use of actual celebrities as characters. Brubaker’s very subtle about how he uses the last one and it works out beautifully.

And Phillips. Phillips gets some great stuff to draw this issue. Not just the period scenes, clubs, talking heads banter, but a flashback to World War II and some more information about protagonist Charlie. It might turn out to be a great comic after all.

CREDITS

The Word on the Street; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

The Fade Out 3 (November 2014)

The Fade Out #3

Brubaker switches protagonists for the issue–with the normal, screenwriter protagonist basically getting a cameo–and moves over to the actress replacing the dead actress in the movie.

It’s a phenomenal comic book, showing more ingenuity from scene to scene than anything Brubaker’s done in The Fade Out in a while. Than he’s done in anything in a while, actually–he has a number of great surprises in the issue and they’re just details he’s revealing. They’re not flashy, they’re just great writing.

The issue just covers this actress on her last screen test, with Brubaker using slight expository dialogue to imply her history and her relationships–not to mention how gently he moves along the main plot.

Brubaker’s really good at these done-in-one issues set amid his bigger stories. Or maybe Fade Out is going just get better. Regardless, this issue’s great work from Brubaker and Phillips.

A 

CREDITS

The Replacement Blonde; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; editor, David Brothers; publisher, Image Comics.

The Fade Out 2 (October 2014)

The Fade Out #2

Brubaker goes all over the place in the second issue of Fade Out. There's a bunch of stuff with protagonist Charlie's secret partner and best friend–and the way Brubaker narrates from a close third person on Charlie is phenomenal–but there's a lot at the movie studio too.

Not to mention the scenes with Charlie and his friend's wife or Charlie and the dead girl. Those scenes are just great. Brubaker doesn't do anything with the murder investigation; the comic doesn't feel like a too gimmicky noir, it feels like Brubaker trying to figure out this story and it's often great.

Overall, there are some problems towards the end because there's still the narrative–it's still about this dead girl and protagonist Charlie's involvement in it. But Brubaker's emphasis on the cast and making sure the texture of the setting comes through, not to mention Phillips's illustration of those things, is great.

B 

CREDITS

The Death of Me; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; editor, David Brothers; publisher, Image Comics.

The Fade Out 1 (August 2014)

The Fade Out #1

The Fade Out is the story of a Hollywood screenwriter in the 1940s. Ed Brubaker writes the comic’s narration in really close third person. Between Brubaker–who has his fair share of writing predictable twists–and the protagonist–who would probably write even more of them–one of them should have noticed the utterly predictable nature of this issue.

The writer wakes up next to a dead body. Is there any chance he could have something to do with the dead body–a young starlet whose picture he’s working on? He sure doesn’t think so and Brubaker sure tries to make it seem like he’s not involved but guess what… you probably don’t have to guess if you’ve ever seen a single film noir.

I’m being a little hard on the comic, which is well-researched and beautifully illustrated by Sean Phillips. It’s recycled material–James Ellroy deserves an “inspired by” credit at least–but professionally, thoroughly presented.

B 

CREDITS

The Wild Party; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; editor, David Brothers; publisher, Image Comics.

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