Ed Brubaker and Sean Phillips’ latest collaboration from Image Comics mines familiar territory in spectacular fashion. Set in 1948, The Fade Out is a sprawling and ambitious narrative focused primarily on Charlie Parish, a Hollywood writer haunted by wartime memories, who – true to form – has taken to the bottle in a bid to relieve himself of these vivid recollections, thus irreparably damaging the creative spark necessary to succeed in the business. And if that wasn’t bad enough, production on the noir film he’s working on has stalled because of the death of its up-and-coming starlet. Charlie’s alcohol-imbued mind potentially holds the key to unlocking the mystery of her death; but does he truly want to?
Sleeper, Criminal and Fatale honed Brubaker and Phillips’ partnership; The Fade Out raises their bar to an impossible level. The plot is labyrinthine, and Brubaker utilizes deft third-person narration to drive the story; clunky in the hands of less-talented writers, but perfect here. The story involves an extensive cast of characters – some recognizable faces from Hollywood’s yesteryear – and no doubt some plot threads will turn out to be red herrings. Inevitably the role of any first volume is to entice the reader to continue onto the second: that’s guaranteed, here.
The art alternates stylistically depending on the situation, and it’s a wonder to behold. Few, if any, illustrators operating today guarantee the clean and precise storytelling of Phillips’. He’s truly in a class of his own, and is wonderfully aided by the colours of Betty Breitweiser. Together, they capture the feel of late-1940’s Hollywood exactly as I imagine it.
The Fade Out reaffirms Brubaker and Phillips’ status as the numro uno creative team in comics. For crime and mystery readers, it’s an absolute must.