GRAPHIC NOVEL REVIEW: The Fade Out, Vol. 2: Act Two

UNDER THE NOSE

Here are some of the “secret ingredients” of a great suspense thriller: couple of murder scenes; a pinch of intrigues; a tablespoon of gossips; a touch of backstabbing SOBs; drops of boozes; another round of blackmailing; and finished with some steamy, hot erotic moments. These are only the basic “ingredients” of the ever fascinating and darkening tone of the Red Scare era in Hollywood industry (1950s) in the latest chapter of the critically acclaimed independent comic series of Ed Brubaker and Sean Phillips’ The Fade Out, Vol. 2: Act Two (released by Image Comics). It contains issues #5-8, and clocks around 120 pages. It includes some art features though it excludes the interesting cultural-historical essays that entertained and educated fans and readers alike in the abovementioned single issues. But if you want something more grounded than fictional; plot-driven than action-centric; and pure noir than bombastic attributes, then The Fade Out is the best visual literature out there, right now! And I’m just getting started here

New readers are highly advised to first explore the series’ premier chapter or ACT ONE to fully comprehend the multiple layers the creative minds had already placed beforehand in grasping the complexities they delivered in the second chapter.  Even though each part starts with the list of characters involved in order to guide the readers through the labyrinth of intrigues, scandals, gossips, and other dark corners of the supposedly Golden Age of American Cinema that was the 1950s Hollywood, Brubaker proves over and over again why noir storytelling is everything but obvious: the devil is in the details; and the joys of intelligent readings are manifested upon revisiting the pages. In other words, there is nothing what they seem to be! There are a couple of red herrings along the way here, if you read it for the sake of reading it. Yet, that is the fun part because you would realize later that you are missing the vital components in the search of the murder suspect (or even the mastermind him/herself). The author himself advises longtime readers to go over the first arcs and go figure what are those clues he and Phillips implicitly scattered all throughout.

[CHECK OUT… GRAPHIC NOVEL REVIEW: The Fade Out Vol. 1, An epic noir in the Golden Era of Hollywood]

Speaking of the great artist, Sean Phillips remains the artistic consistency since the first issue. He successfully illustrates the near-contextual ambiance of the 1950s Hollywood. Even the characters involved look faithfully to the zeitgeist of the times almost without fail. The shades and the lights, integral of the mood settings, are almost flawless, even contemplated and enhanced Brubaker’s already plot-twisting scripts to intriguing and mysterious heights. The cast of characters, particularly the perennials, are believably illustrated even during those love scenes and erotic moments that were practiced then, but not as open as of our present times. However, there are some of the artist’s facial portrayals, especially the main female character, are somewhat laughable, if so downright inconsistent. And, some illustrations are equally awkward, just like in the bar fight scenes when one panel presents the main protagonist’s right arm resting on the table then on the next one, he did a mean full-swing  uppercut on his adversary, which is very, very difficult to execute realistically (and that grieving party is no fighter either). But overall, the artistic clarity is evident, and the details are still out there. Colorist Elizabeth Breitweiser literally outdid herself in illuminating the noir and suspense of the 1950s Hollywood, even the deliberate color splashes are an essential element in highlighting the present times to the not-so-far past, particularly on scenes the protagonist failed to let go of the terrible incident then.

As usual, The Fade Out is a very mature read and gladly, readers know this very well. History is not only the record of achievements; it is also the tally of follies and even so, dark secrets. Brubaker and Phillips are aware of this cynical view of the past, but at least, they don’t resort to justifying or romanticizing the “glorious” past. And, this latest arc promises to look back what needs to reevaluate and attempt to reconcile with the past’s misdeeds via the visual literary genre. In that respect, Ed and Sean deliver that one. What more on the following arcs that surely lead us to “the fade out”.