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REVIEW: ‘The Fade Out, Vol. 3: Act Three’ is the REAL Show Business

 
Fade Out Vol 3 Cov
Fade Out Vol 3 Cov
Fade Out Vol 3 Cov

 
Overview
 

Story by: Ed Brubaker
 
Art by: Sean Phillips
 
Colors by: Elizabeth Breitweiser
 
Publisher:
 
FG RATING
 
 
 
 
 
4/ 5


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To sum it all up..

What is more important in narrating a story, the journey or the ending? That is the question I am still pondering while reflecting the final arc of the critically-acclaimed noir and crime-and-suspense thriller, The Fade Out, Vol. 3: Act Three. Containing the final four issues of the said series, #9-12, Ed Brubaker and Sean Phillips […]

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Posted February 17, 2016 by

 
FULL REVIEW
 
 

Fade Out Vol 3 CovWhat is more important in narrating a story, the journey or the ending? That is the question I am still pondering while reflecting the final arc of the critically-acclaimed noir and crime-and-suspense thriller, The Fade Out, Vol. 3: Act Three. Containing the final four issues of the said series, #9-12, Ed Brubaker and Sean Phillips fulfilled their promise of ending this series by delivering the same ingredients that make the entire run worth reading and investing — red herrings, unexpected twists and turns, great deductive and intuitive thinking and reasoning, the appearance of a bogey man, tying many loose-ends, revelations, some well-placed action scenes, and as usual, the trademark Brubaker-Phillips ending that may or may not leave some readers wondering or scratching their heads in bewildering.

After two story arcs full of mysteries, bread crumbs, dead ends, and orgies, the last arc centers on the search of the supposed murderer of the former starlet whatever the consequences the protagonists may confront. The pacing is deliberately paced from first gear to the fourth, literally, because the first part dealt with the characters’ roots of antagonism until a common ground persuaded them to track down the mastermind(s). The second part unraveled another potential suspect to the said actress’ death, narrowing down the lists and then set-off of a journey. The penultimate part revolved on the characters’ supposed completion of their plan, but the unexpected turns of events left them into more dire precarious situations. And the finale is the true kicker because there were no true winners or losers here because in real life, justice is anything but equal. For some of those who only read The Fade Out, they may really find themselves seeking for closures. But for those who really know Brubaker and familiarize with his body of works, especially on how he ends many of his stories, that is the best we can get. In short, get over with it and let it go. That is what life supposed to be — leaving some unresolved matters or worse.

Sean Phillips continued his noir and suspense visual mastery with his stark illustrations and command of the visual sequential paneling, especially on the sudden twists in the story. Moreover, his art renditions of the 1950s-set Hollywood were very faithful to the actual establishments, vehicles and clothing, proofs of his well-researched references to make the finale more visually stunning, if not credible. Most of the panels presented were close-ups of the characters and the British artist in many parts nailed the corresponding emotional projections and portrayals to further create the ambiance of mystery and even suspense. To enhance the illustrator’s pencils and inks, Elizabeth Breitweiser applied dark colorization most of the interiors to augment more to the already suspenseful atmospheric feel of the final volume. Even when the situations occurred during daylights, the sense of mysteriousness still prevailed due to the colorist’s almost perfect coloring scheme, fulfilling both Brubaker and Phillips’ noir vision.

As usual, this edition centers entirely on the main narrative, though there are a couple of features insides. However, I believe its publisher, Image Comics, will sooner than later unleash the hardcover deluxe edition of the entire The Fade Out series. However, if one wants immediate “closure” to this series, then this trade paperback suits better. Another thing is there are some awkward illustrations of the murdered actor’s face, both in close-ups and far angular perspective. I know Phillips love to draw very beautiful ladies, especially from the 1940s up to the 1960s eras, but honestly, some of his drawings of the deceased one were either felt forced or unglamorous. Nevertheless, The Fade Out, Vol. 3: Act Three finally closed and somehow resolved the burning whodunit question that started way back in the first chapter. Well-balanced and well-paced, the creative team made sure to remain consistent with their brand of visual and narrative storytelling that marked this short but worthwhile run. True, the ending might perplex some first-time readers, but that’s the true beauty of experiencing reading the Brubaker-Phillips opuses, there are no other colors in the world except grey. As for the question I first wrote, perhaps I would leave it as was—unanswered. SO LONG, VAL!


Paul Ramos

 


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