directorpurry's review against another edition
dark
mysterious
reflective
fast-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.0
Content Warnings
Graphic: Murder, Blood, Violence, Gun violence, and Injury/Injury detail
Moderate: Sexual violence and Pedophilia
jonnyjuicebox's review
5.0
Ed Brubaker and Sean Phillips “The Fade Out” is a perfect book. Everything from the dialogue, to the artwork, to the story and characters is just so perfect. The dialogue reads as if you’re watching a movie. Each character has there own voice that fits absolutely perfectly with the way the look. Every panel is beautiful to look at. Saying anything about the story would be to much. If you love for classic Hollywood read this book, it you love Crime stories read this book, if you love mysteries read this book, if you love comic books read this book.
tomhill's review
3.0
I'm a fan of old Hollywood as well as the novels of Raymond Chandler, so I was excited to read this graphic novel. I was somewhat disappointed. I really like the atmospheric artwork, which effectively captures both the glamour and seediness of 1940s Hollywood. Of course, Ed Brubaker's story has something to do with that as well. It was good, not great, and for me, not super engaging until towards the end. I liked The Fade Out, but my expectations were too high.
colin_cox's review against another edition
5.0
Taken in its totality, The Fade Out is an entertaining, atmospheric book that asks several interesting questions about white male aggression, institutional corruption, and self-destruction. To my delight, very little about this book is surprising. Brubaker suggests in Act One (i.e. Volume One) and later confirms that Drake Miller, a government agent investigating communists and posing as a film producer, murdered Valeria Sommers. Brubaker’s simple, unambiguous approach to the book’s central mystery opens space for an exploration of larger, more philosophically rich themes. However, Brubaker does not say or suggest anything new about these themes. Readers are left to conclude that power corrupts, and absolute power corrupts absolutely.
The most striking moment in The Fade Out is the revelation that Valeria Sommers’ sacrifice occurred in contrast to a form of seemingly insurmountable institutional power filtered through the particular prism of white male aggression. Charlie Parish, the book’s protagonist, learns that Valeria refused to reveal any actual or presumed communists or communist sympathizers to Drake Miller. When describing this situation to Parish, Phil Brodsky, the studio security chief, explains, “Only she won’t give up anything…not on Thursby or the studio…nothing…So the guy just cracks…maybe. He can’t stand it…That his power doesn’t work on her.” On its face, Brubaker wants his reader to celebrate Valeria’s altruism by suggesting that abuses of power are preventable if only individuals refuse to submit to intimidation. Of course, the irony is what Valeria dies protecting. Brodsky cannot help but conflate the individual and the institution. By thwarting one abusive and objectionable institution (the U.S. government during the height of the Red Scare), Valeria has unwittingly ensured the survival of another equally abusive and objectionable intuition (the film industry which perpetually objectifies, assaults, intimidates, and undervalues women). Therefore, whatever Valeria’s sacrifice gains or achieves, it is immediately negated by the survival of an institution that profligates similarly objectionable forms of abuse.
The Fade Out ends with Parish wandering the streets of Hollywood, lamenting Valeria’s decision. Like everyone else in The Fade Out, Parish assumes that Valeria’s sacrifice was about him. Brodsky too is frustrated because he cannot kill or punish Valeria's killer, so like Parish, he also interprets Valeria's death as less about her and entirely about himself. Valeria remains an ambiguous plot point, utterly worthless except for her utility in relation to the male characters who populate Brubaker's story.
The most striking moment in The Fade Out is the revelation that Valeria Sommers’ sacrifice occurred in contrast to a form of seemingly insurmountable institutional power filtered through the particular prism of white male aggression. Charlie Parish, the book’s protagonist, learns that Valeria refused to reveal any actual or presumed communists or communist sympathizers to Drake Miller. When describing this situation to Parish, Phil Brodsky, the studio security chief, explains, “Only she won’t give up anything…not on Thursby or the studio…nothing…So the guy just cracks…maybe. He can’t stand it…That his power doesn’t work on her.” On its face, Brubaker wants his reader to celebrate Valeria’s altruism by suggesting that abuses of power are preventable if only individuals refuse to submit to intimidation. Of course, the irony is what Valeria dies protecting. Brodsky cannot help but conflate the individual and the institution. By thwarting one abusive and objectionable institution (the U.S. government during the height of the Red Scare), Valeria has unwittingly ensured the survival of another equally abusive and objectionable intuition (the film industry which perpetually objectifies, assaults, intimidates, and undervalues women). Therefore, whatever Valeria’s sacrifice gains or achieves, it is immediately negated by the survival of an institution that profligates similarly objectionable forms of abuse.
The Fade Out ends with Parish wandering the streets of Hollywood, lamenting Valeria’s decision. Like everyone else in The Fade Out, Parish assumes that Valeria’s sacrifice was about him. Brodsky too is frustrated because he cannot kill or punish Valeria's killer, so like Parish, he also interprets Valeria's death as less about her and entirely about himself. Valeria remains an ambiguous plot point, utterly worthless except for her utility in relation to the male characters who populate Brubaker's story.
mschlat's review against another edition
5.0
Very pleased with how this series ended. While I'm not sure Brubaker tied up all the plot points, I really appreciated that the story resolved so much more noir than I expected.
canadianoranges's review against another edition
4.0
A satisfying ending in the most noir way. Everyone leaves broken or worse. The mystery is unveiled and yet there's no satisfaction for anyone involved - except the reader.
trudilibrarian's review
5.0
Kemper was right.
And those of you who know me will know how much it poisons me every time I have to say that. One of these days I’m just going to turn to stone. Ah but seriously, for you noir lovers out there it really doesn’t come any more smartly, authentically written than The Fade Out. This is a story that sizzles and understands at the heart of every noir tale is a fucking tragedy. This is a period piece and I lapped up the historical details like heavy cream. The characters are flawed just as we’ve come to expect in noir but retain a humanity that makes their pain a tangible breathing thing. And the dialogue is aces, I tell you.
And those of you who know me will know how much it poisons me every time I have to say that. One of these days I’m just going to turn to stone. Ah but seriously, for you noir lovers out there it really doesn’t come any more smartly, authentically written than The Fade Out. This is a story that sizzles and understands at the heart of every noir tale is a fucking tragedy. This is a period piece and I lapped up the historical details like heavy cream. The characters are flawed just as we’ve come to expect in noir but retain a humanity that makes their pain a tangible breathing thing. And the dialogue is aces, I tell you.
mattgoldberg's review
3.0
Kind of disappointing. It has all the noir and dirty Hollywood tropes, but they don’t add up to anything, so it feels like an homage at best and warmed-over James Ellroy at worst. Phillips’ artwork is gorgeous as always, but it didn’t feel like Brubaker had anything to add to the sub-genre. ‘The Fade-Out’ isn’t really about anything because it never grows beyond its archetypes, so it kind of devolves into nihilism and misanthropy. And sure, those are hallmarks of noir, but the good stories find a way to add their own perspective and pathos.