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.


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

A Train Called Love 4 (December 2015)

A Train Called Love 4

It’s so funny. How can it be so funny? Ennis isn’t even trying this issue. He’s gotten through two bombshell reveals in the previous issue and here he sort of takes a break from comic narrative and instead goes for easy laughs.

And it works. Something about Ennis’s style, something about Dos Santos’s artwork–Train Called Love is this leisurely, self-indulgent, cheaply funny (in a smart way) fun (big) little comic. Ennis enjoys the scenes. He drags them out; the characters are funnier the longer they’re on page, which is awesome. Dos Santos is responsible for a lot of the narrative pacing; he’s got a lot going on in, movement, expression, placement. His style’s simple (Saturday morning cartoon almost) but he knows what he’s doing with it.

Even though not all of this issue connects as much as it could–the pillow talk sequence feels forced–the conclusion is awesome. Ennis wraps up the issue’s plot (a little), moves a couple subplots forward, including a big one, and then manages to end on another surprise. If A Train Called Love manages to keep this speed and quality for all of its twelve issues, it might actually end up being one of Ennis’s most impressive limited series.


Everybody Knows That I Love You; writer, Garth Ennis; artist, Marc Dos Santos; colorist, Salvatore Aiala Studios; letterer, Rob Steen; editor, Rachel Pinnelas; publisher, Dynamite Entertainment.

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