The second part of our Best Shazam moments list enters modern times with a TV show, animated short, and one hell of a battle with Superman:
5. Shazam Gets A TV Show (1974-1976)
In the late 1960s and 1970s, superheroes had become popular on TV in both live action and animation thanks to the success of Adam West’s Batman, Lynda Carter’s Wonder Woman, and Bill Bixby and Lou Ferrigno’s The Incredible Hulk, along with Superfriends and solo cartoons starring Batman, Superman, and Aquaman. Filmation’s Shazam!, which aired on CBS for three seasons on Saturday mornings, combined both those things. The premise of the show was that Billy Batson (Michael Gray) traveled around in an RV with an old man named Mentor (North by Northwest and Forbidden Planet’s Les Tremayne), righting wrongs and teaching moral lessons as Captain Marvel (Jackson Bostwick, and later John Davey) after saying the magic word “Shazam!”
The wizard Shazam never appeared in the show, and instead Billy would get guidance from animated versions of the elders that gave him his abilities, namely Solomon, Hercules, Atlas, Zeus, and Mercury (Adam West did the voice of Hercules). The show was structured like an after-school special with superhero elements, and was less action-packed than its more popular contemporary, Wonder Woman. Every episode ended with a “moral” for viewers, teaching basic lessons like to be confident in yourself, not to do drugs, and how to solve your problems through talking and not violence (having a magic-powered superhero as backup helps). Also, if you’re anti-Semitic, you get attacked by mountain lions.
The show ended on a crossover episode with Isis, a show about a female archaeologist who uses a magic amulet to get the powers of the Egyptian goddess Isis. In the finale, Captain Marvel and Isis help a boy not invent the found-footage genre by turning in evidence of a robbery to the police instead of a film festival. Isis would later appear in various Shazam comics and the 2006 weekly comic book series 52, where she was re-imagined as the consort of one of Shazam’s villains, Black Adam. She is also set to be one of the first Muslim-American superheroes on TV in Legends of Tomorrow Season 3, using her civilian name of Zari Adrianna Tomaz.
4. Shazam Gets A Modern Origin in Jerry Ordway’s Power of Shazam! (1994)
In the tradition of Batman: Year One, Wonder Woman: Gods and Mortals, and Man of Steel, DC Comics commissioned writer/artist Jerry Ordway to revamp Captain Marvel’s origin story for modern comic book readers in the Power of Shazam! graphic novel. Ordway had previously drawn the comic book adaptation of the 1989 Batman film and the Infinity Inc series, which featured characters who played a pivotal role in Neil Gaiman’s classic, The Sandman. He kept many of the elements of the original 1940 origin of Captain Marvel, while providing a deeper glimpse into Billy Batson’s psyche, also making his deceased parents, C.C. (named after Captain Marvel’s original artist, C.C. Beck) and Lyn, have a more tragic demise.
Power of Shazam! opens with an extended prologue showing Billy’s archaeologist parents discovering a mystical scarab in the tomb of Pharoah Rameses II, before both stabbed in the back by his brother, Adam, who works for the corrupt businessman Sivana, and wants these artifacts to be on the display at the World Fair he’s sponsoring, not in their native Egypt. This wrinkle in Captain Marvel’s backstory is a nice homage to the archaeologist characters in the Adventures of Captain Marvel serial, and basically turns him into Batman (if he actually smiled and his father was Indiana Jones). It immediately connects Captain Marvel and Black Adam, the differences and similarities in their abilities, and makes them lifelong nemeses based on the simple fact that Adam betrayed his family for gain. It is also nice to see Billy struggle with his powers as Captain Marvel, and even resent the wizard Shazam for thrusting them upon him instead of naively reveling in his super abilities. Timely thought bubbles from Ordway show the difficulty of navigating the world as a kid in adult’s body, although there is room for humor too, like when Billy has Captain Marvel impersonate his deadbeat, money-swindling Uncle Ebenezer at a parent-teacher conference.
The real highlight of Power of Shazam! is the fully-painted artwork of Jerry Ordway, who transforms Fawcett City into an Art Deco masterpiece. Ordway’s figures have plenty of power in their punches and throws too, especially during the battle royale between Shazam and Black Adam, in which buildings are damaged and grappling holds happen. His characters aren’t stiff and static like other painted comic book art.
Power of Shazam! is full of the magic, escapism, and the strong moral compass that is the signature of classic Captain Marvel tales, but Jerry Ordway expands upon his tragic backstory, adding some self-doubt to go with Captain Marvel’s big, cheesy grin. The graphic novel spawned a monthly Power of Shazam! comic that Ordway wrote from 1995 to 1999. The writers of the upcoming Shazam film should definitely consider using it as source material for their screenplay.
3. Shazam Has A Tragic, Epic Battle Against Superman in Kingdom Come (1996)
One of the best comics featuring Captain Marvel – and flat out one of the greatest (and densest) superhero comics of all time – is the four issue miniseries Kingdom Come, by writer Mark Waid (The Flash, JLA) and painter Alex Ross (Marvels, the opening credits of Spider-Man 2). It also inspired the name of Jay-Z’s 2006 comeback album. Kingdom Come tells the story of an aged Superman trying to come to terms with a new generation of superheroes (based on the edgy anti-heroes of the 1990s, like Spawn and Youngblood) after one of them destroys his home state of Kansas in a presumptuous superhero battle. Superman and Wonder Woman’s solution to the problem is to build a superhuman gulag for the offending villains and antiheroes, which predictably angers Batman, and he bands together with an unlikely group of allies, including Green Arrow, Lex Luthor, and a host of young legacy heroes to oppose him.
Among them is Captain Marvel, who is being mind-controlled by Lex Luthor via a psychic worm he borrowed from one of his old villains, Sivana. Captain Marvel is susceptible to mind control because the combination of his magical abilities and growing up is too much for him to handle, and Luthor plans on using him to blow up the superhuman gulag to spawn chaos. Ross draws him creepily and vacantly slinking around Batman’s allies until Luthor gives him the go-ahead to “tumble down the walls of Jericho” (Kingdom Come loves its allusions to the Bible even more than DC Comics history).
Eventually there is a titanic, earth-shattering, thunder-and-lightning battle between Superman and Captain Marvel that is one of the most memorable in superhero comics, as two of the brightest lights of the genre battle and bring on a kind of apocalypse. Superman has always been weak to magic, so Captain Marvel is more than enough for him, and Alex Ross paints many close-ups of the Man of Steel bleeding while he pleads with Captain Marvel to find his senses. Kingdom Come #4 has a host of double-page splash pages featuring superheroes in combat, but Superman and Captain Marvel grappling are always center stage, like they’re battling for the soul of the superhero genre.
The end of their throwdown is definitely something out of the Book of Revelation, with thunder, explosions, and one last powerful “Shazam!” as Captain Marvel finds redemption and sacrifices himself to save some other heroes from nuclear annihilation. Mark Waid gives him an integral, character-defining moment before his tragic death when Superman says that as both Billy Batson and Captain Marvel, he bridges the world between humans and superhumans, gods and mortals. Superman always has his heat vision and invulnerability even in disguise as Clark Kent, but Captain Marvel has to turn back into the little powerless boy, Billy Batson. His character and sacrifice inspires Superman and the remaining heroes to work closer with both superhumans and humans in the years after the cataclysmic battle between Superman and Captain Marvel, as Wonder Woman becomes a teacher, Batman opens a hospital in Wayne Manor, and Superman goes back to being a farmer. In the final scene of the comic (set at a superhero-themed restaurant), Clark Kent drinks milk from a Captain Marvel pint glass in memory of the World’s Mightiest Mortal (and the Big Red Cheese), who taught Superman to believe in the human race and his own humanity again.
In Kingdom Come, Mark Waid and Alex Ross show that Captain Marvel isn’t just some cheesy, nostalgia hero for the 1940s, but an icon that inspires Superman himself, while both deconstructing and reconstructing him as a character.
2. Shazam (Sort Of) Gets His Own Animated Solo Film (2010)
Captain Marvel got his first solo(ish) film in decades as part of Warner Bros Animation’s DC Showcase of half-hour short films. Superman/Shazam!: The Return of Black Adam was directed by Justice League Unlimited‘s Joaquim Dos Santos, and had George Newbern and veteran character actor Jerry O’Connell reprise their roles as Superman and Captain Marvel from that cartoon. Billy Batson was voiced by the future Steven Universe himself, Zach Callison, while The Mummy‘s Arnold Vosloo played the villain with a god complex, Black Adam, and the wizard Shazam was voiced with regal dignity by James Garner (in his last film role).
Superman/Shazam introduces its two protagonists in their civilian identities, Clark Kent and Billy Batson. Clark is doing a newspaper story on the homeless children of Fawcett City and interviewing Billy, who lives a hard life, but is kind, stands up to bullies, and feeds the rats in the apartment he squats in. Dos Santos establishes Billy’s good heart before he gets his magical abilities as Captain Marvel, and it’s like the future Captain America: First Avenger film with more fairy tale elements. Also, the Superman and Captain Marvel team-up is just plain fun, free of angst (except when Billy thinks about killing Black Adam, and Superman reminds him of the moral compass that has guided him up to this point). Newbern has a great fatherly cadence as Superman in this situation, without being condescending.
In addition Captain Marvel’s heroic journey, Superman kicks it Golden Age-style, moving the course of a mighty river, and there is a cameo from a classic Captain Marvel supporting character. Black Adam is a little underdeveloped as a villain, but he is an example of having godlike powers and no empathy, unlike Superman and Captain Marvel. Sadly, Captain Marvel didn’t get another animated film, but he appears as a member of the Justice League in the films Justice League War (2014) and Throne of Atlantis (2015), and is voiced by Sean Astin. He gives Aquaman his name, and perhaps his innocent, wide-eyed-yet-very-powerful self will be joining the live-action version of the Justice League in future films (and get Henry Cavill’s Superman to loosen up a little bit).
1. Shazam Returns to His Weird, Imaginative Roots in Multiversity: Thunderworld (2014)
If Fawcett Comics hadn’t folded after being sued by DC Comics and survived until modern times, it may have produced a comic like Multiversity: Thunderworld, a special one-shot written by the legendary Grant Morrison (All-Star Superman, Invisibles) and talented artist Cameron Stewart (Batgirl, Fight Club 2) that is set in an alternate universe where the only heroes and villains are the ones that appeared in Fawcett Comics. Superman and Batman are comic book characters in this universe, but in a meta-fictional twist the main bad guy, Dr. Sivana, uses actual comic books to come up with a nefarious plan to use the lightning that gives Captain Marvel his powers and create a special eighth day called Sivana Day for the purpose of killing Captain Marvel and his family. The comic is part of a loosely interconnected series called Multiversity, but is mostly a standalone story.
This plot is super silly, and Morrison and Stewart embrace the unbridled optimism, escapism, and even the clean lines of the original Bill Parker, Otto Binder, and C.C. Beck Captain Marvel series in the comic. Nathan Fairbairn adds a buoyant primary color palette to make your smile even bigger, while Morrison and Stewart’s sense of humor is a little more sophisticated, with fourth wall-breaking quips and jokes about the multiverse. For example, one of the Sivanas is a dead ringer for Hannibal Lecter, and frighteningly enough, is the only one of the “team” to kill his universe’s Captain Marvel.
If you’re tired of Shazam in his main DC Comics series grimacing and glaring, and the edginess for edginess’ sake of many of the films based on DC Comics movies, Multiversity: Thunderworld is an excellent palette cleanser. There are traces of Pixar films, good episodes of Doctor Who, and Fantastic Four storylines in this comic – and remember that Captain Marvel predated these things by decades.
Multiversity: Thunderworld is proof that there can be good Shazam stories in the 2010s, and Grant Morrison piles enough heart, powerful punches, and wacky supervillain plots to make you grin from ear to ear like the Big Red Cheese (or the bumbling Uncle Marvel), believing in superhero stories and their power to incite the imagination once again.
In case you missed it, here’s Part One of our list!
Scott Snyder’s ‘Wytches’ Cast a Hypnotic Spell that Still Lingers
One of the most hotly anticipated comics released in 2014 came from Image Comics and writer Scott Snyder (American Vampire). The horror series titled Wytches was met with such critical acclaim that it had been optioned by New Regency, with Plan B set to produce a feature film adaptation– and that was only after one issue hit the shelves. Unfortunately, the movie adaptation was never made (and likely never will be), but the limited series became one of the hottest comics of that year and in a way, sort of revolutionized the witch mythology for a new generation of horror fans.
With Wytches, Snyder breathed new life into the horror mythos. From the first two pages (which consists solely of the definition of the word “witch” written in a gothic font) to the fiery finish, Wytches sets an oppressive mood with its unconventional, confounding style. The original six issues are both stylish, and compelling and left readers both bewildered and curious about what would come next. Snyder and artist Jock created such a visceral experience that the combination of menacing Grand Guignol atmosphere, dazzling colours, gory violence and interesting set up went beyond the typical feel of a comic. Syder knows how to tell a good horror story in comics, and if there was ever any doubt, Wytches put that uncertainty to rest.
“Across the globe, century after century, men and women were burned, drowned, hanged, tortured, imprisoned, persecuted, and murdered for witchcraft. None of them were witches. They died protecting a terrible and hidden truth: witches, real witches, are out there. They are ancient, elusive, and deadly creatures that are rarely seen and even more rarely survived.“
What is Wytches about?
The story begins on August 1919, focusing on the Cray family. Tim, a young boy is walking through the woods and hears a woman crying out in pain. As he moves closer to investigate, he discovers his mother trapped inside a tree with blood dripping down her face. Her nose is cut off and she begs for help. The young boy picks up a giant rock and begins to smash her skull in. Pledged is pledged he tells her, and just like that, the opening flashback gives us a brief glimpse at the horror we can expect.
Fast forward to the present day and the Rooks have just moved to a new town in New Hampshire leaving behind a traumatic event from the past and hoping the move will put some distance between the family and what transpired. Charlie, the loving father, is a cartoonist who writes children’s stories with a vivid imagination. He’s passionate about his cartooning career but he never puts his work over his family. His wife Lucy has suffered an accident that’s left her in a wheelchair, but she stays supportive and focused on being positive. Their withdrawn, anxiety-ridden, troubled teenage daughter, Sailor, is the centerpiece of the series. Sailor faced an event that has left her emotionally scarred and so Charlie decided they needed a fresh start, but as we all know, some things you just can’t run from. If it wasn’t hard enough for Sailor to try to fit in at a new school, she must now deal with the growing lesion on her neck, a laceration which appears to have both physical and psychological effects on her wellbeing.
The prologue itself is a mystery; a story within a story, a nightmare in endlessly reflecting mirrors, and a place where time can stand still. As the Rooks family begins to unravel, the remaining five chapters offer more questions than answers.
Scott Snyder’s Horror
Scott Snyder, a writer who made his name in the horror genre before moving on to mainstream superhero work, plants many seeds for a disquieting little character study. What makes Wytches so harrowing is the sense of unequivocal dread that’s seeded in every panel – as if at any time something could jump out from the page. This blend of psychological horror, high school cruelty and teen angst is a relentless assault on the nerves and stays with you as would a childhood nightmare or a Grimm fairy tale. True to its brand, Wytches has all the trappings of the genre – but the issue also spends equal time fleshing out the characters.
The majority of Wytches focuses not on the uncanny, but rather on the emotional toll it has on the Rooks family. The presence of the supernatural is present throughout, but it is not the main focus. At its core, Wytches is a story about a father, a daughter, and their bond together, but it is also a story of apprehension and one which relies heavily on a sense of body horror. Supernatural themes can be daunting, but body horror, with its focus on degeneration, mutation, or mutilation of flesh, affects the reader on a gut level. That element alone compels us to sympathize with and root for Sailor and it doesn’t take long before this modern gothic fairy tale spins a tense and lyrical web of emotions. As the story unfolds we follow Sailor trying to cope with the aftermath of her traumatic attack and the horror of teenage life, all while her parents desperately attempt to search for answers.
One of the challenges with writing horror and fantasy is introducing not only the world itself but the background needed to set the stage for what’s to come. Snyder is a master at avoiding overly expository dialogue; not relying too heavily on exposition he finds clever ways to guide readers every step of the way. Wytches is what you’d call a page-turner and Snyder carefully allows the aftermath of that tragic event to brew while slowly opening the doors to new mysteries and the unknown. The first chapter, for example, expertly provides readers with a solid foundation and understanding of who this family is, leaving us with a cliffhanger that will have readers wanting more.
Jock and Matt Hollingsworth
Scott Snyder has a reputation for being one of the best writers of horror and he earns a ton of respect since he trusts his readers, and often the artists he collaborates with, to fill in the blanks. Jock is well known for his emotive, impressionist style. Even if you are not a fan of his superhero work, you’ll enjoy how his art lends itself well to horror. The ways in which he captures fear and panic in facial expressions is stunning. His landscapes are gorgeous, and the characters navigate the backdrops seamlessly throughout each panel. His sketchy layouts and framing allow for an immersive tone, especially in building towards the big reveal at the end. Colorist Matt Hollingsworth (who previously worked with Snyder on The Wake), is also vital in setting the mood, giving the book a dark, worn-out appearance. And finally, Clem Robins’ lettering in these pages is tremendously powerful, making a great first impression for anyone unfamiliar with his work.
Snyder established himself as an accomplished storyteller with his work on Batman, American Vampire, Severed, and the first half of The Wake, but Wytches might be the darkest tale he’s ever written. He seems to especially excel in the horror genre and in exploring human relationships set against supernatural or extraordinary events. It doesn’t take long for horrible things to start happening, and it doesn’t take long for readers to feel unsafe.
What Snyder, Jock and Matt Hollingsworth have created here is a stunning portrait of the mental and emotional breakdown of a young girl surrounded by the ugliness of the world, both supernatural and earthly. The stranger elements read like a fever dream, the rest resembles a Stephen King novel. Wytches is a textbook example of how to do horror right. From the twisted cold open to the glimpse of the slender figure in the woods, Wytches sets up enough mysteries and poses enough questions to keep readers invested. If you’re looking for a truly original horror story from a creative team who knows how to use the ingredients of the genre to their full potential, look no further. Wytches is that rarest of accomplishments in a field notorious for tedium and repetition.
– Ricky D
‘The Fade Out’ Demonstrates a Mastery of the Noir Genre
Whenever someone who doesn’t read comics asks me what comic I would recommend, I always answer The Fade Out…
Modern noir masterminds Ed Brubaker and Sean Phillips began their five-year deal with Image Comics in 2014. It was an unprecedented deal, allowing them to do anything they want with total freedom, total control, and total ownership over their projects. Their first project would be The Fade Out, a sprawling saga of corruption and redemption set against a gritty West Coast Hollywood backdrop.
As the premiere storytellers of crime/noir comics, The Fade Out saw them return to the familiar conventions of the genre, weaving a tangled web through the underbelly of a 1940’s film industry. In addition to unsettling narrative themes of ambiguity and violent death, certain stylistic characteristics immediately spring out: stark, angular shadows; the isolated feel of modern cities; conflicted anti-heroes and boiled down dialogue. It is everything a fan of detective stories could want. The multi-layered plot grabs you immediately — and Brubaker’s achievement as a writer cannot be overrated. This first issue alone moves swiftly from scene to scene, yet finds ample time to quickly define his characters. More importantly, it is quick to establish a mystery, making readers eager to see what happens next. And as you keep reading, The Fade Out keeps spooling out more narrative twists until the ingenious maze turns into an oppressive tangle.
What is it About?
The Fade Out tells the story of Charlie Parish, a struggling screenplay writer who finds himself smack in the middle of the murder of a Hollywood starlet named Valeria Sommers. The story is framed from the perspective of Charlie, a man plagued with nightmares from the war, and now struggling to hide a dark and terrible secret. Luckily for him, a power-crazed Hollywood mogul and his security chief will do anything to avoid another scandal, including a cover-up that frames the crime as an act of suicide. That’s just the beginning, as Brubaker’s script quickly establishes the central conflict before moving on to introduce the key players.
Via Charlie’s quintessential, hard-boiled third-person narration and various flashbacks, we meet a heap of supporting players including Earl Rath (an Errol Flynn lookalike and movie star womanizer) – Gil Mason (one time writer and full time alcoholic) – Dotty Quinn (publicity girl and all-around sweetheart) – Phil Brodsky ( the studio’s Head of Security), and the aforementioned Valeria Sommers, an up and coming actress killed before her time. Like Laura Palmer in Twin Peaks, Valeria is a mystery and remembered differently by different people and part of the fun in reading The Fade Out is discovering exactly who Valeria Somers actually was. The rest of the cast comes across as the usual noir stereotypes – a collection of tough guys, femme-Fatales and corrupt businessmen, but everyone seems to hold some dark secret that makes them necessary in telling the bigger story. And while our protagonist fits the mold of a noir anti-hero, he quickly becomes a likable and sympathetic character, and someone we can root for.
At the center of this series is the relationship between Charlie and his partner Gil. Brubaker presents Gil as an alcoholic devastated by his professional blacklisting in Hollywood while being investigated for communism. For the unfamiliar, the Hollywood blacklist was rooted in events of the 1930s and the early 1940s, encompassing the height of the Great Depression and World War II. The U.S. government began turning its attention to the possible links between Hollywood and the party during this period and many screenwriters, producers, and directors were banned. In The Fade Out, for example, we learn that Gil has been working as a ghostwriter for Charlie. The two support one another both financially and artistically and despite his addiction, Gil remains a proficient author of successful screenplays and uses Charlie’s name to allow his work to be sold and brought to life on the big screen. Gil may be a drunk, but he’s a talented drunk, but for Charlie, he’s a mere typist who’s experienced in the war have left him with a prolonged writer’s block.
Brubaker does a superb job in sketching out the main cast here and fleshing out a larger sense of emotional damage the protagonist Charlie Parish carries with him. Charlie is more or less an anti-social loner that is subject to existential angst. He’s burdened with a sense of guilt, desperation, and frustration. Much like Fred MacMurray’s Walter Neff in Double Indemnity, Charlie is a nice guy, modestly successful, but a man with a faint smell of cynical opportunism within his persona. While he may be our protagonist, he can’t be trusted, and so we sense that his fall from grace isn’t from a great moral height.
The Fade Out is a Modern Masterpiece
What makes The Fade Out great is how quick it establishes many subtle, subliminal clues between the flashbacks and real-time sequences; every page is loaded with rich painstaking detail, making this the most ambitious series yet from the award-winning duo. Brubaker pulls from the decades-old lineage of hardboiled tough guys channeling the likes of Sam Spade, Walter Neff, and Joe Gillis. Tension and suspense are increased by the use of Charlie’s inner monologues and flashbacks, in that the audience is always cognizant of impending doom. The seamless connection and disconnection, between the thoughts of a character and what we see on the page, is brilliant. The voice-over in the series isn’t used to tell us what we are seeing, rather tell us what we aren’t seeing. More so, it lulls the reader into a false sense of security. Notes of racism, sexism, and antisemitism are also peripherally present, but this allows for Brubaker and Phillips to naturally explore a time and place where these behaviours were socially acceptable.
As the story unfolds, The Fade Out moves away from beaten-down protagonists Charlie Parish, shifting its spotlight on new characters while more familiar faces slide into the background. Using unexpected flashbacks and unique third-person narration, Brubaker reveals the complicated personalities of these additional characters at the opposite end of the Hollywood spectrum. Included are Mr. Thursby (head of Victory Street Pictures who has been doing everything in his power to silence the true nature of Valeria Sommers’ death), and Maya Silver (a young actress hoping to replace Valeria’s lead role in an upcoming film). Ed Brubaker shows us more of the dirty side of the film industry, capturing the various power struggles and moral dilemmas that come with seeking fame and fortune. Maya, for example, is an actress waiting for her big break and hoping to fill the void left behind by Valeria Sommers. She’s been promised the role that once belonged to the now-deceased actress, but she’s had to endure countless indignities to help get her to where she is now. Maya has certainly been a victim of a horribly sexist system, but while she is preyed upon, she’s far from weak. Her past continues to haunt her, but with the help of a new friend, she may be able to finally escape her demons.
Many of the characters in The Fade Out are polar opposites but they share one common goal: they will do anything it takes to ensure the film moves forward, and that they each remain involved. Thursby who wields immense power in Hollywood, reflects on his voluptuous past, wishing he could go return to the life he once knew; meanwhile Maya longs to escape her demeaning past and climb up the ladder of success. Thursby is a man who was once happy and free, only now he seems trapped by the studio system. In a way, he probably feels just as trapped as his actors do. As The Fade Out slowly begins to pull the curtain back, the story reveals a chilling noir tale about murder, immorality, gender roles, lust, greed and the position of women in the early 20th century.
Characters are the focus of The Fade Out, not just plot beats and despite the central mystery, The Fade Out is not about solving the question of who killed Valeria Sommers, but about the consequences that a corrupt Hollywood system had on her, and continues to have on everyone else involved. If anything, The Fade Out is a study of men and women destroyed by the 50s success ethic, left broken, alone, and in some cases, left dead.
If there was ever a comic that would make a great television series, it is this…
The artwork for The Fade Out is exquisite. Each panel is framed and lit much like a movie from the late 40s, and as you are reading, you can’t help but visualize it on the big screen. Sean Phillips is indisputably one of the most talented artists in the business, and when it comes to depicting gritty, realistic settings, he’s the best. Phillips’ character designs are so photo-realistic that one Tyler Graves looks like a young Montgomery Clift reincarnated in animated form.
Phillips has been a regular collaborator of Brubaker’s for quite a while now, but this is the first time they’ve worked with Elizabeth Breitweiser, and her work here is a blessing. Everything from the backgrounds, landscapes, dutch angles, heavy shadows, low-key lighting, and depth of field captures the era and look of noir perfectly. Meanwhile, Elizabeth Breitweiser must also be given credit for her fabulous work as the colourist. There’s something to appreciate around every corner — most of all, visuals to astound and amaze. Mostly, though, the book comes across like the fever dream of an artist who’s been up all night watching every black-and-white crime movie made in the ‘40s.
The series also masters the art of juxtaposition juggling between multiple timelines and subplots seamlessly. Along with the third person narrative, Brubaker and co. communicate subtle relationships between characters, plot, and an overall arching theme of corruption. The level of detail and the attention to every line of dialogue speaks to the effort to capture 1940s Hollywood as accurately as possible – so much so – they hired Amy Condit (a Hollywood expert who manages the L.A. Police museum), as a research assistant.
A Classic take on Classic Hollywood
Brubaker’s name has been synonymous with the noir genre from the very start of his career, but The Fade Out marked his first trip into Hollywoodland, the never-innocent city of illusions. The Fade Out relishes in classic Hollywood tropes – so much so – that every page looks like a storyboard from an Anthony Mann film. This is clearly, a labor of love from its creative team who even went the extra mile by assembling a series of supplementary content that helps readers get into the mindset of the time. The painstaking attention to historical detail cannot be overlooked. Using the murder of a Hollywood starlet as a catalyst to expose the web of dark secrets that runs through the City of Angels, the award-winning team has put together one of the most intriguing comics of the decade and a series that is destined to be a cult classic. Everything from the distinctive characters to the shadowy visuals to the thick labyrinthine plot, the cynical, hopeless tone, the dialogue and so on, makes it an incredibly fascinating read.
Ed Brubaker and Sean Phillips will always be remembered as one of the greatest teams in comics’ canon. Their work is unmistakable, and consistent in quality since their early days working on the indie crime series Sleeper, to the modern masterpiece that is Criminal. Like Jack Kirby and Stan Lee or Frank Miller and David Mazzucchelli, they can do no wrong when working side by side. Fade Out isn’t quite up there with classic Hollywood noirs, but it’s the closest thing since Chinatown. This is a wonderfully entertaining series in which dark secrets; the mystery and allure of Hollywood; double-crossing; and secret alliances, are all but some of the ingredients found.
Ed Brubaker’s darker than dark drama about the inner workings of Hollywood is essential reading and further proof that Brubaker and Sean Phillips are two of the industry’s best, performing at the top of their game. Every chapter of The Fade Out is designed to set up the many things to come and advances the plot a few inches forward while exploring the backgrounds of the entire cast. The dead body which turns up at the start is just but one mystery – The Fade Out has so many more mysterious for readers to unravel.
Given the success of The Fade Out, it shouldn’t come as a surprise that the bestselling, multiple Eisner Award-winning creators renewed their exclusive deal with Image Comics in 2018. And thanks to Image Comics, the duo can continue to follow their creative instincts and continue to produce what is arguably some of the best stories you’ll find in the medium without having to sacrifice their artistic and creative freedom.
– Ricky D
Dark Horse’s ‘Avatar: The Last Airbender’ Graphic Novel Series Is The Fourth Season We Never Got
“Alright, Team Avatar is back!”
Avatar: The Last Airbender is- and will always be- my favorite television show of all time. Its sixty-one episode story never ceases to amaze me every time I rewatch it, but it always leaves me wishing that Team Avatar could reunite for another adventure or two, whether that be for explanations regarding their future lives before the events of its successor series or completing yet another unresolved plotline.
After all these years, I finally discovered what I had been looking for; more Avatar that is on par with the storytelling and animation of the original series that will make any fan squeal with joy. Its time for fans to step up and recognize what should practically be considered as The Last Airbender’s fourth season; the stories that are still making their way to printing presses rather than television production.
If you are craving for more Avatar in anticipation for the Netflix live-action remake, wanting something to fill your desires after a rewatch, or even just dying for a new story after a first viewing, then this series of graphic novels will surely peak your interests. Team Avatar’s adventures are far from over because Dark Horse’s Avatar: The Last Airbender graphic novel series is the fourth unforeseen season of the show that you always wanted and it is something that every fan should indulge themselves in whether they are looking for some ongoing laughs from the heroes or serious answers to what they want to know most.
From Moving Presentations to Still Pages
In 2010, show producers Michael Dante DiMartino and Bryan Konietzko originally pitched an idea to Nickolodean; to continue Team Avatar’s story through a 90-minute television special known simply as The Search. This story would have wrapped up all loose ends by closing off the story’s only real cliffhanger, the resolution for the disappearance of Zuko’s missing mother. Despite interest in the project, the executives at Nickelodeon ultimately deemed that the special would never see the light of day on the small screen as they declined the proposal in favor of creating an original series about the next Avatar who would succeed Aang.
The Legend of Korra was conceived thanks to the failed pitch that was The Search, but that did not stop DiMartino and Konietzko from allowing their unused story to go to waste. During the concept stages of Korra, the two producers managed to strike a deal, allowing Nickelodeon to partner with Dark Horse Comics in order to finish the final story of Avatar: The Last Airbender while tieing in many of the events that would build up the world seen in the The Legend of Korra through a series of various graphic novels- which are still ongoing today.
The Search, The Promise, Team Avatar Tales, Smoke and Shadow, North and South, and the currently ongoing Imbalanced are the story arcs that truthfully culminate into the epilogue fourth season of The Last Airbender that fans have pleaded for. Each volume adds up to about one or two new full-length episodes of the show that have the same story-telling and animation quality as what we originally fell in love with. These stories help establish events that strengthen the extended continuity that The Legend of Korra added to Team Avatar’s story while giving The Last Airbender’s fans more of what they want; stories featuring their favorite characters that do not threaten the shows neverending appeal- if anything they add more to love about an already fantastic series.
Continuing What Was Already Perfected
The graphic novels produced by Dark Horse Comics are a justifiable canon extension to Team Avatar’s story that is both written and supervised by the shows original creators [DiMartino and Konietzko]- in other words, there is no need to worry about a new interpretation helmed by people who do not understand the series’ core ethics and values that can easily be misinterpreted just for unreasonable box office profit. Each volume of every story arc serves a legitimate and well thought out purpose to the world of Avatar. A single page is never wasted.
“There is no war within these walls.”
Each story arc continuously builds on the world of Avatar by presenting a slow technological transition into the twentieth-century inspired landscape seen in The Legend of Korra, while showing audiences what the characters and locations had in store during the near distant future after the defeat of Phoenix King Ozai and Prince Zuko’s reconquering of the throne. The comics allow the two series to seamlessly transition into one another by explaining how technology, freedom of speech, political ideology, and spiritual connection all began to expand over the course of just a few months as the four nations slowly became more united under the helm of the last surviving Airbender and the previously banished fire lord.
Every character is written as if they were pulled directly from the source material- just as they should be since the original producers behind both Avatar and Korra are directly involved with the production of every page printed in these books. Characters and locations are constantly being built up to fit their future roles seen throughout The Legend of Korra. Nothing ever feels out of place in these graphic novels. Reading through these books made me feel as if Avatar had never ended; a feeling that every reader should feel when they have fully emerged back into a previously ended story. Every word, character, and location builds an authentic atmosphere that will quickly pull you back into what you previously loved. Seriously, try and not to read these three panels below without hearing each character’s voice in your head.
If you have not read any of the current set of available graphic novels, I highly recommend you purchase at least one of the stories in order to see if this is what you are looking for- and believe me, it will not disappoint. While The Promise is the direct sequel to the finale of The Last Airbender– literally, as the first volume takes place seconds after the last scene in ‘Sozin’s Comet Part 4’ before the credits roll- the graphic novel that I personally believe will completely sell you on this series is The Search; the story arc that contains a resolution you are probably dying to know the answer to. Just sit back, throw on a soundtrack compilation, and enjoy where you last left off in the world of the four nations.
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