Until the last sequence, which tries too hard, this issue of Fatale is one of Brubaker’s strongest in a while. It starts with the big bad guy, the Bishop–who I can’t remember if Brubaker has named before–investigating what Jo’s been doing. Then it goes into a long flashback of the Bishop’s life since 1906. It…

This issue, while obviously winding up to the big finish, is a bit of return to form. Brubaker takes the time to introduce a new character–one impervious to Jo's charms–and he's a nice addition. There's some levity amidst Jo's preparations. Speaking of Jo's preparations, Brubaker does go too far with a reveal in the last…

Well, okay, yeah… Fatale is definitely in its last lap. Brubaker doesn’t hide it at all. He does, however, rush things. I thought it was going to be an awesome issue of Jo flashing back to her very interesting past. Instead, she becomes John McClane and has to save Nicolas. And that wraps up real…

I’m not sure where I’m at with this issue. It finishes up the grunge band arc, but Brubaker uses it to kick off (presumably) the next arc set in the modern day. He should really have some reminder of the modern day protagonist’s name. We’ve just gone through five or six new male characters; I’ll…

The issue reads too fast. It becomes a showcase for Phillips’s abilities at creating a static montage sequence, which are considerable, but Brubaker is still passing it poorly. The first half of the issue is the band at the house, trying to figure out what to do with a dead body. Brubaker plays the scene…

Definitely some Lowlife undertones. Brubaker’s shockingly frank about how Jo’s presence destroys the failed band members. But all that destruction comes later. Brubaker opens with how Jo unknowingly created a serial killer out of some kid she once treated nicely. He’s never really looked at the long term effects of her presence, but here he’s…

Now there’s a comic book. Brubaker opens with his first protagonist, Nick (I think it’s Nick) meeting with his lawyer after being in jail. Brubaker works a little with the book, which used to be the A plot but is now probably the C plot at best, before some weirdo breaks Nick out. After some…

This one starts a lot better than it finishes. Brubaker sets it during World War II, with Jo getting mixed up with Nazis but these Nazis are really the squid man and his sidekicks. Meanwhile an American soldier sees all these strange things happening and finds himself unintentionally rescuing Jo. I think the opening is…

I’m not sure if Brubaker’s intentionally doing homage or you just can’t do a Western anymore but this issue nods nicely to both John Ford and Unforgiven. Once again, it’s a new protagonist, a woman in the Old West with the same affliction as Jo. Bonnie, I think. Brubaker summarizes her early life then shows…

This issue takes place in thirteenth century France, with a Joan of Arc-type character turning out to be connected somehow to what’s going on with Jo. Maybe not connected, but definitely similarly afflicted. There are only the slightest hints at what’s actually happening with her–demons in the sky–because Brubaker instead has it play as an…

Brubaker and Phillips excel at these done-in-ones. More Brubaker, I suppose. Though Phillips does excel too, it’s just Brubaker is particularly good when he’s conceiving and executing a one issue story. He always has been good at it. This issue, set in late thirties rural Texas (Phillips does a wonderful job with the setting), has…

Brubaker and Phillips come up with a great conclusion. Not so much for the present day part–Brubaker’s cheap with the present day stuff–but the flashback story closes beautifully. While there’s a lot of good action, the issue excels because of the characters. Brubaker provides deeper insight into his protagonists during the issue’s busyness. They’re little…

Hansel, the cult leader, again gets his own scene juxtaposed against the regular action. Once again, it doesn’t work. Everything else this issue works–except one flashback panel requiring the reader to remember minutiae from the arc’s first issue and a revelation scene–but the cult leader is a constant problem. Brubaker can’t make him interesting. He’s…

There’s not a lot of seventies L.A. scenery this issue; there are a couple good moments though, a couple great panels from Phillips. Instead, most of the issue is spent indoors, whether present or past. Brubaker gives the modern protagonist–Lash, I think (Brubaker makes his name less important every issue)–a little story. There’s some mystery,…

There are so many new supporting characters this issue, I really hope Brubaker isn’t expecting me to remember them all. He opens the issue revealing a little of Jo’s new ground situation. She’s in the house, there are more secrets (physical indications abound), but probably none relevant to this storyline. It’s mood. Phillips’s great at…

Brubaker introduces a lot of little mysteries this issue. Some happen in the present, most happen in the past; the big one is how the past and present are connected. The present day mystery isn’t particularly intriguing, not when compared to the ones in the flashback. It’s set in seventies Hollywood, with a b-actor the…