By d. emerson eddy — I'm continuing my trip through some of my favorite westerns and western-tinged tales across the years in honor of the release of Pulp, this week spotlighting another book from Ed Brubaker and Sean Phillips (with colors by Elizabeth Breitweiser), Fatale. This series is one of the ones that felt like Brubaker and Phillips were specifically writing it for me, delving into a world of Lovecraftian horror and crime noir that seemed note perfect, resulting in a tone that seemed right out of a Dennis Wheatley novel. Fatale #13 came smack dab in the middle of a loosely connected arc where we were witnessing the lives of a number of “femme fatales” across history, including our protagonist, Josephine's, early history.

The story, “Down the Darkest Trail”, focuses on one of the previous fatales, “Black” Bonnie. Set in 1883 and starting in Colorado, it follows a fairly standard western set-up. Bonnie's an outlaw, traveling with a band of outlaws, when they're ambushed by a Native American. Bonnie's the only one left alive and finds herself kidnapped, and that's when things get weird. Throughout the entire West of Hell arc, and indeed throughout Fatale, Brubaker and Phillips manage to regularly upend expectations. They play within the common themes and storytelling patterns of a western, a dustbowl drama, a war story, and noir mystery, but it always takes a turn towards horror. Most often cosmic horror, but still horror. Even knowing that, the story will surprise you.

The artwork from Sean Phillips and Elizabeth Breitweiser is equally gorgeous. For this arc, Phillips changed the layout the opening splash page, breaking down a singular image into two panels, instead of the more compressed grids he was using for previous volumes. The title card and large establishing shot for each part of this arc helped give it an entirely different feel, showcasing a central image that focuses the nature of the individual genre of the story. Here a Colorado mountain pass with horses at a watering hole. Phillips' layouts, panel sizes, and use of thick black shadows also open up a bit here, allowing the art to breathe a bit more than the measured claustrophobia of Josephine's modern noir story. It's a more fitting approach to some of the “big sky” feel of western set dressing. Along with the reds, browns, and darker blues of Breitweiser's colors, it's a wonderful way to set the tone and mood for not just a western, but one that takes a turn towards the weird and horrific.

Fatale #13 from Brubaker, Phillips, and Breitweiser works in capturing the genre conventions of the western and then turning it on its head to fit into the broader horror of the overarching Fatale story. It works as a curious standalone story, but also can serve as a gateway to the themes and concepts of the rest of the series. And it, and Pulp, help reinforce that if Brubaker and Phillips ever chose to do a straight-up western, it would likely be incredible.

Fatale #13

Fatale #13
Writer: Ed Brubaker
Artist: Sean Phillips
Colorist: Elizabeth Breitweiser
Publisher: Image Comics
Release Date: March 27, 2013
It's the curse of the Femme Fatale in the old west, for those who like horror and noir in their spaghetti western. Another standalone FATALE FLASHBACK issue, and a perfect place for new readers to jump on board! And remember each issue of FATALE contains extra content, articles and artwork that are not available anywhere but the printed single issues.
Price: $0.99 on Comixology | Also available in the collections: Fatale – Vol. 3: West of Hell ($11.99) & The Complete Series ($24.99)
Buy It Digitally: Fatale #13

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d. emerson eddy is a student and writer of things. He fell in love with comics during Moore, Bissette, & Totleben's run on Swamp Thing and it has been a torrid affair ever since. His madness typically manifests itself on Twitter @93418.