This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
I know this is hypocritical immediately following a spoiler alert, but I don’t believe in spoilers. They’re something I respect because I know other people believe in them (like God), but the threat of a spoiler doesn’t change the articles I will read or the conversations I’ll have (huh, also like God). If a movie or tv show or book is so slight as to have the experience of it ruined by simply knowing what’s going to happen, it probably wasn’t worth experiencing in the first place. The Fix 11 starts with a seismic shift, fully acknowledging the trope that Nick Spencer and Steve Lieber are subverting for shock value. “Surprise” reads the narration box. But the surprise isn’t the point, the fall-out from the surprise is.Continue reading →
This article containsSPOILERS. If you haven’t read the issue yet, proceed at your own risk!
You either die a hero, or you live long enough to see yourself become the villain.
Harvey Dent, The Dark Knight
Drew: If that quote doesn’t feel like it fits this issue, it’s because it doesn’t. Where The Dark Knight explores the ideas of good, evil, and the moral relativism that exists in between, The Fix is gleefully amoral, concerned less with good and bad as it is with whatever its protagonists can get away with. Which is to say, a quote about heroes and villains doesn’t make a whole lot of sense in the world of The Fix. But I wonder if we strip away the morality from that quote, if we might get something a bit more universal (if still deeply pessimistic): you either die happy, or you live long enough to see yourself become miserable. The ordering of those outcomes betrays a cynical worldview that The Dark Knight (or at least Harvey Dent) shares with The Fix, one that presumes things are inclined to get worse. Of course, while The Dark Knight spun that cynicism into tragedy, The Fix funnels it into dark humor, making any successes Roy or Mac may enjoy are but haughty spirits before the inevitable fall. Continue reading →
Today, Drew and Ryan D. are discussing The Fix 9, originally released May 10th, 2017. As always, this article contains SPOILERS.
Drew: In this age of heavily serialized television, the humble pre-cold-open-recap has become a matter of course. It can be darn useful for keeping threads straight, especially as they may feature elements introduced months or even years ago. Of course, that very feature — the inclusion of some long-forgotten detail — can often betray the events of the episode, broadcasting exactly what threads will be addressed. It’s a catch-22 that may be even more pronounced in comics, where a monthly release schedule can equate to more forgotten details between instalments, leading some series to offer virtually comprehensive recaps on their title pages. With TheFix,Nick Spencer and Steve Lieber have developed an in-narrative recap style that manages to avoid the dangers of giving the game away by simply limiting it to the perspective of their characters. Continue reading →
Look, there are a lot of comics out there. Too many. We can never hope to have in-depth conversations about all of them. But, we sure can round up some of the more noteworthy titles we didn’t get around to from the week. Today, we discuss The Fix 8, Jughead 13, Slam 4, Teenage Mutant Ninja Turtles Universe 7, and Outcast 25. We discussed Belfryon Friday and Curse Words 2 on Monday. As always, this article contains SPOILERS.Continue reading →
Episodic storytelling is the name of the game in monthly comics. Month- or even multi-year-long arcs are fine, but a series lives and dies by its individual chapters. From self-contained one-offs to issues that recontextualize their respective series, this year had a ton of great issues. Whittling down those issues to a list was no easy task (and we look forward to hearing how your lists differ in the comments), but we would gladly recommend any (and all) of these issues without hesitation. These are our top 10 issues of 2016.Continue reading →
You know you shouldn’t judge a book by its cover, but that doesn’t mean you can’t judge the cover on its own merit. Some covers are so excellent that they pack all the drama, excitement and emotion of the whole issue into one succinct image. Sometimes they end up being their own surreal experience. And other times, we’re just exciting to see our favorite heroes kicking ass one more time. These are our top 10 covers of 2016.Continue reading →
Today, Drew and Patrick are discussing The Fix 7, originally released December 21st, 2016. As always, this article contains SPOILERS.
I originally pitched [Breaking Bad] to the studio with one line. I told them: “This is a story about a man who transforms himself from Mr. Chips into Scarface.”
Drew: Vince Gilligan’s elevator pitch for Breaking Bad might be one of the most well-known loglines in modern television — my dad knows it, if that’s any indication. I suspect people are attracted to the simplicity of Gilligan’s analogies; he calls on two films to paint before and after portraits of Walter White. For me, though, the very fact that he used two film characters to chart the endpoints of Walter’s evolution speaks to the differences between television and film — or, rather, the specific narrative capabilities of serialized stories. Where Walter White’s character is fundamentally one in transition between two points, film characters like Mr. Chips and Scarface are better understood as points.
To me, this is simply down to the matter of time. We don’t have enough time with film characters to form strong enough senses of who they are for all but the most obvious changes to even register. Any subtler changes might just be seen as inconsistency while we’re still forming our first impressions. In serialized narratives, though, we have much more time to develop a clear sense of who a character is — what they want, what they fear, what they will or won’t do — so can appreciate smaller, subtler changes. In a series like Breaking Bad, those changes slowly accumulate, building to drastic transformations that somehow never feel drastic at the moment. In a series like The Fix, those changes can provide a much more nuanced portrait when a character is pushed to the limit. Continue reading →
Today, Spencer and Drew are discussing The Fix 5, originally released September 14th, 2016. As always, this article contains SPOILERS.
Spencer: The stars of The Fix are not good people; Roy, especially, has been portrayed as completely immoral and self-serving. There’s one more aspect of his personality, though, that we shouldn’t forget, one which Nick Spencer and Steve Lieber thoroughly remind us of in The Fix 5: he’s pretty bad at being a criminal, too. Roy’s ability to break the law and get away with it has more to do with the corrupt institution he serves than his own skills, meaning he’ll squander any chance he has to progress as a criminal. For the citizens of The Fix‘s L.A., that’s probably a very good thing. Continue reading →
Today, Ryan and Shelby are discussing The Fix 2, originally released May 11th, 2016.
Ryan: The best art is immersive. After an afternoon with a book or a brief television binge, it can take a little while for my brain to climb back out of that fictional world. That’s why I knew what butterbeer tasted like before Universal studios invented a recipe or why I can’t be trusted to drive home from a Fast & Furious movie. By engaging more than a single sense, stories can offer a gateway rather than a mere window into a world. Writer Nick Spencer and Artist Steve Leiber offer that gateway in The Fix 2, by using their medium to engage more than just visually. Continue reading →
Today, Spencer and Drew are discussing The Fix 1, originally released April 5th, 2016.
Spencer: As someone who’s always flitted around the outskirts of his local punk community, I can’t say that I’ve ever had a great deal of trust for authority figures. Still, in the past few years I’ve seen what little faith I had whittled down to almost nothing. Between the constant pushing of discriminatory laws, the circus that is the current election cycle, and the repeated, horrific abuses of power when it comes to the police (especially in regards to racially motivated crimes), it seems clear that those in power are mainly concerned with nothing but their own well being. Steve Lieber and Nick Spencer’s new series, The Fix, taps into these very concerns by claiming that most efficient way to be a criminal is simply to become one of the supposed “good guys.” Continue reading →