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 →