A few years back, at I think the second-ever Image Expo, the main story afterwards was how Image had attracted so many of Marvel and DC’s top writers and artists, where they would be making new comics without mandates or restraint. Gillen, McKelvie and Wilson would take their pop-influenced contemporo-action into The Wicked and The Divine; Scott Snyder and Jock would indulge their passion for horror with Wytches, and so on and so on. We were seeing people do work that referenced their well-read and much-seen work at larger publishers, but on their own terms.
That’s what you can’t help but keep in mind throughout reading The Fix. From Nick Spencer and Steve Lieber, this one draws an immediate parallel to The Superior Foes of Spider-Man, their series detailing the exploits and failed long-cons of some of Spidey’s D-List enemies. Here, again, we have people with no moral compass, who will betray everyone in order to get ahead – only this time at Image, rather than Marvel.
It’s another extension of an existing brand, but I found it to be a really different reading experience to some of the other franchise-to-Image transitions of the last couple of years. With the editor out the way and a group of new characters to play around with, the sense of danger immediately drops away from the comic – the formula which worked so well with a group of company-owned characters fizzles down when you take off the restraints. I enjoyed The Fix well enough, but it certainly feels like a weaker comic when you’d think it should be stronger.
It should probably be noted that, yeah, it’s not especially fair to draw comparisons between two different comics as the main note in a review – but that’s how the book’s been marketed, and it’s easily the most notable aspect of the series thus far. The two main characters in The Fix, whose names I don’t recall, are corrupt police officers who are looking to cover a debt they owe to an affable maniac who plays bluegrass covers of R. Kelly songs and then garottes people with his guitar strings. Their attempts to find a perfect score form the concept of the series, but the reality is a series of loosely connected vignettes building the characters and their reckless lack of morality.
But as it appears at the moment, there’s no fixed depth to that moral descent. Nobody follows a code, so there’s nobody pointing out that what the characters are doing is wrong. Everybody is implicit in the world of The Fix, which removes the feeling of danger from the comic. When reading, I found that a lot of the jokes were predictable because the structure of the comic only allows things to go in one direction. Each time the characters face a choice, I know they’ll pick the coward’s route. In this issue, for example, a long set-up is offered for one of their co-workers, who is the epitome of the hard-working hero.
He does charity work, is a devoted husband, brings doughnuts in for lunch. So the obvious route is for the protagonists to wreck his life and send him to jail. It’s obvious from the get-go that this is where they’re going, because there’s nothing to stop them doing so. But it’s also obvious that The Fix, with its highly cynical narration boxes, is also going to push further, and sure enough the character also proves ultimately to be hiding deeper secrets which make it fine for him to be arrested.
Everything turns for the worst, and it’s jarringly predictable. When combined with the fact that there are no characters who effectively act as condemnation for the actions of our leads? It makes for a surprisingly dull overall read. Likewise, the scene I mentioned above, with the man they owe a debt to? It almost reads as shorthand. He has already been characterised as somebody who is pleasant-acting and seems dull, almost, in his normalcy – but is actually a deranged murderer, and the second issue’s check-in only serves to re-tick the boxes we’re already seen.
He murders somebody for no real reason, he gets away with it, and it has no lasting effect. Compare that to the previous series, The Superior Foes of Spider-Man. In that book you have a similar looming presence over the heads of the team, in the form of well-known Spider-Man villains like Tombstone and Chameleon. They perform a similar role to the mob boss of The Fix, but in their case the editorial handcuffs surrounding them actually offers benefit to the comic. They can kill, and we know they can – but Marvel’s editorial guides mean we know they can’t overstep particular limits.
There’s a structure in that, a sense of discipline. It’s also set in a superhero universe, so we already know there’s a core of “good vs evil” in the coding of the comic. The characters like Boomerang, Beetle, Shocker etc who we’re following are low-level villains like the leads of The Fix, but they can’t just do whatever they want. They have a place in an established pecking order within the comic – and outside the comic too. Their decades-long history plays into everything we see them do, as these background characters attempt to worm their way past known murderers and mob bosses in order to make a living robbing banks.
We also know that they have to survive – so the basis of their book became “how do they get out of this?”. In The Fix, the characters are fresh and have only had forty pages of history, total, so far. And in their forty pages they’ve so far gotten away with everything, so there’s no sense of danger for their current situation. They don’t have the forces of the universe conspiring against them like, say, Shocker does. Shocker’s never going to win. He’s Shocker! Sucking is just what he does. The leads of The Fix aren’t underdogs – they’re just mean-spirited people who will drop all morale pretence if it’s to their benefit.
It’s not a story so much as it is a series of sketches, therefore, with the outcome pre-determined. At this point you feel you can tell exactly where each subsequent issue is going to go, and the only decision at the end is whether they get away with their score, or whether they get shot. Because unlike the Marvel characters, these two are completely disposable. Again, it removes the stakes somewhat. You can make a long-running Marvel character completely awful, because at the end of the day the creative team have to put all their toys back in the sandbox.
With The Fix, there’s no sense of that. We can’t connect to the leads because they’re definitively bad people. They don’t seem to be in particular trouble, as they spend all their time mucking around and elaborately ruining other people’s lives. And at the end of the day, Nick Spencer and Steve Lieber can always just kill them if they want. It makes for a fascinating series, where each new vignette tries to bring the characters to a new moral low – but the feeling I came away with was “okay, but why does it matter?” They could commit absolute atrocities by the time the series finishes, but it still doesn’t mean anything for me as a reader.
With The Superior Foes of Spider-Man, I knew that the characters had to be extricated from their situation, because a year down the line Dan Slott will probably need to use some of them in the main Spider-Man book, and he’ll want them relatively unharmed/unchanged from their ‘classic’ behaviour. That adds a level of difficulty to the series which The Fix doesn’t experience itself. It’s fine enough as a series; and I’m glad to see an Image book which isn’t just another one-word astronaut dystopia; but it’s certainly a case where the creative team’s attempts to one-up their past success actually detract from the comic they’re making.
And I still can’t remember the names of any of the characters.
The Fix #2
Writer: Nick Spencer
Artist: Steve Lieber
Colorist: Ryan Hill
Letterer/Designer: Nic J. Shaw
Publisher: Image Comics