THE FIX #1-2
Written by Nick Spencer and Drawn by Steve Lieber
RENATO JONES #1
Written and Drawn by Kaare Andrews
Published by Image Comics
Reviewed by Marc Mason
Two newbies from Image that are deserving of your attention…
Boy, oh boy, is THE FIX a breath of fresh air.
We open with the main character extolling the virtues of being a criminal, and it’s done so in almost depressingly hilarious fashion. As he and his partner rob a senior citizen’s retirement home, you immediately know you’re in for a ride. One, what the hell kind of criminal robs this place yet also acts appalled when the residents aren’t being properly supervised, and two, how many of these old guys tend to have a shotgun in their bed?
One too many, as it turns out.
From there it only gets crazier, as we learn these two gunmen are even more off the chain that you might have guessed… because they’re actually cops. Super, super dirty cops.
Hilariously dirty cops.
Not only that, but they are in debt to even dirtier cops, which causes them to make some… unusual decisions to try and clear the books. To tell you more would be just mean; suffice it to say that the plot goes off in absolutely insane directions, making THE FIX some of the most fun I have had in recent memory when reading a comic. Not once was I able to predict what was going to happen next, and that is a true gift to a reader. Genuine surprise doesn’t happen much anymore.
Spencer and Lieber continue the outstanding collaboration they developed while doing SUPERIOR FOES OF SPIDER-MAN, and the book soars because of it. The creative chemistry here is amazing, and both are working at the top of their talents on every page. I laughed consistently at THE FIX and at the end of each issue I immediately wanted the next one. Highest possible recommendation.
I was a little dubious when I heard about RENATO JONES. The concept sounded a little too calculated to me: a killer who preys on the 1%. That’s pretty much a meteor directly to the heart of the zeitgeist, and that made it easy to be cynical about it.
But here’s the thing: it turns out to be pretty good.
Kaare Andrews uses his artistic imagination to do some amazing things in this one, engaging different art styles, multimedia, negative space, and more to tell the story of a young boy who rises from the streets to become a quiet scourge to those who place themselves about the rest of us. It is violent. It is profane.
Yet so are the actions of many of the 1%. There is justice here.
RENATO JONES didn’t set me on fire with its rage and anger, but it did engage and entertain me in a meaningful way. It isn’t like anything else on the stands, and that, for damn sure, matters.