The Fall extend and performatively critique that mode of high modernism by reversing the impersonation of working class accent, dialect and diction that, for example, Eliot performed in The Waste Land. Smith’s strategy involved aggressively retaining accent while using - in the domain of a supposedly popular entertainment form - highly arcane literary practices. In doing so, he laid waste the notion that intelligence, literary sophistication and artistic experimentalism are the exclusive preserve of the privileged and the formally educated. But Smith knew that aping master class morés presented all sorts of other dangers; it should never be a matter of proving (to the masters) that the white crap could be civilized. Perhaps all his writing was, from the start, an attempt to find a way out of that paradox which all working class aspirants face - the impossiblility of working class achievement. Stay where you are, speak the language of your fathers, and you remain nothing; move up, learn to speak in the master language, and you have become a something, but only by erasing your origins - isn't the achievement precisely that erasure? ('You can string a sentence together, how can you possibly be working class, my dear?')
I don't claim to agree or disagree with Fisher simply because his point is based largely on his experience and knowledge of all things British, but it's a very interesting way of framing The Fall as a semi-political band.
I think the comic characters metaphor is very good, IMO, and, outside of Ramones, I'd definitely say that Jonathan Richman is a sort of cartoon character too. Accidentally, he is also in my mind a good example of a classic punk figure who is still very much punk because he doesn't conform to the modern cultural punk philosophies.