Criminal: Tenth Anniversary Special (April 2016)

Criminal: 10th Anniversary Special

Wow.

On its own, Criminal: Tenth Anniversary Special is objectively excellent. Writer Ed Brubaker and artist Sean Phillips do the touching story of a boy and his jerk criminal dad. Set in 1978. And there’s a juxtaposing of an old Marvel-esque kung fu comic. It’s scary, it’s funny, it’s sad. It’s a great story.

But there’s so much texture to it all, as the special ties into the old Criminal books. It’s not a haphazard anniversary issue by a couple excellent creators; it’s an excellent anniversary issue, its creators taking it all very seriously. Brubaker and Phillips aren’t congratulating themselves with this Special, they’re awarding the reader with it. It’s this perfectly paced, perfectly conceived gem of a book. It’s got beautiful art from Phillips. He has this way of protecting the son whenever his father is around, implying it through the composition and the panel layouts. It’s such a smart comic.

It’s also fun. The kid meets a girl. She’s precocious. Brubaker hinges the whole comic on her–it’s a pre-teen romance of sorts–and he does a great job on her character. He presents the readers two views into the story, one through the kid’s, one through the girl’s. He does it with this wonderfully prompt pacing–Brubaker and Phillips and colorist Elizabeth Breitweiser (who’s become an essential part of the team) take advantage of every page, every panel. It’s flawlessly executed.

The Criminal: Tenth Anniversary Special is a class act and a great comic.

CREDITS

Writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

Criminal: The Special Edition (February 2015)

Criminal: The Special Edition (One Shot)

Criminal’s back for a one-shot and, wow, it certainly does do a good job reminding of when Ed Brubaker and Sean Phillips are hitting the high notes on the comic.

The special brings back a character, but Brubaker spends more time establishing this Conan knockoff than anything he does with the issue’s protagonist. Having black and white interludes to the Conan knockoff’s magazine (it takes place in the seventies) wouldn’t work without Phillips’s art. He has this beautiful way of being detailed but not too detailed. You can buy the interludes as hurried late seventies fantasy comic art, but there’s still the Phillips quality to it.

The individual scenes in the comic–whether it’s the protagonist in a jailhouse fight or yelling at his son at one point–work better than the whole. Brubaker doesn’t have time for a big twist. He’s got time for scenic awesomeness though.

CREDITS

By This Sword I Live!; writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

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