Such a good issue….

Brubaker’s able to get more content in because he’s got an increased page count but also because he’s concentrating on doing a standalone story. It turns out it’s not exactly standalone, but the issue has a beginning, middle and end. There’s no messing around with being deceptive in the narrative, to find something to reveal.

As much as I like Brubaker’s work, his staple of revealing a hidden truth about something in the past gets old. Just having him write a story–a continuous narrative stroke, maybe flashing back to reveal information to the reader but not the protagonist–is nice.

At the core of this issue is the relationship between the characters. The dialogue in their conversations is some of Brubaker’s best; he establishes the characters, their history, their relationship, all in one issue.

The great Phillips art is just a bonus.

An excellent comic.

CREDITS

Second Chance in Hell; writer, Ed Brubaker; artist, Sean Phillips; colorist, Val Staples; publisher, Icon.

Now I remember this story arc and why I didn’t have any bad memories of it–because it’s great.

What Brubaker does in this arc is take a character who’d be on the periphery of another story–a bigger story–and examine him. Tracy’s a tough guy who’d be in one scene of a more traditional noir story and instead Brubaker turns him into the lead. Except he’s not some first person narrator, he’s still distanced. It’s wonderful and completely unlike the first arc.

I’m not a fan of the forced fictional cities and locales, but as Brubaker brings this arc to a close, with some beautiful Phillips winter art–I wish it could go on forever. Phillips and Brubaker work great together, but something about this issue in particular really syncs more than usual.

It must be the winter. Brubaker’s narration suggests it’s always slushy and cold and Phillips’s art shows those conditions.

CREDITS

Lawless, Part Five; writer, Ed Brubaker; artist and letterer, Sean Phillips; colorist, Val Staples; publisher, Icon.

It’s in film noir’s nature to have a double-cross, to have a secret inopportunely revealed and have it affect the protagonist’s plans, whether he be a good guy or a bad guy.

So I’m not surprised Brubaker has both of those elements in this issue (maybe twice for each). But Criminal isn’t a film. It’s not a standalone narrative, regardless of story arcs. It’s a serialized narrative, which means having a double-cross and revelation once a story arc is tiring. Even when it’s done well, like this issue.

It’s different, for example, from a TV show where there’s the weekly “eureka” moment, because those moments are part of the show’s package. I don’t buy Criminal to get a neat or funny double-cross.

That problem aside, this issue might be even better than the last.

Brubaker’s exposition is so well-written, the plot probably doesn’t matter at all.

CREDITS

Lawless, Part Four; writer, Ed Brubaker; artist, Sean Phillips; colorist, Val Staples; publisher, Icon.

In some ways, this issue is the first regular one of the arc. Brubaker’s not introducing anything startling, he’s just telling a story–he’s got enough established already he has material to work through.

The result is a very nice issue. The only negative thing I can think of to say about it is Phillips’s one panel with a smiling Tracy is a little weak, like Phillips isn’t used to drawing smiling people. He’s probably not. He also might have been trying to draw a fake smile, so it comes off even funnier.

There’s more good narration this issue. I paused to reread an exposition box, which I don’t do very often. Brubaker’s in a real stride here–again, it helps the protagonist is an AWOL soldier. It gives him a lot he can do with the character and he doesn’t have to be coy about him.

It’s rather excellent.

CREDITS

Lawless, Part Three; writer, Ed Brubaker; artist, Sean Phillips; colorist, Val Staples; publisher, Icon.

Brubaker has a reasonably painless reference to the first arc here, letting that arc’s protagonist have a little cameo. Then people talk about him a bit.

It’s problematic because Brubaker’s writing the character differently here, so it attracts more attention than it should. Otherwise, it’s all very solid, once again.

I think my favorite part of the issue–and I’m not even sure if Phillips did it–is this map the villains all look at to plot their plan. It’s just a map, sure, but there’s something very full about it–like it gives the reader a look at this Criminal world without having a bunch of exposition to wade through.

I’m not sure if it’s intentional, but Brubaker’s exposition this issue sounds a lot like Kubrick’s The Killing narration (that narration being from Lionel White’s source novel). It gives Criminal a tone, something Brubaker forced on the first arc.

CREDITS

Lawless, Part Two; writer, Ed Brubaker; artist, Sean Phillips; colorist, Val Staples; publisher, Icon.