It's become more reflective and experimental, I think, as we've gone along. Stories that go back and forth to different time periods in the characters lives. Yeah, that seems to be what I like to do with Criminal most. Do you have any desire to go all the way back to the beginning, or is jumping across characters and decades the only way this series really works for you? Where does this Criminal series take us next? Ricky Lawless has been in the spotlight for a minute, but Teeg's story has featured recently, and his generation is the root of a lot of the characters in the series. RELATED: Snyder, Soule & Camuncoli Tease New Image Comics Series I think when I had his life figured out in a way that made sense, all the different parts of his career, then I was able to figure out how to crack the story. I just start from the character, and Hal Crane was one of those characters I'd been building in the back of my mind for a long time, based on various stories I'd heard about a lot of artists from the '50s and '60s, but just sort of trying to make someone like that, other than a few incidents I used and changed the details of. I don't really think about that stuff too much. I mean, all writing is taken from your own history in some way or another, even if you don't know it. What leads a story like this for you? How much do you reflect on your own personal history with this stuff versus letting the idea or the theme take over?
While there are a lot of real people from comics mentioned in this story (we even see Will Eisner for a panel), the core aging comics artist Hal Crane especially read like an amalgam of reputations held by the likes of Alex Toth or Wally Wood while still being an original character. I take a great amount of pride in that, even though almost no one but me seems to care. So I want to make sure our comics stand out from that, and are always worth your money. They're different formats, they each have advantages, but a lot of publishers single issues seem like afterthoughts lately. Then make the trade or hardback collection special too. I think everyone should put more effort into making the single issues less of just a chapter of a trade, you know? Make the comic itself something special. But I think there's something very special about comic books, and the whole trek to the comic shop every week to see what's out. You can see why Dickens and Dumas did it.
Getting to put our work out as we create it is such an amazing thing. The immediacy of it can't be understated. Between that approach and the annuals a few years back, what, creatively, do you and Sean get out of playing with the "floppy" format? Bad Weekend is coming out as a standalone graphic novel now, though you've been committed to single issues with Criminal when a lot of people rush right to collect everything.
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