Rucka employs a lot of structure for this issue of Lazarus. There’s a framing device, then a flashback, then a reveal about the framing device. Only that reveal has absolutely nothing to do with what happened in the flashback and it doesn’t really change the initial frame, it’s just there for Rucka and Lark to do something else cool. There’s a sword fight. Lark does a really, really good job with it. He paces it out perfectly–you can hear the swords clanging looking at his panels–and then when Rucka gets around to the reveal on it? Turns out Rucka’s got some really great ideas too. It’s just a perfect thing in the comic.
It also has nothing to do with the main story. It’s like a glorified subplot, only specially rendered. And, wait, there is something else with some returning characters–maybe this arc is going to go a little bit differently in terms of narrative approach? i.e. Forever won’t be the lead. Something the flashback does address. Lazarus is just an expertly executed book at this point. Rucka and Lark have a phenomenal rhythm.
The flashback, which involves the Carlyle family and their sci-fi soap opera (I mean it in a very good way), has some twists and turns of its own. Rucka’s setting up the arc but he’s also making sure to reward the reader’s patience.
And there’s gorgeous Lark art.
Cull, Part Two; writer, Greg Rucka; penciller, Michael Lark; inkers, Lark and Tyler Boss; colorist, Santiago Arcas; letterer, Jodi Wynne; editor, David Brothers; publisher, Image Comics.