Lazarus (2013) #6

Reading this issue of Lazarus, I was having a hard time reconciling it with the way the comic used to read. It’s become one I look forward to reading (not just seeing the Lark art) and I think I figured out what Rucka’s doing differently.

First, he’s turned Forever into a somewhat unreliable protagonist. The reader gets to see her reactions to certain things and assume her emotions, but Rucka is deftly suggesting not. The reader doesn’t know what Forever’s doing because she’s not that kind of protagonist.

Second, he’s splitting the story between the big power people and the little people. Even if the little people are scummy security guards. Rucka’s mixed the pot a little–there’s a cast of interesting people.

Maybe third, maybe more part two point one, is how Rucka’s opening up the space. He’s giving Lark much more to draw.

It’s becoming a solid read.

Lazarus 6 (February 2014)

Maybe third, maybe more part two point one, is how Rucka’s opening up the space. He’s giving Lark much more to draw.

It’s becoming a solid read.

B+

CREDITS

Lift, Part Two; writer, Greg Rucka; artists and letterers, Michael Lark and Brian Level; colorist, Santiago Arcas; editor, David Brothers; publisher, Image Comics.

Lazarus (2013) #5

Maybe all Lazarus needed was some context. Rucka finally shows life for regular people–presumably these new cast members will be returning after their little adventure this issue. He doesn’t spend so much time on exposition for them either. He just shows their lives in this future. For Forever and her story, there’s always a lot of explaining.

But the issue also shows Forever in charge (though Rucka’s flashing back to her upbringing when she wasn’t) and these are good scenes. There’s a great standoff with a rival gang, there’s a great standoff with the daughter of a subject Forever had executed. Rucka’s definitely using Lark to his fullest this issue, those pensive Lark expressions.

It might also help the series is past the “pilot” stage. Even with all the exposition, Rucka’s a lot more comfortable and confident in the future details. Or maybe there are just less of them.

Lazarus 5 (December 2013)

It might also help the series is past the “pilot” stage. Even with all the exposition, Rucka’s a lot more comfortable and confident in the future details. Or maybe there are just less of them.

CREDITS

Lift, Part One; writer, Greg Rucka; penciller, Michael Lark; inkers and letterers, Lark and Brian Level; colorist, Santiago Arcas; editor, David Brothers; publisher, Image Comics.

Lazarus (2013) #4

I’m going to have to talk a lot about the Lark art because there’s not much story to discuss. Except maybe how the scientist sister has the hots for the poor boy scientist she works with. Or maybe not. But it did give me another sentence and another sentence is a lot for a discussion of this issue.

It’s an all action issue. As much as I love Lark–and he’s back on the ball this issue, no slacking here–seeing him do prolonged action is boring. It’s amazing if concise, boring if too long. It’s way too long this issue.

There’s some intrigue with the rest of the family, most of it entirely predictable. There’s a tiny character moment for Forever with the other Lazarus, but it’s slight.

The soft cliffhanger’s inane. It’s far from Rucka’s worst script on the series, but it’s a tepid outing to be sure.

Lazarus (2013) #3

Besides the incest twins playing it up like Bond villains, this issue features Rucka’s best writing on Lazarus. It kind of features Lark’s worst art on it–he really doesn’t take a lot of time with the incest twins but who would–but it’s still quite good art as it’s Lark.

The issue even manages to survive Rucka’s negotiation scene, which reminds way too much of Dune. But before that scene, Rucka has an interesting scene with Forever and another family’s Lazarus. Wait, I’ve said it all reminds a little of Dallas too, right?

Anyway, this issue’s actually got talking, thinking adversaries for Forever to interact with, which helps a lot. Rucka’s got all his plots within plots; those don’t do any good for honest scenes. He usually asks the reader to suspect everyone and every scene, not just read the comic.

Lazarus isn’t great, but it’s finally nice reading.

Lazarus (2013) #2

Sort of a lot happens but also not a lot. Rucka really plays up incest between the siblings, which would have been shocking if he hadn’t done it twice.

There’s a lot of suggestions here too about Forever. She was genetically engineered, probably grown or cloned. Rucka treats it like a big deal because she doesn’t know, but it’s not a big deal for the reader.

Not much of Lazarus feels original, which I might have complained about before. The setting–dystopian Western United States–aside. It’s kind of like Dune and probably something set in feudal Italy.

There is a great bit at the end with Forever; it’s the only time she really gets a scene to herself. Rucka does well with it too.

But even though it’s not original, even though it’s repetitive, there’s Lark. And Lark does some beautiful art for it. Great muted action in particular.

Lazarus 2 (July 2013)

Sort of a lot happens but also not a lot. Rucka really plays up incest between the siblings, which would have been shocking if he hadn’t done it twice.

There is a great bit at the end with Forever; it’s the only time she really gets a scene to herself. Rucka does well with it too.

But even though it’s not original, even though it’s repetitive, there’s Lark. And Lark does some beautiful art for it. Great muted action in particular.

CREDITS

Family, Part Two; writer, Greg Rucka; artist and letterer, Michael Lark; colorist, Santi Arcas; publisher, Image Comics.

Lazarus (2013) #1

I haven’t seen an episode of “Dallas” since I was a kid, but for some reason, when the characters in Lazarus blather on about family, it reminds me of “Dallas.”

This first issue has three distinct tones. One is action. There’s a lot of action at the beginning; with another artist, I’d probably argue it’s a waste of pages but Michael Lark is never a waste of pages, even if he is just showing off how the protagonist is a master ninja or whatnot. There’s the difference–Lark’s action sequences convey information.

Then there’s the scenes where the protagonist–Forever (it’s often confusing)–talks to her doctor. She’s apparently indestructible, so he just fixes her up. Like she’s a robot, actually. Exposition there.

Then the family soap opera scenes, with some other stuff thrown in.

Greg Rucka’s script’s far from perfect, but it’s vaguely compelling sci-fi with gorgeous art.

Lazarus 1 (June 2013)

I haven’t seen an episode of “Dallas” since I was a kid, but for some reason, when the characters in Lazarus blather on about family, it reminds me of “Dallas.”