Lazarus 8 (April 2014)

Rucka shows all the subplots coming together at the end of the issue for the soft cliffhanger. It’s not particularly dramatic stuff; the connection is contrived, which is okay because Lazarus is kind of a big soap opera. The kids hating their rich father is enough to make it a soap opera. Through in an “adopted” genetically engineered sibling and it’s even bigger.

There are some problems with how long this arc is going. Hopefully it’s only another issue. A lot has happened but most of the events just rearranged things. Rucka’s still coasting on some of the more effective events, kind of zooming downhill on that momentum to get him to the finale.

Nothing much happens. It’s filler, except the linking of the story lines. But it’s still good enough. Even with Lark’s art falling off a bit, especially on faces. They look way too hurried.

But steady on.

CREDITS

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

Veil 2 (April 2014)

The first issue of Veil just had present action scenes, no exposition. This issue, Rucka adds exposition. He adds rapist cops–and their compliant partners, he adds fundamentalist Christian preachers who make deals with demon conjurers–and he adds a lot of dialogue.

Oddly, it also gives Fejzula a lot less to do. More stuff, but less interesting visuals.

Unfortunately, all of the additions are bad and they’re all at the expense of the title character. Veil, this issue, just sits around until she conveniently goes off–doesn’t like waffles. The guy helping her talks to himself the entire issue and his dialogue’s terrible.

There’s an early moment to forecast the problems–the guy freaks out because he can’t climb over a dumpster to escape the cops. Not the rapist cops. Presumably regular ones. Why can’t he climb over the dumpster? Nice pants?

It’s so bad it’s not even disappointing.

CREDITS

Writer, Greg Rucka; artist and colorist, Toni Fejzula; letterer, Nate Piekos; editors, Shantel LaRocque and Scott Allie; publisher, Dark Horse Comics.

Lazarus (2013) #7

Even though there’s a rather emotional turn of events this issue–Rucka and Lark pace the sequence perfectly–there’s almost a genial quality to this issue of Lazarus. As genial as a comic where the opening scene is a flashback to Forever getting caned as a child.

But that genial quality, along with an odd sense of wonderment in the soft cliffhanger, are worrisome for the arc. Not terribly worrisome, just a bit. Rucka can either reward the reader or be honest to the story. While reading the issue, these concerns don’t come up. Only afterwards.

The stuff with the peasant family trying to make it to the opportunity to better themselves is good. Maybe a little too much tugging on the heartstrings but no worse than any number of Westerns.

Forever, in the modern day, is investigating a terror cell. It’s practically the B plot, but engaging.

Lazarus’s stride is continuing.

Lazarus 7 (March 2014)

The stuff with the peasant family trying to make it to the opportunity to better themselves is good. Maybe a little too much tugging on the heartstrings but no worse than any number of Westerns.

Forever, in the modern day, is investigating a terror cell. It’s practically the B plot, but engaging.

Lazarus’s stride is continuing.

CREDITS

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

Veil 1 (March 2014)

I’m hesitant to wonder if Greg Rucka and Toni Fejzula are going to be able to maintain Veil’s success into a second issue and beyond. Fejzula’s art approximates watercolors, which is a complete disconnect from the issue’s content. Lovely watercolor panels set against the story of a woman who wakes up naked in an abandoned subway and then in a bad neighborhood.

Rucka and Fejzula are challenging the idea of Sturm und Drang with it, not to mention with the girl–the titular Veil–actually finding a nice person. Even in the moments of ultra violence (watercolor ultra violence is another new one), Veil retains some positivity.

For that reason, along with its deliberate, self-indulgent (yet justified) pace, Veil is one of the best things Rucka’s ever done. He and Fejzula aren’t pushing the comics medium’s limits, but they are knocking it over to see how it works.

B+

CREDITS

Writer, Greg Rucka; artist and colorist, Toni Fejzula; letterer, Nate Piekos; editors, Roxy Polk, Shantel LaRocque and Scott Allie; publisher, Dark Horse Comics.

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.