Lazarus is back on track–sort of, Rucka still splits the issue too much–but he doesn’t just give Forever something to do, he lets her make the big decision. The latest arc has been floundering a bit because Forever has been recuperating and way too much the subject of the comic and not enough the protagonist. The moves Rucka makes this issue don’t exactly but her back in the protagonist chair, but they put her close enough to it to create some good will, all while he’s implying the chair is about to get upgraded.

Rucka does try to make the non-Forever, non-Carlyle half of the comic more dynamic. There’s a news team trying to get a good story or something. It leads to some mildly amusing dialogue and a cliffhanger. The cliffhanger doesn’t have any meat to it–the comic gets more enthusiasm off its promise of next issue’s Lazarus battle (as it involves Forever) than anything in the cliffhanger.

As always, the Lark art is wonderful. Even if he does just get to do talking heads. Rucka seems to be about done with his setup, he just needs to deliver on it. This issue suggests he can and will, enough I’m not worried. I just want him to get to it. Forever needs to kick some ass.

It’s a perfectly good issue of Lazarus but it feels a little slight. Rucka’s trying to do too much at once–Forever’s story, little Forever’s story, the family, then the action stuff… it’s just too much. Lark’s good at expressive action from characters and the juxtaposition of young and regular Forever is cute, but it’s not enough.

Lazarus has been running so lean for so long, having an issue where Rucka spins a bunch of subplot wheels for future development is a little strange. He’s moved the book away from Forever’s point of view and hasn’t returned to her. Everything’s still strong–like I said, perfectly good–but it feels off. Taking Forever out of the action–especially since the action sequences are just assassination missions–makes the action seems a lot less salient.

With so much going on in the book now–I mean, there are two Forevers, double the usual amount–I suppose an unevenly paced issue is inevitable. Or maybe I just want Forever, the real Forever, back in action.

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.

Forever is out of commission this issue of Lazarus, giving Rucka time to develop Johanna further. The supporting cast of Lazarus is always something of a prickly situation as they know more than the protagonist and than the reader. It makes it hard to be sympathetic towards them, hard to trust them. Actively hiding something from Forever feels like actively hiding it from the reader. It’s hostile.

For instance, the little Forever Carlyle clone. She’s adorable. She has snowball fights. She’s probably going to either kill a bunch of people or get killed. It’s going to be tragic. And Johanna is aware of it and unfeeling about it. The most important thing Rucka’s done with his “world building” is make the characters of Lazaraus acceptably soapy. It’s the main suspension of disbelief. You have to believe the machinations.

This issue gives Johanna enough character–though Rucka does go a little far with the father issues. But Johanna does have enough character to function now. She’s rounded enough.

Now, all of this story stuff comes during what’s essentially an action issue. Lark gets to do two major battle scenes. With flying soldier guys. It’s awesome.

So nice to have another Lazarus.

Rucka gets so much done this issue, so many plot threads tied up–while introducing a great new one in the soft cliffhanger–I can’t even remember them all. It’s an extra-sized issue, which helps, because there’s a lot going on besides the war comic.

This issue, with Forever and her unit attacking the enemy’s position? It’s a war comic. It’s Michael Lark doing a war comic; sort of future-y, but not really. It’s also Lark doing an action comic. Forever’s in an action movie version of a war; she’s Chuck Norris. It’s awesome, because Rucka maintains the tone, maintains the seriousness. He, Lark and co-inker Tyler Boss are as restrained and careful as ever.

The rest of the comic has the family working on a cure for the patriarch while one of the daughters has to take over for the “in charge” brother because he can’t hack it. It’s almost like an episode of “Dallas,” only with a bunch of military stuff going on. But it’s all off-panel; it creates a lot of tension for Forever.

Lazarus continues to be a fantastic book.