This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
As much as Lazarus has shown us a dark vision of a future dystopia, it’s largely shown it to us from the point of view of that world’s most wealthy and privileged members. Introduced in the second arc, the Barret family allowed writer Greg Rucka to give readers a glimpse of the world from the point of view of its most unfortunate and downtrodden instead. As the series progressed, Michael and Casey have become more integrated with the world’s elite, but parents Joe and Bobbie Barret still provide that more grounded P.O.V., even as serfs. As Lazarus X+66 3 reminds us, the pain of the past can’t, and shouldn’t, be so easily forgotten. Continue reading →
Today, Shelby and Spencer are discussing Lazarus 8, originally released April 23rd, 2014.
The squeaky wheel gets the oil.
The nail which sticks out gets hammered down.
Shelby: Two opposing ideas: one, that speaking up about problems is the only way to call attention to them and get them fixed, the other, that maybe standing out from the crowd and speaking out is more dangerous than it’s worth. I am firmly in the former camp; I believe dissent is the first, important step to affect change. After all, if no one knows there’s a problem, how’s it going to get solved? But maybe I only feel that way because I’ve had the luxury of never being in a situation where that would be the more dangerous approach.
Today, Patrick and Drew are discussing Lazarus 6, originally released February 4th, 2014.
Patrick: Matt Groening had been writing and drawing his comic strip, Life In Hell, for five years beforeThe Los Angeles Way of Deathcaught the attention of James L. Brooks. Brooks had received a framed copy on the strip and the simple message of the piece eventually lead him to mentor Groening, ultimately developing The Simpsons together. That’s a Cliff Notes version of their history, but that specific Life In Hell strip is notorious for all the right reasons — a quick, clear series of images that expressed the existential slog of living and working in LA, but without being beholden to any narrative, save that which the reader projected onto it. There are clever observations throughout — like that “Gun” and “Cop” are basically the same drawing, or that “Sea” and “Air” are both true and elemental (come to think of it, Fire and Earthquake would also fit) — but the most poignant panels are the last two: “Failure” and “Success.” Both are prisons in their own right, and the uber class system at play in Lazarus makes the similarity between these apparent opposites explicit. Continue reading →