Today, Drew and Spencer are discussing Lazarus 26, originally released March 29th, 2017. As always, this article contains SPOILERS.
Drew: Goodness gracious, is this series great. I tried approaching this intro about seven different ways, but the only way to really do justice to this issue is to start off by acknowledging just how precise writer Greg Rucka and artist Michael Lark are in what they do. There’s so much going on in this issue that showcases exactly why this series continues to be one of my favorites, but I’m going to focus on the introduction of Vassalovka’s lazarus, the Zmey — an unexpected grenade of a threat that utterly disrupts the slow-burning family drama at the heart of this series. Continue reading →
Today, Spencer and Ryan are discussing Lazarus 18, originally released July 29th, 2015.
Spencer: There’s a certain rush that comes with new stories, with watching a whole world full of new characters and relationships being established right before your eyes, but it’s a rush that by definition can’t last forever, and late-series attempts to keep things fresh often misfire. The answer isn’t continually adding new characters and concepts, which can often leave a story feeling bloated and distract from its core themes; the best storytellers know the power that comes from mixing up established relationships, throwing together characters who have never really interacted before, and finding new perspectives to view their cast through. Greg Rucka and Michael Lark’s Lazarus is well into its second year and fourth storyline, and it’s exactly these kind of techniques that keeps issue 18 feeling as compelling as ever. Continue reading →
Today, Drew and Spencer are discussing Lazarus 17, originally released June 17th, 2015.
Narrative art must be clear, but it must also be mysterious. Something should remain unsaid, something just beyond our understanding, a secret. If it’s only clear, it’s kitsch; if it’s only mysterious (a much easier path), it’s condescending and pretentious and soon monotonous.
Drew: I’m fascinated by the relationship Lazarus has with clarity. It’s actually one of the most clear comics I’ve ever read — I’ve often remarked upon both Greg Rucka’s deceptively organic exposition and Michael Lark’s ability to keep track of every character in a scene — but it also leaves a great deal unsaid. The most obvious piece is the world-building — our focus has remained relatively tight on a small handful of characters, but every detail implies a much larger, more complex world beyond the edge of the page — but I’m much more interested in the things literally left unsaid; the subtle glances and body language that permeate the artwork, leaving the audience to interpret how characters are feeling. This all but forces us to project our own feelings onto the characters, drawing us further into the narrative. Issue 17 opens with what amounts to reversal of this trick, forcing the characters’ subjectivity onto us, and it is incredibly effective. 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.