Another very strong issue of Lazarus as Greg Rucka and Michael Lark continue their various subplots and really start to explore how unjust this world is. It’s been a fantastic decision in this second arc to introduce a family of ‘Waste’, it’s opened up a whole new side of things.
We begin, like last issue, with a flashback to Forever Carlyle’s childhood, where she is desperately training so she can defeat her teacher the next time her father visits, and not be disowned. We discover that her father would never actually do that, but the worrying thing about it is that she believes it. The conversation between 2 of Eve’s teachers are our strongest hints yet that she is a clone or some kind of genetic experiment. I sort of think that one of those teachers is the one sending her those ‘this is not your family’ texts in the present day.
Back in the present, Forever’s plot involves her doing a security check around LA, where she notices a chalk mark on a certain storage contained. She waits around until the evening, where she sees a robbery. It is conduced by some serfs, who send one of their number to have sex with the guards as a distraction. The way Eve stops this crime is interesting, she watches quietly, letting it happen and letting them get away, before stopping the guards in the middle of fucking the distraction girl. She’s angrier at them for sleeping with this girl rather than at her, which shows her conscience, but she’s still going to hunt down this girl’s friends. This was a bleak scene, but effective. Any situation where someone is forced to sell themselves for sex in order to survive is bad one.
Also in a bad situation are the Barret family, who are trying to work out what to do in the aftermath of their house being destroyed. In the end, they decide to leave their home and give it all back to the Carlyles, whilst they make the long journey to Denver to try and be ‘lifted’ up in society. These scenes really showed how exploited the Waste are in this world, and they also gave us a nice insight into the Barrets, in particular the children. The Barrets’ neighbour sends his granddaughter along with them, and she is going out with the Barrets’ son. From the preview to #7, this journey is not going to go very well, so I’m pretty worried.
This series really is developing into something interesting. I loved the first arc, but as I said, the introduction of these new characters has raised it up to a whole other level. Michael Lark’s artwork was fantastic once again as well, his dark and gritty style is perfect for this dystopia. This is a pretty far-fetched world, but Rucka’s attention to detail and Lark’s art make it feel all too real.