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REVIEW: War of Families in ‘Lazarus: The Second Collection’

 
Lazarus Second Collection cov
Lazarus Second Collection cov
Lazarus Second Collection cov

 
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4.5/ 5


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To sum it all up..

Family is undeniably a social construct. It is considered a foundation of a community, tribal unit, society, nation and ultimately, civilization. It is even ingrained to various cultural norms and practices to the point of protecting its very existence that can be felt up to this day, like in religious beliefs and the legal systems […]

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Posted May 18, 2016 by

 
FULL REVIEW
 
 

Lazarus Second Collection covFamily is undeniably a social construct. It is considered a foundation of a community, tribal unit, society, nation and ultimately, civilization. It is even ingrained to various cultural norms and practices to the point of protecting its very existence that can be felt up to this day, like in religious beliefs and the legal systems around the world. However, it is also inescapable from its critics in many periods of history, primarily during the rise of the Industrial Revolution and the economic theory named capitalism in the 18th to 19th centuries. Ideologies like nationalism, communism, socialism, anarchism and Marxism have something to nitpick against the concept of family in regards of showing loyalty and commitment to the higher cause, like nation/state, party, movement, or anything synonymous with the “greater good”.

[CHECK OUT… GRAPHIC NOVEL REVIEW: Lazarus Book One HC]

But in the seminal mind of writer Greg Rucka, family is a resilient and highly adaptive concept. It probably will go beyond the postmodern times, even fuses with several modern and medieval concepts to maintain its relevance and longevity. His Image-creation work, LAZARUS, takes that “family-centrism” paradigm in the graphic sequential narrative that the families are the masters of the world, controlling virtually all of the natural and cultural-economic forces, the top cultural and social echelons, and to some extent, the makers of history. In the second volume, hardcover deluxe edition, LAZARUS: SECOND COLLECTION, Rucka puts the “family” into the test once again that would possibly change the course of history. This volume contains chapters three and four of the Lazarus series, namely Conclave and Poison, respectively, issues #10 to #21. It also features a new updated world geopolitical map and additional illustrations and notes by the creative team, especially by co-creator Michael Lark.

Lazarus Second Collection 01

Indeed, the top fourteen families meet and ended up fighting for supremacy, akin to the feel of the Game of Thrones series (actually, it can be argued that Lazarus is the GoT of the future, only vastly technological and scientifically advanced). Rucka, however, has no damsels-in-distress figures because majority of his female characters in Lazarus are tougher-than-nails, if not more powerful than their male counterparts. For example, some of the Lazari (the top enforcers of the Families) are female, particularly the main protagonist Forever. The youngest daughter of the Carylle clan, Johanna, is the most Machiavellian type that perhaps Niccolo Machiavelli might revise his The Prince. Some of the troops fighting are women, especially under Forever’s command. Even the nun presented inside is more resilient than what she appears to be. Despite a very strong feminine cast, Rucka makes sure that majority of the supporting casts are given ample moments to shine, which is the case of the other Lazari in the poker game and the other members of the different families. Students of history in the genres of medieval, war, and politics would certainly enjoy scenes of politicking, maneuvering, deceptions, alliance-switching, dominance, and even a good old fashioned trial by combat, that blend well with the usual suspense, drama, backstabbing, red herrings, and a surprise plot twist in the end of the story that nicely transitions to the next story arc.

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Artist and frequent Rucka collaborator Michael Lark is both lyrical in his illustrations in the Conclave arc and brutally realistic in the Poison chapter. The former is best illustrated in the dance regalia where the titular character got the first dance of her life, and the past part where the trial by combat commenced which pitted two fast friends who must uphold their familial loyalty to their respective clans. The latter is really gritty; darker and almost real-life since the Conclave literally fell apart more than one way or another. The battle sequences the artist draws are compelling, almost grounded and warts and all, no superhero antics whatsoever (except for the Lazari, naturally). Even his world-building continues to expand to present how the future fares in the hands of the families, particularly in North American regions, where the Carylle and Hocks hold territories. And, his sequential paneling remains very consistently accessible even in pages where his illustrations do the heavy lifting in conveying the story itself. This mastery is best exemplify in the trial by combat and the battle for Duluth moments, where the scenes are less worded to silent, but his artwork tells it all. His facial portrayals are equally accurate to the mood and tone of the stories, though longtime Lark followers and Lazarus readers are already familiarized with his signature projection of worriless, anxiety, anger, cocky, even the poker faces. In short, Lark most probably outperforms himself more than what he realizes it!

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LAZARUS: SECOND COLLECTION is a vast improvement from the first hardcover deluxe edition collection in terms of size and scope. The writing quality of Rucka remains topnotch and the artwork of Lark ranges from consistent to superb. Yes, it has course language to convey realism and some display of bloodshed, violence and even some dismemberment. Regardless, this latest volume explores how the essence of “family” resonates more than ever in the near possible future in the graphic novel genre.


Paul Ramos

 


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