Minimum Wage: So Many Bad Decisions 5 (September 2015)

Minimum Wage: So Many Bad Decisions #5

What the heck is Rob doing? I mean, Minimum Wage has become the most gripping comics narrative I’m reading. More than anything else, I want to know what happens next because I care about Rob. Reading Wage is caring about Rob; liking Rob (most of the time), because it feels like Rob’s Fingerman and you like them both.

And Fingerman puts Rob in an unexpected situation. An unexpected, incredibly dangerous situation. I can’t even imagine how it must read for people familiar with the first series of Minimum Wage–and I’m now upset I didn’t go and read that series in between the previous revival series and So Many Bad Decisions.

Fingerman takes the Bad Decisions to an epic (for Wage) level this issue. It’s crazy and awesome. And, after I was dreading the series only running four issues, I know it isn’t going to run past six. So Fingerman’s got one left, then whatever kind of break.

He sets it up beautifully.


Writer and artist, Bob Fingerman; publisher, Image Comics.

Lazarus 19 (September 2015)

Lazarus #19

It’s so good. Do I always start a Lazarus response with that statement? “It’s so good.” Like every time I read the comic, I’m surprised by how good Rucka and Lark do on the comic. It’s always a surprise too. Rucka hits a new ceiling. He integrates Lark and his abilities in an entirely predictable but entirely unexpected way. It’s great stuff.

Lark’s art is real strong this issue overall. He’s got really varied storylines going on, each needing distinct, immediate visuals. Lark finds a tone for each. What’s really cool–and something Rucka did carefully–was get someone likable into every storyline. Or someone comically unlikable (the evil, incestuous sister). It brings a soap opera element into it. And then Lark and Rucka deliver an action sequence.

Lazarus, very, very discreetly, mixes genres. And Rucka does it really well. It might be why the first arc didn’t connect–it was setting up the situation to allow Rucka all the freedom. The painful exposition about the dystopian future, for example, set up the second storyline, which is where Lazarus started to get good. And now it’s one of my favorite comics.

Awesome last sequence too; just awesome.


Poison, Part Three; writer, Greg Rucka; penciller, Michael Lark; inkers, Lark and Tyler Boss; colorist, Santiago Arcas; letterer, Jodi Wynne; editor, David Brothers; publisher, Image Comics.

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