At first, this latest chapter in the saga of the world's last man's travels across America, accompanied by two strong women, seemed fairly run-of-the-mill, at least as far as this title is concerned. It looked as though another adventure was about to unfold, offering excitement and insight into gender issues. With an unpredictable twist at the end of the issue, though, Vaughan really sets this new story arc apart. Sex promises to take center stage in this story arc, but it's a definition of sex with which the majority would not be familiar.
(Jokes about my own personal familiarity with such matters should be promptly shoved up one's ass. That's right, I'm lookin' at you, Lander.)
As Yorick, Dr. Mann and Agent 355 continue to make their way toward California, Ampersand -- Yorick's pet monkey and the only other male mammal to be spared from the plague -- has taken ill and requires medication in order to stave the spread of infection. Agent 355 decides she and Mann should make their way to a nearby town to get what they need, but she's unwilling to leave the impulsive Yorick unattended. She calls upon an old colleague from the Culper Ring to help out, and she agrees to babysit the last man on Earth.
On the surface, Guerra boasts a simple style, but somehow, she employs it in such a way to create a strong sense of reality here. The simplicity of her style brings with it a down-to-earth quality that serves this story incredibly well. I'm also struck by the backgrounds. Guerra, Marzan and Zylonol really convey a sense of untouched, natural beauty in the various settings for this book. I'm sure that subtle emphasis is no accident. The fact that the bulk of this series is set in rural settings is no doubt part of the plan, and the artist is serving that visual theme quite well. I also enjoyed the monochromatic motif used for the opening flashback scene.
The earlier scene featuring the protagonists' encounter with an angry posse serves two important purposes in this story. First, Vaughan leads the reader to believe that these characters are getting into so much trouble, he can't even tell us all of their stories. Secondly, it reinforces the notion that Yorick can't be left alone; it's easy to see why 355 is so annoyed with him. Yorick doesn't come off as heroic or resourceful; he's as irresponsible as the others perceive him to be. the flaw makes him more interesting and more relatable. He's still the hero of the story, but in some ways, he's also the damsel in distress.
What really grabbed my attention this month was the cliffhanger ending. Vaughan introduces a new element into Yorick's world that boasts a dark but disturbing allure. I've seen other writers explore similar notions in recent years -- Greg Rucka in Black Widow: Pale Little Spider and Brian Azzarello in Hellblazer -- but this plotline promises to bring a much more personal and powerful focus to as certain niche of sexuality and identity.
