Vaughan continues his exploration of society, gender roles and personality in what might very well be the most challenging and enthralling new comic-book series of the year. While the premise -- all men on the planet die, save for one -- is fascinating, it wouldn't be anywhere near as interesting if Vaughan hadn't established a strong focus on characterization. Vaughan is also to be applauded for offering such an accessible read; even those who missed out on the thre first sold-out issues of this series will have no trouble getting into the book from this point.
Agent 355 accompanies Yorick Brown through Washington, D.C. The pair looks for some kind of transportation that can take them to Boston, where they hope to consult with a geneticist who might be able to figure out what saved Yorick and from there, somehow find a way to restore the human race. Yorick's curiosity and sentimental side get in the way, though, as he takes a dangerous sidetrip that brings him face-to-face with a gang of Amazons, dedicated to eradicating all traces of the male gender from the face of the Earth.
this story is centered on an unreal premise, but there's a strong sense of realism to it all the same. Guerra's artwork captures that sense of reality while never losing its simple charm. Her work here subtly reminds me of the styles of such artists as Dick (Freemind) Giordano and Jill (Sandman) Thompson, and the overall visual tone -- and quietly tense atmosphere -- reminds me of Warren Pleece's work on the still-missed Deadenders, another Vertigo title that took a look at dark roads society could take. The most unnerving visual in the book came on the final splash page, where we see for ourselves the extent of the Amazons' fanatacism. We already knew about it, but seeing it was another matter altogether, driving Vaughan's point home.
I think the most entertaining and intriguing aspect of this issue is that although Yorick is the protagonist of the book and boasts a quirky charm, he's not entirely likeable. He makes some bone-headed -- though believable -- mistakes and clearly doesn't fully appreciate his situation. Though he knows the world has been irrevocably changed, he hasn't adjusted to it yet. Seeing him take foolish risks here strikes me as being akin to watching someone get impatient with security delays at a major American airport on Sept.12, 2001. The individual knows the extent and enormity of what happened the day before, but has processed the social aftershocks yet.
The immense storytelling potential in the core concept boggles the mind, but Vaughan is taking his time with it. This is an ongoing series, after all, and thankfully, a well-received one. There's plenty of time to explore that potential, and wisely, Vaughan recognizes it. He's not trying to cram too much of it into the book at once. Mind you, the book isn't exactly plodding along either. Vaughan has established a solid pace here, and a nice balance between the sociological and the personal elements of the book.
