The previous story arc -- "One Small Step" -- was an exciting action movie, a Jerry Bruckheimer flick with a brain laid out on paper and set in the world of Y: The Last Man. I thought the ending left a little to be desired, but I enjoyed the tactical side of the story a great deal. This issue brings the book back to its greatest strength, though, and that's the examination of the sociological impact of a world without men. The debate and philosophy here are intelligent and full of personality. Vaughan does what he set out to do, and that's to challenge his audience and his hypothetical human race. Still, this issue doesn't stand out as one of the stronger ones in the series thanks to some fill-in artwork that's not really to my tastes.
Somewhere in rural Nebrasksa, a troupe of actors practise its Pirates of Penzance production, looking for new towns and audiences that might be interested in theatre in exchange for supplies. With most of the world still without basic electricity and in a state of chaos in the wake of the man-killing plague, electronic entertainment hasn't been a priority, so the actors have decided to fill a void. Still, the troupe's leader, Cayce, yearns to mount an original production that's far more relevant to the new world. Meanwhile, they discover someone rather unusual lurking in the brush surrounding their camp.
I've read a bit of Paul Chadwick's Concrete, and though I know it's heralded in the industry, it just never clicked with me. I've seen his artwork on other projects as well, and I've just never found it was my cup o' tea in those instances either. That holds true here as well. His work here reminds me of a cross between the styles of legendary artists Dick Giordano and Carmine Infantino, but I found it fails to capture the grounded realism that regular penciller Pia Guerra taps into when bringing this epic story to life.
One of my favorite aspects of this issue is that none of the main characters -- Yorick, 355 or Dr. Mann -- turns up. Vaughan focuses on these new figures, their philosophies and their passion for their work. This is also a much different take on the Plague World. Previous issues have focused on survival -- of the individual, the community and the race -- but here, the writer explores the importance of diversion and of art.
We've seen feminist extremes at play in this series before, and here, Vaughan offers up a couple of different perspectives. The Happy Housewife who commissions work from the troupe is an oddly amusing yet disturbing concept, not only representing repressed femininity but strict conservative values as well. Most interesting are Cayce's thoughts on women taking responsibility for themselves. She seeks to inspire in the midst of the confusion. I'm reminded of the entertainment industry's awkward but effective re-emergence from the dusty haze of Sept.11, 2001.
