“One Small Step: Chapter 3”
Writer: Brian K. Vaughan
Artists: Pia Guerra (p), Jose Marzan, Jr. (i)
Publisher: DC/Vertigo
Plot:
As the abandoned astronauts begin the re-entry process, Yorick settles in at the Kansas government installation meant to serve as a bunker for VIPs. His rest is short lived, however, as the Israelis Yorick’s mother is working with set their sights on capturing the last man on Earth.
Comments:
If Vaughan keeps this up, he may take over Brian Michael Bendis’s title as the industry’s reigning deity. While I can say that I’ve been disappointed in a few Bendis-penned issues here and there, I don’t think Vaughan has turned out a clunker yet. That hot streak continues this month with another great enthralling issue of Y full of quieter personal moments and the occasional fight to the death. A few of the twists are a little obvious, but on the whole this book has surprised me month in and month out.
Much has been made of the way Vaughan has turned the idea of being the last man alive on its ear, but let’s look past that for a second. On a local level he has done great character work on each person to show up in these pages. He gives personality to everyone, be it Ampersand the monkey or the male impersonator with whom Yorick shared beard-grooming tips, and the series is richer for it. Yorick’s quips, 355’s ruthlessness and tunnel vision, and Natalya’s apparent naiveté serve as good examples to this point as well as demonstrate the diversity Vaughan has injected into the book.
I’ve heard some rumblings about the fact that Yorick plays too much like your stereotypical college English student (he’s a wimp, he couldn’t get a job, he has a small penis), and that’s true up to a point. Admittedly, these concerns came from an English PhD student I’m friends with, but that doesn’t mean they’re not true. While I do see what my friend is talking about, I have to say that his reservations don’t bother me in the slightest. I like the fact that the last man on Earth isn’t some Conan/John McClane type that will kick ass and kill indiscriminately until his job is done. The idea that Yorick needs the help of the women in his life is crucial to the strength of the story, and not just from a narrative viewpoint. While Yorick is the titular character, this is a book supported by strong women and that’s all too rare in comics, especially given that not one of the women look like Barbie or Wonder Woman. Yorick’s along for the ride in his own book, and that’s refreshing to read in a testosterone soaked industry.
Pia Guerra has often been compared to Steve Dillon, and while that’s a flattering comparison it also sells Guerra’s efforts a tad too short. In a lot of ways, Guerra is better than the Preacher/Punisher artist, even though they boast similar styles. With Dillon, it’s oftentimes hard to tell people apart, and that’s not the case with Guerra, even when the story calls for the drawing of twins. The artist’s character designs are all distinct in one way or another, and I always know who I’m looking at regardless of dialogue. Guerra’s storytelling is impeccable, and that’s a welcome change when it feels like every other book I read features murky, confusing art.
Final Word:
This is the best Vertigo book on the market today period, end of discussion. Say what you will about 100 Bullets (*cough* overrated *cough*), but I don’t think that series comes close to the level of excellence put out every month by Vaughan and Guerra. If you’re looking for a departure from men and women in tights that’ll have you anxiously awaiting the next issue, look no further than Y. If we’re lucky, this team will stay together long enough to finish the story of Yorick Brown, much like Garth Ennis and Steve Dillon did on Vertigo’s previous standard-bearer, Preacher.
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