![]() Post-Y society hangs between every-woman-for-herself and re-formed institutions, affiliations, coalitions, constructed by different/conflicting groups of women across the literal and figurative obstructed highways littered with abandoned remains (cars and carcasses) of the dead men. Here’s a summary of how the threads interweave: That’s the effect of the issue’s focused build-up of its momentousness, and we only need to catch the culmination with our four now-semi-familiar POV characters, then a montage of scenes that stand in for “everywhere around the world,” and then back again to our desperate principals, including the Chekhov’s gun at the temple of the police officer we met on page 1, resounding in a BANG that cuts off Yorick’s call with Beth, Ampersand clutching in fear.įrom Issue 2 (p. I’m struck that when it hits, when all the males around the world die, my memory of the event is that it stretches much longer than the four pages of widescreen panels in which it happens. Allison Mann… in hindsight, we know we’re getting the groundwork for the significant characters later.īut for now, in this first issue, they serve as more representatives of the general notion, as we swirl in towards the devastating moment “NOW” when death strikes genetic Y-carriers throughout the world, that this hits everyone, everywhere, all at once. In hindsight, the seeding of Yorick’s sister Hero, our introduction to his congressional representative mother Jen Brown, our brief glimpses of Alter Tse’elon the Israeli soldier (for now) or 355 and Secretary (for now) Hamad or Dr. We’ll get more layers later with all of the women main characters- part of the premise’s brilliance for a team of mostly (outside Guerra) male-identified creators in the early 2000s is almost forcing the maker’s hand to have multi-faceted women characters, although less of it passes the Bechdel test than you’d think. If there’s a critique about this first issue, a masterclass in plotting and set up, it’s that the various women we focus on are each somewhat one-note in their scenes. ![]() “Twenty-Nine Minutes Ago” heads the whole spread, which makes all this goofy Yorick joking about not being “some phone sex whore” or “kickin’ it Ramen-noodle style” as he squirms out of the strait jacket… all of it is laden with portent, funny but ominous as heck. Thus, as much as Yorick’s Houdini (or Hardeen -y) upside-down-ness is a character intro of gleeful inanity, and as immediately as Beth’s outback trekking shouts twenty-somethings freedom… we are already on the clock. ![]() ![]() The background is a New York apartment and the Australian outback, but the backdrop is already totally tinged with the horror of what’s coming in… twenty-nine minutes. ![]()
0 Comments
Leave a Reply. |