There are certain types of stories that are classics for a reason. Among them are tales of survival, man versus environment style tales that pair the challenges of simply coming out alive with the pitfalls and complexities of human nature. Literature is full of them — Lord of the Flies is required reading in many schools for a reason — and even television has a fondness for the genre. Series like LOST and, more currently, Yellowjackets tap into that same energy. But what happens when you take those vibes, mix them up in a prestige-format comic series, and toss in a dash of social commentary? You get Endeavour. Hitting store shelves from DSTLRY in October and written by Stephanie Phillips with art by Mark Laming, Endeavour #1 sets readers sailing with a story of survival, mystery, and chaos on the high sea as social conventions collapse.
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Straight out of the port, Endeavour #1’s story will feel very familiar. It is, in a very real sense, a modern take on the plot of Lord of the Flies by William Golding. That novel centers around a group of British school boys who find themselves stranded on an uninhabited island and follows their attempt at self-governance, attempts that quickly descend into brutality and savagery. While Endeavour #1 doesn’t quite go that far — this is the first issue in a series, after all — the groundwork is there. The issue follows a group of elites as they embark on a luxury adventure aboard an 18th century ship, the Endeavour. The group is made up of various adults — all with some measure of wealth and privilege — and kids, with the kids ranging in age from very young to pre-teens. The story is narrated by one of the pre-teens, Victoria “Via” Wright, who among those on board is the only one who seems to be genuinely interested in the history of the ship and everything it means.
It’s not giving anything away to reveal that what is supposed to be a trip of a lifetime turns into the stuff of nightmares very quickly. Just six days into the excursion, the adults are dead and the kids are left alone on the open sea now stuck with not only the crushing impact of grief and loss, but the challenge of survival. Now, the good news is that we can (probably) safely assume that someone survives this — Via is narrating the tale for us and gives us some clues that she’s recounting events years later. But what makes Endeavour #1 stand out beyond the sense that we are getting a survivor’s recollections is the way Phillips has structured the story. While the Lord of the Flies type tale is very common, what Phillips does here is give it a depth by incorporating the history of the Endeavour into the tale. Before we even get to our cast of characters in the modern day, we’re given a bit of an overview of the Endeavour’s dark history. And it’s further sprinkled throughout the story as well, a harbinger of what our characters will experience in the present day. This framing gives the story something of a unique sense. It feels, in a way, almost like a ghost story which certainly sets a unique tone.
Endeavour #1 also immediately begins to highlight the social dynamics that will come into play as the story continues. We learn pretty quickly some key things about Via and her family, as well as some basic information about the other children on board, that begin to shape ideas of potential conflicts that will no doubt drive the remainder of this journey. There are admittedly some stereotypes in this issue. The indulged son of a politician is particularly noticeable, but thanks to Phillips’ writing, you also get the sense that every single person in the issue is more than what they seem on the surface. Add to that the inciting incident that also feels like it is more than it seems and you’ve got an incredible start that is more than the genre it’s settled itself into.
Beyond the writing, Endeavour #1 is also a visual treat. Laming’s art does a fantastic job of marrying both the 18th century Endeavour ship with the more contemporary characters dealing with this current hell without ever losing the integrity of either era. Lee Loughridge’s colors are also very well done, particularly in the shift from pages and panels that are set in different times. The visual differentiation in this issue is smart and clean, allowing the reader to absorb the information without having to step too far out of the action to understand where they are in time. And, of course, there’s a final image on the deck of the ship with the surviving children bathed in moonlight and horror that is both stunning and chilling in equal measure.
Taking a familiar story concept and doing something new with it can be tricky, but when it comes to Endeavour #1, this is a case of doing it right. With its historical anchors, slightly haunted-feeling horror, complex characters, and a sense that nothing and no one is as they seem, Phillips has crafted something that not only feels like a fresh take on the themes best known from a literary classic, but a damn good story in its own right, too.
Rating: 5 out of 5
FOC for Endeavour #1 is August 18th.
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