Stephanie Phillips and Marc Laming are wrapping up their psychological survival allegory with Endeavor #3, out from DSTLRY August 3rd. Issue #2 came out all the way back on December 17th, so the delay is palpable, but if you’ve been following along, it’s obvious that the themes and narrative are infectious. At its core, it centers on the total collapse of a functioning society through a teenage boy with proper rage issues; only, society in this scenario is a stranded ship with no adults to be found. Who lives, who dies, and what will it take to gain some semblance of peace?!
If you’re just learning about the series or have forgotten how we got here, Endeavor #3 comes with a handy “The Crew” page that details the names and personalities of each of the seven children on board. Prior to this, the issue gives a bit more detail on the sick person who ended up killing all the adults with a virus, supplying some resolution in that regard.
Most of the issues follow Roy, who has taken charge of the ship by any means necessary. Early on, Phillips makes it clear he’s trying to do his best, but his aggression gets the best of him, turning this final issue into a Lord of the Flies situation. That includes the treatment of his sister, Victoria, who becomes the only voice of reason on the ship. The thought experiment in the series remains a highlight, as we witness good people make bad or immoral decisions.
Our cast.
Credit: DSTLRY
The agro turn for Roy does feel a little out of left field. While Carson did take on the role of boss and bully last issue, Roy probably doesn’t need to go from angry teen to full-on psychopath this issue. At the very least, it seems sudden and less earned.
Flashbacks continue to give us insight into the children and into Captain Cook, who captained the original Endeavor, the ship the current ship is modeled on. Phillips does a good enough job of connecting the two failed crews and showing that madness and the loss of humanity are the crux of both ships’ doom. At one point, we see Captain Cook’s Endeavor take on water, juxtaposed with the children on the current Endeavor looking bummed out. It’s not quite an equal scenario, though the ongoing connection to the original ship is at least salient.
Ultimately, the comic ends in a good morality-play fashion, forcing the reader to question the characters’ actions and, ultimately, where they end up. There are no easy answers by the end, and you’ll wonder where they all go from here.
Art by Laming brings a hyper-detailed look, further steeping the series in realism. When Roy goes from angry to downright mad, you’ll believe it by his actions. His bratty, angry nature comes through clearly throughout the book, while his sister’s moral high ground is apparent on her face as well.
Endeavor #3 delivers a satisfying enough conclusion to Phillips and Laming’s unsettling survival drama. The series remains at its best when examining how ordinary people react under extraordinary pressure, and the final issue continues that exploration with uncomfortable honesty. Roy’s transformation does not always feel fully earned, but the emotional and thematic destination largely works because of the strength of the ideas underneath. Laming’s expressive artwork sells every moment of tension, fear, and despair, helping the story maintain its impact through the final pages. By the end, Endeavor leaves readers with difficult questions and no easy solutions, which feels entirely appropriate for a story built around the fragility of civilization.
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