New Beginnings - Origin II

For a long time, Wolverine's s history was a mystery obfuscated by time, memory loss and narrative conceit. Then came the X-Men movie franchise and the possibility that if Marvel didn't make some revelations soon, Bryan Singer and his cohorts were likely to just make something up. As a result, we were treated to the Origin miniseries from Paul Jenkins and Adam Kubert, running from late 2001 into 2002.

Since then Logan - aka James Howlett - has one of the most tinkered with and revisited backstories in the entire Marvel Universe. It’s had many additions and revisions, especially in the fallout of House Of M with the Weapon-X survivor remembering the events of Origin, leading to the Wolverine Origins comic.

Now Keiron Gillen steps up to the plate, with returning artist Kubert to present us with Origin II. Gillen of course spent a few years writing Uncanny X-Men, so he's no stranger to the Children of the Atom. The news that Sinister will be playing a part in this new Origin miniseries should entice anyone who enjoyed that aforementioned run on Uncanny X-Men.

The first thing of note is the production of this comic. When you see it on the shelf with its glossy and enticing cover, you'll quickly discover there is a lovely little surprise. The clawed hand on the cover in the forefront of a pack of wolves is actually a thin clear acetate sheet, which in part hides extra detail on both the front and back. It’s a simple little thing but works very nicely for a first issue gimmick. As well as looking great, it adds a depth to the covers that a reader can get into and creates an instant collector's item.

Moving to 1907 we are reintroduced to a far more feral Logan. This could well be considered his wilderness years. He has chosen to remove himself from civilisation and the people who would bother him, now running with a pack of wolves. He’s been taken in as one of them, part of the family and part of the life cycle. There is an unspoken understanding and belonging.

Unspoken is also a very apt word in fact. Throughout the entire comic there is no written dialogue at all and the story is guided by image and narration instead. This doesn’t detract from it in any way and strangely the completely detached narrator also keeps things focussed. It's very reminiscent of a classic issue of GI Joe or indeed Marvel's wonderful 'Nuff Said month back in 2001. 

Hunting and living together means that with rewards and opportunities also comes the threats. On one hand there is the lone wolf. Calculated, cruel and patient, he is a serene threat in waiting. One that is ready to strike when the right moment presents itself. In true opportunistic fashion this does happen, but only after the main threat of a great white bear has torn his lupine family apart.

Wolverine, whether man or wolf, only knows a few ways to deal with something like this and reacts with all his force and beserker rage, leaving only bodies and carnage behind. A body that also carries the marker of Weapon 11.

It’s hard to read the comic without trying to divine some greater narrative meaning behind it all. There are several analogies that can be or should be applied to the story. So the economy of words Gillen has used helps to open it up for potential personal interpretation. A multilayered story inside and out.

The artwork is nothing less than you would expect from the house of Kubert. It sits extremely well with me as I am a fan of fine artwork; the definition in Logan’s muscles and the fur on the wolves and bear in particular. Some of the detail is lost in the bigger pieces but you come to expect that. Still, visually it is very good and adds a lot of details to what is essentially a barren wasteland.

Wolverine fans will lap this up. It’s a well produced and presented comic with a good story between the covers. For those who haven’t been following as well it’s a standalone book that can also be read as part of the richer tapestry. Part two comes out in January and I wouldn’t be surprised if it gained some new followers.

Matt Puddy is ready for the next challenge, bring on 2014!

Out today - Origin II #1

There are five new comics out today, including Avengers, Forever Evil, Justice League and the beautiful first issue of Origin II, with the stunning acetate cover you see above!

There's also a limited amount of blank covers and Skottie Young baby variants for Origin II, plus Avengers has a set of ten variants, all homages to classic Avengers and X-Men covers from the past 75 or so years:

If you'd like any of these reserved for you, drop me a line ASAP. The shop is open until at least 3pm today, and then we're closed until Friday. If you're doing last minute Christmas shopping today, best of luck!

Ben Fardon is looking forward to Christmas ham and eggs for dinner tonight!

New Beginnings - Wolverine #1

British writer Paul Cornell (known for DC titles such as Demon Knights and Saucer Country, episodes of fan favourite TV show Doctor Who and various books including the acclaimed London Falling) is now the writer for Marvel stalwart, Wolverine. Combining his efforts with Alan Davis on the artwork, we have a new series in what can sometimes feel like an ocean of Wolverine titles.

The story opens with Logan in an unnatural situation where his clothes are partially gone, his ribs showing and there's nothing but bone on his right hand. And yet throughout it all, he is still trying to reassure a frightened boy. Even in a exceedingly dark moment, he still acts like the superhero he tells the boy he is. Logan is caught in the middle of what appears to be a hostage situation, but with the number of hostages rapidly decreasing there is obviously something more going on.

To his luck, Wolverine's mutant ability to rapidly heal from virtually anything means that when blasted again with an energy weapon, his “murderer” thinks he is gone for good. Seemingly no longer a threat, this gives him the opportunity to rescue his attacker's son and end the siege.

It’s only after this that the real threat becomes apparent. The boy remember that his Dad changed when he came into possession of the weapon, yet no one sees the same change in the boy until it’s too late. Fleeing the scene - and in the process hitting Wolvie with a car - the boy escapes. Wolverine’s natural instinct is to protect everyone he can and so the hunt begins...

I found the writing of this issue really strong. It would be very easy to have just let the story tell itself, but Cornell has taken great effort to differentiate the characteristics and language between the father and son. The difference in them both does make you think about things, without spelling it out. Who is controlling them? How? Where did the weapon come from? There are plenty more that spring to mind as well. Somehow I don’t think that this is going to be quite the hunt that Logan expected and we'll have three more issues to find out some answers.

As I mentioned at the beginning Alan Davis provides the artwork. There is no denying that the characters convey their feelings well, even when they are meant to be emotionless and clinical. This is also something that emphasises the point of change in the little boy, further supporting the story. However, I find the style a little too retro for my particular taste. It is also a style that concentrates predominantly on the forefront of the story, often leaving a lack of background to the images with only the wide angles being given more information that just the immediate. It still works well with the writing and the raw feel to the art also fits in with the whole Wolverine persona so the package completes itself.

Although not a story that visually grabs me, this is still a very strong start and I think that Wolverine fans will enjoy the new solo title. It’s getting back to his instincts without having to be out in the wilds. He's a hero again.

Matt Puddy is aware that many consider Alan Davis to be a comic book legend.

New Beginnings - Wolverine Max #1

After a delayed release this week we have Jason Starr’s Wolverine Max #1. Starr is more predominantly known as a crime and thriller writer; he made the transition into comics in 2009, and in 2011 won the first Anthony award for a graphic novel with The Chill.

From the very beginning the explicit content warning label is used with not only a plane crash but the use of the F word on the opening double page spread. Something I have to admit I am not used to seeing in a Marvel comic.

It’s disoriented, frantic and confusing - which is exactly what the story needs to begin with as Logan finds himself once again without memory or any clue as to where he is or why. Relying and acting purely on instinct he finds himself a celebrity, the miracle man who was the only survivor of a terrible plane accident at sea.

It’s at this point that the story splits into two separate stories. A retrospective of where he has come from  and the primal drives that he has resorted to in order to staying alive, juxtaposed with the aftermath of the crash where Logans mutant abilities are manifesting and confusing all around him as well as himself. As the only survivor he is under scrutiny and investigation. To confuse matters further he sees a girl that he thought had died in the sea.

Not knowing what to believe and who to trust Logan slips back in his mind to a time when as a monk he met a kindred soul called Victor.

The culmination of the issue is that Logan is left in a position where he can’t take anything he sees for granted and is unsure of all around him. With the sole exception of finally knowing he is not the miracle man - he is Logan.

The artwork for the issue is provided by Roland Boschi and Connor Willumsen with two very different styles being used to denote the flashbacks and current events. In addition, Jock has provided the covers which are looking minimalist and great!

I found that the flashback artwork was too indistinct for me with a very rough approach to it all. I can appreciate the idea behind it though as it does give a skewed perspective on things which is exactly how Logan’s mind must be. The present day artwork is a lot more distinct and clearer. There are still some moments when you have to accept the artist's reinterpretation of Wolverine as there is a loose depiction of him but not necessarily an easily identifyable version of him.

I can’t say I was overwhelmed by the artwork but (and I’m hoping that this was the angle that was being chased) the styles representing the current and past situations as experienced by Logan are explored. Even though I didn’t like it all I can appreciate the thought and work behind it all.

Interestingly, Connor Willumsen has since left the book, claiming there has been a ”a disrespect of agreement” with Marvel. For more details, click here.

This is a strange issue for me. The main character is possibly one of the best known in the Marvel Universe and the “Max” brand is a new way to experience his life but it has been done in such a way that new readers would be lost or left with a lot of questions. Fans of Wolverine will gravitate towards it well though and I think that there would be plenty of takers for an ongoing series.

Matt Puddy is ready for the next wave of Marvel Now!

New Beginnings - Wolverine #310

Now as I start to write this I have the thought in my head that anyone reading will wonder why this is a new beginning. Wolverine is not a new character, it's not a new team and no one has any new powers. It doesn't even a new issue #1. And it's being released in the wrong order. So why, I envisage you asking, is this coming up now?

A while back Jeph Loeb wrote a storyline called 'Evolution', a run that every Wolverine fan will have likely cherished. The age old foe who constantly tried to break and wear him down finally met his end at Logan’s hands - Wolverine unceremoniously removed Sabretooth’s head from his shoulders.

Which in turn leads me back to this issue - Wolverine #310, the start of a new run by Loeb where Sabretooth has his new beginning, back from the dead.

The story starts with Wolverine scaling the Empire State building in a daring rescue of Cloak, a young but fairly well known and quite powerful mutant who has been chained to the spire by Romulus. In his weakened state and whilst plummeting toward the pavement Cloak reveals that not only has Dagger been kidnapped but it was used to force Cloak to release Romulus from the darkness dimension. What Loeb has done in a matter of pages is play on nearly every driver and motivator that is found within Wolverine - all of which gives the reader a strong investment in the story.

Of course the major pull throughout this issue is the thought of Sabretooth being out there somewhere and by specifically not bringing anything more than rumours and broken stories, Loeb creates an feeling of is he/isn’t he. That said, as a reader, we know the answer because of marketing and previews. What you may or may not know though is who the mysterious, yet also familiar, female character is...

There is some very clever usage of personality, location and reaction in this story meaning that it is very easy to get swept along with it whilst also taking it all in.

As with Loeb’s previous story Simone Bianchi has provided the artwork. In one respect, seeing as these are both huge moments the continuity, it provides a fantastic connection for the audience and will immediately become a comfortable continuation. For those who have not read the previous arc the artwork is full of detail and depth, always giving you something to look at. My only criticism is that in some places - where Bianchi is trying to almost be too good - faces can be distorted due to the perspective, and although probably correct this gives an odd view of it all. One specific example of this was when Wolverine was checking his prior actions and he almost looks like some sort of downtrodden hound.

Aside from that it is a great looking comic. Even the fireside fracas jumps off the page at you but is drawn in such a way that it has layers.

This is a fantastic comic and should be picked up by any Wolverine fan. For new readers it may be a bit tricky as you won’t know all the relationships (including the mystery woman) but you can still enjoy it as a comic and get involved all the same.

Matt Puddy destroyed a pair of trainers at the weekend and enjoyed every minute of it!

New Beginnings - 5 Ronin Wolverine

Throughout March, Marvel is giving us a 5 part weekly mini-series. Starting with Woverine, I present 5 Ronin.

At first glance this could be another Wolverine title, it has a pouncing clawed cover shot and it is filled with fighting and mystery, all set to a Japanese backdrop. There is a lone man travelling and following his own path. After all, a master-less Samurai is exactly that, the Ronin element that suits Logan to a tee. However, there is a twist...


Not knowing much about Peter Milligan, I did some research and found that Milligan has written before with Marvel in X-Force, as well as currently for Radical and Vertigo - plus he is committed to being the writer for next year’s Red Lantern Corp for DC. Most exciting! With such heavy ties to DC, both directly and indirectly, I am left wondering why Milligan was chosen. That is not to say his work is bad, but the situation is intriguing.

Basing the story in the year 1600, in Japan, around the time of the battle of Sekigahara has given rise to his unique plot. The opening of the issue establishes a lot of relevant information and sets the scene quickly and proficiently in a matter of pages, moving quickly into the story. A lot of this is narrative but this is perfect for the feel of the issue and suits Wolverine well. We follow the one-shot style story through getting the odd glimpse of Deadpool (although I could be wrong on this one too) and closely track the path of Wolverine as he uncovers this versions truth of his being.

As I said, this could easily just be another Wolverine title but now we see the twist. I’ve read the story twice, scanned a third time and flicked through a forth and I cannot see the trademark mutation of Wolverine anywhere! Milligan has created something that is about our heroes personality and not his traits or special skills, a lovely turn of events, and done in a subtle and unassuming way too.

The supporting artwork by Tomm Coker has me torn. On one hand I find it loose and rough with a lot of the detail being provided by what you cannot see or the use of shadow, a style I’m really not a fan of at all. It is supported by Daniel Freedman’s colouring which is simply what it is, a match to the artwork style, so once again I am left without specifically feeling one way or another. On the other hand I do find it has a style that fits fantastically to the feel and substance of the story, leaving me disliking the look but loving the idea.

The miniseries is a curious one. The following issues are Hulk, The Punisher, Psylocke and Deadpool, which now intrigue me to see how they are portrayed and explored. Again this will be more about who they are than what they are as I hope the non-powered route is still followed. I will be getting them as I want to know where they are taken, not necessarily for the story and most likely not for the artwork (although I have to say the variant covers do look lovely). I would say that these comics would be for the more open minded fan more than anyone as an interest piece as they don’t hold a longer story. An interesting approach which could have been done in a variety of ways but all the same this is not just another title.

Matt Puddy is not the only one excited about a Red Lantern Corps series

Proud Lion Recommends Astonishing Spider-Man & Wolverine #1

Shared universe storytelling. Complicated plots crossing multiple comic titles. Some people love it. Others find it a barrier to enjoying superhero comics.

Personally, I enjoy the rich tapestries of the Marvel Universe and the DCU. When I was a kid, the first comic I adored was Marvel's Transformers comic and the brief appearance of Spider-Man was wonderful. Every boy imagines that his toys can interact. Imagination isn't bound by constraints of publisher, film studio or TV network.

However, others hate the fact that comics will sometimes require you to read other issues to understand the impact on their favourite characters. J. Michael Straczynski spoke in the comic media about how he disliked guiding Spider-Man and the Fantastic Four through Civil War, bound by the decisions of Mark Millar and the Marvel editorial policy. Indeed, he allegedly left Thor rather than compromise his storytelling again during the current Siege event.

JMS is a writer I admire and I appreciate his viewpoint. In 2000, a writer who's work I really don't care for also weighed in one this issue. Dwayne McDuffie (a writer fired from JLA by DC and Fantastic Four by DC - just saying) wrote a blog entry called Crisis On Mono-Earth! where he stated that:

"Shared universes are too hard to follow. The vast amount of information a reader has to master, simply to understand a typical monthly superhero comic is ridiculous. That's all well and good for geeks like you and me but it's become impossible to be a casual reader anymore. Casual readers should be our bread and butter; they certainly used to be. But I defy you to pick up a random issue of most current comics and be able to understand what's going on in it without the equivalent of a Ph.D. in trivia."

Whilst I dislike McDuffie's writing, he maybe has a point. In recent times successful events like Secret Invasion and Blackest Night have thrown readers in at the deep end. Civil War brought many lapsed comic book fans back into the fold, primarily because you could get by with just the main book and little or no knowledge of the then current continuity.

Marvel launched the Ultimate universe to give new readers a fresh take on their famous characters. The recent Ultimatum refresh of the Ultimate Comics range has shown that the need for gateway comics for new readers and accessible stories for casual readers are still very important.

Marvel's Astonishing X-Men series was the home of Joss Whedon's X-Men storytelling for a few years and then moved on to Warren Ellis' custody. It will now be relaunched as part of an expanded line of Astonishing comics.

Marvel's press release said:

"Pioneered to be the books for both the casual and hardcore fans, this new imprint kicks off with two can't miss series: ASTONISHING SPIDER-MAN/WOLVERINE by superstars Jason Aaron and Adam Kubert, and the series that started it all back for a bold new era, ASTONISHING X-MEN: XENOGENESIS #1 by the duo of Warren Ellis and Kaare Andrews.

Here's how Astonishing works: set firmly in the Marvel Universe and providing the perfect starting point for all readers, new or old, these books will tell the most epic stories of heroic action set against the back drop of the real world. New readers will be able to jump right into these epic adventures, while die-hard Marvel fans will also find exciting insights and dramatic changes for Marvel's most prestigious characters."

Marvel's David Gabriel (Senior Vice-President of Sales & Circulation) added:

"The Astonishing line is exciting for us and the entire industry because it provides the top creators the chance to take on our top characters in stories that you won't find anywhere else," he says. "They are firmly set in Marvel continuity but also accessible to new readers. If you're looking for big changes and character developments or a place to start reading if you are new to comics, this is where you come. Thanks to Joss Whedon and John Cassaday, the name Astonishing is synonymous with excellence. That's what this line is all about, from the creators to the characters."

All of that long hyperbole leads me to the review itself because the first of these new books is now out. Part one of the six part Astonishing Spider-Man & Wolverine is a bold piece of storytelling, hurling the titular characters back to prehistoric times.

The writer Jason Aaron has been writing Wolverine's core solo title Wolverine: Weapon X for sometime now, to great acclaim. It's nice to see that his writing voice for Peter Parker is suitably different and at points I'm reminded of the superb JMS/John Romita Jr. run on Amazing Spider-Man. Peter's scientific mind shines through, an aspect of the character that is regular forgotten in the crappy post-Brand new Day era of Spidey storytelling.

I urge Spidey fans who - like me - despair at the current state of Amazing Spider-Man to try this book. It's also well known that Wolverine is one of my least favourite Marvel characters, but here he works in a way that feels true to the character without being as arrogant or obnoxious as I usually find Logan. In fact, I am slightly reminded of Mark Millar's excellent Old Man Logan story arc.

Topped off by beautiful art from Adam Kubert (Ultimate X-Men, Ultimate Fantastic Four, Superman: Last Son), this first issue is a joy and it's easy to see why IGN gave it 9.1 out of 10.

Here's the first few pages, taken from Comic Book Resources.

Ben Fardon is the owner, proprietor, manager and filing clerk for Proud Lion. Bascially, Ben is Proud Lion is Ben. He often uses the personal pronoun 'we', in an attempt to not feel like a man alone. In that context 'we' refers to Ben, the bricks and mortar, the stock and the branding that comprises Proud Lion. It also makes him sound kind of crazy. 'We' are OK with that.

Ben has been reading comics since he was five years old and his Dad bought him a Transformers comic at the local newsagent. In the same comic were reprints of Iron Man in the red and silver armour. To this day, Tony Stark is his favourite superhero.

He likes eating, swimming and science fiction Tv series. He recently became addicted to The West Wing.

One day, he'll finish a script for something.