If you want to generate interest, start in the middle. That’s the idea behind Wolverine #1, the latest in the endless renumbering of issues that is the life’s blood of Marvel Comics. Don’t fret true believers; Wolverine #1 just resets the numbers, not the story. The world’s most popular mutant is still sick, he has still lost his healing ability, and is still scarred from being beaten near to death by Sabretooth. Now trying to live a normal life at the Xavier school, Wolverine has apparently fallen in with a new crowd.
Writer Paul Cornell, who helmed the last volume of Wolverine, continues with his design to reinvigorate our hero, this time throwing readers into the deep end of the pool. Wolverine, aka Logan, is on a mission, one involving his new set of super-powered friends. Pinch (a woman with the ability to control the human body), Fuel (a being of endless energy), Lost Boy and a Ninja. While Cornell keeps the actual plot close to his chest, this much is known: the team seems to have rescued Wolverine from something. They all work for a man named The Offer, a man looking to sell Logan to a representative of Sabretooth.
Outside of the mission, Cornell gives us flashbacks to Wolverine attempting to exist on a normal plane. His healing factor gone, Logan needs to step up the abilities he never needed to rely on. Black Widow shows up to train him in the use of firearms in a scene that is the best of the whole book. Wolverine #1 is an interesting tapestry, and I commend Cornell on have the sack to reboot a hero in this manner. Several things happen here, lots of plot threads are laid out, but none of them are tied up. It’s up to the reader to stay involved until the story comes together.
Wolverine is a tough character to write. Not only has Marvel handed him back his memories, which takes away the enigma of Weapon X, but they also stick him in nearly every book published. With so much exposure, keeping Wolverine relevant and entertaining takes somebody willing to think outside the box. Stripping him of the healing factor has been done before, but not for any length of time. I’m hoping Marvel allows Cornell to run with that idea, and to keep giving us glimpses of a less confident Wolverine. It’s obvious Cornell has a solid hold on how to write Wolverine. It will be interesting to see where he takes this next chapter.
Ryan Stegman, the man who brought Superior Spider-Man to life, is on point with the pencils. Wolverine has always worked best with two kinds of art, ‘go big or go home’ and the darker, shadowy style. Stegman is all about the former, with each panel bursting off the page. The lines are really thick here, but never lose the quality of movement at which Stegman’s so good. It’s obvious he’s having fun here, which is something that is always welcome in Wolverine comics. It’s a bummer Stegman isn’t still on Superior, but he’s clearly looking to kick ass with Wolverine.
(4 Story, 4 Art)
