Revisiting Wolverine: Weapon X

by Barry Windsor-Smith (Writer/Artist)

A lot of people can surely agree that there are some characters that are all over the place right now. Spider-Man, Batman, Captain America, Iron Man, Superman and countless other popular characters are kept in quite a high number of books, being members of teams and being the object of constant team-ups with less popular characters. It’s always due to a bit of marketing, of course, but there are always other factors that comes in with those characters, like movies and other such things.

However, if there is one character that keeps on appearing everywhere, it has to be Wolverine. Being the poster-boy of mutants in countless X-titles, possessing a few titles with his name in it and being in several other teams, James Howlett is perhaps the most overused character in Marvel’s staple. However, a lot of that is due not only to the movies, but also due to his popularity from prior titles, like Chris Claremont’s Uncanny X-Men or Miller and Claremont first Wolverine mini-series.

There’s no doubting that the character can be written very well, that there is a certain appeal to the duality of Wolverine balancing through ferocity and peace. However, not every writers tend to balance things out evenly, which means there are a lot of books available with his name on it, with a few being actually worth the trouble.

Uncanny X-Force #19.1 – Review

By: Rick Remender (writer), Billy Tan (artist), José Villarrubia (colors)

The Story: The X-Men of the Age of Apocalypse make a last-ditch effort to relocate into a different X-Men crossover event.

The Review: The Point One initiative at Marvel has been an odd little duck. Supposedly, issues with the “.1” label were meant to be “perfect jumping on point[s] for Marvel’s flagship series, while dropping hints for each series’ next year of stories” (from Marvel’s Website). Few actually deliver that promise. Sometimes, they’ve been character studies (Iron Man #500.1), others simply self-contained stories with no connection to past or future issues (Thor #620.1), and still others magic “undo” buttons for inconvenient plot elements (Fear Itself #7.1). Uncanny X-Force has actually already had one, just fourteen issues ago; as Alex pointed out in his review of it at the time, it actually did a pretty good job of acting as a jumping on point, so it’s fair to wonder why another one would be needed now, less than a year later.

Well, as it turns out, it’s because this is one of the weirdest .1 issues yet; it’s a launching pad for a completely different book with a completely different creative team.  Marvel fans may remember a similar scheme from the Amazing Spider-Man #654.1 reveal of Flash Thompson as the new Venom, but this issue is unique in that it doesn’t even reference the main cast of this series. Instead, this issue from Rick Remender and Billy Tan, takes place entirely in the Age of Apocalypse, and sets up the ongoing series David Latham and Roberto de la Torre will be helming. I know that series will be building on some ideas Remender introduced in Uncanny X-Force, but still, this is an oddly labeled issue.

On to the issue itself. We start the series by meeting a new character called the Prophet, a human leader of the resistance against the ascended Weapon X, and an ally of the AoA X-Men. And this Prophet guy? Total badass. His opening monologue about growing up in this world, and his role in it as a prophet who puts his faith in humanity rather than God, is stirring and chilling. I was initially critical of his character design—a cross between Jason Todd and Azrael—but after watching him single-handedly take out a sentinel in a wonderfully rendered sequence from Billy Tan, I pretty much forgot my complaints.

Wolverine: Weapon X #16 – Review

by Jason Aaron (writer), Davide Gianfelice (art), Dave McCaig (colors), and Cory Petit (letters)

The Story: Logan goes on a journey to fulfill Nightcrawler’s last wish.

What’s Good: I remember being pleasantly surprised a few issues back, when Jason Aaron’s Wolverine did a better job of welcoming Steve Rogers back to the Marvel Universe than any Avengers-related title.  Perhaps it’s not as much of a surprise now that with #16, the series’ final issue, Aaron’s Wolverine does a more touching, proper farewell for Nightcrawler than any of the X-books have managed.

Aaron, as he did with Rogers, makes his two characters’ personalities very clear, allowing their natural chemistry to tell the story and deliver the mood and message.  This is about two contrasting personalities more than anything else, and how they remained opposed, yet interlocking, through the years.  Better still, Aaron conveys a real sense of history between the two, but not in a way that requires any real awareness of actual continuity; impact isn’t determined by how many back-issues of Uncanny you’ve got stored in your longboxes.

As expected, much of the book finds itself focused on Logan and Kurt’s opposed religious beliefs.  At first, I was a bit underwhelmed by their dialogue and arguments over this subject due to the simplicity of their stances.  There’s not a lot of nuance to either character’s argument.  As I read on, though, it became obvious that this was rather the point.  Again, the issue isn’t about theology, but who Logan and Kurt are as individuals, and in this sense, their religious beliefs are only meant to represent who they are as people.  Kurt is filled with hope and optimism, while Logan is filled with a sense of doom; thus, this naturally translates to the faithful and the damned.

Similarly effective is Logan’s quest for Kurt, which sees him drag a piano up a mountain to a remote church.  This clear metaphor for the character’s burden, again reflecting on that above difference in stances, is one that’s been used very well in a great many stories, recently in Disney/Pixar’s movie Up, of all things.  There’s a reason for that, which is that it’s an effective one that carries a good deal of resonance, and that’s the case here.

Wolverine: Weapon X #15 – Review

by Jason Aaron (writer), Ron Garney (pencils), Jason Keith & Matt Milla (colors), and Cory Petit (letters)

The Story: Can a Deathlok find salvation?

What’s Good: Without a doubt, the main Deathlok focused upon last month is the strongest point of this issue, as he takes center-stage yet again.  He makes for an unlikely protagonist, but a compelling one, as Aaron turns the tables by making the human inside the cyborg the sociopathic monster, while the AI is the empathetic side, showing an interest in humanity and emotion.  In the end, it’s a clever move by Aaron, as he makes the machine component of the Deathlok more human than the actual human component.  The end result is a robot that’s easy to root for and has allied itself with humanity, and as we learned from Terminator 2, that’s badass.

Much of this is accomplished through a fantastic use of textboxes, which act almost as parallel thought bubbles, or even conversations between the AI and the killer inside the Deathlok.  The slow, coming to consciousness for the AI is elegantly done and its eventual superseding of the killer’s mind feels appropriately momentous.  Once the AI is firmly in control, Aaron does a great job in making those textboxes feel claustrophobic and trapping, as the killer’s dialogue goes totally ignored, those textboxes become a kind of prison where the character is locked away.

Wolverine: Weapon X #14 – Review

by Jason Aaron (writer), Ron Garney (pencils), Jason Keith & Matt Milla (colors), and Cory Petit (letters)

The Story: We peek into the mind of the most successful Deathlok and his creation before Miranda and her commandos attempt to complete their desperate sabotage mission.

What’s Good: Opening with an intense monologue and moving on to depraved narration throughout, Aaron does a fantastic job with the voice of the serial killer turned Deathlok who takes center stage for much of the issue.  I’ve always appreciated it when a writer puts so much into what would otherwise be an incidental character.  The murderer’s voice feels authentic and very unsettling.  There’s also a definite cool factor to seeing what thought processes rest behind the automaton behaviour and dialogue we’ve been getting from the Deathloks thus far and it’s wonderfully horrific to learn that what lurks behind that cold droning is something very, very evil.  It imbues the Deathloks with a very nice sense of internal conflict and it’s sickeningly enjoyable to see how for a serial killer, being a Deathlok is like a video game.

Aaron shows us that what hides beneath the surface is often far more disturbing than what we can see, even if what we can see is violent and awful enough already.  It puts the Deathloks into a whole different light, making them even more menacing when we aren’t privy to the narration, now that we know what’s going on behind those dead eyes and robotic statements.

There are other little demonstrations of Aaron’s twisted imagination as well.  The machine the rebels in the future use to convey their psychic messages to the present day Miranda is guaranteed to give rise to plenty of ghoulish grins.  Meanwhile, the book’s ending is a wonderful twist in that it involves present-day Miranda turning the tables on the Deathloks by effectively using their own tactic against them; the most innocent character thus far looks to get just as brutal as the Deathloks themselves.  Then there’s the implied identity of the rebels’ “general,” which looks to be another inversion.

Garney’s art is a joy on this title, as it has been throughout.  The man is clearly made for a Wolverine book, particularly one as gritty as this.  His Deathloks continue to look great and his facial expressions are expertly done.

Wolverine: Weapon X #13 – Review

by Jason Aaron (writer), Ron Garney (pencils), Jason Keith (colors), and Cory Petit (letters)

The Story: The New Avengers get involved as Cap and Logan confront the inventor of the Deathloks.

What’s Good: Going into this issue, I was not overly thrilled with the idea of Aaron bringing in the New Avengers.  I liked his inclusion of Captain America, but bringing in a whole team, I feared, would dilute the comic.  What I didn’t count on, however, was the fact that Aaron writes an awesome Spider-Man.

His Spider-Man is absolutely hilarious.  His banter is awesome and his constant ribbing of the Thing is equally riotous.  But Aaron’s Spider-Man’s wit is so sharp that it borders on the metatextual.  For instance, his complaints regarding the fact that characters from the future always come from a dystopian wasteland, or his mocking of the sheer number of catch-phrases that the Thing has are both wonderfully done.  When Aaron writes Spider-Man talking and bantering exactly like the Thing, it’s utter genius and a hilarious statement on the character.

Then, not done yet with character, Aaron presents us with a grizzled, commando Spidey of the future who is a tragic shadow of his present-day go-getter.  Aaron’s Spidey, so madcap and hilarious in his present day version, finds himself unable to tell a joke or find humor in the future.  This alone speaks volumes about the darkness of his environment and in retrospect, is chilling.

Beyond this, what we get from Aaron is basically a smattering of coolness.  We get a headless Deathlok flailing about and punching through a guy’s chest.  We get a surprising callback to Aaron’s Wolverine: the List one-shot.   Then there’s a demoted mad scientist who makes cyborgs from roadkill, who serves as a surprising source for comedy (“Take care….of my possums…”).

Wolverine: Weapon X #12 – Review

by Jason Aaron (writer), Ron Garney (art), Jason Keith (colors), and Cory Petit (letters)

The Story: Logan and Bucky Barnes battle Deathloks to save the future.

What’s Good: It was clear last issue and it’s even more clear this issue: Jason Aaron loves the old Terminator movies.  The influences run throughout, and given that those movies are two of the greatest science fiction films of all time, that’s far from a bad thing.  We have the dystopian near future with a hunted group of underground rebels, and when one character discusses the Deathloks’ plan of coming to the present to snuff out the future leader of the rebellion, well, it’s just all kinds of cool.  The idea of taking a classic plot like that of Terminator and tossing it into the Marvel Universe and involving Wolverine as a kind of wildcard is just total genius.  It shouldn’t work, but it does, and it’s all kinds of fun.  If you have any love for the Terminator films, it’s hard not to totally geek out.

Wolverine: Weapon X #9 – Review

by Jason Aaron (writer), Yanick Paquette (pencils), Michel Lacombe (inks), Nathan Fairbairn (colors), and Cory Petit (letters)

The Story: All hell breaks loose in Dunwich as “Insane in the Brain” hits its appropriately messy conclusion.

What’s Good: This issue breaks a lot of the rules that made this arc such a rousing success, as the arc loses the insularity and isolation that really marked it out.  What saves the book is that Aaron still seemed bent on making it as chaotic and over-the-top.  Make no mistake, this is still a very readable comic, but the constant mayhem pushes much of this issue beyond certain limits, giving it a bloody carefree feel.  There’s so much going on, so much violence in particular, that the pages can’t quite contain or portray it all.

Case in point was probably my favourite scene in the book, which sees a character attempt to use his own disemboweled intestines to choke out Logan.  If that isn’t mayhem personified, I’m not sure what is.  Furthermore, kudos to Aaron for getting Marvel to publish material so graphic in a non-MAX title.

Surprisingly, Nightcrawler and Psylocke don’t harm the book.  If the book’s completely cut loose, why not add more characters and make it even more frantic?  Both characters are handled well, and their comparative rationality and outsider position really draw attention to how nuts Wolverine’s current predicament really is.  It also brings a bit of comedy.

I’m also really, really happy that at the end of this arc, we appear to be far from done with Dr. Rot.  Given how experimental this arc was, I was certain this’d be the end of him.  Aaron instead positions Rotwell as a new, lurking nemesis for Logan.  Dr. Rotwell’s discovered some rather nifty things in Logan’s brain related to Weapon X, and it’s given the character legs beyond “Insane in the Brain.”

It also bears being mentioned that this is a truly fantastic outing by Paquette.  The action is savage and Paquette’s creative paneling mirrors this.  He also does some rather interesting things with lighting when entering Rotwell’s darker “backstage” areas.  Furthermore, I absolutely loved his depictions of Nightcrawler and Psylocke.  Psylocke even looked completely and realistically Asian.  There’s also a really hilarious “brain bomb” that Paquette obviously had a lot of fun with.

Wolverine: Weapon X #7 – Review

by Jason Aaron (writer), Yanick Paquette (pencils), Michel Lacombe (inks), Nathan Fairbairn (colors), and Cory Petit (letters)

The Story: Dr. Rot attempts to release the animal inside Logan.

What’s Good: Last month’s issue was fantastic and this month is basically just more of a good thing.  Aaron’s “Insane in the Brain” arc continues to be a fantastic horror comic; it’s twisted, creepy, and shockingly gory for a mainstream Marvel comic.

Dr. Rot continues to be an incredibly strong character.  This month, his gleeful insanity is all the more enjoyable, as he has a run-in with some ordinary Mafia thugs.  What ensues is a delightful collision of worlds, where contact with the more mundane criminal only makes Rot appear all the more outrageous.  Also, if that female mask Rot wore last month wasn’t bad enough, this time Rot actually has it adopt its own personality, as he talks to himself in a mirror.  I couldn’t figure out whether I wanted to laugh or take a shower after reading that.

I suppose that that’s really indicative of how this issue’s build upon last month’s groundwork: it just seems that little bit more outrageous.  Where last month saw a bloody sack of brains, this one sees Rot running around with cleavers, a man with his hands removed, and an all-out chainsaw massacre.  Where last month had more of a “One Flew Over the Cuckoo’s Nest” feel, this month continues that, but adds a strong dash of grindhouse, splatter-horror into the mix.  Indeed, when we enter Rot’s mad scientist lab and he goes plucking brains, it certainly feels like something out of a thirty year old horror flick.  It’s sensationalist, bloody, and delightfully campy.

On art, Yanick Paquette continues to put out incredibly pleasing work.  His character models remain fantastic.  I also enjoyed how most of the frames featuring Rot have his eyes shaded in.  The character’s only having shadowy black pits for eyes is definitely disquieting.  Paquette also extends his range a bit this month, drawing Wolverine’s nightmares in a completely different style, one that’s more blurred, painted, and hellish.  It’s a perfect juxtaposition to the rest of the comic and is suitably horrifying.  Colorist Nathan Fairbairn also continues to have a great effect on Paquette’s work, giving Wolverine’s “treatment” scenes in particular a very well-lit, even fluorescent, clinical feel.

All told, the book hits all the same right notes it hit last month.  While it shows more this month, using the suspense of the page-turn to the maximum, it still also plays up what we can’t see.  Certain areas remain cordoned off, and as demonstrated by the bandaged nurse this month, that’s often the worst part.

What’s Not So Good: Admittedly, much of the ground covered plot-wise is the same stuff we went over last month.  For instance, Wolverine repeats that he doesn’t know where he is or what his name is.  He stated those same lines through monologue a bit last month, but when he does so a few more times this month, it does become noticeable.   At one point, Wolverine’s continued restating of this existential dilemma made me wonder whether some of the internal monologue was even necessary, if it’s only there to echo what we’ve heard several times already.

The big ending this month does help, but there is a slight sense of water treading through some parts of this issue.  That said, I don’t suspect it will greatly bother anyone with a decent attention span.

Conclusion: Still incredibly experimental and creative, with a cool grindhouse flavor added in, this one’s a keeper.

Grade: A-

-Alex Evans

 

Wolverine: Weapon X #6 – Review

by Jason Aaron (writer), Yanick Paquette (pencils), Michel Lacombe (inks), Nathan Fairbairn (colors), and Cory Petit (letters)

The Story: Wolverine finds himself a patient in a very strange mental asylum, unsure of who or where he is.

What’s Good: This is an amazing book and is not only the best issue of Aaron’s new series thus far, but it’s also one of the best Wolverine books I’ve read in quite a while. Were it not for Old Man Logan, it’d be the best of the year.

Like with Old Man Logan, why this issue succeeds is that it gives us a Logan who isn’t at all like the Logan we’ve grown accustomed to. As a result, we get a story unlike the usual Wolverine fare in tone and even genre. Make no mistake, this is a straight up horror comic that borders on IDW territory. It’s unique, different, and very creative.

Having forgotten who he is and without any healing, claws, or “bubs,” Logan sounds naïve, lost, and oddly well-spoken. Seeing him in such a state of innocence is in itself unsettling. The fact that Aaron makes Logan a mental patient also provides a bit of wry fun. It leads to a pointed joke over how ridiculous and convoluted Logan’s history really is; any man who believes himself to have had such a life is surely crazy.

But where this book most succeeds as a horror comic is its use of mystery and obfuscation. Take new villain Dr. Rot, for example. We never actually see his face. His masks get smaller as the issue goes on, but this facelessness is unsettling, giving him that air of dominance. His masquerade costume is bound to make you uncomfortable. Of a similar nature is the counter, where a strange, bandaged hand delivers “medicine” that blends horror with the surreal. Then there’s the fact that Logan, and the comic, are restricted to a very small area, with the other corners of the building cloaked in darkness. Aaron gives the sense that we and Logan truly have no idea what’s going on, but that whatever it is, it’s all truly horrible. Dreadful, grisly evil lurks just out of sight in every direction.

Paquette’s art is both brightly lit and clinical and full of the nasty, dirty browns and beiges of a sanitarium. As such, this fashions an atmosphere of disgust and insanity. His depictions of the other mental patients are horrifying, while her neutered Logan is a sad sight indeed.

What’s Not So Good: If you’re walking into this expecting your average Wolverine comic, especially given Aaron’s previous arc, forget it. While it makes sense given what Aaron is doing, I can see some readers being particularly upset with a Logan who doesn’t at all sound like Logan. The gruff, burly rhetoric is completely gone. Aaron has shown himself very, very capable of writing in this voice, so it’s clear that Logan’s change of vernacular is intentional, but it may off-put some veteran Wolverine readers. Then again, this entire comic is likely to do that, what with there being no action and no claws.

Conclusion: Aaron does the impossible: he has written a Wolverine comic that has me gasping at its creativity. A truly unsettling horror comic with Logan as you’ve never seen him before.

Grade: A

-Alex Evans

Dark Reign: The List – Wolverine #1 – Review

“All We Want Is The World And Everything In It” by Jason Aaron (Writer), Esad Ribic (Pencils), Tom Palmer (Inks), and Matthew Wilson (Colors)

“A Good Man” by Jason Aaron (Writer) and Udon Studios (Art)

Some Thoughts Before The Review: Jason Aaron is easily the best Wolverine writer at the moment, so any comic that features two stories by the guy is an automatic purchase in my book

The Story: The first part of The List – Wolverine is, essentially, a Marvel Boy and Wolverine team-up story that quickly turns into a Marvel Boy and Fantomex team-up story. Both duos try to shut down a sentient facility known as The World before Norman Osborn is able to gain control of it. The second part of The List – Wolverine is a character piece that explores if or how Logan is a “good man” despite his past.

What’s Good: I’m a fan of the buddy comedy. Especially if the buddy comedy I’m enjoying happens to have a healthy dose of action in it as well (…and doesn’t involve Brett Ratner in any way). I mention that because Jason Aaron absolutely nails the action-packed buddy comedy vibe with his first The List – Wolverine story “All We Want Is The World And Everything In It.” It goes a long way towards making up for the fact that the story is really a Wolverine story only in the sense that it features Weapon X/World stuff that Grant Morrison established quite some time ago.

Now normally, I’d be quite disappointed that Wolverine plays second fiddle to a couple of lesser known characters in his own book, I’m not, however, because Jason Aaron’s character work is so damned strong. The banter between Noh-Varr and Fantomex takes advantage of each character’s personality (the arrogant alien and the shady, yet slick weapon) and it makes the odd pairing work far better than you might expect. Add some great Wolverine dialogue, toss in a few scenes featuring a seething, power-hungry Norman Osborn and you’ve got a strange story about a sentient building/emotional brain that is a whole hell of a lot of fun to read.

Esad Ribic’s pencil work is fluid, loaded with emotion, and quite distinct. Ribic handles all the action exceptionally well and adds an extra bit of humor to the script thanks to his knack for drawing just the right expression for the situation. While I was initially disappointed that Ribic’s work wasn’t painted like it was for the cover or the excellent Marvel Knights mini-series Sub-Mariner: The Depths, the pencil work quickly grew on me.

Jason Aaron’s second story, “A Good Man,” isn’t nearly as fun as the first, but it certainly makes an impact thanks to a few nice touches I’d rather not spoil. By having Wolverine stop to help someone in need while trying to stay ahead of a group that’s chasing him, Aaron effectively softens a character that you know is going to have to get his hands bloody before it’s all said and done. In addition, by having a religious theme, “A Good Man” serves as a nice compliment to the ending of the first story, even though it is totally unrelated.

What’s Not So Good: While I can’t consider it to be a negative since it went with the story and the characters, I have to mention that some people are probably going to be a bit sensitive to the pro-atheism dialogue that’s written into “All We Want Is The World And Everything In It.” Also, I have to mention that the religious stuff throughout the book isn’t exactly subtle. The topic of religion tends to be a touchy subject all around and when it’s handled in a heavy-handed way as it is in both stories (“A Good Man” also touches upon religion quite a bit), the audience is bound to be divided by it.

Speaking of “A Good Man,” I’m still trying to figure out why someone thought it’d be a good idea to have Udon Studios handle the artwork for the story. While I like Udon’s work quite a bit, the studio’s style just simply doesn’t fit Jason Aaron’s fairly subdued character study. Disconnect between story and artwork can bring down any comic.

The only other negative left to mention is that Esad Ribic’s work is occasionally a bit too exaggerated. The exaggeration fits the tone of the story in a way, but Ribic goes a little overboard here and there. While the level of emotion on display is impressive at fitting and impressive most of the time, a few panels just look silly.

Conclusion: Dark Reign: The List – Wolverine is worth picking up as long as you don’t mind that Wolverine takes a back seat to others for most of the comic.

Grade: B

-Kyle Posluszny

 

Wolverine: Weapon-X #5 – Review

by Jason Aaron (writer), Ron Garney (art), Jason Keith (colors), and Cory Petit (letters)

The Story: Wolverine heads to an oil rig to put down Blackguard once and for all.

What’s Good: It’s clear that Aaron has a strong hold on Logan’s voice. Once again, he shows that, with some very strong internal narration this month. The captions come together into a weird mish-mash that sees Logan discussing religious beliefs, philosophy, morality, and his past with Xavier. All of this is done in that pitch-perfect, grizzled tone that we all know.Though this narration only appears in the last third or so of the issue, it feels highly personal and is executed perfectly. It makes the book feel more intimate while also causing its conclusion more grand.

Wolverine’s moralizing provides a stronger sense of closure and his revelation of his only fear was well-done. The reveal was surprisingly, almost lovably, mundane, but the manner in which Aaron spins out from this into Logan’s deeper psychology adds the needed complexity. It also leads to a kill that is particularly brutal in its simplicity.

We also get a couple little reveals that really are rather cool. One of which is perhaps a little expected, but thankfully, Aaron compensates for this by not making the scene a particularly big deal. The latter scene is a bit of a head-scratcher, but not in a bad way.

As far as Garney goes, it’s clear that he was meant to draw this series, giving everything a rather scratchy feel. Colorist Jason Keith helps bring out the best in him, making everything feel bright and really helping to give life to some truly awesome splashes involving landscape and sunsets. Certainly, the action is fast-paced, violent, and enjoyable, with a fair share of impressive explosions, pyrotechnics,… and sharks.

What’s Not So Good: While the reasons are hard to pinpoint, this issue felt a little underwhelming overall. I suppose a good part of this had to do with most of the final action scene seeing Wolverine spending the majority of it in a vehicle. This really subtracted from the visceral savagery that has defined this series. It made the final action scene, while awe-inspiring and huge, less impactful.

The first half of the book was also a bit lacking. Some of it is pointless. Why have Wolverine be apprehended by HAMMER if nothing comes of it and nothing changes? Do we need another scene of Maverick telling Logan that these are impossible odds? None of this is particularly offensive, but it feels like filler.

I also find myself again completely uninterested in the journalist, who mercifully spends this book almost as an afterthought. Aaron hasn’t really given much of a reason for me to care about her, nor enough page space to really develop plot or character-wise. It’s a shame that an entire arc is gone now, and the character is still bland and cliched.

Finally, despite my love for Garney’s take on this book, this isn’t his strongest issue. The quality here can be a little uneven; certain panels see a drop in detail, others become a little too scratchy, losing definition.

Conclusion: Not quite as awesome as I’d hoped, but things do kick up a level when the internal narration starts.

Grade: B-

-Alex Evans

Win A Free Copy Of “The Wolverine Files” HC

Let’s face it, the movie “X-Men Origins: Wolverine” totally sucked. And since WCBR understands the true nature of the fanboy/ fangirl, we know that some of you are still bound to pick up the DVD for “just gotta have it” sentimental purposes. But don’t worry! We’re giving you guys a chance to feel less guilty about buying that Wolverine movie, by giving away 7 copies of The Wolverine Files hardcover (s/h covered and US contestants only).

For anyone that either:

a) designs us a WCBR banner (Images of exactly 904 x 160 pixels will be used as-is)

b) sends us their best/ worst Wolverine/ X-23/ Gambit or any other Wolverine-related cosplay pictures (expect these to be posted of course)

c) writes us a 500 word essay on why X-Men Origins: Wolverine sucked or why you deserve a free copy of The Wolverine Files hardcover

YOU WILL RECEIVE A FREE COPY OF THE WOLVERINE FILES WHEN YOU SEND US YOUR WORK. ONLY 7 WILL BE CHOSEN. SO MAKE YOUR WORK COUNT!

The Wolverine Files is the complete story of Wolverine by Mike W. Barr. From every aspect of Wolverine’s life, from his creation by the WEAPON X project to his introduction to the other members of the X-Men… This amazing 160-page hardcover leaves no part of Wolverine’s life left uninspected. This book is essential to any X-Men or Wolverine fan. So buy that movie, and know that you can get something cool out of it from WCBR– a free $40 value Wolverine HC.

The Wolverine Files – Review

By Mike W. Barr (writer), assorted artists

To begin with, a quiz:

1)  Have you ever been caught sticking butter knives and/or other cutting utensils in between your fingers?

2)  Are you calling your friends and family members “bub” so often that you’re forgetting their real names?

3)  Do you frequently remind your co-workers that you are, in fact, the best there is at what you do?

4)  Does the word “snikt!” give you goosebumps?

If you answered “yes” to one or more of these questions, you just may be a Wolverine fanatic.  And if you are indeed a lover of Canada’s favorite diminutive killing machine, then holy crap do I ever have something for you.  Not quite a graphic novel, this massive tome is nonetheless full of sequential graphic goodness, and is thus worthy of our attention.

Published by Pocket Books, The Wolverine Files is one part encyclopedia and one part metafiction, lovingly written and designed to look like an official dossier of all the intelligence S.H.I.E.L.D. has gathered on Wolverine over the years.  By compiling over thirty years’ worth of comic panels and character sketches, author Mike Barr has somehow managed to put together an astoundingly accurate chronology of Wolverine and his actions throughout the Marvel Universe, a feat made all the more impressive considering how frequently the Canucklehead appears in comics and how convoluted his history has become.  Various efforts have been made to try and wrangle all those disparate plot threads into one cohesive storyline, but few have succeeded with a final product that is as comprehensive or well-designed as this.

Barr succeeds in this by arranging his ‘dossier’ into such chapters as Wolverine’s origin, history, allies, enemies, and the women in his life (why the fuck would S.H.I.E.L.D. care about something like that is beyond me, but there you go), all of which are easily expanded on through a wealth of faux memos and paper-clipped notes, often from Nick Fury himself, and interview transcripts with people close to Wolverine. Panels from comics, covers, and characters sketches are expertly chosen to illustrate the chapters they are found in as well as highlight the many artistic treatments Wolverine has seen in the relatively short thirty-five years since he was first introduced. It was while admiring all these pictures that I fully realized what an iconic figure Wolverine has become in that time, and was pleased that a book like this was available to celebrate that.

However, this book isn’t without its faults.  Barr’s text is largely hit or miss, with many portions being downright hackneyed. More than once I groaned at how purple his prose got. Granted, I understand he was trying to write as if Fury himself was commenting on Logan’s file, but it came off sounding like some Average Joe who was reading the file for the first time, and not a man who had actually gone through World War 2 with Logan. Also, I counted five chapters that were painfully frivolous and unneeded. If we’re to accept the logic that this is an actual file compiled on Wolverine, I think it’s ridiculous that a whole chapter would be committed to the women in his life, or his travels through time and space (how would S.H.I.E.L.D. have acquired that knowledge anyway!?). If I’m going to pay $40 (or if you want WCBR to hook you up with a copy…) to believe that I’ve acquired a top secret piece of intel on my favorite Wolverine, I expect that illusion to be maintained for the entire book, and chapters like these utterly destroy that suspension of disbelief.

Still, at the end of the day, the Wolverine fanatic cannot go wrong with this book. Full of insight, art, and other assorted easter eggs that you’ll need to discover for yourself, this book will make a great addition to the bookshelf.

Grade:  B+

-Tony Rakittke

Wolverine: Weapon X #4

By Jason Aaron (Writer), Ron Garney (Art), and Jason Keith (Colors)

Some Thoughts Before The Review: Wolverine may be overexposed these days, but Jason Aaron’s Weapon X series is definitely a keeper.

The Story: Wolverine and Maverick think they can take down the CEO of Blackguard before the Senate vote…

What’s Good: The best thing about Wolverine: Weapon X #4? The brutal, exciting action that takes up most of the book. Artist Ron Garney and writer Jason Aaron deliver what is easily one of the best fight scenes of the year, as Wolverine squares off against a Blackguard soldier. While I hesitate to say too much because it could easily ruin many of the highlights of the battle (Jason Aaron’s contributions in particular), I absolutely must mention how awesome Garney’s two page fight montage looks. Most of it is a prime example of the artist at his best and a great piece of evidence in favor of the argument that Garney is simply one of the best Wolverine artists around.

The slower stuff in Weapon X #4 holds up against all the action rather well. As you probably know by now, Jason Aaron writes one hell of a gruff, badass Wolverine and proves it through the dry, humorous dialogue. Ron Garney’s artwork (complimented by Jason Keith’s impressive color work) is very cinematic and does a fine job telling Jason Aaron’s story. The characters look fantastic, the action (as I mentioned) is near perfect, and the overall tone is a perfect fit for a series like Weapon X.

What’s Not So Good: Jason Aaron’s Blackguard story, while decent, continues to be predictable and fairly bland. The laser claws are cool and the basic concept behind it is sound, but nothing particularly surprising has happened (outside of one thing that happens to Maverick). Another complaint I have is that occasionally Ron Garney’s work looks a bit rushed. A few panels are oversimplified and, quite frankly, pretty rough-looking. It doesn’t hurt the overall art package too much, but it is noticeable because most of the book looks so damned good.

Conclusion: While the story leaves a bit to be desired, Wolverine: Weapon X is worth it for the action alone. If you’re a fan of Wolverine, consider the latest issue of Weapon X to be a must buy.

Grade: B+

-Kyle Posluszny

Wolverine: Weapon X #3 – Review

by Jason Aaron (writer), Ron Garney (art), Jason Keith (colors), and Cory Petit (letters)

The Story: The jungle cat-and-mouse game continues between Logan and Strikeforce X.  Meanwhile, we meet the head of Blackguard and Maverick gets his hands dirty.

What’s Good: Despite my love of Jason Aaron, I almost dropped this series.  It wasn’t because it’s a bad comic, in fact it’s been pretty solid, but only due to my “Wolverine fatigue.”  Aaron seems to have been attempting to get around this through simplification, divorcing the character from the main Marvel Universe and boiling down the character to its bare essentials: he’s badass and he stabs people.  Unfortunately, while fun, this doesn’t exactly get me excited enough to add another $3.99 comic to my pile.

Thankfully, I can say that this is the best Weapon X issue to date.  Aaron has finally established a voice for this series, making it a much more engaging read.  This month, with the introduction of Blackguard’s corporate head, military contracting politics, “men in black,” conspiracies, and political corruption, the series has become much more nuanced and finds itself becoming very much a “State of Play”-styled espionage/political thriller that nonetheless features a little furry guy stabbing people in the jungle.  Either way, the series ends up feeling more intelligent and finally sucked me in.  It finally carves out its genre of choice through focusing more on the bad guys, and I can honestly say that the comic is all the better for it.

Meanwhile, as was the case last month, I can say that Ron Garney is currently drawing my favourite Wolverine.  Logan looks positively bestial, demonic even, despite Garney making his height very apparent.  Logan actually LOOKS like a Wolverine: short, stalky, and feral.  It really takes the action scenes to a new level.

What’s Not-So-Good: The reporter continues to fail to grab me as a character, despite Maverick’s badassery this month.   She appears to merely be the means of achieving that “political thriller tone,” and lack any unique or defining characteristics.  I just don’t find her to be a very strong character (as evidenced by my forgetting her name).  All the more groan-worthy is Aaron’s need to make apparent her faith in Obama’s “change platform” and the new administration.  It’s not a big deal, but honestly, at this point, any mention of Obama in my comics is like nails on a chalkboard.

Garney also appears to struggle a bit drawing her.  Granted she’s dressed entirely differently, but in the two scenes we see her in, she appears to be two different people.

Also, some readers may not be that high on the main bad guy of the series, who may seem at the moment to be a little too clichéd (the unethical, power hungry CEO).

Conclusion: Well, I like this Wolverine comic better than any of the other offerings out there.  Aaron has a clear love for the character and this title is finally coming into its own.  The best praise I can give it is saying that it’ll be staying on my pull-list.

Grade: B+

-Alex Evans

Wolverine: Weapon X #2 – Review

by Jason Aaron (writer), Ron Garney (art), Jason Keith (colors), and Cory Petit (letters)

The Story: Logan seeks out the new Blackguard Weapon X commandos as, he heads to Columbia. Meanwhile, reporter Melita Garner decides to try to figure out who exactly Wolverine is.

The Good: Jason Aaron really has a knack for Wolverine’s character. Not only does he write a great Wolverine, but it’s clear that he has a lot of affection for the character as well (“little hairy dude who likes to skewer bad guys”). Aaron writes a great Logan. The textboxes are fantastic, and Wolverine sounds like Wolverine, with a good use of Logan’s trademark, gruff slang that doesn’t become so dominant as to render Logan an unintelligent “badittude” hillbilly. Logan’s voice suits the character with its affable nature, but also sounds as if it’s clearly coming from a smart character.

The massive action scene at the end with Wolverine fighting a pair of “Adamantium Men” was high-paced and thoroughly enjoyable. Much as Aaron has a clear grasp of the Wolverine character, he’s also showing a real talent for plotting out action.  The blow-by-blow, move-by-move frame sequencing is incredibly fluid, and natural.  It’s clearly well thought-out and logical, while also thrilling and indisputably “superheroic.” One frame led very naturally to another despite the speed. It’s good work.

Aaron also infuses the comic with a little humor. Logan’s booze-riddled existence is as much a laugh in this issue as it was last month. However, the real highlight is during the big brawl at the end. Wolverine does his trademark roar, looking to rush into combat; yet only to end in a hilarious frame of him scampering off into the distance, running right by his opponents, who are as stunned as the reader.

Art-wise, this is a solid comic, which, for better or for worse, has that sleak “Marvel comic” look.  Nothing distinct or stand-out, but nothing to complain about either.  That said, when the script calls for it, Garney can draw one helluva scary-looking Wolverine. Somehow, Logan’s small stature has been highlighted by Garney, and yet that only leads to him looking more bestial and frightening.

The Not-so-Good: There’s only one big downfall in this issue.  Despite occupying half the issue, the Adamantium Men just aren’t very compelling right now.  I know Wolverine despises anything Weapon X, but I still wish we could see a little more personality or character from these commandos. Right now, they’re simply lame.

Even the art design of these guys is just not that interesting. In an effort to alleviate their blandness as adversaries, Garney tries to make them look more “inhuman” as they have glowing neon-green eyes and similarly colored “energy claws.” Unfortunately, to me, it just ends up looking a little unnecessary.  Shiny eyes don’t make for menacing, compelling villains.  Somehow, it just looks silly and contrived.

That said, for all my whining, I’m sure this will soon be a non-issue.  The commandos mention having a mysterious “boss,” who will probably end up being the real adversary of this arc.

Conclusion: Right now, this is probably the best Wolverine comic on the stands, and at issue #2, the most accessible. With tThat said, fans of Aaron’s breakthrough “Scalped” will also find a lot to love.  In Logan’s rough demeanor and alcohol-swilling ways, the ties are quite clear and it’s more obvious than ever that Jason Aaron was the right man for this job.

Grade: B

-Alex Evans

Wolverine: Weapon X #1

By Jason Aaron (Writer), Ron Garney (Artist), and Jason Keith (Colorist)

Some Thoughts Before The Review: At first, like any sane person, I really wanted to dismiss Weapon X as something that I need not waste my time reading or reviewing. I mean, at first glance, it seems to have all the trappings of what would pretty much be THE ultimate Marvel cash-in series. In my mind I thought, “It stars Wolverine, launches just weeks before a film starring the character hits theaters, and is subtitled “Weapon X” (which just so happens to be an integral part of the Wolverine movie)…yep…” Then I noticed that the creative team attached to the book is the same team responsible for “Get Mystique!” one of my favorite Wolverine stories of all time. Suddenly, Wolverine: Weapon X became a must read series…

The Story: After getting a tip from Maverick, Wolverine heads off to investigate the latest attempt at resurrecting the Weapon X program. It turns out that a private military contractor recently bought Weapon X files off the black market and is looking to give it’s mercenaries a boost. The investigation into the facility hosting the experiments triggers some old memories of Wolverine’s time as part of the program…

What’s Good: Jason Aaron and Ron Garney waste no time establishing the gritty, violent tone Wolverine: Weapon X will have. Both the visuals and the writing do a fantastic job of tapping into the dark side of Marvel’s main mutant. While it’s definitely too early to tell just which directions the first arc will take, it’s obviously going to be a brutal, bloody affair. And I, for one, could not be more pleased about that.

What’s Not So Good: I guess my biggest complaint is that the debut of Weapon X is very much a textbook example of how a standard first issue should play out. The first threads of a plot are introduced, Wolverine’s character is established, and off he goes with a purpose. The formula works, that’s for sure, but I wish the series would have hit the ground running a bit harder. I mean damn near everyone is already familiar with Wolverine on some level, so why not just get to it? Sure, it’s a blast reading Aaron’s take on Wolverine no matter what the character is doing. And sure, I couldn’t be much happier with Garney’s distinct visual style. But I wish things moved forward a bit more from a plot perspective instead of spending so much time establishing Wolverine as a badass…most people already know that he is.

Conclusion: I really like the first issue of Weapon X, especially on a technical level, I just wish it had a bit more substance. That said, what substance there is has some interesting storytelling potential that, under the control of Jason Aaron, Ron Garney, and Jason Keith, should be in good hands. I look forward to see what happens next.

Grade: B+

-Kyle Posluszny

Wolverine: Killing Made Simple #1 – Review

Christopher Yost, Todd Dezago (writers), Koi Turnbull, Steve Kurth (pencils), Sal Regla, Serge Lapointe (inks), Beth Sotelo, Joel Seguin (colors) Cory Petit (letters)

How would you go about killing Wolverine if that scenario ever came up? I can tell you this: without special powers you’re screwed. Killing Wolverine attempts to answer this age old question and is a “close but no cigar” book for me. What’s shown is creative and interesting, but ultimately misses that something “special” to make it a must buy.

Chris Yost’s story is all about Wolverine’s healing factor and how it can be beat. His dialogue for Logan is great – it’s blunt, cynical, and to the point – I just wish the parts about him dying tied better into the story. It seems like we can’t have a Wolverine story without a mention of the magic sword that can kill him. Thankfully it’s not the focal point here. Metal poisoning (without his healing factor), being shot into the sun, and decapitation (with the sword), are among the list of ways to kill Wolverine. Logan talks about it like it’s common knowledge which is a nice touch. Sadly, Yost’s offering is too light on story.

Todd Dezago’s Disturbing Consequences is a nice quick end to the book. Here, Logan is sent to investigate a secret facility some government lost contact with. From there it’s a cool looking fight with the infected sole-survivor from an experiment gone wrong. I wish elaborate more on the details, but that’s really it! The mission is a favor, but for whom? What were these guys studying? And most importantly, what would these people have done if Wolverine’s healing factor didn’t cure the virus?

Koi Turnbull has the stronger pencils in my eyes. A dead or dying Wolverine is always interesting to see because he’s rarely in that kind of danger. The nastiest image has Wolverine’s body de-aged and then trying to repair itself. It’s one panel, but it looks every bit as horrible as Yost’s description. Steve Kurth draws an awesome fight. It’s always cool to see Wolverine fight another savage with his feral instincts.

Killing Wolverine is a fun read, I’ll admit that. However, neither story feels as full or satisfying as it could, so it’s hard to justify the four bucks with so many other better titles out there. If you’re tight on cash you might want to pass on it, but hardcore Wolvie fans or those with some extra dough may want to give it a shot. (Grade: B-)

– Ben Berger

Logan #2 (of 3) – Review

By Brian K. Vaughan (writer), Eduardo Risso (art), Dean White (colors)

After last issue’s stunning revelation of Wolverine hanging around Hiroshima near the end of World War II, I was very excited to see what would become of him and his new found woman. In a way, this is like Titanic. You know what’s going to happen, but the journey to that fateful moment is what’s going to make or break this book. Unfortunately, the journey thus far has been anything but exciting.

In an odd twist of fate, it appears that Wolverine isn’t the only around these parts who has a healing factor. The man he helped escape from the Japanese prison has a similar mutant power. Having a chip on his shoulder from when they last parted ways, he comes after Wolverine with reckless abandon, wounding him enough to where we’re given a face off between the soldier and his Japanese woman.

Everything plays out very stereotypically. The woman’s well versed in the ways of the sword and it gave me flashes of Elektra (I think it was the poses used). I just don’t understand why she couldn’t be a Japanese peasant girl? Why did it have to be something so predictable and dare I say it, lame? Of course, like all of Wolverine’s loves, she dies, too. Wow, I didn’t see that coming.

Logan’s narrative about Hiroshima and the effect of the bombing feels incredibly forced. It’s like Brian K. Vaughan is trying to say, “Look, I’m smart. I researched what happened and now I’m sharing it with you.” Really, it comes off like a book report. Most people know about the shadows of people being burned into ground when the bomb went off. This story’s a lazy one, and the art isn’t very far behind. Eduardo Risso does a decent job conveying the story, but his action sequences are too over the top for my tastes. Nothing he did this issue failed to capture my attention like he did in the previous, except for his accurate rendition of the lone building left standing from ground zero. (Grade C-)

– J. Montes