Thoughts

One thing that this re-read in reminding me is that alongside the melodrama and epic story arcs that he’s famous far, Claremont is also capable of great cinematic storytelling. Single issues that in structure and pace would seem to be perfect for the big screen.

This is one of them – an epic tale of unstoppable vengeance when John Wick was little more than a twinkle in the eyes of Belarusian Romani parents. As he dismantles the criminal empire of his rival Shingen, we see the antagonists (including the anti-hero Yukio) repond to their oncoming doom, as the plot inevitably steers us towards the big final blow out against the big bad guy.

Miller’s art was strong enough to begin with, but its developed in scope and ambition with every issue. Culminating in this glorious visual mix of action, colour and mood. The dynamic, constantly changing panel layouts add to the cinematic vibe, feeling like clever direction, hooking the reading in with glorious 70mm technicolor mixed with scuzzy darkness close-ups.

And just when you feel that this story will go the obvious route of easy deaths – further reinforcing Wolverine’s tortured loner status – it wrong foots you with a fine twist at the end. This isn’t the easy end of a cliche. There is a longer story to be told here.

Fun Panel

Another of those issues where you could practically put the whole comic in this section – but this little beautiful slice of moody minimalism is another fine moment.

Thoughts

After two issues of ninja mayhem and romantic stoicism, Claremont gets to develop a story of betrayal here, as Wolverine learns that maybe while he can’t win he should probably keep fighting. That, for all his animalistic qualities, he’s a man. With a dream, and a capacity to fight for it.

I think there’s enough in this story to vindicate the decision to not have Logan revealed to be a mutant Wolverine turned manlike by radiation. The heart of this story only works if Wolverine is a real person, behind the violence and gruff loner cliches.

There’s still shedloads of fighting in this, but the additional layers of narrative mean it doesn’t feel like more of the same after the last two issues. Things finally feel like they’re moving to conclusion.

Miller has been quoted as basing his Wolverine on Clint Eastwood, a step in moving the character towards being the quiet stoic loner of Eastwood’s numerous Hollywood films. I can’t quite see it though – he seems to possess enough of the Hook McCracken vibe that drove his creation. Maybe the true wildness has been lost – its hard to maintain such savagery in the face of boxes and boxes and boxes of his inner monologue exposition. But I think its still there

Finally, though, there’s the murder of a friend of Wolverine. Which is meant to heighten the drama but does feel like a shame. His friend in Japanese intelligence feels like a character that could develop over recurring appearances. Exactly the sort of character you’d want if you were wanting to devise a solo title. Maybe the reason he doesn’t make it is precisely because Claremont doesn’t want such a title quite yet.

Fun Panel

Miller’s reputation for the grim n gritty takes quite a pasting in this issue. At its best its a pop art riot of colour and dynamic visuals. Gorgeous stuff.

Thoughts

Anyone reading the regular ongoing titles of Uncanny X-men and New Mutants would have been aware that Wolverine had his own mini-series. Both titles have made a point of stressing that Wolverine is absent because he’s off having his own adventure.

It’s pretty clear from the focus that the title has been giving him, and the response in the letters page, that Wolverine was already the character from the relaunched X-men that’s struck a chord with comic book reading audiences. He’s a tough loner, underestimatd by many, seemingly surly and antisocial but ultimately a great friend to have. With all theses factors you can see why teenage boys latched on to the character.

Despite that obvious success, the striking feature of the mini-series is that it seems to be leaving nothing to chance. This is a series that seems designed to land with that target demographic. It has ninjas and sumo wrestlers and Japanese gangsters, all ridiculously cool even then. Frank Miller was already a hot talent in the industry, bringing a grim and gritty earnestness to his work. These aren’t comics for kids. They are a teenagers take on adult.

And Claremont writes perfectly for Miller’s strengths, perfectly in tune with this teenage level of adult seriousness. It’s a love story – but there’s nothing sappy or girly about it. It’s about a woman who must deny her love for our hero due to her obligations. And the suppressed sacrifice of the hero to respect that. Domestic violence is clumsily dropped into the story to up this grim n gritty seriousness quotient.

And yet, despite my issues with the tone – this is still strong inventive storytelling – both in terms of Miller’s pages of gorgeous art and Claremont’s approach to Wolverine’s first solo adventure. I loved it as a teenager when I was clearly slap bang in the middle of its target audience, but its still an engaging ride today.

Fun Panel

A neat follow on to yesterday’s full page New Mutants punch-up. Miller’s dynamic take on Wolverine fighting is influential stuff.

None More Claremont

The introduction of Wolverine’s “the best there is…” line was clearly one of the key moments in Claremont devising who this character was. A take that becomes so insanely popular, and a catchphrase that still resonates.