If any Marvel franchise needed a post-Secret Wars change in direction, it's Wolverine (and yes, he qualifies as a franchise unto himself these days). Last year's Death of Wolverine mini-series was good, but much of the build-up to that story and the resulting fallout was not. Luckily, All-New Wolverine is just what Marvel needed. As much as this series is new in the sense that a completely different character is calling herself Wolverine, the book also reads like a return to basics. This issue is a solid start to a promising new series.
Wolverine comics can often be heavy-handed in the way they delve into the character's troubled psychology and lean on his familiar monologues - "I'm the best there is at what I do," and so forth. Often it's the writers who avoid digging too deep into the character's head (like Joss Whedon and Charles Soule) that find the most storytelling success. That's the approach writer Tom Taylor opts for in this first issue. There's no lengthy setup or ponderous monologue to slog through. Taylor starts the story right in the middle of the action and delivers a lean, mean adventure as Laura pursues a deadly assassin through the streets of Paris.
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Wolverine comics can often be heavy-handed in the way they delve into the character's troubled psychology and lean on his familiar monologues - "I'm the best there is at what I do," and so forth. Often it's the writers who avoid digging too deep into the character's head (like Joss Whedon and Charles Soule) that find the most storytelling success. That's the approach writer Tom Taylor opts for in this first issue. There's no lengthy setup or ponderous monologue to slog through. Taylor starts the story right in the middle of the action and delivers a lean, mean adventure as Laura pursues a deadly assassin through the streets of Paris.
Continue reading…
Continue reading...