REVIEW: ‘Wolverine’ Issue #2

Marvel Comics publishes Warrior #2. Saladin Ahmed writes; Martin Coccolo provides artwork; Bryan Valenza colors; Cory Petit writes correspondence. Still in the wilderness, agents of both his former company and a fresh rendition of a classic enemy hunt Wolverine.

This second part keeps in the wilds of Canada but moves forward. More invaders are showing their presence; Wolverine has been unable to leave the jungle he has established his new residence. From each other, Wolverine #2 throws two different threats at him that he has to also keep safe from.
Torn between two threats, the pace of Wolverine #2 is noticeably changed. Logan is first trying to remain cool and slow, but the presence of both threats quickly increases the speed. Although he concentrates more on one side because of an ancient, deadly curse inherent to the region, the others present several kinds of threats.

Ahmed also shows the other parts of Wolverine’s physical approach. He can be a ferocious animal hurling himself into a furious sparring match or a stealthy soldier, hidden and methodical. Still, there is a sad but fascinating surprise that offers hope in a comic loaded with so much bloodshed. The narrative revolves mostly around stopping and restraining an apparently unavoidable nature. An ending that seems to rely on basic impulses tragically squashes the prospect of optimism.

The second issue with two variables is Wolverine #2, which aids in exploring the very complex title character. Nightcrawler and Cyber, friend and opponent of Wolverine, presented the first challenge. Logan has been both; this chapter shows him facing soldiers and a monster. Capable of launching himself into a fury, Wolverine is a creature of violence and ferocity. He can, however, also exercise moderation and assist people most in need.

The conversation is excellent, constantly controlling Logan’s wild side. He muses over a different choice or at least tries to be non-lethal every time he leaps to pop his claws. The most amazing aspect of the comic is the monster. The sad history has a graphic start and possible conclusion.

The art is very amazing. There is a good representation of both ferocity and tenderness. Early in Wolverine #2, Wolverines’s cautious approach emphasizes his training as a soldier and ninja. Then comes his first fight, though, and his savagery intensues. It makes no difference if his rivals are more or less than him or if they are bigger than him. Coccolo deftly shows his accuracy and speed.

If Wolverine and the monster are ravenously hungry, enraged, even terrified and depressed, their emotions will take the front stage. The details are superb; little variations in the eye forms entirely alter the atmosphere. Combining cruelty and melancholy in the same picture, the last page of Wolverine #2 is the best illustration of that.
Since Wolverine discovers the monster inside a book, the narrative of how it came to be is portrayed in its own manner. This part seems amateurish and rougher, exactly as it has been drawn by someone else than the creator.

The colors are also pleasing. Changing into his iconic outfit, Wolverine sports the most bizarre colors—yellow and blue against the pure white snow. Set early in the morning, Valenza offers the scene more than just white. The surroundings are breathtaking, combining the sun with the shadows the trees create. Always easy to see, and the text is neat and clear.

Second Wolverine is based on opposites. Every problem has given something more to improve the narratives. Since Wolverine has to deal with two issues at once, the comic becomes more erratic and probes the extremes of his psyche. Logan is the best mix of man and beast; he has a tendency to defend but lacks an unmatched ability to release aggression. The work and writing brilliantly catch that.

FAQs: