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In the wake of the All-New, All-Different Marvel Universe, we’re taking a look at each and every #1 in the line. This week sees the return of Wolverine, but not the Wolverine you might immediately think of. Old Man Logan first debuted in 2008 in the regular Wolverine title. Author Mark Millar (Starlight) told a […]

Writer:

Brian Michael Bendis

Artist:

Andrea Sorrentino

Colorist:

Marcelo Maiolo

Letterer:

VC’s Cory Petit

Wolverine is grizzled, dirty, and tired — but Old Man Logan is downright nasty. Logan’s resolve is killing now in the midst of Secret Wars, his motivations are questionable, his ‘costume’ is covered in blood — welcome to the new Old Man Logan #1.

Author Brian Michael Bendis has a knack for writing characters like this, likely affected by the heroes of his youth portrayed on the big screen. It’s impossible not to feel the vibes of characters like Sam Spade of The Maltese Falcon burning off the pages of this issue. This incarnation of Old Man Logan doesn’t even pretend to care that it’s walking in the footsteps of the original series with Mark Millar and Steve McNiven, the comic is devoted to getting down to the core of the Wolverine character and reminding us why he’s so damn cool in the first place.

Andrea Sorrentino’s art was always stylish — incorporating elements that pushed the medium further with really dynamic color flourishes and poses. Steve McNiven’s more polished pencil set is really hard to live up too from the previous series, and that’s where Sorrentino’s really shines as a creator — he forges his own path in this comic. In fact, the different tricks of the medium and elements of coloring and lettering that make this tale so organic is perfectly weaved within the narrative. I’m not sure where the talent of colorist Marcelo Maiolo and Sorrentino intersect, but I never ever want them to stop working together! When the story breaks free of the regular style of art and thrusts into the lush splash page, we’re introduced to the versatility that Sorrentino’s own art that has grown ever since his time spent on projects like Green Arrow. He’s become more bold since then, and is now unafraid to take even more risks as the story goes on with Maiolo.

One of the best parts of this issue is how the reader really isn’t sure if Logan has gone crazy or not in this story. He definitely seems to be pushing against some line of morality, seemingly now playing the role of The Punisher within his own story. It’s also great to see the character of Logan finally get a bit of a break. We’ve been living in a culture with a Logan on virtually every team within the Marvel Universe. When Charles Soule finally let wolverine die, the character may have found the solace that he needed. Now that we have Logan back in a different sort of capacity I can actually appreciate the character for who he is.

Old Man Logan isn’t a particularly nice dude, but with his family ripped apart and evil continuing to prevail, he doesn’t really have a lot to be happy about. Thankfully, this story isn’t a nuanced character study, it’s an exploration into the dark parts of Wolverine’s psyche that allows him to kill. It’s interesting to see how the Marvel Universe at large is integrated into this story, at the same time, the way that the greater Marvel world was developed within the original story was some of the greatest strengths of the original volume. We need to see the pieces of the Marvel Universe sparingly, but we still need to see them lightly developed within the story structure of Old Man Logan. The only gripe I have in this comic is that one scene in particular plays a little too close for comfort in how it adapts Emma Frost into the Wolverine mythos — other than that, it’s all peaches and cream.

The light ties to Secret Wars are standard at the moment, but effective. Just a slight mention of Secret Wars seems to legitimize whatever sort of tie-in currently inflected within the titles themselves. Sorrentino and Bendis have crafted a tale worthy of Millar and McNiven’s tenure on the title. If we had to have any sort of continuation of Old Man Logan, this is an excellent new path for the title to embark on. Through utilizing circumstance and really making use out of the little moments of mythology conducted in the Marvel Universe during Secret Wars, Old Man Logan #1 is a successful tie-in. Continuing the legacy of one of the grumpiest and oldest superheroes ever further utilizes the strength of Marvel’s flagship event that is dedicated to exploring the outcasts, rebels, and Sam Spades of the Marvel Universe.

Marvel welcomed artist Andrea Sorrentino to the Bendis-verse with Uncanny X-Men Annual #1. The penciller is continuing his work with author Brian Michael Bendis and Marvel with the upcoming All-New X-Men #38 and his exclusive Marvel contract. The comic is the fourth entry into the Black Vortex crossover with the X-Men and the Guardians of the Galaxy characters. Comics Beat recently covered the announcement that saw Sorrentino move with Bendis on the upcoming Old Man Logan #1 launching in May which takes place during Secret Wars.

“I’m very, very excited about this new chapter of my career,” said Sorrentino. “I’ve always been a huge fan of Marvel characters and I’m thrilled at what is coming in the next couple years now that I’ve joined the family full-time.”

The artist first dazzled the critics during the Big Two with I Vampire alongside author Joshua Hail Fialkov, turning the comic into a fan favorite New 52 launch title. He once again delighted the press with his run on Green Arrow with Jeff Lemire. CBR ran the press release and announced the news this afternoon.

Cover for Guardians of the Galaxy & X-Men: The Black Vortex Alpha #1

Hitting stores next month is Marvel’s latest cross-over between the X-Men and the Guardians of the Galaxy: “The Black Vortex”, just 12 months after 2014’s “Trial of Jean Grey” which brought together these two Brian Bendis written teams for the first time.  For this event, Bendis is following the lead of Sam Humphries, writer of The Legendary Star-Lord, who is the “showrunner” for this event which sees the two teams cross paths thanks to a powerful artifact (the entitled Black Vortex). This event, which begins in an Alpha issue written by Humphries, then spreads to titles like All New X-Men, Guardians of the Galaxy, The Legendary Star-Lord, Nova, Captain Marvel, Cyclops and other series. Both creators joined the comics press today on a call to discuss the upcoming event, how it impacts each team going forward, and to elaborate on just how central the new-found relationship between Peter Quill and Kitty Pryde is within the pages of the event.

Guardians of the Galaxy & X-Men: Black Vortex Alpha #1 Interior Art by Ed McGuinness

Guardians of the Galaxy & X-Men: Black Vortex Alpha #1 Variant, Art by Alexander Lozano

“The Black Vortex” was born out of the regular Marvel retreats that occur among its key writers and editors, says Humphries: “This grew bigger and more exciting as we shared it with our colleagues at retreats and in Editorial…It became clear that this was an event-caliber story.” The writer stated that it was his hope to challenge the Guardians, the current “it” property at Marvel, on a level on which they hadn’t yet been. The Black Vortex, as an object, has been appearing in Humphries’ run on The Legendary Star-Lord, but expressed that this escalation called for a number of great writers to work on the concept and that scribes like Bendis, Kelly Sue DeConnick, and Gerry Duggan all stated their desire to be involved in the project, and that they each had their own unique take on the concept for their given titles. Humphries also mentioned that there are big Captain Marvel and Nova moments in the story, the latter hitting a rather funny note for the character.

Bendis also made mention of the artistic talent involved, from Ed McGuinness (who is the artist on Black Vortex Alpha #1) to All-New X-Men artist Andrea Sorrentino, who is freshly joining Marvel after an incredible stint on Green Arrow. Bendis says the cosmic landscape is what really drew them in: “The artists are given the freedom within the story to express themselves. This gave us an opportunity to give quite a handful of artists who were itching for their chance to let go cosmically their chance.”

And speaking specifically about Sorrentino, Bendis shared:

You just write your ass off and then you just let him do what he’s going to do because it’s almost indescribable what he does. You just get out of his way and let it happen…it’s so exciting when the pages come in. Every artist in the group is like that. When you go into an event – even when it’s an artist you’ve worked with – there’s something about how an artist will take the opportunity to draw bigger. After an intimate storyline, they feel when they’re drawing an event.

On the subject on Sorrentino, Bendis also stated that he and the artist already have their next project lined up and compared working with the artist to his acclaimed runs with Alex Maleev, David Mack and Bill Sienkiewicz.

All New X-Men #38 Interior Art by Andrea Sorrentino

The concept behind The Black Vortex itself is that when characters come into contact with it, they become cosmically empowered, in much the same way that Jean Grey became empowered by the Phoenix Force, and Norrin Radd obtained the Power Cosmic. With certain characters obtaining this power, they also were given new designs by McGuinness, speaking on that topic, Humphries said:

I’m convinced that Ed McGuinness found the Black Vortex when he was a teenager, and that’s why he’s such an amazing artist…He didn’t just come back with new costumes. He came back with new character twists and new powers…what he delivered was so compelling and intriguing that I ended up rewriting part of the outline to give it more focus…you want to get more in their mindset and see what kind of havoc they’re going to wreak on the cosmic landscape.

Guardians of the Galaxy & X-Men: Black Vortex Alpha #1 Interior Art by Ed McGuinness

The impetus of the story, according to Humphries, is that Peter Quill’s father (Mr. Knife aka J’Son of Spartax), has been amassing a number of cosmic forces, and seeing himself as an “empire builder”. As a consequence of that, Quill, and his new love interest Kitty Pryde, are drawn into the power of the mysterious title object and call upon the X-Men for help. On this note Bendis said:

I don’t know if it’s the Claremont influence…but the X-Men every so often have to take an adventure that goes beyond their typical scope. But for a return trip, I didn’t want to do a “Trial of Jean Grey” sequel. I wanted to do something new if we were going to go back out there

Bendis stated that he wanted to be part of a story that had a big impact on the characters and both he and Humphries assured that not all the players in this event would land back in the place they started. Bendis particularly singled out one X-Man:

Hank McCoy is one of these characters that struggles with being the smartest man in the room, and this is a perfect example of a character that will altered because of his experience with the Black Vortex, this is something that will change the character dramatically.

Bendis also added that McCoy would obtain knowledge of a cosmic and universal nature.

According to the writers, “The Black Vortex” also leads right into Secret Wars, indicating that perhaps even bigger changes are on the horizon for Marvel’s heroes.

At this point, press questions were asked, the first among them being how the relationship between Kitty Pryde and Peter Quill affected the story given the positive reaction from fans, to which Bendis responded:

It doesn’t alter what we do with it. We have to tell the stories that the characters dictate to us, but when there’s a response like this it makes me happy…when you write relationship stuff, you’re revealing things about yourself in there…and when you put your ass out there a little bit, you want people to respond favorably to it and not go ‘Eww!’ That inspires us to go forward, but I don’t think we’d stop if we weren’t getting this response.

On whether the younger “All-New X-Men” will have a different reaction to the Black Vortex than their older counterparts, Bendis replied:

Jean Grey damn well knows what happens to her when she grows up. She knows EVERYTHING. But others are on a path – like Beast – of desperately looking for knowledge and power. And just because this power is offered, it doesn’t mean every character will have a horrible price to pay. Some will get a power up. So the X-Men are coming at it young and raw…there are also other characters, like Angel, who has his own experience with a dark power.

Guardians of the Galaxy 24 Interior Art by Valerio Schiti

The heavy Jim Starlin influence of McGuinness’ redesigns was brought up, to which Humphries responded that the artist was great fit for the task from the get-go and that McGuinness “knows the history of the cosmic stuff, and while that wasn’t something they specifically through at him (the Starlin-like look)…you could see the electricity jumping off those designs”.

Bendis also drew a very strong connection between both teams when asked about the challenges of bringing the two teams together:

There’s a connection of spirit there. They’re oddballs. Even the Guardians are the oddballs of the universe…these characters see themselves as outsiders looking in and unique. Sometimes it’s great to be unique, and sometimes it’s f***ing depressing to be unique.

He also admitted that getting the X-Men into space and on the same playground as the Guardians was the toughest task by far.

Finally the topic of possible mainstream response to their work was broached, particularly given the success of the Guardians of the Galaxy film this past year. Humphries said that he’s encountered readers who came to his work via the film, as well as the Rocket Raccoon and Guardians title, and that they liked “what they saw in the movie and they were ecstatic to find more that they could read without having to wait for the sequel.”

And Bendis was quick to mention that fans realize that the only place you’ll currently see the Guardians and X-Men cross-over is in the comics, and that adds an exciting element to what “The Black Vortex” offers, particularly for new readers and that it’s “exciting and an honor to be delivering that to readers who want it”.

Guardians of the Galaxy & X-Men: The Black Vortex Alpha #1 releases on February 4th.

The below designs are all created by Ed McGuinness

Cosmically Enhanced Drax Design

Cosmically Enhanced Ronan Design

Cosmically Enhanced Beast Design

Cosmically Enhanced Gamora Design

Cosmically Enhanced Drax Design Close-Up

Cosmically Enhanced Nova Design

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DC sent along a lovely pack of review copies for Villains Week, and I feel like it’s only fair that I read through all of the ones out this week and review ‘em. I’ll go from my least favourite to my favourite, ending with my favourite of this first lot. And hey! If DC send along a second selection next week, I’ll review those ones too!

Slight spoilers below, but nothing particular.

One thing that you should note is that some of the comics take place as part of Forever Evil – the Batman and Flash comics, it seems – whilst the Green Lantern/Superman issues are more general. So if you pick up Poison Ivy or Grodd, it’ll make reference to two of the more immediate moments which occur in Forever Evil #1. Keep that in mind as you buy the comics – they’ll all make sense, but some will be directly following on from the main story whilst others are unconnected origin stories.

Desaad

Paul Levitz (w), Yildiray Cinar (a), Jason Wright (c), Carlos M. Mangual (l), Anthony Marques, Mike Cotton (e)

I’m astonished this issue was made. Impossible to understand as a standalone story, it features a sequence about a mass shooting which is in extremely poor taste. The rest of the comic doesn’t explain who Desaad is or what’s going on, and is filled with concepts and ideas which are neither fleshed out nor coherent. The art tells the story – what little there is – well enough, but there are some dodgy character designs going on. I didn’t care at all about Desaad by the end of the issue.

Relic

Robert Venditti (w), Rags Morales (a/i), Cam Smith (i), Andrew Dahlhouse (c), Dave Sharpe (l), Chris Conroy (e)

There’s an interesting story in here somewhere, but the artistic choice made here turns an origin story into a complete chore to read. Every page is a splash page from Rags Morales, and he chooses some absolute clunkers. The first page shows a pretty galaxy with an arm floating into the left frame. What’s going on? Who knows. It’s boring.

Morales doesn’t make any of the concepts in Venditti’s script work, and his character designs are uninspired and uniform. Andrew Dahlhouse does his absolute best to clean up this mess, but it’s a lost cause. I can see that Venditti’s story would be interesting, if only the comic had been told sequentially instead of as a series of misconnected splash pages.

Joker

Andy Kubert (w), Andy Clarke (a), Blond (c), Jared K. Fletcher (l), Katie Kubert (e)

As you might expect, there’s really no reason to try and offer any backstory to The Joker. This issue tells a nonsense side-story from some point in Joker’s past, during which he has some flashbacks to his childhood. Really, any attempt to flesh out the past of the character is always going to flop – the more we know about Joker, the less interesting he is. As a result, the issue flails with an un-involving main story which bombs the final gag, and flashbacks which take away from the story entirely.

Andy Clarke’s artwork is lovely, as always, although the weak script means it’s very difficult to determine how some scenes are meant to be interpreted. There looks to be some intent at offering a subtext, but this is only conveyed in the art and not the script. It seems as though one of the supporting characters is secretly working at a cross-purposes, but there’s only so much the art can do without clear dialogue. Clarke attempts to elevate a completely throwaway storyline, but can only offer a very pretty, very weak, story.

Grodd

Brian Buccellato (w), Chris Batista (a), Tom Nguyen (i), Wes Dzioba (c), Wes Abbott (l), Kyle Andrukiewicz, Joey Cavalieri (e)

Grodd’s a curious character. The main reason he exists as a villain is because gorillas are scary, I guess? This is an issue which struggles because the character comes into this issue with a goal that doesn’t make any sense. Every single character in the comic calls him out for his strange decisions and ambition, and he basically hits them until they give up trying. Does it forgive a strange character if every other character CALLS him strange? I’m not sure on that.

Chris Batista, to me, is one of those artists DC have never appreciated quite enough, and his work here is really good fun – not everybody can draw an expressive gorilla. Not a bad issue by any means, but one which doesn’t manage to quite fix the character.

Cyborg Superman

Michael Alan Nelson (w), Mike Hawthorne (a), Daniel Brown (c), Carlos M. Mangual (l), Rickey Purdin (e)

Interesting, this one. It’s going to upset fans of the character, but tells a reasonably involving story. Framing two sequences against one another, the final few twists are very obvious, although Nelson mines from really fun laughs from Cyborg Superman’s sadistic quest for a sidekick. I don’t know how this actually fits in with established continuity – it would seem to wreck Green Lantern’s past storylines, for example – but we’ll have to see. It’s a perfectly fine comic, and Hawthorne’s art is like somebody put Jamie McKelvie and Stuart Immonen’s art in a blender. Good, in other words.

Two Face

Peter J. Tomasi (w), Guillem March (a), Tomeu Morey (c), Dezi Sienty (l), Darren Shan, Rachel Gluckstern (e)

Featuring an astonishingly drawn and coloured opening sequence between Two Face and Scarecrow whilst both are stood ON the Bat-Signal, the issue sadly then moves into familiar territory for the rest of the issue. Morey’s colouring is spectacular though, especially in the early stages of the issue. At first it feels like there’s a definite plan for the issue, until the story turns into a typical Two Face/anti-hero narrative. There’s nothing especially new here, especially for those who have read No Man’s Land and other stories where Two Face similarly has no Batman opposing him.

It’s entertaining, but it also feels like Tomasi is killing time for the last half of the page-count. There’s some good puns about duality, though, which is half the battle in a Two Face story.

Bizarro Superman

Sholly Fisch (w), Jeff Johnson (a), Andy Smith (i), Javier Mena, Jordie Bellaire (c), John J. Hill (l), Ricky Purdin (e)

This is actually a Lex Luthor story, and it follows familiar ground in an entertaining way. No other character in comics quite has that mix of ambition, arrogance and disregard that Luthor has, and Fisch nails the character. Bizarro Superman himself is a strange creature in the comic – his arc is obvious from the moment he appears. Interestingly enough, Bizarro at no point takes on the design he has in the cover – this is a step far removed from the ‘classic’ rendition of the character.

But despite the by-numbers nature of the narrative, the creative team fit enough touches of silliness and character into the story that the comic works very nicely indeed. I was surprised to find I enjoyed the comic so much, but it was a really solid issue.

Ventriloquist

Gail Simone (w), Derlis Santacruz (a), Karl Kesel (i), Brett Smith (c), Dave Sharpe (l), Katie Kubert (e)

Very much in-tone with her run on Suicide Squad, Gail Simone’s story here puts focus on different mindsets of villainy. One thing the writer has excelled at recently has been creating villains who do evil acts no other villain would do – her Deadshot felt like a unique person rather than a sarcastic goon with a gun, and she’s created some of the most genuinely unsettling villains of the last few years. So it is again with Ventriloquist, which focuses on the second iteration of the villain, Shauna Belzer.

Carefully told, even if it does require a rather large suspension of disbelief towards the end, the story gives us a version of the characters – both ventriloquist and dummy – which keeps readers surprised and unprepared for what might happen next. And when Simone does leave a blatant piece of foreshadowing in the story, she does it to drum up tension and let readers stay one step ahead of the characters. It’s a well-done story, which takes an (probably rightfully) underused villain and give them a bit of purpose and character. It might be deeply silly, but there’s a deadly slice of horror tucked away in there too.

Count Vertigo

Jeff Lemire (w), Andrea Sorrentino (a), Marcelo Maiolo (c), Rob Leigh (l), Harvey Richards, Will Moss (e)

A considered and underplayed issue, Green Arrow’s team make the most of this opportunity to build up one of the character’s most famous villains.  Despite a slightly silly design, the character gets a much-needed redevelopment and sense of purpose which feels genuinely menacing. This doesn’t feel like a villain who is insane, but rather a methodical and calculated man who realises that breaking a moral code is preferable to getting left behind.

Sorrentino and Maiolo do some more wonderful work on the issue, continuing their incredible run of form. Sorrentino is the most distinctive and impressive artist at DC, and creates a wonderful sense of space in his work. On one page, for example, he breaks the story into ten page-width boxes, but without any of them feeling cramped on unintelligible. He does masterful work with POV framing, as well – he has an innate sense of perspective which makes it feel as though we’re looking directly out the eyes of the character, without things seeming like they’re overly-crafted and false.

It’s a very very strong issue indeed. Lemire unfolds an inevitable story as his own leisure, and leaves us with the indelible impression that Count Vertigo just became one of DC’s finest.

Poison Ivy

Derek Fridolfs (w), Javier Pina (a), John Calisz (c), Taylor Esposito (l), Kyle Andrukiewicz, Joey Cavalieri (e)

Like with the Two Face issue, this is an exploration in what Poison Ivy does when Batman isn’t around. And again, it’s basically what happened in No Man’s Land. The creative team manage to spread that idea out, however, and fill in some great details about the character and her origin. Also, there’s something quite enjoyable about seeing the character cut loose and have fun, because unlike most other Batman villains, her goal is philanthropically sociopathic. Fridolfs details how her ambitions are almost-so-close to being understandable, and Kalisz’ colours actually go a long way towards aiding that.

In the flashback sequences his colours highlight the character as a total innocent, in bright, warm pastels which makes the reader feel empathetic to her. Pina’s artwork is also excellent, presenting the character over the years as she ages – young and adult Ivy look like each other. I have a soft spot for the character, but the issue doesn’t rest on that hope. Instead, it offers a coherent origin story which binds the character’s personality together and leaves her in a stronger position than before.

Darkseid

Greg Pak (w), Paulo Siquiera, Netho Diaz (a), Hi-Fi (c), Dezi Sienty (l), Anthony Marques, Eddie Berganza (e)

The best issue so far, and likely to be the best of the initiative in general. Greg Pak offers us a talking Darkseid who earns his position as villain #1 in the DC universe. He’s scary and performs crazy, ambitious feats. What’s most notable is how Pak seeds his own just-started stories into the first Justice League story Geoff Johns wrote in the New 52 – it feels seamless and goes a very long way in fixing the problems many readers had with that first story.

A brilliant showcase for Darkseid as a villain, the issue is big and grandiose, explains who he is and why he does what he does, and makes the reader eager to read more Darkseid stories in future.

As I mentioned it in the Joker review, I should also mention it here – it’s a bit strange reading a Darkseid origin story. At the same time, so far in the New 52 Darkseid has been a bit rubbish… so I’m really just happy that the issue deals with him, gets it out the way and pushes the whole thing forwards.

Siquera, Diaz and Hi-Fi offer distinctive, eye-popping visual images whilst letterer Dezi Sienty handles the Kirby-esque dialogue with consummate ease. The ideas presented here could look silly and ridiculous, but for the intervention of Siquira and Diaz as artists. They handle everything thrown at them and turn it from nonsense into a believable (if strained) reality. If there’s one villain issue to pick up – it’s this one, for my money.

And here’s some numbers:

* five of the books are origin stories set primarily in the past

* six are set in the ‘present’ day, after Forever Evil #1

* three of them do not feature the ‘origin’ of the character profiled

* two books have a completely different character in the starring role, rather than the original pre-52 character

* four of the characters have a backstory of familial abuse/murder

* Batman, Superman, Darkseid, Count Vertigo, The Cyborg (Superman) and Desaad all get ‘created by’ credits.

TweetIt must be difficult to put out a comic when Hawkeye comes out. But especially so if you also happen to be writing a book starring a blonde-haired archer. That’s a problem Jeff Lemire faces today as he comes onto Green Arrow with artist Andrea Sorrentino today, in the hopes of giving the floundering series [...]