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Wolverine: Old Man Logan vol 1: Berzerker s/c

Wolverine: Old Man Logan vol 1: Berzerker s/c Wolverine: Old Man Logan vol 1: Berzerker s/c Wolverine: Old Man Logan vol 1: Berzerker s/c Wolverine: Old Man Logan vol 1: Berzerker s/c

Wolverine: Old Man Logan vol 1: Berzerker s/c back

Jeff Lemire & Andrea Sorrentino


Page 45 Review by Stephen

A tasty little number deliciously drawn with some relish by Sorrentino, this is actually the third OLD MAN LOGAN but please do not worry for I will explain.

Let’s get my only problems with the book out of the way now, shall we, so I can go out with the prime punchline I’ve already planned: it’s the packaging.

Not the cover – also by Sorrentino – but the chapter breaks which crudely and rudely shatter your immersion which the artists, both line and colour, have gone to considerable, spellbinding trouble to successfully achieve. A black page followed by Sorrentino’s own covers to each subsequent instalment would have saved the day by preserving the atmosphere but instead of the black page Marvel reprints, directly opposite each episode’s cliffhanger... a montage of other artists’ invariably inappropriate variants including, most insultingly, a plastic dolly of Logan because you are aged three.

In addition, the last 30-odd pages are actually a reprint of the finale to the original OLD MAN LOGAN so however thick the book looks, you’re only getting four issues. They just cannot help themselves, these greedy little bean-counters.

On we go, then!

Third series of this title following Bendis and Sorrentino’s OLD MAN LOGAN: WARZONES which was itself a sequel of sorts to Mark Millar & Steve McNiven's original OLD MAN LOGAN which is completely self-contained and highly recommended as the finest Wolverine solo series of all time.

The original was set in an arid future when the heroes had lost and the villains have carved up America between them. Something so traumatic had happened to Logan that he'd become a pacifist, refusing to pop his claws for anyone or anything. When you learn what that was, you will completely understand why. Half the fun was wondering – then discovering – what had become of those you once loved. Those few left alive, anyway.

OLD MAN LOGAN: WARZONES saw that same survivor dropped into Marvel’s SECRET WARS world composed of various domains all ruled over by Vicky von Doom, each playing out alternate versions of key Marvel crossovers from the past or whatever else the writers came up with. It's kind of difficult to explain, sorry.


I adored its colours by Marcelo Maiolo which at times made you feel like you were travelling through the nocturnal section of a zoo's ultra-violet tropical house under the influence of LSD.

Maiolo is back to colour Sorrentino’s Jay-Lee like art here with suitable gnarled and jaggedy lines as the by-now thoroughly bewildered, battered and indeed naked Old Man Logan surfaces groggily on Marvel’s new post-SECRET WARS Universe which is almost identical to the one left behind but, since that’s years in Logan’s past, it’s going to take some adjusting to. Trust me: when you get to a certain age, your memory isn’t what it used to be. And then there’s the fuzziness that comes with any transdimensional travel of which I also have some considerable experience.

Presumably his old pals are going to need to make some adjustments too given that they thought their friend dead after the DEATH OF WOLVERINE. Will he tell them what becomes of the poor sods in their future? Will they even believe he is who he claims to be?

Regardless, once he realises where and when he is, Wolverine’s main motivation and most pressing concern is this: changing the present so that the horrific future he lived through in the original OLD MAN LOGAN never comes to pass. Also: avenging some serious slights to his family that haven’t yet happened.

Expect memory flashes which will be new to you, a checklist of those who need to be taken out in order to divert the course of history, spectacular landscapes and a startling double-page homage to Frank Miller’s DARK KNIGHT RETURNS in the present. By “spectacular landscapes” I mean breathtakingly misty-blue, oceanic vistas whose horizons are bleached by the sun and whose crystal-clear waters seem so pure, belying what lies beneath. Contrast that with the rusted, battle-damaged hulk of a vast S.H.I.E.L.D. Helicarrier under whose shadow has sprung and spread a shanty-town market, trading on the gutted carrier’s cargo and technology, all executed in the sort of colours you associate with old, frontier photographs.

Lemire directs Logan’s trajectory with an impeccable logic derived from the character’s now much longer past which still allows for grin-inducing surprises – for the reader, Wolverine, and those he tracks down – while Sorrentino and Maiolo will make you yearn so hard for the safety of those long since lost. Which is a pretty tall order and massive achievement, I think you’ll agree.

However, there’s one enormous, incontrovertible and insurmountable snag to Logan’s reasoning and for his new-found campaign which lies ahead.

I wonder if you’ve worked it out, already. Either way, it’s quite the moment.