ALL-NEW WOLVERINE No. 2, January 2016 |
Having arguably started the titular character’s “shift from
X-23 to Wolverine to her place in the larger Marvel Universe” with this series’
“oversized opening” edition, writer Tom Taylor continues to create a storyline
within Issue Two of “All-New Wolverine” which is both “very personally about
Laura”, and also begins to address many of this book’s unanswered questions.
Indeed within the space of this magazine’s first dozen panels it becomes
evident that the young man” Logan’s clone “saved… from an assassination
attempt” in Paris was the son of Robert Chandler, the director of Alchemax
Chemicals”, and that the masked sniper… [who] could not feel pain” and had
Kinney’s face was actually one of four errant experimental duplicates responsible for
destroying “an Alchemax genetics laboratory” along with “every single one of
our scientists” who worked there.
Armed with the knowledge that these ‘terrorists’ were
created using her DNA, the mutant heroine unsurprisingly vows to find her
‘siblings’ and “stop them from killing innocents.” A rather stern-faced given statement which possibly promises this publication’s 55,634 followers an
enthralling global ‘hunt’ for Wolverine’s duplicates, coupled with the added
spice of interference from the research company’s untrustworthy Head of
Security; “Tell Captain Mooney I don’t like being followed. Now -- run away.”
Frustratingly however, the New York Times bestselling author’s
subsequent narrative proves something of a bitter disappointment and provides a
rushed, almost lazy solution to Laura’s emotionally-charged predicament. For no
sooner has Kinney fended off the unwanted attentions of two black-suited
Alchemax goons in an alleyway, than she is approached by the adolescent Gabby
in her mentor’s old apartment and thus able to track down the rest of her
targets “deep underground” through “the sewers of New York.”
Just as infuriating as this plot’s wasted potential is David
Lopez’s artwork. Wolverine looks every bit the all-action super-hero when she
is slashing through Mooney’s gun-toting security soldiers and preventing
Bellona from cold-bloodedly murdering the facsimile’s unconscious jailer. But
whenever the comic’s tempo slows down to a more sedentary pace, and the
Spaniard’s figures have little to do but stand and talk to one another, then
the illustrations regrettably appear to be far less convincing and well-drawn.
Writer: Tom Taylor, Art: David Lopez & David Navarrot and Color Art: Nathan Fairbairn |
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