By Brian K. Vaughan (writer), Eduardo Risso (art), Dean White (colors)
After last issue’s stunning revelation of Wolverine hanging around Hiroshima near the end of World War II, I was very excited to see what would become of him and his new found woman. In a way, this is like Titanic. You know what’s going to happen, but the journey to that fateful moment is what’s going to make or break this book. Unfortunately, the journey thus far has been anything but exciting.
In an odd twist of fate, it appears that Wolverine isn’t the only around these parts who has a healing factor. The man he helped escape from the Japanese prison has a similar mutant power. Having a chip on his shoulder from when they last parted ways, he comes after Wolverine with reckless abandon, wounding him enough to where we’re given a face off between the soldier and his Japanese woman.
Everything plays out very stereotypically. The woman’s well versed in the ways of the sword and it gave me flashes of Elektra (I think it was the poses used). I just don’t understand why she couldn’t be a Japanese peasant girl? Why did it have to be something so predictable and dare I say it, lame? Of course, like all of Wolverine’s loves, she dies, too. Wow, I didn’t see that coming.
Logan’s narrative about Hiroshima and the effect of the bombing feels incredibly forced. It’s like Brian K. Vaughan is trying to say, “Look, I’m smart. I researched what happened and now I’m sharing it with you.” Really, it comes off like a book report. Most people know about the shadows of people being burned into ground when the bomb went off. This story’s a lazy one, and the art isn’t very far behind. Eduardo Risso does a decent job conveying the story, but his action sequences are too over the top for my tastes. Nothing he did this issue failed to capture my attention like he did in the previous, except for his accurate rendition of the lone building left standing from ground zero. (Grade C-)
– J. Montes