Chris Claremont always lacked the mainstream attention afforded to the likes of Stan Lee or Alan Moore. While not as much of a pioneer as Lee or a literary genius as Moore, Claremont was an essential bridge between the two and arguably just as important as each of them were to the comic book industry’s growth. His long run on the X-Men marked an important step towards the medium’s maturity, exploring complex themes and characters in a way that made X-Men the biggest Marvel property during the Bronze Age of comics.
The first issue of Wolverine shows us first hand, how Claremont made characters like Wolverine so popular. It also shows its age when compared to modern day comic book writing with a pulpy tone that does at times stray into corny territory with some of the internal monologues.
The artwork shows us why Frank Miller was the rising star in the industry that he was, with an impressive amount of detail in close ups made all the more impressive by Joe Rubinstein’s inking which manages to apply a heavy amount of shading without being detrimental to coloring or the overall artwork itself.
Even though Miller’s pencil work is not as frenetic and stylised as it would be later on in his career, there is still an energy and a sense of style in the more conventional artwork of the issue. There is a structure to the panel layouts throughout but also enough variety that shows the team is adapting for what best suits each page best in the story being told.
Written by Chris ClaremontCover by Frank Miller
Penciled by Frank Miller
Inked by Joe Rubinstein
Colored by Glynis Wein
Lettered by Tom OrzechowskiThe master of mutants joins the master of ninjas in Wolverine’s first solo series – replete with romance, intrigue and mayhem, brought to you by comic legends Chris Claremont and Frank Miller!
The most common panel layout in the issue is a long narrow panel on the top left paired with squared boxes on the right that is often a close up of some sort. The long portrait on the left often captures Wolverine striking a pose or doing some sort of action that is worth viewing him in full.
When Miller and Claremont sequence the artwork in a more landscape style, it is done to capture the environment the characters are situated in, to show an ensemble of characters all at once, or to effectively portray an action sequence in a way that conveys fluid movement between two combatants. Because there is a good deal of variety from page to page, it creates a feeling that Miller and the rest of the art team are pushing at the margins of the medium despite the structured panel layouts.
This is more pronounced when you look at the coloring of the book, with the limited pallet of the era being used to great effect in highlighting the day and night settings. It does date the artwork a little in the same way looking at visual effects from the 70s and 80s takes you back to the era it was made while also taking you slightly out of the movie itself. Much like the films, this is no fault of the creative team, but does affect the experience for the modern reader by giving it a retro feeling.
The issue acts as a strong introduction to the character of Wolverine/Logan for those who may be unfamiliar with the hero. Our main character starts the issue hunting a feral grizzly bear in his native land of Canada. This acts as an opening scene similar to a James Bond film where we get an action packed opening that establishes Wolverine’s competence, outlook and personality; but also has little to do with the overall story itself.
The “inciting incident” of the story takes place after this encounter with the bear and compels Wolverine to go to Japan. This is more than merely an opportunity for Logan to be situated in a setting that Miller is fond of the cultural iconography. The story revolves around a Wolverine reconnecting with an old flame that is married to a man she does not love, bringing in themes of Eastern values of family, duty, honour, and obligation versus Western values of romance and individualism. While it is framed that Wolverine is in the right, the story makes an effort to sympathise with the Eastern point of view.
The love interest feels somewhat unimportant to the story despite being the soul reason for Wolverine being in Japan. Her lack of agency and the powerful men around her effectively evoke the damsel in distress motif but also makes her forgettable when compared to everything happening around her. This may be rectified in later issue but I suspect she will be the least interesting part of the story.
Even if you removed the names of two of the most successful creators of this time in comics, this opening issue establishes the artistic tone, sets the scene, and establishes the stakes masterfully. I sincerely look forward to reading the rest of this miniseries.
