Mike Deodato reintroduces the one-time Wolverine to a deadly old flame!

With the “Days of Anger” story just wrapping up this week in OLD MAN LOGAN #30, don’t expect the creative team of writer Ed Brisson and artist Mike Deodato Jr. to start taking it easy on their title character. Instead, they will launch into a new arc featuring the mysterious Scarlet Samurai with issue #31 on November 29. Logan may have survived his most recent encounter with Maestro, but he’s not getting a chance to rest any time soon. Instead, he goes up against a legion of Hand ninjas and their new leader—who happens to be an ex! 

We talked with Deodato about his continued working relationship with Brisson, putting his spin on Scarlet Samurai, and the challenges of drawing a whole bunch of ninjas! 

Marvel.com: How has your collaborative relationship with Ed evolved the longer you’ve worked on this book together?

Mike Deodato Jr.: I feel now like we have been working together for years. I have become one of his biggest fans.

Marvel.com: What was it getting used to the look of The Scarlet Samurai?

Mike Deodato Jr.: I wish it was me who created her visual but it wasn’t, so I did my best to be faithful to the references I got. She is not a big woman, so the challenge was to make her look threatening and fearful nonetheless.

Marvel.com: What are the benefits and challenges for you as an artist of having a character like Logan go up against a legion of ninjas?

Mike Deodato Jr.: It is a chance to create a crazy choreography for this kind of blood dance. I just go crazy with the stunts and layouts, which is a lot of fun. The challenge is to make the storytelling clear in spite of the madness.

Marvel.com: How does having your main character go up against a series of similar characters differ from pitting them against one main challenge?

Mike Deodato Jr.: I envision the ninjas as in unity, like bees and ants. I think they look much more terrifying this way.

Marvel.com: How has it been developing new aspects of Logan’s history with Ed?

Mike Deodato Jr.: This has been one of the most satisfying books I have worked on, not only because of this older and much deeper version of Logan, but also because of the whole team working on the book with me. All true professionals and fun people to work with.

Ed Brisson and Mike Deodato Jr. pit the one-time Wolverine against Scarlet Samurai in OLD MAN LOGAN #31 on November 29!

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Declan Shalvey breaks down the Canadian combatants' deadly dynamic!

Everyone’s favorite immortal Marvel characters tear each other to pieces in writer Declan Shalvey and artist Mike Henderson’s limited series DEADPOOL VS. OLD MAN LOGAN!

But the fighting between big mouth Wade Wilson and crotchety old James Howlett only teases at the larger game at play in this five issue event. With a new Omega-level mutant named Maddie on the run, the two heroes will have to fight a mystery organization—and each other—to keep her safe. And on November 15, issue #2 claws deeper into the battle and its surrounding secrets.

We spoke with Declan about writing and drawing comics—and what makes this team-up unlike any other.

Marvel.com: You’ve made the transition from artist to writer for this series. What’s that switch been like?

Declan Shalvey: With writing, I’ve gotten to dip my toe a bit, with the Nick Fury CIVIL WAR II: CHOOSING SIDES serial from last year and the VENOMVERSE story I did this year. In both cases though, I drew those stories as well. Writing an actual Marvel limited series for another artist seemed pretty intimidating, but a challenge I felt up to. I had just written a creator-owned graphic novel for another artist that ended up being roughly the same page count, so between that and the previously mentioned shorts, I think I’d built up enough confidence to do something as ambitious as DEADPOOL VS. OLD MAN LOGAN.

Marvel.com: As an artist, do you automatically illustrate the story in your head while writing a story? If so, does it make writing easier?

Declan Shalvey: In a way—I’ve heard some writers tend to draw layouts when they’re writing, but I feel I have a good sense of how much I can fit into a page as I’m writing. My brain has some visuals in mind, so I’ll structure a lot of the other moments around the bigger moments. Because of that, I know where to dole out the appropriate real estate—I know to have some moments with more space on the page more than others.

I’ve been fortunate to work with Mike Henderson on this project, as I feel we have a large overlap in our visual sensibilities. There’s a few pages that look just like what I had in my head. Others look very different, but in interesting ways that feel very like Mike, so I respect his choices.

As an artist, I have a similar relationship with my colorist Jordie Bellaire. I tell her what I’m thinking and she’ll deliver on that—or do something different that’s better than what I would do. I’ve learned to embrace those opportunities as an artist, so I try do the same with my writing; I leave the artist the space to bring something of their own to the book. It can only result in more good ideas being available.

Deadpool Vs. Old Man Logan (2017) #1

Deadpool Vs. Old Man Logan (2017) #1

Marvel.com: Have you found an element of the writing process that you enjoy more than the illustration process? How about vice versa?

Declan Shalvey: The writing process can be a lot more frustrating than the illustration process…probably because I have so much to learn. But also with illustration, I want to lock everything down before I start drawing in order to be more productive overall. With writing, results end up being more nebulous—it’s harder to pin things down and say they’re “done,” but that’s been the great thing about working with Heather Antos as my Editor. She’s been great to push me to do my best on the book, and to point out where I might need to spend more time developing the story.

I will say that writing takes up a very different part of my brain, so it can be difficult to focus. My natural state has always been drawing—I can pick up a pencil and get to work instinctively. Writing means I have to force myself to sit in the chair more and get words on the page. My favorite part of both disciplines, though, is the problem-solving. Taking words and making them into a visual narrative feels like solving a puzzle that I find very satisfying. Similarly, breaking down a story and figuring out story problems can be hugely rewarding.

Marvel.com: You did the cover art for another “DEADPOOL VS.” series in DEADPOOL VS. THE PUNISHER with Fred Van Lente and Pere Perez. Did drawing the covers for this run feel different since you’re also writing?

Declan Shalvey: The DEADPOOL VS. THE PUNISHER covers got assigned so far ahead of time, I didn’t have much story material to work from so I just had to come up with random visuals to help sell the book. The covers on DEADPOOL VS. OLD MAN LOGAN on the other hand…I had the advantage of knowing all the story…but I don’t want to incorporate too many story elements from the book. I tried to create a more unified design look to the whole series, so it always has the two title characters, generally fighting, with a limited color palette and a strong, bold design approach too.

I didn’t tie in anything about Maddie or the mysterious baddies. I’m hoping every cover of DEADPOOL VS. OLD MAN LOGAN will be recognizable as part of a unique and identifiable limited run. That’s what I tried to do anyway—and again, Editors Heather Antos and Jordan D. White were really accommodating by letting me try to do so.

Marvel.com: It’s so cool to pit two immortal characters against one another. How did you want their invincibility to come across in the story and art?

Declan Shalvey: Oh I just had to try and rip both these guys to pieces; this book allowed us to push things as far as we possibly could. There had to be a “Parental Advisory” tag on this book, otherwise what would be the point in doing it? It’s been brilliant fun to bang these characters heads together…figuratively and literally.

The violence has been a lot of fun to write, and from what I can tell, Mike loves drawing it. Getting to the heart of the matter though—the violence ends up being trivial because both these characters have invincibility. Swords and claws won’t really hurt these two…what really affects them will be mistakes from their past. And the young mutant that they meet in issue #1 brings a lot of that stuff to the surface as the series progresses.

Grab DEADPOOL VS. OLD MAN LOGAN #2, by Declan Shalvey and artist Mike Henderson, on November 15!

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Ed Brisson on the dawn of Marvel Legacy with Logan!

On November 29, Marvel Legacy sees Wolverine’s oldest foe close at hand once again in OLD MAN LOGAN #31 by writer Ed Brisson and artist Mike Deodato!

Logan’s been plagued by the Hand for decades now—even though a pair of Adamantium claws usually make quick work of an evil ninja horde. But now with Gorgon at the helm of the nefarious organization, Logan might just have met his match…

We spoke with Ed Brisson to hear more about the man once known as Wolverine.

Marvel.com: What can you tell us about issue #31’s plot? Where does the Hand fit into the story?

Ed Brisson: Logan travels to Japan to deal with a seemingly unrelated matter when he finds himself in the Hand’s crosshairs. It’s perhaps a little more than just him stumbling into their latest scheme, but still, he’s in Japan and he’s gotten in the way of Gorgon and the Hand’s plans. And since both Gorgon and the Hand have a long history with Logan, they’re not going to let this opportunity pass. The ninja horde is deadlier than ever, so who better to test their mettle against than the man who’s turned so many of them to dust?

The Hand have often been presented as cannon fodder for the Marvel Universe, so it’s time for them to power up if they want to make any sort of real impact. And under the leadership of Gorgon and The Scarlet Samurai, they do just that. They become something more than what they’ve been in the past and, as a result, are a bigger, deadlier threat. As we’ve seen time and again, under the right leadership, the Hand can be a dangerous bunch—and no one has fallen victim to that more than Logan.

Marvel.com: How do you think the Hand has solidified itself as such an important facet of Wolverine’s legacy?

Ed Brisson: The Hand have been screwing with Logan for as long as I’ve been reading comics. They’re responsible for the death of Mariko—Logan’s ex-fiancée and true love. They killed Logan, brought him back and, under the guidance of Gorgon, turned him against his friends in scenes that seem to foreshadow the death of the X-Men in the original OLD MAN LOGAN series. I could go on!

Marvel.com: What does Wolverine’s legacy mean to you?

Ed Brisson: For me, specifically, it was great to grow up knowing that the most badass dude in the Marvel Universe was a Canadian like me. Being Canadian and constantly being bombarded with American media (comics, movies, TV), it sometimes felt as though we were living in America’s shadow. Logan played such an important role to me as a kid.

Marvel.com: How has the character changed since his early days? How does he continue to change and grow today?

Ed Brisson: I think the Logan that we have now can be much more reflective than the early version. He’s lost a family and he’s killed his best friends. He’s been through a lot. And now that he’s here in the present, where the X-Men are still alive and kicking, he’s been given a second chance and he’s not going to let it go to waste.

Marvel.com: What proved to be the most challenging element of making this book? The most rewarding element?

Ed Brisson: For me, the most challenging thing was dealing with the anxiety of coming on a book after Mark Millar, Brian Michael Bendis, and Jeff Lemire! All three are top-tier writers who I greatly respect. This is only my third series at Marvel, so there were a lot of sleepless nights focused on making this story great.

In terms of reward? Getting Mike Deodato’s pages in my inbox every morning. It’s just a reminder of how awesome my job is and how lucky I am to get to work with such talented people.

Marvel.com: Finally, what can you tease about Logan’s newest challenge?

Ed Brisson: For this arc specifically, there are a few folks from Logan’s past who are coming back to make his life a living hell. I wanted to tread carefully to make sure that we’re paying proper respect to Logan’s past. Fans (myself included) are invested in that past and we didn’t want to tell this story in a way that completely disregards that. But on the other hand…we’re taking something sacred to Logan and using it against him in a way that’s going to be devastating.

OLD MAN LOGAN #31, by Ed Brisson and artist Mike Deodato, lands on November 29!

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Old Man Logan gets a new edge with Venomverse this August!

Artist André Araújo’s not only really getting into his work on EDGE OF VENOMVERSE #4—which you can read August 9—it’s almost as if he’s merging with the famous symbiote himself to create the perfect storm of a comic book with writer—and Yellowcard lead singer—Ryan Key. Take a look into his art with this special sketchbook spotlight, and catch a glimpse of what’s cooking in Old Man Logan’s dire future…

Marvel.com: André, what are your artistic inspirations in terms of figure design and layouts?

André Araújo: People that have followed my work—both here at Marvel and my creator owned work Man Plus—know I’m a huge fan of Moebius and Otomo, taking inspiration from them in regards to pretty much everything: figures, layouts, designs, themes. But many more names come to mind, with a similar impact on my work: Druillet, Hermann, Shirow, Toriyama, Leinil Yu, Frank Quitely, Sean Murphy, Samura, Urasawa…among many others.

Marvel.com: When you first read the script for this issue, what sorts of things were you immediately struck by? What did you feel you needed to bring to this one?

André Araújo: I was immediately struck by the conflict in the center of the story. I won’t spoil it, of course, but I knew it would demand some care as it wasn’t simply mindless action. So adding weight to the events on the book was my main concern, because I knew that, from the characters and situations that were on the script, the fun factor would always be there.

Marvel.com: Old Man Logan is such a fascinating character—what goes in to your portrayal of him here? How do you balance such things as strength and sympathy in him?

André Araújo: It’s all in the details, I think. Because he is Wolverine, but not the Wolverine we know. At least not entirely. So there’s a need to incorporate the old traits we all know and love about Logan, but we’re taking into account the rather dramatic story that led from Logan to Old Man Logan. It can’t be exactly the same character. So there are the subtle changes in clothing, hair, dialogue, movements. When you add it all up, you have Old Man Logan.

Marvel.com: Your rough layouts seem pretty tight. What’s a typical day like for you drawing a book like this? Where do you begin on a page?

André Araújo: After I get the script I’ll read it and draw all of the layouts, which is usually a two-thirds of a day’s process. In this step, it’s very easy [to make a fix] if something isn’t working properly; that’s why I draw them pretty tight. I take into account the composition, pose, angle, perspective, balloon position—all of it. Then I start doing the pages. I draw traditionally, ink on paper, and I start with a blank page—some artists start drawing over the layouts, which is clever, but I love a white piece of paper—it’s the part where everything is possible. I usually work in chunks of 10 pages, meaning I pencil 10, then ink the same 10 and move on. This is to prevent me from moving around too much from tool to tool, but it’s broken in chunks to avoid getting tedious. I pencil 10 pages in one week and I ink 10 in another week. That means it takes me four to five weeks to draw one issue of 20 to 24 pages.

Marvel.com: What do you enjoy most on a story like this? The more organic, down-to-earth elements or the fantastical parts?

André Araújo: It’s a combination of both. All artists love the great action splash pages, the big spread of a city where you can showcase all your skills, but you need the mundane, the routine parts, so that the big pieces have impact. So that’s how I love to craft my stories: showing all the down-to-earth bits and then surprising readers with a splash or a spread where I can flex my muscles and give the story an important/spectacular moment.

André Araújo and Ryan Key suit up Old Man Logan with a symbiote in EDGE OF VENOMVERSE #4, available August 9!

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Artist Mike Deodato pops his claws in an exclusive sketchbook!

With OLD MAN LOGAN #25, a new creative team will take over the exploits of the time-displaced Wolverine from a horrible future. Writer Ed Brisson and artist Mike Deodato take over with the June 14 issue and launch the title hero right into trouble!

Deodato’s no stranger to the world of sharp-clawed mutants, having drawn covers for OLD MAN LOGAN and also Wolvie’s son Daken in the pages of DARK AVENGERS, but he’s a longtime fan who’s excited to chronicle the elder Wolverine’s exploits. We talked with the artist about shifting from occasional cover craftsman to interior artist, working with Brisson, and channeling Logan’s years of experience and torment into a more grizzled version of the ol’ Canucklehead.

Marvel.com: You’ve done a few covers for OLD MAN LOGAN already; does that help get you ready for tackling the ongoing series or is it different muscles?

Mike Deodato: It does, but I think what helps the most is the love I feel for the character. He was the only character [on] Marvel’s roster I ever campaigned to draw. I remember bothering [Marvel Editor-in-Chief] Axel Alonso back in 2008 [until] he gave me a one-shot called WOLVERINE: ROAR, which [would have] led me to be the main artist on WOLVERINE: ORIGINS…until [writer Brian Michael] Bendis comes up with a book he created [especially] for me that I couldn’t refuse: DARK AVENGERS! I was happy and at the same time sad for leaving the book but then Axel promised I’d return to Wolvie someday. Nine years later, promise fulfilled. I am back!

Marvel.com: Wolverine’s one of the most well recognized characters around; how does the Old Man Logan version differentiate himself from his past self, aside from the obvious physical differences?

Mike Deodato: He is a way more experienced warrior and therefore, way more dangerous. He might have a bit slower reflexes, speed, and healing factor, but as with most of the great fighters, he developed a conscience about fighting that makes his timing almost flawless. On the other hand, he’s got much more anger inside because he has not only the scars from his past, but also from his future. His already tormented soul is now a purgatory nightmare.

Marvel.com: Old Man Logan has more of a look than a costume; will you be playing with that at all in the series?

Mike Deodato: You know Logan; his clothes will be shredded to rags most of the time. I’ll be lucky if I can draw them in one piece once in a while. Seriously, Logan is one of the few characters that looks interesting with or without a costume on.

Marvel.com: You and Ed are kicking off a new arc on this series. What new directions are you planning on going?

Mike Deodato: I see him back to his roots, a lonely hunter clawing his way out through his enemies. For me it is a good ol’ [Clint] Eastwood movie.

Marvel.com: Do you enjoy bouncing between the present and Old Man Logan’s future/past in the Wasteland?

Mike Deodato: Yes, I do! I love post-apocalyptic stories, and it is great to play with the environment [Old Man Logan co-creator Mark] Millar envisioned.

Marvel.com: How has it been working with Ed on the series so far?

Mike Deodato: He is the greatest! He knows how to work suspense so well it gives me the creeps just by reading the script. I truly hope we stay together for the long run.

Brisson and Deodato kick off their OLD MAN LOGAN tenure with a snikt on June 14 with issue #25!

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Two time-displaced titans clash as Ed Brisson and Mike Deodato take over!

Hulk and Wolverine have never really gotten along. In fact, the Canuck with an Attitude’s first foray into the four color world involved him clashing with ol’ Jade Jaws.

Unfortunately, OLD MAN LOGAN #25 will show that age and wisdom do not always go together as Logan and Maestro—the alternate world fascistic genius Hulk introduced way back in HULK: FUTURE IMPERFECT—meet up and decide that one truly can never be too old to take a poke at an old antagonist.

Writer Ed Brisson and artist Mike Deodato have come onboard the book to push these two aging titans into swinging at each other once more. We caught up with Brisson who gladly took a break from stirring the proverbial plot to tell us all about it.

Marvel.com: Given the history of antagonism between Wolverine and Hulk, bringing Maestro into the book is one of those choices that seems so right, one is surprised it never occurred. For you, what made the idea of bringing Maestro into the book creatively exciting? What made you believe it would “work” in the context of OLD MAN LOGAN’s tone and pacing?

Ed Brisson: What makes it immediately interesting for me is that you have these two future versions of big Marvel characters who’ve both seen the world go to pot in similar ways, but have adapted to those changes very differently. For one, the future is nothing but pain and loss; the other, the future is his playground.

Now, they’re both here in the present and about to come face-to-face.

Because Maestro appears to be rolling with his own Hulk Gang, including at least one member that Logan has dealt with before, Logan’s chief concern is that the future that he thought he had been prevented—his own future—may be coming to fruition. Once we learn of Maestro’s plans, it becomes clear that he might not be wrong. It soon becomes a battle between them: one man trying to prevent his future, while another tries to bring his into being.

Marvel.com: We’ve seen how being in the mainstream Marvel Universe has affected Logan over the course of the previous 24 issues, but we’ve only really seen Maestro in the pocket of CONTEST OF CHAMPIONS. How does his transition affect him? How, if at all, does it change his perspective or attitude?

Ed Brisson: When Maestro shows up, he’s a man with a plan. He’s been displaced from his own future and timeline and, for reasons to be explained, can’t go back. He’s now in the mainstream Marvel Universe, present day, but has 100 years of baggage and memories regarding humanity and how they treated him and how they eventually undid themselves. To him, man doesn’t deserve this planet. He’s ruled it—in his timeline anyway—for years just fine and doesn’t see any reason why he can’t do the same again.

So, that’s his goal here. But, he’s not going to come in guns-a-blazing. He’s looking to do this on the low. He’s trying to stay off the radar and play the chess pieces so that man, once again, undoes himself.

Marvel.com: For Logan, the Hulks he’s most used to are the Hulk offspring from his future. What is Logan’s experience of encountering this smarter, more singularly ruthless version of the Jade Giant from a psychological standpoint? How would you say this conflict between these two compares to the mainstream Hulk vs. Wolverine throw downs we’ve seen before?

Ed Brisson: Both of them have seen the future—albeit two different, though equally depressing futures. For each, the future hangs in the balance and they’re fighting to prevent it, in Logan’s case, or bring it about, in Maestro’s.

Maestro is also larger and smarter than the Banner that Logan is used to dealing with. He’s not some hillbilly hiding out in a cave pumping out Hulk babies. He’s got laser focus and the drive to bring about what he wants. And, he’s not going to be stupid about it. He’s not just a couple of fists, smashing everything in sight. He’s got a plan and knows that the best way of carrying out that plan is by keeping a low profile. Or trying to, anyway.

As mentioned, Maestro has a Wasteland Hulk Gang with him. At the end of the original [“Old Man Logan” story], it appears Logan has wiped them all out, so it comes as a bit of a shock when they pop up here. People are going to have to read the series to find out the whys and the hows of it, but I think that we’ve come up with a very logical reason for how they’ve come to exist here. They may initially seem to be very much like the old Hulk Gang, [but] there are a few behind-the-scenes complexities that will come out to show how different they really are.

Marvel.com: How has working with artist Mike Deodato helped you to realize the tone and atmosphere of the book you were hoping for? How, if at all, did his style inform your approach to the title?

Ed Brisson: When they told me that Mike was going to be on the book, my head nearly exploded. I’ve been a fan of his work for years now.

Mike’s a very smart artist and was able to come on board and nail down the feel we were going for right away. Just about every day a new page pops into my inbox and I just sit there and soak it up over my morning coffee. Everything is just so brilliantly laid out and acted.

In terms of informing how I approach the book, I think that working with him has made me pull back on a few pages, in terms of panel count, so that Mike has some room to do some really big and incredible action sequences. There are some pretty spectacular scenes in the first issue that I think are really going to sing because he’s got that room to breathe.

Marvel.com: Looking beyond the conflict itself, what can you tell readers about what you have planned for the book when you take over? What are some of the plot points you want fans to know to ensure they make the book one of their can’t misses?

Ed Brisson: Jeff Lemire has been writing an incredible series here, so I’m assuming that it’s already on everyone’s pull list!

Through this first arc, we really wanted to play on Logan’s anxieties. His greatest fear is that his future will somehow still rear its ugly head, but, over the past 24 issues, we’ve seen him getting comfortable in his new setting. He’s never going to be completely at home, but still…bit-by-bit, he’s settling into the new life. He’s letting people get close to him again. So, we wanted to bring his past—our alternate future—and drop the very possibility of it happening again right in his lap.

Aside from Maestro being here, we’re going to see a lot of echoes from Logan’s time in the Wasteland. A few familiar faces will be popping up.

Beyond the first arc, we’ve got a few plans to keep Logan in this state of agitation. Keeping him in a place where he can never be fully comfortable for fear of his past catching up with him.

Ed Brisson and Mike Deodato take control of OLD MAN LOGAN with issue #25 this June!

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Get further insight into this version of Wolverine with his classic debut tale!

Every Friday we use the powers of Marvel Unlimited to look back at the very first appearance of a major character, place or object that made waves this week.

With the end of the OLD MAN LOGAN story “Return to the Wasteland” hitting this week, it seems like just the right time to do the same ourselves and look at his first appearance!

This alternate future version of the character first debuted in 2008’s WOLVERINE #66 thanks to Mark Millar and Steve McNiven. That issue showed a take of the ol’ Canucklehead who had survived the villains’ attempt to take out the heroes and divide up the country. He’d even settled down with a woman named Maureen and they’d had a pair of kids: Scotty and Jade.

Logan had become so focused on keeping his family safe that he refused to pop his claws and take out members of the Hulk gang when they came to collect the rent he didn’t have. Instead, he took a beating in front of his kin and found their very survival threatened if he didn’t come up with the money by the next month.

As he healed, another survivor paid Logan a visit: Clint Barton. The now-blind archer proposed a delivery job to raise some capital, in which the former X-Man would help get the one-time Avenger to the east coast in two weeks. Logan agreed and the two took off in the old Spider-Mobile with Hawkeye at the wheel!

The rest of the story ran until issue #72 and concluded in the WOLVERINE: OLD MAN LOGAN GIANT-SIZE one-shot; along the way the heroic duo ran into Ghost Riders, killer Moloids, Venom-covered dinosaurs, and the massive skeleton of Hank Pym.

Of course, this being Wolverine, plenty of skeletons still rattled in the old closet. Eventually he told Hawkeye why he never wanted to pop his claws again. Back during the villain uprising, Mysterio tricked him into killing all of the X-Men. To punish himself, he put his head on the tracks where he waited until a train smashed into him.

Wolverine (2003) #66

Wolverine (2003) #66

  • Published: June 18, 2008
  • Added to Marvel Unlimited: January 01, 2010
  • Rating: Parental Advisory
  • Writer: Mark Millar
  • Penciller: Steve McNiven
What is Marvel Unlimited?

Upon arriving in New Babylon, the pair soon learned that the samples of Super Soldier Serum they’d carried all across the country weren’t meant to start a new hero team, but to be given to The Red Skull—the President of the United States!

Hawkeye’s fake contacts blasted both of them, but Logan got better and dealt with President Skull by cutting his head off with Captain America’s shield before blasting off for home in part of an Iron Man armor with a briefcase full of money. Unfortunately, the Hulk gang got bored, came for the rent early and killed Logan’s family in the meantime. Enraged, Logan rechristened himself Wolverine and exacted bloody revenge on his family’s killers before moving on to the head honcho himself: Bruce Banner.

Flash Forward

Old Man Logan came back to the forefront as Secret Wars reintroduced a variety of alternate reality characters to readers before integrating a lot of them into the main Marvel Universe. Brian Michael Bendis and Andrea Sorrentino handled that five issue story which saw Logan clawing his way from one part of Battleworld to another before eventually landing naked in the Marvel U’s Times Square. The ongoing adventures have been handled by Jeff Lemire and Sorrentino, with Lemire also bringing Logan into the fold of EXTRAORDINARY X-MEN. With our version of Wolverine still in the dirt, this one helps fill the void while he also travels the world trying to ensure his world never comes about.

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