Perhaps the title should read ‘Where in the World Is Old Man Logan?’ After a promising start, Brian Michael Bendis’ revamp appears firmly entrenched in its snapshot ways, issue #4 offering yet another realm focused narrative that offers little to nothing towards the plot at large. It’s a mostly pointless issue driven by a steady stream of zombie attacks and plenty of stabby stabby. And you know what? That’s not entirely a bad thing.
First things first. Does anyone remember why Logan is even out going realm to realm in the first place? No? Neither do we. Bendis largely seems to have dropped the book’s initial push, focusing instead on crafting epic set pieces in as many unique worlds as possible. Issue #4 continues in that same mold, with Wolvie unceremoniously dumped into the pit that houses Marvel’s more hangry inclined. The overarching narrative hasn’t been much of a strong point anyway thus far, but this issue really stands out as one that could be completely missed with little ripple in narrative understanding or momentum. Bendis does provide some well-formed moments of introspection, along with a surprisingly fun run-in with a fellow survivor, but by and large there’s really nothing to the issue that requires you to read it. Well, nothing besides the zombies.
Therein lies the power of issue #4; it’s pointless, but it’s also awesome, Andrea Sorrentino and Marvelo Maiolo combining for an incredible batch of visuals that are quite nearly worth the price of admission alone. Flimsy though the narrative may be, Bendis is wise enough to realize the damage Sorrentino can do in a world where an invincible hero faces an insatiable foe. There’s a ton of zombie vs. Canadian action to be found here, and Sorrentino really delights in the savagery said setup provides. The opening salvo only highlights the artist’s aggressive detail, Logan literally swarmed by his salivating assailants. Rather than turn in a full splash page, which in itself would be gorgeous, Sorrentino instead utilizes a grid of same sized panels to fully capture the scope of Logan’s escalating danger. He then uses the same structure in a different way, with some panels zoomed in on the character’s endless agony as the others focus on the punishment he himself delivers. Its incredible stuff, and that’s only in the first two page flips.
Maiolo also impresses, his colors ranging from subtle and moody to in-your-face and emphatic. At this point his penchant for searing reds and blinding whites is well known, but he manages to really make the colors pop with his more flat and gritty character work. He also utilizes shadow to great effect, lending an appropriately eerie feel to the ever escalating tone. The last few pages are particularly stunning, Sorrentino’s electric action and lush backdrops given further atmosphere through Maiolo’s murky blend of hot reds and dull yellows.
So far, Old Man Logan is not the sequel many were hoping it would be. It lacks any real sense of narrative flow, instead opting for situational bouts of badassery that often feel entirely manufactured. That being said, it’s a structure that pays off well enough in issue #4, as driven by the fantastic art work provided courtesy of Sorrentino and Maiolo. It’s far from a perfect book, but it sure is a pretty one.
