Wolverine 20 - Acts of Vengeance

This issue continues Wolverine's adventures in the Latin American cliché of Terra Verde with the continued interference of Tiger Shark the only element from the wider event. Otherwise this is a middle parter of the story and very much an action driven one as La Bandera and her rebels try to free political prisoners from a medical centre with a side-line in experiments, whilst Wolverine and Tiger Shark each keep on coming back.

Wolverine #20

Writer: Archie Goodwin
Breakdown artist: John Byrne
Finishing artist: Klaus Janson
Letterer: Jim Novak
Colourist: Mike Rockwitz
Editor: Bob Harras
Editor-in-Chief: Tom DeFalco

The issue opens with a strong sequence as Tiger Shark forces Wolverine into the depths of the sea and shoves his claws into a coral reef, leaving him unable to extract himself in the time before his air runs out. It's such a strong sequence that it really should have been the cliffhanger to the last issue instead of just Tiger Shark intercepting Wolverine as the latter fled the medical centre through the sea. It also confronts Wolverine's cockiness well as he initially thinks how he hasn't got a chance against Tiger Shark in the water and these are the sort of odds he likes. A pattern recurs through the issue as each fight makes it appear that the loser is doomed, only he comes back at an unexpected moment later on. Only at the end of the issue do we get a permanent conclusion to the conflict though Wolverine doubts his foe will be killed in the process.

The rest of the issue focuses on a battle with the military dictator who is using a special variant of cocaine combined with his ex-wife's mysterious healing powers to produce a super soldier for the country. Meanwhile La Bandera tries to free political prisoners and confront the dictator but enthusiasm for a rebellion is in somewhat short supply. There's also an indication that the real power is the president's adviser Geist, an aged Nazi who survived the war and went on to help various governments with secrets, acquiring cybernetic elements to his body in the process. However this element of the story is still mired in cliché and doesn't yet overcome it to provide an original spin.

Being the conclusion of the title's involvement in "Acts of Vengeance" but only a middle part on its own storyline means that this is an unsatisfactory issue for the crossover reader even though it confirms that excellent matches of heroes and villains can be made out of the basic premise. But otherwise it has too many cliched elements and leaves the event before sorting them out without being sufficiently gripping to stay around for the local storyline's conclusion.

Wolverine #20 has been reprinted in:

• Essential Wolverine volume 1 (1996)
• Wolverine Classic volume 4 (2006)
• Acts of Vengeance Crossover Omnibus (2011)
• Marvel Universe by John Byrne Omnibus volume 1 (2016)

Wolverine 19 - Acts of Vengeance

We come now to what is surprisingly the first ever issue of Wolverine to take part in a crossover. In the early years of this series there was a real determination to ensure that this series stood on its own merits rather than merely feeding off events in Uncanny X-Men, with the result that Wolverine's solo adventures are largely set elsewhere. It notably did not take part in a number of crossovers between the other mutant titles such as "Inferno", "X-Tinction Agenda" and "X-Cutioner's Song" and may also have avoided having annuals to duck out of further crossovers. Consequently the first 74 issues of the title are almost their own beast, give or take the stories that build on revelations in Marvel Comics Presents. But this and the next issue are the exception to this rule, suggesting that either a Marvel-wide event could override the wishes of the X-Men editors or else having John Byrne as the artist on a series guaranteed its inclusion in a crossover he was heading. But notably Archie Goodwin manages to weave the crossover into an existing storyline so that it feels completely natural.

Wolverine #19

Writer: Archie Goodwin
Layouts: John Byrne
Finishes: Klaus Janson
Colourist: Mike Rockwitz
Letterer: Jim Novak
Editor: Bob Harras
Editor-in-Chief: Tom DeFalco

The storyline itself concerns Wolverine's investigations into a cocaine supply line that's come into Madripoor, a Singapore-like city where he spends most of the early years of his solo series, with his old foe Roughhouse captured and experimented on. The cocaine has also been supplied to the United States, creating further complications. So when Wolverine arrives at the source, the Latin American country of Tierra Verde, he soon comes across Tiger Shark who's been sent to deal with the country's hero La Bandera. A brief cutaway scene establishes that the Kingpin has sent Tiger Shark both for revenge for disruption to his operations but also as part of the broader conspiracy. It's a sign of how easy it would be to cut the wider event from the storyline. As we'll come to more with the Uncanny X-Men issues, Wolverine has been officially considered dead and undetectable to equipment for a while now so he's one of the few heroes who it's natural to not target. Despite this, Tiger Shark is actually quite a good fit since one of Wolverine's biggest vulnerabilities is drowning and so a water-based foe presents a stronger challenge than usual.

Tierra Verde is a country that's cliché upon cliché. A Latin American country with a military dictatorship, rebellion openly forming in the streets, state involvement in international drug crime and an ex-Nazi operating in the country who actually says, "an embarrassing cliché, yes?" The concepts are so well-worn, especially at Marvel, that it makes one wonder if there are any other story types set in the region. This is La Bandera's first appearance and she quickly falls into the classic sidekick role of the young innocent girl contrasting with the experienced and cynical Wolverine. Otherwise as the first issue to see Wolverine in the country this is predominantly a scene-setter, with the complications of Tiger Shark getting in the way as Wolverine makes his way to the heart of the operation.

Although this is the third part of the overall saga, the scene shifting helps to make the issue sufficiently accessible for readers brought in via the wider crossover. The Kingpin sending someone to take down a previously never before seen hero may not be the biggest event going but given the odd set-up for the X-Men at the time it's understandably hard to arrange a more conventional conflict and Tiger Shark is a good match for Wolverine anyway. Overall this is not the most essential of chapters in the crossover but a good example of how to incorporate it into the regular flow of a title.

Wolverine #19 has been reprinted in:

• Essential Wolverine volume 1 (1996)
• Wolverine Classic volume 4 (2006)
• Acts of Vengeance Crossover Omnibus (2011)
• Marvel Universe by John Byrne Omnibus volume 1 (2016)

Essential X-Men volume 11 - creator labels

Once more there's a volume with a lot of creators so here's the separate labels post.

Essential Wolverine volume 2

Essential Wolverine volume 2 consists of issues #24-47. The writing sees the end of Peter David's run plus a later fill-in issue, a brief run by (Mary) Jo Duffy and the start of Larry Hama's long run. The art includes a long stretch by Marc Silvestri, plus individual issues by Gene Colan, John Buscema, Klaus Janson, Barry Kitson, Bill Jaaska, Larry Stroman and Gerald DeCaire.

Coming from the early years of the Essentials, it's unsurprising that this volume restricts itself solely to Wolverine's main series and does not include his strips from Marvel Comics Presents, with the most notable storyline, "Weapon X", running during the same period. Understandably there's too much Marvel Comics Presents material for later editions to even try to correct the omission, but nor has the series been touched by the Essentials and given its own volume, so once again key Wolverine material has to be sought elsewhere, including a major part of his origin. Fortunately there are no overt references to the Marvel Comics Presents strip, and Wolverine's mysterious past often allows for introductions out of the blue so return appearances by characters introduced in the strip don't stick out, so on a raw reading it's possible to not even realise there were other adventures published that are not included here. But once that awareness is there the lost opportunity stands out all too well.

For those reading just the issues collected here, Wolverine's background remains mysterious to the readers and, at times, to the man himself, not helped by different writers seemingly taking separate approaches to just how much he appears to remember about it. In issue #25 we get offered a possible glimpse at part of his origin. Whilst guarding and babysitting the son of a crimelord, he tells a bedtime story about a Canadian boy who was cast out into the wilderness for being small and weak, but grew up with wolverines and learned to fight when trappers came. It's clear from the pictures just who the boy is intended to be, but is the story meant to be imaginary or is it in fact a true account of Wolverine's past? Later in issue #34 Wolverine thinks to himself that he can't remember a lot of his past and doesn't know how he came to be wandering around the Canadian wilderness. However an old Mountie slowly realises that Wolverine is both a ferocious corporal he served under in the parachute divisions during the D-Day landings and also a stranger he long ago shot at in the wilderness, mistaking him for the beast known as the "Hunter in the Darkness". Subsequently we discover Wolverine is familiar to some participants in the Spanish Civil War but he can't quite remember it until he and Puck get thrown back in time to it (with the complication that Wolverine starts partaking in events and photographs that Puck can't recall him being originally there for). Then Sabretooth claims to be Wolverine's father though a blood test soon disproves it, yet according to Nick Fury of S.H.I.E.L.D. the claim is based upon a genuine belief, though he won't elaborate on this. Elsewhere issue #26 sees him relive part of his days in Japan and track down the murderer of an old friend. The whole result is a character who remains an enigma but it's not too clear if there's an actual overall plan that the writers are working to, or if they're just tossing out random ideas that will ultimately not all match up.

Peter David's two issues both have the aura of fillers, rather than any substantial conclusion to his run or latter-day revisitation. The first is a piece of macabre humour as an assassin called the "Snow Queen" finds her plans disrupted when a child steals her briefcase, leading to a chase through the back streets of Madripoor and a grim discovery at the end. The second is at the far end of the volume and sees Logan tackling a drug crazed mad man in suburbia who needs to be neutralised, whilst remembering how he and Silver Fox had a dog which caught rabies and had to be put down but he couldn't bring himself to pull the trigger. Jo Duffy's work also starts in filler mode, even though it drops in pieces about Wolverine's past in both Japan and the Canadian wilderness, but then switches into another feature common to the era - the multi-part "biweekly" saga when a book's frequency was briefly increased to twice a month (perhaps that's why there's no annual here). "The Lazarus Project" winds up serving as the winding down of the title's "Madripoor era", throwing in a guest appearance by Karma of the New Mutants and the writing out of Jessica Drew and Lindsay McCabe. The story sees Wolverine briefly lose his memory though in the process he experiences the atrocity of a village being wiped out for an utterly insignificant McGuffin.

The arrival of Larry Hama for what would be quite a long run sees a bold shift in the title's focus, with the Madripoor setting and the various supporting characters rapidly abandoned, albeit with a final brief storyline that also takes in a trip to Japan. Taking their place are adventures set mainly back in North America with an increased use of guest stars. Fortunately there aren't any crossovers within this volume, but it feels like the series is being dragged into being a mere offshoot of the main X-Men titles (the last issue in the volume is from about the time when a second X-Men series was launched) rather than continuing to carve out its own distinctive niche. It's a pity, but perhaps Hama didn't have enough confidence in the Madripoor set-up to make it continue to work. Or maybe reader demand wanted Wolverine on more traditional territory. Equally Hama may have been wary of repeating himself. By this time he had about eight years of the G.I. Joe books under his belt and he may have been conscious of having already depicted a man with ninja connections and a mysterious past so there was a risk of turning Wolverine into another Snake-Eyes. Instead Hama's run, or at least the early part reproduced here, takes the series back into the superhero mainstream.

That's not to say there aren't some occasional detours, such as "Blood and Claws" which sees Wolverine, Lady Deathstrike and Puck (from Alpha Flight) temporarily thrown back in time to the Spanish Civil War, with the complications that they are reliving at least Puck's past. Lady Deathstrike remains a constant theme back in the present day, with her Reavers preparing a trap with two robots, one a duplicate of Wolverine dubbed "Albert" and the other a five year old girl called "Elsie Dee" who is largely comprised of explosives. This leads into a lengthy story as the two robots gain increasing intelligence and start to think for themselves, with Elsie Dee coming to admire Wolverine even though she is programmed to get close to him and then automatically detonate the explosives within her. Both Albert and Elsie survive seeming destruction to keep coming back. Just to add to the complications are the return of Sabretooth and the appearance of Cable which is not at all a sales chaser at a time when he was one of the hottest X-Men characters and giving Wolverine a run for his money as the pre-eminent man with a mysterious past. The whole thing is interspersed with encounters with the Morlocks as well as with various one off killers. There's a mad man who enjoys torturing animals until Logan sets a real wolverine on him, and another who murders several pregnant women having discovered one of them will give birth to a baby who will grow up to be something special. On a different level is Molly Doolin, the vengeance seeking daughter of the Canadian Mountie who died pursuing the "Hunter in the Darkness".

Puck, Storm, Forge and Jubilee all make recurring appearances throughout these issues, but there's no real indigenous supporting cast introduced and developed to replace those from the Madripoor days. We're left with just Wolverine himself, a man with a limited past that generates some interest but which can also limit the opportunity for actual development since the past isn't being properly explored here (or the origin of his adamantium being explored elsewhere referenced here). Instead the main focus is on multi-part adventures with lots of action rather than a great deal of development. It was an early sign of the decompression movement that would see comics drawn out without a great deal actually happening in them. This volume also comes from an era when artists were becoming ever more prominent and at times comics slowed stories down just to emphasise the art. It's hard to resist feeling this was the forerunner of the Image style when Marc Silvestri would be one of that company's seven founders.

These issues were originally published in the early 1990s, which was the time when I first discovered Marvel superhero comics - perhaps a slightly later arrival than many but I plead the mitigating circumstances that Marvel UK had largely dropped out of superheroes for four years, focusing instead on licensed toy and TV tie-ins and that Marvel US titles had no distribution that I knew of in my home town (my local newsagent didn't stock any comics at all). I should in theory take to this volume with all the instinctive loyalty that most people have to their personal "Golden Age" in just about anything, with it being the time when they first got drawn in. But instead I find this volume rather washes me over. Perhaps it was because the comics market was simply so large at the time and Wolverine is a distinct niche appeal that didn't draw me in then and so these issues evoke no nostalgia whatsoever now.

It's a pity because whilst there are some good moments and issues within this volume - my favourite is issue #34 with the hunt in the Canadian wilderness - the overall volume sees the series dump its unique setting and tone in favour of a rather generic style. The result is a rather generic and less than spectacular run. Still it does get bonus points for being a series from the era that doesn't get sucked in to endless crossovers.

Essential Punisher volume 2

Essential Punisher volume 2 contains the early issues from the Punisher's first ever ongoing series, carrying #1-20 & Annual #1 and also Daredevil #257 which carried a crossover with the series. Annual #1 was part of the "Evolutionary War" crossover that ran through eleven Marvel annuals (or twelve if one includes Alf) but the others aren't included here. (The only missing material that I can spot is the chapter of the history of the High Evolutionary that ran in all the annuals that year and which sought to clarify a rather convoluted continuity.) The Punisher issues are all written by Mike Baron, bar a back-up in the annual by Roger Salick, and drawn by Whilce Portacio, Klaus Janson, David Ross, Larry Stroman and Shea Anton Pensa, with Mark Texeira and Mike Vosburg handling the annual. The Daredevil issue is written by Ann Nocenti and drawn by John Romita Jr.

Looking back it seems amazing that it took so long for the Punisher to gain his own ongoing series. The most likely explanation is that Marvel were cautious about having a series with a violent protagonist who set out to kill his adversaries. (A similar concern presumably hit Wolverine.) But over time tastes change, as do censors, and this series was launched in an era that saw the rise of heroes who were either loners or had very few allies and who were willing to adopt violent methods to get the job done. In an era with the likes of a grim & gritty Batman, Timothy Dalton's take on James Bond, the A-Team and so many more, the Punisher was a natural fit. Of course not all these heroes were portrayed in quite the same way - there's a wide gap between the A-Team's almost cartoon violence where few people get hurt or killed, and the hard edged violence and blood of Licence to Kill.

Curiously it's a very different series that springs to mind as the most obvious starting comparison for these issues. At about the same time as the series was launched, so too was the second Silver Surfer series (the first eighteen issues of which can be found in Essential Silver Surfer volume 2). Both series rapidly became amongst Marvel's top sellers, as seen most obviously when both were part of a 33% price rise on the nine top-selling titles at the start of 1988 (taking effect from issue #8; the other seven titles were Amazing Spider-Man, Spectacular Spider-Man, Web of Spider-Man, Avengers, Uncanny X-Men, X-Factor and the New Mutants) and both were among the only eleven superhero titles to have an annual that year (the others were the same list as before plus Fantastic Four and the West Coast Avengers). Both starred long established Marvel characters who had previously been used relatively sparsely, and both were in settings somewhat detached from the mainstream of the Marvel universe. But the contrast in approaches is clearest between the first issues. The Surfer had a double-sized first issue that contained a complete story (as well as setting up threads that would run throughout the first thirty issues), summarised all the key points of the character's history and sorted out the key issue in the status quo to allow unlimited adventures. By contrast the first issue of Punisher is a regular sized first part of an ongoing storyline that doesn't really introduce the character at all.

Perhaps realising the mistake early on, issue #2 opens with a text box with the Punisher rapidly summarising the key points in a very quick and to the point manner. Most subsequent issues include either a thought box or dialogue that recap the Punisher's origin with the same information. The obvious omission each time is just why the Punisher went down the route he did - not every relative of a victim of crime turns vigilante and even if they do, many don't go in for the arbitrary killing of criminals. Punisher stories can veer off to various extremes on this point - either they implicitly acknowledge the issue and just present the Punisher as an exaggerated killer of almost cartoonish shallowness, or else they delve deep in his mind, trying to reconcile the factors. This series, however, follows a more middling course (at least in this volume) by presenting the Punisher as a straightforward man with a general mission but without delving into just what it is that drives him so. I'm not persuaded that this is the best approach as it leaves the Punisher as a somewhat hollow character. This is enhanced by the state of the series around him.

The supporting cast is rather limited. We hear about Microchip before we're first introduced to the computer hacker and equipment developer. His son "Junior" also appears, but is soon killed off. There's an indication that Junior could perhaps have become a questioning voice to draw out details of the Punisher's actions such as how he prioritises, but it's also clear that such an approach can't work when the Punisher invariably operates solo. Junior accompanies the Punisher on a couple of missions but can't always obey orders to stay in the van. The first time he saves the Punisher's life but the second time he loses his own. His father sticks around for the whole series, providing the Punisher with much needed equipment and support at times but rarely taking to the field himself. Microchip is the star of a back-up feature in the annual in which he has to protect the widow of an old friend from her new husband who has become a assassin. We see how resourceful and ruthless 'Chip himself can be, but otherwise don't learn too much more. The only other characters who come close to recurring are the small band the Punisher assembles to take down the Kingpin - Reese McDowell, a student, and Vernon Brooks, a teacher, both from a rough inner city school that the Punisher briefly teaches at whilst tracking down a radical revolutionary hiding there, and Conchita Ortiz, the widow of a soldier turned prison guard who helps the Punisher in trying to advance a convict's execution. Over the course of the story the attrition rate is high with only Vernon living by the end. The possibility is dangled of Conchita becoming a recurring romantic interest, but she is then immediately killed, a reminder of how grim and lonely the Punisher's path can be.

The Punisher's methods invariably don't leave many foes who can recur. We get a variety of archetypes - Latin American drug barons, Islamic fundamentalist terrorists, right-wing political extremists, cultist preachers, insider traders, serial killers, people traffickers, left-wing revolutionaries, drug dealers and mobsters. Many of these could be taken from the news though I don't know just which of these types were actually dominating the headlines in the late 1980s. The Kingpin appears in a multi-part storyline but curiously both he and the Punisher act as though they have never met - in fact they did so back in Peter Parker, the Spectacular Spider-Man #82. Still he's the only foe to walk away alive after Microchip and Vernon realise that it's the only way to prevent a vicious gang war.

The volume contains material from two different crossovers. One is a two parter with Daredevil and, as I previously discussed, Ol' Hornhead is one of the best heroes to contrast with the Punisher due to their very different views of the system of law & order. On this occasion we get a standard clash of values but presented in a novel approach - rather than a direct two part story each issue first focuses upon the title character's investigation of a disgruntled ex-employee of a pharmaceutical company who is taking revenge by poisoning bottles of its products until they encounter the other on a rooftop and fight over what to do with the criminal. Whilst the Punisher issue shows a conventional fight between the two, the Daredevil issue shows the same fight from the perspective of the killer who listens to them and concludes the two are more alike than they realise. We also get to see the Punisher acting as a detective, trying to quickly track down the killer and resorting to the unusual method of turning to the Jehovah's Witnesses to see if they have seen anything whilst door-knocking.

The other crossover is the second part of the "Evolutionary War" storyline. Although there had been stories told over a couple of annuals before this was the fist time such a large story was told there, taking up no less than eleven of the mainstream annuals (and also a humorous piece in Alf). At US $1.75 an issue (at a time when the regular Marvels cost $0.75 though most of the books were from the $1.00 line) it cost nearly $20.00 to own the entire crossover on first release - an early sign of the mess whereby readers increasingly found they either had to fork out large additional amounts for comics they wouldn't normally buy or else not get the full story. (A better approach in my opinion would be closer to that adopted by Secret Wars II and DC's Crisis on Infinite Earths whereby the main story is concentrated on a central limited series that individual ongoing titles feed off, but in such a way that a reader doesn't have to buy loads of other ongoing titles to know what's going on - and for that matter the limited series can later be collected by itself in a tradepaperback.) Fortunately most of the individual annuals are structured in such a way as to be reasonably self-contained with the High Evolutionary's plans as the sole common theme, and one can read them in isolation, as the Punisher annual is presented here on its own (and the same approach has been taken in the relevant volumes of Essential X-Factor, Essential Silver Surfer and Essential X-Men), though if one wants the entire story, including the back-up detailing the history of the High Evolutionary, it's available in an Omnibus hardcover edition (be warned though that this edition omits other back-up strips from each annual not related to the crossover). What makes the crossover stick out even more like a sore thumb is the poor motivation for the High Evolutionary's Eliminators (the High Evolutionary himself doesn't appear). This small squad of armoured humans are trying to wipe out all drugs across the world as a prelude to plans to forcibly advance humanity to the next stage of evolution, and also to eliminate potential threats like the Punisher. It's very hard to accept the High Evolutionary has anything like the resources for a global instantaneous war on drugs and as for the idea the Punisher could threaten his plans, it just doesn't seem likely.

The series doesn't limit itself to New York and instead takes us to many different parts of the United States and even abroad, with visits to variously Bolivia, Guiana (that spelling is used over twenty years after it became Guyana...), Colombia, Mexico and even the Australian outback. The multiple settings and situations help to keep the series fresh, showing the Punisher having to adapt to different situations and circumstances with some interesting results. That helps to make up for the shortfalls in character development and exploration.

Overall this series is quite mixed. The individual issues are generally well written and drawn, and it's easy to see why Whilce Portacio developed into one of the big name artists of the early 1990s. But fundamentally the main problem I have with the series is that there's very little sense of development and, with the exception of a few details, the stories could be rearranged in almost any order. Whilst the individual tales offer plenty of diversity and interest, with only really the annual sticking out as badly conceived, overall the whole thing just doesn't go anywhere. The Punisher has a mission against crime, but it's not always clear if he's just after organised crime or all criminals. There's no real overall strategy to his approach and instead he targets a succession of different crimes, sometimes responding to tip-offs, sometimes going after a particular wrong-doer them himself. Was this another series created by popular demand without thinking through its raison d'être? It's odd as all the issues in this volume have the same writer and editor (Carl Potts), so it's not as if it was a book handled by an endless succession of creators doing just a few issues at a time.

I'm not sure the basic problem lies with the Punisher's character - he's hardly the first example in comics of a bereaved relative with no actual super powers turning vigilante, and he's starting from a position of greater training than the likes of a young Bruce Wayne. Perhaps it's the way his approach of not adopting a secret identity and not being able to maintain a permanent base means that he rarely stays around any one place long enough to develop any roots, but again the wandering hero is common enough in fiction that it can be pulled off more successfully than here. Probably the deepest problem is the lack of any in-depth exploration of the Punisher's motivation and drive. Apart from his brief argument/fight with Daredevil there isn't any direct exploration as to just why he lacks faith in the system of law and order and instead has set himself up as a one man judge, jury and executioner. When the Punisher guest stars in other characters' titles it's often possible to contrast his outlook and methods with the title character's, but in his own title where the only supporting cast members are his technical support there just aren't any voices who can draw out the dilemma. Ultimately the Punisher is a difficult character to write a good developed ongoing series for, and unfortunately this volume doesn't hit the target.