Tag Archives: ORIGIN

Sins and Secrets Revealed in ORIGIN II #3!


This February, blockbuster writer Kieron Gillen and rock star artist Adam Kubert peel back another layer in Wolverine’s shadowy past – and today, Marvel is pleased to present your first look at ORIGIN II #3! Witness the very first meeting of the mysterious mutant and the man who would become one of his greatest enemies – the malevolent Mr. Sinister! Broken and savage, the clawed mutant has been pulled back into the world of civilization – by force! Brutally beaten and held captive, the ferocious first “X-Man” is forcibly experimented on by Nathaniel Essex and his Marauders.  And the only man who can save him is…Creed?!

But amid the horrors visited upon him, James Howlett may find the one thing he thought lost forever – his humanity. At some point the Wolverine must choose: is he man or beast? What shocking revelations lie in the untold story of Wolverine’s past?


Victor Creed, the man once known as Sabretooth, has died, and an older and creakier Logan has decided to attend the funeral. While there, the attorney for Creed’s estate hands him a letter which leads him back to his ancestral home. But Logan has no memory of this time, and whoever had led him here knows far more about Logan than he knows about himself…

I honestly don’t understand the current vogue for flashing forward to the end of a character’s life (or, in the case of Marvel, an entire universe’s life), particularly when these flash-forwards are so incredibly dull. First Jim Starlin and Al Milgrom’s dire little miniseries THE END threatened to send us all into the Land of Nod, and now Paul Jenkins, author of the phenomenally successful ORIGIN has decided that, since he’s already given us the beginning of Logan’s life, it’s only fair that he should end it, too. And guess what? So far, it’s just as dull and dire as Starlin’s effort, and even more talky.

That’s the biggest difference between this series and Jenkins’ previous go at Wolvie: while ORIGIN at very least had some interesting lacunae to lend the whole thing a sense of epic, this one’s got almost non-stop dialogue about how much Logan still doesn’t know about his life, about Victor Creed’s redemption (!), and about how very, very old Logan has gotten. Poor guy. All of this raises any number of questions, mainly about exactly when in the future we are (since we do see Mystique, among others, at Creed’s funeral, looking not much older than she does now – though that’s no indicator, of course); why Logan’s mutant healing factor has failed to the point that he’s aged so visibly; why he still doesn’t know any more than he does now; and so on. But another telling difference between ORIGIN and THE END is that with the former series, we cared about the answers to all the unanswered questions that series posited. Here, there’s nothing to make us care one jot. Unlike in the previous series, the only interesting element that Jenkins adds to the whole Wolverine mythos is the idea that Logan’s memory loss is a function of his mutant healing factor that covers up old memories that are too painful for his psyche to take. That’s interesting. Unfortunately, not much else is.

And while I’m on this kick of comparing these two series, since such comparisons are inevitable, it’s worth noting that another element ORIGIN had going for it was the artwork. Andy Kubert’s work on that series was a key factor in giving the series the air of importance that it carried so well. Claudio Castellini’s work, on the other hand, has nothing special about it, making this series look like every other title out there (so long as said titles are nothing special themselves). Even the splash pages are more like flicks of water in the face.

My biggest worry is that future readers and writers will do with this series what they’ve already begun doing with other flash-forwards and treat them as canon, a step which completely stymies any future growth for characters like this. When a character’s future is just as well-known as his present (and even his past), what’s the point of writing more stories set in the here and now? I’d probably not have such a big problem with this story being treated canonically, of course, if it were better than it is. Given that Jenkins has had such great success with this character’s past, what’s keeping him from equal success with this character’s future?Cinescape