Logan: Black, White & Blood #1: Blood and Claws

The anthology format allows for a wide range of tones and interpretations, and the first story titled “Arms Race”, leans heavily into a militarized approach. It presents a short, brutal account of one of Logan’s many wartime missions, pitting him against biologically enhanced soldiers equipped with metal prosthetics and deadly claws.

This doesn’t feel like a traditional superhero story, and that’s not necessarily a flaw. The grounded, war-focused framing will likely appeal to readers who prefer Logan’s earlier, pre X-Men appearances, where his abilities are treated less as spectacle and more as a practical advantage in real-world conflict.

The opening does a solid job establishing believable military logistics, particularly in how governments assess recruitment based on time, cost, and expendability. It’s a small detail, but it helps ground the story in a more realistic framework. Visually, the action scenes are effective, especially in their use of red to emphasize Logan’s rage and animalistic brutality once the fighting begins.

Where the story struggles is in its heavy reliance on internal narration. While the straightforward dialogue and monologue-heavy structure fit the military tone, they also keep the reader at a distance. Logan often feels less like a character and more like a deployed asset- a tool of war, which makes the story functional but emotionally thin compared to the stronger entries in the issue.

Overall, it’s a competent and visually engaging war story that understands its genre, even if it doesn’t leave much of a lasting impression.

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“Times square red” is the second short story of this anthology. It is set in 1970s New York, where Logan works as a private investigator tracking a serial killer targeting patrons of adult shops along Times Square. The noir premise is strong, and the creative use of Logan’s enhanced sense of smell stands out. Rather than feeling like a throwaway power or exposition tool, it’s treated as a genuine investigative asset, which fits the lone-wolf PI angle well.

Visually and tonally, the story nails its era. Smoke-filled dive bars, grimy streets, and a heavy noir mood give the setting real weight. The pacing is solid throughout, and the art does a good job reinforcing the brooding atmosphere. However, some panels are overloaded with dialogue, to the point where the speech bubbles begin competing with the artwork rather than supporting it.

One formal choice that didn’t quite land was the use of sideways pages. While this may work better in print, it proved awkward to read digitally, and it’s unclear what the rotation added to the storytelling.

The biggest issue, though, lies in Logan’s characterization. The story has him adopting an undercover approach that requires exaggerated enthusiasm and feigned interest, playing the role of a potential victim. While the idea itself isn’t bad, it feels out of step with Logan’s established personality. Wolverine is typically gruff, guarded, and visibly uncomfortable with pretense. Without any internal acknowledgment that he finds this act humiliating or absurd, the approach comes off as forced rather than clever.

Wolverine as a private investigator is a great concept, and much of the execution works. But this story occasionally asks the character to bend too far to serve the plot, rather than letting the plot grow naturally out of who Logan already is.

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The final story, “Red Claws,” is easily the strongest entry in the issue. Set immediately after Logan’s escape from the Weapon X facility, it strips him down to his rawest state — naked, injured, and alone in the snow. What follows is a simple but powerful survival story that captures the essence of Wolverine without overexplaining him.

This short understands exactly why readers pick up a Logan comic. There’s no grand plan, no larger agenda. Logan survives brutal conditions, encounters cruelty, and intervenes not because he has something to gain, but because he’s there and something is wrong. That moral instinct — quiet, stubborn, and instinctive — is Wolverine at his best.

The conflict centers on fur trappers who gun down a mother wolf, intending to sell her pelt. When they return to finish the job and kill her cubs, Logan places himself between predator and prey. What follows is exactly what it should be – sudden, feral, and merciless.

Visually, the story’s mostly black-and-white palette makes its use of red especially effective. When color appears, it signals a shift in Logan’s mindset from man to animal, reinforcing the idea that Wolverine isn’t just angry, he’s reverting to something primal and lethal.

“Red Claws” doesn’t try to reinvent the character, and that’s precisely why it works. It’s a reminder of who Logan is when everything else is stripped away: a survivor, a protector of the helpless, and a force of nature when pushed too far. Ending the issue on this note feels intentional and earned, grounding the anthology with a clear understanding of the character at its core.