Wolverine #28: A Spoiled Ending Still Makes for a Fun Ride

However, life is about the journey, not the destination, and this issue is no exception. Saladin Ahmed crafts a classic Wolverine adventure that checks all the boxes that a Wolverine fan would have: a flannel-wearing Logan joining forces with another X-Man to slash his way into a bloody battle against an iconic foe. Despite the simple story, issue #28 is not without thematic merit. The comic begins with Forge and Logan chatting it up at a restaurant. Ahmed really understands what makes Wolverine tick as a character in these quieter scenes: his sarcasm, his brashness, and his underlying care for those close to him. The dialogue feels incredibly natural and in-character for both X-Men. At the end of the comic, Wolverine speaks to a character from this volumes’ past; it’s a very simple scene that adds nothing to the overall plot of the comic. Nonetheless, this scene excels because of how human it feels for these characters: a genuine moment of emotional tenderness for Logan in a life of pain and tragedy brings the character to tears, and it’s sure to put a slight smile on the reader’s face.

Martín Cóccolo returns as the artist, reuniting with Jesus Aburtov as the colorist. In comparison to their previous work on this series, Cóccolo’s art is a step down in this issue. But just a single step. Cóccolo remains an incredibly talented artist who understands dynamic panel structure and compelling action. The fight scenes are incredible as always, with leading lines and blurred visuals giving the illusion of motion on a stagnant page. However, some of the character designs look a little rushed. Halfway through the comic, there’s a page of Logan running: Logan’s head looks way too small for his body, and his face looks unnaturally goofy. It’s an issue prevalent across the entire issue, with background characters lacking just enough detail that it draws the reader out of the comic. Nonetheless, Cóccolo’s artwork remains enjoyable when paired with Aburtov’s colors. Aburtov rarely uses the same color more than once on a page (with the exception of black, of course). Each character retains their own unique color pallet that makes the combat both engaging and easy to follow.