The west coast is ruled by the Hulk gang, who took over the territory from Bruce Banner’s nemesis, the Abomination. WOLVERINE (2003) #66 provided the first map of the future, as well as an update on who was in control of each territory. According to Logan, that was the night Wolverine died.įive decades later, America remained divided into different territories. Logan was so emotionally devastated by this revelation that he attempted to take his own life.

In reality, Logan was actually slaughtering his friends and surrogate family instead of defending them from evil. Unfortunately, Logan was fooled by an elaborate illusion created by Mysterio. Logan leapt to the defense of his students and friends, and he held off the villains by himself. On the night the heroes fell, an army of Super Villains attacked Xavier’s school.

WOLVERINE (2003) #70 revealed what happened to the X-Men and why Logan refused to be Wolverine again. And unlike Loki’s plot in that story, this time, the bad guys won. Think ACTS OF VENGEANCE on a much larger scale. However the images feel more organic in their horror, more aware of weight and purpose than, say, Juan Joe Ryp's similar work for No Hero, and the moments are stretched out more, giving the reader a real experience of controlling the action as they read.To prepare for the WASTELANDERS event, is looking back at the history of 'Old Man Logan,' courtesy of Marvel Unlimited! The Day the Heroes FellĪt some point in the near future, the villains in the Marvel Universe decided to band together for a coordinated and simultaneous attack on all of the heroes. The viewer is encouraged to pause as they see each image, to take in in the detail and move forward if they wish. Old Man Logan gets its effect with it's bold, unblurred, intensely detailed, frozen, perfectly choreographed fight scenes. The closest I can compare this to in other media are the strobe/shutter effects of recent blockbuster movies to intensify and ground action scenes, but this is far beyond that. Yes, yes, I know that's comics, but a lot of the language of motion has been taken away here. This comic, hell this issue in particular, tells its story through a series of static images. And Mark Millar and Steve McNiven's double page splash of just the Wolverine claw sound effect from the preceding issue of Wolverine: Old Man Logan was an example of doing just that. Something I wholeheartedly repurposed for my recent Doctor Who comic for IDW. The time aspect of Manhattan in Watchmen was far more powerful in the comic when you could click back and forth, emulating his own power. I do like it when comics do the kind of things that only comics can do.

Old man logan mark millar