Old Man Logan is ready to go home.
The finale to Jeff Lemire’s Old Man Logan run is fast approaching. Issue #20 picks up where the previous chapter left off in terms of setting the stage for Logan’s mysterious journey through time. Unfortunately, it accomplishes little else. This issue is merely a means to an end, plot-wise, and it remains unclear why the series needed even two issues to set the stage for “Past Lives.”
The previous chapter established that Logan is hellbent on returning to his own world long enough to ensure that the Hulk baby he left behind is being properly cared for. Having exhausted his options among the upstanding heroes of the Marvel U., Logan now turns to sorcerer villain Asmodeus for assistance. There’s some humor to be had in Asmodeus’ D-List status, but ultimately both he and fellow guest star Miles Morales feel like expendable plot devices than truly relevant players. Miles’ role in particular could just as easily have been filled by any number of other New York-based heroes.
It’s a little bizarre that these two issues didn’t spend more time focusing on the consequences of Logan’s reckless behavior. By the time he actually absconds with Asmodeus and flees the S.H.I.E.L.D. prison, Logan has managed to betray the trust of a number of heroes and sully what was already a pretty spotty reputation. But Lemire doesn’t seem overly interested in exploring that angle, and it’s doubtful it’ll come into play in the remainder of his run, much less when Ed Brisson takes over in a few months. To be sure, this isn’t the first time Wolverine has butted heads with the establishment of the superhero community, but this arc could have used something to give it a little more weight.
As with issue #19, this issue also suffers from the absence of Andrea Sorrentino. Sorrentino’s darkly psychedelic art style has always been Old Man Logan’s biggest selling point, and without him the book is a lesser version of itself. Felipe Andrade still brings plenty of darkness to the page, but the sketchy figure work and poorly defined environments do little t attract the eye. No to mention that the straightforward page layouts are a far cry from the eye-popping design work the book usually boasts. It’s hard to be optimistic about Lemire’s run reaching a proper conclusion without Sorrentino present.