The element that makes Wolverine: Weapons of Armageddon more than just a lead-in to the next big event is the themes that Chip Zdarsky and Luca Maresca play with, particularly the idea that one’s past can shape them for better or worse. That’s been explored in other Wolverine stories, but here it’s the underlying reason behind the “Weapons” subtitle. Logan was transformed into a weapon himself, and he’s not the only one who’s struggling with the fallout of such a decision.
That honor also goes to Frank Simpson, better known as the psychotic super-soldier Nuke from the classic Daredevil story Born Again, and David Colton, the “lost” super-soldier from Zdarsky’s opening arc on Captain America. Both men serve as parallels to Logan, with Colton reflecting the regrets the clawed Canadian has about his past and Nuke representing the monster he could have become. Zdarsky excels at digging into these deeper connections, using them to strengthen the characters. In one of the best moments of the book, Logan tells a despondent Colton, “I may be a weapon. So are you. But we aim ourselves now.” It’s a single, powerful statement that highlights the best thing about Wolverine – he chooses to be better than he is.
Flashbacks to Nuke’s past also offer insight into what made him who he is and showcase Logan’s connection to him. Let’s just say there’s more to Nuke’s signature American face tattoo than patriotism. Maresca excels at drawing quieter moments, such as past Logan’s conversation with an unconscious Nuke and present Logan’s confrontation with Colton. There’s also a fair amount of body horror, especially where young mutant Tyler Torrens is concerned. Tyler’s been experimented on with a form of adamantium that covers his entire body; not only does it look painful, but from the horrified look Maresca draws on his face, it’s clear that he knows what happened to him and is fighting with every inch of his will to keep it in check.
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Rounding out the artistic team is Jesus Aburtov on colors and Joe Caramaga on letters. Aburtov uses mostly muted tones throughout, save for a few backgrounds involving the pristine Canadian snow, Wolverine’s tan and gold suit, and the red, white, and blue of the American flag – both on Nuke’s face and the Captain America suit Colton wears under his clothes. Caramaga’s lettering fills the page once it’s time for action; a machine gun delivers a rapid “Budda Budda Budda” while a missile erupts with a “Shraka Boom,” filling the page with orangish-red flame thanks to Aburtov.
While Wolverine: Weapons of Armageddon #2 does deliver some good introspection, its main story tends to meander a bit. Primewarrior’s ultimate goal in creating weapons remains to be seen, and given that we’re at the halfway point of the miniseries, this is usually when the answers would start flooding in. The connection to Avengers: Armageddon also remains vague, meaning that some readers might walk away more frustrated than intrigued.
Wolverine: Weapons of Armageddon #2 trades combat for introspection, as a trio of living weapons reckons with their past. This is a Wolverine story that requires a thoughtful approach, and there are two issues left to see if it pays off.
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