Wolverine: Switchback

By Philip Schweier
Jan 7, 2009 - 16:59

One of the great things about characters who have secret identities is that it allows for twice the potential in stories While the adventures of Peter Parker: College Student may not fly off the shelves, Logan is a different story. In the traditional blue and yellow costume, Wolverine fights alongside the X-Men, but as audiences are beginning to learn, it’s the character inside the costume that often drives the story.

Speaking of driving, Switchback open with Logan minding his own beeswax as he cruises along a scenic mountain road. The highway leads to danger and corruption in a nearby town, as he stumbles upon a grisly secret demanding his patented sense of retribution.

What sets Logan above other alter egos is that out of costume, he often finds himself in situations where keeping a lid on his costumed identity is less important than seeing the wicked get what’s coming to them. Often such stories have a familiar feel, reminiscent of Westerns in which a man unafraid to kill according to his own sense of justice finds himslef in a small town in need of his moral code. By story’s end, there are more dead bodies, but it’s usually the bad guys, so it’s okay.

Switchback features a second story, “Punching Bag,” written by Gregg Hurwitz and illustrated by Juan Doe. Like the main story, it features Logan trying to keep to himself, but evil keeps kibitzing.

However, both stories are very far apart, visually. Pastoras’ work is very painterly, reminscent of Richard Corben; Doe’s seems more in an animated style, akin to a mix between anime and Brad Bird. Both are stylish and engaging.

Rating: 8/10
Last Updated: Jan 7, 2012 - 7:41
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Wolverine: Switchback

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