In fact, the entire first half of the storyline is constructed as an inversion of Wolverine’s comic book career. I don’t doubt that Bendis himself is aware of that fact. That doesn’t mean that Bendis doesn’t succeed in actually giving the old lug some character, it just means that the time invested in the character could have been better spent. I wasn’t particularly happy with the character we saw in earlier issues, and can understand Bendis’ belief that he does need some tender loving care in order to rehabilitate him, but his mysterious past has been done-to-death in a million different ways. The character has dominated Marvel output for decades and there’s very little you can do with him that hasn’t been done before. It’s a shame that Bendis has to spend so much time with Wolverine. There’s more explosions, fires and gunshots here than at the climax of the run, and Bendis pushes Wolverine front-and-centre. The title is a wry nod to the story’s clear stylistic intention – to ease transition between Millar’s action-heavy sprint on the title and Bendis’ more character-based approach to story telling. He opens with a Wolverine-heavy story, Blockbuster. Bendis splits his year on the title into two large arcs, though you could easily make the contention that it is two arcs and a series of oneshots or even a single over-arching plotline.
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