Isanove’s colors are equally important to the overall feeling. I keep thinking of words like “grand,” “sweeping,” “stunning,” and “cinematic” to describe the art. Other times, he closes in to see the raw emotion on the character’s face. At times, the “camera” is pulled back, so that the actual characters are just a small portion of the panel. We find beautiful sweeping landscape shots of the Canadian countryside. Kubert also tries different perspectives than you would normally find in a Marvel comic. The solicit text calls the story “a cross between Great Expectations and Jane Eyre,” and Kubert definitely makes things look like what we would expect from a movie set in that time period.

He breaks from the traditional superhero art style of the time and instead presents a beautiful period drama. Otherwise, Andy Kubert draws the interiors. Isanove uses an almost sepia-toned golden hue for all six covers, which adds to the impact. Quesada really made a masterpiece out of each cover, full of detail and stunning from point-of-view and composition. For those interested in the behind the scenes stuff, you can find some tidbits in the massive amounts of backend extras.Īt the very least, Joe Quesada did provide six beautiful covers, colored by Richard Isanove, the colorist for the whole series. This appears to be Jenkins’ story and script. Bill Jemas and Joe Quesada, who were managing the business side of Marvel at the time, are just as often mentioned as co-writers or co-plotters.

So, in 2001, Marvel decided to reveal the actual origin story of the man called Logan.įor this task, Marvel got the absolutely on-top-of-his-game Paul Jenkins to write the story, although there is some confusion regarding the actual plotter. It seemed to be the major driving force for him as a character as well as any of his plot lines at the time. Anyway, every comic lover of the ’90s knows that the biggest mystery in comics was Wolverine’s past.

Wolverine origin paul jenkins