Wolverine is one of the oldest X-Men institutions. He has his own rogue’s gallery, his own X-Men teams, and his own onomatopoeic sound effect. He has had more mini-series than some entire X-Men titles have had issues and has appeared in every single live-action X-Men movie, often as the main character. Even after his canonical death in the comic, two full series were dedicated to just his legacy. He’s that important.
One of these series, Wolverines, did the tortuous work of fleshing out the villains, clones, children, and friends that have orbited Wolverine, proving, amazingly, that despite their healing factors, claws, rage, and willingness to kill that they were more than just pale derivatives. Even better, the series was propelled by a lesbian love story.
All-New Wolverine, a relaunch of the Wolverine character, cements his death but preserves the institution. In the first issue, X-23, a clone of Wolverine, descends upon Paris in search of a man being targeted for assassination by an unknown group. Rushing through rain in a bulky overcoat, she finds him near the Eiffel Tower, saving him mere seconds before sniper fire rains down upon them both. The man escapes, but X-23 takes a bullet to the brain, momentarily killing her.
As her healing factor brings her back from the dead she unconsciously recalls an exchange with the original Wolverine where he encourages her to resist her programming, to be Laura Kinney and not X-23, the programmed assassin. They both wear their X-Force uniforms, grim gray costumes with black stripes and splashes of red: they are killers. Wolverine regrets X-23’s inheritance of his burden, but he praises her reluctance to kill. She holds promise, he believes.
This scene is the crux of the comic and the subtle justification for the new series. Laura is not Logan: she is someone and something different.
Potentially. When X-23 recovers from the kill shot, setting her sights on the person who fired it, she throws off her overcoat, revealing the iconic blue and yellow costume of her genetic father. Enraged, she storms the Eiffel Tower. Bolting up the tower, she sniffs out the sniper then confronts her, beating her into submission. The fight scene emphasizes X-23’s reluctance to kill. She begins the fight by slicing through the sniper’s gun. For the rest of the fight her claws are retracted: her weapons of choice are fists and finesse. This is a subtle move, establishing this Wolverine’s desire to be ethical, to be better.
In the moment it works. When the defeated villain summons a drone and then jumps from the tower, killing herself, X-23 screams “No!” and it feels sincere. Death was precisely how she didn’t want this encounter to end.
This disinclination toward violence continues in issue 2, where the villain from issue 1 (who turned out to be a clone of Laura, sigh) is revealed to be one of many clones. In a sequence that is similar to the confrontation in issue 1, Laura pops her claws just to disarm her opponents and then pleads for the encounter to not end in death.
Again, in the moment this works. But in the context of the institution of Wolverine, this fear of being an instrument of death is stale. Since at least 2000 Logan has had this exact relationship to death: the mini-series “The Twelve” had him literally become a character named Death; Uncanny X-Force explores the absurd circularity of his wanton killings; Uncanny Avengers explores the direct consequences of his killings; Wolverine and The X-Men explores the tension of trying to teach others to respect life when you’re a known killer; Wolverine (vols. 5 & 6) features him without his healing factor, rendering him vulnerable to death both literally and psychologically.
If the point of this comic is to establish Laura as a different Wolverine, to saddle her with the same enemy, the same fears, the same burden that the character has dealt with for ages, is grossly lazy at best and deeply sexist at worst. Is being a literal clone not torture enough? Is constantly screaming “No!” the extent of her character?
Even her supporting cast is stale. In the first issue, the X-Man Angel, who has been established as her love interest, helps her take down the drone and attempts to comfort her as she recovers. In the second issue he flies her to her apartment and they flirt in mid-air. There almost seems to be some weak joke at work. The original Wolverine and Angel were notoriously at odds. Angel regularly accused Wolverine of savagery, once even leaving the X-Men because he couldn’t stand Wolverine’s presence (Uncanny X-Men 148). The relationship might not be a callback to that old tension, but even if it isn’t, why is the so-called all-new Wolverine already being tethered to a character who is [literally] from the 1960s? (through a goofy time-travel plot that is now canon – i.e., the series All-New X-Men vol. 1 – the 5 original X-Men have returned to the present.)
Wolverines ended with a rejection of the need for Wolverine. Although the series was framed as a quest for Mystique to resurrect Destiny, her dead lover, the final issue revealed that Mystique had been tricked (by Destiny) into resurrecting Wolverine because, in Destiny’s words, “The world needs a Wolverine.” Deeply outraged, Mystique disagreed, choosing to leave them both dead. Although All-New Wolverine #1-2 has flashes of promise, as long as X-23 is fundamentally the same character, Mystique was right. Wolverine – whether Logan or Laura – is better off dead.