By far the most interesting issue in the series up to this point, Havok and Wolverine: Meltdown #3 follows Logan as he tracks down Alex and Quark. Incorporating horror elements into the book’s already impressive visual narrative, this issue continues to play with genre conventions to satisfying ends. It’s an 80s flashback worth having as Quark leads Alex into General Meltdown’s clutches, and Logan fights to survive Doctor Neutron’s experimentation.
Fleeing across Mexico from their alleged CIA pursuers, Alex and Quark fly into Merida, where Quark checks in with Meltdown while Alex rests. Still posing as the nurse Scarlett, Quark finds her persona beginning to slip as she develops feelings for Alex. It is a cliché for the femme fatale to fall for the flawed hero, but this scene leads to one of the loveliest sequences in the book as Quark goes into the women’s room to change. Five wordless panels against a red-smeared watercolor background invoke a sense of sad resignation far more profound than the Simonsons’ fun but cheesy script. It’s pages like this that make the work of Muth and Williams the real stars of this series.
Meanwhile, Logan’s hunt for Alex puts him in danger when he brought down in an ambush and captured by Meltdown’s thugs. His mind wiped in a series of experiments, he’s dropped off in a castle in a Soviet-controlled region of the Carpathian Mountains, where Quark leads Alex. The castle, right out of Dracula, is where Meltdown and Neutron arrange for Alex to encounter Logan, now a mindless beast bent on tearing Alex to shreds. Alex, wanting to save his friend, has no choice but to fight back or be killed. In the skirmish he accidentally kills Logan, just in time for the cliffhanger ending, and swears revenge on whoever is behind this.
I have to say, I don’t think I’ve never read a superhero book quite like this before. It has pulp aspirations with a revenge story on the side. The buddy comedy set-up of the first issue has turned into a cool globe-trotting adventure, with plenty of brutal action, mysterious locales, and a dash of horror for good measure. To their credit, Walter and Louise Simonson deliver a story that is both fun and interesting, and manages to hold up today with its many twists and turns. It’s so 80s that it hurts sometimes, but in an increasingly endearing way.
Brought to the page by the amazing collaboration of Muth and Williams, with their strong sense of storytelling and compatible styles, this series just gets better as it goes along. I found this to be the most visually pleasing issue so far, from the inventive panel construction of Meltdown’s underground hideout sequence to the sumptuous color palettes throughout. For a world so dark and gritty, there is a real beauty in the soft, gauzy whites and blues of Alex’s scenes with Quark, and a raw, earthy vitality to the reds and blacks of Logan’s pages. This is one of the most visually unified collaborative superhero books I’ve seen to date, which makes it one of the most satisfying.
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