Wolverine: Enemy of The State (Comics) | Review

There's something most writers miss about Wolverine that Mark Millar (Civil War, Ultimate War) understands: the character works best when he's a problem, not a solution. Enemy of the State delivers that nightmare scenario and it's the kind of comic that grabs you by the throat from page one and doesn't let go until the last panel.

This 2004 storyline spanning Wolverine issues 20-32 remains one of the defining Logan stories, standing shoulder-to-shoulder with 1982 mini-series by Chris Claremont (Uncanny X-Men: End of Greys, X-Men: Mutant Genesis) and Frank Miller (Batman: Year One, Elektra: Assassin).

What happens when the world's most dangerous mutant becomes a weapon aimed at his own friends? That's not a hypothetical question here. Wolverine gets killed in Japan by a villain called Gorgon, resurrected by the Hand and Hydra working together, then reprogrammed into a brutal killing machine designed for destruction.

The result is pure chaos as Logan tears through S.H.I.E.L.D., the Fantastic Four, Daredevil and the X-Men with brutal, surgical efficiency. Someone actually dies during these encounters. This isn't just another brainwashing story where everyone walks away fine at the end.

Logan travels to Japan after learning that Ichiro Yashida's son has been kidnapped. The cousin of his deceased love Mariko asks for help when local authorities fail him completely. It's an elaborate trap and Wolverine gets ambushed by the Hand and killed by Gorgon.

Here's where things get interesting. About a month later, Wolverine resurfaces as a reprogrammed assassin while Nick Fury and Elektra scramble to prepare defenses. The Hand and Hydra have formed an alliance, upgrading Logan with their resources. What follows is a surgical strike against Marvel's superhero community.

The storyline builds tension through isolation and paranoia. Everyone knows Logan is coming but they can't predict when or how. Millar delivers set-piece after set-piece: Wolverine versus Elektra on S.H.I.E.L.D. carrier, a throwdown with Fantastic Four, a confrontation with Daredevil.

An X-Man dies during one of these encounters, proving the stakes are real and permanent consequences. S.H.I.E.L.D. eventually captures Wolverine and begins the difficult process of deprogramming him through intensive virtual reality simulations to break the conditioning but recovery is just the first phase of what comes next.

Once Logan breaks free from the mental conditioning, he wants revenge. The second half (sometimes called Agent of S.H.I.E.L.D.) flips the dynamic entirely. Now Wolverine leads S.H.I.E.L.D. forces against the Hand and Hydra, using his inside knowledge of their operations.

Elektra becomes a wild card in this section of the story. She was also captured and brainwashed by the enemy, leading massacre after massacre. The reveal about her true status adds another layer to an already complicated situation. Gorgon, who started everything, becomes the final target as Wolverine and his unlikely allies close in.

This arc connects to larger Marvel continuity in subtle ways. The story references Wolverine's history with Elektra after she helped him recover when Magneto forcibly removed his adamantium during Fatal Attractions, grounding the story without unnecessary exposition.

The aftermath echoes through later storylines too in significant ways. Jason Aaron's run would later reveal Cyclops quietly developed contingency plans for Wolverine, while families of Logan's victims formed a revenge cult called the Red Right Hand. Gorgon himself survived to become a recurring threat in other Marvel series.

What makes Enemy of the State work is its relentless momentum and military precision. Millar structures it like a tactical thriller rather than a typical superhero comic, where each mission has clear objectives, strategic considerations and real consequences that matter.

The body count isn't just for shock value or dramatic effect– it changes how characters view Wolverine afterward and raises uncomfortable questions that linger throughout the Marvel Universe. Can you really trust someone who killed your friends in cold blood without hesitation, even if they were mind-controlled at the time?

The storyline also explores something darker about Logan's character: how thin the line is between hero and weapon in practice. The Weapon X program already proved that with enough manipulation, Logan becomes whatever his programmers want.

Enemy of the State takes that concept to its logical extreme, showing what happens when that weapon gets aimed at the people who trust him most. His healing factor means he survives everything but it also means there's no permanent escape from being used.

Artist John Romita Jr. (Daredevil: Lone Stranger, Daredevil: The Man Without Fear) brings his signature blocky, kinetic style to every page and it matches the story's brutal tone perfectly. His character work divides readers– bodies sometimes look disproportionate, with oversized hands and feet creating an almost abstract quality.

This isn't a pretty story and Romita Jr.'s art never pretends otherwise at all. His action sequences explode across two-page spreads with devastating clarity as Wolverine moves through panels like a force of nature unleashed, claws extended, blood trailing behind him.

Klaus Janson's inking adds depth and shadow that amplifies the noir atmosphere. The collaboration creates something rawer than typical superhero fare. Some backgrounds are meticulously detailed while others fade to stark black, directing focus exactly where it needs to be and balancing complexity with emotional weight.

Millar's writing operates on pure adrenaline with sharp, economical dialogue. Characters talk like real people under pressure, not exposition machines. Some plot elements rely on convenient timing but Millar moves fast enough that you don't question logic until finishing.

Enemy of the State succeeds as both a Wolverine character study and a non-stop action spectacle. It understands that Logan's greatest stories come from pushing him into impossible situations where his usual solutions don't work at all. Being the best at what he does becomes a deadly curse when someone else controls that skill.

The storyline has flaws. Gorgon never tells his own story and the Hand's villainy occasionally tips into cartoonish excess but these issues don't derail the core experience: watching Wolverine steadily dismantle Marvel's heroes before reclaiming his mind and unleashing hell.

This is essential reading for Wolverine fans and anyone interested in what Mark Millar does with Marvel characters. Enemy of the State delivers what the title promises: Wolverine versus everyone, drawn by an artist who makes every panel count, written by someone who knows the best stories come from heroes becoming threats.

If you're looking for contemplative character exploration, try Chris Claremont's run instead. If you want pure action filmmaking translated to comics with real stakes and intensity, Enemy of the State is the answer. Just be prepared for the consequences to actually matter.

You can read Wolverine: Enemy of the State in physical editions– trade paperback or hardcover– through local comic-book shops, major online retailers and bookstores. It's also available digitally on platforms such as Amazon Kindle, ComiXology and Marvel Unlimited, making it accessible on-screen as well as on the shelf.