Drz
Real Hero
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In short: Yeah, I think this is pretty much what everyone wanted.
So what does Jonathan Hickman give us? A new superhero comic that's half Robert Ludlum and half Jack Kirby, and something that feels like a logical escalation of the very popular work Millar and Hitch did. It's still a world where the Avengers are super-soldiers rather than super-heroes, and everything we know or recognize is a bit off, or skewed, by this military presence. There are numerous characters in this book that Hickman's written, sometimes quite extensively, in the regular Marvel Universe, but his Nick Fury here seems completely different from the one we've seen in Secret Warriors, and another character is a very deliberate, dark inversion of the one Hickman writes on a regular basis.
The attempt to marry technothriller infodump to grand, sweeping superhero majesty is no clearer than in the second and third scenes of the book. The second scene was released as a preview in the back of many Marvel titles in recent weeks, and depicts a sit-rep delivered to Nick Fury that's filled with international intrigue and reports from the President. The third scene, which is completely silent, involves a bear drinking beer and a self-replicating nanotechnological dome. Hickman makes these disaparate elements work well together by playing the goofy stuff as straight as he possibly can, as well as pacing the issue at truly breakneck speed. Fury is quickly presented with multiple new twists and problems on every page. Seemingly disconnected crises pile on with great frequency, communicating Fury's hectic schedule and mounting panic very well to the reader.
As expected, Jonathan Hickman's first issue of Ultimates is an incredibly promising start, bringing the series back to its widescreen technodrama roots while also evolving past them in a direction that feels fully logical. My only major concern is that I'm not sure how it'll work with new readers, which is a big problem with a new #1. The villain's motivation, as well as Captain America's absence, are both set up in the Ultimate Fallout miniseries and are largely enigmas in this context. Whether those factors will matter to new readers at all, I don't know; it's difficult for me to divorce this book from the context of the Ultimate Universe I've formed by reading the line for the past ten years.
Sorry for these random questions but why is The Hulk green in some books (like Ultimate Marvel Team Up) and gray in others like The Ultimates?
It’s telling that the relaunch of the Ultimate line begins with “The Ultimates” #1. While “Ultimate Spider-Man” is the steady heart and soul of the line, “The Ultimates” is the prestige book, the one that’s meant to be a big deal. By beginning the new line with it and the creative team of Jonathan Hickman, Esad Ribic, and Dean White, the message is meant to be: this is big and new and must read comics. With the freedom and scope that comes with “The Ultimates,” simply wondering what Hickman will do is enough to get many people so giddy with excitement that they’ll say “Millar who?” when asked about the book. That’s a lot of pressure for a first issue.
Hickman walks a fine balance between jumping right into plots that had their foundation laid in the shorts he contributed to in “Ultimate Fallout” and making sure that anyone who skipped that mini-series can follow along fine. For the most part, he pulls it off by rehashing the three big global threats that first popped up in “Ultimate Fallout” #5, albeit progressed by a day so it isn’t a simple retread. At the heart of the issue is a simple plot: the world is falling apart around Nick Fury and he doesn’t know what to do exactly. However, until the end of the issue, that may get a little lost under a lot of details, sadly.
There are some major details that aren’t covered, or are, at best, alluded to, that were set up in “Ultimate Fallout” like the identity of the man in the helmet on the first page or the recent cuts to S.H.I.E.L.D.’s budget after orders to expand operations that add stress to Fury or even that the team is down one key member. One has to wonder how this issue would have been written without the “Ultimate Fallout” lead-in.
Despite some problems balancing the existing stories and the need to be new reader friendly, Hickman has a strong handle on these characters and their world. The idea of everything falling apart is a great way to start the series, almost the opposite of Millar’s slow burn style of storytelling for the first two volumes. He also integrates the Asgardians into the world in a clever fashion that leads to an amusing scene involving a bear that drinks beer and the new Captain Britain offending Thor.
Esad Ribic is known mostly for his painted cover work for Marveland the chance to see him do interiors is rare. He really wowed with his work on the “Dark Reign: The List: Wolverine” one-shot he did with Jason Aaron and, along with Dean White’s phenomenal colors, wows again in this issue. His art isn’t as expansive or realistic as Bryan Hitch’s work, but he manages to get across the idea that this is a big blockbuster of a comic through smart page layouts and choosing the exact right pictures to draw. There are a good dozen panels that stop you dead, because they’re so fantastic, including the final panel of the comic.
Ribic’s work is strong enough that it’s amazing to think he’s been relegated to cover duty for so long when he’s such a natural fit for interior art. The way he draws the brawl between the Asgardians and the European superhumans is lively and chaotic, while still maintaining a strong focus. He makes a fairly static centerpiece of the comic, Nick Fury in the ‘war room’ (or whatever you’d call it) monitoring the situations, visually exciting. Part of this is the slow visual unhinging of Fury as things get worse and worse.
It would help to have read Hickman’s contributions to “Ultimate Fallout” before “The Ultimates” #1, though not essential. The comic is still exciting and sets up a large story that, right now, seems like it could easily end with the destruction of the team. A first issue that starts with its foot on the gas is exactly what’s called for.










The 2nd tweet@brubaker joe and i have been talking about the idea that things may swing from collected 'stories' with digital.
@brubaker we may be heading back to awesome chapters with no 'ending'. like marvel 70s. I'm trying it on usm and moonknight now. love it.
Also never mess with Thor!When "Ultimate Spider-Man" first launched more than a decade ago, the opening issue left readers confused. It heralded the arrival of what would later be called "decompressed" storytelling, preferring deliberate, dialogue- and mood-heavy scenes over the abbreviated, distilled style of the years that preceded it. The result was a first issue of a series that, utterly against expectation, didn't feature Spider-Man at all, mostly the still-powerless Peter Parker, and only touched on the moments beyond the fateful spider-bite.
If the relaunched "Ultimate Comics Spider-Man" is anything to go by, then Bendis and company have decided not to mess with a successful formula. Those hoping to see more of Miles Morales, following the character's first in-costume appearance in "Ultimate Fallout" #4, will not be disappointed. Those hoping to see more of Morales as Spider-Man, though, are in for a slightly longer wait.
But enough about what isn't in the book, because there's a lot that is. For a start, we're introduced to the three adults who will presumably make up the principle members of Morales' supporting cast -- though the spectre of Uncle Ben quickly looms large (metaphorically) over one of them in particular. We see a character who could be Morales' first villain (or possibly his mentor) -- a newly-ultimatized version of an existing Spider-Man character who debuted during the Lee/Buscema years. We also see the first power Morales discovers, a power that Peter Parker never possessed.
Speaking of Parker, one thing that will surely upset some readers is the character's lack of presence in this book. It's understandable why, given both the chronology of events and, philosophically-speaking, the need for Morales to stand on his own feet as a character -- but Bendis' assurances that Parker would be a factor in Morales' origin may lead fans to expect him to appear. He doesn't. At least, not yet.
In many ways, "not yet" is the main criticism that you can apply to "Ultimate Comics Spider-Man" #1. It's a strong start, but even with Bendis' dialogue-heavy interactions and trademark slow pace, it's all over far, far too quickly. A double-sized issue would have been fantastic. Admittedly, "I wanted to keep reading" is hardly the harshest criticism a book can face, but it feels like the engine's just warming up when it cuts out entirely, and that's sure to negatively impact readers' perception of the issue.
At least it's a technically strong book. Bendis' writing is as at home on this title as it's ever been, while Pichelli's artwork represents her strongest effort to date. It seems as though her star has risen quickly, and yet she's never failed to meet the challenges, fully justifying Marvel's decision to put her on what is likely to be the most widely-read Marvel title of the year. Her strengths -- body language, fashion and location work -- make her at once a perfect collaborator for Bendis and well-suited for a book like "Ultimate Comics Spider-Man," which needs to look grounded, youthful and relatable.
In a month when readers have been prompted to think about the craft of the first issue (courtesy of DC Comics) "Ultimate Comics Spider-Man" #1 makes it look easy, striking a strong balance between showing what readers need to know and teasing what might come later. Most importantly, what the issue lacks in costumed antics, it makes up for with character. It's only the second time we've seen Miles Morales on the page, but already we're starting to see how his background and outlook differ from Peter Parker's. It suggests that we're going to see a Spider-Man quite different than the one we're used to -- but at the same time, it's still one who you'll want to read about next issue. A very conventional start to the series, but in the Ultimate line in particular, that's exactly what it should be.
Ultimate Cap was okay, and its merits were largely based on Garney's artwork. Aaron's strong writing was the first issue and the ending, with a giant pitfall of **** in the middle.Ultimate Cap was great. Jason Aaron is phenomenal.