Cataclysm: The Ultimates’ Last Stand #1 – Review

 

by Brian Michael Bendis (Writer), Mark Bagley, Andrew Hennessy (Artists), Jason Keith (Colorist)

The Story: Galactus hungers for alternate universes. Luckily for him, he actually is in one.

The Review: Readers of super hero stories are usually very open when it comes to concepts and how they are interpreted. A blind man with ninja training acting as a lawyer? Check. A man that turns green and massive when angry? Check. A man from a previous universe that has enormous power and need to feed on planets in order to survive? Double check. There are many ideas in this type of universe that are rather silly, yet the suspension of disbelief of capes enthusiast is usually rather strong.

There are times though were some ideas are perhaps a bit too far-fetched, however, like this series dealing with Galactus, the one from the regular 616 universe being in the Ultimate universe. There is potential here, to be sure, yet there are so many ways this could go wrong. Does Bendis and the rest of the creative team manage to bring out some of the better uses for this idea to the forefront in this opening issue?

For the most part, Bendis opens this up fairly well, using some of most preeminent concepts of both universes to create a good comparison between the two. The use of Galactus as an unstoppable force, one that cannot be bothered by ants is one that has been used many times before, yet it is used competently here as well. The destruction is on par with big action movies, which is commendable for a series that has a rather ominous title like Cataclysm: The Ultimates’ Last Stand.

Ultimate Comics The Ultimates #27 – Review

By: Joshua Hale Fialkov (Writer), Carmine Di Giandomenico (Penciler), Lorenzo Ruggiero (Inker), Jim Charalampidis (Colorist), VC’s Clayton Cowles (Lettering & Production)

Review: I didn’t know quite what to expect from Fialkov’s run on The Ultimates. Previously I was only loosely aware of his work on I, Vampire, and even so he was a pretty unexpected announcement when the time came for DC’s post-Geoff Johns Green Lantern plans. Those were some pretty huge shoes to fill, so maybe things worked out best the way they did. Or maybe not. I mean it’s not like Sam Humphries was a tough act to follow – my thoughts on that are well documented – but even so, what he’s achieved here is remarkable. Under his stewardship The Ultimates has evolved from a book that I’d come to borderline despise with every ounce of my being to one that surprises, thrills and horrifies (in the vey best way). As far as the Ultimate universe goes, it’s a revelation.

In this issue our heroes are either already round beaten, or in the process of being beaten. Following the recent last few issues’ Infinity Gem-fuelled madness – whereby Reed Richards, Hulk, Quicksilver and a funky version of Kang the Conqueror have teamed up to rule/save/destroy the universe – the Ultimates are scattered and lost in a world of hurt. Cap and Hawkeye are Kang’s prisoners, rooted in a jail from which there seems no escape. Ben Grimm (does he even go by ‘The Thing’ in the 1610 anymore?) and Susan Storm are being chipped away piece-by-piece, literally, by Quicksilver. Thor’s facing an unfeasibly over-powered Hulk. And Tony…well, Tony’s predicament is the worst of the bunch.

Really, there’s no concern in spoiling the Reed Richards’ interrogation of Tony Stark in this issue; the cover tells you almost all you need to know. Tony is strung up in a lab, prostate and paralyzed as Reed digs into his brain in the search for an Infinity Gem. Say what!? Yeah…Tony’s brain tumour was actually a magical space gem all along, which kinda explains the whole ‘Little Anthony’ situation. This scene underpins the majority of the issue, and Fialkov revels in the horror. And horrific it is. The most pertinent corollary I can think of is the infamous ‘Brain Dining’ scene in Hannibal, minus the cannibalism. Reed’s also a much more refined tinkerer, and an even more sadistic captor – he keeps Reed conscious and cogent throughout, taunting and mocking Tony’s pleas for compassion and surrender. It’s a brilliant scene, stuffed as it is with dialogue almost as sharp as Reed’s scalpel and a sense of dread that builds up to a truly macabre climax. That bit I won’t spoil.

Ultimate Comics Ultimates #20 – Review

By: Sam Humphries (Writer), Scot Eaton (Artist), Rick Magyar w/Andrew Hennessey & Dave Meikis (Inkers), Matt Milla w/Andy Troy (Colorist), Clayton Cowles (Letterer)

The Review: If Jeph Loeb hadn’t irrevocably depleted my levels of Ultimate-based rage with the debacle that was Ultimates 3/Ultimatum, I’m pretty sure I’d be tearing this comic to bits with my teeth right now. As it stands, I’ve grown used to the Ultimates occasionally being neglected by Marvel’s quality control department like it was a red-headed stepchild and, as such, Sam Humphries’ run has elicited little more than a ‘meh’ from me most months. This month however, something in me snapped; we Ultimate fans deserve better than this.

Okay, so let’s start with possibly the biggest problem: the art. Since the wonderful Esad Ribic hit the ‘Eject’ button, departing Ultimate Comics Ultimates alongside Jonathan Hickman, the title has largely taken on an uneasy Boy’s Own look which felt totally at odds with the mature themes it was seeking to explore. It’s been difficult to take the Civil War-vibe and political posturing seriously with everything looking so bright, puffy and rounded, and that sense of disparity lingers here like a bad smell. For me, this is one of those Marvel titles which requires its art style to have one foot firmly rooted in the grimy, gritty ‘real’ to be truly effective. Bryan Hitch, Carlos Pacheco, Leinil Yu – who I feel have produced some of most definitive treatments of the Ultimates – all had a knack of conveying that sense of widescreen action that is so key to Mark Millar’s original blueprint. Scott Eaton’s work, much like Luke Ross’ before it, just feels too squeaky clean and fails to imbue enough drama into the scenes of volatile Hydra rebellion which lie at the heart of Humphries’ story.

As for Humphries, he’s certainly trying his best to make things interesting. There’s a double-agent plot, Hydra member melodrama, a shadowy organisation bent on unleashing a team of anti-Ultimates and Thor and Susan Storm investigating the secrets and whereabouts of the Infinity Gems/Gauntlet. That’s a hell of a lot of ground to cover in 20 pages and inevitably some of the spinning plates were destined to take a tumble. Frustratingly, what I found the most interesting element of all was the Thor and Susan Storm vignette, but with space at such a premium 2 pages is all Humphries could afford that story this month – the same is true of the “shadowy organisation” bit.

Ultimate Comics Ultimates #18 Review

By: Sam Humphries (Writer), Luke Ross (Artist), Matt Milla (Colorist), Clayton Cowles (Letterer)

The Review: Sometimes it’s hard being an Ultimate Comics fan. If it isn’t Jeph Loeb sadistically eviscerating all of your favourite characters, it’s encountering an element of snobbishness from the 616-only crowd. “Grubby little pockets universes,” they’ll sneer in a Gollum-like manner, “Is the anti-Precious! Unclean! Unclean!” With a heavy sigh you might have the energy to point such doubters towards Warren Ellis’ run on Ultimate Fantastic Four, Millar’s Ultimates 1 or 2 or pretty much any volume of Ultimate Spider-Man in an attempt to change their minds. More often that not you’ll just tell them to go stick their head in a sandwich toaster. What you should definitely not do is show them a copy of Ultimate Comics Ultimates #18; such an ill-advised course of action would only lead to disaster, mockery, and an evening spent crying into the pillowy rump of your beloved Ultimate Blob plushy.

Ultimate Comics: The Ultimates #6 – Review

By: Jonathan Hickman (writer), Brandon Peterson and Esad Ribis (artists), John Rauch and Edgar Delgado (colors)

The Story: The Ultimates take a collective breath and say, “Oh, f#@&!”

The Review: Goodness, I really love the concept of the Ultimates. I really think it’s fascinating to watch these imperfect men and women try to live up to the impossible ideals they define themselves by; it’s equally fascinating to watch the world react to these super-people in such a realistic manner. Obviously, this was not the interpretation in Jeph Loeb era, but I choose to ignore that run. Besides, Jonathan Hickman has really returned this book to its philosophical roots, and I’m delighted.

This issue opens on a conversation between Nick Fury and the retired Steve Rogers, discussing all the disasters that have taken place in the last five issues. The outlook is grim. Someone has set off a nuclear bomb just off the coast of Uganda; Southeast Asia has been taken over by mutant supremacists; and Reed Richards has conquered 200 square miles of Europe, destroyed Asgard, and now commands forces that far surpass those of SHIELD and the entire US Military combined. In the face of this, Fury asks Rogers to return as Captain America. But here’s the interesting thing: he’s not asking Captain America the super-soldier, because—let’s face it—there’s not a hell of a lot even Captain America could do about this. Instead, Fury is asking for the help of Captain America the political symbol, to reassure the public and to support Fury’s plans. The conversation displays a great understanding of who these characters are, and what values drive them.

The conflict of realism versus idealism is the driving force of this issue. From Stark facing the superrich he suspects of nuking Uganda, to the Braddocks coping with Captain Britain’s catatonic state, to even Falcon confronting his former colleague Reed Richards, the characters are forced to reconcile the way they would like the world to be, and the way the world is. It’s a powerful theme, and well explored. However, because Hickman is taking his time to explore these themes, it also means this is the second issue in a row with everyone just sitting and talking about what has happened. I’m fine with that, given the enormity of what has passed, but characters need to start being active again soon.

Ultimate Comics Avengers #1 – Review

By Mark Millar (writer), Carlos Pacheco (pencils), Danny Miki (inks)

The Story: Following the events that took place in the universally hated “Ultimatum,” Nick Fury returns to the desecrated Triselion. There, Hawkeye stands with him and makes his former leader an offer he can’t refuse. Furthermore, Hawkeye reveals to Fury how Captain America has gone rogue after discovering the truth about Red Skull.

What’s Good: Wow, DC sure fucked up in never locking Carlos Pacheco down to an exclusive. As shown in this first issue, Pacheco’s art kicks ass! His action scenes pack entertaining brutality, while the characters move smoothly and naturally. You’ll feel the kick that Cap delivers to the jugular, and you can almost really experience the thrill when Hawkeye jumps out of the helicopter. The action scenes are all over-the-top and it all works. Carlos Pacheco simply owns this issue, as he reminds everyone that he is the man for the job. It’s too bad that he’s only got the first arc…

As for the writing, Mark Millar is simply a master when it comes to writing the blockbuster. Right away, he’s steering us towards the right direction; away from all the Ultimatum nonsense that Jeph Loeb churned out for us. Here, he gives us some much needed excitement in the Ultimate Universe, while renewing our faith in the Ultimate line.

What’s Not So Good: Although the big reveal at the end is one hell of a cliffhanger, I’m not sure if fans are ready for another story that can be thought as far-fetched. This is when over-the-top could go wrong, and even almost cliche… By the end of the issue, Millar will have you either itching for the next issue, or at “WTF,” like Nick Fury in the beginning.

Conclusion: Ultimate Comics Avengers starts off with a loud bang, and it resonates throughout the rest of the issue. Millar and Pacheco waste no time in setting out and making the Ultimate line likable again; with this fast-paced, awesome-looking book. My only concern is the ending and the secret revealed at the end. I can already hear “really?!” from some readers. Nevertheless, you’ll come back wanting and waiting to see how Millar and Pacheco undo Loeb’s mess.

Grade: B+

-Ray Hilario

Rob G’s Top Ten Number #1’s

The following list is my picks for the best first issues, based on comics that have been released during by tenure as a hobbyist, i.e the past twenty years. They are from series that were or are ongoing series, not minis. The only factor in choosing these books was simple: Greatness.

1. Y The Last Man

Brian K. Vaughan and Pia Guerra

Unmatched storytelling and utterly masterful writing. So many plot threads perfectly bundled up in perhaps the best example of non-linear storytelling.

2. Four Eyes

Joe Kelly and Max Fiumara

An incredibly unique story, told perfectly with outstanding art. Whips you up and takes you to a place that is both familiar and fantastic.

3. Preacher

Garth Ennis and Steve Dillon

Like Y The Last Man, an expertly crafted story, with brilliant pacing and perfect dialogue. Plus, insanely novel concepts and characters.

4. The Walking Dead

Robert Kirkman and Tony Moore

A regular paged issue that seems like a novella. Haunting, engaging, fun and most importantly, Rick is a character you want to travel with.

5. Batman and Robin

Grant Morrison and Frank Quietley

Morrison and Quietly. Usually that says it all, but this was something unexpected with its new take on the dynamic duo, creating a new mythos rather than perfecting an old one– like they do in All Star Superman.

6. Planetary

Warren Ellis and John Cassady

Mind-bending and genre-jarring. Ellis scoops you up while Cassaday blows you away. For Sci-Fi, there is Firefly for TV and Planetary for Comics.

7. All Star Superman

Grant Morrison and Frank Quietley

Everything Superman should be  in both character  and appearance. Also, perhaps the best colored comic in the past 15 years.

8. The Ultimates

Mark Millar and Bryan Hitch

The Avengers you want and a team of characters that make sense. Story hits you as the art wows.

9. Ultimate Spider-Man

Brian Bendis and Mark Bagely

The best Spider-Man ever. Period. Perhaps the most endearing comic character ever created. Instant love.

10. The Unwritten/Invincible

Mike Carey and Peter Gross/Robert Kirkman and Corey Walker

Both these issues set up addicting stories and characters. Like the other comics in this list, greatness was evident from the get-go.

Be sure to weigh-in in the comment section!

The Ultimates 3 #3 – Review

By Jeph Loeb (writer), Joe Mauereira (art), Christian Lichtner (colors)

Okay, if you can get past the first four pages of this issue – wow, you’re actually in for something pretty decent! In Ultimates 3 #3, Jeph Loeb finally decides to tell a story! And honestly, what happens here could have been told in issue #2, but better late than never, I suppose.

We finally get to the meat of the story: Scarlet Witch is dead, killed a by bullet specifically coded to her DNA. The story then shifts into a tale of how Wolverine is actually her father. Taking up half of the issue, this retelling of Scarlet Witch’s origin is a bit weird, and purists will most likely hate it, but I actually found it to be somewhat compelling. It just worked for me. From there we’re back in the present as the team mobilizes to hunt down Magneto. Loeb throws in a twist near the end of the issue that most people won’t see coming.

I wasn’t too impressed with Joe Madureira’s art the first two issues, but he has completely won me over this time around. With Christian Lichtner, who seems to have finally gotten a grasp on not making the coloring too dark, this is easily the duo’s best work to date. Before ever turning a page, I’d actually read through it and then look over the art for a few minutes before turning. It’s stunning. And while I still firmly believe that this book is still not worthy of being called “The Ultimates”, it’s finally getting better. Maybe these guys can turn this ship around. (Grade: B)

– J. Montes

Ultimate Iron-Man II #1 (of 4) – Review

By Orson Scott Card (writer), Pasqual Ferry (artist), Dean White (colorist) VC’s Cory Petit (letterer)

This sequel to Ultimate Iron Man takes place right after the events of Volume 1. But don’t let the sequel status throw you off. Even though one may think it’s unaccessible to new readers, the first page synopsis does a good job on bringing you up to speed. The premise is simple: Tony Stark’s father has been framed in the murder of his corporation’s top competitor. Now, Tony has no choice but to take over in his father’s absence.

So far I really like the way the story’s progressing. Orson Scott Card does a good job of using an attack on Stark Industries to warrant Tony using his prototype armor to protect the building. He is severely injured (losing an arm), and has to sit out for a while to recover from the explosion. As Tony is in the hospital he monitors the news and the public’s reaction – they believe Stark’s Industries has a “robot” that may be a threat to the public.

As the issue continues, it’s revealed that there are other people involved with the attempt to destroy Stark’s building, while two government officials that resemble secret service meet with Tony. Their intention is for Tony to build them a robot (which is really Tony in his armor) by the weekend so that they might use it to eliminate a band of terrorists housed within a country that isn’t in a current state of war with the U.S.

Tony and James Rhodes (both in their prototype armor), finally get to use their suits for some real world tests. This sequence shows them learning how to control their flying and weapon systems. As the firefight (or slaughter) begins, Tony prevents Rhodes from taking any risks, as he can’t regenerate his body like Tony can.

After the killing stops, a boy is revealed and appears to have a bomb strapped to him while Rhodes warns Tony there may be a detonator around. The boy pleas for Tony and Rhodes not to kill his father who is reveled in the final panel in a struggle with another man. This puts them in the situation of who to kill and who not to kill.

The story’s strong in this debut issue – I really liked it. Because there’s not a lot of random chatter, Card is free to give the characters more personality. The art and colors are really done well and I can’t wait to see how the rest of this series plays out. Definitely worth a look in my book. (Grade B+)

-Matt Allen

The Ultimates 3 #2 – Review

By: Jeph Loeb (Writer), Joe Madureira (Pencils)

God, Ultimates 3 is just horrible. It completely destroys the “The Ultimates” lineage with its flamboyant story and art. I like Jeph Loeb as a writer and I like Joe Madureira as an artist, but book should be called something else, because compared to previous two Ultimates series, this is just crap. There’s the awful dialogue like Spider-Man yelling, “You shot me, screwball!” at Hawkeye (huh?!). But the biggest offender is Sabertooth’s, “Suck it!” Give me a break, Loeb. You’ve complete turned this series into a mockery of itself.

Nearly all the characters from the original Ultimates story lose their original outfits. Instead of a more realistic looking team, these guys are a bunch of cartoons again. There’s also inconsistencies in the art, like when Sabertooth slashes Captain America in the back. Clearly his uniform is torn in the back, but if you look at the corresponding panel below, Cap’s uniform is perfectly intact. What the hell?!

Loeb and Madureira are not only the wrong team for the Ultimates, but for the Ultimate Universe as well. This story may have played well to the comic book audience of the 1990s, but in 2008 it’s way behind in the times. (Grade: F)

-J. Montes