Deadpool: The Good, The Bad and The Ugly

Into its third volume the Deadpool MAX! series continues to be one of the best things Marvel are putting onto the shelves of comic shops. But it’s for a different reason than in the first two volumes (read about those here and here). While those books succeeded by emphasising Deadpool’s comedy, something which hasn’t been done right enough during the character’s twenty-plus year history, the third succeeds by exploring Deadpool’s more tragic elements.

It was something that could have failed. The title had been set up as something funny and so that’s what people had come to expect from it. But writers Gerry Duggan and Brian Posehn do such good exploring Deadpool’s history with Weapon X, and the stolen memories and deformed cancer patient sufferings that come with that, that you find yourself swept along.

In hindsight they were making readers care about Deadpool during their first two volumes too. But because they were doing it with humour, something you’d expect from the character and his titles anyway, it wasn’t noticeable. Also, you don’t tend to read something funny and think to yourself “yes, I am beginning to care about this character.” They’re a talented pair of writers.

There are still laughs though. Even when Deadpool finds himself fighting through North Korean concentration camps alongside deformed X-Men clone experiments he’s given wises to crack. But it’s the first two issues of the volume that are home to most of the laughs. The first is once again told as a flashback. It takes place in the seventies and sees Deaders teaming up with Iron First and Power Man to take on The White Man. Every joke you could expect with a villain who’s chosen that name is used, usually by or within earshot of Power Man. It’s gloriously silly, and a great start to the collection. It also helps to balance out the more grim surroundings of the rest of the volume.

Much was made before the arc started coming out as singles of Wolverine and Captain America’s involvement. While they’re used well and there’s a logical reason for their team-up with Deadpool they do at times feel a little surplus to requirements, like they’ve been added to the title to encourage crossover readership. Both are well written though. Cap in particular. He’s a character I don’t usually care for (which can’t just be because I’m not American) and it was nice to see him believably presented as a compassionate, caring man instead of the military genius poster boy he tends to be in various Avengers titles.

The new art of Declam Shalvey takes some getting used but it’s fine once you do. Even if you’re not keen on it it can be overlooked because the writing is so strong. Posehn and Duggan continue to be the best writers to ever work on a Deadpool title. And this title continues to be one of the greatest successes of Marvel’s NOW! initiative.

Ultimate Avengers: Next Generation

Both series of Mark Millar and Bryan Hitch’s Ultimates were well received by those who read them. They reworked the origins of Marvel’s premier superteam for a modern audience and told mature episodic stories. They are amongst the best comics written since the turn of the millennium. Not even the horrible misfire that was Jeph Loeb’s Ultimates 3 could ruin them.

In 2008 Marvel decided to shake up their Ultimate line with a big crossover apocalypse event dubbed Ultimatum. The line’s credibility had already taken a battering with the Ultimate Power story but Ultimatum was worse. It was designed as a reboot of the whole line. It achieved that goal, with all ongoing titles either being cancelled or rebranded with new numbering, but also delivered an incredibly boring story that insulted fans and made no sense to new readers.

One good thing did come out of the reboot though: Mark Millar returned to write more stories using some of the characters he’d used in The Ultimates. Confusingly this new book was dubbed Ultimate Comics: The Avengers. The Ultimates were an Ultimate universe version of the Avengers, whilst the Ultimate universe’s Avengers were a black-ops S.H.I.E.L.D. team. It’s a minor detail and what that doesn’t really matter in the scheme of things but, well, it’s always seemed like Marvel made a choice with the name.

Poor choice of title aside it was a promising start. Millar had proven skilled at spinning compelling modern day superhero yarns that fused politics, history and pseudo-science with traditional superheroic action. With access to all the characters he’d written so well and a promise that he would be using ideas he’d originally planned for further Ultimate series it looked like Marvel were on to a winner.

The first six issue series, subtitled Next Generation, saw Nick Fury rehired by S.H.I.E.L.D. (after some time spent in an alternate universe he’d been involved in trying to destroy) and tasked with bringing in a rogue Captain America. Aside from those two the only other established character in the series is Hawkeye. He still sports the strange redesign insisted on by Jeph Loeb (it makes him look more serious, allegedly) but is written well again. He’s no longer the strange suicide-obsessed killing machine he became in Ultimates 3.

The new characters are Codename: Nerd Hulk, a good natured guy with Hulk’s body and Bruce Banner’s mind; Fury’s ex-wife Monica Chang as a new Black Widow; Insect Queen from the villainous Liberators team the Ultimates battled in the Grand Theft America arc, here renamed Red Wasp; Colonel Rhodes, who has the most advanced Iron Man suit on the planet; and Gregory Stark, the tee total, amoral brother of Tony who regards his brother as a feeble-minded disappointment. Written here it just seems like a list of ideas, continuity references and inverted regulars. Millar writes them with humour and makes them as believable as any Marvel character needs to be.

Even though he’s on the run Cap is at the centre of the story. The opening issue shows him discovering that he has a son. And not just any son. A son who is just as physically, mentally and tactically gifted as him. It’s the Red Skull.

Ultimate Red Skull is not a superhuman created during the Third Reich. He’s an American born to Cap’s girlfriend Betty and taken to a US military base as a baby. His escape at the age of seventeen, during which he slaughtered hundreds of employees, is shown, establishing how formidable an opponent Skull is.

The success of the book lies in the way Millar melds his ideas with a compelling plot. His naturalistic dialogue doesn’t hurt either. By the end of issue six you know what everyone’s motivations are and what they hope to gain from their black-ops work. Well, mostly. Gregory Stark is left a distant and shifty enigma. And the Spider-man sitting inside a glass tank inside S.H.I.E.L.D.’s Triskelion HQ is a complete mystery.

Artist Carlos Pacheco is excellent. It’s disappointing he didn’t get to return to work on any of the other three volumes of Ultimate Avengers. His knack for drawing action sequences was a boon for the series. With Next Generation Ultimate Avengers gets off to a strong start and shows that Mark Millar is still the best thing to have happened to Marvel’s Ultimate line. Definitely recommended reading.

The Ultimates 3

The first and second series of The Ultimates were both important titles. They helped establish Mark Millar as a major name at ‘The House of Ideas’, effectively setting him up to become one of the biggest writers in comicdom a few years later. They affirmed that Marvel’s Ultimate line was to be considered synonymous with the very best the company had to offer. And they were amongst the finest books turned out in the first decade of the century. A great deal of good was done by Hitch and Millar’s Ultimates books.

Naturally Marvel was keen to keep the title going. Unfortunately, for them and us, Millar was less keen to remain involved. Feeling he’d told all the stories he wanted to with the Ultimates team and wanting to work with different characters, both Marvel properties and his own, Millar declined an invitation to write The Ultimates 3.

The company was tasked with finding a new writer for the series. What they needed was someone familiar with the first two series, and the characters used in them, who was keen to do something new and exciting that followed on from Millar’s work. Ideally they would have given the book to a young writer who’d proven themselves on an expendable title or two who could have used The Ultimates 3 to establish themselves in the same fashion Millar had.

Instead it went to Jeph Loeb.

New ideas are not Loeb’s strong suit. Where Millar gave us a fresh and interesting take on well-worn characters, making them feel new again, Loeb did everything in his power to rework them to be more in line with their traditional portrayals. Which spectacularly missed the point of the Ultimate line, of course. Cap goes from being a man out of time to a generic square-jawed hero, Black Widow becomes a sex kitten double agent, and Thor inexplicably starts chatting like a Shakespeare character, ignoring the eco warrior theme he’d had under Millar. There are other examples. These are simply the worst.

Along with his complete non-understanding of the title’s original appeal Loeb also failed to provide an interesting storyline. Where Millar had provided fittingly large scale plots involving alien invasion and Nazi criminals (it’s more inventive than it sounds, I promise) Loeb tells the tale of a sex tape and a sentient robot butler. These are not subjects that should be off limits to comics, but they are subjects and storylines that should have been off limits to an incredibly successful action title being produced by Marvel.

He also went overboard with cameos and continuity. This is a trademark of his. We were “treated” to appearances by the likes of Spider-Man, Magneto and Sabretooth, the pointless debut of Hank Pym’s Yellowjacket garb, and the addition of Valkyrie, Wolverine, Black Panther and others to the team so that Loeb can play at writing mysteries (which he seems to think he’s rather good at, which would make him wrong as well as a poor writer). None of it adds anything to the story beyond a cheap thrill. The continuity was worse, mostly because Loeb didn’t have sufficient knowledge of what had gone before. At times it’s as though he thinks he’s writing for Marvel’s regular continuity, which, again, completely misses the point of the Ultimate line.

Adding to the woe was the exit of artist Bryan Hitch alongside Mark Millar. To my knowledge he’s never stated why he left The Ultimates but it would seem safe to assume he wanted fresh work. As good as Millar’s Ultimates scripts were it’s easy to imagine Hitch wanting to draw something else.

Replacing him was Joe Madureira. He’s not a bad artist but his work was so different from Hitch’s that it failed to feel like the same book. And as it was presented as a continuation of what had gone before that was a bit of a problem. His artwork just didn’t gel with the tone people were expecting.

At the time it was clear that The Ultimates 3 was a terrible comic series. Loeb and Madureira were entirely the wrong people for the task of continuing the sterling work of Millar and Hitch and they produced something bad. With hindsight it’s worse than simply being a bad comic. With hindsight The Ultimates 3 is where the entire Ultimate line took a dive in quality that it never recovered from.

The Ultimates 2

Ultimates (a review of which can be found here) boasted a pretty impressive creative combo. Mark Millar on scripts and Bryan Hitch on pencils. There was never any question that one or both parties would be switched out for Ultimates 2. It was always theirs to work on if they wanted. Considering the first series had upped both men’s profiles considerably they naturally wanted to write more.

Ultimates 2 is not a radical departure from what made the first book a success. It is essentially more of the same but with new threats and a handful of new characters given a global scale. Part of what had made the first series work was the emphasis placed on character, something that has since become unusual in a Millar work (he prefers to write what could be described as fleshed out caricatures these days). He didn’t drop the habit before Ultimates 2 though.

The regulars of series one return, retaining the healthy modern twists they were given there and staying true to the larger history of their regular Marvel counterparts (Ultimates is set in a separate continuity from regular Marvel tales remember). Character developments are what drives the story forward. Whether it’s Bruce Banner being outed as the Hulk and then being sentenced to death, the rocky marriage of Hank and Janet Pym, or the continued mystery of Thor’s true nature (is he really a god or just a nutter?) the plot spins off of the characters, rather than the other way around.

The first portion of the series is very hard on the regulars, putting them through the grind so that they can make a triumphant comeback in the second half. The Ultimate version of Loki is introduced, and he naturally targets Thor for the first several issues. Once the thunder god’s out of the way Loki introduces his own team of superheroes, who lead a super-powered war against the United States using troops from a variety of anti-US nations.

This group, dubbed the Liberators, are analogues of the regular Ultimates. They’re led by The Colonel, a young boy from the Middle East who has been subjected to a strain of the Super Soldier serum that created Captain America. For some never explained reason he’s equipped with a lightsaber. I imagine it’s simply that Millar thinks Jedi toys are cool.

To my mind the war on the US storyline is the best thing Millar wrote under the Ultimates banner. It’s perfectly plotted and runs on an impressively large scale. The focus was on telling a realistic story using familiar characters, nothing else. Since this series wrapped up in 2007 the Ultimate imprint as a whole has taken a nosedive in quality as other writers have forgotten or overlooked what made the Ultimate line popular in the first place.

I don’t think this is a coincidence. Millar and Hitch were painfully slow when working on the two series they did together but they provided the line with creative leadership. While Millar would do more work in the Ultimate Universe it wasn’t with Hitch, and he had his own creator-owned projects on the go at the same time, which meant he had less time to dedicate to the larger world building that he’d done throughout the first six years of the Ultimate line’s life.

The twenty-six regular issues that make up Ultimates and Ultimates 2 are essentially one long story. They’re broken up with a number partly because of the delays that plagued issue releases. Ultimates 2 cannot be appreciated or made full sense of without having read the first series. I recommend doing so. It’s one of the best superhero comics ever written and is (amazingly) self-contained. More Ultimates comics would come later, but you can easily put down the final issue of Ultimates 2, never pick up any of the follow-ons and remain content.

The Ultimates

You wouldn't think it to look at the imprint now but when Marvel first launched its Ultimate line it was considered one of the greatest things the company had done in years. Ultimate Spider-Man launched the line in 2000 and was followed by Ultimate X-Men in 2001. Both titles reimagined their titular characters in a more contemporary, (slightly) more realistic world than the regular Marvel Universe, allowing for origin stories updated to suit the 21^st century.
 
As successful as both books were both pale in comparison to The Ultimates. To this day the original 28 issue (26 regular issues and two annuals) run by Mark Millar and Bryan Hitch remains one of the line's greatest hits. It’s a stylish, exciting comic that helped Ultimate Marvel to flourish.
 
The first thirteen issue series opens with a first instalment flashing back to World War Two to detail the origin of Captain America, after which we're gradually introduced to the rest of the team. Hank and Janet Pym are biologists working on the advancement of superpowers. Tony Stark is the billionaire playboy we've seen emerge in the films.

There are hints of Bruce Banner’s famous alter ego having already made his presence known to the world (specifically New York). Nick Fury is famously redesigned to look like Samuel L Jackson, hence his casting as the S.H.I.E.L.D. boss is Marvel's films, and is written as a more shadowy, slightly sinister individual than his mainstream counterpart.
 
The greatest recreation is Thor. As the story begins he is either the genuine God of Thunder or an environmentalist lunatic with some very special powers. The way this is introduced is superb and answers that are teased across multiple arcs is incredibly rewarding.
 
What makes the series work is Millar's understanding of the characters at his disposal. He knows what tweaks to make and never goes overboard, meaning the cast remains recognisable but still capable of surprising us. The pacing is quick and the balance between action and plot is perfect. Hitch handles everything required of him perfectly.
 
The first twelve issues are split into two stories. The first details the recruitment and formation of the team and a rampaging rogue troubling New York. The second arc shows the Ultimates' clash with the Chitari, an alien race that had been allied with Hitler during the war.
 
The action, pacing and characterisation are all perfect and there's not a bad line of dialogue throughout the entire run. It’s an essential read for anyone who wants a modern take on superheroes done correctly. Millar and Hitch introduce a sense of wonder that mainstream comics, generally speaking, lack today. Very impressive when you consider how well known the characters at their disposal are.