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Ultimate X-Men #1
Ultimate X-Men #2 Ultimate X-Men #3
Ultimate X-Men #4
Ultimate X-Men #5
Ultimate X-Men #6
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Começa com as Sentinelas matando um mutante, a sete dias antes a Irmandade de Mutantes atacou o Capitolio em Washington. Jean Grey começa a recrutar os X-Mens, o Fera em um bar, a Tempestade na prisão, por ter roubado um carro, e o Colossus, que fazia parte da mafia Russa. Os novos X-Mens são apesentados a Ciclope, e depois ao Professor-X, que conta a ligação dele com Magneto. Ele conta que os dois eram amigos e construirão um Santuario na Terra Selvagem para mutantes, só que quando eles discordaram em idéias, o Professor-X queria convivencia pacifica entre humanos e mutantes, já o Magneto queria escravisar a raça humana. O Magneto tentou matar o Professor-X, este conceguiu escapar mas ficou alejado. O Professor-X detecta com o Cerebro, Bobby Drake, que fugiu de casa com medo de seus pais serem feridos pelos Sentinelas, os X-Mens vão ajuda-lo e combatem as Sentinelas, no fim o Homem de Gelo salva uma multidão de ser esmagada pelo corpo de uma Sentinela. Depois a mesma multidão começa a atacar os X-Mens, e eles vão embora. Na Terra Selvagem, Magneto conversa com um tarficante de armas que não conceguiu uma arma nuclear, por sua falha Magneto arranca o marcapaso dele, matando-o. Magneto contrata o Wolverine para matar o Professor-X.
O governo canadense captura Wolverine quando ele chega a Nova York, então fica a cargo dos X-men libertá-lo, e isso é exatamente o que Magneto quer. O texto de Mark Milla é muito interessante. Desdas piadas de Wolverine aos gracejos de Fera, não há momentos maçantes na estória. Combina com o passo rápido que a revista tem e nos dá uma ótima percepção sobre os personagens e seus relacionamentos com os outros da equipe.cA interação entre Jean e Hank no pássaro negro no começo da revista, por exemplo, é escrito maravilhosamente bem, revelando alguma coisa sobre a vida amorosa de alguns X-Men. A conversa entre Magneto e a irmandade mutante no fim da revista se revela como um perfeito gancho para a próxima edição. É também visualmente confortante para a vista ler uma revista que tem algumas caixas de texto, balões de diálogo, ou de pensamentos e que é direcionanda por dialogos, mas que permite que a arte tambpém conte a estória. Falando em arte, Kubert ainda está produzindo alguns dos seus melhores trabalhos de sua carreira. As imagens que eles está criando são colírio para os olhos. A imagem de duas páginas onde os X-Men estão parados em frente do pássaro negro é sensacional, assim como as imagens seguintes nas quais a equipe se separa em direções distintas para atacar os operativos do governo por todos os lados.
A irmandade mutante sequestrou a filha do presidente dos Estados Unidos e cabe aos X-Men salvá-la. É mostrado a Croacia, onde a irmandade está aguardando a chegada do jato que os levará de volta para terra selvagem. Milla e Kubert estão ótimos uma vez mais. O diálogo é uma das melhores coisas desta série. Enquanto é realista e algumas vezes engraçado, também acrescenta o desenvolvimento do personagem, quando revela ao leitor o que o personagem esta pensando sem usar caixas de textos ou balões. Cada personagem tem seu próprio estilo de ser, agir e até de se vestir o que retrata uma maior veracidade ao projeto. A irmandade mutante é o centro das atenções nesta edição. Eles não apenas saem das sombras pela primeira vez, mas também causam grandes estragos, alguns que até infelizmente não são mostrados. Usar a irmandade original (Mercúrio, Feiticeira escarlate, Groxo, Mestre mental e Blob) foi um toque de mestre, e prova que as séries originais dos X-Men merecem todo o respeito e que Millar segue as influencias do trabalho de Stan Lee e Jack Kirby. Os vilões são fieis as suas contra-partes assim como os X-Men são. Pietro ainda é arrogante mas leal; Mestre mental ainda dá em cima na jovem, sexy, mas ainda desinteressada Feiticeira Escarlate; Groxo ainda é o bobo da corte e o Blob, bem o Blob ainda é um grande Blob.
In the aftermath of the battle with the Brotherhood and Croatian natives last issue, the X-Men recoup. Xavier and Jean perform surgery on the bare bouncing Beast. Wolverine and Marvel Girl talk about their budding relationship. Colossus and Storm mope around. Iceman locks himself in his room. Oh, and Cyclops defects!
The Good: Talk about an unexpected turn of events. In the first few issues, it was clear that Cyclops was the loyal soldier, paralleling Quicksilver's unbridled following of Magneto. But, Scott had good reason for leaving the team, and he and Xavier were characterized incredibly well in the issue. No longer are they the boy scout and man with a dream. In this universe, they have far more depth, personality, and drive.
The scene with Jean and Logan in the garden (which probably was a catalyst for Cyclops' departure) was also handled well. We now know that Jean doesn't really like Wolverine, but she does like him. The ramifications of their love fest should prove interesting, especially if/when the X-Men and Brotherhood face off again. It's also refreshing to see Logan act more animal-esque, chasing after woman and "fighting" others for the prize woman of the bunch. The art was also handled especially well in this scene; not only did Wolverine look very imposing and strong, he also looked somewhat devious and sinister, looking over his shoulder at the unsuspecting Cyclops.
The reason for Beast's hair becoming blue actually made sense for a change. Instead of becoming gray and furry, then blue and furry, because of some mutant genome experimenting gone wrong, Hank actually gets some unnecessary pigmentation because of an experimental procedure that the Professor and Ms. Grey had to perform to save his life. This also marks the first time the concept of "brainstorming," using telepathy to read the minds of others and use the gained knowledge to do a desired task, has been used or at least given a name. And, in all actuality, it's probably one of the most ingenious concepts to date.
Magneto also makes a wonderful entrance in the beginning, and we find out just how realistic and believable his dream is.
And, of course, it goes without saying that the art was phenomenal.
The Bad: I would have liked to see more of Ororo, Piotr, Bobby, and Hank in the issue. They've really been playing second fiddle to the others. And, even though the series is still very new, they could use some fleshing out, as well. I'm sure that will come to pass in due time, though.
Maybe it was just because Millar couldn't use vulgar language, but the dialogue between Xavier and Scott before the latter left came off as a bit forced at times. The word "man" could've either been left out altogether or replaced with something more coarse like "asshole" to attain a more realistic and intense effect.
Changes abound this month! Cyclops changes sides, or, rather, gets acquainted with the other side. The artist changes from older brother Adam to younger brother Andy. And, the Sentinels get a slight change in programming.
The Good: Millar's a Cyclops fan, and it shows. Never before have I seen Scott Summers written so well in a comicbook. He's a compassionate young man with his own set of ideals and morals, and he simply feels that Magneto's view of the world is the right one...for the time being. Millar does an excellent job of portraying all of that and more through Cyclops' dialogue, the dialogue of others, and their actions.
Of course, Magneto's just as well thought out here. The parallels between him and Hitler are becoming all the more evident, down to being vegetarians. The Master of Magnetism comes off as a calm, cool, collected, and imposing. He's a man with a singular vision, that of a utopia in which mutants can live peacefully amongst themselves without humans interfering. Sadly, the only way to attain that goal is to force humans to submit. But, more often than not, he comes off as a jerk or an asshole, especially when it comes to his own children, whom he seems to dislike and neglect perhaps because they remind him of his moment of weakness with a human woman. In any case, he treats them like shit, directly and indirectly, telling Quicksilver that his power is "effeminate," alluding to Scarlet Witch being somewhat of a slut, and having Cyclops call him "father" infront of Pietro. This is not a man who's going to win any Father of the Year awards any time soon, but he doesn't seem to care. Although, his children do, and they seem to turn to other for sympathy and compassion in his wake; all they really want to do is make him proud and feel worthy of having him as a father, but he'll have none of it. One can only wonder why he even allowed them to stay in the Savage Land, let alone join his Brotherhood; he probably just felt sorry for them.
The use of the President in this issue and his idea of using the Sentinels in one last strike against the mutants in the Savage Land was rather ingenious, as was Magneto's reaction, which I, like most reviews, shan't spoil. It truly shows how moronic people can be, sending machines made of metal to stop the Master of Magnetism. Well, we are talking about Dubya here...
The art is surprisingly a smooth transition from Adam to Andy, as their styles are relatively similar. Andy depicts the Savage Land very well, which is to be expected since he worked on Kazar for a while. His renditions of Magneto, the Brotherhood, Cyclops, and the X-Men in plain clothes are mostly dead on with how his brother drew them in the first four issues. And, his design for the Sentinels is slightly different but no less eye catching. Like Adam, Andy uses a variety of angles to make the comic read like a movie and makes attacking Sentinels look both amazing and imposing.
The Bad: I really don't understand why Colossus graced the cover of this issue, as he and the other X-Men really don't do anything at all through out the issue. Sure, they react to Dubya's plan...well, ok, just a couple of them do since they're worried about Scott. But, were they really necessary at all in the scene?
The scene with Wolverine and Jean in a hotel room really doesn't add much to the story except some implied sex and Jean feeling a bit at fault for Cyclops betraying the team. Again, was it really necessary?
Finally, Andy's Beast is simply awkward. His crutches are squatty, and he looks like Strong Guy more often than not: heavy on the top with small legs, not a good thing
It's the startling conclusion to "The Tomorrow People." Action. Adventure. Surprises abound. X-Men vs. Sentinels and Magneto. What more is there to say?
The Good: Millar's at his best in this issue, mixing witty commentary with incredible action sequences. I don't know about you, but I get tired of hearing superheroes, especially the X-Men, spout out their powers and moves to every person on the street. So, seeing these X-Men have fun and just acting like teenagers, making wise ass remarks and some becoming overly sure of themselves, is just refreshing. That's not to say that this is a mockery of the X-Men or anything of the sort, mind you; that couldn't be farther from the truth. Millar makes excellent use of the team's powers from Storm fighting from afar to Iceman freezing Sentinels in the air to Colossus throwing tossing the mutant hunting machines. Of course, Xavier really steals the show at the end in what is probably the best showdown between him and Magneto ever written, proving to the world that he's been dubbed one of the, if not the, most powerful mutants in the world. The use of Quicksilver is ingenious, and I'm curious as to where Millar will go with that, if anywhere at all. Finally, the last panel of the last page of this issue is mysterious and makes me want to read the next issue immediately, as any comicbook should.
Andy's art continues to impress me. At times, it's so similar to Adam's that it's eerie. Like his brother, he makes the Sentinels look both stunning and deadly, and his Magneto is one of the most impressive I've ever seen. The depictions of the characters are top-notch, and Beast no longer has Strong Guy-esque proportions. What's truly amazing, though, is that the backgrounds are as well done as the characters themselves. Seeing the Savage Land, a hotel room, and the White House lawn all drawn so excellently in one issue is incredible to say the least. The Kuberts were clearly meant for this title, for they can both easily master the intense battle sequences and the more quiet, character-driven moments.
This issue and this arc were just done with expertise, rendering them as some of the best comics around.
The Bad: I have three minor problems will this issue. The first is that it's somewhat unclear who split the limo in half in the air; it might've been Magneto or Xavier, really. The second is Quicksilver's costume. Almost everyone else got totally new costumes, and some people got totally new looks, but Pietro's still running around in green and white spandex. And, the last is why did they leave Scarlet Witch in the Savage Land? She was pretty prominent in the first few pages; then they just seemingly forgot about her. Ah well, nothing major.
