Age of Ultron #6 Review

Age of Ultron #6 Review

The heroes fight back to end the Age of Ultron.  Warning…  SPOILERS ahead.

Age of Ultron #6

In the past, Wolverine is followed by Susan Storm.  When a young Nick Fury arrives in the Savage Land, the two, time-displaced heroes take off in his flying car.  In the future, the heavier hitters make their way to Ultron and find the world transformed into a technological paradise.  Not long after arriving in New York, the heroes are attacked by thousands of Ultron heads.  In the past, Wolverine confronts Hank Pym and just before delivering the deathblow, Sue interrupts.  Wolverine pleads with her to let him finish.  As the heroes in the future are brutally picked off, Sue finally gives in and Pym’s throat is slit.  Now, Wolverine and Sue plan to return to the present to see how they’ve been able to save it.

“It’s dirtier and more dangerous than the past.”

One of the things I’ve liked the most about this series thus far is that, unlike most of the Marvel events of this century, Age of Ultron hasn’t really been shy about killing people.  I know they aren’t really dead, but I think back to past events like The Infinity Gauntlet or Secret Wars and a major part of the story is the total annihilation of heroes.  It’s not just mention that people died, either.  I’m talking about the graphic death of heroes.  A couple issues back, we got that with She Hulk sacrificing herself so Luke Cage can notify the others of Vision’s role in all this business.  In this issue, Wolverine slits Hank Pym’s throat and Captain America is deCAPitated (hahaha, sorry, had to).   Again, it’s ridiculous to even think this for a second that this is real, or how it will end, but in some strange and morbid way, it made the book entertaining.  Time and again, characters used to get “killed” without actually being killed.  It was something of a cliffhanger that would draw people back to see how that character’s death would be reversed.  You didn’t even need an event for that to happen.  That sort of stuff was as common as me changing my underwear (for those who don’t know me, that’s a lot).

Another fun element of the story that enhanced the experience of reading the issue was thinking how much more characters will need to bounce around the time stream.   I could almost hear “Yakkity Sax” play when I began thinking how offing Pym wasn’t going to work and it’s going to take more time jumps to fix the resulting butterfly effect.  Even though it’s ultimately predictable that what Wolverine and Sue did isn’t going to work at all, I’m actually excited to see what’s going to happen next and how what they did completely screwed up the Marvel Universe.  I’m also really intrigued that our lead characters have shifted to Wolverine and Susan Storm and not the usual Captain America and Iron Man.  It’s not terribly interesting from a Wolverine standpoint aside from him being more of a brute and not really one who will know exactly how to fix the problem now that it has been created, but Sue is the more interesting lead.  The mother figure of the Marvel U. is now going to have to figure out how to fix all that there is.

Carlos Pacheco and Brandon Peterson take over as artists.  Pacheco’s past setting is handled well.  I especially liked how he handled Nick Fury.  It’s almost as if the character came right out of his 60’s Steranko books.  Peterson handles the present/future and what I appreciate about that is the grittier take.  It’s dirtier and more dangerous than the past.  Peterson makes use of more line work while Pacheco’s look is smoother and more youthful.  It’s a nice contrast that isn’t exactly jarring to look at when you move from one time frame to the other.

The second half of the series is well underway and I’m really curious to see where we’re headed in the is time jumping adventure!


Pros Cons
Nicely paced by Brian Michael Bendis with a script that feels more like it’s out of events and cliffhangers of the past. Peterson and Pacheco handle the art duties well. Some may feel this is a bit too predictable. Others might miss the more cinematic look of Bryan Hitch’s art.


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