Ultimate Black Panther #3: What Lies Beneath

When remixing and revamping an established character or mythology, it sometimes is difficult to find the right balance between new and old. Leaning too much into the established history and lore of a concept that makes it seem rote and repetitive, with no clear reason why a revitalization was needed. On the other side of the scale, departing too far from the source begs the question of why not create an original concept or work. To meet in the middle and build a new structure out of familiar elements is a sign of good work, especially in periodic mediums like comics. 

Ultimate Black Panther #3 – written by Bryan Hill with art by Stefano Caselli, coloring from David Curiel, and lettering by VC’s Cory Petit – splits its focus between the two developing plotlines of the series, following T’Challa as learns more about his rescuers from the cliffhanger of the last issue. The Wakandan king learns more about the world outside his kingdom, including the mysterious world that offers a wider canvas than expected in the Ra/Khonshu territory. 

As Killmonger leads T’Challa deeper into the earth, with a central air of mystique, it becomes clear their goals are aligned when it comes to defeating the ruling gods of the Ultimate universe’s Africa. Meanwhile, back in Wakanda, Shuri and Okoye spar over T’Challa’s mission, both figuratively and literally. It’s a shorter scene that indicates the growing tensions within the royal family, showcasing Okoye’s trust in T’Challa while establishing Shuri’s worries for her brother. 

Hill’s writing features a razor-thin delineation between revealing too much and too little information. Like the other two Ultimate titles currently running at Marvel, Black Panther manages to flesh out what began as a bland, intellectual concept of a superhero universe into a very concrete setting. Hill achieves this balance thanks primarily to the specific focus on character that then gives way to the plot and specificity of the world. The tense relationship between Shuri and Okoye is a stunning way into the conflicting feelings of Wakanda as a nation, while still fleshing out these characters as concrete, specific people. 

When the book switches perspectives, the mystery and plot shift closer to the forefront, but the real development is in defining the character of Killmonger in contrast to T’Challa. The revolutionary fighter is the one with more information and an understanding of the wider world. Storm is showcased as a mostly offscreen presence in the issue, which is an effective way to begin building the notion of her as a goddess or powered individual. She speaks in a tone that indicates her wisdom and reverence for nature, and more importantly, her nature, giving an interesting sense of the aspect. 

Both sequences move at a blistering pace, which indicates confidence in the storytelling from both Hill and Caselli. The artwork captures both the scope of mystery and the concrete human expressions that strike the right balance for a budding series. In an issue with only a little action, which is relegated to a spar specifically, the artwork is no less enthralling thanks to the magnitude of the images depicted. There’s a moment where Caselli illustrates a splash with a cave’s opening carved into the face of a panther that exemplifies the sweeping aesthetics. This is a Black Panther influenced by recent Dune films and something like Lawrence of Arabia, in the way that the images demand attention thanks to their pure compositional presence.  

That isn’t to say that the action sequence isn’t just as compelling to read, as Caselli manages to embed raw emotion into the blows that Shuri and Okoya trade. In a few beats that resemble manga action, the blurring effect is used to illustrate the tension between the two. It’s over in a flash, which sets a speeding pace for the issue and also lays the track for just how effective these two fighters are, even as Shuri accepts her loss. These beats are tight, effective moments of storytelling that tell more about the characters and world. Caseli has established a very distinct, concise visual style that gives this book a flair that feels in line with the other Ultimate comics while still presenting as totally original. 

Curiel’s coloring layers onto Caselli’s artwork, working to elevate the pencils into the more mythic elements of the story. The greens, reds, and purples of the surrounding land work to establish Wakanda, and Africa as a whole, as a familiar setting that still holds a few lingering mysteries. The use of natural yet embellished lighting also feeds into that sense of a promised land or world beyond the purely typical. As T’Challa and Killmonger descend deeper into the cave, it brings a specific shade of inky black and rich violet vibranium into focus. The choice to highlight these colors at the moment sells the mystery as the book moves into its final cliffhanger.