Ultimates #21: All Power To The People

Time has run out. The two years of “peace” have passed. The Maker has returned, and the Ultimates and their allies THOUGHT they were prepared, but we all know the saying about best laid plans. With battles raging all over the planet, the Endgame is finally here. 

While Tony, America, and Doom remain trapped in Maker’s City, the war for the rest of the world continues to rage outside. In Atlanta, Luke Cage works to not only loosen Maker’s grip on the world, but also establish something better in its place. When the Black King Emmanuel da Costa retaliates with his council sanctioned team, The Defenders, an all out brawl takes place for the heart of the people. 

The last issue centered on answering the question of the Vision and just what his identity was across his secret mission through time. There wasn’t much in the way of action in that issue, but this one makes up for it in spades. We zero in on the afro-clad abolitionist Luke Cage and his team’s fight in Atlanta, Joining him are: Wingspan (Songbird), Penance (Ghost Rider on a three-headed dog), Singularity (Cloak), and Nameless (a silent but no less deadly Deadpool). Their opposition are Da Costa’s Defenders: Ballistic (a racist, murdering Cannonball), Marvel Boy (who can grow large), Proctor (blood-thirsty Black Knight), Thora (Valkyrie from a trailer park), and Decay’s Beautiful Daughter (a member of Hulk’s disciples). 

Camp positions these two warring teams as not just physical opposites, but philosophical ones as well. The narration boxes are pulled from the in-universe Ultimates Handbook, the text being used as a perfect framing device for what happens in this issue. It can be a bit heavy handed at times, mostly when Da Costa starts going on about humanity wanting the “illusion of change” rather than anything real, but that doesn’t make the message the issue is telling any less poignant. Especially in today’s political climate. Camp highlights that it’s not just enough to start the revolution, you have to build something in its place. 

Pere Perez takes over art duties this time around. The style is reminiscent of Juan Frigeri making for an easy transition to more familiar visuals after Phil Noto. Perez retains the book’s epic scope with cinematic action scenes backed by solid line work and Federico Blee’s stellar colors.