Review - The Ultimates Volume 2: Homeland Security

Originally believed to have been defeated during World War II, the invasive alien race known as the Chitauri is discovered operating in secret on Earth. With an impending takeover on the horizon, S.H.I.E.L.D. assembles the Ultimates to take care of the threat. However, interpersonal drama and the Chitauri’s uncanny preparedness may prove to be Earth’s mightiest heroes’ downfall.

The Ultimates Volume 2: Homeland Security collects The Ultimates #7-13, written by Mark Millar and illustrated by Bryan Hitch.

For fans of the Marvel Cinematic Universe, Homeland Security will feel familiar. This seven-part arc served as one of the primary sources of inspiration for 2012’s ground-breaking Marvel’s The Avengers. Both center on a S.H.I.E.L.D.-sponsored team of superheroes forming to stop the invasion of the Chitauri, but they diverge wildly in their execution. Marvel’s The Avengers was a triumphant and exuberant film that celebrated heroism, no doubt drawing from Marvel’s primary 616 universe than the more grounded Ultimate Universe. In contrast, The Ultimates is joyless and cynical. It’s filled with grim and inappropriate humour where its filmic counterpart was more light-hearted. As with many of my other reviews of writer Mark Millar’s work, the issue with this series comes down to a narrative that never quite reaches its true potential due to faulty character work and eyeroll worthy dialogue.

I think that the story itself for Homeland Security is actually really interesting and engaging. I like the Chitauri as villains and the backstory they’re given works well. I also find this universe’s version of the Avengers being put together by S.H.I.E.L.D. to be a nice twist to the mythos. As such, the introductions of Black Widow, Hawkeye, Scarlet Witch, and Quicksilver are much more streamlined and comprehensible than their 616 counterparts’. What I don’t like is just how poorly Millar treats the characters he has. For instance, when she’s not being portrayed as the team’s resident markswoman, Black Widow’s sole purpose in the narrative is to flirt with Iron Man. We get a great action sequence early on where she jumps from a building and grabs onto a sniper rifle that’s been dropped from a helicopter to save Hawkeye from an attack, but she’s sidelined after that. Wasp gets a similar treatment. Even though there’s a very brief action scene for her, Homeland Security devotes her panel time to transitioning her from Giant Man’s love interest to Captain America. There’s even an entire issue where Captain America beats up Giant Man for having assaulted Wasp in the preceding arc. Even that conflict is a fumbling mess since it seems like a typical man’s approach to trying to resolving domestic violence – with more violence. There seems to be this idea that readers are supposed to regard Captain America as some kind of saviour for “defending Wasp’s honour” by bashing her abuser’s head in, but it’s symptomatic of the bigger problem with Millar’s approach to the character. His Cap’s solution to everything is to punch it. It’s absolutely exhausting. Let’s also not forget the groan-inducing one-liner Cap spouts towards the end when he says “You think this letter on my head stands for France?” This version practically sweats toxic masculinity. There are also instances of homophobia, like where Iron Man makes joke at the expense of Elton John and where Cap employs homophobia as a means of getting the Hulk further enraged. Truthfully, there’s very little that’s redeemable about Millar’s portrayal of these characters. Why should anyone enjoy this comic when almost all the characters are trash human beings?

Where I have a warmer opinion is Bryan Hitch’s artwork. Though rough and inconsistent at times, he manages to maintain a cinematic style that is energetic and appealing. One of his strong suits remains his rendering of action sequences. Black Widow and Hawkeye’s takeover of a Chitauri hive in New York City serves as an early example of how brilliantly Hitch is able to deliver edge-of-your-seat action scenes. The smackdown between Captain America and the Chitauri leader towards the end is another memorable moment. Hitch also excels at telling a story through expressions and body language. Towards the end of the arc, we get a scene where Wasp and Giant Man have a conversation over the phone while the former is at a salon getting her hair done. It’s tense even from just a visual standpoint. Another moment that emphasizes Hitch’s body language skills is when Bruce Banner and Betty Ross discuss the aftermath of the Hulk’s involvement in the Chitauri invasion. The scene itself is actually quite unsettling since Betty basically admits to finding the Hulk’s literal devouring of aliens to be a turn-on, but Hitch is able to convey that even without Millar’s gross dialogue.

The Ultimates is one of those frustrating books that should be great, but sabotages itself due to poor characterization made by its creative team. It is hopelessly trapped in a perpetual state of trying (and failing) to be hip and edgy. It’s rife with tasteless jokes, riddled with homophobia, and doesn’t respect its female characters. If we stripped away Millar’s dialogue, The Ultimates Volume 2: Homeland Security would be stellar. Hitch’s artwork is really something to behold, his designs are some of my favourites for these characters (across any universe), and we’ve got a fantastic cast. Unfortunately, this arc crumbles under the weight of its toxic masculinity and its significant misunderstanding of how its cast should be portrayed.

RATING: C-