A Shocking New Face Enters The Fray: Reviewing ‘Ultimate X-Men’ #4

Bold. New. Modern. Innovative. Any of these could describe the original initiative behind the formation of Marvel’s Ultimate comics line. Whether they hit that mark or not in the initial scattered 2000s initiatives is in the eye of the beholder.

With only four issues on the table so far, Peach Momoko, Zach Davisson, and Travis Lanham’s Ultimate X-Men certainly fits the bill.

By focusing on secondary, modern, and yet two-decades old characters like Hisako Ichiki/Armor and Noriko Ashida/Surge, the book right away provides an innovative switch for the X-Men brand. As does setting the whole thing and everything to do with mutants in Momoko’s native Japan.

One of the staples of many 2000s era comics was decompression. A storytelling style that puts a strong emphasis on the visuals or character side of things, which meant generally a slower-moving plot. This partnered with the growing rise of comic book arcs, most shooting for six or more issues, and writing for the trade. While the style was very derided at the time, especially by many vocal comic book fan groups, it is not inherently a good or a bad style choice.

Just like every other stylistic choice creatives can make.

With Momoko, the visuals are so striking and powerful that it can make this storytelling style work. There is most definitely decompression going on as after four issues, we’re no closer to really learning anything about mutants, origins, ties to the overall Ultimate Universe plot, or other elements. The same can, and has been said, about Ultimate Black Panther as it currently stands. While both are using decompression, there is little doubt that it’s far more useful and compelling in this series than the other.

Some wonky time stuff aside, the bit here with a return to the horror elements of the first issue are quite good. Momoko builds up the anticipation, slowly through some more lowkey moments, leading to a big action piece in the rain. Having Mei save Hisako from being outed by all the videos taken during the fight, only for Noriko to still do it (thanks to her own electrical powers saving her phone) definitely lays some intriguing steps for the series.

Speaking of that moment, it gives space for Momoko to really show off a bit about the assembled characters so far. Mei proves to be a selfless hero type, willing to compromise herself to save her new friend. While the aforementioned Norko is shown to have a darker side to her, perhaps even chaotic. Whereas the far more open Nico Minoru seems more to be someone that feels it’s pointless for them to hide what they can do, and relishes there being more mutants.

Overall, the series very much fits into the beginning descriptors. It’s taken the whole concept, and really opened it up, when it comes to mutants. While also not being afraid to really delve into the impact of things on a community, themes of suicide and depression, and how being ‘different’ impacts on a more personal relatable level.

We feel that throughout both in the artwork, and also the lettering work that Lanham continues to provide. Letting all the emotional and environmental energy flow through the words. Pumping them up or down to fit the situation, letting the words just dance around the page in whatever format works best. Taking some creative swings because that is what this overall art style welcomes, room to be outside of the so-called norm.

Ultimate X-Men #4 is now available from Marvel Comics.