Mark Millar's commentary on terrorism and right-wing politics comes to close with a pair of character-driven scenes. "Return of the King" has been an epic story arc with larger-than-life action, but it's been marred by rushed artwork and a couple of implausible plot twists. This quiet epilogue examines some of the strengths of the ideas that have been tossed around, and it brings the world of Ultimate X-Men more in line with its big-screen counterpart. But the best news of all is that the art is stronger here than it has been in months.
Professor Charles Xavier travels to the Triskelion, the headquarters of the Ultimates and the site of Magneto's new plastic prison. The two are bonded by their old friendship, but their philosophies bring them into conflict once again, though not as explosively this time. Meanwhile, one of the X-Men tracks down Wolverine, cast out from the team for his attempt to kill Cyclops. There is no doubt that Logan is dangerous, but the question arises whether or not he's more harmful on his own in the world or as a part of one of the world's most formidable groups of warriors.
Kubert's artwork here is much more focused than it was at any other time through "Return of the King," and I have to admit I'm relieved. Still, while the more rushed, sketchy look is mercifully gone, the art lacks the crisp, edgy quality that's called for by the script. Ultimate X-Men used to boast such a look, but the same eye for detail and energy isn't to be found anymore. There are moments, though, when the visuals jump out, such as when the X-Jet is activated, a beacon of technological might hovering above a serene, natural landscape.
The Wolverine scenes, though necessary to bring the most popular of all the mutants back into the good-guy fold, just don't ring true. The reasoning behind the decision works fine, but one key factor goes unaddressed here: Logan's blatant and petty attempt to kill Cyclops. It's glossed over and forgiven all too quickly, and it robs Wolverine's fellow mutant's reasoned arguments of credibility. On the other hand, I'll be happy to see this ridiculous subplot left behind, as it never did sit well with me from the start.
There are interesting parallels and contrasts at play in this issue. One of the main scenes features two friends who are odds, and another features two enemies who must work together. One delves into the notion of trust, while the other spotlights that one of the characters is plotting against his allies. It's these contrasts and clever developments from which the issue derives its strength, and they also renew my interest in the title, which had been waning throughout this story arc.
