A blockbuster success in its first half, in the second any more

This volume contains the 10 episodes of the miniseries "Age of Ultron" and 12.1 episode of the series "Avengers" which serves as a prologue. These episodes were originally published in 2013. They are all written by Brian Michael Bendis (abbreviated BMB). Bryan Hitch episode drew 12.1 Avengers and episodes 1-5 Age of Ultron, and a few pages of episode 10, with an inking Paul Neary. Episodes 6-9 were drawn and inked by Brandon Peterson. The sequences of these episodes occurring in the past were designed by Carlos Pacheco, and inked by Roger Bonet. Episode 10 was designed by Hitch, Peterson, Pacheco, Alex Maleev and Butch Guice, seconded by several ink (Paul Neary, Roger Bonet, Tom Palmer and David Marquez). Joe Quesada 3 draws and ink pages.

Prologue - Abigail Brand (responsible for the organization SWORD) explains to the Avengers (including Captain America, surprised to discover its existence) that Spider-Woman has accepted a reconnaissance mission (because it was an Agent of SWORD) which it n ' has not returned. The team visits the site and discovered Ultron.

Age of Ultron - The United States became a vast field of ruins which survive only a few pockets of humanity. Superheroes have been decimated. The few survivors desperate to escape the surveillance of Ultron drones, they are not far from having given up hope of one day contrattaquer. Hawkeye has launched a Spider-Man rescue mission held by Ultrons. Moon Knight and Black Widow are trying to find secret information about Ultron. Captain America is prostrate in hiding, unable to overcome the trauma caused by the massive destruction.

The prologue has the only function to reintroduce Ultron in the present time. Bendis fun lorsqu'Abigail Brand reveals his mission to Captain America that hard to believe that the organization SWORD could have existed without his knowledge. This is especially the opportunity to find drawings by Bryan Hitch, unforgettable designer of the first 2 seasons of Ultimates with a script by Mark Millar. It has lost none of its ability to draw realistically, with a slightly rounded inking Paul Neary. He always knows both cram a large number of characters per field, while they just seem stacked haphazardly. The New York City serves as the background, in two beautiful boxes, with very nice buildings.

For scenario such as drawings must wait episodes of Age of Ultron to experience an epic. New York is ravaged by destruction, and Bryan Hitch is having a heart joy to represent the gutted buildings and rubble. He has the art and how to believe in this megalopolis in ruins, to draw credible debris littering the streets plausibly. The heroes all have a tired, worn look, in line with the hardships they have suffered. Similarly, the box of note reader box, the objects were recovered superheroes (metal cans, material collected in the street, etc.), further accentuating the mood of destructive disaster

The Ultron drones are implacable and dehumanized few appearances, flying over the debris, mercilessly massacring living beings. The atmosphere is oppressive and totalitarian. Paul Mounts strengthens designs with dark tones. Hitch creates variants of superhero costumes, torn, damaged, or simplified due to the general shortage (even in tissues). Most superheroes (the few remaining) left wearing their hood no longer having to hide civilians (almost all exterminated). Only Steve Rogers still bears his, as a last defense against the terrible reality.

For its part, Bendis takes a fairly dry narration, without explanation. The population of superheroes can be counted on the fingers of one hand, they evoke the death of the greatest (especially that of Thor). It focuses on two groups (Avengers one side, Black Widow and Moon Knight of the other). The reader discovers the situation by bit. This is a comic big show, post apocalyptic, focusing on the plight and hopelessness. Against all odds, Bendis manages to believe in this mass destruction, and oppression that has as only purpose of any eradicate. The reader is swept with pleasure in this murky atmosphere in these environments in ruins, awaiting a sign of hope in vain. Bendis and Hitch manage to draw the reader in this ravaged New York, to get his attention and to create a situation which really seems hopeless (not that easy to do in a shared universe swarming superhero).

All good things come to an end: Bryan Hitch gives way to Bandon Peterson from episode 6, Bendis and is forced to move to the phase where superheroes show the offensive. To break the deadlock, it uses the time travel, an area in which he excels to drown the fish, if not explain and do nothing all logic. His use of time travel is here less coarse than in past attempts, but convoluted enough for the reader to eventually lower the arm to try to find logic. Like in a movie extravaganza dedicated to entertainment, he lets his critical eye to the locker room (accepting situations, behaviors and a plot defying common sense) to go with the show.

Unfortunately, Brandon Peterson (and Carlos Pacheco for scenes in the past) do not have the qualities of Hitch & Neary. Peterson reproduces the appearance of drawings Hitch, without having the consistency, thoroughness and nuance. He produced drawings of good quality, of a higher quality than the average monthly production, but lower than that of Hitch. Carlos Pacheco played a little better spirit Hitch, but in simpler designs, less consistent. So, Invisible Woman and Wolverine become coarser. Their body language and facial expressions are too stereotypical to the moral dilemma they face. The solution of the conflict against Ultron is basic but acceptable from the point of view of the plot. The last episode ends with a half-dozen pages devoted to show the future consequences of the existence of this time Ultron.

This story begins with a prologue related to the continuity and free way to find Bryan Hitch in top form. Episodes 1-5 are a highly successful first half, with drawings to immerse themselves in this world destroyed and dominated by robotic beings without soul, thanks to a factual narrative, quick and establishing beyond doubt the desperate seriousness of the situation. 5 stars for this first part.

The second part suffers in comparison with the first. Designers from finishing the story (Hitch disagreed with the editorial managers which led him to go elsewhere) are of a good standard, but suffer from the comparison with Hitch. Bendis awkwardly plays with temporal paradoxes. The execution of the narrative is fluid enough that the reader can continue to enjoy the entertainment, but the strings are a little larger and paradoxes do not withstand a somewhat critical eye. 3 stars. As opposed to Fear Itself, announced changes or recorded at the end of history have had consequences well quickly or medium term without being deleted in the quarter following their publication.