Age of Ultron (USA) di Brian Michael Bendis

[The man who falls]

Intendevo che temo che la cosa, nonostante l'inizio accattivante, sarà

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. Non che una cosa del genere non possa essere sviluppata bene, ma sarebbe trita e ritrita!

[Deadpool]

Beh mi sa che alla fine sarà così come dici. L'importante per me è che sia sviluppata bene come storia 

[The man who falls]

Per carità, sono pure d'accordo, ma da una storia tanto anticipata mi aspettavo qualcosa di più.

Poi che possa rivelarsi valida è un altro discorso

[Azrael]

This is what I was afraid of.

After a solid opening, Age of Ultron doesn't just slow down — it barely moves from last month. I was concerned this might happen after the way Siege started strong and sputtered across the finish line, and I hate having that concern confirmed. While Bryan Hitch's artwork still looks gorgeous as ever, his widescreen shots of the apocalypse don't mean much when the story goes nowhere.

From last issue's cliffhanger to this issue's cliffhanger, Age of Ultron pretty much goes from Captain America slumping... to Captain America standing up. Seriously. That's how much progression you're missing. The rest of this comic deals with the rest of the country reeling in the aftermath of Ultron's assault... so you essentially get to see a scarred Black Widow and Moon Knight engage in the same sort of running, hiding and killing that Hawkeye did last month. But aside from the minor shock value of the Black Widow's maimed face, Brian Michael Bendis is essentially answering questions that no one really needed the answer to — most of Marvel's big-name superheroes are in New York, so who cares about in San Francisco? Bendis himself already addressed Washington, D.C. last issue, so spending this much time away from the main story doesn't just feel wasteful — it feels criminal.

Especially when you have an artist like Bryan Hitch spinning his wheels like this. Hitch is a superstar, no doubt about it, and his photorealistic style makes this disaster epic feel real, feel huge, feel crushing. In particular, I like the guerrilla twist he puts on Moon Knight, and watching Spider-Man swing towards a behemoth machine is pretty striking stuff. There's so much detail to Hitch's work that it really sells how dire the Marvel Universe's plight is — that said, I think he also slightly oversells certain bits, like the Black Widow's scarring, to the point where I can't help but think something's getting undone somehow. If property damage is fleeting, deforming a star from a billion-dollar movie franchise certainly won't hold up for long.

But ultimately it's difficult to abide by a second issue that goes literally nowhere like this. The extremely small progression on the part of Black Widow and Moon Knight is definitely not enough to justify 13 pages, and the additional eight pages with the Avengers just feels like recap filler from last issue. Great art, but this isn't a sophomore slump — this is basically cutting class entirely. If Age of Ultron doesn't unfreeze itself by next issue, this ambitious disaster story is going to be one more for the scrap heap.

2/10

Newsarama

[Azrael]

PREVIEW: AGE OF ULTRON #3

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[Azrael]

PREVIEW: AGE OF ULTRON #6 (UNLETTERED)

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[Deadpool]

L'armatura di Iron Man ha fatto un passo indietro di circa 50 anni 

[Clod]

probabilmente per evitare nuovamente una contaminazione da parte di Ultron

[The man who falls]

I disegni di Petersen non mi piacciono per niente

[Azrael]

After a second issue that coasted by on the dynamic between Moon Knight and Black Widow, and Bryan Hitch's impressive art, Age of Ultron #3 needs more momentum and less flare, more steak and less sizzle, to show why this event, now around 30% complete, is even occurring. Does it hit that mark? Well, yes and no. There's more to this issue than Captain America standing up, but it follows the same vague formula as the previous two issues, relying largely on the reader's sense of disorientation to build suspense, rather than building a scene and creating a story.

Now that we've moved into the Avengers and friends actually interacting with Ultron on some level, there's a high probability that there will soon be more to drive the story than simply the knowledge - or assumption - that Ultron has indeed conquered the world. What is less encouraging is the way that partnerships and dynamics are introduced and thrown away at a rapid pace. This issue sees a team up between Red Hulk, Taskmaster, and Black Panther that, like Black Widow and Moon Knight last issue, shows some real promise, but seems destined to fall apart as easily as it came together. Instead, we're focusing again on those characters that are obviously Brian Bendis's favorites - Luke Cage, Spider-Man, Tony Stark, Captain America - which makes sense given that this book was meant to happen before Bendis's run on Avengers was even complete.

Still, that only adds to the nagging sense that this whole endeavor feels too claustrophobic for a major event. There's a feeling of lag, like this didn't happen in today's universe, with today's characters - Spider-Man's attitude belies that notion - and while reconciling that may be why the creative team is set to fluctuate so wildly on the final issues of Age of Ultron, it doesn't do much to explain why this book would feel like it's spinning its wheels in any era of Marvel Comics. Bryan Hitch's artwork has also reached a point of diminishing returns, with the widescreen, hard-wrought landscapes of destruction feeling like depressingly old hat at this point. Much of that may lie on Bendis's shoulders, as it's not the quality that's flagging, but the geography of the plot. We've now read 60 pages of the Avengers coming to one shoot-from-the-hip decision, and are only one well-worn twist closer to having any idea of what's happening. Age of Ultron is so decompressed that I'm worried it has the bends.

Three issues doesn't seem like a lot by which to judge a comic, but these days, when long-term, decompressed stories are becoming more and more frowned upon by critics and fans alike, and readers want to know not just that what they're reading is important, but why, waiting til over a third of a title's life span has come and gone before even approaching an actual plot is borderline unreadable. Bendis and Hitch have enough good will based on Bendis's keen knack for building relationships and Hitch's epic, widescreen eye for detail that this isn't a lost cause, but Age of Ultron is starting to sink more like a stone than an anchor. It's time to start reeling it in.

6/10

Newsarama

[Azrael]

4/5

CVine: http://www.comicvine.com/reviews/age-of-ultron-3/1900-1581/

[Green Lantern]

lo scorrimento del numero 3 è un pò pesante, solite chiacchiere tra gli eroi in puro stile bendis più logorroico, ma il finale di numero è inquietante 

[The man who falls]

Scusate lo sfogo. è frutto di un giudizio a caldissimo in quanto ho concluso la lettura del #3 da pochi minuti, ma...

... mi girano i cosiddetti!

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Perdonate lo sfogo.

Il tutto resta ovviamente una mia personale opinione!

[Number Six]

Ho letto questa cosa in una pagina non ufficiale

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Che vuol dire? Fanno il reboot del reboot?!

[Green Hankey]

Ho letto questa cosa in una pagina non ufficiale

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Che vuol dire? Fanno il reboot del reboot?!

in realtà non si è parlato di reboot del reboot, ma come da tradizione megaevento Marvel, ci saranno pesanti conseguenze...... che poi il Marvel now è più un rilancio che un reboot.....

A me il terzo numero è piaciuto, è Bendis allo stato puro, probabilmente la percezione non positiva di molti lettori è dovuta anche al fatto che questa storia non era da fare ora, ma quando era stata concepita. 10 numeri è vero che forse sono troppi.