When I read Age of Ultron #2, I joked that the only thing that happened in it was that Captain America stood up. It turns out, I just wasn’t thinking hard enough, as Colin Smith demonstrates:
Its provocatively empty-headed, stone-hearted, valueless pages must have been intended to serve as a blank canvas, upon which the obvious absence of worth will compel the reader to ask what’s missing. As such, we ought to celebrate Bendis as a conceptual superbook scriptwriter of the very first rank. A straight-faced prankster, a hype-wrapped agent provocateur, a long-embedded mole apparently playing for the other side while feeding us the secret information we desperately need. Yes, Age Of Ultron: Book Two must be the ultimate critique of idly deconstructed, carelessly decompressed Event storytelling, and it ought to be treasured for its ironic challenge to the very system that’s made BMB what he is. Long before Bendis’s promised textbook on how to write comicbooks appears, and reveals him to have been the nemesis rather than the enabler of pap anti-pop storytelling, here’s the evidence which reveals his true purpose.
Bravo, Mr. Smith. You’re rarely sarcastic, but when you are, it’s amazing.
I wonder, two issues in, whether or not Age of Ultron‘s accelerated release schedule is less a function of “We’re trying to give you as much Hitch as possible as quickly as possible!” as has been said, but more one of the story’s speed of development. If this were a monthly book, the glacier-slow unfolding of the plot would be even more apparent, and allow readers and retailers more chance to jump ship; as it is, there’s more chance that something of note will actually happen in the series within the first two months of release when all but one of Bryan Hitch’s issues will be released during that period. I mean, how could it not?