If you have been following the ticking clock of the new Ultimate Universe, you know that dread has been building for months. The Maker (the terrifying, evil version of Reed Richards who rewrote reality) is set to break out of his prison in “zero months.” But in Ultimates #18, writer Deniz Camp and the art team decide that they aren’t going to wait for the bad guy to make the first move. Instead, they flip the table. This issue feels like a historical document from a world on the brink of total war. It is a rallying cry, a confession, and a massive payoff all rolled into one seamless package.
For the last year or so of this series, Iron Lad (Tony Stark) and his team have been operating like a covert ops squad. They have been hitting the Maker’s Council from the shadows, stealing resources, and trying to fix a broken timeline. But shadows don’t win wars: armies do.
The core of this issue is a global broadcast. Tony Stark hacks into every screen, radio, and phone on Earth. He stops hiding. He puts his face on Times Square billboards and village radios alike to tell the world a hard truth: their reality is a lie. He explains that the poverty, the wars, and the “status quo” were engineered by a Council of supervillains to keep humanity down.
While Tony speaks, we see the results of the Ultimates’ work. We see Luke Cage leading prisoner uprisings. We see stockpiles of medicine being distributed to the sick. We see the team breaking the infrastructure. It culminates in a chilling, powerful “open invitation.” Tony isn’t just asking for support; he is deputizing the entire human race.
What makes this issue so engaging is how it redefines what it means to be a superhero in this universe. Usually, in Marvel comics, the Avengers fight the bad guys while civilians run for cover. Camp flips that script entirely.
The central theme here is “Resistance.” The series has been arguing that you don’t need a suit of armor or a magic hammer to be an Ultimate. You just need to decide to say “no” to oppression. It shows regular people (factory workers, prisoners, people on the street) picking up tools and weapons to fight back; the story gains a weight that standard superhero punch-outs lack. It feels democratic and messy and incredibly inspiring.
There is also a touching theme of redemption. We get a quiet scene with the “kids,” Wanda and Pietro. They were raised to be weapons by the villains, but Steve treats them with kindness. He reminds them that just because the world did bad things to them, it doesn’t mean they can’t do good things now. That’s the heart of the book: it’s never too late to change sides.
Juan Frigeri has a difficult job in this issue because he has to balance high-tech sci-fi action with gritty, grounded human moments. He nails it. The scenes of Iron Lad’s broadcast are majestic, with Tony looking both grand and desperate. Frigeri draws the Iron Lad armor with a sleek, futuristic weight, but he is equally skilled at drawing the exhausted faces of the people listening to the message.
Federico Blee’s colors tie everything together perfectly. He uses a lot of blues and holographic teals for the Ultimates’ tech, which contrasts sharply with the dirty, rusty tones of the prisons and the war zones. When the “Rise Up” montage hits, the colors become explosive, signaling that the Cold War has officially turned hot.
We have to give a special nod to letterer Travis Lanham. This issue is dense. There is a monologue running through almost every page, layered over different scenes. Lanham uses a distinct red-and-white caption style for Tony’s broadcast that makes it feel like a digital overlay.
Despite the heavy amount of text, the book never feels cluttered. The lettering guides your eye across the page, ensuring you absorb Tony’s speech while still taking in the action beats of the art. It’s a masterclass in how to handle a “speech-heavy” comic without boring the reader.
Overall, Ultimates #18 is the deep breath before the drop. It doesn’t feature the Maker himself, but his presence is felt in every panel. This issue does the hard work of setting the stage for the finale, moving the pieces into place, and raising the stakes to a global level. Plus, that ending, revealing Danny Rand finding a “door to Heaven” in the Himalayas, adds just the right amount of mystical intrigue to a mostly sci-fi political thriller.
If you like comics that feel smart, relevant, and visually stunning, you need to be reading this. The Maker is coming back next month, but after reading this issue, you get the feeling he’s walking into a buzzsaw.
‘The Ultimates’ #18 Review: Zero Months Left Until The Maker Returns
Ultimates #18 is the deep breath before the drop. It doesn’t feature the Maker himself, but his presence is felt in every panel. This issue does the hard work of setting the stage for the finale, moving the pieces into place, and raising the stakes to a global level.
