The Ultimate Universe was launched in 2000 as an introductory version of Marvel, one where the classic characters were retooled for the present day and you could get in at the beginning of their stories, rather than having to worry about references back to the time a decade ago when the lead had been a clone, or been married to a clone, or possibly both. But the comics were done well enough, by the hot new creators of the time, that while they did attract new readers, people who already knew the previous versions of the heroes got on board too, enjoying the hits, but also the twists. In that and other ways, it was a model for the MCU, and much like the MCU it was a huge success, until it wasn't.
This 23rd anniversary revisit is nothing like that.
There was a certain fundamental misunderstanding as the Ultimate books continued (and they did continue; Bendis did well over a hundred issues of Ultimate Spider-Man, one of the longest runs by a given creator in comics full stop, never mind by modern standards). The books accumulated their own continuity, and as such stopped being quite so entry-level. Some people took that as superhero publishers being unable to stop falling back into their old bad habits, when really it's just how stories work, unless you want the utter weightlessness of a Saturday morning cartoon. Which is fine in its place, but the idea here was that the stories would have stakes, and if anything more of a free hand to make changes to the world. Sure, that didn't always work out, especially once lesser creators got let into the game and started having characters eaten and cities trashed just because they could. But as the most obvious example, if Ultimate Peter Parker* hadn't been killed off there'd never have been Miles Morales, now beloved by millions. So for all that the promotion of this miniseries teased a revival of the Ultimate Universe, that was never entirely a viable prospect. Revive it when? Right before the end, despite its demise in Secret Wars by that point feeling like a mercy killing? Rewind it to the start and wipe out all the experiences that made us care about these versions of the characters? Some particular point in between, where everyone will quibble over the exact choice of issue to do over from? A smooshed-together greatest hits?
As such, the approach taken here probably makes as much sense as anything, but any notion of accessibility has been left far, far behind. So: when the Ultimate Universe died, Miles Morales survived, relocated to the main Marvel Earth (as did his supporting cast, including ones who'd previously died), on account of the obliteration of worlds in multiversal cataclysms being as nothing in the face of crossover appeal. He only makes a cameo here, regardless of that prominent spot on the cover. The other main escapee was Ultimate Reed Richards, by this point firmly into a villain era much more convincing than the social media sort, who has since been knocking around under the alias the Maker. Here, he escapes from science gaol, mugs off the Illuminati (don't know who the Illuminati are in a Marvel context? Then this book is probably not aimed at you), and escapes to another, prototypical iteration of Marvel Earth - or possibly of Ultimate Earth specifically, it's never wholly clear - where he proceeds to shape it to his requirements. What we see of that largely involves interrupting origin stories - plucking the spider off young Peter Parker a moment before it bites, that sort of thing - but somehow this ends up with a present day where the world (or at least New York, which in most Marvel comics amounts to the same thing) is divided between seven spheres of influence, each run by versions of familiar Marvel faces, each ultimately answerable to the Maker. Now, an America openly run by Howard Stark and Obadiah Stane might work as satire on the current tech bro ascendancy, if the story paused to do anything with it, but some of the others are iffier: the East run by Sunfire and the Hand? Russia by Magik and Colossus? How does any of this feel on the ground? Unlike the original Ultimate line, all about getting back to that initial Marvel selling point of 'the world outside your window', Ultimate Invasion couldn't care less; this is all time loops, grand conspiracies, and nods to decades of previous stories across at least two universes. It's not even that I necessarily object to comics about comics - Flex Mentallo is one of my all-time favourites. But they're tough to carry off without feeling like insular wank, need top tier creators with something to say, maybe even ones with a bit of an outsider perspective. Whereas this... It reads a lot like Hickman is tired, halfheartedly reaching into his usual bag of tricks (grand schemes, data pages, portentous pronouncements) without much of it landing properly. Hell, the revelation that the supposed enemy is part of the same unseen higher conspiracy goes back literally to his first Marvel series, except there it felt shocking because it upended years of prior stories, whereas here it's two issues into a world we've barely seen, so who's bothered? Hitch on art...well, he makes perfect sense when you consider how key that first volume of The Ultimates was, the screen Avengers as good as laid out on the page once Hollywood smoothed off a few edges. And compared to some once-feted artists this far into their careers, he certainly hasn't lost it a la Miller or got sketchy like Yeowell. But perhaps because he hasn't got the same support staff, or the times have changed, or simply because nobody gets to catch the lightning for long, it doesn't have the same thrill, feels hollow and cluttered where once it awed. The overall effect is like going to see the Stones because you were reminded how good they used to be, and then seeing the Stones now, and also they insist on playing the new stuff.
*Still the only Peter Parker who doesn't annoy me - even Tom Holland finally fell prey to the self-flagellating crap in that last film.