Ultimate Black Panther #1 Review: A Gorgeous, If Familiar, Take On T’Challa

There’s a moment near the beginning of Ultimate Black Panther #1 where T’Challa makes a bold proclamation, telling his wife Okoye, “Traditions must change.” It’s clear that this is the larger thesis for this take on Black Panther, in addition to being the driving force writ large for this new Ultimate universe at Marvel Comics; but what the remainder of the pages in Ultimate Black Panther reveal is that things are mostly going to stick to how they’re used to being. A handful of surprises are still in the mix that will have readers raise an eyebrow, but if you’ve read a Black Panther comic in the past 20 years this one doesn’t feel all that different, but that’s still not a bad thing to publish. 

Bryan Hill, who previously worked in this franchise with the Killmonger mini-series and the one-shot Black Panther: Unconquered, is the writer on this new series which revives the concept of the warrior king and his secret nation. What’s especially notable from the start is that Ultimate Black Panther is influenced by the Marvel Cinematic Universe’s version of the same property. The two not only share a selection of main characters but also specific designs like T’Challa’s throne room and the costumes worn by most of the cast, all rendered by artist Stefano Caselli and colorist David Curiel. What makes this a little disappointing isn’t the influence of the live-action adaptations on this comic that’s a given in the modern era, but rather that it has already been done in the Marvel Comics universe; this leaves Ultimate Black Panther with just a little bit of wiggle room at its disposal to distinguish itself.

Beyond the MCU, what feels like the other palpable influence on Ultimate Black Panther is Frank Herbert’s Dune. This is felt throughout the series as it’s dominated by political intrigue but also in the war that is brewing between rival “houses” as it were. Even internally there is an implication that the pillars of Wakanda are at odds with each other that feels reminiscent of the sci-fi classic. One of the key moments however is when T’Challa has an interaction with The Vodu-Khan, a new pillar of the Wakandan political sphere that acts as an advisory arm for the King while also acting as messenger to and from the “Gods” as they put it. It’s hard to not see this moment and note how it conjures similarities to the Bene Gesserit of Dune as it seems intentional. Couple that with the larger internal strife that appears to be brewing in the series and one can see where this is building toward something new. The trouble of course is that it is surrounded by familiarity. 

Where Ultimate Black Panther #1 excels however is in its look. Stefano Caselli is equipped to handle the variety of locations that are put on display throughout, be it the royal areas of the Wakandan palace, the deep jungles of other African villages, or the aforementioned scene with The Vodu-Khan. There’s not only a specific mood being evoked across these sequences but concise planning across what each moment should be indicating. Action sequences have a lot of lines that bring the illusion of movement to the static imagery. Sequences with heavy dialogue utilize the depth of their surroundings. And the sequences where the forces of Ra and Khonshu are set to conquer a new village possess stark backgrounds that paint the oncoming doom with a clear brush.

While the most recent relaunch of Ultimate Spider-Man largely took the concept of the character and altered it in vast new ways, making for what feels like a genuinely fresh take on the material, Ultimate Black Panther #1 mostly plays it safe. It’s not to say that this version of Ultimate Black Panther is disappointing—it’s still an enjoyable read thanks to its other influences and the stellar artwork—it just feels like a missed opportunity on the whole. The perfect opportunity for a radical departure for T’Challa that could stand apart from his other comics of the past decade was handed over on a silver platter, but what we’ve received so far is mostly more of the same, though that’s not necessarily a bad thing.

Published by Marvel Comics

On February 7, 2024

Written by Bryan Hill

Art by Stefano Caselli

Colors by David Curiel

Letters by Cory Petit

Cover by Stefano Caselli and David Curiel