AGE OF ULTRON #3 Debrief: Angela and that Last-Page Twist
***This article contains spoilers for Age of Ultron #3, on sale now.***joining the Marvel Universe as of June's Age of Ultron #10, as part of the "unguessable ending" in the Joe Quesada-illustrated final few pages of that issue.
We talked to Marvel senior vice president of publishing and Age of Ultron series editor Tom Brevoort about the latest developments in the story, and got some insight from him on Angela's arrival in the Marvel Universe.
Newsarama: Tom, before we get to the specifics of Age of Ultron #3, unsurprisingly, wanted to ask a bit about the big Angela news. So, just to clarify — though surely there's more twists and turns in the actual issue, is this the big, top-secret surprise from #10 that we've previously discussed? Or maybe just one aspect of it?
Brevoort: I think you want every character in a story to be more nuanced and multi-dimensional than a moustache-twirling bad guy. Everybody is the hero of their own story, and it’s when you can shift that perspective momentarily so that you can see things from the point of view of the antagonist, that starts to make things interesting.
Nrama: Finally, there's been some criticism online about the pace of the first couple of issues, though on the other hand a 10-issue story seems to be designed to be built with enough room to give some parts the breathing room it needs (and wouldn't normally get). Was that in the mindset at all in constructing the first couple of issues? And given the big ending to #3 — and what we know about the rest of the story from here — is it safe to guess that the pace quickens considerably after this point?
I suspect a lot of this has to do with the specific storytelling choice we made early on: to begin with Ultron already having attacked and won. That seems to have been a disorienting situation for a certain portion of the readership, one that’s perhaps kept them from feeling like they have their bearings in some way. I suspect that some of the concerns about the story moving too slowly are being driven by a feeling that there’s crucial information that we skipped by that the readers feel like they need or want to know, or that they missed.
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