Artistic Styles Inform Character Perspectives in The Immortal Hulk 3

by Michael DeLaney

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

slim-banner

In The Immortal Hulk 3, reporter Jackie McGee is following up on a recent Hulk-related incident, interviewing four witnesses: “The Cop”, “The Bartender”, “The Old Lady” and “The Priest.” Series artist Joe Bennett is joined by Leonardo Romero, Marguerite Sauvage, Paul Hornschemeier and Gary Brown to visually highlight the there characters different perspectives on one Hulk sighting. Continue reading

Sensational Irony in The Immortal Hulk 2

by Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

What scares you in media? I mean, we’ll all flinch at a well-timed jump scare: a sting of music, a flash of light, and suddenly we’re face to face with a monster. That’s a scare based on your senses, the creators manipulating your biological responses like buttons on a controller. Writer Al Ewing and artists Joe Bennett, Ruy José and Paul Mounts use sense-based scares as a smokescreen for the real horrors of The Immortal Hulk 2: irony.

This issue is so thematically compact and wonderful, it’s one of those rare superhero comics I’d recommend to anyone with a passing interest in The Hulk or horror comics. Even as Banner’s narration dips into some Civil War II plot nonsense, everything you need to understand the issue is contained within these 20 pages. Continue reading

(Re)defining the Hulk in The Immortal Hulk 1

by Drew Baumgartner

The Immortal Hulk 1

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

It might be stating the obvious to suggest that the Hulk’s identity is fraught, but I don’t mean it in the Jungian dualistic sense. Obviously, the tension between Bruce Banner and the Hulk is the primary source of drama for the character, but the Hulk has long suffered from a different kind of identity crisis, in that no two writers ever seem to agree on who and what he is. Is he a senseless destructive force, or is he capable of reason? Is he a monosyllabic brute, or a brilliant physicist? I’ve only occasionally checked in on Hulk’s solo series over the past five or so years, and I’ve seen takes that pretty much run the gamut, if that’s any indication of how rapidly and wildly consecutive runs can change the character. And to be clear, I don’t necessarily see this as a weakness — I’d argue that the flexibility of superheroes to fit the themes different creative teams are most interested in exploring is a huge part of their longevity — but I do think it demands a strong statement of purpose at the start of a run; something to clarify exactly what kind of Hulk we should expect to see. Something like Al Ewing and Joe Bennett’s The Immortal Hulk 1, which introduces the specifics of this particular iteration with remarkable efficiency. Continue reading