The Incredible Hulk [2023] #15 - Marvel Comics

THE INCREDIBLE HULK No. 15, October 2024

Apparently the thirtieth top-selling comic in August 2024, at least according to “ICv2.com”, it’s a fair bet that numerous readers of “Incredible Hulk” were initially a bit perplexed by Phillip Kennedy Johnson’s decision to side-line the titular character in favour of a flashback storyline dating back to Assyria, some 3,600 years ago. Indeed, many a bibliophile was probably rather disappointed that having finally brought Bruce Banner’s alter-ego within touching distance of poor Charlie Tidwell’s salvation on the outskirts of Las Vegas, the American author quite suddenly hurls his audience into a totally new and unexpected plot featuring Enkidu instead.

Happily however, once this initial disappointment, or at least surprise, has settled, this book’s two-part long “origin of Eldest” should quickly grab any onlooker by the throat, and due to its pulse-pounding pace, as well as a fair share of physical body horror, hold them utterly immobile until the twenty-page periodical’s dramatic end; “If one truly walks the Earth with the power of the Green Door… Could it be the enemy himself, come to punish us?”

In addition to witnessing “the first Hulk” in a genuinely eye-watering display of demonic mutilation, this publication also debatably does an excellent job of depicting an ancient civilisation ravaged by monstrous devils – where what few human inhabitants remain are merely seen as snacks. This barren, deadly wasteland proves particularly intriguing once it becomes clear that a few refugees from the King’s fallen city have still managed to eke out a meagre living amongst the rocks, and all that stands between them a truly ghastly fate is Tammuz’s monstrously-sized second self.

Impressively helping the “Eisner-nominated comic book writer” to sell “Lament For A Fallen Crown” is Danny Earls, whose readily recognisable, and rather quirky-looking art-style, quite marvellously adds to the inhuman nature of the dark domain the Bull-man of Akkadia knowingly wanders into. Of particular note is the Irish illustrator’s ability to imbue his figures with all the awkwardness one might expect from a race of ungodly, misshapen nightmares who clearly desire to imitate a bipedal existence. But he also does a solid job in highlighting the all-too human look of desperation on the faces of the pitifully emaciated family struggling to survive beyond the fallen city.

Writer: Phillip Kennedy Johnson, Artist: Danny Earls, and Color Artist: Matthew Wilson