The Incredible Hulk [2023] #30 - Marvel Comics

THE INCREDIBLE HULK No. 30, December 2025

Whilst this “end of an era” certainly seemed to enjoy some success in October 2025 by becoming the thirty-third best-selling comic of the month, it’s probably not all that likely that the majority of its readers agreed with its New York City-based publisher’s claim that the book was a “landmark issue”. Furthermore, despite the title’s claim in its solicitation, Phillip Kennedy Johnson’s script doesn’t really feature the return of the Abomination either. But rather disappointingly, just poor Emil Blonsky’s corpse being possessed by Eldest; “Your flesh is mine!!! All flesh is mine!!! Give it to me!!!”

However, arguably this twenty-page periodical’s biggest problem is that it simply doesn’t address any of the ongoing series’ numerous plot-threads, such as the fates of Betty Ross, Doctor Voodoo or even Charlie Tidwell. In fact, none of these supporting cast members even appear in this heavily publicised “rematch to the death”, and are simply shelved off-screen in favour of Eldest apparently having the power to shockingly reach inside the founding Avenger’s chest cavity and quite literally pull Bruce Banner’s gore-splattered persona from out of it.

So sickening a spectacle is certainly as stomach-churning as it is dramatic. Yet even in victory, the Hulk’s arch-nemesis is then regrettably shown to have battled her way through countless gamma-infused characters for nothing, as the firstborn of Vinruvie soon discovers that the Mother of Horrors has actually withered and died whilst languishing in chains many moons ago. Such a lack-lustre fate for a villain who has repeatedly been plugged by this comic’s American author as being so formidable she was even capable of deposing the One Above All must surely have struck many as being something of a major cop out – and doubtless done purely to ensure the majority of this title’s audience move over to the writer’s next project “Infernal Hulk”.

Far more entertaining than this book’s narrative are Nic Klein’s layouts, which provide a truly eye-wateringly painful bout of fisticuffs between Banner's green skinned alter-ego and the aforementioned Eldest/Abomination. Any onlooker should really fell the exchange of bone-shattering blows, especially once the Green Goliath takes hold of a truly gigantic chained skull, and unceremoniously bashes Blonsky’s animated cadaver straight into the next panel.

The regular cover art of "THE INCREDIBLE HULK" #30 by Nic Klein

Bring On The Bad Guys: Green Goblin #1 - Marvel Comics

BRING ON THE BAD GUYS: GREEN GOBLIN No. 1, September 2025

There’s probably a fair few fans of the Bronze Age of Comics who quickly became rather concerned with Ethan S. Parker and Griffin Sheridan’s script for “Bring On The Bad Guys: Green Goblin”, as the twenty-page one-shot soon makes it clear that its narrative will somehow be squeezed into Norman Osborne’s already convoluted time-line just when the merciless businessman is first succumbing to the homicidal tendencies of his criminally insane alter-ego. Indeed, this book’s plot even goes so far as to suggest that it was Mephisto who was behind the man's mental breakdown and that it was all due to the Lord of Evil needing a good person’s soul to temporarily sate the appetite of this mini-series’ mysterious Soul Forge.

Happily however, this retcon or “all-new piece” of the Green Goblin’s backstory doesn’t prove too problematic or even disagreeable, on account of the collaborative writers penning a rather touching, and ultimately tragic tale concerning one of Osborn Industries’ most hard-working employees. True, Alan’s grisly demise at the end of a demonic knife is never in any doubt. But the build-up to the workaholic’s murder must have genuinely hooked the hearts of many a reader, especially when it momentarily appears that the dutiful husband and devoted father’s behaviour might even cause his ghoulishly-masked assassin to have second thoughts; “Ten minutes! Then bed for everyone!”

In addition, the authors appear to be very aware that this ‘re-treading of old ground’ could potentially cause some inadvertent ripples in the titular character’s continuity, so drastically limit the number of cast members featured. So savvy a decision means that much of the publication has to solely focus upon Norman’s unpleasant thoughts as he wrestles with the consequences of his deal with Mephisto, and such a deep-dive into this unbalanced state-of-mind intriguingly soon shows that the maniac always had it in him to become both “the defining archnemesis of Spider-Man”, as well as “one of the most terrifying villains in the Marvel Universe.”

Competently completing this comic’s storytelling are artist Matteo Della Fonte and colourist Mattia Iacono, who together do a fine job of physically illustrating Osborn’s mania – whether it be the figure’s face suddenly featuring a deranged grin, or the Green Goblin’s wide-eyes almost hypnotically zooming in upon his victim during the death blow. Furthermore, there’s a couple of great nods to some of the criminal’s most memorable moments, most notably when the despot drags a heavily-bound, white-shirted Alan through the night sky behind his jet-glider.

The regular cover art of "BRING ON THE BAD GUYS: GREEN GOBLIN" #1 by Lee Bermejo