The Infernal Hulk #6 - Marvel Comics

THE INFERNAL HULK No. 6, June 2026

Considering that this twenty-page periodical makes good on its promise to depict Iron Man leading “an overpowered strike force to level the Living City and end the Age of Monsters forever”, Phillip Kennedy Johnson’s writing for Issue Six of “Infernal Hulk” probably still fell surprisingly flat with most of its audience. In fact, despite actually showcasing the titular character in an all-swinging fistfight against one of Earth’s Mightiest Heroes, there’s just something a little ‘wrong’ with how the cataclysmic story is told; “Twenty percent of the world’s arsenal is aimed at your living city right now.”

For starters, it’s not clear just why Tony Stark is the only super-hero taking up the challenge when this assault is supposedly the Earth’s best chance to kill Eldest’s seemingly unstoppable host; especially when the likes of Mister Fantastic and Bucky Barnes are watching it live along with the American military’s top brass. Surely if things were as dire as the leader of the Fantastic Four keeps saying then his super-powered squad would be ‘on the ground’ alongside Iron Man and his freshly-fashioned Hellbuster Armour? Not repeatedly stretching his rubber-like neck in disbelief as the firstborn of Vinruviel defies every planet-shattering attempt he has planned to defeat them.

Likewise it is never explained how Gologoltha of the Volantine Choir is able to survive quite literally having the land beneath its foundations obliterated, and resultantly dropping into the molten core of the Earth.? Admittedly, as the Infernal Hulk himself swiftly points out, the unholy metropolis is an Elder God capable of a great manner things. But somehow this comic’s readers are supposed to accept that it can both happily float upon the surface of the boiling lava it falls into, and then somehow shield itself from the white-hot laser-blast of an orbiting satellite without any plausible explanation whatsoever.

Lastly, the layouts of Adam Gorham arguably don’t help sell the storyline towards the battle’s end either, with much of the action beneath the world’s surface being unclear and indistinct. In addition, the Canadian artist’s decision to greatly reduce the amount of detail used for all of the aforementioned scenes featuring Reed Richards and the Winter Soldier genuinely make them appear the work of a far less able illustrator, and frustratingly snatch any onlooker out of the moment with their jarring contrast.

Writer: Phillip Kennedy Johnson, Artist: Adam Gorham, and Color Artist: Matthew Wilson