Daredevil [2022] #6 - Marvel Comics

DAREDEVIL No. 6, February 2023

Featuring an unbelievably tiring thirty-two panel sequence depicting Matt Murdock chopping up some tomatoes in a kitchen, Chip Zdarsky’s script for this comic probably did cause its readers to believe it was “the most shocking issue” of the author’s “landmark Daredevil epic yet”. However, such an accolade is arguably not a good thing when its due to a severely sedentary narrative, which only occasionally pops into life whenever the spotlight moves away from its titular character; “Would you mind prepping some garlic? Knives are to your right.”

Indeed, despite the pre-publication promises of "Marvel Worldwide", the actual highlight of this twenty-page periodical solely rests upon the shoulders of Elektra Natchios’ so-called “international incident” concerning an apparently undead incarnation of the United States Commander-In-Chief. This well-penned and intriguing confrontation between the deadly assassin and Frank Castle's presidential puppet is made all the more dramatic when an overconfident Iron Man smashes his way into the fracas, and gets swiftly ambushed by a pair of stooges armed with one nanometre thick Symkarian steel swords.

Unfortunately though, so pulse-pounding a predicament is just as short-lived as the rest of the publication’s rambling plot is long-winded, so soon gets swallowed up amidst the Man of Fear’s bemusing dialogue-driven desire for redemption with some of the world's more notorious B-List criminals. In fact, many a bibliophile will probably be left scratching their heads in wonder at just what the blind lawyer’s overtly-religious plan is for the likes of Stegron, Speed Demon, Stilt-Man, Agony and Bullet – Unless Murdock genuinely believes in simply busting the mass-murderers out of their lawful imprisonment on the Raft he is somehow doing God’s work..!?!

Desperately attempting to hold the audience’s attention with his drawings is Rafael De Latorre, who appears to squeeze as much action as an artist can manage from the aforementioned broth-making debacle. This conversational piece does admittedly contain one moment of melodrama when the Brazilian illustrator pencils felon Buck Cashman being asked to use a kitchen knife whilst Daredevil has his back turned to him. But even this potential threat is quickly quashed as flat as the vegetables being prepared for dinner once the felon quietly sets about crushing the plant with the flat of the blade.

 The regular cover art to "DAREDEVIL" #6 by Marco Checchetto & Matthew Wilson

Daredevil [2022] #4 - Marvel Comics

DAREDEVIL No. 4, December 2022

Swapping the dangerous streets of Hell’s Kitchen for arguably the even more inhospitable mountains of a secret island somewhere south of Russia, Chip Zdarsky’s narrative for Issue Four of “Daredevil” must have proved a curious experience for long-term fans of Hornhead. Sure, the Man Without Fear is still depicted battling ninjas towards the end of this twenty-page periodical’s plot in a genuinely pulse-pounding finale. But many a bibliophile will also feel as unfamiliar with the super-hero’s new surroundings as a trepidatious Cole North clearly does.

Indeed, one of the Canadian author’s greatest strengths in telling this comic’s story, is by doing so through the eyes and experiences of the “highly regarded detective”. Supposedly ‘stinking of regular people’, the police officer is clearly still unsure as to whether he’s made the right decision by following Matt Murdock’s alter-ego to this isolated location, and this uncertainty, evidently heightened when he encounters the formidably-sized Doc (Samson) Sasquatch, cleverly imbues the audience with similar reservations as to the titular character’s resolution “to leave his city behind” and “save the world from the violent and ruthless Hand.”

Also quite cleverly adding to this atmosphere of unwelcomeness, is the incredibly dislikeable Jab, a mercenary recruited by Elektra Natchios, who clearly feels the need to ‘stamp his supposed authority’ upon the newcomers – unwisely even trying to intimidate Daredevil himself with his fake bravado; “We’re supposed to follow some guy in a Halloween Costume who beats up muggers?” This disagreeable bully is ultimately put in his place by a sense-shattering sock to the jaw by North, after the one-eyed goon stupidly attempts to beat him up in the practice arena, and in getting bested helps settle both the reader, as well as Cole, into the ongoing tale’s foreign environment.

Equally as enjoyable as Zdarsky’s proficient penmanship though is Rafael De Latorre’s prodigious pencilling, which really helps ‘sell’ the unease experienced by Murdock’s friends and allies. In addition, the Brazilian illustrator’s layouts, combining the New York City cop’s fisticuffs alongside Daredevil and Elektra’s vicious scrap against a disconcertingly dark den full of undead warriors, is marvellously handled - imbuing every blow with a bone-crunching reality, and debatably fooling any onlooker into believing they're witnessing Matt overcoming his doubts rather than North.

The regular cover art to "DAREDEVIL" #4 by Marco Checchetto & Matthew Wilson

Daredevil [2022] #5 - Marvel Comics

DAREDEVIL No. 5, November 2022

For those readers simply dipping into this ongoing series to witness its titular character completely ‘clean the clock’ of the ever- egotistical U.S. Agent, Chip Zdarsky’s script for Issue Five of “Daredevil” should have quite quickly brought them up to speed with Matt Murdock’s present-day life. Indeed, the Canadian author rather succinctly shows the Man Without Fear to have utterly embraced both his marriage to Elektra Natchios, as well as his seemingly formidable mission to establish “a new world order” as The Fist’s king.

Of course such bizarre cameos as Doc Samson making an appearance as a green-hued, giant yeti-turned-camp psychologist, and Foggy Nelson doing a disconcertingly acrobatic landing from a multi-storey rooftop takes a little bit of getting used to. But once these surprises are laid to rest and it’s firmly established that the now heavily-bearded horn-head is forming an army to fight a similarly-sized force of ninjas lead by a clearly crazed Frank Castle, the multiple Harvey Award-winner dedicates the rest of his narrative to simply telling a good old-fashioned tale of jaw-socking, covert infiltration; “You know the plan. We only have enough time to clear Block D.”

This edgily-penned penetration of The Myrmidon prison facility really lies at the heart of "The Red Fist Saga", and should wholly enthral its entire audience just as soon as Daredevil’s aircraft disgorges numerous bat-gliding warriors over the penitentiary's security perimeter. In fact, by the time Bill Everett’s co-creation actually confronts John Walker and a troop of Guardsmen in a dark, highly claustrophobic corridor, the tight tension in the air is already positively palpable; especially once the cocky West Coast Avenger begins piously claiming that God is on his side, and brazenly challenges Murdock’s alter-ego to simply “fight me like a man!”

Also helping to carry their fair share of this book’s storytelling duties is artist Rafael De Latorre, who provides some impressive, pulse-pounding panels throughout this publication’s climatic contest. Furthermore, the Brazilian illustrator’s layouts add plenty of pace to the proceedings, as well as somehow imbuing an onlooking Captain America with a genuinely dislikeable ‘holier than thou’ swagger when the Sentinel of Liberty sides with Tony Stark against Matt’s movement, and arrogantly declares that the Avengers are “bringing Daredevil in.”

The regular cover art to "DAREDEVIL" #5 by Marco Checchetto & Matthew Wilson

The Immortal Hulk #47 - Marvel Comics

IMMORTAL HULK No. 47, August 2021

Containing a mouth-watering confrontation between the titular character and the latest Avengers roster, Al Ewing’s screenplay for “Chaotic Terrain” surely must have impressed the vast majority of Hulk-heads when it first hit the spinner racks in June 2021. In fact, many readers probably struggled to remember another time within the Diamond Gem Award-winning series when the twenty-page periodical was so packed with such a powerfully-large cast all duking it out against one another under the misguided belief that the Green Goliath was about to destroy Manhattan.

Rather gratifyingly though, amongst all this utter chaos and breath-taking destruction are also a plethora of well-penned sub-plots, which see the British author establishing a series of highly enthralling ‘personal’ duels featuring some of the New York City-based publisher’s mightiest heroes. Foremost of these contests is arguably the continuation of hostilities involving Bruce Banner’s alter-ego and Thor Odinson, which is so cataclysmic that at one point it actually results in a bolt of lightning severing the Hulk’s right hand.

But equally as unforgettable are debatably the founding Avenger’s all-too brief encounter with Blade, who somewhat strangely seems to believe the gamma-strong powerhouse is “a stinkin’ vamp”, and T'Challa’s subsequent limb-slicing shenanigans with his maximum-charged energy daggers, which some within the comic book media have used as conclusive proof that the “Black Panther could easily beat the Hulk.” Interestingly however, not all of this magazine’s high-octane antics solely revolve around Joe Fixit’s green-hued persona either, courtesy of Ewing making both the Harpy’s skirmish with Captain Marvel, and Carl "Crusher" Creel’s clash against Captain America mouth-watering prospects too; “Heads up, Flag-man -- You and me, right now --”

In addition to its writing, Issue Forty-Seven of “Immortal Hulk” also owes much of its success to artist Joe Bennett, who manages to quite wonderfully depict the numerous combatants various emotions on their faces with consummate ease. Indeed, Jennifer Walters increasing doubts as to the validity of the Avengers authority to permanently take down the Hulk can clearly be seen in just the character’s eyes for the majority of the well-pencilled comic, and makes the She-Hulk’s change of loyalties at its jaw-dropping conclusion much more believable.

The regular cover art of "IMMORTAL HULK" #47 by Alex Ross

The Immortal Hulk #46 - Marvel Comics

IMMORTAL HULK No. 46, July 2021

Absolutely packed with the titular character engaging in some bouts of pulse-pounding pugilism, whether it be Bruce Banner’s alter-ego battering Ironclad or standing toe-to-toe against the might of a certain Thunder God, Al Ewing’s script for Issue Forty Six of “Immortal Hulk” certainly seems to deliver on its ‘promise’ that “the gamma monsters are [all] coming back” to this title’s main narrative. Indeed, despite being somewhat side-lined for the vast majority of this twenty-page periodical, the British author still manages to give the likes of Doc Sasquatch, Jackie McGee, Rick Jones, Del Frye and Betty Ross-Banner some memorable ‘screen-time’; especially Harpy, whose surprise appearance at this comic’s very end must have had many a bibliophile desperately desiring to know when the book’s next instalment would hit the local spinner racks.

However, it is probably the sheer conscious viciousness of Joe Fixit’s incarnation of the green Goliath which is this publication’s most notable asset. Red eyed, and claret-veined, the Hulk facing off against the U-Foes is a marked contrast from the emaciated beast Henry Gyrich’s villainous cronies beat to death just a short while earlier, and creates one of this ongoing series’ most eye-wincing moments when he literally attempts to slowly stab into Michael Steel’s brain with his fingers; “See, that makes me curious. Are ya metal all the way through? Or is it squishy organs in a smooth, shiny shell. Let’s find out…”

Equally as enjoyable, though far less sadistic, is the Hulk’s confrontation with Thor Odinson at the wonderfully named Wein’s public bar in Manhattan. The Asgardian’s cowardly assault upon an unsuspecting jade behemoth suggests just how desperate the Thunder God is to “break” his opponent “like the beast you are” before the gamma-irradiated power-house is able to summon his full formidable strength, and similarly shows just how anxious the rest of the Avengers are to avoid a cataclysmic catastrophe such as the one they deliberately caused in Iowa.

Helping this fight-fest bound along at an enjoyable pace, are the well-detailed panels of regular contributor Joe Bennett, whose prodigious pencilling would strongly suggest just how much fun the illustrator was having sketching both the sound defeat of the U-Foes, and the nervous apprehension of Captain America and his colourfully-costumed team-mates. In fact, one of the highlights of “You And Me Against The World” is the Brazilian’s ability to provide a satisfying ‘thud’ behind every one of the Hulk’s punches whenever he trades blows with either Ironclad or a teeth-clenched Thor.

The regular cover art of "IMMORTAL HULK" #46 by Alex Ross

The Immortal Hulk #45 - Marvel Comics

IMMORTAL HULK No. 45, June 2021

Whilst “Marvel Worldwide” were undoubtedly referring to both the physical and mental condition of this comic’s titular character when their pre-publication blurb intimated that “The Hulk is at his lowest point” in this particular book, those readers unable to navigate their way through Al Ewing’s goulash of grisly ideas were probably thinking the same could be said for this particular instalment’s writing too. Sure, the British author somehow manages to cram an incredibly large cast into this twenty-page periodical’s narrative, but in doing so few individuals enjoy much ‘screen time’ and even when they do, it is debatably hard to ascertain just what is actually happening to them.

For starters, having been completely ‘crispified’ by the U-Foes, Joe Fixit and the Hulk’s emaciated psyche once again face the Leader in the bedrock of Hell. However, having apparently had the One Below All enter his flesh so as to ‘complete their circuit’ a horribly mutated Sam Sterns has suddenly been transformed into a mass of writhing, tentacled mouths which fully intend to tear his opponents to pieces; “You will be a true hulk -- A wandering carcass, wreaking destruction. Making me ever stronger. I will be your leader -- And you will follow. As my good and faithful servant.”

This head-scratching situation is made all the more bemusing, as the action unrelentingly leaps to Jackie McGee’s ‘ghostbusting’ on the plains of New Mexico, Doc Sasquatch’s discovery that his body is missing from the vaults of Shadow Base Site G, Walter Samson’s bizarre surprise appearance as a hitchhiker, and X-Ray’s continuous assault upon the Hulk’s frazzled corpse with Cosmic Radiation, before finally bringing some sort of resolution to Fixit’s precarious predicament by having the Grey Hulk’s former alias fortuitously utilise the U-Foes attack to contrivingly reenergise his physical body.

Disappointingly, even Joe Bennett’s usually first-class pencilling seems to be slightly off-key for Issue Forty-Five of “Immortal Hulk”. Indeed, it is hard not to shake the impression that some of this comic’s set-pieces featured on “the bottom layer of reality” were specifically penned by Ewing simply to provide the Brazilian artist with an excuse to go mad sketching a multitude of disconcerting mouths biting limbs asunder, rather than progressing the actual overall storyline.

The regular cover art of "IMMORTAL HULK" #45 by Alex Ross

The Immortal Hulk #44 - Marvel Comics

IMMORTAL HULK No. 44, May 2021

Apparently penned as “a gruesomely pleasant escape for all” his Hulk-Heads, Al Ewing’s narrative for “To Rule In Hell” certainly shouldn’t have disappointed the vast majority of its readers. In fact, the grisliness of this publication’s bouts of pugilism actually gets increasingly graphic in nature the further into the twenty-page periodical its audience progresses, and disconcertingly concludes with the titular character being burnt to little more than a lifeless husk; “No, you were right -- We’ve had our turn. And we don’t have all night. Let James have the kill… There. That’s that. Anyone else feel like getting barbecue?”

Happily however, this relentless assault upon the senses makes for a compelling read as the U-Foes systematically break down an emaciated Hulk’s remaining strength one-by-one, and show just how deadly a quartet Henry Peter Gyrich’s goon squad can actually be when given half a chance. Of course, not everything goes the former super-villains’ way, as Ironclad discovers whilst attempting to mercilessly pound the green-skinned “bag of bones” into the pavement. But this momentary ‘fight-back’ debatably makes the team’s emphatic victory over Bruce Banner’s alter-ego all the more convincing.

Equally as well written is Ewing’s fascinating depiction of Leonard Samson struggling to keep his gamma-fuelled Sasquatch bloodlust in check when faced with the truly terrifying, physically-merged gestalt of Rick Jones and Delbert Frye. The sheer anger the Doctor has for the tragically-disfigured creature before him is truly palpable, and so it comes as no surprise when the formidably savage hairball launches a devastating clawed attack upon what eventually turns out to be an entirely helpless amalgamation of flesh.

Undeniably this book’s greatest contribution though has to be the pencilling of Joe Bennett, who seems to go to astonishing lengths in order to sketch every sinew and skin cell visible on the Hulk’s increasingly marred body. The Brazilian does an absolutely stand out job in drawing the murderous rage indelibly etched in Doc Sasquatch’s glaring eyes. Yet these incredible illustrations debatably pale in comparison to the artwork on show when the likes of X-Ray and Vector literally strip their pain-wracked opponent of his flesh, muscle and eventually, bone.

The regular cover art of "IMMORTAL HULK" #44 by Alex Ross

The Immortal Hulk #43 - Marvel Comics

IMMORTAL HULK No. 43, April 2021

Despite not containing much in the way of pulse-pounding pugilism, Al Ewing’s script for Issue Forty-Three of “Immortal Hulk” probably kept its audience somewhat entertained with its intriguing insight into just how Joe Fixit is “real good at staying alive” and Henry Gyrich’s recruitment of the U-Foes as Alpha Flight Space Station’s latest super-group. Indeed, witnessing Bruce Banner’s alternative personality working his way up from a penniless bum to a financially-stable nobody through numerous lucratively criminal means, genuinely provides a fascinating contrast as to how the Nuclear Physicist ordinarily survives on the streets whilst trying to keep a low profile.

However, that still doesn’t mean that the former “2000 A.D.” writer’s narrative actually makes much in the way of progress to this ongoing series’ overarching plot. True, the Fantastic Four wannabes’ efforts battling a Hulk-bot for their acting commander’s pleasure arguably provides this comic with some much-needed action. But even this scene is somewhat sedentary in its execution, as each member of the quartet demonstrates their own unique abilities one-on-one with the green-coloured automaton for the benefit of any bibliophile unfamiliar with Bill Mantlo and Sal Buscema’s creations from the early Eighties.

In fact, with the exception of Vector’s team finally confronting Banner’s alter-ego at the very end of this twenty-page periodical, the only real step forward this book’s storyline debatably takes is Shaman, Puck and Doc Sasquatch’s visit to Los Diablos in New Mexico. Somewhat dialogue-driven and pedestrian paced, the trio's superficial exploration of Shadow Base Site G at least leads to the revelation as to what happened to the Leader’s heavily mutated body following the facility's mass evacuation a few issues back, before their discovery is infuriatingly then cut short by this book swiftly shifting its focus back upon Fixit; “This ain’t that complicated. They’re lookin’ for me -- If they ain’t found me yet, it’s only ‘cause I ain’t makin’ noise.”

Fortunately though, what this publication lacks in its penmanship it somewhat makes up for with its pencilling. Joe Bennett’s depiction of the U-Foes literally dismantling Gyrich’s robot and subsequently incapacitating his “volunteers” with Tear Gas is very well visualised, as is the Brazilian artist’s excellent illustration of an emaciated Hulk tearing into a hapless patrol vehicle of the New York Police Department.

The regular cover art of "IMMORTAL HULK" #43 by Alex Ross

The Immortal Hulk #42 - Marvel Comics

IMMORTAL HULK No. 42, March 2021

Featuring both the disbandment of Gamma Flight under the blinkered leadership of Henry Peter Gyrich, and the departure of Jackie McGee from the Arizona Herald following the newspaper’s appointment of a faceless interim editor, those readers able to navigate their way through Issue Forty-Two of “Immortal Hulk” certainly couldn’t argue that the comic doesn’t make some progress in telling Al Ewing’s ongoing narrative for Bruce Banner’s alter-ego. But the fact that the titular character doesn’t even appear within the entirety of the twenty-page periodical probably made quite a few Hulk-heads think that way just the same.

Indeed, just what the point of the British author’s sedentary script is for “A Game Of Consequences” isn’t particularly clear, unless of course the former “2000 A.D.” writer was simply desperate to pad out an entire publication with disinteresting conversational pieces in preparation for the return of the U-Foes as agents of the American government; “The Hulk is the most dangerous gamma creature to exist - - and Gamma Flight just walked out on their responsibility to catch him. But who needs them? Am I right, Doctor Utrecht?”

Admittedly, the book does still manage some moments of tension, such as when Doc Sasquatch threatens to lethally cut through one of Alpha Flight Space Station’s windows following his new commander’s threat that he’d “drain the gamma out of you” and “maybe take your pelt” to make a rug out of it, if Leonard didn’t remember the location of Shadow Base Site G pronto. But such well-penned scenes are regrettably few, and easily get lost amidst all of the dreary, dialogue-heavy deliberations which this comic’s formidably-sized cast spout on about throughout the rest of the book.

Debatably this magazine’s greatest weakness though must surely lie in editor Will Moss’ decision to utilise a quartet of different artists with which to sketch its interior layouts. All four illustrators, especially regular Joe Bennett, would seem perfectly capable to pencil a prodigious-looking panel or two. Yet because their sequences are scattered across the entire comic somewhat piecemeal, the audience is disconcertingly forced to momentarily readjust their eye for every other page.

The regular cover art of "IMMORTAL HULK" #42 by Alex Ross

The Immortal Hulk #33 - Marvel Comics

IMMORTAL HULK No. 33, May 2020

Plagued by a narrative which arguably closer resembles a homemade patchwork quilt than a smooth-flowing piece of storytelling, Al Ewing’s choppy script to Issue Thirty Three of “Immortal Hulk” must have struck many of its 68,765 readers as something of mess, what with its utterly bizarre visit to the inner workings of Bruce Banner’s mind and frustratingly rushed conclusion concerning the Green Goliath’s long-running battle against the Minotaur. Indeed, the disappointment this forty-page periodical’s audience presumably felt when it becomes evident that the highly-anticipated physical fight-fest between the super-strong beastman and this comic’s titular character wouldn’t actually occur, must have had a fair few infuriated bibliophiles striking this book off of their Pull List in dismay. 

Of course, that isn’t to say that “The Thoughtful Man” doesn’t contain plenty to entertain and enthral, as even Nick Pitarra’s comically sketched mindscape sequences have their highpoints, such as Joe Fixit looking remarkably similar in appearance to “Marvel Comics” legendary writer/editor Stan Lee way back in the Seventies. But despite the publication’s formidable length, everything still feels hurried, especially when it comes to the Hulk’s impulsive assault upon the Roxxon Plaza, and Dario Agger’s grisly ‘demise’ in the belly of the very extra-terrestrial beast he had thought would help him win the day; “Our deal was satisfactory, Mr. Agger. But not satisfactory enough… You know how the sausage is made…”

Fortunately, this final third of the double-sized comic unquestionably gets things back on track with a healthy dollop of pulse-pounding pugilism and the revelation that Xemnu’s hunger was noticeably greater than the Energy Corporation's CEO ever credited him with. In fact, the sudden appearance of the alien’s converted minions, which look truly horrific as a result of his transfiguration process, is perhaps the apogee of this tome, and in many ways it’s a great pity Ewing didn’t further explore the would-be world conqueror’s treachery across a few more instalments, rather than have the cybernetically-enhanced stooges simply battered off the book within a few double-splash pages.

Equally as appealing as this eye-wateringly gruesome conclusion’s sense-shattering shenanigans, are Joe Bennett’s layouts, which genuinely show the Brazilian artist at his most macabre. Whether it be a gigantic, three-headed Hulk tearing the entrails out of Luke Cage and cutting Doc Samson in half with Captain America’s shield, Bruce Banner literally being ripped asunder from the inside out by his ferocious alter-ego, or the Minotaur’s utter horror when he realises he’s been outfoxed by his ally and is about to be diced to death inside the white-furred monster’s stomach, this comic’s numerous panels are crammed full of imagery that will cause adolescents to have nightmares for months.

The regular cover art of "IMMORTAL HULK" No. 33 by Alex Ross

The Immortal Hulk #32 - Marvel Comics

IMMORTAL HULK No. 32, May 2020

Firmly fixated upon the frighteningly formidable mind-control powers of Xemnu, rather than debatably progressing this ongoing series’ overall narrative, Al Ewing was probably right to publically verbalise his gratefulness to “those… who are picking up the book and reading things they don’t agree with.” For whilst “Hulk Is Hulk” contains some minor plot points, such as Charlene McGowan’s apparent ability to reject the intergalactic criminal’s false memories, courtesy of the doctor having “spent a lot of time working out what was me and what wasn’t”, the vast majority of this twenty-page periodical simply consists of a carousel of non-stop dialogues and discourses which arguably do little more than reaffirm the white-furred alien’s success at “posing as a television character.”

Perhaps therefore this comic’s one redeeming feature is its all-too brief ‘look-in’ upon the dastardly doings of Roxxon Energy Corp’s CEO, Dario Agger, whose willingness to sacrifice his loyal killer Travers, so as to sate the appetite of his extra-terrestrial business partner, is as chillingly quick a decision as the hired gun’s death appears excruciatingly painful. Indeed, the relationship between the Minotaur and the “would-be world conqueror” is arguably perfectly penned, with Xemnu’s carnivorous need to consume human flesh there and then being all too readily accepted by the mentally unstable Greek mutate as simply some sort of business transaction; “Sorry Travers…I’ve only got access to the one Hulk. Supply and demand. Old friend. Supply and demand.”

Equally as insane, though debatably far less successfully delivered, is the British writer’s depiction of Bruce Banner and his internal struggle to contain the scientist’s ever-angry Devil Hulk persona. It is quite clear that the nuclear physicist is unwell when he seemingly threatens Rick Jones for simply calling him by his middle name and not Robert, having been found by Captain Mar-Vell’s old side-kick damaging a glass window in one of Shadow Base Site G’s bathrooms. Yet the Eisner Award-nominee later returns to the self-same scene supposedly just to reinforce the message that “Banner smash.”

Joe Bennett is also a little off his stride with some of this comic’s pencilling. True, the Brazilian artist does a grand job of drawing the wide-eyed, almost slack-jawed, gamma expert initially, and his illustration of Xemnu’s cybernetic stomach slicers is disturbingly detailed. But many of his faces, most notably those of Doc Samson and, towards the end of the book, Banner himself, are disconcertingly inconsistent, with several appearing to have been hurriedly sketched simply to help pad out the word-heavy panels.

The regular cover art of "IMMORTAL HULK" No. 32 by Alex Ross

The Immortal Hulk #30 - Marvel Comics

IMMORTAL HULK No. 30, March 2020

Chock-full of more Kaiju than even the most ardent Japanese giant monster film fan could arguably ever imagine, Al Ewing’s script for Issue Thirty of “The Immortal Hulk” must have seemed like ‘manna from heaven’ for the majority of its 45,233 readers. For although the twenty page-periodical initially begins with a somewhat disconcerting discourse between Gamma Flight’s remaining members, as Puck, Titania and the Absorbing Man play cards over the refrigerated corpse of dead team-mate Walter Langkowski, it’s plot quickly shifts gear to cover “four giant monsters on the rampage -- including the one… destroying the Route 60 Interchange.”

What follows is just phenomenal action-packed penmanship, with the British writer cutting loose upon Phoenix with a quartet of fearsomely fanged behemoths, and drilling straight down to the enthralling terror the common person must feel when faced with such overwhelming destructive power. Indeed, despite this comic containing some awesome-looking, pulse-pounding pugilism from some of the Marvel Universe’s heaviest hitters such as Doc Samson and Mary MacPherran, it is arguably poor elderly Murray’s terrifying headlong flight down the darkening stairwells of the Arizona Herald building which is perhaps this publication’s most horrifying highlight.

Of course, there are some seriously spectacular moments to behold elsewhere within this book, not least of which is Titania choking a giant, lava-spewing amphibian with the crushed remains of an aeroplane, or Leonard striking another huge bullfrog-like entity so hard with his fists that “that sound -- like a clap of thunder -- that was its skull cracking --” But these sense-shattering sequences don’t quite convey the utter panic of the city’s pedestrians, as they desperately flee for safety, some with babes in their arms, whilst being ruthlessly eaten alive by large leech-like organisms; “I -- I can’t describe what I’m seeing --”

Packing each and every panel with dynamic pencilling is Joe Bennett, whose attention to detail makes the utterly insane obliteration of the metropolis even more engrossing as its demolition unfolds. Many artists would debatably be happy with simply depicting such memorable titans of annihilation such as Roxxon Bio-Asset #PXK004: “Bradbury”, but the Brazilian takes his work even further by dutifully picking out every individual ceiling lighting unit inside the numerous floors of each fast-falling multi-storey office building…

The regular cover art of "IMMORTAL HULK" No. 30 by Alex Ross

The Immortal Hulk #29 - Marvel Comics

IMMORTAL HULK No. 29, March 2020

In answering such questions as to just how active the Devil Hulk can be during the day now the persona seemingly somewhat trusts it host Bruce Banner, Al Ewing’s pacing for much of this twenty-page periodical was probably a bit too sedentary for the majority of this book’s 46,484 readers. Indeed, coupled with a lengthy dialogue-driven sequence involving Jackie McGee and her worried editor Murray at the Arizona Herald, this comic’s entire opening half is arguably something of a sedentary snooze-fest, which slowly plods it way through the notion that the nuclear physicist’s alter-ego is starting to think “about other people and their feelings”, as well as the female reporter’s acceptance that the green Goliath created “the stress [which] probably killed my father.”

Admittedly, the machinations of Roxxon Energy Corp’s mutated CEO could equally be accused of being similarly word-heavy. But unlike the other two aforementioned sub-plots, the scenes involving Dario Agger are absolutely packed full of pulse-pounding menace, as the Minotaur almost literally squeezes the life out of his faithful advisor Randolph, when the man foolishly delays informing his formidably-sized boss that the titular character can now walk the earth whilst it is “still daytime.” As a matter of fact, it is a pity that “Eat Or Be Eaten” doesn’t provide the Greek super-villain even more ‘screen time’ than he gets, as the increasingly insane industrialist plans an attack from the Roxxon Plaza in New York, whilst drinking a glass of wine and mulling on the fact he’s unable to travel with his gargantuan nightmares or “to savour the terror” they will undoubtedly cause amidst the general population.

Luckily though, for those Hulk-Heads willing to ‘stay the course’, Ewing’s penmanship soon picks up speed once the “suitably fearsome” Roxxon Bio-Assets Harryhausen, O'Brien, Lovecraft and Bradbury are translocated to “local landmarks” in Phoenix. Joe Bennett also provides plenty of pulse-pounding pencilling during these later panels, with some truly gobsmackingly good double-splash pages. Whether it be the depiction of monstrosities the size of skyscrapers laying waste to any hapless building within reach of a tentacle, or the Hulk’s misfortune to immediately be swallowed whole by one of the gigantic behemoths before he’s swung a single punch, the Brazilian artist arguably produces some of the finest layouts of his career; “I want to consume his essence. Once we’ve eaten the Hulk… That’s when the real fun begins.”

The regular cover art of "IMMORTAL HULK" No. 29 by Alex Ross

The Immortal Hulk #26 - Marvel Comics

IMMORTAL HULK No. 26, January 2020

Predominantly focused upon a debatably dreary, word-heavy conversation between Bruce Banner and Amadeus Cho at Everett’s diner in Massachusetts, it is easy to see just why Issue Twenty Six of “The Immortal Hulk” saw its monthly circulation figure almost halve to just 45,522 copies within the space of a few weeks. Indeed, as comics about the nuclear physicist’s monstrously super-strong alter-ego go, this twenty-page periodical’s pedestrian-paced plot seems to be distinctly lacking in either pulse-pounding punch-ups or even the green goliath himself; “That could have gone better. I… didn’t lose my temper with him, did I?”

As an alternative Al Ewing pens a disagreeably long discourse concerning the titular character’s growing concerns about corporations failing to suffer the consequences of their actions, “the unsustainability of current human systems” and “human short-sightedness… currently being exacerbated -- manipulated -- for profit.” Intermixed with an equally lack-lustre array of cut-scenes featuring Doc Samson, Doctor McGowan, Roxx News broadcasters and a local radio show host, this conversational piece rarely gains any perceptible traction, except for a few fleeting panels where Banner’s disconcerting passion to become a terrorist seems about to trigger his famous transformation.

Fortunately however, the British author does manage to throw a few spicy ingredients into this publication’s rather bland bowl of goulash, with the revelation that Bruce has allied himself with none other than “Marvel’s first and mightiest mutant”, the Sub-Mariner. Namor’s continuous presence throughout this publication, subtly pencilled by Joe Bennett, is impressively handled, and the pointy-eared Atlantean’s eagerness to become “an excellent non-team” with the new incumbent of Shadow Base Site B rather excitingly harks back to the days when the New York City-based publisher featured the Scourge of the Seven Seas in its bi-monthly “Super-Villain Team-Up”.

Encouragingly, the former “Judge Dredd” writer also provides this book’s bourgeoning story-arc with a marvellously sinister main antagonist in the form of Roxxon Energy Corp’s CEO, Dario Agger. Imperiously stood before his cowering board members at the very summit of his company’s high rise headquarters, the Minotaur absolutely exudes villainous menace, especially when the "nine-foot man-bull who betrayed the Earth to elves" shockingly shatters the half-filled wine glass he was delicately drinking from just mere seconds before so as to simply emphasize a point.

Writer: Al Ewing, Penciler: Joe Bennett, and Colorist: Paul Mounts

The Immortal Hulk #24 - Marvel Comics

IMMORTAL HULK No. 24, December 2019

Opening with the ultra-nostalgic origins of Bruce Banner’s alter-ego, the Fantastic Four and the cosmic entity known as Galactus, Al Ewing’s screenplay for Issue Twenty Four of “The Immortal Hulk” probably had many of this comic’s 53,944 readers settling down to what they thought would be another enjoyable re-tread of Stan Lee and Jack Kirby’s classic tale from the Sixties. However, no sooner has Rick Jones been saved from the “experimental detonation of a gamma bomb” by a bespectacled scientist than the British writer flings his storyline forward to modern day events, so as to subject his audience to some of the goriest imagery arguably yet seen within the covers of a “Rated T+” publication; “…Was that necessary?”

Indeed, witnessing the green goliath simply pulling away the rapidly dissolving flesh from his horribly mutilated face probably left any hapless Hulk-Heads perusing this twenty-page periodical for the first time utterly dumbstruck. Astoundingly however, so over-the-top a demonstration of the human mutate’s indomitable will to survive is simply the beginning, as the grotesque, one-eyed titular character then proceeds to hurl his foetid epidermis at a nearby soldier and watch as it literally burns into their brain with a disconcerting sizzling sound effect.

Liquefying army grunts definitely seems to be the flavour of the day for the former “U.S. Avengers” author, with at least two more of General Fortean’s followers outrageously being reduced to unrecognisable puddles of blood and bone before “The Steel Throne” concludes. In fact, it seems pretty clear that penciler Joe Bennett is having the time of his life drawing all this spine-chilling bodily mutilation, especially when it only comes to an end following the apparently ‘dead’ Hulk still somehow managing to retain his fighting spirit long enough to fatally push one of his thumbs straight through the Abomination’s right eye in a truly grisly display of gratuitous violence.

Sadly though, after such a pulse-pounding display of pugilism, Ewing’s penmanship does debatably turn a little too intergalactic for so ‘grounded’ a member of the Marvel Universe as the Hulk. Followers of the invulnerable “World-Breaker” could probably see “Bruce Banner of Earth” being the last survivor of the Universe, and resultantly being “baptised in the energies of creation” in much the same way as Galan of Taa was before becoming Galactus. But to then scribe him tearing the Sentience of the Cosmos in half and eating him seems rather far-fetched even for so super-strong an anti-hero…

Writer: Al Ewing, Penciler: Joe Bennett, and Colorist: Paul Mounts

The Immortal Hulk #23 - Marvel Comics

IMMORTAL HULK No. 23, November 2019

Chock full of numerous super-powered heroes and villains, as well as more high grade military hardware than General Ross could probably have ever imagined possible when he first sought out the Incredible Hulk in the early Sixties, Al Ewing’s script for “The Face Of The Enemy” does a good job of setting in motion “the culmination of the war between Hulk and [Reginald] Fortean that’s been back-and-forthing for a while now”. Indeed, despite a somewhat sedentary opening flashback scene to a time before Jackie McGee “got a journalism degree at Arizona State on a scholarship award”, this twenty page-periodical’s narrative simply doesn’t let up until it’s horrifically gory cliffhanger when the latest incarnation of the Abomination confronts Bruce Banner’s alter-ego mano-a-mano.

Disappointingly however, despite all of this comic’s pulse-pounding pace, the British author’s “twisted version of the traditional Hulk Family” doesn’t debatably produce quite as many ‘stand-out’ moments as this book’s 56,734 readers probably expected. For starters, Leonard Samson, having been simply dispatched twice before in previous instalments with literally just a couple of bullets, is once again impotently ‘killed in action’ before the good, green-haired doctor can shake a fist in anger. Whilst, Betty Ross and Rick Jones are similarly side-lined by a sub-plot which sees the two grotesquely-transformed monstrosities tediously traverse Shadow Base Site B, ‘sniffing out’ gamma signatures and terrorising Charlene McGowan for incarcerating the living corpse of Delbert Frye.

Even the likes of Titania and the Absorbing Man are pencilled by Joe Bennett as being little more than mere hapless pawns in Gamma Flight’s fight against “the might of the U.S. Military”, with neither Mary MacPherran nor Carl Creel demonstrating the sort of formidable-fighting skills which saw the Masters of Evil members go toe-to-toe with She-Hulk and Thor, God of Thunder. Strangely, only the bouncing adventurer, Puck, seems capable of holding his own against a cybernetic Solar Emitter Unit, and then Eugene Judd is quickly electrocuted afterwards by a cowardly attack from behind; “Once we took Samson out, it was just a matter of time.”

Of course, Ewing has penned General Fortean as having something of “a good track record fighting the Devil Hulk”, and “would have captured what was left of him for Shadow Base” had “Betty not intervened” during the jade giant’s previous unsuccessful battle against the flesh-melting bile of Subject B. But the veteran soldier’s ‘strategic’ ability to best some of the most savagely strong characters within the Marvel Universe with a couple of specialist firearm teams must still surely have somewhat jarred the sensibilities of some of this comic’s audience.

The regular cover art of "IMMORTAL HULK" No. 23 by Alex Ross

The Immortal Hulk #22 - Marvel Comics

IMMORTAL HULK No. 22, October 2019

Crammed to the rafters with more characters and conversation than its 62,053 readers could probably believe possible within a Hulk comic book, it is easy to see why at the time Al Ewing stated he was “very busy” when interviewed by the American website “Newsarama”. Yet whilst the British writer seemed to think that that was “a good problem to have”, so heavy a workload seems to have caused his script to “Who’s There” to become little more than a debatably dreary twenty-page periodical, with nothing in the way of action occurring except Rick Jones’ dramatic transformation back to the land of the living…

For starters, the majority of this publication seems to focus far too much upon the dialogue driven antics of Bruce Banner, whether it be the mild-mannered nuclear physicist mentally breaking down when Betty Ross refuses to transform back into her human guise for him, or in his much more confident Joe Fixit persona. These wordy-heavy, plodding scenes provide very little progress to the plot, and arguably just act as an unnecessary reminder to the perusing Hulk-Heads that Thunderbolt’s daughter clearly still has issues with her ex-husband, and “Sunshine Joe” seems to have developed an appreciation of Jacqueline McGee’s work as a reporter; “And holy c%*p, lady. You sure know how to p&*s off the puny humans.”

Similarly as sedentary are the passages set deep beneath Groom Lake at Shadow Base Site D, where Doctor McGowan perhaps finally realises just how utterly insane General Fortean actually is, having witnessed the soldier 'willingly' bond with the Abomination. Bleeding green ooze from the nose and ignorant as to “what the gamma is doing to your internal organs, or -- or your mind --”, Reginald’s self-deluding belief that he is “in control here” seems a million miles away from the actual truth.

Admittedly, the grotesque-looking, green-skinned gestalt looks incredibly intimidating, and penciler Joe Bennett does a first-rate job of permeating the brutish monstrosity with some marvellous menace. But it’s hard to maintain such a perturbing presence panel after seemingly endless panel when all Subject B actually does is literally stand with his arms folded across his scaly chest and wax lyrical to Doc Samson and Omega Flight about how far his “new wave of psychic surveillance technicians can reach…”

Writer: Al Ewing, Penciler: Joe Bennett, and Colorist: Paul Mounts

The Immortal Hulk #21 - Marvel Comics

IMMORTAL HULK No. 21, September 2019

Whilst many onlookers may well be able to persuasively argue that this particular issue of “The Immortal Hulk” probably saw its readership drop by a staggering thirty thousand readers in July 2019 due to the title’s fortnightly release schedule, it is also easy to see why many of this twenty-page periodical’s potential customers were probably put off by Guest Artist Ryan Bodenheim’s stagnant storyboards. True, the professional illustrator’s clean-lined pencilling does an admirable job of depicting General Fortean’s covert mission on board the Alpha Flight Space Station. But the American’s panels are so devoid of life and two dimensional, that even when the United States Air Force officer brutally slays Doc Samson and Walter Langkowski, their cold-blooded killings still lack much in the way of any emotion or dynamism.

Sadly, so uninspiring an appearance genuinely robs “A Secret Order” of some rather well-penned moments, such as the Absorbing Man shockingly being reduced to a blob of Fentanyl mid-way through a conversation with Titania, and resultantly one can only imagine the disappointment Al Ewing felt when he first saw what drawings Paul Mounts had to work with whilst colouring this comic book. Indeed, it is debatably hard to imagine a more coldly sterile portrayal of a space-based murder spree, especially when this publication’s conclusion ends with one of the youngest Major General’s “to ever hold the rank” being horrifically absorbed into the Abomination’s corpse after he foolishly decides to touch its blubbery flesh.

To make matters worse though, the British writer’s insistence on peppering his narrative with flashbacks to Fortean’s younger days, doesn’t debatably help this comic’s publication’s pedantic pace either, with an eleven year-old Reginald experiencing a supposedly super-inspiring church sermon to respect “our brave fighting forces” being the most tedious of the lot. In addition, a few of these jarring intrusions upon the senior soldier’s orbital rampage make it difficult to determine just why an old war horse like Thunderbolt Ross counted so heavily upon the man, when he clearly froze upon fighting the Hulk for the first time; “I am unable to process what I am seeing. I -- I Just -- How can we keep -- fighting this -- this thing --”

Thaddeus is predominantly projected in the comics as someone with a compulsive obsession over defeating Bruce Banner’s alter ego, to the point where he is willingly transformed “into the Red Hulk in order to better combat his nemesis.” Yet, in these frustrating interludes with his protégé, he’s depicted as someone who rather than admonishing the Major for his failure on the front line, tells Fortean “never [to] apologise for being human” and even astonishingly admits to “Reggie” that he too has felt “the impossibility of this… situation” and suffers “my moments of… of doubt.”

First published on the "Dawn of Comics" website.'

Writer: Al Ewing, Guest Artist: Ryan Bodenheim, and Color Artist: Paul Mounts

The Immortal Hulk #18 - Marvel Comics

IMMORTAL HULK No. 18, July 2019

Despite cramming most of this comic’s action into its final third, and arguably relying upon a mass of character (re)introductions with which to populate the rest of this twenty-page periodical, it is still reasonably clear just why Al Ewing believed at the time of its publication that “Hulk fans have… been really supportive of this run, even though we’re putting their hero through some incredible contortions and convolutions.” For whilst the former “Future Shocks” writer’s script to Issue Eighteen of “The Immortal Hulk” seems to spend a significant amount of time depicting Mister Bancroft’s sedentary taxi journey back to the Friedrich Inn and Doctor Leonard Samson’s dialogue-heavy debate with Gamma Flight, these conversational pieces still provide plenty of fascinating insights into the turbulent world of Bruce Banner and his monstrous alter ego; “Look at the damage he’s done over the years -- billions of dollars. Trillions. And yet civilians never die in these rampages.”

In addition, the intermittent glimpses of General Fortean’s face-fingered Subject B slowly stalking its oblivious prey, and horribly murdering any hapless bystander who stands in the scaly-skinned abomination’s way, generates an increasingly tense atmosphere which may well have tempted the odd Hulk-Head to sneak an early peek at this comic’s cataclysmic conclusion. Luckily, for those within this books’ 75,983 strong audience who ‘stayed the course’ though, the ensuing confrontation between the Green Goliath and his visually-disturbing, sharp-clawed opponent is worth the wait, due in large to the revelation that a semi-conscious Rick Jones is somehow partially buried deep within the ghastly creature’s horribly-malformed maw…

Significantly ramping up this horror show an extra notch or three, has to be Joe Bennett’s pencilling, which seems to successfully heap muscle upon muscle over the Hulk’s broad shoulders whether he be appearing as little more than a reflection in the mirror, or as a ‘last minute saviour’ to protect Marge from the same grisly demise which has befallen her co-worker Anna. The Brazilian artist really seems to have a fine grasp for creating highly memorable new foes for this ongoing series too, with Ewing demonstrating just how much faith he had in his creative collaborator’s design skills by placing Emil Blonsky’s ‘heir presumptive’ into the plot simply because the illustrator “said he’d quite like to draw the Abomination.”

First published on the "Dawn of Comics" website.'

The regular cover art of "IMMORTAL HULK" No. 18 by Alex Ross

The Immortal Hulk #16 - Marvel Comics

IMMORTAL HULK No. 16, June 2019

Incredibly increasing its monthly circulation by almost forty thousand copies so as to become the fourth best-selling comic book in April 2019, Al Ewing’s storyline for Issue Sixteen of “The Immortal Hulk” must have debatably had many of its 90,305 readers scratching their heads in puzzlement as to just what the fuss surrounding this ongoing series was all about. Sure the twenty-page periodical contains a pulse-pounding bout of pugilism between its titular character and a pack of gamma-mutated zoo animals, but the heavily-fanged giant green gorilla, demonic hound and vampire bat are all soon battered to death without Bruce Banner’s murderous alter-ego even breaking into a sweat; “Wanna play Fido? Play dead.”

Instead, this comic predominantly focuses upon Rick Jones’ current fate within the Marvel Universe, and how, having recently had his corpse “exhumed by literal Men in Black with official clearance” the Hulk’s former sidekick is at the centre of some despicably dubious experiment by General Fortean at Shadow Base Site B. These intermittent sequences are arguably however, the highlight of this book, as the Whisperer’s emaciated body is slowly cocooned in a treacle-like luminous green bile and disconcertingly begins to take on the appearance of some sort of reptilian abomination.

Similarly as shocking though, is the former “2000 A.D.” writer’s ability to once again throw his audience a startling curve ball at the very end of this publication with the brusque reappearance of the Bushwacker and even more abrupt demise of Doc Samson, courtesy of a single shot to the head. Doubtless many a “Hulk-Head” gasped at the sheer suddenness of Leonard’s cold-blooded murder, yet immediately then shuddered further as Agent Carl Burbank transforms his right hand into a small firearm and blasts the aghast Banner through the stomach an instant later.

All of these twists and turns are marvellously visualised by penciler Joe Bennett, whose tooth-breaking illustrations of the Green Goliath smashing a hairy primate straight in the chops genuinely brings tears to the eyes. Whether it be the aforementioned Jones’ lifeless body being dripped in sticky irradiated goo, Jackie McGee’s haunted memory of her sightless dead father, or a sneak peek at Betty Ross-Banner as the feather-covered Harpy spying upon a Californian detective investigating her sudden disappearance, all of the Brazilian illustrator’s numerous panels are absolutely packed full of animated life and emotion.

‘First published on the "Dawn of Comics" website.'

The regular cover art of "IMMORTAL HULK" No. 16 by Alex Ross