Dungeons Of Doom #2 - Marvel Comics

DUNGEONS OF DOOM No. 2, April 2026

It’s debatably a little difficult for anyone perusing this thirty-page periodical to shake off the notion that they’re somehow participating in a game of “Dungeons & Dragons” rather than simply reading a comic penned by Phillip Kennedy Johnson and Benjamin Percy. Indeed, this mini-series’ second instalment throws so many of Gary Gygax’s well known tropes at its audience, whether that be the all-seeing Eye of Khonshu, a mysterious Skull-Shaped Herb and the well-named Hammer of Treachery, that with each passing challenge any and all bibliophiles will feel that they’ve somehow outwitted another of Doctor Doom’s deeply buried dangers.

Perhaps foremost of these short-lived episodes is the one following Major Simmons and his depleted squad of American soldiers. Desperate to regroup alongside the formidably strong Red Hulk, this party of adventurers arguably appear to have the most humanity of the different “warring global factions” inadvertently hurled into “Doom’s most secret, most forbidden dungeons.” However, if any onlooker thought such a motivation was somehow going to protect them from the horrors trapped behind brick and mortar, they are soon put right – courtesy of their commanding officers’ well-meaning move to allow a limbless cadaver to somehow once again speak its words of magic.

Likewise, despite solely consisting of a lone Wakandan, the story of Umbra bravely diving into so ghastly a pit of unholy terrors appears just as riveting. Admittedly to begin with the white-clad operative does appear to be little more than a “thief” transgressing Latveria’s sovereign territory for their own ends. But such a label soon falls flat when its revealed that the agent’s mission is to penetrate a chamber packed full of T'Challa’s national treasures which Doctor Victor Von Doom has clearly stolen from the Black Panther's kingdom over a period of time.

Finally, the notion that a single publication featuring the work of five different artists would ordinarily be somewhat scoffed at by most comic book critics. And yet the illustrations of Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty and Karl Story all seem to blend together quite magnificently, with only the odd strangely-sketched image of General Thunderbolt Ross’ colourfully-skinned alter-ego making those perusing Issue Two of “Dungeons Of Doom” momentarily doubt Senior Editor Jordan D. White’s decision to utilise so many talents all together.

The regular cover art of "DUNGEONS OF DOOM" #2 by Leinil Francis Yu & Romulo Farardo Jr.

Dungeons Of Doom #1 - Marvel Comics

DUNGEONS OF DOOM No. 1, March 2026

Announced at New York Comic Con 2025, this supposed grappling with “the aftermath of One World Under Doom” probably surprised a fair few of the bibliophiles who nonchalantly picked it up off of the spinner rack. For whilst the thirty-page-periodical is arguably a little clunky in its unconvincing premise of several opposing military-based factions somehow surviving a seriously long fall down into the deepest depths of Victor Von Doom’s underground chambers, as well as being a highly touted limited series which shockingly only consists of just three instalments, Issue One of “Dungeons Of Doom” makes for a compulsive read.

Indeed, whether by design or simply happy happenstance, writers Phillip Kennedy Johnson and Benjamin Percy manage to imbue the repeated assaults upon “The Monster’s Den” with plenty of pulse-pounding action and genuine gusto. Of particular note has to be the sudden appearance of Hydra, who having watched the Western Army visibly weaken itself against Latveria’s Freedom Fighters, decide to join the fracas with a massive aerial assault; “All that was Doom’s is now Hydra’s! Take down that gate! Kill anyone we find inside!”

However, it is the subsequent segments focusing upon the different factions’ survivors deep below the surface which really should capture the audience’s imagination; especially when they encounter “a mutant who should never have been born” and a multi-limbed monster straight out of a Dungeons & Dragon’s manual. These isolated episodes are really well-penned and somehow manage to both hold the attention, as well as inform any onlookers as to the personalities behind the considerably-sized cast. Furthermore it also seems intriguingly unlikely that many, if any, of the combatants are going to survive the experience, particularly within the Hydra faction where their leader quickly demonstrates his willingness to cold-bloodedly murder any member of his squad who threatens his chances of survival.

Quite superbly bringing all this mayhem to life are the artists Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty and Karl Story. Sadly, it isn’t made abundantly clear just which illustrator has pencilled which sheet. But that doesn’t debatably matter thanks to color artist Guru-eFx who does a first-class job of bringing everyone’s drawing styles together into an enjoyable gestalt thanks to his own palette choices.

The regular cover art of "DUNGEONS OF DOOM" #1 by Leinil Francis Yu & Romulo Farardo Jr.

Red Hulk #10 - Marvel Comics

RED HULK No. 10, January 2026

Despite this twenty-page periodical undeniably containing a pulse-pounding punch-up between Thaddeus Ross’ crimson-coloured alter-ego and the cybernetically-enhanced War-Wolf, there’s probably a fair few readers of “Red Flag” which felt the comic was far from being “this explosive series finale!” Indeed, for many Marvelites who can recall the utterly unrelenting, vice-like grip Victor Von Doom holds his kingdom of Latveria with, the notion of four mercenaries – no matter how super-powered – walking into the totalitarian state and planting the American flag atop the tyrant’s own version of Mount Rushmore is utterly preposterous.

Unfortunately though, that is precisely what Benjamin Percy has the three-star General do in Issue Ten of “Red Hulk”, courtesy of Thunderbolt easily overpowering both Simon Ryker and a cavern full of gamma-spawned monstrosities. So swift a victory really is difficult to digest, especially when just a handful of the treacherous Captain’s incredibly strong mutants quickly defeat the likes of Machine Man, Deathlok and Wildstreak without breaking much of a sweat; “Now put down the gun or your friends die.”

Of course there is a significant difference in power levels between Ross and his fellow comrades-in-arms. But doubtless many a reader would have preferred to see this last edition either lengthened, or possibly even extended by another instalment or two, to better depict the old war veteran matching brains and brawn against Ryker’s misshapen army of monsters. Instead, all the audience gets are the grotesque ghouls meekly returning Thaddeus’ friends to him unharmed, and impotently walking off into the darker depths of Doctor Doom’s hollowed out mountainside without even raising a misshapen fist to him in defiance. 

So strong an aura of the creative team simply just ‘wanting to get the comic completed’ also debatably extends to Gabriel Guzman’s pencils too, with an incredible amount of the book’s backgrounds just being bare, empty spaces rather than providing any suggestion of the rugged terrain within which the story is set. This notion of ‘haste’ is also particularly noticeable when Wildstreak and Machine Man are quickly overcome, with only Luther Manning’s defeat being given much in the way of screen time – an oversight which proves especially infuriating when the artist subsequently spends seventeen panels illustrating Red Hulk’s emotional dilemma as to whether to “claim this country or reduce it to rubble.”

The regular cover art of "RED HULK" #10 by Geoff Shaw & Marte Gracia

Red Hulk #9 - Marvel Comics

RED HULK No. 9, December 2025

It is probably quite hard to find a comic book containing two quite so distinct halves as Issue Nine of “Red Hulk”. For whilst this twenty-page periodical’s opening part firmly focuses upon Thunderbolt Ross’ tenuous political sway inside his country’s government, and any favours he can pull when he needs help “to launch a mission to Latveria”. The publication’s later stages depict a no holds barred punch-up between the titular character and his cybernetically enhanced allies against a trainload of Doctor Doom’s nefarious automatons; “You have committed treason against Latveria. You are enemies of Doom. You will be executed.”

Happily however, both of these plot threads are enthrallingly well-penned by Benjamin Percy, and rather neatly flow into one another courtesy of an extremely bemusing “tickets please” scene. Indeed, in some ways it’s a pity that the General’s covert meeting with a sympathetic Senator doesn’t continue for a bit longer as the American author makes it clear that not all the politicians within the United States Capitol building are willing to bend the knee to the Fantastic Four’s foremost adversary.

Having said that though, there is an awful lot for readers to enjoy once the likes of Deathlok, Machine Man and First Sergeant Bowden begin mercilessly battering any Doombot foolish enough to identify itself aboard a cross-country express in modern-day Hungary. This lengthy action sequence, made all the more dynamic once the Red Hulk himself makes a welcome appearance, rattles along at a ferocious pace, and demonstrates just why the despicable despot of Latveria was so eager to ensure Ross went without any source of radiation when the aging war veteran was his prisoner in the past.

Quite possibly this comic’s sole quibble therefore might arise from those bibliophiles who struggle with Gabriel Guzman’s pencilling, and some of Bryan Valenza’s colour choices. There should be absolutely no doubt that the creative pair bring an absolute ton of raw energy to the proceedings, most notably in the form of a double-splash showing the claustrophobic close combat taking place within the passenger carriages. But some within this book’s audience may well find the odd panel too busy to perceive precisely what is going on with its heavily detailed lines and disconcertingly dark shadows.

The regular cover art of "RED HULK" #9 by Geoff Shaw & Marte Gracia

Red Hulk #8 - Marvel Comics

RED HULK No. 8, November 2025

Seemingly pulling all of this ongoing series’ numerous plot-threads back together into a single storyline with a mixture of timely rescues and expedient encounters, it will be debatably difficult for any "Marvelites" reading Issue Eight of “Red Hulk” not to be impressed with Benjamin Percy’s prodigious penmanship. Indeed, the sheer breathtaking momentum of Deathlok’s attempt to find his ‘friend’ deep within a top secret military-controlled laboratory, and that of First Sergeant Bowden’s investigation into “Ryker’s illegal collusion with Doctor Doom” should easily carry this comic’s audience straight through the twenty-page periodical, as well as help its readers forgive the odd all-too convenient coincidence or two; “Change your heading. We’re going straight to the Pentagon.”

Furthermore, the American author does a good job in showing just how both the facility’s cruel experiments, alongside the passage of years, have finally taken a tough toll upon the emaciated, physical frame of Major Thaddeus Ross. Such evident frailty genuinely helps to convince any onlookers that Bruce Banner’s old arch-nemesis is finally at the end of his limits, and generates plenty of plausibility to the notion that an almost feral War Wolf may well catch the fleeing General and Wildstrike as they slowly stumble through the villain’s maze of corridors looking for an exit to safety.

Also well worthy of a mention is Luther Manning’s realisation that despite him being carried “through that whole damn operation” by Machine Man, the experience has actually helped the two heroes form an even stronger bond with one another than before. This moment proves particularly poignant as it initially starts with the Demolisher angrily verbalising his trademark frustrations at his comrade-in-arms, only to then realise that previously it was him who was carrying a useless X-51 “many miles through hostile territory” in Latveria.

Equally as responsible for imbuing all these enjoyable events with a sizeable amount of speed are Geoff Shaw’s pencils. The Iowa-born illustrator appears especially adept at highlighting the significant contrast in pace between Ryker’s cybernetically enhanced werewolf form as he races through Project Alpha in Virginia looking for his prey, and Ross’ worryingly slow, tentative steps alongside Bowden. Furthermore, many a bibliophile will doubtless find themselves holding their own breath as Deathlok repeatedly batters away at a super-thick panel of glass whilst underwater, as he tries to evade a sharp-toothed Sharkman snapping him in two with its deadly jaws.

The regular cover art of "RED HULK" #8 by Geoff Shaw & Marte Gracia

Red Hulk #7 - Marvel Comics

RED HULK No. 7, October 2025

Disconcertingly penning a helpless Thunderbolt Ross being strapped to an experimentation table for most of this twenty-page periodical’s plot, Benjamin Percy arguably plays something of a dangerous game in hoping that the unlikely pairing of Deathlok and Machine Man will provide its audience with enough excitement to make this comic actually worth buying. And whilst the predominantly mechanical duo certainly do deliver an enjoyable mixture of banter and explosions as they’re chased by local law enforcement officers, the side-lining of this ongoing series’ titular character sadly still leaves something of a hole in the book’s storytelling.

Indeed, apart from providing artist Jethro Morales plenty of opportunities to pencil some truly disturbing physical horror – as the General’s body and brain are systematically swollen with isolated gamma pulses, the vast bulk of “Lab Rat” appears to be ‘treading water’ simply so enough time can pass for the aforementioned Luther Manning and X-51 to successfully reach Project Alpha undetected and attempt to rescue the Red Hulk. Admittedly, this publication does also contain an intriguing sub-thread in which First Sergeant Bowden discovers that Captain Simon Ryker is in direct contact with Doctor Victor Von Doom. But the supposedly loyal soldier, who just happens to have a cybernetic hand strong enough to tear open a safe room’s door, takes so little convincing to break into her superior officer’s secret room that her change in allegiance disappointingly smacks of just being an unconvincing contrivance.

Much more successful is Machine Man’s ability to out-think his pursuers, as opposed to just blasting them to pieces with all manner of automatic weapons – which is precisely what his ‘partner-in-crime’ Deathlok wants to do. The two super-powered refugees make a surprisingly good team, and the fact that it’s their sudden confrontation with a pack of killer Sharkmen deep inside a nuclear reactor’s water-filled pipeline which ends the comic as its cliff-hanger, rather than anything happening to Thunderbolt, says a lot for the odd couple’s ‘audience pull’.

Frustratingly, Morales’ layouts also don’t land as well as they could (or perhaps should). There is no doubt that the illustrator proficiently provides this book with plenty of eye-catching sketches. However, Jethro’s style does imbue the likes of Thaddeus’ mistreatment by Ryker with a perturbingly cartoony look which detrimentally impacts upon the grisliness of the sequences.

The regular cover art of "RED HULK" #7 by Geoff Shaw & Marte Gracia

Red Hulk #6 - Marvel Comics

RED HULK No. 6, September 2025

Having previously penned a five-issue piece depicting the titular character escaping a heavily-fortified prison in the mountains of Latveria, many a reader probably thought Benjamin Percy may well be in danger of re-treading old ground by sticking General Ross straight into a military-run, top secret gamma-research facility for his next storyline. Indeed, one of this comic’s opening scenes featuring the Red Hulk impotently bashing away at his cell’s impregnable walls must surely have given the odd bibliophile a disconcerting sense of déjà vu; “Rage doesn’t feel like an adequate description. Because it’s mixed up with a sense of betrayal and disgust, and even defeat.”

Happily however, whilst much of Thunderbolt’s experiences “twenty klicks from Langley” arguably do feel unnervingly familiar, the exploits of Deathlok most certainly don’t as the cyborg attempts to audaciously rescue Machine Man from the Department of Defence’s Waste Disposal centre. This somewhat brutal, quickly botched covert infiltration mission is easily the highlight of this book’s twenty-page plot, as it cleverly provides Luther Manning (as well as his computer-chipped brain) a chance to inject an already palpably tense sequence of the Demolisher desperately searching through numerous rubbish piles, with some much appreciated subtle humour.

In fact, much of this publication’s success debatably rests upon the relationship between the time-travelling assassin and Jack Kirby’s living robot X-51, rather than anything penned for Ross, with the pair’s evident growing friendship proving as enthralling as their sentiments for one another are touching. Furthermore, with an emaciated and powerless General being largely confined to sedentarily walking along the corridors of his prison with First Sergeant Tamika Bowden, the mechanical duo are this comic’s sole source of any adrenalin-fuelled action.

Possibly just as perturbed by this book’s largely uninspiring central narrative is Geoff Shaw, whose layouts featuring the alleged American “war criminal” appear a little uneventful once his Red Hulk persona has worn itself out senselessly battering unmoving bricks. Admittedly, it must be hard to repeatedly pencil the same figures striding down a featureless corridor for too long. But the dynamism seen in the artist’s drawings of Deathlok and Machine Man’s aforementioned antics probably makes those illustrating Thunderbolt’s uneventful journey down to Captain Ryker’s laboratory even more monotonous to the eye.

The regular cover art of "RED HULK" #6 by Geoff Shaw & Marte Gracia

Red Hulk #5 - Marvel Comics

RED HULK No. 5, August 2025

Undeniably hurling Thunderbolt Ross from out of the cooking pot and straight into the fire, Benjamin Percy’s penmanship for Issue Four of “Red Hulk” is arguably a tour-de-force as to how to absolutely pack a twenty-page periodical with some serious high-octane action, yet still deliver a strong storyline involving international politics, treachery, and a palpable feeling of outrage at how despicably a country can treat one of its experienced war veterans. In fact, the General’s anger towards the United States apparently ‘bending the knee’ to Doctor Victor Von Doom positively bristles off of each printed panel; “Defy any system that supports this global @#$%#& coup. We’re at war with the world.”

Furthermore, the introduction of a somewhat quietly spoken, albeit utterly belligerent Colonel, makes a great contrast to the loud, almost bombastic shouts emanating from the gamma-powered protagonist. This particular character, who is so disrespectful towards a superior officer that he doesn’t even salute Ross, is the exact opposite of everything the American author depicts Thaddeus as standing for, and resultantly imbues their momentary cordiality with a terrific amount of tension before the pair have exchanged even a score of words.

The Oregon-born writer’s handling of both Machine Man and Deathlok is also not without merit, courtesy of the badly battered pair still contributing plenty to the plot’s progress. The couple’s close shave with a lone Doombot provides a neat benchmark as to just how much more powerful Red Hulk is over them (as the human mutate rips dozens of the robots apart with his bare hands). But they also move the group's escape bid forward by establishing a communications link with the then seemingly sympathetic U.S. Air Force, and negotiating co-ordinates for a supposedly safe extraction.

Ultimately however, the real heavy-lifting of this tome is done by Geoff Shaw and colour artist Bryan Valenza. Between them the two illustrators absolutely knock the ball straight out of the park, with some marvellous, eye-catching double-splashes of Ross’ heavily-muscled alter-ego brutally bashing any android stupid enough to come within his reach. In addition though, there is a distinctly disagreeable arrogance in the bearing of the aforementioned insolent Colonel, so when the holier than thou soldier is subsequently sketched running for the hills once his ‘detainee’ picks up a nearby boulder, many a bibliophile should be smugly smirking in satisfaction at his evident fright.

The regular cover art of "RED HULK" #5 by Geoff Shaw & Marte Gracia

Red Hulk #4 - Marvel Comics

RED HULK No. 4, July 2025

It’s arguably rather rare for a writer to ensure that their readers can physically feel the unbridled anger of a comic book character. But that is precisely what Benjamin Percy somehow achieves with his narrative for Issue Four of “Red Hulk” once General Thunderbolt Ross discovers “that Doom has taken over the world”, and furiously declares the he now won’t rest until “there’s an American flag planted on Latverian soil.

Indeed, this promise to a somewhat startled Deathlok also does a great job in setting up the twenty-page periodical’s cataclysmic conclusion, as the former commanding officer of Desert Base risks all just so his emaciated physical form can finally be exposed to some more Gamma radiation and take a big step towards achieving his vow; “Direct the nearest kiloton tactical missile to these coordinates.”

Similarly as impressive is the American author's ability to repeatedly demonstrate just how military-minded the aging soldier still is by showing Ross utilising both extremely basic survival skills – in the guise of killing, eating and skinning deer so as to survive sub-zero temperatures – as well as raiding an armaments locker for much more modern-day technology, such as some Kalashnikov automatic rifles. Admittedly, the army officer does get lucky in stumbling upon a deserted dwelling on the outskirts of Doctor Doom’s nearest power plant. However, the computers and manufactured firearms provide a nice contrast to the almost caveman look Thaddeus has assumed in order to outwit the army of Doombots hunting for him and his two comrades-in-arms.

Equally as well penned though, has to be the personality of Luther Manning, which provides an otherwise rather seriously-toned publication with an occasional injection of much needed humour. The ever-complaining cyborg assassin’s internal monologue with his computer brain is particularly impressive, and should certainly cause many within this comic’s audience to have a smile across their face whenever the pair are at odds with one another as to the severity of the situation.

Lastly, Geoff Shaw’s layouts should also be given a ‘big thumbs up’ for repeatedly reminding any onlookers as to just how desperate Ross, Deathlok and Machine Man’s plight actually is. The draining, exhausted look upon Thunderbolt’s face proves especially good at showing the immense toll the trio’s physical exertions are taking. Whilst the illustrator’s ability to have the threat of discovery constantly hovering over the heroes’ heads is well maintained, courtesy of the odd panel reminding everyone that one of Victor’s deadly cloaked robots is always only a heartbeat behind them.

The regular cover art of "RED HULK" #4 by Geoff Shaw & Marte Gracia

Red Hulk #3 - Marvel Comics

RED HULK No. 3, June 2025

Considering that the basic premise behind this twenty-page periodical’s plot is simply to show Thunderbolt Ross running down a snow-covered mountain whilst being “relentlessly chased by an army of Doombots”, it is pretty incredible just how ‘unputdownable’ Benjamin Percy’s script for Issue Three of “Red Hulk” arguably is. In fact, many within this comic’s audience may well point to the American author’s enthralling insights into Thaddeus’ mental exercises during his long-term imprisonment in Latveria as this book’s biggest draw, as opposed to the decorated Air Force officer’s flight through a hostile, mountainous landscape.

Furthermore, the action sequences showing the three-star General coldly calculating how to battle his country’s numerous opponents across various inhospitable environments, whilst simultaneously keeping his somewhat emaciated physical form fit in a closely-confined dungeon cell, provides a splendid reason for the narrative to feature the crimson-coloured titular character throughout a storyline where “Rulk” himself doesn’t actually appear; “Most people have a map inside of them. That map starts with home. I’m not most people. The map inside me is bigger. Much bigger.”

Neatly complimenting so deep a dive into Ross’ militaristic mind is the main bulk of “Uncharted Territory”, which is cleverly penned to depict an unarmed Thunderbolt stoically using every scrap of information he has to hand, to stop a veritable army of Victor Von Doom’s heavily-armoured minions blasting him into oblivion. This lengthy chase scene is pulse-poundingly paced, and despite it becoming abundantly clear that the likes of Deathlok and a badly depleted Machine Man won’t escape the automatons’ sensors for long, still provides a modicum of hope that perhaps the old War Horse will pull something out of the bag at the very last minute.

Similarly as engrossing as this comic’s writing is Geoff Shaw’s highly energetic layouts, with the illustrator’s pencilling of the aforementioned Red Hulk montage providing this publication with a sense-shattering start. In addition, the artist somehow manages to maintain the illusion that the three, increasingly fatigued escapees are constantly under threat of discovery and death by their emotionless, artificially-powered pursuers, even when the mechanical monstrosities haven’t even appeared in a panel for a considerable time.

The regular cover art of "RED HULK" #3 by Geoff Shaw & Marte Gracia

Red Hulk #2 - Marvel Comics

RED HULK No. 2, May 2025

Rather cleverly steering this particular twenty-page periodical away from the cliché of simply having its titular character bash his way out of Doctor Victor Von Doom’s underground prison, Benjamin Percy’s narrative for Issue Two of “Red Hulk” should have completely held its readers’ attention when it first hit the spinner-rack in March 2025. Indeed, this comic’s main plot is truly focused upon Thunderbolt Ross utilising everything to hand so as to defeat his murderous foe - no matter how small or underpowered, rather than just depicting the former commanding officer of Desert Base boringly batter an entire legion of lethal Doombots to freedom.

Of particular note has to be the American author’s well-penned relationship between the veteran soldier and Machine Man. This partnership goes a long way to show how savvy Bruce Banner's long-term nemesis can be when needing help, and also assists in 'showboating' the abilities of the half-fried android whilst the pair face overwhelming odds, deadly gas and a seemingly unassailable dead end. In addition, the Oregon-born writer makes matters even more engrossing by subsequently introducing a rather disgruntled Deathlok into this mix, and by doing so imbues the prisoners' flight with plenty of extra entertaining dialogue and dramatic moments; “Heart’s got nothing to do with it. You computer’s right. It’s too later for her.”

Likewise, the armoured ruler of Latveria’s handling of this attempted break-out isn’t just restricted to him rather lazily sending out more and more robot guards. But actually shows how utterly merciless Doom can be when people oppose his plans for worldwide domination. The terrifying execution of a captive Cartel leader, along with the toxic poisoning of another inmate demonstrates the all-too high risks being taken by Ross and his “misfit crew” in defying the tyrant, and brings a whole new level of danger to the fast-paced storytelling once the group decide to save as many of the hostages as they can.

Ably adding even more nerve-wracking ‘zip’ to these pulse-pounding proceedings are the layouts of Geoff Shaw. The artist does a first-rate job in depicting Thunderbolt as if he truly has the weight of the world upon his shoulders, whilst his pencilling of Deathlok's mannerisms provides the human cyborg with loads of endearing personality as he battles to support his comrades-in-arms in their bid for freedom.

The regular cover art of "RED HULK" #2 by Geoff Shaw & Marte Gracia

Red Hulk #1 - Marvel Comics

RED HULK No. 1, April 2025

Announced by “Marvel Worldwide” in November 2024 as a new ongoing series which also has ties with the publisher’s 'One World Under Doom’ comic book event, Benjamin Percy’s tense, highly claustrophobic script for Issue One of “Red Hulk” arguably makes it easy to see why this twenty-five page periodical was the twenty-seventh best-selling title in February 2025. Admittedly, the actual, crimson-coloured behemoth himself doesn’t really make much of an appearance in this particular publication. But such is the American author’s mesmerising handling of an incarcerated Thaddeus E. "Thunderbolt" Ross that few bibliophiles will surely mind; “And I know its chip technology is the key to this prison. And to my power inhibitor.”

Indeed, the entire point behind “Think Tank” is to show the audience that the decorated U.S. Air Force officer can still outmanoeuvre his opponents using his coldly-calculating brain, rather than just utilising his considerable super-strength and brawn. Such a plot twist genuinely creates a thoroughly riveting read, especially once it becomes clear that the three-star general is in league with a number of other notable fellow prisoners, such as Deathlok and Machine Man.

Similarly as convincing is the premise behind Ross’ captivity, and just why a top-tier villain like Doctor Doom would be interested in holding him “in a cell deep below the ground.” Latveria’s armoured monarch has always been obsessed with undermining the world’s status quo so as to give his small country within Eastern Europe a chance of global domination, so building a prison complex which houses some of the planet’s most “brilliant military, criminal and political minds” makes perfect sense – as well as a compelling adventure once the inmates band together to outwit the Fantastic Four’s arch-nemesis.

Nicely complimenting Percy’s prodigious penmanship are Geoff Shaw’s proficient pencils, which do a very good job of showing Thunderbolt as a somewhat vulnerable, aging man, rather than an unstoppable wrecking machine. Furthermore, the illustrator somehow manages to imbue Thaddeus’ escape attempt with all the meticulous patience and timing an onlooker would expect from such a tactical genius, who knows full well that every ill-timed movement or wasted second could be the difference between life and death.

The regular cover art of "RED HULK" #1 by Geoff Shaw & Marte Gracia

The Incredible Hulk [2023] #19 - Marvel Comics [Part Two]

THE INCREDIBLE HULK No. 19, January 2025

Following on from Phillip Kennedy Johnson’s ‘main event’, Issue Nineteen of “Incredible Hulk” probably disappointed many of its customers due to "Marvel Worldwide" padding out the celebratory, super-sized special with a trio of arguably underwhelming side-shows. Sadly, none of these 'fillers' have been penned by this ongoing series’ guiding hand, and resultantly bear little relationship with the publication’s current “City Of Idols” storyline. Indeed, two of the “all-new tales” don’t even feature either the theoretical physicist or the Jade Giant at all, and instead frustratingly focus upon some minor exploits of She-Hulk and Thunderbolt Ross.

Leading the ‘charge’ is Greg Pak’s ten-page trek to some undisclosed American woodland, where Bruce Banner is suddenly attacked by a pack of peculiar-looking skeletons because “that’s what’s what these days.” Seemingly making little to no sense whatsoever, the long-haired scientist is unable to transform into his sensationally strong counter-part, and resultantly has to rely upon the ultra-convenient appearance of a laser-beam gun packing Amadeus Cho – who just happened to implausibly hear that his friend was being “hunted by ghosts and zombies…” Rather stiffly illustrated by Lan Medina, this tale is just plain odd, and rather shockingly ends with a smiling Banner mercilessly gunning down his would-be protector with Braun’s own wrist-mounted weapon.

Far more entertaining, largely on account of Torun Gronbekk’s tongue-in-cheek humour and Lynne Yoshii’s somewhat anime-like art style, is “Night Eternal”. Debatably emanating El Dorado vibes, this reasonably fast-paced little narrative hurls the reader to the mysterious frozen land of Henunder, and subsequently explores the distinctly dishonest behaviour of the late explorer Harold Dawson; “The family is convinced the items are cursed, which is why you’re tasked with figuring out what to do with them.”

Perhaps the best of the bunch though is Benjamin Percy’s “Prisons”, which within the space of just ten pages manages to quite beautifully encapsulate the cold-blooded, patriotic persona of disgraced American General Thunderbolt Ross. Admittedly, its plot is seemingly penned to be an enticing advertisement for the New York City-based publisher’s upcoming “Red Hulk” title. But alongside Geoff Shaw’s prodigious pencils, this covert penetration of a Russian penal colony makes for a truly mesmerising read.

The regular cover art of "THE INCREDIBLE HULK" #19 by Nic Klein