The Physicist Has No Purple Pants: Marvel's Hulk-Sized Problems (2 of 2)

(Updated thanks to an eagle-eyed Facebook friend. Thanks, GG!)

When last we left our intrepid blogger, I was constructing a narrative by which I proved that there's a great, big target on the Hulk's green butt, put there by Marvel's powers-that-be and set to have the bull's-eye hit on Wednesday, July 13th, only 3 short days from now, in the pages of Marvel's Civil War II #3. Now, get ready to go beyond the actual event, into what the Hulk's death means for the world of Marvel Comics and its creators, for you the fans, and for the entire doomed comics industry.

(Whoops. Did I just say "doomed"? Heh-heh.)

While I've been taking the time to write these new chapters, I hope you've familiarized yourself with Totally Awesome Hulk #7-8, both now on sale, the latter of them since I published part one. As writer Greg Pak stated himself, the books mark his return to writing Bruce Banner. What he didn't say--but which is patently obvious from reading the eighth issue in particular--is that these stories are intended as a final look back at our favorite physicist, since his next appearance in Civil War II will end with an arrow through his [insert whatever part of Banner's anatomy you want].

O Death, Where Is Thy...Smash??!? (1 of 2)

(EDITED 7/8 thanks to Cth at The Incredible Hulk Message Board!)

It's been about a year since my last post on Marvel's Green Goliath. Those of you who have followed me for any considerable time know the Hulk is my favorite comics character. Hence, I'm a bit territorial when it comes to big events surrounding Big Green. And when I'm displeased, I'm known to write pieces like those dissecting the runs of Jason Aaron and Mark Waid.

Up to now, I've been staying eerily quiet about Totally Awesome Hulk. That ends today.

I've got much more to get into than Totally Awesome Hulk by itself, so I'll try to be brief. For Greg Pak--one of my very favorite Hulk writers, his name spoken in the same breath as Len Wein, Bill Mantlo & Peter David--to have a comeback would ordinarily be a cause for celebration. At the same time, there was apprehension, for what writer successfully returns to the book on which he made his mark? Even Peter David couldn't make lightning strike twice, leaving not even a year into his second tenure. It was true that this time, Pak was making his own creation, Amadeus Cho, into a brand new Hulk, in a move that I previously stated echoed Bill Mantlo's original plans before he handed the book to John Byrne. Some at the time called it a Gary Stu situation (look it up) beyond all others. Me, I went along for the ride, as Pak had earned much goodwill in his prior five-year run.

Stop Me If You've Heard This One Before...

Welcome back, my friends, to the show that ends only while life gets in the way...let's see if we can get the ball rolling and keep it going for more than a post every 6 months, yeah?

And I'm starting with a post about the Hulk.

 

No, no, no! Not that Hulk! This one:

Image courtesy ComicBook.com

The Totally Awesome Hulk is one of the titles announced for the post-Secret Wars Marvel Universe this fall. And while traditional Hulk fans may look at the above promo artwork with apprehension if not outright disgust, there's a silver lining in the creative team.

Returning to the Hulk series (well, a Hulk series) after nearly four years away is "Planet Hulk" & World War Hulk scribe Greg Pak. Joining him is Liberty Meadows and Shanna's cartoonist par excellance Frank Cho. (While Frank himself has worked on a few Hulk stories under writer Jeph Loeb, this series will mark his first regular work on the character.)

I've heard a lot of "wait and see" statements, and a few more people on my Facebook feed have sworn the new series off altogether. In case you can't tell from the above illo by Cho, the protagonist of the new series won't be Bruce Banner. Like Loeb's series before, Totally Awesome Hulk will star a brand new gamma-powered man-monster. Unlike Banner, however, this new Hulk will revel in his new identity--which won't exactly sit well with the other heroes in the Marvel U.

Part of the stated allure of the new series will be the mystery of what's happened to the original green goliath. Although certainly I can't imagine he'll be gone for long.

Speculation's run rampant as to the identity of the new Hulk, although the smart money's on Pak's very own creation, Amadeus Cho, a.k.a. Mastermind Excello, who became an on-again, off-again sidekick of sorts to Banner and Hulk during his prior tenure. Adding more fuel to the fire is Pak's involvement in the currently-running Planet Hulk series as architect of the origin of the various Hulk-like characters therein.

But what everyone's overlooking is the fact that one Hulk writer wanted to do something very similar before. One who certainly has earned his place among the top Hulk scribes of all time. One who also had a 5-1/2 year run on the character.

That writer? Bill Mantlo.

It's no secret that Greg Pak cites Mantlo as his primary inspiration for nearly everything he's done with the character over the years. What might be a secret to everyone out there is the direction in which Mantlo wanted to go when he neared the conclusion of his run. Per Peter Sanderson's "The Big Switch" article from Amazing Heroes magazine in 1985:

[Wrapping up the Crossroads storyline] we were faced with the question, 'Okay, at the end of this, what happens?' We bring the Hulk back, it's clear we've come full circle, and more or less he's right back to where he was when I picked him up. My notion was I could go two ways: I could either bring him right back to where he was. or I was going to create an entirely new Hulk, a Hulk super-hero, who looked glorious, physically handsome, and would be a guardian of the Earth.

Of course, Mantlo's mind got made up for him when John Byrne stepped forward with the desire to tell the Hulk's adventures, resulting in a whole-house creative team swap I've previously covered. Plus, well, how long could a "new Hulk" have survived in the mid-1980s?

Still, it's very, very interesting we're on the cusp of a book featuring an all-new Hulk by a writer inspired by a classic Hulk writer who wanted to do something eerily similar.

With this being my first post back, I'm long on inspiration but woefully short on conclusions. As Joel Hodgson used to ask regularly: "What d'you think, sirs?"

~G.

Vampires, Mutants & Hulks, Oh My! (Reviews: Astonishing X-Men #45, Hulk #47, I, Vampire #4)

Take it away, er.....um, me!

(Apropos of absolutely nothing, today and throughout the weekend I'll be wandering the floor of the Mesa Convention Center for the Amazing Arizona Comic Con. Hang around the Samurai Comics booth long enough and I'm sure to come around. Just don't wait too long or be too conspicuous, because Mike & Moryha will start to look at you funny.)

Now then, did somebody say something about reviews?

ASTONISHING X-MEN #45 - Marvel Comics, $3.99
By Greg Pak, Mike McKone & Rachelle Rosenberg

The "Regenesis" of Marvel's mutant teams continues with the second installment of Greg Pak's "Exalted" storyline this month. When we left Cyclops last month, he'd been hijacked off-world, to a parallel dimension full of strange yet familiar doubles of his friends in the X-Men. He awakens in a chamber tailor-made to contain and absorb his optic blasts. Now that he finds himself in this incredible new tableau, the question is...now what?

One wonders, with Cyclops being the proverbial stranger in a strange land, how or even if Pak's X-saga will impact the ongoing storylines set forth in the other titles. The situation's even more tenuous with the recent announcement that he, McKone and Rosenberg are only on board through #47, with a new creative team taking over henceforth. Still, I'm a sucker for alternate-reality stories, and this one is just plain fun. It helps that Pak only employs the most familiar of the modern X-Men in this story, and the twists upon the familiar formulae are intriguing. Kid Nightcrawler? A bearded Wolverine with more than a few tricks up his sleeve? A mostly-the-same, snarky White Queen? It's like home, but...not. And the biggest surprise--unless I am totally misreading the story--is on the last page, with the identity of the mutant known as Savior.

Through it all, Mike McKone delivers the same clear linework he's brought to various other series. Cyclops is appropriately heroic, Wolverine's somewhat haggard, Nightcrawler has the joy of a child, and the ladies--all the ladies--are appropriately sexy. He knows when to give us big, dynamic shots and knows when a few simple lines are all the expression that's needed. Rachelle Rosenberg once again fills the bill with pastel tones of red, yellow and blue in the prison scenes, darkening the palette as time goes on until the blinding finish. Kudos.

If you like alternate-reality X-sagas and surprises around every corner, Read It.

---

HULK #47 - Marvel Comics, $2.99
By Jeff Parker, Elena Casagrande & Rachelle Rosenberg

If you're suffering a dearth of Hulk-on-Hulk action in Incredible Hulk these days, you're in luck, for this issue marks the first part of a new saga co-starring Betty Ross, the Red She-Hulk. Currently one of the newest Defenders (in the title of the same name), she appears here to fill a different kind of niche. After all, she's not only the long-suffering wife of Bruce Banner, she's also the daughter of this title's lead character, Thad Ross. It's been some time since father and daughter had a heart-to-heart--or any kind of contact, really--and so this storyline's more than a bit overdue.

Parker pulls it all off with aplomb, showing that Betty and Red She-Hulk are the same in some respects, yet drastically different in others. Red She-Hulk expresses herself in ways that Betty represses, acting out toward her father instead of taking the time to talk things out. It's a thrilling opening for the book, certainly, leading to the main thrust of the story featuring one of Ross' newest enemies as one of the many ongoing threads in this book proceeds.

Unfortunately, I can't say the same for Italian import Elena Casagrande, who returns for art chores this month alongside regular (?) colorist Rachelle Rosenberg. Her figures are often unusually posed and stiff, compared even to her earlier work on this series (in the "Fear Itself" crossovers, #37-38). She's at her best outside of the huge action scenes, which means the middle third of this book is exemplary. Otherwise, file it under "nothing special." Thankfully, Rosenberg's colors save the work and make the entire story flow as ably as do Parker's words.

The storyline, with its intersection of two key plot points (old villain + Betty), makes for an intriguing caper, and I can't wait for next month's conclusion. If you can get past some of the artwork, by all means Read It.

---

I, VAMPIRE #4 - DC Comics, #2.99
By Joshua Hale Fialkov, Andrea Sorrentino & Marcelo Maiolo

Last but certainly not least in this triad of reviews comes the frequently brilliant I, Vampire by Joshua Hale Fialkov and Andrea Sorrentino. This issue gives readers the first taste of the upcoming (or so it appears) war between super-heroes and vampires, courtesy a guest appearance by John Constantine, aka Hellblazer. When Andrew Bennett leaves his friends to feed, he meets Steve, a man to whom the curse of vampirism is nearly new. The two talk, and let's just say that Bennett's naivete is nearly his undoing. As if that weren't enough, there's an intense surprise on the final page that puts the whole adventure in perspective.

I have to hand it to writer Joshua Hale Fialkov for bringing this series to vivid, vampiric life. Any other writer could have played up the gore, or accentuated the more Twilight-like aspects of Bennett's struggle, but the subtle touches really make this book stand out. It's a relatively simple tale, but the combination of the spot-on dialogue for Bennett, as well as the low-key, powerful artwork by Sorrentino (aided and abetted by Maiolo), elevate it.

Similarly, adding characters from the greater DC Universe with whom Bennett can interact has really been a point ingrained from the beginning, and with Constantine here, the larger tapestry is starting to show. I do wonder, however, how Bennett, Mary and her kin will all react when characters outside the "Dark" side of DC arrive. It's one thing to have vampires rise up against members of, say, the Justice League Dark, but quite another to have the actual Justice League around. For that, I'm really looking forward to Bennett & co.'s upcoming jaunt to Gotham, just under a month away.

Oh, I still have my worries--for one, Sorrentino still likes working in those pages full of widescreen panels waaay too much for my taste, but he's diversifying and that's refreshing. But that's a small quibble among so much horrific goodness. I can't say this enough, month in and out: Buy It.

What did you think of these new releases? Buy 'em at your local comic shop, or online at Comixology, and post your opinions here!

~G.

11th-Hour Pak Attack: Astonishing X-Men & Red Skull: Incarnate

Greetings, gents. Due to illness--and developments with my "real job"--and yeah, there's that book I've begun writing--I haven't been around to post any reviews! It's about time I got back to it, here, and that means reviewing not one, but two new books by one of Marvel's best & brightest.

As everyone knows, although I'm a "Hulk guy" at heart, that's never stopped me from picking up countless other Marvel books, plus DC books, Image, and some other indie press publications. Send me something (at delusionalhonesty [at] gmail [dot] com) and I'll do my level best to review it in a timely manner. That brings us to a series I haven't picked up in quite some time, since just after the departure of Buffy and Angel writer Joss Whedon.

Yes, kids, it's Astonishing X-Men #44.


Caveat lector: I have been well-read on those mutant folk. At one time, I had an X-collection the envy of most X-fans. Full run of Uncanny X-Men if you include the first four Essential volumes? Check. Full runs of X-Men, New Mutants, X-Force, Cable, Wolverine, and a gajillion other series, regular and limited? Check. About the only series I didn't own that was X-related was Deadpool. But, aside from Peter David's X-Factor, they lost me when the X-folk relocated to San Francisco. And I even drifted away from X-Factor some time ago. For me, X-Men was a light that burned bright, borne from looking at far too many long boxes of quarter books, and then extinguished itself rather quickly.

As part of "Regenesis," the latest rebranding of the X-Men titles, writer Greg Pak and artist Mike McKone have come aboard Astonishing X-Men to tell a three-part tale. The creative shuffle is the latest in a long line for the book, which since Whedon's departure has been a showcase for Marvel's most popular talent--or at the very least, writers itching to tell an X-tale they can't fit anywhere else on the schedule.

And what of "Exalted," the storyline that begins here in this issue? It's...well, an intriguing puzzle, so far.

Scott Summers, the mutant called Cyclops, has been recovering from injuries incurred recently. He remains at Utopia, the San Francisco Bay area base of the X-Men, while the half of the team headed by Wolverine left to reopen the old Westchester school. Physically, he's fit; however, mentally is another story, as he demonstrates by using his optic blasts to decimate the facility's locker room. And then, Storm shows up--looking exactly as she did in the Claremont/Windsor-Smith era of the eighties, white mohawk and all. A glorious battle ensues, unique for its depiction of Cyclops' abilities...and then, as they go together toward parts unknown, that's when the weird gets weirder.

It's interesting that Pak and artist McKone go for the nostalgia value of a mohawked Storm as an entry point into this storyline, and then up the ante with the provocative cover image. Fans who weren't around in the eighties may be intrigued, and I hope they are, because Storm's change in appearance is only the gateway into the storyline set to unfold. The script charges full-steam ahead, never really stopping to let you breathe, a feeling only exacerbated by McKone's clean storytelling and topped off with Rachelle Rosenberg's exciting palette of colors.

I'm increasingly intrigued by the world into which Cyclops & co. are dropped in Astonishing X-Men #44. It's true, some fans may feel a bit flummoxed, especially those who haven't followed the merry mutants' adventures in some time. Still, I've always liked the stoic Scott Summers, and to follow him through an unusual adventure in the spirit of Judd Winick's Exiles is something of a treat. While by no means perfect--the ending is no doubt disorienting--"Exalted" is off to a good start. Read It.

As for the other book on this week's delayed-review list, Red Skull: Incarnate #5, it wraps up the origin of Johann Schmidt, the Rote Schädel (that's "Red Skull" to the non-German-speakers) with the same frightening flourish as writer Greg Pak concluded the origin of the villain who could be seen as the Skull's opposite in Magneto: Testament a few years prior.

Pak, this time joined by artist Mirko Colak, brings the tale of Schmidt full circle with--ironically enough--a plot to kill Hitler when he comes to discipline Ernst Röhm at a Munich hotel. Schmidt, his friend Dieter in tow, constructs a simple plan and goes through the motions, chillingly, to get that which he feels he deserves. The plot is an exercise in cold calculation, a hallmark of the later Red Skull. What's most incredible about this final adventure is how it's all based in stark reality--as has the entire series been--with no masks, no costumes, only human beings carrying out their own cultivated evil designs.

The minimalist script, together with the low-key, yet no less powerful artwork by Colak and colorist Matthew Wilson, really brings a powerful close to the Skull's first adventure. If you haven't picked up this book in the single issues--if this review gets you on board only too late--then do yourself a big favor and pre-order the graphic novel collection of this series. If you've been following all along or you just want a taste of the Skull's evil unfettered by Captain America, then I have two words about Red Skull: Incarnate #5: Buy It.

Next: More Hulkish reviews.

~G.

NYCC '11: Advance Reviews - Dead Man's Run #0, Incredible Hulk #1

At this year's New York Comic Con, this blogger had the honor and pleasure of sneaking peeks at not one, but two special projects that should be of interest to you, my assembled legions. (Or, you know, the two or three of you that read this thing.) I was trying to hold back in one case, because I didn't want Marvel editorial to get miffed at me for spoiling the beans far in advance. You guys know me--I'll spoil important details only when I warn, and never when reviewing a book before its release.

So, yes. Today I have two special treats available to you. From Aspen Comics, I've been able to read an advance copy of Greg Pak and Tony Parker's Dead Man's Run #0, which I'm told will be available this Wednesday, October 26. Many thanks to Greg for the advance peek. (I'm not the only one--NYCC attendees could score their own copies of the book, right at the Aspen booth on the show floor, complete with an exclusive cover by the very talented Tony! Did you get yours?)

The other treat? As many of you may have seen on Twitter, I attended Sunday's "Incredible Hulk" panel at NYCC, hosted by Marvel Director of Communications Arune Singh and featuring guests Jason Aaron (new Incredible Hulk writer), Jake Thomas (new Incredible Hulk assistant editor), Bill Rosemann (editor of the new Hulk Smash Avengers weekly event), and C.B. Cebulski (Marvel SVP - Creator & Content Development). They showed off exciting new projects (like the announcement of that weekly event featuring Hulk fighting the Avengers across different eras, all with delicious Lee Weeks covers), and talked up future happenings in both Aaron's Incredible Hulk and Jeff Parker's ongoing Hulk series. A select few fans in the audience saw something more special: a printed color proof of the entire first issue of Aaron and artist Marc Silvestri's Incredible Hulk #1. And guess who got his hands on it for a read?

Onward!

DEAD MAN'S RUN #0 - Aspen Comics, $2.50
By Greg Pak, Tony Parker & Peter Steigerwald
Created by Ben Roberts

"Jailbreak from Hell." Those three words, as Greg Pak states in his text piece in the back of this issue, were all he needed to spark his imagination. In this issue Pak introduces readers to the world beneath the Andrew Jackson Federal Corrections Facility. Captain Frank Romero is a prison guard who's about to get in way over his head when an explosion rocks the prison, leading to the catastrophic revelation of what exactly lurks below.

It's a "zero" issue, so readers have largely accepted what such an issue entails. In this case, it's a twelve-page prologue story by Pak and his artistic collaborators, Tony Parker (fresh off BOOM!'s Do Androids Dream of Electric Sheep?) and Peter Steigerwald (who subs for regular colorist David Curiel). Following the lead story are the aforementioned text piece by Pak and a four-page peek into Parker's sketchbook, with designs for many of the lead characters. Aspen delivers the goods with these materials, providing ample incentive to find the first issue when it premieres in January.

So, what about this first story? I don't want to spoil too much here. Not that there's much to spoil, mind you--only twelve pages, remember? If the sketchbook at the back is any indication, we get one page of introduction to the story's leads, surrounded by eleven pages where Pak and Parker skillfully begin to present their vision of creator Ben Roberts' world. Comparing Hell to a jail may have been done before--the comparison is nothing if not apt--but the creators immediately establish enough texture so as to avoid the obvious pitfalls. Pak is always skilled with words--never a word out of place. And what about Tony Parker? While Androids may have been a powerful artistic statement, Dead Man's Run will--hopefully--be the project that puts his name on everyone's lips as one to watch. While colorist Steigerwald helps, Parker brings a terrific sense of style to every page, matching Pak's script.

Supernatural overtones, check. Fascinating, if slightly goofy, high concept? Check. Terrifically fitting, "Twilight Zone"-type ending for this prelude? Check. A killer creative team to propel us along this insane journey? You bet.

Buy It.

---

THE INCREDIBLE HULK #1 - Marvel Comics, $3.99
By Jason Aaron, Marc Silvestri, Michael Broussard, Joe Weems, Rick Basaldua, Sal Regla & Sunny Gho

Every few years, lately, Marvel relaunches even its biggest sellers. They've done it a few times with the Hulk. Certainly Greg Pak's revolutionary "Planet Hulk" saga counts, followed by Jeph Loeb and Ed McGuinness' reinvention following the conclusion of World War Hulk. Just over a year ago, Pak and a bevy of artists teamed to bring a bi-weekly, 24-issue examination of ol' Greenskin as leader of a team of monsters. Now, although Red Hulk, Red She-Hulk, Skaar and all the rest are still out there in the Marvel Universe, the time has come to again cast sole spotlight on the one and only Hulk.

Cue Jason Aaron and Marc Silvestri's Incredible Hulk, picking up where the bizarre events of the summer event Fear Itself left off. (It's true, there's a four-page prologue to this story by Aaron and artist Michael Choi in the final issue of that series, but it's by no means necessary prior to reading this tale.)

In "Hulk: Asunder," Aaron opens with the Hulk doing what he does best: smashing. It's a Hulk who has sequestered himself apart from humanity, and found a home living on Monster Isle, surrounded by a legion of the Mole Man's subterranean creatures. "Hulk knows how to smash. Not how to dream," he says, long-haired, bearded, wearing a necklace of bones around his neck. "[T]his is where my story ends," he says...and right then, we know it's not, because if there's one thing the puny humans don't know how to do, it's leave Hulk alone. Cue...Commander Doom.

Of course, that's also right when the narrative takes a sharp right turn. That's because this Hulk doesn't change into Banner. "I killed everything inside me that was Banner," he says. If you've read the promotional material, or the ending of Fear Itself, you know this means that Hulk and Banner have been separated, as has happened a few times before. And it seems Aaron is trying to say something different about them than any of the previous times.

From the first narration, it's clear that Aaron is approaching the story from the Hulk's P.O.V. Should it surprise anyone that he sees Banner as his jailer, and himself as a prisoner? Aaron extrapolates well from the end of Greg Pak's tenure as writer, as Fear Itself had the Hulk's image once more destroyed after being possessed by Nul, Breaker of Worlds. While there's some dissonance between Pak's run and where Aaron begins, I have to admit a happy Hulk isn't particularly one that is enjoyable to read.

I've only been a sometime fan of Marc Silvestri, although I've been familiar with his work from the days of Web of Spider-Man and Uncanny X-Men. He's only drawn the Hulk a few times, so it was terrific seeing him do such a smash-up job here. I'm not sure if it's how his style just naturally is now, but he seems to very much root the story in a horror atmosphere, and it works eerily well. Especially eerie are the parts I can't talk about, featuring a scene that is very much out of H.G. Wells' The Island of Dr. Moreau. The less said, the better. (I have to say, though, that having Silvestri abetted by not one but four assistants doesn't seem to bode well for artistic continuity.)

The back matter in this one consists of some words with Jason Aaron and a look through the Hulk's storied history. A solid way to pad out the remaining pages this month, even if the $3.99 price tag still irks.

Doubts? I still have them. It seems clear that Aaron wants to follow through on establishing the Hulk's animosity for Banner, and developing Banner as villain in the Hulk's mind. I'm just afraid that attitude will be borne out in a way that irreparably harms the character of Bruce Banner. While yes, we've seen a very obsessive side to Banner's personality surface during the time John Byrne separated man from monster, we haven't seen anything on the level you'll see this issue. It's scary and maybe, just maybe, crosses the line that shouldn't be crossed. At the very least, I'll say Aaron hasn't forgotten Banner is an absolute genius.

Can anybody buy me the Long Beach Comic Con variant to this one?

Big doubt? That abominable logo. The sooner Marvel brings back the logo from the seventies they teased on the video when news first broke, the better. This logo is just too generic. Sorry, guys. Boo. Hiss.

Still, for all my doubts, there's a lot to like here. The atmosphere is rich, and Jason Aaron has the Hulk's dialogue--emotionally worn, an undercurrent of savagery--down pat. There are monsters everywhere, and shades of gray abound. The mystery of how Banner and Hulk have been separated is incredibly intriguing and I'm on board. Definitely Buy It, but be warned if you're a first-timer to the Hulk that the depiction you're seeing of one character in particular isn't at all a traditional one.

---

Both issues in this review are on sale Wednesday, October 26 at comic book shops everywhere.

~G.

Farewell, Greg Pak (An 'Incredible Hulks' #635 Review)

Yes, due to family issues, and other stuff, I haven't been able to post my overview of the work that's gone unreviewed (Skaar: Son of Hulk and Incredible Hulk #601-609). But at the very least, I owed it to you guys to make the review of Incredible Hulks #635 as timely as I could. And I've failed at that, too! Alas, good things come to those who beg, snivel and cajole. Without further ado...

The Incredible Hulks #635
"Heart of the Monster" Part 6


Writer: Greg Pak
Artists: Paul Pelletier, Tom Grummett, Danny Miki, Cory Hamscher & Scott Hanna
Colorists: Morry Hollowell & Jesus Aburtov
Letterer: Simon Bowland
Production: Irene Y. Lee
Assistant Editor: Jake Thomas
Editor: Mark Paniccia
Publisher: Marvel Comics

"It hurts to set you free
But you'll never follow me
The end of laughter and soft lies
The end of nights we tried to die
This is the end."

--The Doors, "The End" (1967)

After five-and-a-half years and eighty-six issues (excluding variant covers), writer Greg Pak has left the building. He's written more of the Hulk's adventures than any other writer save Peter David. That he'll be missed goes without saying. But did he go out on a high note? That is the question.

After reading issue #635 on Wednesday evening, I think the answer has to be a resounding "yes!" The finale of the six-part storyline, "Heart of the Monster," is about as fulfilling a story as there could be given the circumstances. We already know, for example, that Bruce and Betty were seen together in Marvel's Fear Itself event, wherein the Hulk becomes Nul, Breaker of Worlds and begins a rampage not even Red She-Hulk can stop. We also know that Jennifer Walters, aka She-Hulk, appears live and well in the Fear Itself: Fearsome Four limited series, so she must regain her lost powers before this series' end. And news broke last week of Fred Van Lente and Kyle Hotz's miniseries event Destroyers, which will feature both She-Hulk and A-Bomb, indicating Rick Jones wouldn't be cured, either. But really, are any of the above facts a surprise, given that Marvel and Disney are developing Hulk and the Agents of S.M.A.S.H., starring all of the gamma-irradiated heroes so prevalent in the last two years, as an animated series for 2012?

Alas, I've gotten ahead of myself. This issue features two related stories: the twenty-page, actual sixth part of "Heart" by Pak and the regular art team of Pelletier, Miki and Hollowell; and the ten-page epilogue by Pak and his "Spy Who Smashed Me" art team of Grummett and Hamscher (with Scott Hanna) that caps not only the current storyline but serves as a coda for everything since Incredible Hulk #92. Pak contributes an afterword dedicated to eighties Hulk writer Bill Mantlo, and the book ends with a pair of bonuses including a five-page "exit interview" and a cover gallery including almost every Hulk-related story Pak's ever written.

The lead story picks up where the previous issue left off, with Hulk and Red She-Hulk locked in battle in Umar's Dark Dimension. No sooner do they kill each other and everything else there with their power than is everything reincarnated so they can live to punch and hit anew. It's the Hulk's dream come true, inadvertently brought him by the enemies that wished him harm. The "Wishing War" begun when A.I.M. Scientist Supreme Monica Rappaccini turned Tyrannus' Fountain of Youth into a literal wishing well has reached its apex, and nobody is safe. That the Hulk is so at home, where he needs not worry about harming anyone, least of all the woman he loves, is awfully telling of the character's psychology. As one of this blog's readers noted, the Hulk seems to make a correlation between sex and violence--first with Caiera and now with Betty--and it all comes back to how his father used to abuse his mother. When you take that aspect into consideration, the relationship between Bruce/Hulk and Betty/Red She-Hulk becomes especially creepy, no?

Of course, an eternity of the Hulks smashing each other would quickly become repetitive, so Tyrannus must escape the Dark Dimension with Fin Fang Foom to begin the end run. They arrive at the government's not-so-secret stash of Gamma Bombs in Yuma, AZ, long ago thought destroyed in the wake of "Gammagate" during Peter David's epic "Ground Zero" storyline of 1988. Ol' Foomy munches as many as he can, and soon he can launch them out his mouth at his foes. Guess who has to return to Earth to save the day?

The story carries to an epic conclusion all of the Silver-Age silliness that Greg Pak has ably handled since he and Jeph Loeb teamed up on the uber-events "Fall of the Hulks" and "World War Hulks." "Heart" in particular--with its physics-defying wishes, impossible displays of power, and villains from across the Green Goliath's storied history--acts as an refreshing, insane counterpoint to all the "serious" Hulk tales out there that have cropped up ever since Bill Mantlo revealed the Hulk as victim of child abuse. What's more, Greg Pak accomplishes all this while acknowledging the character's terrifying history, his tragic self-loathing, and his propensity for emotional extremes. For, as the writer notes, when the emotional stakes are at their highest, that's when Hulk smashing is most satisfying.

Particularly, I loved the way in which the Hulk's final wish echoed Banner's, but at the same time highlighted a key distinction between the two. While Banner wanted his "family" to be cured only because he didn't want them to be monsters like him, the Hulk's wish (and I won't spoil it here) showed a surprising selflessness that was touching. It made Betty's realization afterward, about the nature of Banner and Hulk's relationship, all the more poignant.

A few points just seemed to fall through the cracks this issue, and that's unfortunately to be expected when dealing with the larger, more important through-arc that concludes here. Tyrannus' defeat was glossed over, Fin Fang Foom was more a generic force of nature than an actual character, and we never do quite learn what happens to all of the bad guys left (or so it appears) in the Dark Dimension from last issue. Still, the emphasis is where it must be: on the Hulk and his relationship with Betty and the remainder of his "family." Is the main story perfect? No, of course not. But with the following ten pages, it doesn't need to be.

In "Hulk Out," Pak and Grummett use a conversation between Banner and Pak stand-in Amadeus Cho to put an exclamation point on the last five-and-a-half years. Cho says what many a fan has likely wanted to tell Banner for years. The results are engaging, but in the last few pages the tide turns again. Pak shows he's a big ol' romantic at heart, and gives Banner and his emerald alter-ego an honest-to-gosh happy ending that's quietly evocative of Peter David's Incredible Hulk #372. And while we know the happiness won't last, the last page--you'll know it when you get there--made me smile. And laugh. And maybe a tear dribbled down my cheek.

Quite the counterpoint to "The Lone and Level Sands" (in Incredible Hulk #467), that's for damn sure.

As for the artistic chores, I thought Paul Pelletier and Tom Grummett served admirably in this finale. While nowhere near the heights of, say, Incredible Hulk #611 (still the high water mark for art since the book's most recent relaunch), Pelletier hit most of the right notes here, his layouts full of dynamism and power. On the other hand, Grummett's chapter relied heavily on emotion and body language. His was a quieter power, but the work was no less solid.

So, now that it's done, what does everyone think of The Incredible Hulks #635? Was it worth the hype? Was it all a final issue from one of the best Hulk writers could be? Sound off, Hulkophiles!

~G.

(P.S.: No, I didn't do an "exit interview" with Greg Pak, but that's because Comics Alliance columnist Chris Sims beat me to the punch. Check it out here! Alas, if I have my way, you'll see more about another new project coming soon. Stay tuned!)

A Whole New World Of Hurt (Finally: 'Planet Hulk')

And I do mean finally! After all, I've interviewed writer Greg Pak about it, but until now I've never really written, longform, about the Hulk story of a generation.

Now's the time. You guys deserve a big bonus, on account of August being a record-breaking month for Delusional Honesty. The little blog that could has just passed 50,000 hits--most of which have come in the last year alone! What's more, the site's enjoyed continuing growth, and tomorrow will likely pull ahead of March 2011's record-best month so far. In a crowded blogosphere, Delusional Honesty is rising to the challenge. Not bad for a homespun little one-man endeavor. Thank you, thank you, thank you.

Back in September 2005, Marvel announced their plans for the coming year at the Diamond Retailer Summit in Baltimore, MD. I remember seeing the news that the next summer's event would be "Planet Hulk," "the seeds of which are planted in November's Hulk issue." They provided the above graphic, that didn't give anything away. What was "Planet Hulk"? Did some catastrophe involving gamma bombs occur, making a bunch of characters into Hulks? (Yeah, yeah, I know. It happened later.) Nobody knew quite what to expect.

Unlimited Alpha Flight?

Very interesting post courtesy of a news tidbit submitted me by The Daily P.O.P.'s own Jameson Lee. Did anyone else catch this comment on Formspring? Should we take the question asker's observation with a grain of salt? Will there be more to Marvel's "Pint O' CB" panel at this weekend's FanExpo Canada than an announcement regarding the recent "Destroy" promo that has the #FVL hashtag attached?

Stay tuned...

~G.

From the Archives: Greg Pak Talks "World War Hulk" Circa 2007

A while ago, I entreated you all to the first of the interviews I did with outgoing Hulk scribe Greg Pak. Below is my second interview with Mr. Pak, originally posted on the Comixfan website in 2007 shortly before the arrival of the crossover epic, World War Hulk. Without further ado, here's that interview--gone from Comixfan's archives, but saved courtesy of a guy who likes to keep everything!

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HULK SMASH PUNY ILLUMINATI!

A World War Hulk interview with Greg Pak
By Gary M. Miller, Comixfan Staff Writer

Since his entrance into the comics scene in 2005 writing such Marvel Comics titles as Warlock and X-Men: Phoenix Endsong, independent filmmaker Greg Pak has seen his star steadily rising. Now, after over a year reporting the incredible Hulk's adventures on the faraway planet Sakaar, during which the titular hero has seen a rise in sales and growing appreciation in the comics press and public (reflected in higher sales and some great-looking variants and second printings of key issues), Greg--and the Hulk--are off to war. (No, not Civil War--that event is so 2006.)

World War Hulk is a five-issue miniseries with tie-in issues across the Marvel line. Recently, Comixfan talked to Rhodes Scholar (!) Pak about "Planet Hulk," World War Hulk, and all the minutiae that have made The Incredible Hulk into one of Marvel's "must-read" series.

Comixfan: For those who haven't been following "Planet Hulk," give us some background on the saga that's been going on for this last year, leading inexorably into World War Hulk.

Greg Pak: A group of so called Marvel "heroes," including Mister Fantastic, Iron Man, Dr. Strange, and Black Bolt, decided the Hulk was a monster and exiled him to an alien planet. Weakened by the trip through the wormhole that took him to the savage planet of Sakaar, the Hulk was enslaved, then forced to become a gladiator. Bonding with his fellow gladiators, the Hulk became a rebel, fighting against the wicked Red King and eventually becoming the planet's conquering emperor, taking the great woman warrior Caiera the Oldstrong as his queen.

Now the Hulk is returning to Earth. And he's going to teach those who exiled him who the monster in this story really is.

Comixfan: The genesis of "Planet Hulk" was in Joe Quesada's vision of the Hulk holding a giant broadsword in an alien landscape. What, then, was the impetus for World War Hulk?

Pak: From the beginning we knew that if you send the Hulk away, he'll eventually come back. And much smashing would ensue.

Comixfan: What separates this "Hulk vs. Everyone" story from previous such battles?

Pak: In the classic battles in The Incredible Hulk #300, #316, and #321, the Hulk was insane -- mindless rage personified. He'd been stripped of rationality by Nightmare in #300--in #316 and #321, Banner had been separated from the Hulk's body by Doc Samson. But the Hulk's not only fully aware of who he is and what he's doing -- during the course of his time on Sakaar, he's developed an entire ethos and community. When he comes back to Earth, he knows exactly what he's doing and why and is utterly convinced of the justice of his actions -- which should make him far more terrifying to those who are in his sights.

Comixfan: You've touched on changes to the Hulk since the last time such a large-scale battle has occurred. Can you elaborate?

Pak: The Hulk has been through many different incarnations -- the average person's probably most familiar with the caveman-speak savage Hulk and the mute Hulk from the television series. But for "Planet Hulk," we're taking inspiration from Peter David's run as well as the original Stan Lee stories from the very first appearances of the Hulk back in the 1960s. Our Hulk is crafty--he doesn't say much, but when he speaks, it's clear he knows exactly what's going on and how to deal with things. He's smart enough to learn and strategize -- which means he can understand and take responsibility for his actions. But at the same time, he's as angry and savage as ever. So we have a character who can really struggle with this central question of whether the Hulk is a hero or a monster.

During the course of our story, the Hulk's grown from someone who's full of rage towards everything and everyone to someone who's actually begun to trust the people who prove themselves to him. The strength and anger which make humans call the Hulk a monster are actually virtues on the savage planet of Sakaar. And as he's led the Warbound gladiators against the Red King, the Hulk has begun to wrap his head around the possibility that he might actually have a place, a world, a people, and a Queen to call his own.

Comixfan: The Hulk's alter ego, Bruce Banner, has been conspicuously absent from the majority of "Planet Hulk," and gone with him the dichotomous tension some say is essential to the Hulk. Will this dynamic change in World War Hulk? And how does the metamorphosis between man and monster operate these days?

Pak: Banner's always been present in "Planet Hulk" -- we just haven't seen him. We've given some hints in The Incredible Hulk #103 about Banner's evolving relationship with his big, green alter ego -- more will be revealed during the course of World War Hulk.

Comixfan: The Hulk can be a formidable force by himself, but he's had his "Warbound" group to side with on Sakaar. Introduce us to some of the Hulk's allies during World War Hulk.

Pak: In The Incredible Hulk #103, Hulk married the wicked Red King's former bodyguard, the fierce woman warrior known as Caiera the Oldstrong. His other allies include the insectivorid Miek, the last king of his dying race; the nameless Brood Creature, perhaps the last surviving member of the species best known as impacable X-Men foes; Korg the Kronan, a great stone man who was one of the very first opponents of the Earth hero you puny humans know as Thor; Elloe Kaifi, an angry young Imperial woman from Sakaar; and Hiroim the Shamed, a Shadow Priest turned warrior.

Comixfan: Tell us more about the Hulk's queen, Caiera--how the idea for her came to be, and explain the differences between her and love interests in the Hulk and Banner's past.

Pak: One big idea of "Planet Hulk" was to see how the Hulk would react if he were thrown into a world where his anger and strength might actually be virtues. Caiera is a woman warrior on this savage planet who can actually match the Hulk's strength -- and appreciate him precisely because of his fury and power. I'm a big fan of previous Hulk/Banner love interests, such as Betty, Jarella, and Kate Waynesboro. But most of these women spent most of their time in love with Banner, or in love with the Banner in the Hulk's body. Caiera may be unique in loving the Hulk first and foremost as the Hulk.

Comixfan: Which of the Hulk's Warbound allies has been the most interesting/fun to write? Why?

Pak: I love 'em all. Korg has probably been the most fun from the beginning--he's a rock, the Warbound's heart and soul, and I've really enjoyed finding his steady voice. More recently, Hiroim's been developing in interesting ways--his spiritual struggle feels more compelling with each passing issue. But it's Caiera who's been the most gratifying to write over the past few issues -- she's grown enormously as a character, progressing from the Hulk's enemy to wary ally to lover and Queen. She has incredible strength and integrity -- it's been a real kick watching her develop.

Look for big moments for...[all of the Hulk's] Warbound -- in the pages of World War Hulk.

Comixfan: The Hulk seems to be quite at home on Sakaar. He's king, he's married, he has friends there. Is he merely returning to Earth for revenge, or is there more to it? And do all of the Hulk's Warbound brethren reach Earth?

Pak: At least three will return with him. Beyond that, I can say no more. All will be revealed in The Incredible Hulk #105, the climactic issue of the "Planet Hulk" saga.

Comixfan: The converse of the above: who are some of the Hulk's main antagonists once he returns to Earth?

Pak: The Hulk has four principal targets -- Mister Fantastic, Iron Man, Black Bolt, and Dr. Strange, the four so-called heroes who exiled him to Sakaar. But anyone who gets in his way had best update any relevant health insurance documents.

Comixfan: With all the emphasis on the Hulk's new warbound friends and on the conflict with Earth's superheroes, will the Hulk's main friends on Earth, such as Rick Jones, Betty Banner, et al, be seen during this conflict? What about General Ross, and the Hulk's other foes?

Pak: I can't say too much for fear of spoilers--but at least one of the characters you mention above will play a key role in World War Hulk.

Comixfan: Much has changed since the Hulk departed Earth--all more or less detailed in 2006's big Marvel event, Civil War. How does the Hulk view what has happened in his absence, and how do those situations play into the setup for World War Hulk?

Pak: Again, I can't say too much for fear of spoilers, but fallout from the Civil War has affected a number of characters in interesting ways--and may help determine which Marvel heroes are crazy enough to actually side with the Hulk when he returns. The story of these heroes is told in The Incredible Hulk #106 to #109, which runs concurrently with the World War Hulk miniseries.

Comixfan: Could this same storyline have been told without the backdrop of Civil War? Why or why not?

Pak: In an interesting way, this story has framed the Civil War. The Illuminati exiling the Hulk heralded the beginning of the divisions that led to Civil War; now, the Hulk's return will play out against the aftermath of Civil War.

Comixfan: What will the main thrust of The Incredible Hulk (the main title) be during World War Hulk?

Pak: We all know who's going to fight the Hulk when he returns--but who will fight for the Hulk? The ongoing series follows teen-genius-on-the-run Amadeus Cho, a.k.a. Mastermind Excello, as he tracks down potential allies of the Hulk in anticipation of the Green Goliath's return to Earth. If you're interested in seeing where She-Hulk and Namor stand, don't miss The Incredible Hulk #106 and #107, respectively.

Comixfan: From writing the World War Hulk mini so far, have there been any characters, aside from the Hulk and his Warbound brethren, who have stolen the show, or been just plain fun to write? Who and why?

Pak: Within World War Hulk, I'm having a ton of fun with Dr. Strange--his scenes promise to be both poignant and terrifying. Within The Incredible Hulk book, Amadeus Cho and Hercules are a huge amount of fun to write -- they're part of a group of renegades who will play a critical role in The Incredible Hulk #108 and #109.

Comixfan: What other Marvel staffters were involved in planning World War Hulk?

Pak: Editor Mark Paniccia is my chief partner in crime. But in a project this big, many, many people have provided input along the way. Editor-in-Chief Joe Quesada has played a critical role, all of the various Marvel editors have had their say, and the project's been discussed at a number of creative summits where other writers had a chance to bat ideas around. And now that the tie-in books are underway, there's a whole 'nother group of writers and editors that we're conferring with as we proceed in order to make sure all the stories make sense and fit together.

Comixfan: As a first-time writer of a line-wide event, what have you found to be the pros and cons of writing a story on such a big scale?

Pak: The pros include having the chance to play with all the toys in the Marvel Universe at once, which is incredible. The cons include the fact that a story gets analyzed by a dozen or more people and you have to constantly convince the group of how essential and awesome each element of the story is. Of course, in many ways, that's actually a positive, since the rigorous criticism and feedback you get on a project like this can really hone a story in a fantastic way.

Comixfan: World War Hulk will have many tie-in issues (a Peter David-written prelude, World War Hulk Prologue: Worldbreaker; Christos Gage's World War Hulk: X-Men mini; etc.). How much freedom have you had in shaping the storyline, how much coordination have you done, and how much have you left to your capable editor, Mark Paniccia, and Editor-in-Chief Joe Quesada?

Pak: With an event this big, there are a million different factors which can affect the story -- from practical issues like publishing schedules to creative challenges like making the story work in conjunction with dozens of other ongoing stories within the Marvel Universe. Throughout the months of story development, there were multiple times when Mark and I would need to rework the outline based on a brand new kink. I think the trick is to know what your story is--to fully understand the central premise and emotional experience of your main character. Then you can roll with the punches, adjusting small and big details when necessary, because the central story's crystal clear--it's just a matter of choosing the best path to take in telling it.

Without a doubt, Mark's the true coordinator -- the grand shepherd of the entire event. But he's pulled me into every stage of the process as the kind of resident expert on the characters and stories and themes of "Planet Hulk" and World War Hulk, which has been great -- it's always fun to talk with other writers and it's a blast to bounce ideas around and see what folks are doing with the characters. I've been trading emails with Paul Jenkins (who's writing the Frontlines tie-in) and Christos Gage (the X-Men and Iron Man tie ins) and just had a very fun exchange with Zeb Wells regarding his Heroes for Hire crossover, which'll have everyone buggin' out.

Comixfan: The classic trouble with line-wide crossovers often comes down to style over substance. What differentiates World War Hulk from other big events?

Pak: Just about nothing promises more incredible action that a Hulk-versus-the-Marvel Universe storyline. So for sheer visceral thrills, you just can't beat World War Hulk. But what makes the story really work is the emotional arc at its core. We've been planning this story for years; it's the culmination of all the character building that's been going on all year in "Planet Hulk." This isn't just the biggest action piece in ages; it's also the biggest and most critical emotional and character piece for the Hulk in recent memory. Don'tcha dare miss it!

Comixfan: Well said. On that note, let's start closing things out. Personally speaking, what have been the highlights of working on The Incredible Hulk for your first year?

Pak: Every single issue's been a highlight. Honestly, "Planet Hulk" may be the most gratifying creative experience I've had thus far in comics--working with editor extraordinaire Mark Paniccia, artists like Carlo Pagulayan, Aaron Lopresti, and Gary Frank, and the entire creative team has been a dream. I think all of us have felt that the book is something special and have gone that extra mile to make every panel and every word as perfect as possible. I remember talking with Chris Sotomayor about the color palate of the planet -- he came up with the brilliant idea that the Hulk should be the only green thing we see--except for Caiera's eyes, giving a kind of subtle hint of their eventual relationship. I remember Aaron Lopresti doing five or six layouts of one big splash page until he found just the right image. I remember assistant editor Nate Cosby calling me to talk about the best word to pick for the Sakaarian equivalent of "mile." It's been an amazing experience, and I hugely appreciate all of the people who have worked so hard to make it come together.

Comixfan: You say one of the key lures to World War Hulk is matching the Hulk against the entire Marvel Universe. What do you have to say to those out there who may not be huge Hulk fans and are sitting on the fence as to whether to participate in Marvel's latest big crossover story?

Pak: First, you should be a Hulk fan! The ginormous hardcover trade of "Planet Hulk" is coming out in June, I believe, and that's a great chance to jump on board an epic Hulk tale that leads right into "World War Hulk." A large number of our readers hadn't ever read the Hulk or hadn't followed the book for years and are now hooked--it's an easy place to start, so come on board!

Second, World War Hulk features some giant moments for a number of key Marvel heroes as they face the consequences of their actions from before and during Civil War. If you want to find out what's happening to the big guns in the Marvel Universe this summer, you need to read World War Hulk.

Comixfan: One last thing: have you gotten your "Planet Hulk" action figure (released as part of the first wave of Hasbro's Marvel Legends series) yet? Seeing such a thing must be a pleasant surprise.

Pak: I did indeed get it, and it's awesome. Of course, now I want figures of Caiera and Korg and Hiroim and Brood and Elloe and Miek...

Comixfan: Thanks for the great interview, Greg. Anyone wishing to know more about Greg's future projects can visit his website, http://www.pakbuzz.com! And don't forget, The Incredible Hulk #105 is on sale this Wednesday, and the road to World War Hulk begins next month in the regular book's 106th issue, plus World War Hulk Prologue: Worldbreaker, followed by World War Hulk #1, on sale in June!

Taking the Good with the Meh: Incredible Hulks #634, Fear Itself #5 Reviews

I usually wait a few days to review books. While one of my reviews here is--let's face it--more than a few weeks late, it figures into the outcome of another of the books I'm reviewing that was only released today (or, if you're on the East Coast, then it'll be yesterday by the time I post). Shall we dive right in?

FEAR ITSELF: THE WORTHY #1 - Marvel Comics, $3.99
"Nul: Breaker of Worlds" Feature by Greg Pak, Lee Weeks & Frank Martin Jr.

Certainly, I could say more about this issue, which features seven five-age stories each centered on one of the seven members of "The Worthy," possessed of mystical hammers granted them by Fear Itself's "big bad," The Serpent. Of the seven featured characters, only three regularly appear in a monthly book, and only one has a title all to himself. As all such books cobbled together from online mini-comics are, this one's a mixed bag. (On the plus side, Martin Jr.'s colors on the Titania story make Clayton Henry's art look the best it ever has!) Although I really should comment on all the stories, the only one that deserves full mention is the one that stands out because of its creative team alone.

Greg Pak and Lee Weeks have crafted a story in just four pages that cuts to the heart of the Hulk character, and provides an interesting take that mirrors what Pak has been doing in his final arc, "Heart of the Monster." "By Design..." recaps Green Genes' origin in the words of the man-monster himself, and marks one of the precious few instances of such a retelling. It's not Pak's first time retelling pieces of the puzzle, and at first glance, the writer appears to contradict himself from Incredible Hulk #94 In that story, he told the Warbound that Banner intended the gamma bomb to kill him, but that it only succeeded in making him stronger. By contrast, here the Hulk concludes that Banner used the G-Bomb to give birth to his own dark side incarnate so he had someone to blame/hate for his own failures. The Hulk is Banner's way of dismissing the guilt over killing his own father, and over not being able to save his mother from his father's wrath. He sublimates his self-hatred into the hatred of a being everyone can hate. That's a tortured psychology at its finest.

It's simple. It's brilliant. Yes, Frank Martin Jr. spends all the goodwill he earned on coloring the Titania story by miscoloring the Hulk green during the flashbacks to his first appearance. But this story alone? Buy It. If you don't want to fork over the cash, it can be read for free online at Marvel's website. Go. Now.

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FEAR ITSELF #5 - Marvel Comics, $3.99
By Matt Fraction, Stuart Immonen, Wade Von Grawbadger & Laura Martin

In "Brawl," the latest part of Marvel's summer event that chiefly draws attention to its "Captain America" and "Thor" franchises, the Avengers fight the Serpent while Thor takes on the Hulk and Thing--er, Nul and Angrir (now that they've got those fancy-ass hammers).

I can say "ass" in this review; after all, Thor said it himself in the comic. "And him I liked," he says over the fallen body of the Thing. "But you?" He looks at the Hulk. "You were always a giant pain in the ass." Okay, I guess--to be fair, Thor's trippin' because his daddy mistreated him, and he's really trying to hold back the end of the world. Is this an excuse to walk back a lot of recent characterization? You be the judge.

Of course, with this book being one that's clearly set up Thor, on the strength of his summer movie, as "the good guy," and the Hulk, as one of the Worthy, as "the bad guy," you can see the battle's denouement a century away.Honestly, Hulk is less a character here than a prop for Thor to wallop on. On the opposite tack, the resolution surrounding the Thing comes out of absolutely nowhere and is a deus ex machina if ever I've seen one. And in the first real clash between a core of heroes and the mighty Serpent, you can bet it won't amount to much because there are two issues left in the series.

In spite of some pretty fight scenes, it's really an issue full of banal dialogue and situations, with an air of utterly contrived hopelessness that makes one want to slit his own wrists. With each issue, this book continues to fall to new depths just like its cousin Flashpoint. I expected better of Fraction, Immonen & co., but the plotted-by-consensus event does the opposite of impress. Fear Itself is too unwieldy and should have honestly been restrained to the original Cap/Thor event it was intended to be. At least that way, its focus could have been necessarily tighter, and the book could well have been far better for it. For now, Burn It!

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THE INCREDIBLE HULKS #634 - Marvel Comics, $2.99
By Greg Pak, Paul Pelletier, Danny Miki, Morry Hollowell & Jesus Aburtov

Whereas Marvel's big event of the summer is shaping up to be as much a dud as DC's, the penultimate chapter of Greg Pak's final Hulk story proves to be every bit the engaging affair one imagined it would be. Stepping back from the abyss of last month's lackluster chapter, "Heart of the Monster" part five gets back to a talking lead character and the deciphering of the ongoing mystery of who made what wishes, leading to a thrilling cliffhanger that brings the Hulk and his cast to Ground Zero--in more ways than one.

This issue brings together the Hulk, Red She-Hulk, Dr. Strange, Amadeus Cho, Dr. De Cosimo and all the villains unleashed over previous months for one big powwow in the Dark Dimension. That means, of course, that this time we don't see Rick, Jen or anyone left on Earth this time, but we're reminded they're there, and the time they spend off-panel leave one to hope things are improving for them. In the meantime, it's incredible, rampaging Hulk action as only Greg Pak and Paul Pelletier can deliver, plumbing the depths of the character's unique psychology while providing powerful, evocative visuals and some of the biggest fights this title's seen.

From the halfway point forward, the story kicks up a few notches, with Pak playing up the aspect of the "Worldbreaker" he introduced in World War Hulk above and beyond any previous showing. It won't do fans who prefer a more realistic, less Silver-Age take on ol' Greenskin any favors, but for those who like seeing him let loose, you'll get that and more here, all dynamically drawn by Pelletier and Miki. Hulk fans from the early Peter David years will get a special kick out of the last page, but really, Greg Pak is pulling no punches in providing the enormous finale fans have earned. With only one chapter left in the Incredible Hulks opus, I'm happy to say that the whole team brings the pathos needed here. Buy It!

What d'you think, sirs?

~G.

Gamma Reviews: Incredible Hulks #633 & Skaar #5

Ladies & gentlemen, hobos & tramps:

Welcome to another review jam session! Before we get back to my discussion of continuity vis-a-vis DC's Relaunch, I'm afraid I have to give my weekly round-up of all things Hulk! Don't get used to it, folks, for I'm going to be doing my level best to diversify in the days and weeks to come. (To see just how much I can diversify, check the earliest blog entries from 2005! Just scroll down and find the archives at right.)

Onward? Onward!

THE INCREDIBLE HULKS #633 - Marvel Comics, $2.99
By Greg Pak, Paul Pelletier, Danny Miki, Crimelab Studios & Morry Hollowell

We're officially past the halfway point of Greg Pak's Incredible Hulks finale, "Heart of the Monster," so all of the varied pieces of the puzzle are starting to congeal. Of all the adversaries lined up in issue #630, only two haven't had their shots at ol' greenskin. From this issue's cover, you can see the villain this time is Doctor Strange's sometime enemy, the sinful sister to the Dread Dormammu himself, Umar the Unrelenting! And boy, does she have a history with ol' Hulky...

To those not in the know (and hey, who can blame you, since certain events occurred outside the Hulk's own book?), one of the last times the Defenders assembled to fight evil, they tried to halt a scheme whereby Dormammu and Umar conspired to defeat Eternity and remake the universe in their loathsome image. In the story--written by J.M. DeMatteis & Keith Giffen of Justice League International fame--the Hulk was--ahem--seduced by Umar. He lasted all of a few minutes before collapsing, and changed back to a more-mellow-than-usual Banner. Take from that what you will.

Thanks to the wishing well created by A.I.M. Scientist Supreme (and Banner's ex) Monica Rappaccini and appropriated by Banner's other ex, Red She-Hulk, Umar has returned to plague the Hulk. Or rather, it appears, to help him burn off all that Worldbreaker energy he's built up from seeing his friends poisoned by Arm'Chedon last issue. As result, the entire issue becomes less a focus on the Hulk--who's far too happy to care about anything else, too happy to even speak--and more a focus on Amadeus Cho and friends' efforts to track him down and put an end to this "wishing war" business posthaste.

So powerful is Pak's ongoing narrative that I didn't even realize Hulk's placement as a MacGuffin until my third read-through! He functions as an object of the plot, taken by Umar, sought by Cho and friends, and apparently wanted for death by the other villains of the piece. While it's not necessarily bad because, let's face it, the supporting cast is so well fleshed-out that you hardly notice, I still thought we were through with, for want of a better term, plot-device Hulk (TM).

Still, the book succeeds on the strength of the other characters in the story, as well as on the immaculate artwork by Paul Pelletier, who with inker Danny Miki and colorist Morry Hollowell shows no signs of letting up in this end run. The art tells the story, sells the story, and otherwise makes "Heart of the Monster" even more of a compulsive page-turner than it would be without his involvement. Over previous arcs, Pelletier has shown he belongs among the upper echelons of Hulk artists--perhaps not nearly in the same breath as the all-time greats like Keown, Trimpe and Buscema, but awful close.

Hampered by a story that for about the only time in Pak's tenure relegates the lead character to a thoughtless plot contrivance, this story should by rights earn a "Skip It" rating. However, buoyed by terrific artwork by Pelletier & co. and thoughtful characterization by Pak on the entire rest of the cast (including a guest appearance that makes total sense), I've got to bump up this story's rating. You've got to at least Read It.

SKAAR: KING OF THE SAVAGE LAND #5 (of 5) - Marvel Comics, $2.99
By Rob Williams, Brian Ching, Rick Ketcham & Guru-eFX

Thanks to a strong introduction by his creator, Greg Pak, Skaar blossomed from an eye-rolling, derivative idea into a legitimate character worthy of his father's heritage. It's unfortunate, then, that the first writer to seriously tackle Skaar outside his creator would misfire so badly as in Skaar: King of the Savage Land. In this finale, the storyline, which has thus far been a Ka-Zar riff guest-starring the green-skinned half-breed, degenerates into a morass of unparalleled depths and is, quite simply, the worst thing to come out of the Hulk's corner of the Marvel Universe since Bruce Jones made Betty into the enigmatic "Mr. Blue" and the Leader into a giant brain in a jar.

Am I being too harsh? I don't think so. Bizarrely, as much as this story is a Ka-Zar tale bundled up to fit under the Hulk banner, it's got elements that echo early Hulk stories. (Featuring Ka-Zar, of course.) Specifically, it's got elements designed to attract fans of sixties Hulk artist Herb Trimpe, including the cover with its obvious homage to 1969's Incredible Hulk #110, the villainy of Umbu the Unliving (as seen on the cover), and a non-sequitur of a guest appearance by someone who seems to be the Phantom Eagle, one of Trimpe's favorite creations from WWI. Add more, equally senseless appearances from prehistory's heroes Devil Dinosaur and Moon Boy, as well as western hero Kid Colt, then involve a wormhole that somehow sucked people in over the decades, and you have something more ridiculous. Finish the whole thing off with a blatant "look at me" cameo by Steve Rogers and the Avengers (including Red Hulk!), and the issue feels like everyone's throwing whatever they can at the wall and seeing what will stick. And from out of nowhere--spoiler warning--Skaar saves the day in two pages (by tossing a possessed guy off a cliff to his death!) and Ka-Zar sees fit to crown him new King of the Savage Land.

I hope I'm doing this book justice. And by doing justice, I mean telling you it's a nonsensical book with very few redeeming features. At the very least, Brian Ching's artwork is quite good here, and Guru-eFX keeps the Photoshopped pictures at a minimum this time out. Still, I can't excuse the weak villains, the poor pacing, the limited involvement of the lead character, and the out-of-nowhere conclusion. Truthfully, it may have been a stronger story if Williams had been able to plot it as exclusively a Ka-Zar adventure, as there's really no place for Skaar here. (And that's sad, as from Pak's "Planet Savage" I'd have thought the Savage Land the perfect place for him. I was wrong! I was wrong!)

Please, just Burn It and read this instead:

Questions?

~G.

Movie Review: Captain America - The First Avenger (& Cap, Red Skull Reviews!)

I haven't done one of these movie reviews in a good, long time on this site. In fact, the last time was when I saw 2008's Incredible Hulk from Marvel Studios! In coming weeks I'm going to try and serve up some more reviews, whether of superhero films or other genres (hint: I love Hammer Films!). For now, here's what I thought of...well, you see it in the title of this post, don't you?

 Captain America: The First Avenger

Directed by Joe Johnston

Starring Chris Evans, Tommy Lee Jones, Hugo Weaving, Hayley Atwell, et al.

Screenplay by Christopher Markus & Stephen McFeely

Produced by Marvel Studios, Distributed by Paramount Pictures

Captain America has had a long and rocky road to the silver screen, starting with an early serialized feature produced by Republic Pictures in the forties and continuing through a duet of less-than-stellar made-for-TV features in the seventies (one of which, heaven help him, starred Christopher Lee). A low-budget feature film released in 1991 got the most details right out of all previous adapations, but still was hampered by pedestrian direction and acting, and featured the Red Skull as an Italian fascist and not a Nazi. (Cue jokes about his head looking like a big ol' tomato.)

Hence, when Marvel Studios announced plans in 2008 to produce a new film version, fans hoped they would at last see a fully-realized version of the character. After the successful translations of 2008's Iron Man and The Incredible Hulk by the new studio, it seemed that dream was within reach. Adding weight to the dream was Marvel's announcement the story would almost entirely take place during World War II and feature a Red Skull character largely true to the comics. Bucky would appear. The Howling Commandos, a ragtag group of soldiers with whom Cap sometimes cavorted, would appear.

The story of Captain America: The First Avenger begins in the present, where a team (presumed to be S.H.I.E.L.D., represented by Agent Coulson and Nick Fury in previous films) happens upon the remains of a large ship in the Arctic. When they find the familiar red-white-and-blue shield belonging to the Captain himself, we flash back to New York in 1942 where Steve Rogers (a digitally-scrawny Chris Evans) tries repeatedly to be drafted to war. We see the familiar touches--he's classified "4-F"--before he's recruited by Professor Abraham Erskine (Stanley Tucci) to be one of a group of candidates to train at Camp Lehigh under Colonel Chester Phillips (Tommy Lee Jones). Eventually, of course, he's selected to take the Super-Soldier serum, and next thing you know, he's a living legend.

Or not.

Wisely, the script takes us through a journey whereby Steve Rogers must prove himself worthy of being such a symbol. Interestingly, the concept of Captain America takes a path unseen in the comics world, but which is totally fitting. It was unlikely that the army of the time would take quickly to such a costumed character, so the novel addition to the origin made here makes considerable sense. The moment where we finally see the fully-suited-up Captain America is well-earned and worth the ample screen time shown in getting him there.

The supporting cast built up around Evans as Captain America more than pulls their weight. I'd expect no less of Jones as Col. Phillips, but the rest are just as solid. Sebastian Stan plays a solid companion in Bucky Barnes, and Hayley Atwell is a sensation as Peggy Carter, a throwback to the leading women of the forties. Neal McDonough heads up the remainder of Cap's war crew as Timothy "Dum Dum" Dugan, and does the role justice.

Of course, a hero is only as good as the villain of the piece is evil, and Hugo Weaving is the perfect choice to bring Johann Schmidt, the real, German Red Skull to life. Redefined slightly as the head of HYDRA, the Nazis' science division, Schmidt schemes to use the stolen power of an object known as the Tesseract (which Marvel fans will recognize as something else) to win the war for himself and his followers. At first, I wasn't sold on the Skull being a HYDRA agent, seeing it as another subterfuge for hiding the character's Nazi roots, but I do understand the film must play overseas, and Nazi paraphernalia would certainly hamper that aim. Besides, the swastika does appear briefly, but never completely, to bridge the group's connections. Wisely, Schmidt is assisted by another name fans will recognize: Arnim Zola (Toby Jones), a biochemist with close Nazi ties.

Director Johnston, who previously helmed the period comic book drama The Rocketeer, ably gives us a picture that is as much a war movie as it is about superheroes. Everyone is about as on-point as I could have asked for, and every minor change in the characters is in service to the tale being told, never out of place. The story feels organic in spite of the fact we know where and when it must end. It's a dramatic finish, certainly, involving our main hero and villain just as it should. The ending is heartfelt, bittersweet at turns, and fully establishes what comes next, and one can see all kinds of plot nuggets for next summer's Avengers film as well as the inevitable Captain America sequel.

Overall, Captain America: The First Avenger has a wealth of elements lifted directly from the comics, whipped together to tell a compelling origin story full of rich characters and situations. It's got something for everyone, including a few choice easter eggs that had me smiling. (Watch for the surprising appearance in the Stark Expo at the beginning.) Without question, it's the best of this year's four summer superhero blockbusters, and it may even rival Iron Man for the best film to come from the young Marvel Studios. With action, romance, and an old time sensibility that recalls Raiders of the Lost Ark and more, Captain America is a sure bet for fun this summer.

(And the ending...well, unless you've lived under a rock these last few weeks, you should know to stay after the credits. You won't be sorry. Just...try not to cream your jeans.)

My Rating: A.

---

Bonus Reviews:

CAPTAIN AMERICA #1 - Marvel Comics, $3.99

By Ed Brubaker & Steve McNiven

For the second time in seven years, Ed Brubaker helms the launch of a new Captain America series, and just as he did the last time, he does it in style. Apparently picking up shortly after the finale of Fear Itself, "American Dreamers" begins with the funeral of one of Captain America's closest friends from the forties. It's a terrific entry point into Cap's life, and Brubaker takes full advantage of being able to tell just enough of the hero's "man out of time" origins to bring in any new readers that might pick up this book after seeing the movie.

In past projects, Brubaker has had terrific success in bringing A-name artists to his productions, and this one's no different. Steve McNiven, previously known for the Civil War event series, joins the ranks of distinguished talent like Steve Epting, Sean Phillips, Butch Guice and Mike Deodato Jr., providing a dynamic take on the characters in Brubaker's bailiwick while Justin Ponsor colors every scene brightly. Cap and his friends seem to burst off each page, and one can't help but be drawn in.

The plot involves the beginnings of a conspiracy meant, it seems, to bring Cap down--a classic revenge scheme involving players stretching back through the character's storied history. Brubaker sets the stage well, giving readers all they need to know without filling in recent, unnecessary backstory about Bucky and the fates of all concerned in Fear Itself, forging boldly onward. If you're looking for a Cap fix but don't want to have to deal with a major Marvel crossover, the newly relaunched Captain America is for you. At least, do yourself a favor and Read It.

RED SKULL: INCARNATE #1 - Marvel Comics, $3.99
By Greg Pak, Mirko Colak, June Chung & David Aja

For years, the Red Skull's history has been something of an enigma. The popular story involves the Fuehrer himself, Adolf Hitler, proudly proclaiming he could turn any man into a symbol of ultimate evil. To that end, he selected a mere bellboy and groomed him to become the Red Skull, a foremost symbol of terror for the Third Reich.

The real story is, of course, more complicated than that, and here writer Greg Pak and artist Mirko Colak begin to unfurl their definitive version of the events that led young Johann Schmidt down the path of treachery that made him don a scarlet death-mask. As others have pointed out, Pak's having previously written the origin of Magneto, itself steeped in Holocaust lore, make him the ideal choice to tell the tale of the character who may well be Magneto's true opposite.

Like Magneto's origin, Pak begins the story of the Red Skull as early as he can, with this issue revealing Schmidt's early years in a home for wayward boys, escalating through his first exposure to the Nazi party in 1923, and finally climaxing in his first showing of brutal violence upon another creature. It's vivid, it's disturbing, and I couldn't put the book down.

The allure of this issue had just as much to do with Pak as it did with Serbian artist Mirko Colak, who sets the right tone from page to page. He's an excellent storyteller who doesn't need words to bring his point across. although this project marks his first work at Marvel, I'm betting this isn't the last we'll see from him.

The Red Skull takes his first steps toward the evil of the Third Reich in this story. It's already brilliant work, and it's only going to get better. Buy It or be sorry!

~G.