Hulk #23 – Review

by Jeph Loeb (writer), Ed McGuinness, Dale Keown, Sal Buscema, Mike Deodato, Herb Trimpe, Ian Churchill, John Romita Jr., Tim Sale, & Leinil Yu (artists)

SPOILER WARNING! If you’re a trade-waiter and haven’t read the issue before this, then you might not want to read this review.  Just sayin’.

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The Story: The curtain is finally pulled back as we get to see not only how and why General Thunderbolt Ross became the Red Hulk, but why he is the man he is today.  Meanwhile, the Red Hulk fights the Cosmic Hulk Robot.  (You know, that sentence alone would make me buy this issue.  A Red Hulk throwing down with a Cosmic Hulk Robot?!  Hello, awesome!  It’s not what’s awesome about this issue, though.)

What’s Good (and pretty awesome): Jeph Loeb finally slows down a second to tell an actual story and it only took him two years.  I’m not saying that I didn’t enjoy the month after month big dumb fight scenes he was throwing my way every issue, but I can only eat so many corn flakes before I start getting a hankering for some eggs and bacon, if you catch my drift.  The scribe tells an engaging tale of Ross’ past, smartly starting nearly at the beginning, when the General was just sixteen years old.  It sets the stage for the rest of the character’s life, as we learn that he’s not only always had an indomitable will but that he also seems to have a knack for escaping the bony claws of the Grim Reaper time and again.  Loeb jumps around in the timeline of Ross’ life, mainly showcasing it in relation to Bruce Banner and the original Hulk.  By doing this, he’s able to explain why such a man who’s shown nothing but hatred for the rampaging monster that is the Hulk would allow himself to be transformed into a nearly identical being.  The desperation, ego, and envy that drive Ross to the depths that he falls to in Loeb’s script are believably conveyed by the writer.  The fact that Ross envies Banner, not only in the raw power that he possesses but in the love he receives from Betty, is a nice revelation that I don’t believe I’ve seen noted elsewhere.

This is a veritable who’s who of Hulk artists and that alone makes this issue a lot of fun to flip through.  In particularly fine form are Trimpe, Keown, Deodato and, of course, McGuinness.  The other artists certainly do a good, if not great, job with the interior art, but these four knock it out of the park.  Trimpe’s a classic artist, and the one page he pencils here (which opens the story) showcasing Ross’ adolescence just pulled me right in.  It’s a shame he could only supply one page of art.  Keown is, basically, MY Hulk artist, by which I mean that he was pencilling the title when I started reading it.  Bias aside, the artist’s double-page spread just screams strength and power as the savage Hulk wails on the U.S. Army.  My only complaint is that, regrettably, he doesn’t pencil the version of the Hulk  that he’s famous for.  That’s left to Churchill, which I though was odd, but oh well.  Deodato’s portion ties together a lot of the events we’ve seen before in the title’s earlier issues and fills in the blanks for us.  With this in mind, the penciller somewhat apes McGuinness’ style but still puts his particular stamp on it.  A risky move, but it completely works.  And then there’s McGuinness.  He’s possibly the only reason I’ve stuck with this title for so long.  He handles the present tale, which include the Red Hulk vs. Cosmic Hulk Robot scenes and they are dynamic as all hell.  He also supplies the visuals for the final showdown between our anti-hero and the Leader, with a down-pouring thunderstorm in the background.  You should buy this for the first page of that alone.  I’m not even kidding.

Elephantmen #25 – Review

By: Richard Starkings (writer), art by various

The Story: In a recap of sorts, we follow the inner monologue of one of Hip and Ebony’s fellow agents at the Information Agency, as he reflects on the history of the Elephantmen.

What’s Good: I love Elephantmen, but this is the first really good “jumping on point” issue that has come out since the series started.  It gives a nice recap of the series to date, complete with lots of footnotes to previous issues if you want to know more.  Of course, you’d be better off buying the trades or tracking down the back issues, but if you refuse to do that, this issue will get you pretty well caught up before spending the last 2 pages introducing the ominous new story arc that will carry this series for the near future (which looks like a lot of fun, btw).

The other hook on this anniversary issue is that it is drawn with 25 splash pages, each by a different artist.  In some ways, this issue is a little like having an Elephantmen themed sketch-book.  Not surprisingly, my favorite page was by Ladronn who is probably most responsible for the look of the series.

Amazing Spider-Man #559 – Review

By Dan Slott (writer), Marcos Martin (artist), and Javier Rodriguez (colors)

I’ll not mince words, I’m a big Mary Jane fan. She is the person most meant for Peter Parker. I know I’ll hear it from the Gwen fans out there, but that’s okay. No one’s been there more for Peter than MJ, and do I hope that we’ll eventually see the return of their marriage.

With that out of the way, I’ve got a strong suspicion that Amazing Spider-Man #559 sets the stage for Mary Jane’s return. The pretext for her return will most likely be linked to Peter’s new gig as paparazzi photographer for the Daily Bugle – a job he comes into with this issue. The job’s trashy, despicable, and shady – Peter knows this, but he also knows that his talents are perfect in this arena, and the money’s too good to pass up. With Peter stalking a high profile male celebrity, it’s almost too predictable that he’ll cross paths with MJ when it’s revealed that she’s dating said celebrity. But whatever, if it comes to that then so be it. Just bring her back already!

As for the rest of this issue, it’s incredibly strong. Dan Slott returns to the book again with a new story arc and artist (Marcos Martin) in tow. Slott does a brilliant job of packing the pages with story – moving the plot faster than perhaps the last two or three story arcs combined! We’re also introduced to two new female villains: Screwball and Paper Doll.

Like The Freak, Screwball is an interesting concept that just doesn’t work. She’s a woman with incredible agility who broadcasts her crime capers via live streaming on the Internet. This idea fails on several levels because it relies too much on defying realism. A girl this gifted – I don’t care who she is – should not be able to best Spider-Man in any way. Spidey’s got too much experience and tricks under his belt to be shaken up by a newbie. Also, why her idiotic accomplices aren’t arrested or pursued makes no sense. It just doesn’t work. Yes, I know I said this issue was strong, so why am I complaining? Because as stupid as the idea is, it still managed to entertain on some level. I’ll just admit it, Dan Slott knows how to make a bad concept seem fun.

As for Paper Doll, she is the complete opposite of Screwball. In fact, this villain seems more suited to Runaways than a Spidey book. She’s creepy, brooding, and supernatural. As odd of a fit she as she is to this title, of all the new Brand New Day villains introduced thus far, I think she’s got most potential. Slott and the other Spider-Man writers just need to keep her mysterious and twisted for as long as they can. I’m really digging this character.

Lastly, the art. Marcos Martin’s work here is unrivaled. It’s the best art we’ve seen since Brand New Day started – and yes, it’s better than Chris Bachalo and Steve McNiven’s stuff. Martin’s style may not appeal to everyone, but his storytelling, his action, and his panel work are out of this world. Dan Slott said Marcos Martin’s style is a cross between Steve Ditko and Tim Sale, and he’s absolutely right. This issue is outrageously gorgeous and a technical wonder to behold.

Despite my misgivings with some of the story elements, these imperfections ultimately end up as the contributing factors that make this issue so damn fun. Oh, and the Starbrand Coffee ad is a nice easter egg. Give me more, I say! (Grade: A-)

– J. Montes