This week’s main review examines a new era of monsters in Infernal Hulk #1. Meanwhile, the team tackles new issues of Black Cat, Cloak or Dagger, and The Mortal Thor in a rapid wrap-up.
Sit back and fasten your seatbelts…The Marvel Rundown begins now!
Infernal Hulk #1
Screenplay: Philip Kennedy Johnson
Artist: Nick Klein
Color Artist: Matthew Wilson
Written by: Cory Petit of VC
It’s been a rough week for author Philip Kennedy Johnson. Not only did he announce a Marvel exclusive, but he continued his Hulk duties with this week’s The Infernal Hulk #1. PKJ’s Hulk run has featured a more horror-leaning and exploration of the mystical, and it’s no different here. Of course, it would be remiss of me not to point out that Infernal Hulk continues Marvel’s trend of restarting a writer’s comic series after the end of a story arc to boost sales. Often these Marvel Act II reboots are a bit difficult to understand for new readers, but at the same time serve as an entry point for those who have earned the rights. I haven’t had time to read the second half of PKJ’s Hulk, so I’m a little cold on this story, but I think this is the best way to judge that this book is on point. I’m happy to report that this book works very well as an entry point for new readers.
Art by Nick Klein and Matthew Wilson
The ease of reading this book comes from PKJ’s attention to natural exposition and story structure. The information I needed as a “new” reader was conveyed in the dialogue between the soldiers trying to fight the Hulk. Infernal Hulk is obviously weird, but that’s the point of the story, and PKJ glosses over the situation over and over again. The story structure focuses on the Hulk’s impact on the world, even through the lens of soldiers in the trenches and the Avengers watching news reports rather than the Infernal Hulk. There’s a bit of a mystery going on with this Hulk that was probably explained in a previous volume, but PKJ picks it up for new readers.
Nick Klein’s art in this issue is visually interesting. This issue has lots of visceral textures and hard shadows throughout the issue to give this book a unique visual identity compared to other Marvel series. The terrifyingly asymmetrical design of the Infernal Hulk and the monster is amazing. Everything looks disgusting and full of green ectoplasm. The action sequences are well constructed and as dynamic as the monsters repelling. Infernal Hulk’s battle with the military is a typical Hulk story, but the level of bloodshed and violence in the battle elevates it to something else. This is further enhanced by Matthew Wilson’s perfect colors. The color palette is full of greens and purples, which provide good contrast and set the creepy, spooky horror tone that this book is going for.
Art by Nick Klein and Matthew Wilson
Granted, Infernal Hulk #1 is a reboot for a reboot’s sake, but it’s still effective as one that serves as a jump to a new point for readers looking to get into PKJ’s underrated Hulk oeuvre. This art is visually different from other art Marvel has published and is truly stunning.
Art by Nick Klein and Matthew Wilson
Final Verdict: Purchase
rapid rundown
Black Cat #4 Black Cat #4 I’m not a fan of the fourth-wall-breaking narration that makes up G. Willow Wilson and Gleb Melnikov’s Black Cat, but I’ve come to appreciate the metatextual theme. In other words, Marvel’s superheroes have abandoned street-level stories. With all the big events, restarts, and “anniversary issues,” Spider-Man doesn’t have time to help the little guy. Every story for these A-list characters has to be a blockbuster event, and this latest installment sends him into space. But someone has to help the average Joe. Black Cat Felicia Hardy is the defenseless and somewhat unwilling hero left in the city. It’s a fun dynamic for a character who has always had a complicated relationship with the law, to put it lightly, and a niche that Marvel needs to fill. Quieter B-level books like this one and Steve Orlando’s Scarlet Witch (at least until the upcoming Sorceress Supreme story) get a chance to focus on more personal, lower-stakes dramas focused on helping people and fighting crime. It’s a reminder of a winning formula that is often abandoned in pursuit of the next big story. G. Willow Wilson’s script is smart and full of character-driven humor. She portrays Black Cat not as a typical seducer, but as a proud, feminine, and capable improvised criminal with a heart of gold. Gleb Melnikov brings the script to life with perfect facial expressions and vertical compositions that emphasize Kat’s acrobatic physicality. This issue is a little more dialogue-heavy than previous issues, but the well-defined characters and the strength of Melnikov’s structure keep it flowing. Felicia can change her look in an instant, doing whatever it takes to get out of a situation. Brian Reber’s colors are bold and bright, befitting a light tone, relying on a two-tone cell-shaded approach rather than heavy rendering. The deep black of Melnikov’s ink looks good on it. VC’s Joe Caramagna is writing this letter because he’s into all things Spider-Man. He clearly enjoys the humorous tone and all of Wilson’s SFX. Black Cat is a fun read and a nice change of pace from the super serious and always apocalyptic tone of most Marvel movies. -TR
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