The guest artists were a deliberate editorial decision, the opposite of Immortal Hulk, where the guest artists didn't cause as much concern with the quality of their art, which we know would never match Joe Bennett's...

But what I REALLY miss about Immortal Hulk, besides its overwhelmingly rich story in content and complex approach, is that great talents like Lee Garbett, Martin Simmonds, etc., were there to reinforce the obscurity of the run...

... Here, these artists are only there to fulfill an agenda and sabotage the quality of what, according to what they say (although I completely disagree), would be the strong point of this Hulk: Nic Klein's art. But what good is Klein if everything there is cartoonish, with horrible lettering by Cory Petit and childish colors by Matthew Wilson? It's already started to sabotage itself; from now on, it might not even reach two printings.

I don't quite see the difference to Immortal Hulk, however, I have only read a few issues here and there - some of them I liked, some I didn't, which is why I never read the whole series. I agree that it often looks like Marvel is sabotaging itself, mostly by doubling down on the woke shit in, say, the X-titles.

When it comes to the lack of content, I guess that's just how comics are done nowadays. In the good old days you got a full story with a beginning, a middle and an ending in one issue. Now sometimes you get one scene in a book!

I agree on the cartoonish characters (although I do like the coloring). Nic Klein was excellent on Drifter a few years ago, while this is much more middle-of-the-road, despite some great panels here and there.

I have to confess, I'm not that familiar with Joe Bennett, but you really seem to like him a lot.

The division of opinions regarding Immortal Hulk continues to this day. Many complained that the retcon of the Hulk's origin was unnecessary, and that there are some forced moments, such as the Gray Hulk sympathizing with trans people, a Black character replacing General Ross in the hunt for the Hulk, and a Black journalist wanting to understand why the white man has so much support and she doesn't. This is what caused some complaints...

......but when I revisited the run, I wasn't bothered, because not only does the script become intense, but the art and creative team behind it do too, and the psychological aspect, which Bill Mantlo established in the eighties and Paul Jenkins in the 2000s, becomes even stronger and more intense...

......and then we move towards violence, scatological gore that can't be replicated, it's no use, Klein isn't qualified for that, and after seeing what he did with Thor, I see that he's actually not capable of presenting a page or double page on the level of Immortal Hulk. And then we have Matthew Wilson, who isn't Ruy José or Belardino Brabo, and not even the designer of this current run helps...

......even when the Hulk wasn't the focus of the issue, Betty, with her new version of the Harpy, delivered a level of violence and horror that Phillip Kennedy Johnson and Klein with Wilson could never have achieved. In the issue where the Hulk and Betty begin to converse inside that soundproof hotel room, you notice their facial expressions, and how the art and creative team shine in a unique way.

Comics are like this nowadays because woke culture is empty, everything in it is empty and uninteresting, and for these people, comics should be like that, a festival of fast food and nothing more.

If Klein were held to a higher standard by the editorial team, perhaps he could shine in Hulk, but they simply leave him there so that the praise he receives monthly is guaranteed, even if he does nothing but more of the same.

Joe Bennett is a kind soul, a rare sight these days. As a human being, he is enlightened, as is his profession as an artist. Seeing the Hulk without him continuing what he built is incredibly sad.

I should probably mention I’m not a huge Hulk fan. I’ve read him a while in the eighties and one or two issues in the 90s, before I checked out Immortal Hulk just a few months ago, mostly because I liked the art (and good art is hard to find at Marvel these days).

For the same reason I started reading the new Captain America series. Since the X-books have become so terrible, I’ve been looking for other Marvel books that might interest me. But I really don’t know much about the history of these characters or the people who worked on them over the years.

I‘m now at a point where I might drop all Marvel titles. There are still a few decent issues here and there, but nothing that really excites me as much as Geiger or G.I. Joe.

How is it bad the premise is basically the Marvel heroes going to the revolutionary war what’s wrong with it and the art was fine not the best but there is definitely worst art so once again what was wrong with this?

Does valuing comics mean justifying any crap you read as useful to you? Where did you all come from?

It's idiotic, it's stupid, it's boring, and the drawings are awful; only those who don't want to see it can't.

That’s not really an argument and it just started so it’s not boring a boring comic at the start would be them not going into 1776 by the end of the first issue which they did. Idiotic and stupid are the same thing so it seems you don’t like the premise which is fine but that’s a you problem not the comics problem

It's clear, you approve of a story that's stupid and idiotic, and yet you want to justify it as something productive. You lack the capacity for common sense (if you even know what that is), you need to look beyond one issue to see the mess this becomes. It's obvious you don't know how to appreciate a comic book. I don't know why weirdos like you exist in the world, but you yourselves are unhappy, you suffer enough in your daily lives.

Marvel is making comics for idiots, for people who think comics have always been like this. If only you valued this crap with arguments, and even bought enough for it to become a phenomenon for a pathetic generation, I'd understand. But you don't even do that.

Readers don’t seem to have any capacity for discernment anymore. It’s sad, but they probably have never read a great comic. Marvel and Dc have lowered their standards so much in recent years, that what looks unacceptably bad to older readers is pretty much standard for the younger ones now. Some say it’s just a preference of different art styles, but it’s not. Some of these artists are objectively on a hobbyist level.

So you don’t even argue what’s wrong with it you just don’t like the premise which is fine but if you’re going to argue why it’s bad you need to cite stuff and you’re whole thing is the premise is bad and the art sucks therefore the comic is bad when it only started which again is not an argument

The summary explains why this crap is bad: the quality is poor, the premise and the art are bad. It's the same garbage as Hulk, Punisher, and other regular crap that are unfortunately published every damn month, year after year, for the sake of woke people, the new generation that consumes the vomit of these pseudo-artists.

It's obvious you suffer from a VERY SERIOUS mental deficiency that prevents you from seeing a bad comic when you do. And your deficiency is the bullshit of social equality; it's for you that this crap is made, which ceases to be comic books and starts catering to a minority that cares more about the opinions of others than buying and supporting this garbage.

All the comics I reviewed negatively didn't make it past the first issue, because it's obvious that the corny premise will remain the same issue after issue, as will the art. Not seeing this is either suffering from serious mental disorders or thinking that Marvel is doing us a favor by publishing garbage like this that devalues ​​a writer's ability.

Chris Y Here we have a competent writer who sabotages himself by accepting to write this type of story at the behest of an editor, and the art is very, very bad. But the question that persists is why Marvel doesn't turn idiotic stories like this into something promising that will actually boost sales and at least have commercial appeal. Those who keep the comic book market going are the old readers; the new ones are simply reading comics about characters that were created decades ago.

I wish I had an answer. I can only assume that the editorial staff at Marvel is unwilling to change course, because they are ideologically captured by all that woke crap. They really believe they have an obligation to change society in their image, so they keep pushing that nonsense until they have driven away the older readers and grown a completely new readership that has been reeducated to think these are actually good comics. It’s not working, but they believe it will eventually,

Cracks were left in the woke culture, and that's because it spread in a way that completely permeated the culture. And then we have indie comics that tell stories that are more appealing than Marvel, and although they address current culture, the narrative is more important along with the essence of the characters.

After I realized that nothing is lost, when we have Hulk Smash Everything or a retcon of the Punisher and Daredevil from the Ennis era, and that woke doesn't have anything from them that's a sales and acceptance phenomenon. It's a matter of time until everything goes back to normal. But will we be alive by then? I hope so.

For them to have opted for a relaunch after thirty unproductive issues, it's because they were desperate to at least stay on the list, and that's why THIS achieved two printings, not because the story was good, but because it sparked the curiosity of the more unsuspecting reader that this could be a way to reintroduce them to the character without having to read what was published before. Marvel digging its own grave.

My guess is that this will end up being a prequel to the 2026 summer event written by zdarsky. I hear what you are saying about Colton, but the great villains have tragic backstories. Doom. Magneto. So many others.

Good point.