Ritchie's Profile

The rule for this run is clear: if you can't find an explanation for why a lawyer is now working as a teacher for a class of students with special needs—and why, as Daredevil, he constantly undermines himself in every single issue—then you should start questioning the quality of the book. To make matters worse, there’s the return of a masculinized Elektra. Either the next arc—which brings back Lee Garbett—does the title justice, or this will be another book I drop, just like Phillip Kennedy Johnson’s *Hulk*. This feminist writer doesn't understand Daredevil; she doesn't understand Matt Murdock. Ann Nocenti once wrote a story where Daredevil was shaken, but that was done much better, and it served a purpose.

There's no reason why this should continue to be published. Or at least there's one reason Marvel would shamefully use to justify such drivel from one run to relaunches: attract an internet fanbase that doesn't buy this book. It's so degrading that even writers I consider bad are capable compared to this mindless, outlandish approach by Phillip Kennedy Johnson, who seems to have been inspired by the feces that came out of an intestinal problem he suffers from, and no medication to help purify it. It really seems to be the answer to Immortal Hulk, a direct attack on the success of Immortal Hulk coming from a progressive writer with complete freedom to do anything at Marvel without being questioned, which is typical of a woke person; he doesn't like being questioned by the editorial staff and feels safe with everyone thinking like him. Phillip Kennedy Johnson, everyone reads your garbage online, and these sites giving high ratings don't help in any way to make this garbage you write relevant.

It’s the kind of series where you just can’t wait for it to end. Nothing happens, and it’s all just PKJ’s fantasy of wanting to do something different.

I wonder why Jenkins doesn't write a Hulk run. Both this miniseries and the Captain Marvel one must be a favor he's doing for Marvel, at least to get back to what it was when it brilliantly reinvented itself in 2000. Excellent issue!

I have no reason to tear this booking apart just yet; everything is playing out well and naturally so far—the first act features silly jokes, and things get serious in the second. Let's see how it goes!

This appears to be the final Hulk story aiming to show that the character isn't the nonsense currently being established—with so much going on at once that it leaves the reader confused and, at times, disheartened. Free from chronological constraints, it offers nothing but a solid script from an experienced filmmaker.