Hulk is being hunted in New York City, which turns into quite a debacle when his rage is worked up. Is being a household name all it's cracked up to be?
Stan Lee (born Stanley Martin Lieber) was an American writer, editor, creator of comic book superheroes, and the former president and chairman of Marvel Comics.
With several artist co-creators, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Fantastic Four, Thor as a superhero, the X-Men, Iron Man, the Hulk, Daredevil, the Silver Surfer, Dr. Strange, Ant-Man and the Wasp, Scarlet Witch, The Inhumans, and many other characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. He subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
First of all i have to welcome Buscema's art on Hulk, it felt like the highest level of human faces drawing this far on this comic, i am not sure of his version of the hulk, some panels i liked and some panels i didn't like. What i am sure i didn't like was the hulk writing this issue, most pointless issue i have ever read. And what about the idiotic scene in Namor's story, take the cape off you fucking dimwit.
TALES TO ASTONISH #60-91 (The Incredible Hulk) Without so much as skipping a beat, Jack Kirby and Lee pick up the original The Incredible Hulk storyline that introduced the character literally exactly where it left off, as if no time had passed at all. It’s so amazing to be able to see the story continued in such a satisfactory and fittingly epic way, as so many frustrating loose ends were leftover; many incredible storylines and character arcs were left unresolved by its unceremonious cancellation.
But what’s perhaps more incredible is that white the storyline is the fittingly epic culmination of Kirby and Lee’s initial set up, finally paying off on what was originally promised, it actually spends less of its time being massive and epic as much as it spends being incredibly intimate; Bruce Banner’s refugee on-the-run storyline is a very investing one, as you genuinely want this guy to clear his name and live a normal life. But at every turn he’s denied the opportunity by the living personification of his darkest potential, each time that personification appears making his life actively worse. It’s really quite the character-study for 1960s comic-dom.
There’s a reason this is by far the greatest storyline in the history of this character; it is investing, riveting, and heartbreaking all at the same time. It is revolutionary not just in that it told one large extended storyline over the course of nearly a decade, but because that entire time it never lost sight of its intimacy.