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A vida de Bruce Banner havia sido destroçada pela explosão da Bomba Gama. Daquele momento em diante, ele liberou a criatura mais forte da Terra - O Incrível Hulk. Mas não importa o quanto ele se torne, seu coração ainda pode ser arrasado por Betty Ross, a filha de seu maior inimigo, o General "Thunderbolt" Ross. Em HULK: CINZA, a origem do Hulk é revelada, e ao fazê-lo, também se desvela um segredo que vai mudar a forma como entendemos Bruce Banner para sempre.
(Hulk: Gray #1-6)
(Hulk: Gray #1-6)
168 pages, Hardcover
First published June 15, 2005
78 people are currently reading
1332 people want to read
About the author
Jeph Loeb
1,589 books1,374 followersJoseph "Jeph" Loeb III is an Emmy and WGA nominated American film and television writer, producer and award-winning comic book writer. Loeb was a Co-Executive Producer on the NBC hit show Heroes, and formerly a producer/writer on the TV series Smallville and Lost.
A four-time Eisner Award winner and five-time Wizard Fan Awards winner (see below), Loeb's comic book career includes work on many major characters, including Spider-Man, Batman, Superman, Hulk, Captain America, Cable, Iron Man, Daredevil, Supergirl, the Avengers, and Buffy the Vampire Slayer, much of which he has produced in collaboration with artist Tim Sale, who provides the comic art seen on Heroes.
A four-time Eisner Award winner and five-time Wizard Fan Awards winner (see below), Loeb's comic book career includes work on many major characters, including Spider-Man, Batman, Superman, Hulk, Captain America, Cable, Iron Man, Daredevil, Supergirl, the Avengers, and Buffy the Vampire Slayer, much of which he has produced in collaboration with artist Tim Sale, who provides the comic art seen on Heroes.
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Displaying 1 - 30 of 290 reviews
July 31, 2018
This tells the story of what happened during the time Bruce Banner disappeared in the Gamma accident and then reappeared after everyone thought the Hulk killed him. I believe the whole story covers only one or two days.
Honestly, I've never been really interested in reading much about Hulk. He is a classic character that I love to see show up in other comics, but on his own, I never gave him much thought. I think everyone probably knows this origin story, but I love the way they breathed new life into it. I'm really glad I read Grey because it made me rethink how I felt about this character.
I loved this story. It was well written and, surprisingly, more emotional than I thought it would be. As an added bonus, the artwork was great!
Honestly, I've never been really interested in reading much about Hulk. He is a classic character that I love to see show up in other comics, but on his own, I never gave him much thought. I think everyone probably knows this origin story, but I love the way they breathed new life into it. I'm really glad I read Grey because it made me rethink how I felt about this character.
I loved this story. It was well written and, surprisingly, more emotional than I thought it would be. As an added bonus, the artwork was great!
September 23, 2019
Well now. I think I found my favorite origin story for the Hulk. It hearkens back to the really early days for Bruce, too, in style, but updated and really awesome for today's discriminating readers. :)
No, the Hulk was not always green. First, he was Gray. :) Just like the lives we lead. :)
I wholeheartedly recommend this for anyone getting started with the Hulk. Or all you fanboys and fangirls wanting something delightful.
Hulk has always been one of my favorite characters. This did him justice.
No, the Hulk was not always green. First, he was Gray. :) Just like the lives we lead. :)
I wholeheartedly recommend this for anyone getting started with the Hulk. Or all you fanboys and fangirls wanting something delightful.
Hulk has always been one of my favorite characters. This did him justice.
December 20, 2013
Continuity in comic books is like a house. As a character’s story grows you add little things to the house – eaves, rooms, a garage. At DC, they tear the house down and rebuild; at Marvel, they put together an odd gothic spire here, a ranch house room there, an attic that is bigger than the main house – a misshapen lump. Which is the better way to go? In Hulk: Gray, Loeb and Sale tweak a bit of the Hulk’s early history to come up with an engaging storyline.
Hulk was originally conceived as amalgam of the Frankenstein monster (that’s kind of who he resembled) and Dr. Jekyll and Mr. Hyde. Unlike his now familiar green color, he was also gray. Gray also describes the area where the triangular relationship between Hulk/Bruce Banner, Betty Ross and General Ross exists. What does Betty see that’s similar in both the Hulk and General Ross? What would have happened if the General had just left Hulk alone? Who’s the real monster here? A conversation between Bruce Banner and Leonard “Doc” Sampson (the shrink of choice for Marvel heroes) is the impetus for Banner’s recollections. Iron Man makes a welcome appearance.
I would recommend this to any Hulk fan. It would also serve as a decent gateway into the Hulk saga for the uninitiated. The Hulk’s had an interesting history. Peter David wrote the Hulk books for a long time and created many different versions (the gray cunning Hulk, the smart Hulk that combined Banner’s intelligence with Hulks brute strength, the Hulk absent of any conscience, etc) that are now familiar. Bruce Jones had a terrific run on the Hulk books as well. Some of the cover art for his work is pretty cool.
Hulk was originally conceived as amalgam of the Frankenstein monster (that’s kind of who he resembled) and Dr. Jekyll and Mr. Hyde. Unlike his now familiar green color, he was also gray. Gray also describes the area where the triangular relationship between Hulk/Bruce Banner, Betty Ross and General Ross exists. What does Betty see that’s similar in both the Hulk and General Ross? What would have happened if the General had just left Hulk alone? Who’s the real monster here? A conversation between Bruce Banner and Leonard “Doc” Sampson (the shrink of choice for Marvel heroes) is the impetus for Banner’s recollections. Iron Man makes a welcome appearance.
I would recommend this to any Hulk fan. It would also serve as a decent gateway into the Hulk saga for the uninitiated. The Hulk’s had an interesting history. Peter David wrote the Hulk books for a long time and created many different versions (the gray cunning Hulk, the smart Hulk that combined Banner’s intelligence with Hulks brute strength, the Hulk absent of any conscience, etc) that are now familiar. Bruce Jones had a terrific run on the Hulk books as well. Some of the cover art for his work is pretty cool.
December 25, 2020
3.5 stars
"Why does a man who could've used his brain to find a cure for cancer . . . to find a way to help mankind . . . build a weapon of mass destruction? Maybe that's way I could never be seen as the hero." -- the agony of Dr. Bruce 'The Incredible Hulk' Banner
I finally complete writer Loeb's / artist Sale's 'color quartet series' of graphic novels - each of which focus on one of Marvel's tentpole characters from the 60's - with Hulk: Gray. Although ostensibly a retelling (or reexamining) of the anti-hero's origin story, the book is like a director's cut or extended edition of a movie - little details or characters are added, and some scenes are fleshed out just a little more. For those also unaware, the Hulk's skin color was briefly and originally depicted as gray before it was quickly (and wisely, I think) changed to the trademark green hue. However, the 'gray' of the title is likely also meant as Hulk's status in the superhero world - seen as good by some, and evil by others - in the way that the character uneasily straddles both sides. This was story strongly drenched in melancholy, so it's not really the best reading around the holiday season. However, it's not a bad book, and was interesting when comparing the Hulk's unhinged anger to that of his main pursuer.
"Why does a man who could've used his brain to find a cure for cancer . . . to find a way to help mankind . . . build a weapon of mass destruction? Maybe that's way I could never be seen as the hero." -- the agony of Dr. Bruce 'The Incredible Hulk' Banner
I finally complete writer Loeb's / artist Sale's 'color quartet series' of graphic novels - each of which focus on one of Marvel's tentpole characters from the 60's - with Hulk: Gray. Although ostensibly a retelling (or reexamining) of the anti-hero's origin story, the book is like a director's cut or extended edition of a movie - little details or characters are added, and some scenes are fleshed out just a little more. For those also unaware, the Hulk's skin color was briefly and originally depicted as gray before it was quickly (and wisely, I think) changed to the trademark green hue. However, the 'gray' of the title is likely also meant as Hulk's status in the superhero world - seen as good by some, and evil by others - in the way that the character uneasily straddles both sides. This was story strongly drenched in melancholy, so it's not really the best reading around the holiday season. However, it's not a bad book, and was interesting when comparing the Hulk's unhinged anger to that of his main pursuer.
June 2, 2020
I just love Tim Sale's artwork so, so much.
March 19, 2023
6/10 ⭐⭐⭐
Hulk Gris pertenece a una miniserie de cuatro volúmenes independientes y autoconclusivos. El resto serían: Spiderman Azul, Daredevil Amarillo y Capitán América Blanco.
Este cómic es una revisión al origen de Hulk. Una especie de homenaje a esa época antigua que rememora. De ahí el color gris, ya que la primera aparición de Hulk, en el año 1962, fue de ese color.
Recomendado solo a fans del personaje o completistas de la serie.
Hulk Gris pertenece a una miniserie de cuatro volúmenes independientes y autoconclusivos. El resto serían: Spiderman Azul, Daredevil Amarillo y Capitán América Blanco.
Este cómic es una revisión al origen de Hulk. Una especie de homenaje a esa época antigua que rememora. De ahí el color gris, ya que la primera aparición de Hulk, en el año 1962, fue de ese color.
Recomendado solo a fans del personaje o completistas de la serie.
May 29, 2021
This is Hulk telling his psychiatrist about his life as the Hulk and how he first became that thing and Gray color first and his encounters with Rick and going on the run from Thunderbolt Ross and the military and then him wanting to protect Betty but not reciprocating it back and the weird tangential hurting her and then trying to help her, meanwhile finally facing off against and the personal usual drama we know of from it. Hulk wants to be left alone but they won't let it. Its mostly him trying to tell his psychiatrist and trying to maybe resolve his various problems and then emerging green.
Its not the greatest story by Loeb and Sale but does a good job of connecting some common threats like him facing off against the Iron Man, his relationship with Rick and so much more. Also some emotional moments could have hit harder had they gone more in depth but good story overall and the art as usual is good.
Its not the greatest story by Loeb and Sale but does a good job of connecting some common threats like him facing off against the Iron Man, his relationship with Rick and so much more. Also some emotional moments could have hit harder had they gone more in depth but good story overall and the art as usual is good.
March 18, 2016
This is another reread for me. I haven't read this since it initially came out and I recall being a little disappointed with this one.
After reading it again, I think it is equal to the others, at least in story. My interpretation of the "gray" is the ambiguity of whether the Hulk is good or bad and whether Bruce is good and Hulk is bad or vice versa. Loeb lays some groundwork for the argument that maybe Hulk really is good and an outside force "made" him bad (leaving out spoilers here.)
If I recall correctly, this is about the time that Sale left Marvel and Loeb stepped away from writing as much. Sale's art is a little bit sketchier, meaning the inking is "scratchier". This may have been intentional to fit the theme, but in the end it doesn't seem quite as "clean" as the others in this series.
Bottom line, it fits well in the series and worth a read.
After reading it again, I think it is equal to the others, at least in story. My interpretation of the "gray" is the ambiguity of whether the Hulk is good or bad and whether Bruce is good and Hulk is bad or vice versa. Loeb lays some groundwork for the argument that maybe Hulk really is good and an outside force "made" him bad (leaving out spoilers here.)
If I recall correctly, this is about the time that Sale left Marvel and Loeb stepped away from writing as much. Sale's art is a little bit sketchier, meaning the inking is "scratchier". This may have been intentional to fit the theme, but in the end it doesn't seem quite as "clean" as the others in this series.
Bottom line, it fits well in the series and worth a read.
November 6, 2023
Renkler serisinin üçüncü kitabı, serinin düzgün bir çizgi roman olmayı kıl payı kaçıran, diğerlerinden daha az yavan parçası..
Yine serinin diğer kitapları gibi epistolary hikayeye benzer şekilde yapılandırılmış ve bir rengi sembolik (ve kötü) biçimde kullanmaya çalışmış, romantik olduğu iddiasında bir kitap. Bu sefer kitap boyunca devam eden üst anlatı, Bruce Banner’ın arkadaşı olan bir terapist ile geçmişteki olaylar hakkında konuşması. Anlatılan olaylar Bruce Banner’ın gamma radyasyonu kazasını geçirmesinden hemen sonrasına dair. Bruce Banner’ın henüz kendi doğasına dair pek fikri yok, ordu da kontrolü eline almaya çalışıyor. Bu sırada Hulk, General’in kızı Betty’i kaçırıyor. Kitabın gerilimi ise, “Hulk sevimli davşanı ezdi parmaaynan, Betty’i de ezmez işallak.”
Gri Hulk her ne kadar bu hikayede bağlamının dışında kullanılsa da özel olarak bahsetmemiz gereken bir konu. Hulk her ne kadar sıklıkla Frankenstein’ın yaratığıyla birlikte anılsa da (ilhamında payı olsa da benzerlikleri yüzeysel ve genelde Dr. Frankenstein’in yaratığının yanlış tanınmasına dayanıyor) aslında bir Dr. Jekyll ve Mr. Hyde uyarlaması. Öfkelendiği zaman değişen, güçlenen, kontrol edilmez bir canavar. Marvel’in en ünlü karakterlerinden biri ve yeşil renkle özdeşleşmiş bir kahraman. Ancak karakter ilk yaratıldığında gri olarak tasarlanmış. Matbaa, kullandığı baskı makinelerinde söz konusu gri tonunu tutturmakta zorlanınca Stan Lee Hulk’un rengini yeşil olarak değiştirmişti. Geçen yıllar ve onlarca yazar tarafından ele alınan hikayelerde Gri Hulk, radyasyon kazası sırasında oluşan ikinci bir persona olarak yorumlanmış. Yeşil Hulk Bruce Banner’ın dizginsiz öfkesi ve vahşiliği temsil ederken, Gri Hulk Banner’ın zekasının bir kısmına erişim sağlayabilen daha sinsi ve kontrollü bir kişilik olarak yorumlanmış ve hatta Banner’dan ayrılarak, Las Vegas suç dünyasında tanınan bir karakter haline gelmiş. Bu hikayede de geçen Doktor Leonard Samson’ın terapi yoluyla Banner’ın iki karakterini birleştirmeye çalıştığı kimi hikayeler yazılmış.
Ancak Loeb’in anlattığı Gri Hulk, bu ve benzeri daha girift ve başarılı hikaye geçmişinden beslenmiyor. Yazarın her zamanki alışkanlığına uygun olarak çok daha basit ve düz biçimde yazılmış. İlk başta griydim ben, sonradan yeşerdim diye açıklıyor Banner. Gri ile ilgili tüm anlatıları çocukça bir zırvalama seviyesinde ucuz, can sıkan, zorlama bir sembolizme sıkışmış durumda. Hikayenin her noktası gibi, rengi de kitabın içinden çekip çıkarsan en ufak bir değişim yaşanmıyor.
Yine bir orijin hikayesi olması itibariyle sıkıcı. Süper kahraman çizgi romanlarının orijin hikayelerini baştan anlatmak, tam anlatacak özgün içeriği olmayan kötü yazarların yeteneksizliklerini gizlemek için sıklıkla tercih ettikleri, güvenli ve sağlamcı bir kitap üretme yolu aslında. Elbette bunu son derece üzgün bir biçimde yapan, hikayeleri ters yüz edebilen, çeşitli katmanlarla bezeyen hikayeciler gördük bunu yaparken ama Loeb asla böyle biri değil. Tüm seriyi okumuş biri olarak da berbat bir hikayeci olduğundan artık şüphe etmediğim yazar (ki bu noktada "ama bu herif Batman yabtı!" diye mesaj atana ağır söverim) olabildiğince kısa yoldan ilerliyor, ne zaman kurguda zorlansa en sıkıcı, en özenilmemiş çözümlerle hikayeyi sürdürüyor. Örneğin Banner’ın Hulk olmasına sebep olan kazaya sebep olarak Rick’in (random oğlan) deney alanına girmesi gösteriliyor ve Banner güya oğlanı korumak için kendini feda ediyor. Ama Loeb, oğlan çocuğu nasıl girmiş yüksek güvenlikli askeri alana sorusunu cevaplamak için bir şey anlatma gereği duymuyor; oluyor çünkü bizim herif zahmet edip yazmaya tenezzül etmiyor.
Hikayedeki tüm karakterler saçma sapan davranıyor ama motivasyonlarının ne olduğu asla belli olmuyor. General Ross’un güya bitmek tükenmek bilmez nefretine tanık olmamız gerekiyor ama Küfürbaz Haydo gibi bir şey Ross, ciddiye almak mümkün değil. Betty desen Tommiks’in kız arkadaşı Suzy’e benziyor tipiyle de zekasıyla da. Rick yersiz yersiz efeleniyor ama içinde olduğu durumu anlamaktan aciz, Tüm karakterler o kadar kötü yazılmış ki.
Generalin kızı Betty bir sivil olarak elini kolunu sallayarak askeri tesisin en gizli alanlarına girip çıkıyor, tam en civcivli anda komuta kademesinin odasına dalıyor, “Hiii babaaa, nası yaparsııın!” diyor. Açıklaması ise “generalin kızı olduğundan askerler laf etmeye çekiniyor” Hikayenin devamında General (omuzu yıldız dolu oğlum herifin; kafayı yiyeceğim, nasıl tipler yazar oluyor) canavarla karşılaştığında açıkça ateş açma emri veriyor, götü boklu, sümüklü düz askerler (er lan er!) itaat etmiyor, duruyor öyle. Neymiş ateş açarlarsa şöyle olur böyle olur diye düşünmüşler. Dangalağa bak, ne sanıyor acaba orduyu, askerliği falan, çürük raporlu Loeb!
Hikayede Hulk ile Iron-man’in ilkel bir versiyonu da “döğüş ediyor” ama sadece nerd gazı alınsın, bir kavga olsun diye eklenmiş, kurguda önemli olmayan fan service bir kısım bu. Zaten son derece sakil durduğu için Leonard bile itiraz ediyor anlatıcı rolündeki Bruce Banner’a, tatlım uyduruyorsun ama artık biraz diyor ama devam ediyor Banner sıkmaya. Sonunda da hikaye bir yere bağlanmıyor, Hulk generali öldürmüyor ama bunun nedeni karakter gelişimi sırasında edindiği bir yetenek değil, Loeb’in beceriksizliğiyle karakterin içine sıçması. Banner da ağlak ağlak hikayesini anlatıp, defolup gidiyor.
Çizimleri için ise en iyi tanım, “stabil olmadıkları” sanırım. Kitabın başında ve sonunda Bruce Banner’ın Doktor Samson ile konuştuğu kısa sayfalar, siyah beyaz ve arada Hulk yeşili gidip geliyor. Aslında Bunlar ortalamayı yükselten kısımlar ama her şey güzel şeyin içine sıçmaya kararlı Loeb, kitabın arka kapağına da sanki matah bir haltmış gibi kocaman kocaman yazdıkları “Her Şey Senin Söylediğin kadar Siyah-Beyaz değildir” gibi lafları her köşeye sıkıştırdığından ağız tadıyla okuyamıyorsunuz. Gerçekten ergenin yapacağı hareketler bunlar ya; elli yaşına geliyor kitap yayınlandığında bu herif...
Kitabın devamındaki çizimler ise “idare eder,” ile “bu ne lan?” arasında mütemadiyen gidip geliyor. Bazı panellerde kullanılan gorilvari Hulk çizimi çok da sakil durmamış, değişik bir hava katmış hikayeye. İç mekan diyaloglarda kullanılan yüksek kontrastlı çizimleri kimi zaman hayli kötü gölgelenmiş, renklendirme aşamasında içinden geçilmiş ama genel olarak ortalama kaliteyi tutturuyor. Ek olarak bunların arasına giren aşırı karikatürize paneller ise çizim kalitesi hakkında fikre varmayı zorlaştırıyor. Başta stabil değil dememin en önemli nedeni bu paneller. Sadece Hulk’tan ibaret olanlar, canavarca ve farklı bir görüntü sağlıyor. Kendi başlarına çoğu iyiler ama kitabın bütünlüğüne katkı sağladıklarını söyleyemem. Ancak Hulk’ın olmadığı sahnelerde de bu üslubunun kullanılması oldukça çirkin durmuş. Kolların bacakların uzun uzun olduğu, ellerin kafa büyüklüğünde çizildiği, sinirli olduğu için ağızlarını bir kafa mesafesi kadar açarak bağırabilen bu aşırı karikatürize karakterler gerçekten can sıkıcı. Tüm bunların üzerine bir de Tim Sale’in hareket hissi yaratmada, devamlılık duygusu vermedeki başarısızlığı eklenince tatlar iyice kaçıyor.
Ama çizim konusunda belki de en kötüsü Betty; Tim Sale’in çizdiği Betty hamamböceğine benziyor.
Çeviri ise diğer iki kitapta olduğu gibi ortalama. Okumaya engel değil ama yavan, vasat. Tam bu kitaba yakışacak çeviri yani, isabet olmuş İ*ke Keskin’in yapması.
Yani, yine edebi olarak değersiz, yeni bir fikri, düzgün bir esprisi şakası olmayan, küçük ama minimal anlamında değil yetersiz anlamında küçük bir hikaye anlatan, sadece bir iki havalı panelin hatırına berbat değil de “eh işte” diye değerlendirebileceğimiz bir kitap. Diğer iki kitaptan hafifçe daha iyi olduğundan İki yıldız mı üç yıldız mı konusunda biraz tereddüt ettim açıkçası ama laboratuvarımızda yaptığım hassas ölçümler ve günler süren değerlendirmelerde 47/100 puan alınca iki yıldıza karar verdim. Elbette tavsiye etmiyorum. Satın almamanız, karşılığında para ödememeniz gereken bir mürekkepli kağıt yığını Marvel’in renkler serisi. Emeğiniz bu kitap ile takas edilecek kadar değersiz değil emin olun. Ne kadar zevksiz olursanız olun, bundan iyisini mutlaka bulursunuz.
Serinin tüm kitapları - incelemeleri
(bkz: Daredevil: Sarı YBGW #1)
(bkz: Spider-Man: Mavi - YBGW #2)
(bkz: Hulk: Gri - YBGW #3)
(bkz: Captain Amerika: White YBGW #4)
Yine serinin diğer kitapları gibi epistolary hikayeye benzer şekilde yapılandırılmış ve bir rengi sembolik (ve kötü) biçimde kullanmaya çalışmış, romantik olduğu iddiasında bir kitap. Bu sefer kitap boyunca devam eden üst anlatı, Bruce Banner’ın arkadaşı olan bir terapist ile geçmişteki olaylar hakkında konuşması. Anlatılan olaylar Bruce Banner’ın gamma radyasyonu kazasını geçirmesinden hemen sonrasına dair. Bruce Banner’ın henüz kendi doğasına dair pek fikri yok, ordu da kontrolü eline almaya çalışıyor. Bu sırada Hulk, General’in kızı Betty’i kaçırıyor. Kitabın gerilimi ise, “Hulk sevimli davşanı ezdi parmaaynan, Betty’i de ezmez işallak.”
Gri Hulk her ne kadar bu hikayede bağlamının dışında kullanılsa da özel olarak bahsetmemiz gereken bir konu. Hulk her ne kadar sıklıkla Frankenstein’ın yaratığıyla birlikte anılsa da (ilhamında payı olsa da benzerlikleri yüzeysel ve genelde Dr. Frankenstein’in yaratığının yanlış tanınmasına dayanıyor) aslında bir Dr. Jekyll ve Mr. Hyde uyarlaması. Öfkelendiği zaman değişen, güçlenen, kontrol edilmez bir canavar. Marvel’in en ünlü karakterlerinden biri ve yeşil renkle özdeşleşmiş bir kahraman. Ancak karakter ilk yaratıldığında gri olarak tasarlanmış. Matbaa, kullandığı baskı makinelerinde söz konusu gri tonunu tutturmakta zorlanınca Stan Lee Hulk’un rengini yeşil olarak değiştirmişti. Geçen yıllar ve onlarca yazar tarafından ele alınan hikayelerde Gri Hulk, radyasyon kazası sırasında oluşan ikinci bir persona olarak yorumlanmış. Yeşil Hulk Bruce Banner’ın dizginsiz öfkesi ve vahşiliği temsil ederken, Gri Hulk Banner’ın zekasının bir kısmına erişim sağlayabilen daha sinsi ve kontrollü bir kişilik olarak yorumlanmış ve hatta Banner’dan ayrılarak, Las Vegas suç dünyasında tanınan bir karakter haline gelmiş. Bu hikayede de geçen Doktor Leonard Samson’ın terapi yoluyla Banner’ın iki karakterini birleştirmeye çalıştığı kimi hikayeler yazılmış.
Ancak Loeb’in anlattığı Gri Hulk, bu ve benzeri daha girift ve başarılı hikaye geçmişinden beslenmiyor. Yazarın her zamanki alışkanlığına uygun olarak çok daha basit ve düz biçimde yazılmış. İlk başta griydim ben, sonradan yeşerdim diye açıklıyor Banner. Gri ile ilgili tüm anlatıları çocukça bir zırvalama seviyesinde ucuz, can sıkan, zorlama bir sembolizme sıkışmış durumda. Hikayenin her noktası gibi, rengi de kitabın içinden çekip çıkarsan en ufak bir değişim yaşanmıyor.
Yine bir orijin hikayesi olması itibariyle sıkıcı. Süper kahraman çizgi romanlarının orijin hikayelerini baştan anlatmak, tam anlatacak özgün içeriği olmayan kötü yazarların yeteneksizliklerini gizlemek için sıklıkla tercih ettikleri, güvenli ve sağlamcı bir kitap üretme yolu aslında. Elbette bunu son derece üzgün bir biçimde yapan, hikayeleri ters yüz edebilen, çeşitli katmanlarla bezeyen hikayeciler gördük bunu yaparken ama Loeb asla böyle biri değil. Tüm seriyi okumuş biri olarak da berbat bir hikayeci olduğundan artık şüphe etmediğim yazar (ki bu noktada "ama bu herif Batman yabtı!" diye mesaj atana ağır söverim) olabildiğince kısa yoldan ilerliyor, ne zaman kurguda zorlansa en sıkıcı, en özenilmemiş çözümlerle hikayeyi sürdürüyor. Örneğin Banner’ın Hulk olmasına sebep olan kazaya sebep olarak Rick’in (random oğlan) deney alanına girmesi gösteriliyor ve Banner güya oğlanı korumak için kendini feda ediyor. Ama Loeb, oğlan çocuğu nasıl girmiş yüksek güvenlikli askeri alana sorusunu cevaplamak için bir şey anlatma gereği duymuyor; oluyor çünkü bizim herif zahmet edip yazmaya tenezzül etmiyor.
Hikayedeki tüm karakterler saçma sapan davranıyor ama motivasyonlarının ne olduğu asla belli olmuyor. General Ross’un güya bitmek tükenmek bilmez nefretine tanık olmamız gerekiyor ama Küfürbaz Haydo gibi bir şey Ross, ciddiye almak mümkün değil. Betty desen Tommiks’in kız arkadaşı Suzy’e benziyor tipiyle de zekasıyla da. Rick yersiz yersiz efeleniyor ama içinde olduğu durumu anlamaktan aciz, Tüm karakterler o kadar kötü yazılmış ki.
Generalin kızı Betty bir sivil olarak elini kolunu sallayarak askeri tesisin en gizli alanlarına girip çıkıyor, tam en civcivli anda komuta kademesinin odasına dalıyor, “Hiii babaaa, nası yaparsııın!” diyor. Açıklaması ise “generalin kızı olduğundan askerler laf etmeye çekiniyor” Hikayenin devamında General (omuzu yıldız dolu oğlum herifin; kafayı yiyeceğim, nasıl tipler yazar oluyor) canavarla karşılaştığında açıkça ateş açma emri veriyor, götü boklu, sümüklü düz askerler (er lan er!) itaat etmiyor, duruyor öyle. Neymiş ateş açarlarsa şöyle olur böyle olur diye düşünmüşler. Dangalağa bak, ne sanıyor acaba orduyu, askerliği falan, çürük raporlu Loeb!
Hikayede Hulk ile Iron-man’in ilkel bir versiyonu da “döğüş ediyor” ama sadece nerd gazı alınsın, bir kavga olsun diye eklenmiş, kurguda önemli olmayan fan service bir kısım bu. Zaten son derece sakil durduğu için Leonard bile itiraz ediyor anlatıcı rolündeki Bruce Banner’a, tatlım uyduruyorsun ama artık biraz diyor ama devam ediyor Banner sıkmaya. Sonunda da hikaye bir yere bağlanmıyor, Hulk generali öldürmüyor ama bunun nedeni karakter gelişimi sırasında edindiği bir yetenek değil, Loeb’in beceriksizliğiyle karakterin içine sıçması. Banner da ağlak ağlak hikayesini anlatıp, defolup gidiyor.
Çizimleri için ise en iyi tanım, “stabil olmadıkları” sanırım. Kitabın başında ve sonunda Bruce Banner’ın Doktor Samson ile konuştuğu kısa sayfalar, siyah beyaz ve arada Hulk yeşili gidip geliyor. Aslında Bunlar ortalamayı yükselten kısımlar ama her şey güzel şeyin içine sıçmaya kararlı Loeb, kitabın arka kapağına da sanki matah bir haltmış gibi kocaman kocaman yazdıkları “Her Şey Senin Söylediğin kadar Siyah-Beyaz değildir” gibi lafları her köşeye sıkıştırdığından ağız tadıyla okuyamıyorsunuz. Gerçekten ergenin yapacağı hareketler bunlar ya; elli yaşına geliyor kitap yayınlandığında bu herif...
Kitabın devamındaki çizimler ise “idare eder,” ile “bu ne lan?” arasında mütemadiyen gidip geliyor. Bazı panellerde kullanılan gorilvari Hulk çizimi çok da sakil durmamış, değişik bir hava katmış hikayeye. İç mekan diyaloglarda kullanılan yüksek kontrastlı çizimleri kimi zaman hayli kötü gölgelenmiş, renklendirme aşamasında içinden geçilmiş ama genel olarak ortalama kaliteyi tutturuyor. Ek olarak bunların arasına giren aşırı karikatürize paneller ise çizim kalitesi hakkında fikre varmayı zorlaştırıyor. Başta stabil değil dememin en önemli nedeni bu paneller. Sadece Hulk’tan ibaret olanlar, canavarca ve farklı bir görüntü sağlıyor. Kendi başlarına çoğu iyiler ama kitabın bütünlüğüne katkı sağladıklarını söyleyemem. Ancak Hulk’ın olmadığı sahnelerde de bu üslubunun kullanılması oldukça çirkin durmuş. Kolların bacakların uzun uzun olduğu, ellerin kafa büyüklüğünde çizildiği, sinirli olduğu için ağızlarını bir kafa mesafesi kadar açarak bağırabilen bu aşırı karikatürize karakterler gerçekten can sıkıcı. Tüm bunların üzerine bir de Tim Sale’in hareket hissi yaratmada, devamlılık duygusu vermedeki başarısızlığı eklenince tatlar iyice kaçıyor.
Ama çizim konusunda belki de en kötüsü Betty; Tim Sale’in çizdiği Betty hamamböceğine benziyor.
Çeviri ise diğer iki kitapta olduğu gibi ortalama. Okumaya engel değil ama yavan, vasat. Tam bu kitaba yakışacak çeviri yani, isabet olmuş İ*ke Keskin’in yapması.
Yani, yine edebi olarak değersiz, yeni bir fikri, düzgün bir esprisi şakası olmayan, küçük ama minimal anlamında değil yetersiz anlamında küçük bir hikaye anlatan, sadece bir iki havalı panelin hatırına berbat değil de “eh işte” diye değerlendirebileceğimiz bir kitap. Diğer iki kitaptan hafifçe daha iyi olduğundan İki yıldız mı üç yıldız mı konusunda biraz tereddüt ettim açıkçası ama laboratuvarımızda yaptığım hassas ölçümler ve günler süren değerlendirmelerde 47/100 puan alınca iki yıldıza karar verdim. Elbette tavsiye etmiyorum. Satın almamanız, karşılığında para ödememeniz gereken bir mürekkepli kağıt yığını Marvel’in renkler serisi. Emeğiniz bu kitap ile takas edilecek kadar değersiz değil emin olun. Ne kadar zevksiz olursanız olun, bundan iyisini mutlaka bulursunuz.
Serinin tüm kitapları - incelemeleri
(bkz: Daredevil: Sarı YBGW #1)
(bkz: Spider-Man: Mavi - YBGW #2)
(bkz: Hulk: Gri - YBGW #3)
(bkz: Captain Amerika: White YBGW #4)
February 15, 2020
Щоб полюбити цей комікс, мені знадобився всього лиш один розворот і єдина текстова булька зі словами «Галк трощить!» Чому я вважаю історію Галка найвдалішою з усієї «кольорової серії» та чому цей оріджин став для мене одкровенням, спробую розповісти нижче.
«Галк. Сірий» — починається зі сцени, в якій Брюс Беннер збирається вилити свою душу давньому другу, доктору Леонарду Самсону, який, до того ж, є практикуючим психіатром. Кожна сцена, кожен розворот, окрім діалогових бульбашок, містить ще й болючі та важкі, як краплі розтопленого воску, роздуми й спогади Беннера, якими він ділиться з другом. Цей прийом аналогічний тим, які автори «кольорової серії» використовували в попередніх двох роботах із Шибайголовою та Людиною-Павуком, тільки там головні герої сповідалися на диктофон та в листах.
На початку першого розділу, в сценах, де відбувається діалог Беннера та Самсона, художник Тім Сейл залишає малюнок не фарбованим, тим самим демонструючи, яким сірим та позбавленим сенсу стало життя Беннера після втрати коханої, лиш зрідка підкреслюючи емоції Брюса зеленим кольором даючи зрозуміти, як нелегко вченому тримати себе в руках і не дати підняти голову Галку.
А починає свою історію доктор Беннер з події, яка змінить його життя назавжди та подарує нам Галка — з вибуху гамма-бомби, а також знайомить читача з норовливим підлітком Ріком, який, може, і не є надто помітним персонажем, але являється знаковою фігурою історії та чи не єдиним другом сірого велета.
Загалом уся історія сплетена з протистоянь. Галка проти армії, в особі полковника Росса, проти Бетті, яка кохає Беннера і вважає його загиблим, але ще не знає хто такий Галк, та найдраматичнішого протистояння Беннер — Галк.
На початку історії Галка зображено норовливим, тупуватим і надзвичайно небезпечним створінням спроможним тільки на руйнування, але історія розкручується і перед нами постає зовсім інший персонаж, який здатен сумніватися, любити, сумувати і в той же час залишатися безумною первозданною енергією, що вмить вибухає та знищує невеличку армію. Тіму Сейлу вдалося надзвичайно тонко передати настрій та характер сутності Галка. Те як художник віртуозно маніпулює композицією, балансує кольорами та межами зображень відзеркалює на читача всю палітру емоцій велета, як то гнів, самотність, чи то розгубленість вибиваючи дух із легенів читача, все це заслуговує на палкі овації.
Починаючи читати історію, сподіваєшся на легке та динамічне чтиво про величезного монстра, що ледве може зв’язати два слова, а натомість отримуєш чудово виліплену деконструкцію персонажа, що змушує поглянути на фігуру Галка під різними, часто несподіваними кутами.
«Галк. Сірий» — починається зі сцени, в якій Брюс Беннер збирається вилити свою душу давньому другу, доктору Леонарду Самсону, який, до того ж, є практикуючим психіатром. Кожна сцена, кожен розворот, окрім діалогових бульбашок, містить ще й болючі та важкі, як краплі розтопленого воску, роздуми й спогади Беннера, якими він ділиться з другом. Цей прийом аналогічний тим, які автори «кольорової серії» використовували в попередніх двох роботах із Шибайголовою та Людиною-Павуком, тільки там головні герої сповідалися на диктофон та в листах.
На початку першого розділу, в сценах, де відбувається діалог Беннера та Самсона, художник Тім Сейл залишає малюнок не фарбованим, тим самим демонструючи, яким сірим та позбавленим сенсу стало життя Беннера після втрати коханої, лиш зрідка підкреслюючи емоції Брюса зеленим кольором даючи зрозуміти, як нелегко вченому тримати себе в руках і не дати підняти голову Галку.
А починає свою історію доктор Беннер з події, яка змінить його життя назавжди та подарує нам Галка — з вибуху гамма-бомби, а також знайомить читача з норовливим підлітком Ріком, який, може, і не є надто помітним персонажем, але являється знаковою фігурою історії та чи не єдиним другом сірого велета.
Загалом уся історія сплетена з протистоянь. Галка проти армії, в особі полковника Росса, проти Бетті, яка кохає Беннера і вважає його загиблим, але ще не знає хто такий Галк, та найдраматичнішого протистояння Беннер — Галк.
На початку історії Галка зображено норовливим, тупуватим і надзвичайно небезпечним створінням спроможним тільки на руйнування, але історія розкручується і перед нами постає зовсім інший персонаж, який здатен сумніватися, любити, сумувати і в той же час залишатися безумною первозданною енергією, що вмить вибухає та знищує невеличку армію. Тіму Сейлу вдалося надзвичайно тонко передати настрій та характер сутності Галка. Те як художник віртуозно маніпулює композицією, балансує кольорами та межами зображень відзеркалює на читача всю палітру емоцій велета, як то гнів, самотність, чи то розгубленість вибиваючи дух із легенів читача, все це заслуговує на палкі овації.
Починаючи читати історію, сподіваєшся на легке та динамічне чтиво про величезного монстра, що ледве може зв’язати два слова, а натомість отримуєш чудово виліплену деконструкцію персонажа, що змушує поглянути на фігуру Галка під різними, часто несподіваними кутами.
January 18, 2015
I never knew that the Hulk’s back story was so heartbreaking.
This entire comic story is Bruce talking to his friend and doctor, Leonard Samson, and it timelines the Hulk’s first days. While I don’t know if this is a slightly altered story line or anything like that, I will say that it was a wonderful read. I found it completely fascinating, and I flew through the pages.
And boy did this story just hit my feels hard. While I didn’t full on cry, there were times that I teared up for the Hulk, Bruce, Betty, and just all of the clusterfucks they faced in this beginning.
For the Hulk, I damn near cried during the bunny panels, because the gentle giant had no idea what had happened, and that was really haunting (and telling).
For Bruce and Betty, I got kind of emotional because this ended really depressingly. I don’t know if that’s normal for Hulk comics or Marvel comics, but I didn’t feel like there was a winner or hero of this story.
And for Bruce, I just felt for him, for the memories he has to bear as both the man and the monster, and he was just really easy to empathize with and to root for.
I’m sure there are better, more interesting, more action packed Hulk comics out there, but I’m really happy I started with HULK: GRAY. I’m definitely looking forward to trying out other comics featuring the Hulk, and delving further into Marvel’s universe.
This entire comic story is Bruce talking to his friend and doctor, Leonard Samson, and it timelines the Hulk’s first days. While I don’t know if this is a slightly altered story line or anything like that, I will say that it was a wonderful read. I found it completely fascinating, and I flew through the pages.
And boy did this story just hit my feels hard. While I didn’t full on cry, there were times that I teared up for the Hulk, Bruce, Betty, and just all of the clusterfucks they faced in this beginning.
For the Hulk, I damn near cried during the bunny panels, because the gentle giant had no idea what had happened, and that was really haunting (and telling).
For Bruce and Betty, I got kind of emotional because this ended really depressingly. I don’t know if that’s normal for Hulk comics or Marvel comics, but I didn’t feel like there was a winner or hero of this story.
And for Bruce, I just felt for him, for the memories he has to bear as both the man and the monster, and he was just really easy to empathize with and to root for.
I’m sure there are better, more interesting, more action packed Hulk comics out there, but I’m really happy I started with HULK: GRAY. I’m definitely looking forward to trying out other comics featuring the Hulk, and delving further into Marvel’s universe.
January 21, 2018
Book Info: This collection contains
Hulk: Gray
issues #1-6.
Top 5 Reviewers' Consensus : Albiet somewhat contrived, Hulk: Gray is refreshingly sober and poignant for a Hulk comic book. Jeph Loeb and Tim Sale not only acknowledge the character's classic history, but revitalize Hulk's well-known origin story through layered storytelling and distinctively suggestive artwork.
-Based on Jeff 's review, Leah's review, Joel Griswell's review, Keith's review, and Eric Mikols's review
ABSOLUTE RATING: {3.5/5 stars} (Rounded Down)
STANDARDIZED RATING: <4/5 stars>
Perhaps if you're adequately well-versed in the Hulk mythos, much of what transpires here – at least in the first issue – will be familiar to you: in this origin story, we start off with Bruce Banner's iconic rescue of Rick Jones (whom he quickly befriends), we witness his transformation and first violent encounters with General Ross and the military, and we see Betty struggle to reconcile her love for Bruce against her father's harsh disapproval. Like I said, it's pretty standard stuff. But what we soon discover about this particular take is that Loeb writes it partly as a nostalgic throwback to a bygone age in comic book history (i.e. Golden/Silver Age). Fortunately, it also utilizes a split narrative technique to keep things interesting, which also prevents the book from coming off as overly moralizing or naive.
The primary perspective used is a firsthand account of events which transpired during Banner's first couple days following his transformation. In fact, the only time we are visually removed from this period is the four or so pages that come at the start and end of the story. But the next perspective used is a secondhand, narration-style dialogue spanning across all the events, and somehow, it proves nearly as important as the first. The context of this dialogue is established during the opening 4-5 pages of the book, where we find a nervous Banner hiding from some unknown assailant, while spilling his guts to psychiatrist (and friend) Leonard Samson in his office. From what I can tell, it's an exchange mainly intended to describe depicted events in greater detail and to assist the reader in looking beyond the observable and in pondering the underlying psychological traits of the story's cast.
And the interplay between the two modes of storytelling is actually quite clever: without narration, the main Hulk-centric plot would be simplistic and ineffectual. Even with the benefit of narration given by Banner alone, it would still become stale pretty fast. But you'd be surprised how just the simple addition of a second voice to create a dialogue goes a very long way in keeping things interesting. Essentially, Doc Samson pushes Banner to dig deeper into his descriptions and interpretations, and the resultant reconsideration or push-back from Banner yields some uncommonly profound insights. Personally, I found the constructive tension between the two to be written in a humorous and subtle fashion, and I was impressed by Loeb's ability to keep both men so flexible in their roles as therapist and patient.
Another cool characteristic of this book is how safely it's able to appeal to a very broad reader base. By merging an action-packed Hulk comic book with the sober elegance of respected literary works including Frankenstein and Of Mice and Men , Loeb seems to have succeeded in getting the attention of both guys and gals: all guys love the Hulk, and a lot of chicks dig that kind of dreary romance stories about monsters and tragic love affairs. I'm generalizing, I know, but I think you get my point. And for all those readers, like myself, situated somewhere in the middle, I expect it'll offer a worthwhile and refreshing reading experience. There's also an unexpected cameo from one of Marvel's top dogs in here, so if you're a easily-gratified fanboy (and proud of it), just know that one's dedicated to you.
But I guess it's this same well-roundedness that's a huge part of the rationale behind this "gray" motif Loeb had going on. It's strange, but only a few short months ago, I wrote a review on volume one of The Ultimates saying at one point that the homicidal Hulk that's unafraid to cut loose is my much preferred rendition. Now, however, Loeb has gotten me to rethink that stance, and I think I'm starting to appreciate the complex complexity that his regular liminal status affords him. It's part of the reason folks like Lennie Small (from Of Mice and Men) and Karl Childers (from Sling Blade ) are such compelling characters: in spite of their destructive capacity, you're still drawn to their charmingly modest exterior, and the ambivalence this creates is captivating. It's like, in one moment, you'll see a roaring Hulk tear apart a military chopper, and in the next, he's just dumbly standing before Betty or Rick waiting to be told what to do next. In this way, the writer shows us that, as simple-minded a monstrosity as he might be, Hulk isn't exactly brainless, nor is he heartless, so it's pretty tough not to develop sympathy toward him.
So although Loeb isn't exactly a poet, his writing is strong enough to get the job done, and deftly balances simplicity with thoughtfulness. Still, I sometimes wished he had gone deeper into the psychic conflict between Hulk and Ross/Banner, and walked away slightly disappointed with his reluctance to delve into darker territory. And I guess part of it also had to do with the fact that there was a clear limit to far he could reasonably go without diminishing the laid-back, old-timey appeal he was aiming for. For instance, his necessarily archetypal characterization of Betty, Ross, and Rick, wouldn't have mixed very well with the emotional/philosophical nuance I would have had in mind. For the most part, this aversion from gritty realism didn't bother me all that much, except at certain moments where it was just too hard to ignore – such as people's general tendency not to shit their pants and run upon being confronted with the Hulk for the first time. Maybe it's just me, but scenes like this struck me as a little too kid-friendly, and I couldn't quite shake the notion that Loeb also meant to allow himself reprieve from constructing more credible responses.
Lucky for Loeb though, he had Tim Sale on the job to help pick up the slack. But incredibly, Sale ended up doing much more than merely contributing his fair share. I'm sure that if you ask anyone what they felt was this book's greatest selling point was, nine out of ten times you'd hear that it was the artwork. Honestly, it's good enough that if you enter into this story disliking or feeling indifferent about Sale's artwork, you're likely to emerge with a noticeably different evaluation. And you should trust me about that, because I was one of those very people! His approach resembles an eclectic marriage of the styles of folks like Dr. Seuss, Darwyn Cooke, Marcos Martín, and Eduardo Risso. Especially impressive are his renditions of the Hulk, whose widely emotive expressions and deformed beauty make him, by far, the most distinctive version I've ever seen in a comic book. Overall, it's an unbelievably stylish comic, and I can only assume Matt Hollingsworth's striking colors/lighting, as well as tricks like his brief alteration between full-color and B&W, explain why I've never seen Sale replicate this level of expertise anywhere else. All I know for sure is, these two need to get together a lot more often!
As it turns out, Hulk: Gray has become my favorite book written by Loeb, and certainly the strongest one in his Colors series. Beyond the fact that it's a bit on the uneventful side, as well just a mite too cutesy and old-fashioned, I really don't have any major complaints about this story at all, and I applaud the mesmerizing visuals and it's solid attempt at thematic balance. For further reading, I would suggest Peter David's Hulk: The End: It's a masterpiece, and challenging read that takes the analysis of the Hulk/Banner relationship to even more heartrending depths. And to those of you who've read it and found it too depressing, feel free togrow the fuck up check this book out instead for a lighter treatment of similar themes (i.e. one less watered-down for the masses). As long as you're prepared to get equal parts moping and smashing from Hulk, then I'm sure you'll be cool with this.
Top 5 Reviewers' Consensus : Albiet somewhat contrived, Hulk: Gray is refreshingly sober and poignant for a Hulk comic book. Jeph Loeb and Tim Sale not only acknowledge the character's classic history, but revitalize Hulk's well-known origin story through layered storytelling and distinctively suggestive artwork.
-Based on Jeff 's review, Leah's review, Joel Griswell's review, Keith's review, and Eric Mikols's review
ABSOLUTE RATING: {3.5/5 stars} (Rounded Down)
STANDARDIZED RATING: <4/5 stars>
Perhaps if you're adequately well-versed in the Hulk mythos, much of what transpires here – at least in the first issue – will be familiar to you: in this origin story, we start off with Bruce Banner's iconic rescue of Rick Jones (whom he quickly befriends), we witness his transformation and first violent encounters with General Ross and the military, and we see Betty struggle to reconcile her love for Bruce against her father's harsh disapproval. Like I said, it's pretty standard stuff. But what we soon discover about this particular take is that Loeb writes it partly as a nostalgic throwback to a bygone age in comic book history (i.e. Golden/Silver Age). Fortunately, it also utilizes a split narrative technique to keep things interesting, which also prevents the book from coming off as overly moralizing or naive.
The primary perspective used is a firsthand account of events which transpired during Banner's first couple days following his transformation. In fact, the only time we are visually removed from this period is the four or so pages that come at the start and end of the story. But the next perspective used is a secondhand, narration-style dialogue spanning across all the events, and somehow, it proves nearly as important as the first. The context of this dialogue is established during the opening 4-5 pages of the book, where we find a nervous Banner hiding from some unknown assailant, while spilling his guts to psychiatrist (and friend) Leonard Samson in his office. From what I can tell, it's an exchange mainly intended to describe depicted events in greater detail and to assist the reader in looking beyond the observable and in pondering the underlying psychological traits of the story's cast.
And the interplay between the two modes of storytelling is actually quite clever: without narration, the main Hulk-centric plot would be simplistic and ineffectual. Even with the benefit of narration given by Banner alone, it would still become stale pretty fast. But you'd be surprised how just the simple addition of a second voice to create a dialogue goes a very long way in keeping things interesting. Essentially, Doc Samson pushes Banner to dig deeper into his descriptions and interpretations, and the resultant reconsideration or push-back from Banner yields some uncommonly profound insights. Personally, I found the constructive tension between the two to be written in a humorous and subtle fashion, and I was impressed by Loeb's ability to keep both men so flexible in their roles as therapist and patient.
Another cool characteristic of this book is how safely it's able to appeal to a very broad reader base. By merging an action-packed Hulk comic book with the sober elegance of respected literary works including Frankenstein and Of Mice and Men , Loeb seems to have succeeded in getting the attention of both guys and gals: all guys love the Hulk, and a lot of chicks dig that kind of dreary romance stories about monsters and tragic love affairs. I'm generalizing, I know, but I think you get my point. And for all those readers, like myself, situated somewhere in the middle, I expect it'll offer a worthwhile and refreshing reading experience. There's also an unexpected cameo from one of Marvel's top dogs in here, so if you're a easily-gratified fanboy (and proud of it), just know that one's dedicated to you.
But I guess it's this same well-roundedness that's a huge part of the rationale behind this "gray" motif Loeb had going on. It's strange, but only a few short months ago, I wrote a review on volume one of The Ultimates saying at one point that the homicidal Hulk that's unafraid to cut loose is my much preferred rendition. Now, however, Loeb has gotten me to rethink that stance, and I think I'm starting to appreciate the complex complexity that his regular liminal status affords him. It's part of the reason folks like Lennie Small (from Of Mice and Men) and Karl Childers (from Sling Blade ) are such compelling characters: in spite of their destructive capacity, you're still drawn to their charmingly modest exterior, and the ambivalence this creates is captivating. It's like, in one moment, you'll see a roaring Hulk tear apart a military chopper, and in the next, he's just dumbly standing before Betty or Rick waiting to be told what to do next. In this way, the writer shows us that, as simple-minded a monstrosity as he might be, Hulk isn't exactly brainless, nor is he heartless, so it's pretty tough not to develop sympathy toward him.
So although Loeb isn't exactly a poet, his writing is strong enough to get the job done, and deftly balances simplicity with thoughtfulness. Still, I sometimes wished he had gone deeper into the psychic conflict between Hulk and Ross/Banner, and walked away slightly disappointed with his reluctance to delve into darker territory. And I guess part of it also had to do with the fact that there was a clear limit to far he could reasonably go without diminishing the laid-back, old-timey appeal he was aiming for. For instance, his necessarily archetypal characterization of Betty, Ross, and Rick, wouldn't have mixed very well with the emotional/philosophical nuance I would have had in mind. For the most part, this aversion from gritty realism didn't bother me all that much, except at certain moments where it was just too hard to ignore – such as people's general tendency not to shit their pants and run upon being confronted with the Hulk for the first time. Maybe it's just me, but scenes like this struck me as a little too kid-friendly, and I couldn't quite shake the notion that Loeb also meant to allow himself reprieve from constructing more credible responses.
Lucky for Loeb though, he had Tim Sale on the job to help pick up the slack. But incredibly, Sale ended up doing much more than merely contributing his fair share. I'm sure that if you ask anyone what they felt was this book's greatest selling point was, nine out of ten times you'd hear that it was the artwork. Honestly, it's good enough that if you enter into this story disliking or feeling indifferent about Sale's artwork, you're likely to emerge with a noticeably different evaluation. And you should trust me about that, because I was one of those very people! His approach resembles an eclectic marriage of the styles of folks like Dr. Seuss, Darwyn Cooke, Marcos Martín, and Eduardo Risso. Especially impressive are his renditions of the Hulk, whose widely emotive expressions and deformed beauty make him, by far, the most distinctive version I've ever seen in a comic book. Overall, it's an unbelievably stylish comic, and I can only assume Matt Hollingsworth's striking colors/lighting, as well as tricks like his brief alteration between full-color and B&W, explain why I've never seen Sale replicate this level of expertise anywhere else. All I know for sure is, these two need to get together a lot more often!
As it turns out, Hulk: Gray has become my favorite book written by Loeb, and certainly the strongest one in his Colors series. Beyond the fact that it's a bit on the uneventful side, as well just a mite too cutesy and old-fashioned, I really don't have any major complaints about this story at all, and I applaud the mesmerizing visuals and it's solid attempt at thematic balance. For further reading, I would suggest Peter David's Hulk: The End: It's a masterpiece, and challenging read that takes the analysis of the Hulk/Banner relationship to even more heartrending depths. And to those of you who've read it and found it too depressing, feel free to
June 22, 2025
Hulk: Gray by Jeph Loeb and Tim Sale is a powerful, emotional take on the early days of Bruce Banner and the Hulk. It strips the character down to his core—rage, love, isolation—and explores the tragedy of what it means to become a monster. The narration is thoughtful and full of heart, and Tim Sale’s moody, expressive art captures both the chaos and the vulnerability perfectly.
What stands out most is the relationship between Bruce and Betty—tender, doomed, and central to the whole story. It’s not just about smashing; it’s about loss, regret, and memory. A beautiful, bittersweet read that lingers long after you put it down.
What stands out most is the relationship between Bruce and Betty—tender, doomed, and central to the whole story. It’s not just about smashing; it’s about loss, regret, and memory. A beautiful, bittersweet read that lingers long after you put it down.
November 19, 2016
3.5 stars. This third book in the Jeph Loeb/Tim Sale Marvel "Colour" series has most of the standard problems of the previous two instalments: a confusing flashback structure, some overt sentimentalism, and some laboured attempts at added depth to very pulpy setups. Here, I think those issues are covered over by the startlingly great art (and I'm a story-first guy!) The Loeb/Sale partnership gets a lot of hype as one of the best in comics, but while I've been less than impressed with the storylines in this series, the artwork has always been enough to recommend it. Tim Sale is undoubtedly now one of my favourite visual storytellers - his take on the Hulk, misshapen and lumpy and just plain strange, is horrific and sad and funny in equal measure, and it's a startling visual interpretation of such an established character. I've been impressed before by his work, and I'll have to search out more of it now, regardless of the writer.
October 9, 2022
Моє перше знайомство з коміксом...і тепер я хочу ще🙈
August 30, 2016
From Jeph Loeb and Tim Sale's masterful writing and artwork we have the retelling of The Hulk's origin story. Bruce saves Rick who wanders into an army test site seconds before detonation. Hulk tries to reconcile his relationship with a confused and frightened Betty Ross. Tony Stark in a vintage Iron Man suit attempts to fight and capture Hulk. Hulk accidentally hurts Betty, cares for her, but she fears him too greatly. Bruce returns to the army base, confronts General Ross, and realizes Betty hates her father and Hulk equally, that Hulk, despite his intentions, is still evil, a corruption of man. And that Bruce and Betty are destined to be no more as long as The Hulk is between them.
August 20, 2018
Interesting this came out before the Ang Lee film, otherwise I may have accused it of making similar mistakes... Bruce Banner chatting with a therapist is a good premise, not so sure it worked perfectly here as a story delivery device but THAT ART means I enjoyed it thoroughly nonetheless.
February 22, 2017
Re-read
3.5 stars.
This was also even better than the first time I read it but I'll get into that, later.
So, I'll preface this by admitting that I have a soft spot for Bruce/Betty and the 2008 Incredible Hulk film. I'm probably one of the only people that actually liked that film but I think they did a fantastic job portraying Bruce and Betty's relationship and, after Tony & Pepper, they are probably my favorite MCU pairing. They have a connection that's so fascinating to me. I'm kind of in love with Betty because she's protective and fearless in the face of her piece of shit dad. So, yeah, some of my affection for Liv Tyler's portrayal of her seeps into this review. Sorry.
Anyway, I mention that to explain my slight bias and because they re-create the classic shot of Hulk in the cave in this book and in the MCU film. It's a classic Tarzan/Jane situation but it works pretty damn well.
Everyone knows a version of how Bruce became Hulk. I can't speak for the Ang Lee film but I'm pretty sure the montage at the start of Incredible Hulk didn't feature Rick Jones. But, as the story goes, he tries to save Rick from the Gamma bomb and becomes Hulk. He starts out grey, which, if I remember correctly, was only changed because it was cheaper to make him green later on. This book follows the days after his transformation. Betty is pretty sure that Bruce is dead, the army wants to capture him for several reasons and Bruce isn't sure what's happening either.
Matt wrote Karen a letter, Spider-Man recorded his message to Gwen on a tape recorder; in this book, Bruce talks about Betty to his Leonard Sampson. There's an added element there because we get interjections from Sampson to suggest that Bruce may have been an unrealiable narrator. He takes the defensive and tries to suggest that Bruce is being harsher on himself than he needs to be. It's pretty interesting.
Anyway, Hulk is a giant, overgrown child in this book and I mean that affectionately. All he wants is to be safe with Betty and Rick and the army keeps attacking him. He's quite sympathetic if you like the Hulk, however I know several people that don't care about him. He kidnaps Betty in an attempt to protect her which leads to the cave scene that I like so much.
Hulk doesn't understand that he's scaring Betty, even as he does his best to help her. He continues trying to protect her when the army comes and there's an scene that, to me, is so incredibly heartbreaking. Throughout this book, the narrative is gloomy because Bruce Banner talks about himself and the Hulk as though they are monsters. He doesn't seem to find himself deserving of any benefit of the doubt. Any time Sampson tries to give the Hulk credit for not hurting someone or trying to help Betty, Bruce shuts him down. He doesn't find himself redeemable at all, so this scene with Ross really got to me.
And then Hulk's face in this scene was really well done.
Bruce Banner had a shitty, alcoholic, abusive father. He competes with Tony in the Shittiest Dad competition (not that there should be one). His father was a monster and there's a long time theme throughout Hulk comics where Bruce refers to himself that way. Part of him thinks he turned into the Hulk because, deep down, he was always a monster, undeserving of anything. Having that context makes the conclusion of this book so much more upsetting.
This book ends with the line "She's gone now... there are so many other stories of what happened afterwards. But... they will now always be colored by the knowledge that she loved me for all the wrong reasons."
Without this context, this story is still pretty effective. Even without knowing Bruce's long time struggle with identity and self-loathing, Loeb does a pretty good job including those elements in this book. It's a soft recommend from me. Not as good as Spider-Man: Blue and Daredevil: Yellow is probably more accessible. But, as I said earlier, I have a soft spot for this story.
3.5 stars.
This was also even better than the first time I read it but I'll get into that, later.
So, I'll preface this by admitting that I have a soft spot for Bruce/Betty and the 2008 Incredible Hulk film. I'm probably one of the only people that actually liked that film but I think they did a fantastic job portraying Bruce and Betty's relationship and, after Tony & Pepper, they are probably my favorite MCU pairing. They have a connection that's so fascinating to me. I'm kind of in love with Betty because she's protective and fearless in the face of her piece of shit dad. So, yeah, some of my affection for Liv Tyler's portrayal of her seeps into this review. Sorry.
Anyway, I mention that to explain my slight bias and because they re-create the classic shot of Hulk in the cave in this book and in the MCU film. It's a classic Tarzan/Jane situation but it works pretty damn well.
Everyone knows a version of how Bruce became Hulk. I can't speak for the Ang Lee film but I'm pretty sure the montage at the start of Incredible Hulk didn't feature Rick Jones. But, as the story goes, he tries to save Rick from the Gamma bomb and becomes Hulk. He starts out grey, which, if I remember correctly, was only changed because it was cheaper to make him green later on. This book follows the days after his transformation. Betty is pretty sure that Bruce is dead, the army wants to capture him for several reasons and Bruce isn't sure what's happening either.
Matt wrote Karen a letter, Spider-Man recorded his message to Gwen on a tape recorder; in this book, Bruce talks about Betty to his Leonard Sampson. There's an added element there because we get interjections from Sampson to suggest that Bruce may have been an unrealiable narrator. He takes the defensive and tries to suggest that Bruce is being harsher on himself than he needs to be. It's pretty interesting.
Anyway, Hulk is a giant, overgrown child in this book and I mean that affectionately. All he wants is to be safe with Betty and Rick and the army keeps attacking him. He's quite sympathetic if you like the Hulk, however I know several people that don't care about him. He kidnaps Betty in an attempt to protect her which leads to the cave scene that I like so much.
Hulk doesn't understand that he's scaring Betty, even as he does his best to help her. He continues trying to protect her when the army comes and there's an scene that, to me, is so incredibly heartbreaking. Throughout this book, the narrative is gloomy because Bruce Banner talks about himself and the Hulk as though they are monsters. He doesn't seem to find himself deserving of any benefit of the doubt. Any time Sampson tries to give the Hulk credit for not hurting someone or trying to help Betty, Bruce shuts him down. He doesn't find himself redeemable at all, so this scene with Ross really got to me.
And then Hulk's face in this scene was really well done.
Bruce Banner had a shitty, alcoholic, abusive father. He competes with Tony in the Shittiest Dad competition (not that there should be one). His father was a monster and there's a long time theme throughout Hulk comics where Bruce refers to himself that way. Part of him thinks he turned into the Hulk because, deep down, he was always a monster, undeserving of anything. Having that context makes the conclusion of this book so much more upsetting.
This book ends with the line "She's gone now... there are so many other stories of what happened afterwards. But... they will now always be colored by the knowledge that she loved me for all the wrong reasons."
Without this context, this story is still pretty effective. Even without knowing Bruce's long time struggle with identity and self-loathing, Loeb does a pretty good job including those elements in this book. It's a soft recommend from me. Not as good as Spider-Man: Blue and Daredevil: Yellow is probably more accessible. But, as I said earlier, I have a soft spot for this story.
December 16, 2012
Another Loeb/Sale "colour" book exploring events in the early days of a hero's "career", Hulk: Gray follows some of the same beats as Spider-Man: Blue and Daredevil Legends, Vol. 1: Yellow: a few winks, a touch of sadness, and a longing for those "simpler days".
Daredevil Legends, Vol. 1: Yellow was, in my opinion, the best of the bunch.
Daredevil Legends, Vol. 1: Yellow was, in my opinion, the best of the bunch.
Read
February 23, 2022Full bitaitanço quando calhar.
June 17, 2023
Herhalde aralarında en iyisi Hulk idi bu serinin. En azından yeni dönem hulk gibi berbat bir halde değildi :)
December 16, 2020
Jeph Loebbal a Batman: Hush lapjain ismerkedtem meg, és habár nem rajongok különösebben Batmanért (meg nagy általánosságban a DC-ért), de ezzel a történettel mégis elvarázsolt, aminek többszöri újraolvasás lett a vége. Ilyen előzmények után nagyon vártam a Tim Sale-lel közös „színes” sorozatát, de legfőképpen a Hulk: Szürkét, ami harmadik volt a Fenegyerek: Sárga és Pókember: Kék után a sorban. Hulk ugyanis a kedvenc Marvel karakterem a kettőssége, a vívódása és a meg nem értettsége miatt. Továbbá az is a kötet mellett szólt, hogy újramesélt történetről van szó, ami egyik kedvenc történettípusom. Loebék új megközelítést alkalmazva mutatják be a karakter eredettörténetét, az első 24-48 órájára fókuszálva.
A történet különlegességét az adja, hogy nem csupán egy karakter születését meséli el, hanem Hulk Betty Ross-szal való kapcsolatára is koncentrál. Ahogy Loeb fogalmaz a kötet végén található vázlatokban: „Akárcsak a többi „színes” füzet, alapjaiban a Hulk: Szürke is szerelmi történet.” És valóban Hulk Betty iránti ragaszkodása a történet meghatározó eleme, sőt ez az egész kötet kiindulópontja.
Ugyanakkor a szerzők a szerelem mellett Hulk születésére is hangsúlyt fektetnek. Megjelenik a kötetben a világra való rácsodálkozása, a saját magával és a körülötte lévő környezettel való ismerkedés. Ezt monumentális képekkel támasztják alá, ilyen például a harmadik rész elején Monument Valley képe a nyúllal, ami egyben számomra az egyik legszebb, de egyben a legmeghatóbb jelenet is.
Azonban Hulk mégis csak Hulk, vagy, ahogy ő maga fogalmaz: „Hulk a Hulk”, és mint természetéből adódik, Hulk zúz! Hol sziklát, hol Vasembert, a lényeg az, hogy ezek a jelenetek nagyon pörgősek és látványosak, ezáltal ezeknél a részeknél gyorsan pörögnek az oldalak a kevés szöveg miatt, de ugyanakkor jobban is illettek a karakterhez, mint a beszédes, érzelmesebb részek.A Hulk: Szürke összességében egy remek eredettörténet, amit a Loeb/Sale páros egyedi perspektívából ad elő. A történet maga születési és szerelmi történet egybegyúrva, megtartva a kettő közti arányokat. A szöveg mellett az ábrázolás is kiváló.
A teljes kritika az alábbi linken olvasható:
https://smokingbarrels.blog.hu/2020/1...
A történet különlegességét az adja, hogy nem csupán egy karakter születését meséli el, hanem Hulk Betty Ross-szal való kapcsolatára is koncentrál. Ahogy Loeb fogalmaz a kötet végén található vázlatokban: „Akárcsak a többi „színes” füzet, alapjaiban a Hulk: Szürke is szerelmi történet.” És valóban Hulk Betty iránti ragaszkodása a történet meghatározó eleme, sőt ez az egész kötet kiindulópontja.
Ugyanakkor a szerzők a szerelem mellett Hulk születésére is hangsúlyt fektetnek. Megjelenik a kötetben a világra való rácsodálkozása, a saját magával és a körülötte lévő környezettel való ismerkedés. Ezt monumentális képekkel támasztják alá, ilyen például a harmadik rész elején Monument Valley képe a nyúllal, ami egyben számomra az egyik legszebb, de egyben a legmeghatóbb jelenet is.
Azonban Hulk mégis csak Hulk, vagy, ahogy ő maga fogalmaz: „Hulk a Hulk”, és mint természetéből adódik, Hulk zúz! Hol sziklát, hol Vasembert, a lényeg az, hogy ezek a jelenetek nagyon pörgősek és látványosak, ezáltal ezeknél a részeknél gyorsan pörögnek az oldalak a kevés szöveg miatt, de ugyanakkor jobban is illettek a karakterhez, mint a beszédes, érzelmesebb részek.A Hulk: Szürke összességében egy remek eredettörténet, amit a Loeb/Sale páros egyedi perspektívából ad elő. A történet maga születési és szerelmi történet egybegyúrva, megtartva a kettő közti arányokat. A szöveg mellett az ábrázolás is kiváló.
A teljes kritika az alábbi linken olvasható:
https://smokingbarrels.blog.hu/2020/1...
September 16, 2021
This one started off stronger than it finished. Some of the concepts are fun and the art is dope as always with this pairing. However, the "WHO IS THE REAL MONSTER?!" trope wore VERY thin by the end. Sometimes I felt like I accidentally re-read a part because the conversation bubbles were so repetitive. However, a nice little Iron Man crossover and some cool Hulk moments made it an overall fun read.
April 13, 2020
"Soft. Not like Hulk. Friend stay. Wet?"
Another great tragic take from The Colour Series. This time Bruce Banner was retelling his origin, much like Daredevil Yellow, full of emotion and great art...
Another great tragic take from The Colour Series. This time Bruce Banner was retelling his origin, much like Daredevil Yellow, full of emotion and great art...
February 6, 2021
La tercera entrega de esta serie llamada Marvel Colors, no sé si sólo por los fans o sea más bien un nombre oficial, lo que si sé es que va después de Spider man blue y Daredevil yellow.
Ya la había leído antes, Marvel México la había traído en grapas hace como seis años y si no mal recuerdo la compré y la leí. Pero cuando comencé a leerla no recordaba realmente nada y la historia fue una completa sorpresa para mi. Una muy grata debo de admitir.
De las tres, sin duda esta es mi favorita. Es dolorosa, es propositiva en cuanto a estructura, es bastante profunda y no tiene un final feliz.
Se llama Gray porque aborda los aspectos grises de la humanidad. Hulk siempre es visto como el monstruo y Banner como el hombre bueno. Pero Jeph Loev y Tim Sale buscan deconstruir estos conceptos en su obra de una manera muy interesante, lo que hacen aquí es crear paralelismos con el comandante Ross y dejar que el mismo Banner deduzca quién es el monstruos, si es que hay uno.
Las otras dos historias han sido cartas de amor a las mujeres importantes de los personajes: Gwen y Karen. Aquí no es una carta, más bien es una sesión de terapia con Leonard Samson, y abordan bastante el tema de Betty como la figura central, la vuelven el pilar de la historia de Hulk, pero al mismo tiempo el Dr. Leonard busca cuestionar el papel que jugó y al final Hulk entiende algo bastante doloroso.
El apartado artístico también me gustó mucho. Mucha deconstrucción y Hulk es ilustrado por Sale como un verdadero monstruo imponente. Hay varios momentos del cómic donde todo el escenario y los personajes están dibujados de manera impactante.
Creo que la brillantez de esta historia radica en la elección de la temática. Que Loeb y Sale hayan escogido abordar el blanco y negro de la humanidad a través de Hulk, es simplemente genial.
Definitivamente recomendaría toda la serie de Marvel Colors, pero Hulk Gray es un imperdible.
Ya la había leído antes, Marvel México la había traído en grapas hace como seis años y si no mal recuerdo la compré y la leí. Pero cuando comencé a leerla no recordaba realmente nada y la historia fue una completa sorpresa para mi. Una muy grata debo de admitir.
De las tres, sin duda esta es mi favorita. Es dolorosa, es propositiva en cuanto a estructura, es bastante profunda y no tiene un final feliz.
Se llama Gray porque aborda los aspectos grises de la humanidad. Hulk siempre es visto como el monstruo y Banner como el hombre bueno. Pero Jeph Loev y Tim Sale buscan deconstruir estos conceptos en su obra de una manera muy interesante, lo que hacen aquí es crear paralelismos con el comandante Ross y dejar que el mismo Banner deduzca quién es el monstruos, si es que hay uno.
Las otras dos historias han sido cartas de amor a las mujeres importantes de los personajes: Gwen y Karen. Aquí no es una carta, más bien es una sesión de terapia con Leonard Samson, y abordan bastante el tema de Betty como la figura central, la vuelven el pilar de la historia de Hulk, pero al mismo tiempo el Dr. Leonard busca cuestionar el papel que jugó y al final Hulk entiende algo bastante doloroso.
El apartado artístico también me gustó mucho. Mucha deconstrucción y Hulk es ilustrado por Sale como un verdadero monstruo imponente. Hay varios momentos del cómic donde todo el escenario y los personajes están dibujados de manera impactante.
Creo que la brillantez de esta historia radica en la elección de la temática. Que Loeb y Sale hayan escogido abordar el blanco y negro de la humanidad a través de Hulk, es simplemente genial.
Definitivamente recomendaría toda la serie de Marvel Colors, pero Hulk Gray es un imperdible.
January 28, 2013
So Bruce Banner walks into his psychiatrist's office...
So begins this updated re-telling of the Hulk's first few days.
Few people know this (OK, most of the Marvel Fandom does know this) but Hulk was actually Gray when he started out. OK, he was gray for the first issue. He only got to be green in the 2nd issue. The initial reason was mostly because of printing problems, it would seem that the printers had troubles reproducing the gray accurately, so they switched over to green. Later on, they integrated the color change into the history of the character and gave us some additional stories where the Hulk was Gray.
Through a series of flashbacks, we get to see Banner's thoughts on how things were. His interactions with Ross, Betty and Rick Jones as viewed through Banner's eyes or mental state at the time and filtered through his recounting of them in his present.
Instead of repeating the early Hulk stories where he fought the Toadmen and such, we get a surprise encounter which had never been "documented" and it's a pretty nifty surprise.
The art... I love Tim Sale's art-style, but for the life of me, I couldn't start to tell you why I like it so much. His character drawings are "rough", almost drawn in a primitive style. They're almost cartoony or caricatural without actually being so. Maybe it IS because he has his own particular style which diverges enourmously from the accepted norm in comic books. I just know that I like it and I am usually not dissapointed (so far never been actually) in anything I've bought which he's done.
Also the Jeph Loeb / Tim Sale match ups have never dissapointed.
So begins this updated re-telling of the Hulk's first few days.
Few people know this (OK, most of the Marvel Fandom does know this) but Hulk was actually Gray when he started out. OK, he was gray for the first issue. He only got to be green in the 2nd issue. The initial reason was mostly because of printing problems, it would seem that the printers had troubles reproducing the gray accurately, so they switched over to green. Later on, they integrated the color change into the history of the character and gave us some additional stories where the Hulk was Gray.
Through a series of flashbacks, we get to see Banner's thoughts on how things were. His interactions with Ross, Betty and Rick Jones as viewed through Banner's eyes or mental state at the time and filtered through his recounting of them in his present.
Instead of repeating the early Hulk stories where he fought the Toadmen and such, we get a surprise encounter which had never been "documented" and it's a pretty nifty surprise.
The art... I love Tim Sale's art-style, but for the life of me, I couldn't start to tell you why I like it so much. His character drawings are "rough", almost drawn in a primitive style. They're almost cartoony or caricatural without actually being so. Maybe it IS because he has his own particular style which diverges enourmously from the accepted norm in comic books. I just know that I like it and I am usually not dissapointed (so far never been actually) in anything I've bought which he's done.
Also the Jeph Loeb / Tim Sale match ups have never dissapointed.
May 23, 2012
This collected mini-series didn't start to impress me until the 2nd or 3rd installment. The first couple sections seemed a bit thin to me, but once the "overdubbed" counseling session developed and started tying in thematically with the recounted action story, I got engrossed in the psychology the story. Banner is dealing with the essential nature of the Hulk and the Hulk's relationship to General Ross. Who is the monster? Who is responsible for the destruction? Why has the Hulk refrained from killing anyone? And so on. The art was a mixed bag for me. I didn't care for the humorous/cartoony take on the Hulk which just made him look goofy. Yet the art otherwise was eye-popping and larger than life, as was the work of Jack Kirby (one of the inspirations here). I'd recommend it for anyone who liked the early versions of the Hulk and remembers the Hulk vs. General Ross dynamic which is the core of this book.
November 5, 2011
Great art but only so-so story. I've liked the Loeb/Sale team on their various Batman books, but here they're retelling part of the Hulk's origin story, and I've never really seen the point in that. Also, as others mention, I've never really been a Hulk fan, so maybe that has something to do with it, but the whole package is kind of "Meh..."
June 23, 2018
Fun, fast paced, and well-told.
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