The Incredible Hulk 63 (January 2004)

200834I guess this issue’s an improvement; the series is so far along at this point it’s hard to tell. But the banter between characters goes away a little. Doc Samson and Sandra (she’s the regenerating spy who started out Jones’s run or somewhere towards the beginning) don’t have any banter. It’s just Mr. Blue and Nadia. Jones again feels the need to turn every female character into an action hero. They aren’t heroes in the moment, they’ve had training. It’s ludicrous.

The comic sort of feels like Jones wanted to do some kind of espionage thriller and married it to Hulk. This issue, though the Hulk’s in the comic far more than usual–even for Hulk issues–he’s just a sideshow attraction. The real story is the giant conspiracy.

It’s boring to read a comic without a main character. Especially a comic called The Incredible Hulk.

Still, the cliffhanger’s not half bad.

C 

CREDITS

Split Decisions, Part Four: Blue Moon; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterer, Cory Petit; editors, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

The Incredible Hulk 62 (December 2003)

The Incredible Hulk #62I can’t think of a more boring artist to do night scenes than Deodato. All of the art seems hurried, though some of it couldn’t be. Jones introduces little monsters who hunt Mr. Blue and Nadia. Except, of course, this issue is also where Jones reveals Mr. Blue’s identity.

He could have hinted at it better, especially during the endless conversations with Nadia. Two essentially unarmed women against hundreds of little alien-like things (alien like Aliens, no design originality award here) and Jones has them banter. It’s all exposition, so why not exposition with subtext.

There’s also some stuff with Doc Samson and his lady friend. Bruce Banner drives. Supposedly the lead character in the comic and he drives around.

Bringing all the supporting cast together is just revealing how little Jones needed them for except for expository purposes. Hulk hasn’t just lost texture, it’s lost Jones’s ramblings too.

C-

CREDITS

Split Decisions, Part Two: Night Eyes; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterer, Cory Petit; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

The Incredible Hulk 60 (November 2003)

The Incredible Hulk #60Poor Bruce Jones. He gets back to the conspiracy storyline, brings back in Doc Samson–reimagined as some kind of super-spy–and generally gets the series moving again towards something. Sure, Banner barely has anything to do but the narrative works. Jones splits it between Banner, Samson and Nadia (the Abomination’s wife) and ties them all together trying to get the mystery laptops to work.

All in all, the narrative is successful. Jones goes for an artful cliffhanger rather than a rewarding or intriguing one but artful’s okay.

But Deodato’s back on the art and he butchers it. The juxtaposed fight scenes are awful, the Doc Samson fight scene is awful, even the Banner sitting in a cafe is awful. Deodato misappropriates his artistic attentions. The fight scenes should be compelling, what with Jones’s placement of them in the narrative, instead they’re painful to the eye.

It’s a shame.

B- 

CREDITS

Split Decisions, Part One; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterer, Cory Petit; editors, Jennifer Huang, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

The Incredible Hulk 54 (August 2003)

774294And here’s that double-issue long Hulk fight Jones has never done before and now it’s clear why… Because he’s no good at it. Jones and Deodato have a rhythm to the fight. There’s the fight, there’s the side action (sometimes the Abomination’s wife, sometimes the bad guys in a helicopter). Those are usually six panel pages. So you get little panels for big fight moments. Or there’s the half double-page spread device, which Deodato uses a lot.

Here’s the thing about Deodato’s art. He knows how to compose the frame. With the half double-page spreads, action starts on the left page, moves to the right. It’s wholly competent and incredibly boring. The fight’s just Hulk and Abomination saying nasty stuff to each other between punches, at least it could look engaging.

Jones sort of resets the ground situation at the end, which is good, Hulk needs it.

C 

CREDITS

Dark Mind, Dark Hearts, Part Five: Welcome to Entropy; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterers, Richard Starkings and Wes Abbott; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

The Incredible Hulk 53 (July 2003)

901318I haven’t talked about Deodato’s tendency towards wide faces because there have been more interesting things to talk about. Not anymore. Sadly, Jones’s stalling has continued and gotten worse–this issue and the previous easily could have been wrapped into one.

What happens this issue? Bruce finds out about the girl, whose motives are simple and noirish but way too small for such a big story, and the Abomination gets out.

The problem’s how Deodato breaks out the story. He doesn’t have a good way of visualizing Banner’s forced hallucinations, he doesn’t have a good way of visualizing the Abomination’s rampage. Yes, he can do a splash page of destruction, but there’s no gravitas to it. There’s no sense of mood. Sure, the art’s dark, but dark isn’t mood.

The cliffhanger promises a final issue to the story arc. Hopefully Jones can correct the series’s decline once he’s done here.

C 

CREDITS

Dark Mind, Dark Hearts, Part Four: Enemy Mine; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterers, Richard Starkings and Wes Abbott; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

The Incredible Hulk 52 (June 2003)

901317Jones slows down the pace a lot. Deodato gets to draw the Hulk for a while and the Abomination is still an undetermined factor in the story–Jones and Deodato are laying on the ominous foreshadowing–but it’s a breather of an issue. Bruce bonds with Nadia, who is also warming to him. Even though she’s working with the villains.

Maybe.

The issue isn’t bad but Jones has been so frantic it can’t help but disappoint. Having the other double agent take out a bunch of assassins isn’t really interesting. This guy isn’t a major player in the book. And Jones is trying hard to make the supporting villains into significant ones, but they’re anonymous persons in black. It’s not compelling.

Worst might be the cliffhanger where Jones teases a big revelation… of a plot detail he’s ignored for a long, long time.

Hopefully he can recover from the stall.

C+ 

CREDITS

Dark Mind, Dark Hearts, Part Three: Vicious Circles; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterers, Richard Starkings and Wes Abbott; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

The Incredible Hulk 51 (May 2003)

128323I do admire Jones’s dedication. He resolves my concerns over the appearance of contrivance by revealing the conspiracy to be even more convoluted than he had previously suggested. But he doesn’t stop with the conspiracy, he makes this issue’s plot even more convoluted and surprising.

The issue has a couple strange turns of events–not to mention a few of those false cliffhangers Jones uses to keep the reader engaged in what’s basically a setup for things to come. Jones doesn’t come off as gimmicky because those plotting decisions are what his Hulk is all about. He never wants the reader to feel he or she is on firm ground; the surprises, even if they’re only important for five or six pages in the story, are essential.

Consciously playing with reader expectations is an interesting move. If the reader buys in, it still means the payoff needs to be substantial.

B 

CREDITS

Dark Mind, Dark Hearts, Part Two: Killing Season; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterers, Richard Starkings and Wes Abbott; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

The Incredible Hulk 50 (April 2003)

901296Oh, Bruce Jones, did you really set Bruce Banner up with the Abomination’s wife? It’s kind of a spoiler–though not really because Jones reveals it before the end of the issue (going out on a soft cliffhanger instead)–but it’s just about the most contrived thing one could imagine.

So long as Jones owns the contrivance, I imagine it’ll work out. And new artist Mike Deodato Jr. does draw Bruce rather handsome and heartthrob so I guess it’s conceivable the woman’s going to go for him. Hopefully it’s all part of the giant conspiracy I don’t really like.

Those obvious complaints aside, it’s a solid issue. Not much happens–secret agents go see the Abomination, Bruce finds the woman in a roadside cafe–but Jones gets a full issue out of it. I think he gears up to cliffhangers, ratchets down, does more story, ratchets up again.

It works.

B- 

CREDITS

Dark Mind, Dark Hearts, Part One; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterers, Richard Starkings and Wes Abbott; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.