The veil of the conspiracy that has manipulated the life of Bruce Banner and so many others around him begins to lift, and revealed is... a typical super-villain plot? Bruce Jones's long-running, dark plotlines take a decidedly unexpected and conventional turn in this issue, and I have to admit, I'm sorely disappointed. Although the complexities of the book made it difficult for new readers to jump into the series and lacked the small bits of resolution needed along the way, they helped to set the book apart from the typical Marvel super-hero fare. He undoes that for some reason here. Still, the action later in the issue is exciting and engaging, and Robertson's style suits the title character nicely.
Bruce Banner awakens to find himself in Los Angeles... or what used to be Los Angeles, anyway. The city is now a post-Apocalyptic landscape, complete with aggressive and feral zombie-like survivors and alien life. Apparently, only two men have survived the nuclear carnage unscathed: Bruce Banner and an old enemy of his. Banner's one-time enemy extends a hand of friendship and co-operation, though, as well as a plan, one that will not only prevent the disaster that's befallen the world, but will eradicate any truce of the Hulk from history. Meanwhile, Doc Samson, Betty Ross, Nadia Blonsky and Tony Stark desperately try to find a way to track down Banner and his destructive alter ego.
Robertson's style boasts an edgy, intense quality. It's one of the reasons his work on Warren Ellis's Transmetropolitan was so well received, and one of the reasons he was a good choice as the regular artist on Greg Rucka's Wolverine. It also makes him a good choice as the penciller on this series. He brings the carnage of the Hulk's rampages to life quite well, but as good an artist as he is, even Darick Robertson can't make the villain of this piece look good. The Silver Age design returns here to a certain extent, and the character looks silly rather than intimidating or clever. And that cheesy high-school 'stache has just got to go.
Jones maintains an excitement in the latter pages of the book. When the mystery of the post-nuclear setting fades, the action takes over. I love that it's Betty and Nadia in the thick of it, too, not the guys who are pursuing Banner in an attempt to help him. The simplicity of the chopper controls is overemphasized and a bit hard to swallow anyway. It may very well be true, but it seems awfully convenient.
The hero falls under the control of the villain... the dark and intricate plotting that has characterized this series for more than three years is cast aside here. I have no problems with new directions, but the old plots really ought to be wrapped up first before moving on. The art reflects the shift; Robertson's style may be mature and edgy, but it's not dark. And darkness has defined the look of this title for some time now.
