Red Hulk #10: A Worthy, Character Driven Ending

Red Hulk’s ending is counterintuitive to readers who focused primarily on the series’ action. Indeed, such readers might view Red Hulk #10 as going out with a whimper rather than a bang. That view is as far from the truth as possible, though. Percy spent nine issues using One World Under Doom as a backdrop for a slow burn Ross character examination. So rather than abandon that story to go all in on a big action set piece, Percy delivers an ending consistent with and worthy of the story he’s told to this point.

Percy’s final look at Ross is as an instrument of will and violence, but one that fights for something very specific. This isn’t a revelation. Percy backs up most of Ross’s actions with suggestions of this theme. But he makes it explicit in Red Hulk #10. Percy stays out of Ross’ head for most of the issue. The only time he gets deep into the character’s internal monologue is during Red Hulk #10’s brief action sequence between Ross and Stryker. Ross asserts that he’s the kind of instrument of violence that makes the dream of the United States possible. Whether that’s true or not is for the reader to decide, but it is an excellent distillation of the various ways Red Hulk has looked at Ross: general, soldier, man, and Hulk.

This notion of fighting for a greater ideal is contrasted with the various Hulk-like creatures Stryker created. Once Stryker is defeated, they wander off. Ross understands what his surprised companions do not: these creatures have no allegiance to anyone but Stryker and thus have nothing to fight for once he’s defeated.

The story doesn’t validate Ross’ argument completely, though. Is there a point at which Ross’ fight for his ideals becomes as outwardly dangerous to others as Doom’s fight to conquer? Ross’ companions aren’t sure, and Ross himself doesn’t care. The ending invites the reader to ponder much of what the series has said.

Guzman’s heavily shaded and thick lined style is well suited for what is largely an emotional struggle. This is most effective with Ross who spends most of the issue angry and determined. Ross’ intense emotions as realized by Guzman provide a strong contrast with his companions. No less detailed by Guzman, these three characters’ expressions aren’t as intense as Ross’ and reveal them to not be as devoted to Ross’ final goal as he is.

Equally detailed are Stryker’s Hulk-esque creatures. Guzman’s depictions push them into body horror territory, creating a shocking enemy for Ross and his companions to fight. The creatures’ depiction creates the expectation of a huge battle between them and the good guys but instead plays into a fun reversal when they leave because, as Ross suggests, they have nothing more to fight for in this confrontation.

That body horror sensibility plays well into Guzman’s depiction of the Red Hulk as well. He leans more into grotesque monster territory, especially when Ross transforms.

Most of Red Hulk #10 takes place outside in a dreary rainstorm or inside a dark cave. Valenza uses dark blues with hints of gray to create these darker environs. This provides excellent contrast for the rich shades of red Valenza uses for the assorted Hulk creatures. Between Guzman’s body horror style and Valenza’s coloring, they stand out to the point of jumping off the page.

The two page fight between Red Hulk and Stryker is the issue’s most visually striking sequence. It’s also the only sequence with an extended Ross inner monologue. Petit does a good job keeping the caption boxes out of the way of the art. It’s a two page spread, and at one point the placement isn’t necessarily intuitive. But it’s effective.