Red Hulk #5: A Fun Spectacle

Five issues in, Percy at last delivers on Red Hulk’s promise: a no-holds barred fight between Doom’s forces and the Hulk-ified General Ross. There is a certain letdown in Red Hulk #5 as Doom himself isn’t present to go toe-to-toe with Red Hulk. This was set up as Ross’ ultimate goal, after all. Granted, such a fight is unlikely to be more impressive than Doom’s fight with Dormamu in One World Under Doom #4, but the idea of dealing with Doom in a purely physical fight rather than the other heroes’ attempts to outthink him was a compelling idea.

This isn’t to say that the Red Hulk/Doombot fight isn’t fun. Shaw makes it a visual spectacle, most especially in a two page spread in Red Hulk #5’s opening pages. Shaw tracks Red Hulk punching his way through a variety of Doombots in a sequence of poses and movements. One Red Hulk punch becomes two then three and so forth. They are small time jumps with no pause in between each Doombot being destroyed. There are panels in a sense, but Red Hulk’s movements are themselves the border for these other Red Hulk moments.

Valenza’s coloring adds to that same sense of spectacle. Over the course of the series Valenza has showcased an ability to blend colors and layer shades to add to Shaw’s detailed work. In Red Hulk #5 Valenza plays up the power of Red Hulk and his enemies with vivid color choices when they clash.

Petit’s work plays into this spectacle as well with the sound effects that are in use during the various fight sequences. Petit often works the sound effects into the focal points of action and most of them are outlined words that allow Shaw’s art and Valenza’s coloring to stay prominent.

The story development late in Red Hulk #5 is not surprising. Percy has been telegraphing it almost since the series’ beginning. It’s satisfying to see that foreshadowing payoff, and it’s especially appropriate development for Ross’ character arc. It is a change that feels somewhat abrupt, though. There have been enough dialogue clues that Red Hulk pondering what is about to happen would be appropriate. But the issue cuts immediately from the Doombots to another inevitable confrontation without much comment.

Arguably this is the result of Percy going somewhat against his own style. Percy doesn’t focus on Red Hulk’s inner monologue for much of the issue. The opening pages attempt to describe, from Red Hulk’s point of view, the sudden release of his rage like the abrupt energy of firing a gun. But once he’s expressed that idea, Percy pulls back, allowing dialogue to advance the interaction between Red Hulk and the Doombots, and also the side activities of Deahtlok and Machine Man. The dialogue itself is nothing special–none of the characters are revealing anything profound. But given how invested in General Ross’ thought process that the series has been to this point, opening up part of Red Hulk #5 in this way is welcome. Any story shortcoming resulting from the loss of the usual ongoing internal monologue commentary is made up for by how it makes the issue about more than just the title character.

Shaw’s attention to detail on character close-ups plays into this wider scope. This isn’t unique to Red Hulk #5. Shaw’s liberal linework has been delivering detailed, emotive characters from the start. In Red Hulk #5 it’s especially welcome. With Percy leaning away from his internal monologue style for as much of the issue as he does, Shaw’s art carries a lot of the emotion.