Review by Frank Plowright

The Hulk has returned from banishment in space accompanied by powerful allies determined to deal with the heroes who exiled him. As Misty Knight’s heroes for hire return to New York, it’s under threat of destruction, from where two different creative teams follow two different threads.

The main team are greatly concerned with the Hulk’s alien companion Miek and the insectoid people he controls. They’ve been instructed to prepare a nest for their queen, and if she occupies it and begins giving birth, her offspring will wipe out all mammalian life, including humanity. Zeb Wells and Clay Mann supply those events, while shorter chapters focus on a battle between the mercenary Paladin and the S.H.I.E.L.D. ally Scorpion as presented by Fred Van Lente and John Bosco. The novelty is it taking place in a room full of weapons confiscated from villains, which is a treat for those with a long knowledge of Marvel history. Who’d have thought Cockroach Hamilton would ever be mentioned again?

Back in the main event, Wells transformed Humbug in Ahead of the Curve, and it now becomes clear why. He’s gone from sleazy and trivial annoyance to a being utterly attuned with the insect world and its possibilities. So can he still be trusted? More so than other World War Hulk tie-ins, there’s use of Hulk’s companions, although most are only involved in discussions, and the air of uncertainty about Humbug’s motives pulls the plot along nicely as the Heroes For Hire are captured. Some of Wells’ other character moments aren’t as strong, with the Black Cat’s attraction to Paladin mystifying and not given any real foundation, although Paladin’s mercenary personality resonates throughout.

Mann is still an artist in development. He tries a little too hard to provide unconventional viewpoints, which impacts on the storytelling, and isn’t generating that attractive line characterising later work. However for an artist learning on the job the basic talent is evident. Unfortunately everything falls to pieces artistically by the end with the parade of James Cordeiro, Ale Garza, Alvin Lee and Leonard Kirk producing the final chapter and a half between them. It’s not a pretty sight, and even allowing for work produced in a hurry Lee’s pages are extremely basic, with Shang Chi pictured as a musclebound clod rather than a slim martial artist.

It’s usually the case that storylines having to connect with crossovers are grudging affairs interrupting continuity and often half-heartedly executed. Wells, though, embraces the possibilities of the Hulk’s allies and even if poor art and a rushed ending scupper things, what comes before is very readable.