In superhero comics, stakes are everything, but they’re also increasingly impossible to measure when the universe is ending every other month. Cosmic annihilation, multiversal collapse, reality itself hanging by a thread… it all risks becoming background noise. Infernal Hulk #2 cuts through that fatigue by grounding its danger somewhere far more terrifying and far more intimate. This isn’t about galaxies exploding—it’s about monsters in the dark, possession, and the horrifying idea that the Hulk’s godlike power may no longer belong to Bruce Banner at all. When the threat isn’t just destruction but control, the fear hits on a visceral level, and this series understands that distinction perfectly.
That fear continues in Infernal Hulk #2, out this week, as Hulk reaches Atlantis. The issue opens with Hulk, being controlled by a creature called Eldest, reaching the sandy shores of the ocean. With a clap of the hands, the sea pushes off, giving him a Biblical presence ala Moses. Captions are spoken from an unseen person, soon to be revealed as Bucky and the New Avengers. A warning is being sent to Namor in Atlantis, but his stubbornness doesn’t even matter when Hulk comes knocking.
Similar to the last issue, Nic Klein’s art is fantastic, offering a highly detailed art style that feels realistic and well-rounded. Colors by Matthew Wilson add depth to backgrounds, elevating their quality to new levels. What everyone will be talking about regarding the visuals is the kaiju Hulk awakenings, with a great sense of scale whenever it’s on the page. He’s got a demon-like look that makes him scary, yet whale-like. Throw in the creepy creatures Klein designs for Hulk to fight inside the beast’s stomach – complete with intestine gutters around the panels – and there’s a gross-out fight not to be missed.
Impressive environments.
Credit: Marvel
As far as the story, this is mostly spectacle, with a heavy dose of Hulk making a point through strength. That makes it a highly visual tale, and those visuals back up the danger and threat Hulk poses to the world.
Similar to the last issue, Bruce Banner’s role is limited. In fact, I’d argue Johnson is dragging his inclusion out a bit while Hulk gathers an army. While his lack of inclusion is clearly ending next issue, we do get a weird hint at what is up with him. Kev Walker draws the final two pages, giving Bruce and his coworkers a wholesome vibe that suits Walker’s style.
Letterer Cory Petit gets to play a bit with the lettering of Hulk/Eldest’s brother. The large white font with cracked edges conveys the character well. Plus, who doesn’t like Hulk’s new pink and black lettering treatment? It’s clear Klein does much of the sound design, which helps integrate them into his art.
Infernal Hulk #2 doubles down on its core strength: turning Hulk into a full-blown horror icon rather than a simple instrument of destruction. While the story largely prioritizes spectacle over plot progression, the sheer scale, grotesque imagination, and oppressive sense of control make this issue unforgettable. The series continues to prove that Hulk is at his most powerful and most terrifying when he’s no longer fully his own.
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