After nine issues of being a b&w continuity implant magazine, Rampaging Hulk switched to color and became simply The HULK! I imagine the change was to make it more palatable to potential readers familiar with the Hulk only via the then-current TV show. In addition to a 41-page story, the first issue of the new format included an article, an interview with Bill Bixby, a photo of Lou Ferigno, an illustated prose story, a pin-up section and a letters page; cover art by Val Mayerik.. The story itself was set in the "real world" (more-or-less) as opposed to the Marvel Universe (although the "pin-up" section was a "Gallery of Villains" from the Tales to Astonish days). "Thunder of Dawn" was written by Doug Moench and drawn by Ron Wilson and Ricardo Villamonte. As one might expect from a television episode, the story is more about Bruce Banner than his green-skinned alter-ego. The Hulk appears just in the beginning and at the end, but is written just the way I like him: with a mix of philosophy, psychology and symbolism. It is drawn in a contemporary style, but the Hulk's patois is more reminiscent of his early days. the Hulk was once my favorite character (my very first favorite, as a matter of fact), but Marvel hasn't published a version I have cared for in quite some time now. I often return to The HULK! during times of "Hulk withdrawl."
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In the late Seventies I wasn't reading the monthly Hulk comic but the Hulk magazine was among my regular buys. I think I enjoyed it more than the monthly largely because it took place outside of the Marvel universe. The larger format with longer single stories helped too.
I thought it odd that Rampaging Hulk was B&W, when one of the most famous aspects of the Hulk was his color. Even his nicknames reflected that: Emerald Behemoth, Jade-Jaws, Greenskin. I didn't dwell on it or anything, it was just a vague observation. The color issues, almost necessarily, had more pop,
ISSUE #11:
Cover: Bob Larkin
Frontispiece: Walt Simonson
Story: "The Boy Who Cried Hulk"
I bought #11 new at the Armchair Adventurer bookstore in 1978 when I was 14 years old. It was one of only three issues (or four, now that I think of it) I was to see on the stands during the series' 27-issue run. Armchair Adventurer opened in 1975 as a used bookstore, and by 1978 had moved to its second location and had begun selling new books as well. By the year 2000 they were in their third location, and still had my account active even though I had not used it for 15-20 years. I haven't been back to my hometown in eight years; I have no idea if it's still open. But I digress...
The first issue of the new direction had a very "TV" feel to it, but contemporary. Issue #11, although also drawn by Ron Wilson, had a very different look to it, as if it were set circa the original Hulk #6. Doug Moench's story, "The Boy Who Cried Hulk!," also had a very "TV" feel to it, but more '60s TV than '70s. The inker, Fran Matera (whose work I am otherwise unfamiliar with), has a style reminiscent of Chic Stone's, but I think Wilson approached his layouts differently than he did in #10's story as well. "Thunder of Dawn" was set against a backdrop of an illegal operation mining radioactive ore; "The Boy Who Cried Hulk!" is a tale of child abuse told in a carnival setting. Bruno, the carnival's strongman, was also a victim of child abuse, setting up a parallel situation. Obviously, a carnival strong man would have no chance whatsoever against the contemporary Hulk, so I always thought of this as an "untold tale."
Here is what Rick Marschall had to say about the new direction of the magazine in this issue's editorial: "And as for the new storyline, the Hulk in his magazine millieu will approximate the approach of the smash TV version of his adventures -- and we'll treat our friend from an angle a little different than in the monthly comic books. In these magazines the Hulk's antagonists will not be costumed villains but the forces of nature, of social convention, of Fate, and, ultimately, his own personal crises and dilemmas."
Moon Knight: This issue also begins a Moon Knight serial by Doug Moench. This would have been my first exposure to the character. Although Moon Knight would later become my favorite character for a time, I did not care for this initial outing. For one thing, he wasn't a character I was familiar with; for another, he was drawn by Gene Colan, whose styler I had not yet come to admire. These Monn Knight back-ups have been reprinted at least three times that I am aware of: the three-issue Moon Knight Special Edition; a "Marvel Premiere" hardcover; and the first volume of the Moon Knight omnibus. (I am almost 100% certain they were reprinted in b&w "Essential" format as well.) Because the first two of these spotlight the Sienkiewicz era, the omnibus is the way to go if you can't find the originals.
I should also mention that both #10 & #11 have wraparound covers, and #11 features a Hulk pin-up by Walt Simonson.
ISSUE #12:
Cover: Joe Jusko
Frontispiece: John Romita, Jr.
Interview: Lou Ferigno
Story: "The Color of Hate"
"The Color of Hate" (also penciled by Ron Wilson but inked by Ernie Chan this time) is the direct sequel to #11's "The Boy Who Cried Hulk!" It is set in Chicago where Bruno, the carnival strongman from #11, takes a job at a science lab testing a strenght-boosting exo-skeleton. He steals it, and seeks revenge agains the Hulk. Incidentally, the Hulk mentions "Ross' soldiers," so these stories are at least comic book adjacent. the story's title does double duty, as it's about the Hulk, but it's lso about racism. the Hulk lands in the South side of chicago where he breaks up a couple of cops hassling some young Black kids. He later reverts to Bruce Banner in an alleyway and is befriended by an old Black man, who realizes he must get him out of Cabrini-Green before the "tough kids" notice his skin color.
That plan doesn't quite work out. A group of kids hassle them, and Banner turns into the Hulk. The word "nigger" is used quite liberously... aaaand I think I've just discovered why these stories have never been and will never be collected/reprinted. Hulk chases the kids off, then goes on a rampage across some of the well-known sites of Chicago, finally ending up at Soldier's Field where Bruno catches up with him. They fight, Hulk wins, and Bruce Banner imparts a lesson against hatred and intolerance.
Moon Knight: Artwork this chapter by Keith Pollard
ISSUE #13:
Cover: Earl Norem
Frontispiece: Mike Zeck
Story: "Season of Terror"
Writer Doug Moench and artist Ron Wilson are joined this issue by inker (and colorist) Bob McLeod. "Season of Terrror" is very much a product of its time. Hijacking were in the news and airline disaster movies were popular in the cinema. It is also similar to a TV episode. In fact, the only episode of the TV show I ever saw (first run) was set aboard a plane and dealt with David Banner "Hulking out" mid-flight. (The only reason I watched that particular episode is because it guest-starred Brandon Cruz, Bill Bixby's co-star from The Courtship of Eddie's father.) Yet, due to the special effects involved, this is a story that could only be told in comic books. The Hulk breaks through the side of the plane from the inside, then prevents it from crashing by "catching" it. He later carries it from the cover up trees up the side of a mountain where it can be spotted by rescuers.
These HULK! magazine stories are basically "done-in-one," although there is some continuity linking one to the next. For example, Bruno, the strongman from #11, followed the Hulk to Chicago in #12. As #12 opens, Bruce Banner is still in the Windy City when he learns of a Swiss scientist who has discovered a way to purge the effects of radiation exposure from living organisms. Hopeful to find a cure for his own condition, Banner books a direct flight to Zurich via Frankfurt from Chicago's O'Hare Airport.* (We'll see the outcome of this trip next issue.)
*ASIDE: 30 years in the airline industry has taught me that most people say "direct" when they actually mean "non-stop." A direct flight is one which makes one or more intermediate stops on the way to the passenger's destination without requiring him to change planes (which would be a "transfer"). While I am here, I might as well mention the incorrect use of the term "ETA" (estimated time of arrival). Often non-airline people inquire about a plane's "ETA" before it even leaves the ground (its "STD" or "scheduled time of departure"). The flight doesn't have an ETA until it's in the air. Until then, it has and "STA" (or "scheduled time of arrival"). If a takeoff has been delayed for whatever reason, a plane will then be assigned an "ETD" (or "estimated time of departure"). Sometimes people inquire about a plane's "ETA" after it has landed, which would be its "ATA" (or "actual time of arrival"). In relation to Departures and Arrivals, times are either Scheduled, Estimated or Actual. Sorry for the rant, but I felt it needed to be said. We now return you to your regularly scheduled post. END OF DIGRESSION.
Moon Knight: Bill Sienkiewicz tenure begins with the third chapter. He is very much still in his "Neal Adams clone" stage of his career at this point, but hints of his future style are nonetheless present. This is where most collections start. Doug Moench's story is pretty tight and although it is possible to follow from this point, if you've ever tried and felt something was missing, you were right.
ISSUE #14:
Cover: Bob Larkin
Frontispiece: Mike Zeck
Story: "A Cure for Chaos"
After buying #11-12 new, I missed #13 but bought #14. It would be the last issue I would see for a while. In this issue, Banner finally arrives in Switzerland, and Moench & Wilson are joined by inker Rudy Nebres for a story loosley based on Universal Studios' Frankenstein. Dr. Feldstadt is the mad scientist, he has a dwarf assisstant, there is a village, and it takes place in a castle. Banner uses the alias "David Bixby."
Moon Knight: Chapter four (featuring a cameo appearance by Laurel & Hardy).