Alex Spencer

Note how each punch and jump impacts on the gravity of its containing panel, pushing down the corner where they land. This is a classic method for making static comics action feel more dynamic, lending weight to each hit.pic.twitter.com/mU57OZQIjP

(Similarly: I love the way that, when Hulk prepares to launch into one of those tall-buildings-in-a-single-bound leaps, we see him sinking into the sand underfoot. Adds weight to a moment we've seen a hundred times before.)pic.twitter.com/QBGvtgEncL

Given what Samson says about his death… I think the tilted panels here represent a move into genre narratives that are simpler to handle emotionally, compared to, say, deciding whether you should reach out to an estranged friend in need.pic.twitter.com/SVXYm6Zfb8

It's an inversion of the book's usual order/chaos dichotomy that I can't quite get my head round, but maybe it has to do with Samson's personality? I don't know the character that well, but the way he brushes off the darkness with a joke feels very Peter David.pic.twitter.com/CaKsUNDbfL

An example of those smaller human problems: this lovely panel feels almost like it could be pulled from a slice-of-life comic. Generally Bennett’s strength lies in the monstrous, but here he pulls back, goes a little easier on the detailing and, voilà, we’re in a different genre.pic.twitter.com/gSuaU0qJFh

This arc seems to be all about what grief means, in a world where – as Fury points out – death isn't necessarily permanent. Reminds me of Martian Manhunter’s funeral in FINAL CRISIS.pic.twitter.com/HOBlh6L84I

(On the topic of loss: this is a lovely little tribute to comics artists Marie and John Severin. The former specifically was a huge part of the Hulk's development, and passed last year.)pic.twitter.com/R3D42lvii5

Back to the monstrous, though: Bennett was born to draw the Hulk. His version of the character is uniquely squat and ugly, somehow simultaneously closer to and further from human than we’re used to.pic.twitter.com/VgVLpQ2owQ