"The Seventh Level"

Originally, Emil Blonsky was a Soviet spy planted in General Thunderbolt Ross' territory. There he purposely exposed himself to gamma radiation and transformed into the Hulk's opposite number. The Abomination was a match for the Hulk's strength and still possessed Blonsky's intelligence. Despite these attributes, the Abomination failed to usurp the Leader's position as the Hulk's arch-nemesis.

Peter David changes very little in the Abomination's origin, but his updates are sensible streamlines. Obviously, Blonsky can no longer be a spy for the Soviet Union, since that body no longer exists. David instead makes him a Russian freelancer with an interesting grudge that explains the change in setting, from military base to a nuclear plant. The change gives Blonsky a deeper motivation for his actions and makes him more dangerous. Whereas the original Blonsky was simply doing his duty, this one is insane.

Gil Kane drew the original tale. His dynamic art emphasized Stan Lee's overtly serious story. While Juan Santacruz, great to see his art again, and Norberto Fernandez instill drama, they also lighten the mood with a slightly cartoony look. The fight between the Hulk and the Abomination is over the top and somewhat slapstick. These are not complaints. Rather, the artists maintain the mood of an all-ages story that's supposed to percolate with wit and some visual gags.

The Marvel Adventures Hulk is a shade more intelligent and fun-loving than the traditional Hulk of the '70s. David takes advantage of the clean slate afforded by the Marvel Adventures line to infuse the tale with even more humor. The Hulk's dialogue is frequently hilarious.

The conclusion to "The Seventh Level" acts to distinguish Marvel Adventures Hulk from the more familiar incarnations. Whereas the Hulk has traditionally always been thought of as a rampaging monster by all but his closest allies, this version of the Hulk raises some doubts in the general public and authorities. Ross appears to still be Lieutenant Gerard to the Hulk's Richard Kimble, but witnesses recognize that the Hulk fought off another monster and saved the populace from falling victim to a nuclear disaster.

While I don't believe all of the Marvel Adventures line shares the same continuity, these changes in attitude toward the Hulk could be used to explain how he becomes accepted by the public and officials as an Avenger in good standing. It's a nice touch that's also translated in the artwork. Tom Grummett's Hulk on the cover is more traditional than the version seen inside. Santacruz and Fernandez make the Hulk more heroic looking, and Angel Marin chooses a vibrant green for the Hulk that evokes nature rather than grotesque horror. Compare it to the reptilian hide of the Abomination.

The subtle changes in Marvel Adventures Hulk produce broader consequences. The story pays tribute to the original, but it's originality smoothly unites with the artwork to make the Hulk a hero instead of a monster.

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