Planet Hulk is the epic storyline that defined the Hulk for over a year. We're all familiar with the basic storyline: Earth's heroes (specifically a group called the Illuminati) decide the Hulk is too great of a threat to the planet, so they seize upon the opportunity to send him to a distant one. Hulk is forced to fight through slavery to eventually become ruler of his newfound home. Tragically all of this is destroyed by the ship he arrived on, which appeared to be packed with an explosive device that ruins everything the Hulk achieved. Greg Pak and his artists gave the fans what they wanted with this storyline: plenty of action-packed sci-fi goodness. However, in going against his most recent predecessors' trend of making the character too cerebral for the fans' liking, Pak pushed to the side the very aspect that made the green giant unique to begin with: Bruce Banner.
Once Hulk arrives on Sakaar, he quickly discovers that this isn't a peaceful, uninhabited world. While entering the atmosphere, he was weakened, and has to fight harder than he's used to against this world's hostile beings. Sakaar is currently under the tyrannical rule of an emperor who rules his land without heed to the needs of the different species that inhabit it. Hulk is quickly captured by the emperor's men and sold into slavery as a fighter. He is then sent to a gladiator-type arena where he fights for his life. The crowd is surprised that the Hulk is actually able to succeed, and rumors quickly spread that the legend of the "Sakaarson" is true—a hero who can free Sakaar of its treacherous emperor. At the same time opposing rumors surface that he is the prophesied "world breaker." Hulk becomes a member of a team of seven warriors, all of different alien species; together they fight through everything the emperor throws at them, from Death's Head Guards to the Silver Surfer, and the seven warriors pledge to fight together until death—they are "war-bound." The adventure and action eventually move beyond the arena, though I'll let you discover how that unfolds.
Unfortunately, Greg Pak's infusion of action into this title quickly wears off as the storyline gets a repetitive feeling to it early on. About halfway through it seems like it'll never end. Greg Pak does his best work in the early issues, where the Hulk is the underdog: he doesn't know this world or its rules, and we're right there with him, learning about the different beings that live here and their politics. It was also brilliant to put Hulk in a situation where he isn't the strongest one alive, and we see how his will to never stop more than makes up for his lack of strength. Once Hulk starts to lead the fight against the emperor, we get an endless series of battles with little differentiation between them as we move towards a final fight. Unfortunately, Pak doesn't make up for this with characterization—although it's great to see the Hulk struggle, we never really get a glimpse of the other side of his personality, Bruce Banner.
As for the Hulk himself, he stays a two-dimensional character throughout the storyline. He is simply the greatest warrior the planet has ever seen, and despite what Reed Richards would have us believe, this planet is probably the closest the Hulk has ever come to home. He's among a bunch of like-minded warriors fighting for freedom, and every conflict is won by brute strength. Pak does do an impressive job with the level of detail he puts into creating this planet. From the start, we get a sense of this corrupt government that enslaves newcomers without trial and forces them into slavery and celebrates the spectacle of death. Its natives have suffered a great injustice from this king's reign of power, and eagerly await their foretold savior; it's a shame the Hulk himself never fully confronts this mythical treatment, although there is some sort of odd poetry in the fact that he becomes both their savior and their bringer of destruction.
Carlos Pagulayan and Aaron Lopresti, Planet Hulk's two main artists, do an equally impressive job of transforming Greg Pak's scripts into visuals. They both have a knack for this big, fist-pounding action, and never hinder the reader with poor storytelling. Each of the alien creatures has a distinct look, which stays consistent throughout the storyline. Both artists make the Hulk's struggle a lot of fun to read with their huge panel work and exotic locales—although a few times the battles seemed to derive into videogames slugfests. While I wish they could have kept with Pagulayan, whose looser pencils brought a certain energy that suited the story perfectly, the whole way through, Lopresti was a more than apt choice for keeping the art style consistent.
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