The grey gentleman being spun around like a hyperactive child's toy is Elephantine, a renegade from WoodGod's tribe of Changelings (hybrids of humans with various animals).
You'll notice that the artwork on this page is light on backgrounds, and the action is stylized like a cartoon. Elephantine's crash against the tree looks as painless as Elmer Fudd falling off a cliff, and this is by design: this whole Hulk adventure WAS a cartoon at heart.
This wasn't a gritty crime-drama, where the setting's realism is essential to facilitate the reader's immersion. This wasn't an ambitious sci-fi thriller, actually dealing with with existential consequences of creating Changeling life. No, this was a lighthearted romp through a goofy tribe of animal-people, who had names like Minotaurus, Pantherus and Leoninus (they sounded like refugees from an Asterix album). And Hulk's artist Sal Buscema treated it as such - emphasizing the goofiness, and downplaying the violence and emotional stakes.
These were deliberate narrative choices, in service of the story. Sal Buscema could do drama and scenery like the best of 'em, but this moment didn't call for ANY of that. We only get glimpses of the background, because we're meant to focus on Hulk's over-the-top takedown of Elephantine. We're definitely not supposed to dwell on how much that would hurt.
Normally, elaborate backgrounds are meant to make the reader feel like he's on the scene, but that's not a priority here; a lighter touch actually works better for the story being told.
You wanted a "graphic novel"? You came to the wrong place, buddy. This is COMICS! Cuss-filtered, four-colored, fun-loving, elephant-swinging COMICS! And don't you forget it - or Hulk may "do the impossible" to you too.👊
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