The last three issues before Peter David takes over as main writer, including I suppose his tryout.

The Incredible Hulk #328

Bruce Banner is troubled. Out for a drive in the desert near the gamma base he’s delirious enough to fall for a mirage, and isn’t even sure he’s going the right way. He encounters a man with terminal cancer who has hired a hitman to take him out.
Peter David comes to the series for a one-off, before becoming the main writer with #331. We immediately get a sense of his tendency to focus on the absurd. A hero saving a guy from a hitman he hired is a very Peter David story. There’s certainly an effort to get to the core of Bruce’s character.
Dwayne Turner seems like a similar style of artist to Geiger. He handles solitude and dream sequences well enough.
The end is a bit cliched, and this is a type of Hulk story I’ve seen many times, sometimes better. But it is appropriate that Peter David already has this statement on the Hulk before his regular run begins.
B

The Incredible Hulk #329

Rick Jones looks for solitude in a place Bruce used to hide when he was the Hulk. The situation is reversed because he finds himself transforming into a Hulk. He encounters desert creatures given intelligence and super-powers through exposure to the gamma bomb. And they want to be friends with his version of the Hulk. But the problem is that when Bruce finds them, SHIELD follows.
As a single issue story it’s fine. There are plenty of stories where the Hulk briefly finds a community where he’s accepted and then loses it, but the concept of animals altered by the gamma bomb is a decent one (I’m pretty sure this was adapted into the 90s cartoon) and it’s okay to see Rick Jones experience something Bruce often struggles with. This may be Milgrom’s best issue.
B+

The Incredible Hulk #330

Al Milgrom finishes his run and Todd McFarlane joins as artist. General Ross recovers from his coma, and still wants to kill the Hulk, which sends Betty into a nervous breakdown. A body hopping villain who has been seeded earlier in the run, draining various people for their life-force, targets the Hulk, and possesses Samson in the process.
It is apparent how Todd McFarlane immediately became a star artist. His Hulk run might be underrated in the context of the response to his work on Spider-Man, and his influence as an Image founder.
Milgrom ties the threat to the General Ross story pretty well, and Ross’s moment of clarity is earned because we saw him back at his usual delusional self earlier. That scene was better than most of Ross’s breakdowns; maybe it’s Todd McFarlane’s skill at selling his emotion- he’s obviously wrong, but he wouldn’t realize that.
The story ends with him getting killed off. I know he comes back, and part of that is that it was selfish to take one of the Hulk’s great enemies out of the picture.
B+

I will say that Milgrom found his footing after the first story.