by Gavin Foo
“WOK”. That is the sound of many a reader, experiencing Hellboy and the Mignolaverse for the first time - your skull-bone simply dislocating from your neck-bone, somersaulting through the air like some absurd acrobat and upon hitting the ground, rather a ‘plink-plonk’ of bouncing and a rolling to a halt. You didn’t expect it, you simply couldn’t have, but it hit you like a hundred tonne fist of doom yet so caressing in its embrace.
Sure, that introduction reads ridiculously, but what can be said that hasn’t already been said before about the great Mike Mignola? I remember my first taste of his artwork in the early 90’s, the original graphic novel Wolverine - The Jungle Adventure with Walt Simonson. I was not yet mature enough to fully understand nor appreciate the beauty within his lines, but one thing that I did realise was that this was something special to behold, and it remains one of my favourite stories today, visually and otherwise.
“WOK”. That is the sound of many a reader, experiencing Hellboy and the Mignolaverse for the first time - your skull-bone simply dislocating from your neck-bone, somersaulting through the air like some absurd acrobat and upon hitting the ground, rather a ‘plink-plonk’ of bouncing and a rolling to a halt. You didn’t expect it, you simply couldn’t have, but it hit you like a hundred tonne fist of doom yet so caressing in its embrace.
Sure, that introduction reads ridiculously, but what can be said that hasn’t already been said before about the great Mike Mignola? I remember my first taste of his artwork in the early 90’s, the original graphic novel Wolverine - The Jungle Adventure with Walt Simonson. I was not yet mature enough to fully understand nor appreciate the beauty within his lines, but one thing that I did realise was that this was something special to behold, and it remains one of my favourite stories today, visually and otherwise.
Rewind a few years earlier, to the early 80s - Mike had begun his career primarily as an artist for Marvel and DC comics, putting to paper some of the most recognised stories in comicdom - some of which include Rocket Racoon and Cosmic Odyssey. By the late 80’s and early 90’s he also became a staple in comic covers, as his style became more and more refined, including covers to the well-known Batman ‘A Death in the Family’ arc, and the Batman/Judge Dredd crossover, Vendetta in Gotham.
In March 1994, Mike began the journey on his creator-owned project, Hellboy, releasing it through Dark Horse Comics and scripted by John Byrne… Seed of Destruction. A slew of grimly toned Hellboy comics slowly followed, fully written and drawn by Mignola himself - and usually released as miniseries or through Dark Horse Presents. Mignola’s signature look had already been refined through the years and it wasn't until he started Hellboy, that the diamond began to shine.
In March 1994, Mike began the journey on his creator-owned project, Hellboy, releasing it through Dark Horse Comics and scripted by John Byrne… Seed of Destruction. A slew of grimly toned Hellboy comics slowly followed, fully written and drawn by Mignola himself - and usually released as miniseries or through Dark Horse Presents. Mignola’s signature look had already been refined through the years and it wasn't until he started Hellboy, that the diamond began to shine.
There are none with more mastery over darkness, the depth that is encapsulated in his blacks being his most recognised trait - and multitudes of artists adopting and therefore evolving thereafter. He also has a flare for architecture and the ability to light them in ominous ways one wouldn't think possible. The style of paneling he incorporates is almost like a montage… no, a mosaic, of whatever is going on at the time. The pages and story still read sequentially, the panels can be read sequentially too, but each page is a work that can encapsulate a myriad of moods and tones, or a very specific one. Each page can be looked upon and enjoyed by itself. There are no ‘open spaces’, for even they are planned in relative proportions to the frame, the panel forthcoming and preceding, the page and the next page.
Hellboy wasn’t simply a solo title from the get go. A large supporting cast in the form of the Bureau for Paranormal Research & Defense (or B.P.R.D. in short) provided an endless canvas for character development and a catalyst for the ongoing human depth present in this world of demons and monsters. Abe Sapien, Liz Sherman and Roger the Homunculus were the earliest agents - the ‘original team’.
The seeds had been planted, or rather, the Seed of Destruction, in multi-faceted ways from the very first issue. The ongoing mythology surrounding this world has always stemmed from the Lovecraftian-like entity, the Ogdru Jahad. Coupled with elements of various folklores from all over, the Mignolaverse unravels itself over the years, never forcefully. From the Secret History to the Caverns of Num Yabisc, the Vril power to Hecate, the Mignolaverse is a place for the small details. Details that build, intertwine and weave into a canvas that has no end. A canvas that starts from the middle and moves in outward motion, never between two points, but circular, spherical.
The seeds had been planted, or rather, the Seed of Destruction, in multi-faceted ways from the very first issue. The ongoing mythology surrounding this world has always stemmed from the Lovecraftian-like entity, the Ogdru Jahad. Coupled with elements of various folklores from all over, the Mignolaverse unravels itself over the years, never forcefully. From the Secret History to the Caverns of Num Yabisc, the Vril power to Hecate, the Mignolaverse is a place for the small details. Details that build, intertwine and weave into a canvas that has no end. A canvas that starts from the middle and moves in outward motion, never between two points, but circular, spherical.
The earlier works were coloured by Mark Chiarello and James Sinclair, who added their respective styles with distinct tones of ochres, but it wasn't long until Dave Stewart stepped into the fold.
Comic book colourists can either define a title, or make a title definitive - which is why the great Dave Stewart has come to command my absolute respect and admiration. GARGANTUAN, for a lack of an even larger descriptive word, is the amount of effort it would take to colour not just one, but a multitude of Hellboy related titles. In fact - all of them… on top of any other titles he may be working on at any given time. Where someone else would simply colour the ski es blue, he creates the air we breathe, where the grass is green, he forms a mass of rock and stone and the texture under our feet.
Comic book colourists can either define a title, or make a title definitive - which is why the great Dave Stewart has come to command my absolute respect and admiration. GARGANTUAN, for a lack of an even larger descriptive word, is the amount of effort it would take to colour not just one, but a multitude of Hellboy related titles. In fact - all of them… on top of any other titles he may be working on at any given time. Where someone else would simply colour the ski es blue, he creates the air we breathe, where the grass is green, he forms a mass of rock and stone and the texture under our feet.
Pat Brosseau and Clem Robins, respectively, provide the lettering for the earlier and later issues. For a comic that started off with very minimal dialogue, they kept the adrenaline flowing, amongst the ‘son of a…’s, ‘WOK’s, ‘BOOM!’s, ’AHHHH!!!’s and ‘UROOOONKKK’s.
By 2001, the Hellboy title had concreted itself in comicdom, achieving multiple awards and by 2004 had warranted its very own feature film. 2001 also marked the year that Mignola pushed Hellboy deeper into its mythology, leaving the B.P.R.D. at the end of Conqueror Worm and leading into fan favourites The Third Wish and The Island.
2006 saw the first artist other than Mignola to draw a Hellboy issue - Richard Corben. Makoma was the first, but definitely not the last. Jason Shawn Alexander, P. Craig Russell and Kevin Nowlan, were featured in multiple stories, interpreting the Mignolaverse in their own styles.
By 2001, the Hellboy title had concreted itself in comicdom, achieving multiple awards and by 2004 had warranted its very own feature film. 2001 also marked the year that Mignola pushed Hellboy deeper into its mythology, leaving the B.P.R.D. at the end of Conqueror Worm and leading into fan favourites The Third Wish and The Island.
2006 saw the first artist other than Mignola to draw a Hellboy issue - Richard Corben. Makoma was the first, but definitely not the last. Jason Shawn Alexander, P. Craig Russell and Kevin Nowlan, were featured in multiple stories, interpreting the Mignolaverse in their own styles.
It was not until 2007’s Darkness Calls, that we saw the future staple of the Hellboy look, with artist Duncan Fegredo. His style, whilst extremely similar to Mignola’s, had its own signature and depth. He would continue to build on the mythology until the ‘end’ in The Fury.
As would be expected from such a diverse world, the first of serialised spinoffs began with B.P.R.D., and subsequently Abe Sapien, Lobster Johnson, Sledgehammer 44 and Sir Edward Grey, Witchfinder.
The B.P.R.D. story arcs intertwined with events in the now separate Hellboy title, with the extremely talented Guy Davis, of Sandman Mystery Theatre fame, pencilling the majority of what is now known as the Plague Of Frogs cycle. Have you seen Pacific Rim? Yup, a lot of those creatures were designed by Davis. He can very well be the master of monster creation, among the many conceptualised in his run with B.P.R.D..This era also introduced many new characters we have become entranced with - Johann Kraus, Ben Daimio, Daryl the Wendigo and Panya.
As would be expected from such a diverse world, the first of serialised spinoffs began with B.P.R.D., and subsequently Abe Sapien, Lobster Johnson, Sledgehammer 44 and Sir Edward Grey, Witchfinder.
The B.P.R.D. story arcs intertwined with events in the now separate Hellboy title, with the extremely talented Guy Davis, of Sandman Mystery Theatre fame, pencilling the majority of what is now known as the Plague Of Frogs cycle. Have you seen Pacific Rim? Yup, a lot of those creatures were designed by Davis. He can very well be the master of monster creation, among the many conceptualised in his run with B.P.R.D..This era also introduced many new characters we have become entranced with - Johann Kraus, Ben Daimio, Daryl the Wendigo and Panya.
Fast forward to the present day, deep in the belly of Hell On Earth. The Mignolaverse team has since expanded and diversified, culminating in the current roster that would not be complete without one or the other. One of the most recognised of these being John Arcudi, who has written several arcs and most definitely a staple in the Mignolaverse. Long-time editor Scott Allie, after many years of overseeing and watching this world grow, has also been brought onboard the writing crew and continues to write the Abe Sapien title.
We also have recurring artists like Tyler Crook and James Harren, usually on the B.P.R.D. title. Gabriel Bá and Fabio Moon, the wonder twins from Brazil, were introduced in the 1947 arc and subsequently Vampire - the first arc of a new miniseries. Cameron Stewart, Ben Stenbeck, Laurence Campbell, Tonci Zonjic, Jason LaTour and the other wonder twins, Max and Sebastian Fiumara - all share different characters and arcs between the several titles.
We also have recurring artists like Tyler Crook and James Harren, usually on the B.P.R.D. title. Gabriel Bá and Fabio Moon, the wonder twins from Brazil, were introduced in the 1947 arc and subsequently Vampire - the first arc of a new miniseries. Cameron Stewart, Ben Stenbeck, Laurence Campbell, Tonci Zonjic, Jason LaTour and the other wonder twins, Max and Sebastian Fiumara - all share different characters and arcs between the several titles.
Hellboy is in Hell, and the return of Mignola on art duties still has many fans excited. The stories could have ended with Hellboy’s mortal form - but they've never unfolded like that, have they? The onion is deep, and we’ve only pierced the first layer or two.
So here we are, 20 years later, through the ups and downs, the pains and pleasures, standing in the midst of Hell on Earth… and the future still holds endless possibilities. To the next 20 years and onwards!
So here we are, 20 years later, through the ups and downs, the pains and pleasures, standing in the midst of Hell on Earth… and the future still holds endless possibilities. To the next 20 years and onwards!
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