[Zacharie]

Title: Hellboy: The Sleeping and the Dead (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review: Hellboy: The Sleeping and the Dead #2

Scott Hampton knows horror. That's been evident ever since a friend of mine showed me Hampton's adaptation of "Pigeons from Hell" many years ago (and trust me, it's creepy). So when Dark Horse announced that "Hellboy: The Sleeping and the Dead" would have Hampton drawing a script by Mike Mignola? Why yes, that was reason to salivate in anticipation.

Happily, the book has turned out as good as one would hope. With Hellboy fighting a ghoul in an underground crypt, there's a small part of me which keeps flashing back to "Hellboy: The Wolves of St. August." As that's my favorite "Hellboy" comic ever, that's a good thing. The children's nursery rhymes coming out of Mary's mouth as she fights Hellboy are there just enough to be creepy, but not so overwhelming that it ever grows distracting. And like so many of the best "Hellboy" stories, Mignola avoids making "Hellboy: The Sleeping and the Dead" simply about a monster. Instead there's more than initially meets the eye, something that results in a satisfying ending.

The only part of the script that I wasn't so fond of was the subplot involving the B.P.R.D. teammates outside the mansion that get attacked. I get that Mignola was trying to show that there's a wider-reaching danger to this story than just Hellboy getting beaten up, but it's hard to keep from feeling like it was filler. If nothing else, every time it cut away from Hellboy I found myself growing a little impatient until the action would shift back to underground.

And as for the art, well, it looks gorgeous. If Dave Stewart didn't have a coloring credit I'd have assumed that Hampton had painted the comic, the integration between the two looking so smooth. Characters under Hampton's pencil look real, ghouls look like actual rotting corpses, and Hellboy still looks awesome. The fight between Mary and Hellboy moves across the page well (this might well be the first traditional fight scene I've ever seen Hampton illustrate), and those drawings of the crypt are actually a little unnerving, there's so much creepy atmosphere going on here.

While we wait for "Hellboy: The Fury ," this is a great way to catch your breath and get a fun little two-parter. I love that Mignola spends as much time with his side-stories in making them as entertaining as the core "Hellboy" comics; this is another winner from the Mignola-verse.

More info:

Story by Mike Mignola
Art by Scott Hampton
Colors by Dave Stewart
Letters by Clem Robins
Cover by Mike Mignola, Dave Stewart
Publisher: Dark Horse Comics

[Zacharie]

Title: Pigeons from Hell (Click to go to the release post)
Writer(s): Joe R. Lansdale (Click to see other books from this writer released on this site)
Review source: Shaun Manning (Don't click it, read the review here... )

Review:

This month, self-styled “Mojo storyteller” Joe R. Lansdale (“Bubba Ho-Tep,” “Jonah Hex: Two-Gun Mojo” ) and new talent Nathan Fox present a modern retelling of Robert E. Howard’s classic horror story, “Pigeons From Hell,” courtesy of Dark Horse. CBR News had a chance to speak with Lansdale and Fox about the miniseries, Howard’s works, and the abiding influence of Texas.

“‘Pigeons From Hell’ is a Southern Gothic with a bit of tough Western tone thrown in,” Lansdale told CBR News. The story centers on a Louisiana house that’s been abandoned since Antebellum times. At dusk, the house releases scores of pigeons into the night air -- pigeons that, they say, are the souls of the damned escaping from the depths of Hell itself. In the Dark Horse comic, two young women find themselves heiresses to the mysterious estate and quickly discover the horrors within, which include shadow monsters and zombies. While trying to stay alive, the pair slowly unravels the evil history of the damned mansion.

Artist Nathan Fox praised both the original story and Lansdale’s modern retelling. “Pigeons from Hell,” he said, is “a beautifully written Southern-rooted horror story of voodoo, folklore and history at its unapologetically goriest... and an amazing adaptation of one of the freakiest imaginative writers and short stories I have ever read.”

As “Pigeons From Hell” is largely the story of a house, Lansdale believes a sense of place is vital to telling the story in comics, and his Texas background was a great resource. “Howard was from Texas, and East Texas is very much like Louisana,” he said. “There are trees and water and snakes and alligators. It is so far removed from Cormac McCarthy territory, and is much more like Flannery O'Conner territory. Howard, no matter where or when he was writing about, was always writing about Texas, which is bigger than life, and is more a place of the mind than a place of the earth.”

Fox also noted the importance of creating just the right atmosphere, once again drawing on real-life experiences in Texas. “Growing up in Houston and camping/traveling around East Texas and Louisiana, the scenario and location alone was enough to get me creeped out,” he said. “If you've ever spent any time out in the open terrain out there, there is something spiritually sinister and not of this world about the air. Freaked me out as a kid and made me jump at the opportunity to put some of that to pictures.

“Traveling and growing up in Texas had a lot to do with my referencing and mood,” Fox continued. “Both Howard and Lansdale's work sets the scene and brings everything to eerie/lucid life so well that I wanted to make sure, visually that that vitality was built into the characters and my part in it all. Cinematically, if I could. Hitchcock, Kubrick and other directors’ works were a big influence. As far as the characters and the house go, talking with Joe when we started he mentioned the ‘Thriller’ TV series that Karlof hosted so I hunted down the episode of ‘Pigeons from Hell’ that he saw on the series, and tried to pay homage to that episode and the set involved since it was such a big influence for him.

“And in terms of the characters I just kept at them till what I got on paper felt like what I had filmed in my head as I worked the story out. Borrowing from kids I knew from Louisiana and back home, adapting characters and celebrities that fit the descriptions. Just about anything I had at hand or could get a hold of that applied I researched and developed from. Alcebee, the lawman, and the shadow in the corn turned out to be the most difficult to nail down. They don't show up in the story till a good half way into the series but they needed to be just as important as the main characters if not more so - as mysterious and elusive as they are. Hopefully all the research and such comes through in the end and it all fits.”

When adapting a short story, it can sometimes be difficult to decide how much of the source material to keep and where to innovate. Lansdale suggested that he went back and forth quite a bit before finalizing his version of “Pigeons.” “Originally, I wanted to stick to it absolutely, but it was pointed out to me that had already been done, and so I broadened the view,” he said. “Too much at first, but then I went in and trimmed and tried to keep the main story and play around with a bit. I actually don't like to get too far from the story, but there were certain things in it that dated it quite a bit, which is fine for a historical, but I was asked to update it, thought about it, and did. It will never satisfy everyone. You can't when you're doing that kind of work.”

Having also contributed to the comic book universe of Conan the Barbarian, which R.E. Howard also created, Lansdale indicated a close appreciation for Howard as a storyteller. “I relate to Howard as a writer. I grew up in small town and few people understood my passion for books and writing,” he said. “Howard's death [from suicide], a very unromantic death in my view, and his problems with depression, were not like me, but I could relate to his day to day concerns, and worries about making a living, because like Howard, I didn't have an official degree. I'm self taught for better or worse.”

Coming from the world of design and illustration, “Pigeons from Hell” is Fox’s first comics series, though he has provided art for occasional issues of “DMZ” and other titles. “I have been fortunate enough to freelance as an illustrator full time for the last eight years for editorial/magazine work and advertising,” he explained, doing “one image or a series of images spread across multiple pages at a time. Don't get me wrong, I enjoy illustrating a great deal. But going beyond the single image and developing the story has been mind-blowing as well. It has really challenged how I see illustration work and I'm sure the illustration work has influenced the comic work. And I’ve been able to put more work on a single page than I ever thought was possible.

“I’m nervous and excited about the whole solo thing as anyone would be I can imagine. The shift into sequential work has been amazing and an ambition for a long time on top of everything else. Hopefully there will be more to come.”

Fox, whose upcoming work includes “Fluorescent Black,” written by M.F. Wilson, which will run in “Heavy Metal Magazine,” and an animated short for the new Tommy Hilfiger web site, admits he was unfamiliar with his collaborators, both contemporary and historical, before taking on “Pigeons.” “I didn't really know of Howard’s or Lansdale's work up until I was offered the gig,” he said. “I knew of the Barbarian, but that was about it. Once I got a hold of both of their works, though, I was in. I was blown away and honored to be handed such an amazing script my first solo shot out. I've worked with some amazing writers so far comics-wise. Hopefully I do Joe's work justice.”

More info:

Writer: Joe R. Lansdale
Artist: Nate Fox
Colorist: Dave Stewart
Genre: Horror

[Zacharie]

Title: Hellboy - Double Feature Of Evil (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Chad Nevett (Don't click it, read the review here... )

Review:

The first “Hellboy” comic I picked up was “Hellboy in Mexico,” released earlier this year and I picked it up because it was a self-contained single with art by Richard Corben. Oh, I’ve always planned to go back and buy the “Hellboy” and “BPRD” collections, but a one-off comic with Corben on art is hard to resist. And, here’s another one before the year is out. Those folks at Dark Horse must like us or something. “Double Feature of Evil” is an entertaining horror comic with a strong lead story and a funny back-up story, both framed as films being shown in an abandoned movie house with corpses in the audience.

The lead story has Hellboy investigating a house that makes its owner kill people. The pacing is slow and meticulous, allowing for Corben’s art to raise the tension. It’s a story of mood, contrasting the seeming normalcy of the owner with the absurdity of his problem. Corben is very good at making ‘normal’ people look creepy or abnormal. The shift is shown on a page and handled through some fantastic body language. Of course, he turns on Hellboy, but how different he is visually before and after is fantastic. It’s as if being in the house really does change the man.

Corben uses light and shadows to heighten the tension and mood. Despite it being the daytime, a mysterious stranger is in shadows completely to underscore his lack of identity. He plays with how much we’re shown in darkness, reducing a character like Hellboy to his basic elements in the dark, only the vague outline of his body with a hint of more. Corben’s focus is obviously on impression and feeling rather than ‘accuracy.’

The climax of the lead story comes down to the art with Corben’s use of cuts and choice of angles/shots. Beginning with a grotesque giant decayed body with a giant, still beating heart, the climax happens quickly and with one powerful image after another. It’s not a fluid sequence, more of a scene made up of purposefully static images as Corben mimics film. The panels are brief static glimpses of action and that actually builds the excitement and tension of the scene more as it leads to some panels that are more fluid.

The second story has a more absurd, comedic tone that suits Corben’s more hyperbolic and crazy leanings with an insane man that thinks he’s an Egyptian priest. The contrast between the calm Hellboy and the frantic man adds to the humor. As does the depiction of Hellboy taking on the worst, most easily defeated mummies in the history of mummies. It’s a brief comedy that comes off like a story that Hellboy would tell over a beer when someone asked about one his ‘dumbest’ cases and Corben embraces that mentality.

If you’ve never read a Hellboy story before, this is your sort of book. Both the lead and back-up require almost no prior knowledge of the character and there’s the gorgeous Richard Corben art. Both stories seem constructed to work with Corben’s strengths as an artist and, at 70, the man can draws a fantastic comic page.

More info:

Story by Mike Mignola
Art by Richard Corben
Colors by Dave Stewart
Letters by Clem Robins
Cover by Richard Corben, Mike Mignola
Publisher Dark Horse Comics

[Zacharie]

Title: Hellboy in Mexico (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Dan Phillips (Don't click it, read the review here... )

Review:

Every new issue of Hellboy has a way of reminding me I sorely missed Mike Mignola's character and property even if I wasn't fully aware that I did. The series is such a rich, complex conglomeration of pulp, myth and humor, yet Mignola's vision so insanely precise, that each comic is able to effortlessly welcome and envelope you back into its strange world filled with odd characters and even odder ideas. I've cherished every one of my forays into the world of Hellboy, and seeing as how Hellboy in Mexico is my first return visit in several months (I'm a little behind on my reading) – and one of the quirkiest, funniest ones to boot – I loved the one-shot all the more.

The issue's premise and tone is so off the wall, I got the feeling Mignola and his creation were both deeply affected by their time hanging out with Eric Powell and his Goon, even if the impact wasn't at first all that noticeable. Just like Powell's own seminal Dark Horse series so often is, this story revels in its subversive sense of humor, booze-fueled antics and dark trips to weird corners of pop culture. The plot sees Hellboy reflect on his time spent in Mexico in the 1950's, hanging out with a trio of hard-drinking Luchadore vampire hunters and helping the brothers stave off the apocalypse. Need I really say more about the plot than that? Fine. I suppose it's also worth noting that, through a succinctly established relationship between Hellboy and the youngest Luchadore, Mignola is able to inject a surprising amount of heart and tragedy into the irreverent story, culminating in a high stakes final wrestling bout and Hellboy paying touching tribute to his fallen friend.

And although I've yet to enjoy any artist on Hellboy more than Mignola himself, it's always great to see Richard Corben take over the artistic reins for a bit. Like Mignola, Corben brings a bare-bones style to this book that somehow never seems to sacrifice detail, and like Mignola, each and every one of Corben's panels is absolutely drenched in atmosphere. The legendary artist and Hellboy always make for a match made in pulp heaven, and this wacky story in particular is the perfect vehicle for his sensibilities.

So there you have it – another glowing Hellboy review that heaps praise on the work of Mignola and his collaborators while still struggling to pinpoint its genius. Is there anything more familiar in the world of comic book criticism? If more people could more easily define what makes this series, and a book like Hellboy in Mexico, so magical, there'd be more books like it on the stands. If only that were the case…

More info:

Writer: Mike Mignola
Artist: Richard Corben
Colorist: Dave Stewart
Cover Artist: Mike Mignola
Genre: Horror, Action/Adventure

[Zacharie]

Title: Hellboy: The Wolves of St. August (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: wikia (Don't click it, read the review here... )

Review:

This story helped to expand the Hellboy world, introduced Kate Corrigan, a B.P.R.D. consultant, and names Dr. Izar Hoffman who would appear other Hellboy stories.

"The Wolves of Saint August" was originally serialized in Dark Horse Presents #88-91 (Aug-Nov 1994). Each issue contained eight black and white story pages. In November 1995, the story was collected in Hellboy: The Wolves of St. August. This 48-page prestige format graphic novel presented the story in color and added 8 new story pages. This expanded version was also reprinted in Hellboy: vol. 3 The Chained Coffin and Others (Aug 1998).

The story opens in 1994 in the town of Griart. Father Kelly, the town's new priest, hopes to reopen an old chapel fallen into disuse. The Priest meets a man in the chapel, who explains that long ago the villagers trapped the royal family and killed them. The man then transforms into a wolf.

Nine days later, Hellboy and Kate Corrigan appear on the scene. Every person in the town has been killed by what appears to be a wild animal. Father Kelly's body had been found in the chapel. Kate sees an inscription in the chapel and realizes the true history of the town. The royal family had been cursed in 1214, so that they would transform into werewolves every seven years. The villagers caught the family while changed, and killed them. However one child, William, survived.

Hellboy is confronted by William, the man who killed Father Kelly earlier. William rips off his skin revealing a massive werewolf. The two fight and in the end Hellboy kills the Monster.

The final page notes that Dr. Izar Hoffman later declaired the site free of paranormal activity.

As made explicit in the expanded version, the story takes place in 1994. Based on the final page, the main events must be before May. The story most likely takes place just after Seed of Destruction , though it is possible it takes place just before. The story is followed by "The Chained Coffin," taking place in 1995.

More info:

Writer: Mike Mignola
Artist: Mike Mignola
Letterer: Pat Brosseau
Colorist: James Sinclair
Editor: Scott Allie
Designer: Cary Grazzini
Cover Artist: Mike Mignola
Genre: Horror, Action/Adventure

[Zacharie]

Title: Hellboy: Seed of Destruction (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Johanna (Don't click it, read the review here... )

Review:

This first Hellboy collection takes place at an abandoned English church during World War II, where a group of paranormal investigators assemble to prevent Nazis from raising eons-old monsters. Instead, the summoning results in a demon baby, a Hellboy, who is adopted by the team.

In this story, his mentor is killed by a frogman with a poisonous tongue after returning from a disastrous expedition to the Arctic. Mignola’s unique, sharp-edged style is perfectly suited to establish the mystically charged atmosphere that permeates the book. This is an imaginative blend of classic pulp elements — Nazis, demons, evil lizard monsters — executed with flair and driven by a hulking yet strangely cuddly hero.

The story is filled with creepy oddities, visits to exotic locations, and an historical awareness, with events spurred by a family’s obsession over nine generations. The book is an action-adventure, not out of place compared to so many other comics with outrageous-looking heroes and mystical events, but the sense of being part of something bigger sets it apart. References to previous events in both their world and ours provide a feeling of realism.

The pages are permeated with black. Figures and settings swim forward out of the dark that makes up the majority of the book’s world. The book works so well because it evokes shared fears of serpents, of deep dark water, of ancient evils and unexplained death while still providing entertaining battles.

More info:

Writer: Mike Mignola & John Byrne
Artist: Mike Mignola
Colorist: Mark Chiarello & Matt Hollingsworth
Editor: Barbara Kesel
Cover Artist: Mike Mignola
Genre: Horror, Action/Adventure

[Zacharie]

Title: Hellboy Beasts Of Burden Sacrifice (Click to go to the release post)
Writer(s): Evan Dorkin and Mike Mignola (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review:

If I hadn't read the "Beasts of Burden: Animal Rites" collection earlier this year and utterly fallen in love with the book, I might've had my doubts on "Beasts of Burden/Hellboy." Sure, there have been some good crossovers with "Hellboy" in the past; I'm quite fond of "Hellboy/Ghost," and "Batman/Hellboy/Starman" was far better than such a strange mash-up of characters ever should have turned out. But since I had already read "Beasts of Burden" I wasn't worried, because it's probably one of the best comics I've read this year. And in the case of "Beasts of Burden/Hellboy," we've got a true rarity in comic book crossovers; two books working together and each bringing their A-game to the plate for a truly satisfying comic.

Evan Dorkin's script (with assistance from Mike Mignola) brings everything that you should want to life, here. We've got a courageous group of dogs (plus two cats) who fight supernatural horrors that are a wonderful mixture of heroic, cowardly, opportunistic, and funny. There are monsters that progressively grow in strength and danger as the book progresses. And there's Hellboy's trademark personality, a mixture of surprise and acceptance that makes him so likable. When Hellboy first gets the rundown on the group, there's a great moment where he stops, takes a drag on his cigar, and then just says, "Okay. Got it." It was that exact moment in "Beasts of Burden/Hellboy" where I found myself nodding and smiling, because I knew that this book was going to deliver everything I'd wanted and more.

Strictly from a plotting sense, Dorkin brings the goods to the comic. It's carefully thought out, each new plot beat building on the previous events and letting the amount of danger build and grow. Things may start off simple enough, but by the end the big monsters are out and about. Dorkin also doesn't let the book rely on any either half of the team-up to do all of the heavy lifting; sometimes the animals are the ones who stop the villains, sometimes it's Hellboy, often it's a combination of the two. And with each victory, it feels fair and logical; there's no deus ex machina going on here, instead each win makes perfect sense.

Dorkin and Mignola also have cracking dialogue in "Beasts of Burden/Hellboy." Each of the dogs and cats have their own specific speech patterns and delivery, and Hellboy sounds true to form. "Beasts of Burden" is often noted for being much creepier and dark than people expected, but it's worth noting here that it is also often quite funny. Dorkin and Mignola play off each other well here, and I'd love to see more collaborations between the pair. (And if that's not enough, there's even an explanation provided for how the two books are able to team-up despite not co-existing, and in a way that feels natural and adds one final little twist of the knife to the heart for the reader.)

Jill Thompson's painted art looks great here, not that it's any huge surprise. I love that she can switch from bright greens and reds, to dark and muddy grays and browns as the script dictates. Seeing her paint Hellboy was a pleasant end result; he's still got that big blocky body that Mignola designed many years ago, but he has just a bit of Thompson's smoothness and grace that we're used to. The dogs and cats are adorable as always, flouncing and darting across the page, but still looking determined and fierce when the moment calls for it. Watching Pugs ride around on Hellboy ends up looking so adorable that I want entire books centered around that concept, and that's even when Hellboy is smashing skulls and punching golems. Don't underestimate the creepy nature of "Beasts of Burden/Hellboy," though. When the witch has kidnapped one of the crew, it's a genuinely chilling moment thanks to Thompson's art, with her hair slowly transforming into the bones of the earth and the darkness radiating out, for example. Thompson can bring the horror when she needs to, and the end result? Gorgeous.

For all intents and purposes, this comic is "Beasts of Burden" #5, and it's a welcome return. I didn't think it was possible to fall in love with "Beasts of Burden" even more, but I was wrong. With Halloween around the corner, we've all gotten an amazing treat in the form of "Beasts of Burden/Hellboy." I doubt you'll find a more satisfying comic this week.

More info:

Story by Evan Dorkin, Mike Mignola
Art by Jill Thompson
Colors by Jill Thompson
Letters by Jason Arthur
Cover by Jill Thompson, Mike Mignola, Dave Stewart
Publisher: Dark Horse Comics

[Zacharie]

Title: Hellboy The Whittier Legacy (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: John Geddes (Don't click it, read the review here... )

Review:

Hellboy fans, rejoice! Original series writer and artist Mike Mignola is returning to the role of both scribe and illustrator for the iconic comic book he created.

This week marks the launch of a five-story series of USA TODAY-exclusive comics created by Dark Horse Comics and presented by Toshiba. The DH:HD program kicks off with a bang, rolling out Hellboy: The Whittier Legacy, with art and text by Mignola. The creator of the "blue-collar, red demon crime fighter" was excited to once again assume full writing and illustration duties on new stories.

"It's been great," he says about returning to the dual roles. "I think a part of me forgets how much fun it is to do both."

Mignola says creating The Whittier Legacy was an enjoyable return to his old-school Hellboy roots. "I really started from scratch with a story that would be accessible for a wide, new audience, but at the same time something that I'd enjoy drawing and that longtime Hellboy fans would appreciate."

He describes the story as an ode to the late horror writer H.P. Lovecraft. "I've gotten a reputation for incorporating Lovecraft stuff into my work, but I've never sat down and done a straightforward tribute to him. That's what this Whittier story is."

As with most Lovecraftian stories, this eight-page installment will carry the same signature, ominous overtones. "The message for this story is: Don't mess with the stuff that's out there in the universe."

The Whittier Legacy "is just a good ol' monster story," Mignola says. "You'll get to see the original character, who looks like the devil but acts like a regular guy. This story's much closer to the old monster movies and crime stories."

For longtime fans of Hellboy, Mignola has some revealing details about the immediate future of the series and its related titles. "In the next year, we're going to do some really exciting things. Hellboy is going to be able to step away from the baggage he's been carrying around for all these years. It's a pretty big ending."

With an excited tone, Mignola adds an ominous forecast: "We're going to blow stuff up that we won't be able or willing to fix. We're going to change everything."

More info:

Script and art: Mike Mignola
Colors: Dave Stewart
Lettering: Clem Robins

[Zacharie]

Title: Hellboy: The Troll Witch and Others (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Matthew Lewis (Don't click it, read the review here... )

Review:

The 7th installation in the Hellboy graphic novel releases is something good to acquire, BUT acquiring it depends on what you want from your Hellboy.

First and foremost, the stories herein are mostly collected tales from fragmented places. The Troll Witch, The Hydra and the Lion, Doctor Carps Experiment, and The Ghoul are pieces from the "Dark Horse Book(s) of the..." (Witchcraft, Monsters, Hauntings, and The Dead respectively). These range from five to eight pages depending, and all of them have something to offer. The best piece in the book HAS to be The Troll Witch, and I personally liked Doctor Carp as well. The Ghoul is a Shakespeare adaptation and the Hydra and the Lion is, as Mignola admits in its forward, a bit odd. If you want these and don't want to pick up all of those books, then this is a good way to do it.

Second, there is some random stuff here and some new stuff BUT some of it isn't the best stuff out there.
The Penanggalan is an older story that came out of a Wizard magazine release, and covers a beast spawned from Malaysian folklore. It is a big odd but also a bit predictable, covering ground that Hellboy covered back in 2004. The Vampire of Prague is unique to this series but isn't really one of my favorites. P. Craig Russell did the artwork and, to be frank, it looks a bit rudimentary. When reading Hellboy I guess I've been spoiled and I want Mignola to cover every aspect. The story is small, good to read but normal, and Mignola could have sealed it for me and didn't. I guess that's something that is up to individual tastes.
And the last is Makoma, the longest addition to the book by far, covering some of Hellboy's younger years when he was in Africa. I liked the story and liked the quest artwork of Richard Corben, with everything clicking in that folklore sense that Hellboy often delivers. There's a mixture of Mignola there, too, and that made it worth a read.

And the extras - little etchings of characters and rudimentary cover art - don't really make me want to invest in Graphic Novels. I DO enjoy the forwards that come before each story, telling where the ale came from and how people became involved therein. Mignola is nothing if not a storyteller and this aspect adds to the read.

All that said, I enjoyed the series and thought people would enjoy it as well depending on what they want. If you missed the Dark Horse Book of series then there's a lot of tales here that are interesting and this format is a lot cheaper to acquire. The additions are good but are not necessary in pushing out a storyline and the book, on the whole, is just fragmented tales that cover some of Hellboy's adventures.
Keep that in mind before purchasing.

More info:

Writer: Mike Mignola
Artist: P. Craig Russell, Richard Corben
Colorist: Dave Stewart
Genre: Horror, Action/Adventure

[Zacharie]

Title: Hellboy - The Storm (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review: Hellboy: The Storm #1

I'll admit I was skeptical when Mike Mignola announced he was no longer going to draw "Hellboy," and was bringing in a new artist. Mignola's gorgeous artwork had always been part of the "Hellboy" experience, and the idea of someone new seemed wrong. Even once the book finally settled on Duncan Fegredo, I wasn't sure this was a good idea. Then we got "Hellboy: Darkness Calls" and I was sold. "Darkness Calls" and "The Wild Hunt" have formed the first two parts in a trilogy of stories from Mignola and Fegredo, and the third book now begins with "Hellboy: The Storm."

(A word to the wise, though. While "Hellboy: The Storm" is running three issues, it'll only be the first half of that final book. After a break it'll conclude with "Hellboy: The Fury " which is also scheduled to run three issues. It sounds like it'll be a logical breaking point between the two halves, and it lets Mignola and Fegredo hit their deadlines. So really this is the first of six issues, not just three.)

Now that we're here? I'm sorry to see the conclusion on the horizon, and not just because of Fegredo's gorgeous art. Mignola's story involving dead kings, witch women, wild hunts, and the new monarch of England has been a blast and a half, and "Hellboy: The Storm" #1 is a reminder of everything good he's brought to the table. Mignola paces this issue well, giving a brief recap of everything that led up to this moment as well as a quiet and slightly introspective opening to this book. A scene involving opened crypts in a church seems like it would be a chance to go creepy, but instead Mignola goes for an almost peaceful mood over those pages. It lets the reader ease back into Hellboy's world, and when the bad stuff does show up it becomes that much more jarring.

And of course, since this is an issue of "Hellboy," bad stuff does come calling. When the attack finally erupts, Fegredo and colorist Dave Stewart make it as moody and unsettling as ever. From the deep red hue that lies over the flashbacks that echo through Hellboy's mind, to the fight itself, Fegredo commands the reader's attention. Fegredo isn't afraid to use Mignola's signature visual hooks in the story, from a tight close-up panel of a blood-red eye, to the host of leaves fluttering through the air as Hellboy fights his attackers. Fegredo still has his own artistic touches that he's added to "Hellboy," though; the wrinkles he adds under eyes or in fabric, the crumbled look he brings to the trashed hood of the car, the way he draws the almost spherical trees in the background. I know this is the start of the end for this sequence of Fegredo-drawn "Hellboy" stories, but I hope it's not the end of Fegredo on the book as well.

"Hellboy: The Storm" #1 is another strong comic from Mignola, Fegredo, Stewart, and Dark Horse, and with "Hellboy: The Wild Hunt" recently collected into a trade paperback, it's a great time for readers who just can't wait for the conclusion. Most of the titles from Dark Horse's short-lived "Legend" imprint are over, but it's great to see "Hellboy" not only still being published, but at such a high quality to boot. Moody, dark, exciting, even a little loving; it's all here. Good, good stuff

More info:

Story by Mike Mignola
Art by Duncan Fegredo
Colors by Dave Stewart
Letters by Clem Robins
Cover by Mike Mignola, Dave Stewart
Publisher: Dark Horse Comics

[Zacharie]

Title: Hellboy: The Bride of Hell (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Lee Newman (Don't click it, read the review here... )

Review:

A missing girl brings Hellboy face to face with a king of demons and a mystery dating back to the crusades begins to unravel.

I have said before and will say again, it is a marvelous time to be a comic reader. The diversity of genre is almost as rich as any other point in the history of the medium. With the onset of webcomics and the proliferation of the bound collection, the ideas behind how to get comics into the hands of those not reading them are also becoming more and more creative. DC had the "After Watchmen" program, the dollar Vertigo #1s, or promotional rings. Marvel puts out free Sagas, has mastered the event tie-in, and is swiftly grasping onto the marketing opportunities provided by hit Hollywood features.

Not to be left in the lurch, Dark Horse debuted it’s "Quick Shots" program back in October. Starting with Star Wars: Invasion #0, the publisher set out to print nine one-shots of some of its most popular (and a couple of newer) titles. The idea was to give readers a chance to check out some great books that they may not have already been reading and the clever “Suffering from crossover fatigue?” dig at the top of the ads was meant to catch the attention of those DC and Marvel fanboys tired of reading every title to satiate their hobby.

Hellboy: The Bride of Hell is the penultimate of these special comics. Conan will finish the program in early 2010. Some books, like Sugar Shock, had no choice but to be accessible; there are no other comics for them to work from. Books like The Goon #33 are less successful at being great introductions for newcomers, but are satisfying as stand-alone stories.

Hellboy: The Bride of Hell is the best of both worlds. No prior knowledge of the series is required to get the story, while it tells one complete story for those acclimated or new to it or in between. I am reading Hellboy in those giant Library Editions. I felt like nothing was spoiled here, while the mythology that Mignola is building felt expanded and expounded upon. In fact, this issue was as revelatory as most mini-series from any publisher.

The story is simple enough. An American businessman’s daughter has gone missing in France. The French have botched the investigation and for reasons left unexplained, the BPRD is on the case. Hellboy saves the girl from a cult summoning demons and he heads into the forest as he is chased by a big beastie. When he reaches the ruins of a church, revelations of the world that has captivated comics readers are explained.

It turns out that the situation Hellboy has entered has its roots in the Crusades and its origin can be found in King Solomon’s time. Demons, Templars and the Inquisition enter the picture quickly and in great detail. All the while there are courtesans, flying demon kings, and headless soldiers. It is a big bubbling cauldron of ancient cults brought together into one exciting package. Mignola steps up his game considerably with this one shot and the temptation to break from my giant collections is feverish.

Corben’s art, as always, is a joy to look at. Our big red hero is as if Mignola, himself, were drawing him. The rest though... Corben uses his trademark shading and fabulous line work to create a living breathing world. This is a master at work and with the expert coloring of Stewart, the art pops whether in the dark of the woods or the bright courts of biblical kingdoms.

Whether you are new to or a long time fan of Mignola’s signature creation, this is an impressive book. Thick with imagination and sinfully rich in detail, he shows that he has a story with legs that aren’t going to be giving out anytime soon.

More info:

Writer: Mike Mignola
Artist: Richard Corben
Colorist: Dave Stewart
Cover Artist: Mike Mignola
Genre: Horror, Action/Adventure

[Zacharie]

Title: Crossed - Psychopath (Click to go to the release post)
Writer(s): David Lapham (Click to see other books from this writer released on this site)
Review source: Rich Johnston (Don't click it, read the review here... )

Review: Crossed: Psychopath #1

This story shows us human nature, but a far more twisted and specialised version, and in a very different context. In Turf the cast expand to survive, settling on one place and reinforcing their world. Here they move, always on the run, danger always on their heels. Settling is an unbelievable dream – until they are given a glimmer of hope.

We have seen mostly normal people changing to deal with the coming of the Crossed. Here we find an individual who doesn’t have to change at all, a serial killer. And a story where his scenes are totally narrated from his perspective, judging, analysing , evaluating his new friends in both practical and sexual terms. The monsters we see below, fucking and killing a vulture before turning on each other are nothing compared to the practicalities planned and fantasised about by Harold. He’s an unreliable narrator, but we know that, even if no one else does.

While Garth Ennis was adamant that the crimes of the Crossed would be no worse than any human is capable of, and has committed, there is always the get out clause, that this is how they are, there is no choice in the matter of how they behave, there is no way of redemption of self control for an infected individual. With Harold we meet something more chilling, someone behaving just as badly as an infected, but hiding it, pretending to be normal, yet full of the same plans. He’s Crossed all but in name, a red mark spread across his soul rather than his face. And as the group put their hopes into his tales, his promises of salvation, his lack of physical mark gives a safe sense of security.

The art is incredibly heavy, spot and feathered blacks filling where they can. And perversion, whether actual or imagined, portrayed with the same sweaty, sick, art style that can revolt even when it isn’t portraying something disgusting. Although there’s not much room in Crossed for that…

More info:

Writer: David Lapham
Art: Raulo Caceres

[Zacharie]

Title: Hellboy - The Wild Hunt (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Major Spoilers (Don't click it, read the review here... )

Review: Hellboy: The Wild Hunt #1

After the very excellent Crooked Man run, and the equally enjoyable In the Chapel of Moloch, it’s time to for a much larger and deep storyline that runs maybe as far back as the first issue in 1991. One thing that is a given, with Mike Mignola back, readers are going to be in for one hell of a ride.

Hellboy (the character, not the book - heaven forbid someone out there misinterprets my words - jeesh) has been in a pretty bad state as of late, to the point that when the story opens, he’s hanging with in a run down house occupied by the ghosts of two dead sisters Hellboy helped years ago. To make matters worse, he’s been having dreams that are allowing him to peer in on the world of the Fairy folk. Readers who have seen the second Hellboy movie, have seen the wee folk get worked up enough to declare war on humans, and it appears as though something similar is happening in this first arc of a huge three arc epic Mignola is working on.

Hellboy awakes to discover he’s been summoned to England by the Osiris Club and soon discovers he’s been called to participate in a very interesting hunt. Giants are beginning to awake across the land, and when they do, the Osiris Club gathers to have hunt them down ala ye olde fox hunt.

And while it appears to be on the level, the final pages of the issue reveal Hellboy has been lured to his death, as the grandson of a previous Hellboy adventure rams a spear through the big red guy’s chest. Since this is the first of an eight part series, and there are three other story arcs to follow, it’s pretty safe to assume Hellboy didn’t bite the big one here.

Hellboy is a tragic character, and Mignola is the perfect person bring even more tragedy to his life. That witch queen that is dismembered and chained in those boxes? My guess is it is going to be revealed to be Hellboy’s mother - something he’s probably not prepared to deal with. That being said, a few “ah craps” and a gun shot or two to the head are how Hellboy is going to deal with the situation.

The Hellboy mythos is so deep and complex, unless you have the companion guide, or unless you’ve committed every Hellboy story to memory, you might have trouble understanding what is going on in this issue. But even if you don’t know who Alice is, or what’s the big deal with the Osiris Club, you do get one big thing out of this story; a war is brewing between those of the natural and supernatural worlds.

Mignola isn’t providing the art for this issue, but Duncan Fegredo still does an awesome job. There’s a perfect claustrophobic layout that leads the reader through the Osiris Club’s method of hunting giants that leads up to a huge tapestry 3/4 page reveal that is quite stunning. Even the moment when Hellboy gets it is timed perfect to coincide with the page turn so those who scan the page first aren’t let down by the big reveal.

As much as I’ve followed Hellboy’s adventures over the years, I have to admit there were moments where even i was scratching my head trying to remember what had happened before, and how all the loose threads lead to this moment. Still, I found the story enjoyable, ad if nothing else, it’s forced me to track down my Hellboy Companion book to look up timelines, characters, and plot points.

More info:

Writer: Mike Mignola
Artist: Duncan Fegredo
Colorist: Dave Stewart
Cover Artist: Mike Mignola
Genre: Horror, Action/Adventure

[Zacharie]

Title: Hellboy In The Chapel Of Moloch (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review:

First off, I feel the need to point out that when it comes to finding artists other than Mike Mignola to draw "Hellboy," he and editor Scott Allie have done a fantastic job. Duncan Fegredo's art in "Hellboy: Darkness Calls " is beautiful and eerie, and Richard Corben's unique style worked perfectly in "Hellboy: Makoma " and "Hellboy: The Crooked Man ." That said? I am tickled pink that Mignola was able to find time in his schedule to draw "Hellboy: In the Chapel of Moloch" and I bet I'm not the only fan who feels this way.

There's something about Mignola's rugged, blocky art style that just fits the kind of stories you find in "Hellboy." I think that's in part because of its versatility; from the opening half-page panel of Hellboy looking over the rooftops of Tavira and being able to appreciate how beautiful Mignola has drawn a Portuguese town, to being able to evoke fear and creepiness in a tiny panel of a single candle lighting itself with an eerie green flame. Mignola has, with each panel and page, an exact idea of what he wants to make the reader feel. It's very much to his credit that it's able to come across on the page so effortlessly.

Part of that praise certainly goes to Mignola's working relationship with colorist Dave Stewart, whose choice of colors adds well to the mood. From the pale green of the candles bursting into flame, to the deep red of the blood seeping out of the statue against its gray clay background, Stewart always seems to know just how to make a color pop out at the reader while never coming across as garish or unsightly. It's easy to see why Stewart has colored so many "Hellboy" comics over the years; he and Mignola work together so well that he's become an integral part of any Mignola art these days.

As for the story itself, it's slight but fun, and just what you'd expect from a "Hellboy" story. The sound effect "boom!" is used a lot, Hellboy gets to punch and shoot demons, and inevitably things go horrifically wrong for Hellboy before they even begin to get better. Mignola's shorter pieces like this often lack the same emotional core and punch that his long-form stories hold, but they're still enjoyable and the sort of story that will just pop a grin onto the reader's face. And, for what's a small story, Mignola is able to still slip in some nice character bits; I really appreciated the artist Jerry's reactions to the rise and fall of Moloch's minions, coming across less stereotypical and more about the fear of an artist who fears stagnation.

"Hellboy: In the Chapel of Moloch" is a fun little trip into the world of "Hellboy." If you've never read any of Mignola's comics before now, it's a great way to give it a try. (Especially with the new Mignola and Fegredo eight-part epic, "Hellboy: The Wild Hunt," hitting stores in December.) If you're already a "Hellboy" fan? Well, you're in for another treat. But I bet you already knew that, didn't you?

More info:

Story by Mike Mignola
Art by Mike Mignola
Colors by Dave Stewart
Letters by Clem Robins
Cover by Mike Mignola
Publisher Dark Horse Comics

[Zacharie]

Title: Hellboy - The Crooked Man (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Ben Berger (review 1) and Kyle Posluszny (review 2)(Don't click it, read the review here... )

Review: Hellboy The Crooked Man #2

Review 1: It’s almost a shock to go from the Hellboy movies to the comics. It’s not that it’s bad or anything, just different. At the core, he’s the same character, but it’s the little frills that make it different. The Crooked Man has been great so far, and truth be told, I’m really bummed that it’s ending so soon.

Mike Mignola is brilliant, we all know this, but it’s nice to get a reminder now and then. I love The Crooked Man. The idea of a guy who’s “crooked” because he was hung hundreds of years ago and is now working for the devil is a pretty scary thought. I’d love to get more detail on him which will hopefully happen in the next issue. My only complaint about the issue is that it feels a little light on story details. The Crooked Man is the best part and he’s not seen till the end. Even so, I’d like to know more about the witches and the history for the area, which is a credit to the world Mignola’s setup. Instead of getting backstory it’s more of Tom’s trip to bury his Pa.

Richard Corben’s art is amazing. Every panel has just the right mix of horror, fantasy, and mythology. There’s a very clear difference in the pencils between those who are good (or alive) and those who are evil (and dead). This sounds like something easy to do, but Corben renders the evil in a more subtle way than most. At one point Cora refers to the witches as “a special kinda evil” and that’s how each villain is drawn, special. The Crooked Man is the best example of this. He’s that perfect mix of clown creepy, crazy homeless man, and a touch of warped Jim Henson.

Hellboy and his world are amongst the most rich of any comic universe. I’m always left wanting more in a good way. I know Mignola has a long term plan for the character, and I know it’s selfish for me to never want him to get there. If you’re a Hellboy fan, or ever wanted to be, this is a must have book.

Review 2: The second chapter of The Crooked Man continues telling the story of Tom Ferrell’s creepy, supernatural homecoming. It picks up with Hellboy, Tom (carrying his dead father), and Cora making their way to a church so Tom’s father can be put to rest within holy grounds, safe from witchcraft and other dark things. The journey is (as expected) far from smooth as Cora tells of a mining legend that turns out to be not only true, but quite deadly! They eventually make it to the church and the stage is set for Tom to confront The Crooked Man, whether he wants to or not!

Simply put, I’m loving this Hellboy story. The writing and artwork come together to tell a tale of rural horror that is simply top notch. Mignola’s storytelling is extremely tight and his dialogue oozes personality and Appalachian flavor. As for the artwork, Corben and Stewart create some grotesquely beautiful visuals that make a great story even better.

If you are a fan of Hellboy, horror, or just good storytelling (written or visual) make sure to check out Hellboy: The Crooked Man

More info:

Mike Mignola (writer)
Richard Corben (art)
Dave Stewart (colors)
Clem Robins (letters)