If you're a regular reader of ComicReaders.com and more specifically a reader of reviews written by little ole me then you may have recognized an underlying thread that ran through my body of work in 2006 and 2007. I'm a jaded comic reader. I've turned my back on DC and Marvel proper because of the mega-events that have plagued both rosters. I've also become a more selective buyer. I'm less likely to experiment and instead use my hard earned dollars on titles I know will please. Perhaps my bitter interior has partially blinded me but I find myself discovering less and less quality new material and have thus turned to older titles-- the so called classics and / or ground breaking series of yesteryear. This brings me to Hellboy.

Created by Mike Mignola, Hellboy first appeared in San Diego Comic-Con Comics #2 in 1993. I wouldn't have my first taste until 2001 when a work mate loaned me the first Dark Horse released trade paperback, Seed of Destruction. At the time, I was still a relative newcomer to comics and had not yet branched out from superheroes. I'll admit I wasn't overly impressed the first time I read Hellboy. The art did little for me though I could recognize and acknowledge how refreshing and different it was from most of the comic art on the shelves at the time. (I could only imagine the impact Mignola's art made in the early 90s when it debuted, a time when Image Comics' artwork was shaking up the industry.) Remember, I was still relatively new to comics and years of reading novels meant I was more interested in writing than art. As for the writing in Seed of Destruction, I enjoyed the combination of horror and adventure, and its references to and inspirations from folklore and literature, but found myself frowning at Hellboy's occasional quip and his brusque response to getting knocked around by monsters.

Fast forward several years to when my local comic shop proprietor convinced me to check out B.P.R.D. in trade paperback form. I explained my limited experience with Hellboy, which he shrugged off. He claimed detailed knowledge of Hellboy lore was not required for reading BPRD. That proprietor has yet to steer me wrong so I picked up the first collection, read it, marveled at it, and proceeded to pick up successive trades, each of which impressed me to a greater degree than the one that preceded it. Written by Mignola, but drawn by Guy Davis, BPRD lit in me an interest in Hellboy. If the writing in BPRD was this good surely Hellboy was worth another look.

This brings us to 2007. I picked up Seed of Destruction, this time purchasing my own copy. I cracked open the cover, a different sort of comic reader than the one I was in 2001. I'd broadened my comic reading horizons over the years and had in 2006 all but abandoned the superhero genre by the side of the road. I was seeking out and enjoying books that dared to be different. Hellboy turned out to be such a book; but, more importantly it remains unique even after I learned about and explored its inspirations, and encountered the numerous comics by comic creators that tried to emulate Mignola whether in art, writing or genre blending paranormal storytelling. Hellboy remains even after all these years a unique comic experience. It is a landmark in comics' history. I finally understand that now.

Seed of Destruction

The first issue of Seed of Destruction was published in 1994 by Dark Horse Comics, just one year after Hellboy's debut in 1993. What struck me first was how accomplished of an artist Mignola appeared to be Seed of Destruction. Research after the fact informed me that Mignola had been drawing comics professionally since 1980 and by 1983 was inking for Marvel Comics. Here I was thinking Hellboy was his debut! Whether he was a newbie or an established artist is beside the point; Seed of Destruction marked the arrival of not only one of the most unique characters in comics, but also one of the most influential comic creators of the latter part of the 20th century.

Seed of Destruction establishes many of the Mignola / Hellboy trademarks, including a balance of heavy shadows and pure colors; dark mood; a blending of paranormal horror and pulp adventure; references to folklore and dark literature; and, an obvious love of ancient masonry and statuary, drawings of which Mignola uses to transition between scenes, and establish place and emotional tone.

This first trade paperback takes us back to the day Hellboy first arrived on the material plane, but it doesn't linger too long in the past. It focuses mainly on the present, specifically Hellboy's investigation into the death of his mentor and his discovery of Rasputin's nefarious schemes at the centre of which is Hellboy himself.

Seed of Destruction also introduces us to Hellboy's Bureau of Paranormal Research and Defense comrades, including fire starter Liz Sherman and amphibious Abe Sapien. Mignola also proves himself to be a capable storyteller by weaving both past and present into his story, giving us a real sense that he knows this story and his characters. Very early on into Seed of Destruction you get a sense there are a lot of stories to be told in this world Mignola created. The subsequent trades combined with the BPRD stories prove the truth of that statement.

Wake the Devil

Wake the Devil continues the mythos started in Seed of Destruction, mainly Rasputin's desire to release ancient Lovecraft inspired monsters from their prison to bring about the end and horrific rebirth of the universe and how Hellboy factors into that plan.

It's at this point the story Mignola is telling becomes a personal journey of discovery for Hellboy, albeit one void of melodrama and touchy feely internal monologues you might expect from a story in which a creature from Hell learns of his dark destiny only to fight against it thanks in part to values instilled by his adopted human family. Wake the Devil isn't sensitive pap. It is still at its core pulp horror and adventure. Mignola's greatest achievement-- one he will continue throughout Hellboy-- is that he also manages to tell a very personal tale amidst all the monsters, fights, explosions and freak show Nazis that serve as Rasputin's underlings.

Wake the Devil is also noteworthy for its introduction of Roger the homunculus and its Epilogue, in which Baba Yaga tries to convince a vanquished Rasputin to stay with her in the ethereal realms. Rasputin sees Baba Yaga's chicken-leg house in the distance and it gives him comfort to see that it has never changed. "Stay with us," says Baba Yaga. "No," says Rasputin. "I will go on a while longer, and who knows… maybe a man can make himself a god." This Epilogue is five pages long and yet Mignola manages to make me feel pity for Rasputin, a man that had been portrayed as nothing but a villain up until that point.

The Chained Coffin and Others

The third trade paperback takes a break from developing the main storyline. Instead we are taken through a series of short tales, all of which occur sometime in Hellboy's past. The first tale, "The Corpse", is often called the best Hellboy story Mignola has ever done. I won't put that label on it-- I've not yet determined which tale is my personal favorite-- but "The Corpse" as a stand alone story is the best example of what constitutes a Hellboy story.

The second story, "The Iron Shoes", is short and forgettable when set against the rest of Mignola's Hellboy work, but the following tale, "The Baba Yaga", is fantastic. It shows us how Baba Yaga lost one of her eyes.

"A Christmas Underground" is surprisingly good and that brings us to "The Chained Coffin." I had wondered why this collection was called The Chained Coffin and Others and not The Corpse and Others considering "The Corpse" is widely regarded as Mignola's best Hellboy story. In reading "The Coffin" I realized why the decision was made. This story gives us insight into Hellboy's birth and it is thus significant in the greater Hellboy mythos.

"The Wolves of St. August" has some quality grotesquerie and has found a place in my heart because Hellboy's sidekick is Kate Corrigan. I'm a fan of this scholarly yet very ordinary member of the BPRD. This collection then ends with "Almost Colossus" a follow-up story of sorts to Wake the Devil, featuring Roger the homunculus, a character that really comes into his own in the BPRD series.

The Right Hand of Doom

The Right Hand of Doom is another collection of shorter tales, but takes its name from the most significant story of the bunch, in which we return to the main tale and learn the story behind Hellboy's big stone hand. The short stories leading up to "Right Hand of Doom" are quality works, but the focal point of this collection is learning more about Hellboy's right hand and his supposed destiny, the latter of which is detailed even further in "Box Full of Evil", which ends this trade paperback.

Conqueror Worm

Conqueror Worm is noteworthy for two reasons, the first and foremost being it not only continues the ongoing story involving Rasputin's nefarious scheme and Hellboy's destiny, but also serves as a final chapter of sorts in that epic tale. More answers are revealed, fights are had, danger is thwarted, but most significantly another expertly crafted and surprisingly touching Epilogue featuring Baba Yaga and Rasputin makes The Conqueror Worm feel like the end of many things.

This collection also introduces Lobster Johnson, a hero that could have been ripped from the pages of old pulp serials. Lobster Johnson makes quite the impression in this story. Mignola would answer fan interest in this character with appearances in Hellboy: Weird Tales and a miniseries released in 2007.

Strange Places

There are only two stories in this collection, but both are excellent pieces of work.

The first is "The Third Wish", a dark tale partially inspired by Han Christian Anderson's "The Little Mermaid". This particular story really resonates with me. It was sad and tragic, and yet touching and beautiful at the same time.

The second tale is told in two parts, "The Island'. Mignola describes it as the end of the first chapter of Hellboy's life. I can't argue with Mignola's assessment even though I called Conqueror Worm the ending of many things. "The Island" is a satisfying ending in regards to Hellboy whereas Conqueror Worm in retrospect is more an ending for Rasputin and his aspirations.

The Troll Witch and Others

The Troll Witch and Others starts off weak with a couple forgettable short tales. That may sound too dismissive but when compared to the body of work that precedes them, "The Penanggalan" and "The Hydra and the Lion" are just not up to snuff. Mignola redeems himself with "The Troll Witch", one of my personal favorites. Alas, "The Troll Witch" is the last great Hellboy story I've read as of the writing of this article.

The remainder of The Troll Witch and Others is comprised of two disappointing collaborations and a couple odd experiments, "The Ghoul" and "Dr. Carp's Experiment". I liked the way Mignola messes with us and Hellboy in "Dr. Carp's Experiment", but Mignola's experimentation in "The Ghoul" misses all the marks.

In regards to the collaborations, first up is "The Vampire of Prague", a story that ultimately feels goofy mainly thanks to the artwork by P. Craig Russell. As much as I admire Russell as a comic artist his style just does not work for Hellboy.

"Makoma" finishes off the collection, the last of the Hellboy trades released to date. It's drawn by Mignola and Richard Corben, the latter responsible for a psychedelic trip into the magical heart of Africa. Corben is more suited to Hellboy than P. Craig Russell, but a Hellboy story just doesn't feel like a Hellboy story without Mignola in charge of the art, regardless of how well respected and talented the artist. With that said, "Makoma" is an oddly crafted story in terms of the writing, too. All in all, "Makoma" doesn't feel like all the Hellboy stories that preceded it. I'll admit it's a lackluster way to leave what has been a stellar and historical run.

***

I'd hate to leave you with a sour taste in your mouth so let me end on a positive note by saving the Hellboy collections covered in this article represent the works of one of the most innovative comic creators of the 20th century. Hellboy has become a pop culture icon, with many young comic creators aspiring to achieve what Mignola has accomplished. Also, word on the street suggests Darkness Calls, a Hellboy miniseries realeased in 2007, marks Mignola's return to form with his central character.

"The Vampire of Prague" and "Makoma" might suggest his collaborative work should be avoided but this is not the case. The BPRD series is written by Mignola and drawn by Guy Davis, and though it doesn't feature Hellboy, it has recently surpassed Mignola's work on Hellboy in terms of storytelling excellence. BPRD shows that Mignola continues to grow as a comics creator even as he expands the world he created and further develops the characters that populate it.