You know I’ve been busy when it takes me over a week to post about this:
Hellboy in Hell, as anyone reading this probably already knows, marks Mike Mignola’s first time drawing Hellboy in way too long. It also marks an entirely new chapter in Hellboy’s existence as a character, and one that I’ve been very excited about since it was first announced. There’ll be some mild spoilers, so read at your own risk.
I like Hellboy and the B.P.R.D. and Baltimore and everything else, but so far my favorite of anything I’ve seen Mignola ever do is the Amazing Screw-On Head & Other Curious Objects book. The big star of that book for most people is the reprint of Amazing Screw-On Head, but the best stuff for me is the more recent stuff that Mignola drew to fill out the rest of the book. There’s a couple of reasons for that. One, it’s Mignola completely unfettered. It’s pure imagination, distilled onto the page, and nobody does that better than Mignola. Two, though he claims to be rusty, Mignola’s art has really jumped up a notch in recent years, and he’s at his best in stories like “The Witch and her Soul” and “The Prisoner of Mars.” The exciting thing about Hellboy in Hell is that, not only is Mignola back on art duties, but both of those things that made the Amazing Screw-On Head book so magical are largely true here, too. Though still telling the larger, interconnected story of Hellboy and his mythos, the move to send Hellboy to Mignola’s version of hell has freed Mignola from the constraints of a story set in the (increasingly complex) real world of the ongoing B.P.R.D. comics, and gives him free rein to pour his imagination directly onto the page again, both in storytelling and in art.
As a result, Hellboy in Hell #1 is probably the most abstract Hellboy comic to date. There’s a fantastic transition in which Hellboy’s heart becomes Hellboy himself. There’s the panel referenced on the regular cover, which may be among the most striking Hellboy panels I’ve seen. Hellboy in Hell #1 is also about as close to what I think of as “pure Mignola” as anything you’ll find. There’s what appears to be a visual nod to Goya, and there’s a fight sequence that’s more Kirby than anything Mignola’s done in a while. There’s weird leaning Victorian houses and portraits of random people, and of course there’s a puppet version of A Christmas Carol, which actually provides some tantalizing hints of the structure of this first Hellboy in Hell story arc.
Really, the only problem with Hellboy in Hell #1 is that it feels too short. Not that it’s any shorter than normal, it isn’t, but it’s something I feel like I’ve been waiting so long for that I want it all right now. I think this first story arc is one that will benefit from multiple readings over time, and I’m really looking forward to reading the whole thing again when it’s collected into a trade.