Old Hellboy readers know that “The Beast of the Apocalypse” has indulged in romance many times, but its ups and downs were brief, albeit powerful. With their new series, Hellboy in loveThe powers that be in the franchise decided to explore the idea in more nuance, plus it’s finally giving those who are hot with monsters some representation in another mainstream comic book series. Despite being just a small five-issue series, the beginnings of this sweet encounter really deliver what the cover promises, and the tragedy, of course, is that we already know how the Hellboy story ends. Having said that, what life would be without a summer whirlwind could define you, especially when your entire life has been people telling you what you were like in Hellboy.
Set in the late 1970s, a mostly unexplored era in the larger Hellboy canon, the series moves along with Big Red due to the task of finding some pesky orcs that are stealing train passengers. The first issue sees them stealing from the wrong person, the newly introduced character Anastasia, an archaeologist whose possessions are a target of goblins but who also commands great interest from Hellboy. Anastacia has a theory after all, a theory that links users of magic and cult practices to a particular place and people in time… What’s interesting about this particular subplot is that it seems poised to become so significant to the larger Hellboy universe but for now, with a promise of love In the air, it does not feel terrible remark.
Although Mike Mignola’s name is on the cover, it’s unclear what he contributed other than the seal of approval. One of his regular lieutenants, writer Christopher Golden, is credited with the story, with Matt Smith on art and Chris O’Halloran on colours. Smith and O’Halloran previously made a name for themselves as a technical team in Hellboy circles through their work on Hellboy: Bones of Giants. This adaptation of Mignola/Golden’s story that saw him pick up Thor’s hammer was rich from a visual standpoint, as the pair offered a unique style that seemed to direct the best things about Mignola’s illustrations.
Smith continues his tactic of focusing on the things in each painting that really make his work feel Mignola-esque. The greater use of black space in particular is an intrinsic tactic, as well as some of the smaller retro paintings that appear within the larger images selling character accuracy throughout. Ironically, Smith also includes a lot of things Mignola himself doesn’t like to draw, extras like cars, and yes, Hellboy feet. All this means that Smith can become The A mainstay for Hellboy artists of the 1920s – his work manages to capture a lot about what Mignola works without feeling facsimile.
As for the narrative content of Hellboy in love, this first issue literally falls to the ground, but he soon finds a firm basis in his story. Despite his self-conscious feelings, it’s easy to see why Anastacia fell in love with Hellboy. Her flirtatious gameplay only elicits deep confusion, making it funny to watch and ultimately making the romantic payoff even sweeter. I’d also be remiss if I didn’t give a special shout out to the orcs in this issue, each with their own personality rather than being almost identical mini monsters.
Hellboy in love Not only does he tell a unique story for the larger franchise, he does so with some of the best talent outside of Mike Mignola himself. Given decades of Hellboy’s open-ended storytelling tradition, it makes sense that this one would get where it did, but the ultimate fate of Hellboy and the threads of his other romantic plots don’t detract from what seems to be a unique take on the entirety. There is something in the air with it Hellboy in love And it’s not just a love story, it’s the ingredients for the next great Hellboy story.
Posted by Dark Horse Comics
on me October 19, 2022
written by Christopher Golden
art through Matt Smith
Colors Chris O’Halloran
Messages by Clem Robbins
cover by Matt Smith
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