Hellboy: Seed of Destruction (1994) #1

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All right, so Mignola and Byrne conceive Hellboy as sort of a hard boiled detective. Not in the content so much, but in the first person narration Byrne writes for him. It also doesn’t really match the way Hellboy talks in dialogue either.

But the big problem is the way the story’s split. It opens with a mostly text (though illustrated) telling of Hellboy’s origin. Then it switches to a regular narrative (where presumably main characters is instead killed off before he can resonate). The modern day stuff is all action too—except the end reveal—and the issue wouldn’t feel like it had any weight if it weren’t for that prologue.

The art’s okay—the worst thing is Mignola’s Hellboy, who seems inconsistent-.

Inexplicably, there’s a Monkeyman & O’Brien backup. Adams’s art is lame and the writing is awful. It does have a couple King Kong references, but so what.

One Comment

  1. Vernon Wiley

    Once again, it’s I never understood time. Fandom has constantly RAVED about Mignola’s art, but I never understood why, unless it’s a fascination with using a bottle of india ink per page. Almost all of his compositions are centrally located, like Frank Frazetta, and the utter lack of detail gives them this graphic art lazy simplicity to them. It’s somewhat akin to a paint by the numbers picture. Hellboy himself is not exactly an attractively designed character, having a pear shaped torso like the female form, but with hooves. While over the years, I have grown to like reading Hellboy, it’s hard to enjoy the visual aspect of the character himself. Luckily, Mignola’s fascination and knowledge of arcane texts and horrendous demonology gives it a flavor like no other. Years down the line, giving Duncan Fegredo the artsitic reins was the best decision Mignola made to help insure Hellboy’s place in comics history.

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