Dark Horse Presents (1986) #90

Mignola looks good in black and white. There are some very effective panels in Hellboy. The writing helps. He knows when to write and when to just let the art do its work. Up until the end of this issue, it’s almost like Hellboy is a passive force in the story. He’s an unknown quantity. Then he starts kicking butt at the end. Oh, and horrifying werewolf transformation sequence. It’s short, but amazing.

As for Paleolove, the only thing Davis is worse at writing than narration is apparently scenes between two men. It’s hard to believe these cavemen could even follow what the other is saying since Davis seems to think dialogue is better the more confusing it gets. I wonder what Paleolove would be like if Davis could write or draw well.

Finally, there’s another Baden. Lots of technobabble. McCallum’s art is still fine, Alexander’s writing is still bad.

Dark Horse Presents (1986) #89

This issue features something I never wanted to see… a Paleolove pin-up from Davis. You can tear it out and put bad art up on your wall.

His artwork is really weak for the first half, maybe his worst ever. It gets a little better for the second half of the boring installment. The writing is absolutely awful (Davis goes on and on about the “manly arts” here—basically hunting). He brings in another old character, but at least gives this one something to do.

The Hellboy story is good. It’s amazing how Mignola can make them spooky but generally mainstream. Hellboy’s barely in this installment, most of it has to do with the mystery, but his sidekick gets more page time it seems.

Alexander and McCallum’s Baden is some stupid sci-fi story about a riot cyborg or something. McCallum’s art isn’t bad but Alexander’s script is atrocious.

Dark Horse Presents (1986) #88

Is this issue the first appearance of Hellboy? I think it might be my first full Hellboy (not B.P.R.D.) story. It’s good, but Mignola does something weird with the conclusion. He sets the whole thing up, then has Hellboy come in and reveal it all before the first installment’s done. Makes all the setup a little unnecessary.

Then Lang and Lieber have another of their charming Nanny Katie stories. In this one, she’s revealed to be—at least I assume—an immortal storytelling nanny. It’s a gentle story about an old man waiting for his sons to arrive at his deathbed. Nice art from Lieber—there’s a lot of work on some of these panels, lots of mood.

So after two strong stories, how does it end? Paleolove.

Davis is inexplicably tying together some of his Paleolove storylines here. It’s pointless and trying—even weaker art than usual here too.

Dark Horse Presents 90 (October 1994)

Finally, there’s another Baden. Lots of technobabble. McCallum’s art is still fine, Alexander’s writing is still bad.

CREDITS

Hellboy, The Wolves of Saint August, Part Three; story and art by Mike Mignola; lettering by Pat Brosseau; edited by Barbara Kesel. Paleolove, Part Three; story, art and lettering by Gary Davis. Baden, Part Two; story by Jim Alexander; art by Rob McCallum; lettering by Clem Robins. Edited by Bob Schreck and Edward Martin III.

Dark Horse Presents 89 (September 1994)

This issue features something I never wanted to see… a Paleolove pin-up from Davis. You can tear it out and put bad art up on your wall.

Alexander and McCallum’s Baden is some stupid sci-fi story about a riot cyborg or something. McCallum’s art isn’t bad but Alexander’s script is atrocious.

CREDITS

Hellboy, The Wolves of Saint August, Part Two; story and art by Mike Mignola; lettering by Pat Brosseau; edited by Barbara Kesel. Paleolove, Part Two; story, art and lettering by Gary Davis. Baden, Part One; story by Jim Alexander; art by Rob McCallum; lettering by Clem Robins. Edited by Bob Schreck and Edward Martin III.

Dark Horse Presents 88 (August 1994)

So after two strong stories, how does it end? Paleolove.

Davis is inexplicably tying together some of his Paleolove storylines here. It’s pointless and trying—even weaker art than usual here too.

CREDITS

Hellboy, The Wolves of Saint August, Part One; story and art by Mike Mignola; lettering by Pat Brosseau; edited by Barbara Kesel. Nanny Katie, Sir John’s Passing; story by Jeffrey Lang; art by Steve Lieber. Paleolove, Part One; story, art and lettering by Gary Davis. Edited by Bob Schreck and Edward Martin III.

Dark Horse Presents (1986) #79

Ever have a friend who could draw really well? Moeller’s art on Shadow Empires is like a friend who can draw well. He takes time with it, he works at it… but it’s still totally not ready for the big leagues. It’s somehow even rougher than some of the worse art Presents has published. The writing’s pretty lame too (it’s like Dune again).

Campbell and company turn in another fine episode of Hermes here. While the Eyeball Kid is in hiding, Campbell concentrates on the supporting cast. It’s awesome how little the fight has to do with what Campbell does with the story installments. This issue a trio decides to become supervillains in a rather hilarious conversation (I only hope Campbell shows them in the costumes they discuss).

Davis’s writing hits a new low on Paleolove. Every time I think I’m through reading him, Presents publishes yet another dumb story.

Dark Horse Presents 79 (November 1993)

Davis’s writing hits a new low on Paleolove. Every time I think I’m through reading him, Presents publishes yet another dumb story.

CREDITS

Shadow Empires, The Passage, Part One; story and art by Chris Moeller; lettering by Vickie Williams. Hermes versus the Eyeball Kid, Part Four; story by Eddie Campbell and Wes Kublick; art by Campbell, Peter Mullins and April Post; lettering by Campbell. Paleolove, Part Three; story, art and lettering by Gary Davis. Edited by Randy Stradley.

Dark Horse Presents (1986) #78

Yolen and Vess have an absolutely fantastic fairy tale story here. It’s not technically a fairy tale (it’s layered, a nursemaid tells the story to a child, who it directly concerns) but it’s just wonderful. Vess’s art here is superior–he’s able to convey action, antiquity and fear. There’s one moment where it confuses, then it all becomes quite clear. Yolen comes up with a great narrative though. Her writing is the real boon.

Paleolove continues. Davis is on the second of a third part story and there’s no reason for a third part if this one is any indication. Not because it’s bad (it’s not good, but like most Davis, not exactly awful), but because the narrative is already stretched then as this entry closes.

Campbell reveals another character’s backstory in Hermes this installment. It’s so good. The details are indescribable due to imagination and complexity. It’s outstanding work.

Dark Horse Presents (1986) #77

Oh, I finally get it. Paleolove means love in the Paleolithic era. To pay Davis a complement (my first?), he’s never tried so deliberately to tug on the heartstrings until now so I never really gave the title a thought. What amazes me is the artwork. He hasn’t gotten any better with figures since his first Paleolove story, sixty or so issues ago in Presents. At least he’s not getting worse.

Campbell and company don’t explain everything this installment of Hermes and Eyeball. I fact, I don’t think they explain anything other than the Eyeball Kid and the false oracle are in cahoots together. Again, it’s excellent work, very self-aware and very charming–which isn’t easy given the Eyeball Kid. He’s kind of gross looking.

Lang and Lieber’s Nanny Katie story is a lovely little story about an English nanny who can commune with nature. Delicate writing, great art.