I downloaded the recently unveiled Hellboy movie trailer online a couple of days ago. It reminded me a great deal of the fun, energy and excitement of another big-screen comic-book adaptation: The League of Extraordinary Gentlemen. Some might see that statement as a slight, but while it was radically different from Alan Moore and Kevin O'Neill's vision, it was a thoroughly entertaining and visually engaging action movie. The Hellboy trailer, while energetic, seemed to lack the darker, more gothic look that makes the property such a joy. It looks like it'll be a solid movie, but I'm not surprised that the original medium serves Hellboy the best.
For those who don't know, Hellboy is a demon who was adopted by Allied scientists upon his discovery decades ago. The young demon grew up to be the lead agent in the Bureau of Paranormal Research and Defense, a no-nonsense warrior who could take on zombies, sorcerors and otherdimensional monsters. He's joined in his efforts by other unusual individuals, such as the amphibian Abe Sapien and pyrokinetic Liz Sherman.
The book's title is a little misleading, in that the focus is definitely on Mike Mignola, not just Hellboy. There are no other artists' visions of this wonderful character, which would have been nice. But even better is the study of the development of Mignola's style, ideas and characters. This is a comprehensive look at the creative process over the course of years. I oved seeing how Mignola moved away from a more conventional and detailed style to the simpler but more effective gothic tone that sets his work apart. A 1995 Hellboy is clearly different from a 2002 Hellboy, for example.
The notes accompanying the wide array of artwork are brief, but they say a lot about the art and the evolution of the property. We're reminded that John Byrne scripted the earlier Hellboy stories, and in that respect, we also see the changing, creative process that went into the writing. Earlier stories boasted a more conventional approach in the script, whereas later, Mignola opted for quieter stories, in which scant dialogue added to the supernatural tension.
I have to admit that one of my favorite aspects of this book is editor Scott Allie's chronicling of his connection to the property, and in the process, he offers a history of Mignola's work. Allie provides an important context, adding to the reader's insight into the business of comics and the ins-and-outs of the accompanying creative process.
Note: This book was not among this week's new releases.
