Welcome friends, this week at The Banana Stand I would like to discuss the roster of talented artists that have worked in the Mignolaverse, and why I think it’s an amazing achievement in modern comics. For those not in the know, the Mignolaverse is comprised of Hellboy, BPRD, Lobster Johnson, Baltimore, Witchfinder, Sledgehammer 44′, and Abe Sapien. The umbrella term “Mignolaverse” was coined to refer to the books Mignola himself has created. They all exist in a shared universe with the exception of Baltimore, that is a creation of Mignola and author Christopher Golden, and exists in it’s own world. In my opinion this universe rivals any other in comics, and is one of–if not THE–greatest accomplishments in the post-Silver Age era of comic books. The ability of Mignola, editor Scott Allie, and everyone else involved in this corner of comics to coordinate such a feat is a marvelous thing. Continue reading The Mignolaverse: A Collective of Amazing Artists
Overview: This issue we journey with Abe and his new companion Grace, whom Abe rescued from captivity last issue. Together they meet, and join up with, a couple desperate to save their ailing son. They all end up at a strange property, where a man is supposedly able to heal visitors with a special clay and some holistic practice. As usual in this “Hell on Earth” things don’t always go as planned, and the harsh realities of this new world come crashing down on the group of travelers.
Art: Sebastian Fiumara is on art duties this issue, and he does a brilliant job. The issue starts with, and contains, a few flashback sequences throughout, Fiumara takes this opportunity to differentiate them with rough, free-hand panel outlines. It’s a subtle choice, but I really appreciate when an artist does something like this; often it’s left up to the colorist to modify things to provide a visual cue that a scene is from the past, but Fiumara proves that’s not the only creative way to get the point across and it’s the kind of choice that shows how much the artist “gets it”, which is nice to see.
Sebastian’s style is all his own and I’ve become a big fan since he debuted on this title. To me his work feels like Richard Corben, filtered through Sean Phillips, with hints of Guy Davis, and his action sequences are right up there with James Harren. He also does a fine job channeling Mignola in his layouts and sequencing. This issue there is a thematic constant of a mysterious bell tolling; from the cover, to various key moments during the issue it appears, often in sillhouette, and provides an ominous presence; this is a tool Mignola has nearly patented, and Fiumara uses it to great effect. Every page of this issue has a visceral quality, you can almost feel the dread and weariness of every surface and character. The mood will morph into a calmness, but then like a time-bomb something clicks and….BOOM! The page is awash in mayhem and violence. It’s not often that an artist is well rounded enough that an issue can jump from such extremes without some discernible change in quality, but Fiumara has a firm grasp on both action and character, and it’s awesome to experience.
Story: This issue was interesting story wise, but for me the art really propelled the ambiance and lifted things beyond a so-so episode. I’m still not sure what to make of Grace; it’s obvious she is deeply traumatized, but she seems to jump back and forth between catatonic and aware; often shifting only to complicate situations, like a child who’s aware they can manipulate people with their behavior. I’m not sure if this is done on purpose to shape her character, or if she’s becoming a plot device. This also seems apparent when Abe describes his need to protect her, and his belief that he can do so. I trust Allie to develop this further, because it does make sense for Abe, who’s lost control of nearly everything in his life, and is grasping for something he can help or alleviate in the face of a crumbling world.
The parents of the ailing boy suffer from this as well, I feel like they were unnecessary, and the story could have happened without their existence. They’re around mostly to be a device for us to feel sorry for, both before, and after their demise. I think if you can remove a character and still achieve the same story, then you should consider removing them all together, or modifying their role; that is just my take though and it’s a minor thing in the long run, but it’s something I think Allie needs to consider for future arcs.
I’ve enjoyed this series and it’s measured approach to dealing with the end of the world through a zoom lens. It separates itself from BPRD, by focusing on the rest of the population, and the powerless nature of their plight. Abe is wandering through the madness, knee-deep in tragedy and suffering, searching for answers , or at least signs, that there is something left for him in the world. This journey is complicated by his desire to help others, and his resemblance to the very monsters infecting and destroying the world around everyone. I believe Allie and Co. are doing an admirable job conveying the melancholy and seemingly insurmountable odds facing everyone, in the same way John Arcudi is doing with our intrepid agents of the BPRD in the main title, but on a scale that reflects the abilities-or lack thereof–of the civilian population.
Conclusion: If you’re looking for a rosy good vs. evil story, where the white knight always wins, then look elsewhere. This book is taking on the apocalypse on the ground floor, and it’s anything but rosy–unless you count the shade of all the blood. The art by Sebastian Fiumara alone demands your attention, and I trust Scott Allie is building things that will reward us throughout the series, that is as long as you don’t mind rewards in the form of frog-monsters, mayhem, and a frightening look at the end of the world as we know it. If that’s your jam, then dig in, because there’s plenty to go around 🙂
Just for fun here’s a Pull list Playlist suggestion for this issue: The Partisan, By Leonard Cohen If you’ve never heard this song then please give it a listen, in my opinion it’s one of Cohen’s best.
Overview: A stand alone issue that focuses on a pair of lost souls Abe stumbles upon in his wanderings. Choosing prose over dialogue, Scott Allie weaves a tragic and affecting tale of the collateral damage caused by the rampant destruction of the world in the wake of the “Hell on Earth” reality. Combined with gorgeously rendered art by Max Fiumara, this issue separates itself dramatically from the previous 11 issues with it’s almost poetic approach to storytelling.
Art: Max Fiumara burst onto the BPRD scene in 2012, with his debut on “The Transformation of J.H. O’Donnell”; since then he’s joined forces with brother Sebastian to rotate art duties on Abe’s solo series. Max has a surrealistic style that works very well with the monsters and mayhem that usually occur in a Mignolaverse book, but this issue he showcases a wonderful ability to depict regular people in a surreal setting. His characters still have rather wide-set eyes and large heads, but not so much that’s it’s a distraction. I was very impressed with Max this issue, because of how the story is structured. Every page has three page-wide panels that jump from past to present, character to character, with no specific segue narratively. This is not an easy thing to accomplish, but Fiumara pulls it off adeptly, and Dave Stewart aids this process by using distinct color palettes to differentiate time and place.
There are really three stories taking place this issue, and they are presented in a rotating montage fashion. The first, at present, has Abe wandering upon an farmhouse inhabited by a couple of people not keen on company–especially anyone looking like Abe–and the consequences of that encounter. The other two provide an explanation of who these two new characters are, and how they ended up in their current predicaments. The stories are anything but uplifting, and the team of Fiumara and Stewart do a magnificent job keeping with the melancholy feel of the narrative, allowing us as readers to immerse ourselves in this world. I don’t know how many creative teams would be able to pull of a task like this with such proficiency, it shows that the trust Mignola and Alllie put in them is well placed, and bodes well for future issues.
Story: I was caught off guard at first by the choice to exclusively use narration boxes to tell this story. It was a bold decision by Allie, but in the end I think it was a wise one. Despite not fully absorbing it all upon first read, I was deeply moved by the story, and spellbound by the language and it’s ability to create a discomforting ambiance. At times it felt a bit verbose and indulgent, but after reaching the last page I was overcome with an unease and sadness that made me reconsider my previous notion. After going through it a second time I was more comfortable with the style, and therefore, was able to let it really soak in and transport me to this place. This would not be the best approach to take with multiple issues, but for a special episode it worked very well.
Allie has definitely molded a very different kind of book for Abe than I was expecting, but I enjoy the surprise of that. In some ways I wish we could attain more insight into what exactly Abe’s mindset is at this point in the story, but maybe he doesn’t even know himself. To me it seems as though he is loosing more and more of the man he used to be, and slowly morphing into the beast he may have always feared he could become.
Conclusion: This has been an interesting year for Abe so far, I know after all he has been through, adaptation is inevitable; especially with all the physical changes he has experienced. I’m not sure where it is all leading to, but I’m intrigued, and I want to continue to see where it goes. While the story has me pondering, the art has been phenomenal, and this issue particularly shows just how remarkable Max Fiumara’s storytelling is. This series is not the home run BPRD has become, but it’s doing a great job of showing the other side of the coin during Hell on Earth.