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If there were never another story which continued Hellboy's main plotline, I would be happy with this ending. Others might feel differently, wanting all of their questions answered, desiring some convenient, 'happily ever after' prologue--ever looking for book XIII of the Aeneid.

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But while I like the plot itself, I was not always happy with the treatment. Ever since Strange Places , the series has become increasingly complicated, and as a result Mignola has expressed more and more of the story in narrative explication and redundant summaries. I don't need an author to reveal everything to me, in fact I prefer that they don't, especially if it reduces the amount of time characters spend explaining the history of the world to each other. I want a story primarily shown through actions: Mignola is capable of telling stories this way, and there is a lot of action and movement in this collection, but the pace gets gummed up by occasional spoon-feeding of plot points.

Mignola also does that thing where we get quotes of things people said in previous issues repeated over a different scene. This can be interesting if the new scene lends the quotes some different, subversive meaning we didn't really understand before, but I can't think of a comic writer outside of Alan Moore whose been able to do that--hell, even some of the ones inside Alan struggle with it, though how much of that is the result of the painful, aeons-long process of being digested, it's hard to quantify.

With all the complex backstories, references to old events and characters, melded mythologies, and stylistic allusions, there is a lot going on in this terminal volume. Really, plenty going on--enough so that the sudden introduction of a romance felt tacked-on. Not all stories need romances, nor do they all benefit from having one grafted on. There are stories that are busy enough, already--thank you very much. As Scriptshadow points out in his analysis of Aliens , sometimes all you need is the hint of a romance, because putting in a whole subplot would just break up the pacing of an otherwise perfect story.

I understand that Mignola wanted to give HB an emotional connection, someone for whom his choices have extra-personal repercussions, but he's been a loner for so long--a fundamentally introspective character--that I don't feel we really needed it. His personal struggles have always been there, and central to the story, and to his growth as a character, so I didn't feel adding in a romantic sub-plot made those internal conflicts any more important or dramatic.

He might also have wanted to stick one in because some people feel that a story can't be over unless the protagonist finds love by the end of it. I don't think it's useful for us to limit ourselves in this way. There are many experiences out there, and many stories to be made of them. Not all characters need storybook love to 'complete' them.

Once again, I was glad to see Fegredo's work on this title again--he's cemented himself as one of my favorite artists working today and I'm going to start picking up books just because he draws them, which is pretty rare for me, who usually selects by author. Perhaps the strength of his work is part of the reason I've found Corben's work on the series so disappointing, despite his great reputation. At the beginning of the series, I found the main plot arc much less interesting and less inventive than the collections of unrelated stories. As things have gone on, I've reversed my position--partly because the plot has gotten stronger, partly because the collections have grown weaker and less idiomatic.

Perhaps in working on this big, complex conclusion, Mignola was focusing less on the odd one-off story. In any case, I was glad to see the series come to some kind of end. It is undoubtedly one of the most intelligent, unusual, and interesting series in comics today--at times it is as good as Sandman ever was, and it is certainly better than most current titles, especially fantasy titles, like the awful Fables.

But unfortunately, I feel Mignola lost the thread somewhere in the middle of the series and never quite reached the potential I saw glimpses of throughout. If he had been able to take the sparse, mysterious storytelling of the short pieces and meld it to the grand concept of the central story, it would have made for a true masterwork. He showed some signs of doing just this in Darkness Calls , which has excellent pacing and great tone, but in which Hellboy, himself, is a rather bland caricature of himself. While Hellboy returned to form in this volume, we lost the succinct, fey storytelling to long runs of exposition and convolution.

But for all that it did not coalesce into the dream I had of it, it is certainly a delightful book, full of twists and interesting characters, and it was well-worth the read. My Suggested Reading In Comics Aug 23, Melissa McShane rated it it was amazing Shelves: This was a fantastic end to the series--though not to the story of Hellboy, as the final panels suggest I wish I could remember which volume they're a reference to; the numbers blur together.

I said before I was withholding judgment on developments in The Wild Hunt until I saw how it played out, and I was not disappointed. In the sk This was a fantastic end to the series--though not to the story of Hellboy, as the final panels suggest I wish I could remember which volume they're a reference to; the numbers blur together.

In the sketchbook at the end, Duncan Fegredo mentions that drawing Hellboy with an ax felt right, and I have to agree that it seems a more natural weapon for him than Excalibur. I was surprised only briefly that it all meant Hellboy had to give his life to win, then surprised that I hadn't anticipated it. It was far too epic a conflict to be ended without the supreme sacrifice. What was truly brilliant was how little it felt like tragedy, even though it was sad.

Baba Yaga finally getting what she wanted out of Hellboy. Nimue, and not Morgan le Fay, being the true villain: I think most Arthurian retellings want Morgan to be either a misunderstood hero or an unredeemed villain, and here she's more neutral though not at all nice; she comes off seeming more like Mab, though Mab is actually more sympathetic than I'm used to seeing her.

And Nimue is scary as hell. Gruagach also completes his development into a well-rounded character instead of someone who just wants to see Hellboy dead. And, of course, Alice. I'm looking forward to Hellboy's next big adventure, whatever that turns out to be. It's Hellboy in Hell, Vol. The Descent , if you were wondering. Apr 22, Michael Larson rated it it was amazing. One of the things I always forget about Hellboy is how simple a character he is. Even though he's persistently surrounded by intricate mythologies and fulfilling labyrinthine prophecies, he basically just wants to be left alone.

Not to brood, necessarily, but just to do his own thing. And yet creatures and villains the world over keep ensnaring him in their plots to gain power or revenge or Ragnarok. So here, in the most climactic battle Hellboy's had yet to face, what stands out are the small mo One of the things I always forget about Hellboy is how simple a character he is. So here, in the most climactic battle Hellboy's had yet to face, what stands out are the small moments. Waiting in a pub in the middle of the woods.

Small moments like these are one of the reasons 'Hellboy' continues to be my favorite current comic. I initially got into Hellboy for the Lovecraftian monsters and pulp inspirations, and the fantastic art, which continues to be one of the most perfect examples of style matching storytelling, drew me in. But I've stayed because of the time Mignola takes to let his characters have their small moments, even when surrounded by extra-dimensional beasties.

As an ending, this is satisfying, but like any good ending, it leaves you wanting more. So I'm glad it's not THE end. Apr 25, Dani Shuping rated it it was amazing Shelves: The demon that forged his own path to be more than a prophecy, more than what light or dark chose for him to be Dead heroes are rising from their graves as the last battle is about to begin, and a lost king will rise to lead them. This has the potential to be the last fight for so many Hellboy, the Elves, the Wild Kingdom and perhaps of humanity itself.

Hellboy, like he so often has been, is in the thick of it and regardless of what the prophecies of light and dark say Hellboy will forge his own path till the very end. Like so many I have mixed feelings about this final collection. We want to see good to triumph over evil and good to survive. And that Hellboy, who has fought so many demons and monsters over the years, to get back up and keep on fighting.

And instead we see Hellboy, seemingly subdued throughout the story. Because Mignola has chosen instead to mimic real life. And that is what makes Mignola such a great storyteller and this such a great collection. There are also so many little aspects of the story that standout to me, the scenes with the dead rising from the grave, the mixing of mythology and that the strands woven since the beginning of the story weave together for one final time.

Even if he seems subdued his essence is there. He is his own person from the beginning to the end. As he has always done Hellboy has sought his own path, for better or for worse, he has no desire to be THE champion for light or dark, only what he can be and to follow his own code and own morals to the very end. The artwork in this collection once again is engaging and has hidden depths.

Hellboy, Vol. 12: The Storm and the Fury

The team of Duncan Fegredo and Dave Stewart do such a fantastic job of working together to create and color characters and scenes that are pitch perfect for the work. My favorite aspect of the artwork though is the movement of the characters and the cars that they travel in. We get to see what happens and how Hellboy lived and concluded his life. We got to follow him, which is more than what we could or should have expected. And perhaps this is really just a pause in what is a great long tale. Jul 07, Brooke rated it liked it Shelves: I think that I would recommend reading all of these collected trades in one go.

This one just came out a few months ago, and as I look over the my 'read' comics shelf, I see that the last time I read a storyline TPB as opposed to the last two, which were side story collections was in May No wonder I'm super fuzzy on who all these characters were who the frak was Alice? The series, in retrospect, made me think of Fringe's season 4 a little bit The End.

The series, in retrospect, made me think of Fringe's season 4 a little bit in that they would air two episodes and then go on a 4-week hiatus, rendering it artificially jerky and poorly paced. It also reminded me of Supernatural, in that I spent the second half of the mythology-soaked series half wishing we could just go back to the simple demon hunting days. I wanted more of a nod back to the BPRD than we got in this final chapter.

Maybe now that the series is over, we'll get a nice Super Final Edition. I'd like to revisit it from the beginning. Nov 13, Brandon St Mark rated it it was amazing Shelves: This was the best Volume out of the original I only wish Hellboy had actually used the sword, but that's because I find them more interesting than guns x3. Aug 19, Saif Saeed rated it really liked it Shelves: I think every volume of this entire series was remarkable. Nothing really stood out to me more than the Wild Hunt which I'd probably give a 4. I gave almost every volume 3 stars because I guess my appreciation for this series grew over time.

I'm usually a love it or hate it kinda guy but this is the first series that I can honestly say grew on me. Reading Mignola's little foreword for each issue was intriguing, learning about the different mythologies and folk tales he I think every volume of this entire series was remarkable.

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Reading Mignola's little foreword for each issue was intriguing, learning about the different mythologies and folk tales he researched. Hellboys random adventures were always fun. The stories have episodic elements but also have this overarching Lovecraftian thread winding its way in and out of the story which kind of put me off in the first two volumes but like I said, it grew on me.

Hellboy is a fantastic character, so entirely the master of his own fate. I don't think I've seen or read any other character like him. The art, much the like the character, is wonderfully unique when Mignola is the one drawing. When its not Mignola, its still amazing. Recommended if you like Mignola style art, stoic characters, mythology, magic, folk tales, horror, and Lovecraftian style stories. Jun 23, Ross McLean added it Shelves: Hellboy has expanded my reading horizons. Pulpy superhero face punching and complicated folklore mashups are both things that sounded incredibly unappealing to me, and I initially put Hellboy down after reading the first two volumes.

Yet, something kept pulling me back and the more time and effort I invested in the series the more I enjoyed it. It is now one of my favourite things. Jun 14, Cassie-la rated it it was amazing Shelves: Set in the English countryside, after The Wild Hunt and Darkness Calls, this collection is full of legends, from fairies to Arthurian tales, and everything in between. The latter, at least, Hellboy covers in a hilarious whirlwind flashback involving witches, ghosts, Russia, giant hunting, and becoming the King of Britain complete with Excalibur.

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This final tale centers around Hellboy as he travels with love interest, Alice Monaghan, who he met after rescuing from a fairy kidnapping. Their relationship has put Hellboy on an upward path, the lush even choosing to give up drinking. He has experienced quite a lot since leaving the B. Mike Mignola weaves a sense of dread and foreboding throughout the narrative, to prepare the audience for the approaching storm. The suspense is palatable; as the tension builds up to a horrific battle sequence stretched across the second half of the collection. Instead, Merlin curses him with immortality for assisting Nimue in raising an army, forcing him to watch the world end around him, yet unable to die.

He is found by Hellboy, hanging from a noose and still alive. Duncan Fegredo does a fabulous job of illustrating all these scenes of terror. From disturbing medieval artwork famine thin Adam and Eve complete with snake, knights in battle to mythological flashbacks centered around Queen Mab, Merlin, Nimue, and Morgan le Fay, he keeps everything period appropriate. The battle scenes are particularly impressive, especially when he has to make distinctions between the perspectives flashing between Hellboy and Alice.

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As with all good endings, he brings in prior characters Lobster Johnson, Liz Sherman, Abe Sapien, Roger the Homonculus, Trevor Bruttenholm , wraps up loose ends, and shows us where his character has been and what he has become. This is one epic, mind-blowing finale that cannot be missed. Jan 04, Brian rated it it was amazing. I have, since October, been reading the Mignolaverse. To those who don't know this includes a massive amount of miniseries, oneshots, ongoing etc. This has become one of the great pleasures of my comics reading life. I expected, just by the sheer amount of it all, to come across some lesser works, but this has not happened.

I love almost everything I have read to one degree or another and all of it is fantastic and different. From the hug I have, since October, been reading the Mignolaverse. From the huge, apocalyptic stories and long term character development of BPRD, to the pulpy 30s "Batman with a gun" goofiness of Lobster Johnson, to the mournful and strange Sherlock Holmesian occult detective stories of Witchfinder, I find an obsession of mine and something unique to adore in every series.

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Even within a single series we'll find vastly different stories. Hellboy is famous for the way it mixes an ongoing narrative with oneshots and minis that tell some other strange tale in other genres. Witchfinder did a Western, etc.

Hellboy: The Fury

I haven't been logging most of it in Goodreads because it's so much as to be daunting but I wanted to pay special attention to this one, as it wraps up the main Hellboy book and narrative though by no means ends it, as Hellboy in Hell came soon after. It is an absolutely gorgeous book. Mignola is at his poetic and minimal best in the writing and Fegredo outdoes himself with all the emotional and epic beats he has to hit with his art.

Dave Stewart, as always, is a master of atmosphere in his colors.

Hellboy TP Vol 12 The Storm And The Fury

The story itself, though it is the giant culmination of all the story that has come before, all the plans and hints coming together, is often quiet and melancholy. It really manages to stick the best of every Hellboy story into one. From the dreamy strangeness of something like The Corpse, to the big fights and apocalyptic foe of Wake the Devil. Hellboy as a character also reaches his finale here. So much of his character is built on his refusal to be anything but himself, to not believe in any kind of fate or destiny he does not want even when that destiny seems unavoidable.

This is one of the things that makes him heroic, but is also perhaps his fatal flaw. Maybe things would have been different if he had accepted his Arthurian destiny. But no, his refusal to be an agent of destruction makes him reluctant to take that sword and lead that army. That same stubbornness makes him unprepared, in the final moments, to become the King he could be, or even just Just turn around, Hellboy, just turn around. Anyway, I'm a bit sad I'm nearing the end of my Hellboy run even though I still have 3 years worth of side books and BPRD to make my way through but it's been such a massive joy I had to write something about it somewhere.

I also look forward to Mignola himself returning on pencils for Hellboy in Hell. The art for these books is always great, and I love his work with Corben and Fegredo, but no one draws the big guy like Mignola himself. Apr 30, Michael rated it really liked it Shelves: I think I may still be recovering from reading this volume, two nights ago, all in one sitting.

Which maybe wasn't a good idea, reading it at night. For some reason, it hit me a lot harder this time; its darkness felt more real. The army of monsters, fairies, giants, and other creatures, summoned by the Queen of Blood in past volumes, has come to fight against humanity, and Hellboy's army of dead English knights has I think I may still be recovering from reading this volume, two nights ago, all in one sitting. The army of monsters, fairies, giants, and other creatures, summoned by the Queen of Blood in past volumes, has come to fight against humanity, and Hellboy's army of dead English knights has answered his call as well.

The board is set, and the pieces are in play; a metaphor we see quite literally from the perspective of Morgan Le Fay. But Hellboy has never been one to play by the rules. He chooses to abandon his army, as well as the sword Excalibur, for which fate has a different role in store. Instead, he fights the Queen of Blood one on one, with the help of Vasilisa and the Baba Yaga, though the latter's aid comes at a steep price. Yet the fight awaiting him in the Queen of Blood's tower is quite different from the one he expects.

It ends up wounding but not destroying the Ogdru Jahad, and removing Hellboy himself from the world's stage. His story isn't over, though. The two-volume Hellboy in Hell drawn once again by Mignola! This will not affect the original upload Small Medium How do you want the image positioned around text? Float Left Float Right. Go to Link Unlink Change. Disable this feature for this session. Enter the URL for the tweet you want to embed. Beware, you are proposing to add brand new pages to the wiki along with your edits. Make sure this is what you intended. This will likely increase the time it takes for your changes to go live.

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