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Koshchei in hell #1
- Writer:
- Mike Mignola
- Artist:
- Ben Stenbeck
- Letter:
- Clem Robins
- Cover Artist:
- Ben Stenbeck
- Editor:
- Dark Horse Comics
- Price:
- 3.99
- Release date:
- 2022-11-30
- Colorist:
- Dave Stewart
A great villain with roots in Slavic folklore, Koshchei is the hero’s archetypal rival, who is evil to a fault. In Mike Mignola’s Hellboy universe, Koshchei is a ruthless anti-hero with a tragic past, enslaved by the deceitful Baba Yaga and forced to do her bidding while keeping his soul hidden in an egg that was hidden in a duck inside a rabbit. inside a goat. He has fought with Big Red before, now coming to terms with him during their chance encounter in Hell. Written by Mignola with artwork by Ben Stenbeck and Dave Stewart and letters by Clem Robins, Koshchei in hell #1 from Dark Horse Comics continues the former wizard’s story in a four-part miniseries.
Koshchei is at peace in Hell. He has rooms full of books and an extensive wine cellar to keep him company. In his complacency, he forgot the one thing he came to Hell in search of – his soul. The story then connects directly with Sir Edward Grey: Acheron, another Hellboy one-shot from last year. Acheron visits Koshchei with news of Hellboy’s death, bequeathing Hell to him as per Anung Un Rama’s wishes. Acheron’s words leave an imprint on the former assassin as he finally decides to leave the comfort of his books and journey to Pandemonium, the seat of Satan’s power, before his death at the hands of Hellboy.
It’s been a while since Mike Mignola explored Koshchei’s character and Koshchei in hell #1 seems like the perfect time to recap the character’s history and story so far. As a result, the issue burns as slowly as Kohschei’s postponement, taking its time to build up the plot while new characters try their best to push the protagonist down the path he intends. Instead of immersing himself in a self-absorbed narrative, Mignola uses various storytelling devices at his disposal, such as a puppet show or simple conversation, to carve out a picture of his past. By the time the book reaches its final arc, the adventurous spirit comes into play, taking readers by storm. There is an underlying tension that builds as the story ventures into uncharted territory, bringing much-needed suspense to the plot.
If his aesthetics Koshchei in Hell #1 seem solemn, due to Ben Stenbeck’s framing of silent scenes that spread an air of melancholy over the book. There’s a bland sense of lifelessness to the sleepy town as heavy inks bring out the details of the medieval architecture. The dark clouds and long shadows on the alleys create a creeping feeling that portends an approaching storm. In keeping with the gloomy lighting, colorist Dave Stewart uses drab tones of ocher and beige to accompany the grime on the pages. Only during dramatic scenes do colors shift to brighter tones, with red creating a striking presence, whether it’s a flashback scene or Acheron’s presence in a dimly lit room.
Koshchei in Hell #1 speaks in riddles and foreboding messages, keeping the mystery as hidden as possible. It is up to Koshchei and the reader to unravel the mysteries of Hell for themselves. So far, it’s been smooth sailing for the brooding protagonist, but by the looks of things, especially the cliffhanger ending, the story has finally opened its sails to gather more speed. Featuring images such as the crow and the snail and references to other photographs including the infamous Order of the Flight, Koshchei in Hell #1 delves into the Hellboy mythos and continues to build on his legacy.