By Geoff Hoppe
July 6, 2008 - 20:49
It would be easy for Mike Mignola to lose his edge amid the shuffle of one-shots, side series, movies and cartoons that have spun out of his lucrative Hellboy franchise. All the more reason to be pleased with Hellboy: The Crooked Man #1, which shows off Mignola’s trademark imagination and talent.

Hellboy, clinging to both his guns and his religion...
Crooked Man teams Mignola with artist Richard Corben, who last collaborated with him on Hellboy: Makoma. Crooked Man takes place somewhere in the Appalachian Mountains in
A reluctant warlock named Tom Ferrell returns home to
Crooked Man is, so far, up to the normally high levels of Hellboy quality. The characteristic Hellboy mixture of inevitable evil and quiet hope gives the tale a humming energy and an undertow’s momentum.
Richard Corben’s heavy inking and equine humans are initially off-putting, but an attentive rereading reveals how apt he is to draw this story. His heavy, gothic inking makes his shadows behave more like characters than backgrounds, and he draws malice, determination and bewilderment with an expert’s ease. His image of the Crooked Man—Appalachian Virginia’s particular manifestation of the devil—is horrifically captivating, and looks like a character who might result if the makeup guys from Elias Merhige’s Begotten redesigned the Haunted Mansion ride at Disney World.
Worth the money? Horror comic fans can’t miss this one, and it’s worth a glance for the casual reader, also.