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B.P.R.D. Hell on Earth #1-3
B.P.R.D. Omnibus, Volume 5
The plague of frogs has ended, but earth will never be the same.
The fractured B.P.R.D. struggles to battle dangerous monsters and humans alike, from a trailer-park cult to a Russian town ravaged by a zombie-like virus. Liz Sherman hides from a world that she helped push toward Armageddon, and Abe Sapien is shot down by a girl who’s seen the world to come.
Follow the struggles of the best—and maybe last—paranormal investigators the world has to offer, with stories by Mike Mignola and John Arcudi and art by Guy Davis, Tyler Crook, and Duncan Fegredo.
This latest volume of the B.P.R.D. Omnibus collection is a must-have for all Mignolaverse fans.
The fractured B.P.R.D. struggles to battle dangerous monsters and humans alike, from a trailer-park cult to a Russian town ravaged by a zombie-like virus. Liz Sherman hides from a world that she helped push toward Armageddon, and Abe Sapien is shot down by a girl who’s seen the world to come.
Follow the struggles of the best—and maybe last—paranormal investigators the world has to offer, with stories by Mike Mignola and John Arcudi and art by Guy Davis, Tyler Crook, and Duncan Fegredo.
This latest volume of the B.P.R.D. Omnibus collection is a must-have for all Mignolaverse fans.
448 pages, Paperback
Published May 30, 2023
20 people are currently reading
328 people want to read
About the author
Mike Mignola
1,882 books2,506 followersMike Mignola was born September 16, 1960 in Berkeley, California and grew up in nearby Oakland. His fascination with ghosts and monsters began at an early age (he doesn't remember why) and reading Dracula at age 13 introduced him to Victorian literature and folklore from which he has never recovered.
In 1982, hoping to find a way to draw monsters for a living, he moved to New York City and began working for Marvel Comics, first as a (very terrible) inker and then as an artist on comics like Rocket Raccoon, Alpha Flight and The Hulk. By the late 80s he had begun to develop his signature style (thin lines, clunky shapes and lots of black) and moved onto higher profile commercial projects like Cosmic Odyssey (1988) and Gotham by Gaslight (1989) for DC Comics, and the not-so-commercial Fafhrd and the Grey Mouser (1990) for Marvel. In 1992, he drew the comic book adaptation of the film Bram Stoker's Dracula for Topps Comics.
In 1993, Mike moved to Dark Horse comics and created Hellboy, a half-demon occult detective who may or may not be the Beast of the Apocalypse. While the first story line (Seed of Destruction, 1994) was co-written by John Byrne, Mike has continued writing the series himself. There are, at this moment, 13 Hellboy graphic novel collections (with more on the way), several spin-off titles (B.P.R.D., Lobster Johnson, Abe Sapien and Witchfinder), three anthologies of prose stories, several novels, two animated films and two live-action films staring Ron Perlman. Hellboy has earned numerous comic industry awards and is published in a great many countries.
Mike also created the award-winning comic book The Amazing Screw-on Head and has co-written two novels (Baltimore, or, the Steadfast Tin Soldier and the Vampire and Joe Golem and the Drowning City) with best-selling author Christopher Golden.
Mike worked (very briefly) with Francis Ford Coppola on his film Bram Stoker's Dracula (1992), was a production designer on the Disney film Atlantis: The Lost Empire (2001) and was visual consultant to director Guillermo del Toro on Blade II (2002), Hellboy (2004) and Hellboy II: The Golden Army (2008). He lives somewhere in Southern California with his wife, daughter, a lot of books and a cat.
In 1982, hoping to find a way to draw monsters for a living, he moved to New York City and began working for Marvel Comics, first as a (very terrible) inker and then as an artist on comics like Rocket Raccoon, Alpha Flight and The Hulk. By the late 80s he had begun to develop his signature style (thin lines, clunky shapes and lots of black) and moved onto higher profile commercial projects like Cosmic Odyssey (1988) and Gotham by Gaslight (1989) for DC Comics, and the not-so-commercial Fafhrd and the Grey Mouser (1990) for Marvel. In 1992, he drew the comic book adaptation of the film Bram Stoker's Dracula for Topps Comics.
In 1993, Mike moved to Dark Horse comics and created Hellboy, a half-demon occult detective who may or may not be the Beast of the Apocalypse. While the first story line (Seed of Destruction, 1994) was co-written by John Byrne, Mike has continued writing the series himself. There are, at this moment, 13 Hellboy graphic novel collections (with more on the way), several spin-off titles (B.P.R.D., Lobster Johnson, Abe Sapien and Witchfinder), three anthologies of prose stories, several novels, two animated films and two live-action films staring Ron Perlman. Hellboy has earned numerous comic industry awards and is published in a great many countries.
Mike also created the award-winning comic book The Amazing Screw-on Head and has co-written two novels (Baltimore, or, the Steadfast Tin Soldier and the Vampire and Joe Golem and the Drowning City) with best-selling author Christopher Golden.
Mike worked (very briefly) with Francis Ford Coppola on his film Bram Stoker's Dracula (1992), was a production designer on the Disney film Atlantis: The Lost Empire (2001) and was visual consultant to director Guillermo del Toro on Blade II (2002), Hellboy (2004) and Hellboy II: The Golden Army (2008). He lives somewhere in Southern California with his wife, daughter, a lot of books and a cat.
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July 1, 2019
The Orgru Hem have started to wake and are slowly breaking through the cracks. Cities are being destroyed, people disappearing or possessed, in other words, hell on earth. A lot changes for our cast in these stories. The Russian version of the BPRD makes itself known as the stories begin to become more global. Huge monsters crack through the earth and start eating people. New characters emerge and old ones return. And then it all ends with an epilogue to Hellboy's end in England. Guy Davis finishes up his epic run on the book and Tyler Crook takes over.
October 31, 2023
Продовження серії відразу з того місця, звідки вона закінчилась. Отже, великі монстри атакують великі міста, таємний культ жаб нікуди не зник, тому із цим треба щось робити. Кейт Коріґан далі очолює Бюро, хоча її поведінка часто далека від зваженої та раціональної. Вона вперта, імпульсивна й готова йти до кінця. Поруч Ейб, мій улюблений персонаж, холоднокровний (як рептилія) і відсторонений (як філософ). Нікуди не зникли й нові характер, як-от Панья, тисячолітня жінка-мумія (чи навпаки) зі своїм психотелепатичним даром.
Щодо самої історії, то центральним елементом тут є поява загадкової дівчини Фенікс із купою талісманів, тату та неформалів, які слідують за нею від міста до міста. Вона може відчувати й передбачати появу чудиськ і взагалі володіє якимось внутрішнім баченням речей. Зрозуміло, що Бюро зацікавиться нею, але зустріч виявиться не такою простою як могло би здаватись. Мені ця героїня взагалі нагадала Ліз Шерман, принаймні на пізніх етапах її біографії. До речі, про неї теж не забули в сіквелі, тому, здогадуюсь, її роль ще не зіграна до кінця.
Далі ця арка обривається невеличким ван-шотом, а потім продовжується вже аркою "Росія". Загалом, непогана арка із цікавим концептом і появою нового персонажа Йосифа, але мені все не вистачає повного занурення, відчуття незбагеного й загадкового, чим завжди характеризувались попередні томи. У цій арці ключова роль належить Кейт та Йогану Краусу (тут взагалі цікаво, адже Міньйола вже давно обігрує протистояння між німцями й росіянами, повноцінними, до речі, акторами як у війні, так і її наслідках), які є чудовими партнерами. Важливо те, що це розширює масштаб катастрофи, показує справді її глобальні наслідки для усіх країн.
Щодо нових художників, то тут у мене неоднозначне враження. Неакуратна, штрихова манера Ґая Девіса багатьох відштовхує, але я вже звик до неї, хоча не є прихильником такого стилю. Зловив себе на думці, що наявність багатьох ліній, штрихувань просто зашаровує кольори, глушить їх, тому цей "шкрябіт" на фоні тексту утворює невеликий дискомфорт. Натомість Тайлер Крук працює акуратніше, чітко обмальовуючи форми, не додаючи нічого зайвого. Прекрасний художник для колористів! Однак у мене не виникло відчуття захоплення, як це було у "Окрузі Героу". Таке враження, що йому дали надто мало часу для роботи, тому й відчувається простота й поверхневість малюнку, який часто просто не зачіпає. Усе ж, вони обидва добре пасують серії, тому Міньйола не помилився із вибором.
Підсумовуючи, я радий повернутись у всесвіт. Радий зустріти улюблених персонажів і спостерігати за розвитком катастрофи й тим, як усім доведеться із усіх цим розгрібати. Можливо, тут нема тієї атмосфери, загадковості й аури, що була в циклі про жаб, але це ще досі цікаво й захопливо читати.
Щодо самої історії, то центральним елементом тут є поява загадкової дівчини Фенікс із купою талісманів, тату та неформалів, які слідують за нею від міста до міста. Вона може відчувати й передбачати появу чудиськ і взагалі володіє якимось внутрішнім баченням речей. Зрозуміло, що Бюро зацікавиться нею, але зустріч виявиться не такою простою як могло би здаватись. Мені ця героїня взагалі нагадала Ліз Шерман, принаймні на пізніх етапах її біографії. До речі, про неї теж не забули в сіквелі, тому, здогадуюсь, її роль ще не зіграна до кінця.
Далі ця арка обривається невеличким ван-шотом, а потім продовжується вже аркою "Росія". Загалом, непогана арка із цікавим концептом і появою нового персонажа Йосифа, але мені все не вистачає повного занурення, відчуття незбагеного й загадкового, чим завжди характеризувались попередні томи. У цій арці ключова роль належить Кейт та Йогану Краусу (тут взагалі цікаво, адже Міньйола вже давно обігрує протистояння між німцями й росіянами, повноцінними, до речі, акторами як у війні, так і її наслідках), які є чудовими партнерами. Важливо те, що це розширює масштаб катастрофи, показує справді її глобальні наслідки для усіх країн.
Щодо нових художників, то тут у мене неоднозначне враження. Неакуратна, штрихова манера Ґая Девіса багатьох відштовхує, але я вже звик до неї, хоча не є прихильником такого стилю. Зловив себе на думці, що наявність багатьох ліній, штрихувань просто зашаровує кольори, глушить їх, тому цей "шкрябіт" на фоні тексту утворює невеликий дискомфорт. Натомість Тайлер Крук працює акуратніше, чітко обмальовуючи форми, не додаючи нічого зайвого. Прекрасний художник для колористів! Однак у мене не виникло відчуття захоплення, як це було у "Окрузі Героу". Таке враження, що йому дали надто мало часу для роботи, тому й відчувається простота й поверхневість малюнку, який часто просто не зачіпає. Усе ж, вони обидва добре пасують серії, тому Міньйола не помилився із вибором.
Підсумовуючи, я радий повернутись у всесвіт. Радий зустріти улюблених персонажів і спостерігати за розвитком катастрофи й тим, як усім доведеться із усіх цим розгрібати. Можливо, тут нема тієї атмосфери, загадковості й аури, що була в циклі про жаб, але це ще досі цікаво й захопливо читати.
January 21, 2021
Y un año más vuelvo a cumplir con mi propia tradición autoimpuesta de leerme en enero un integral de AIDP de Norma Editorial como primera lectura del año (si, en Goodreads cuenta como primero La Torre de la Golondrina, pero esa ya estaba empezada del año pasado), y aquí se respetan las tradiciones, en mi cabeza al menos. Y como buen adicto del Mignolaverso os quiero mostrar sus maravillas al estilo fanático chamánico que desprende olor a exuberantes drogas alucinógenas, no temáis niños y acercarse para contemplar los horrores cósmicos y al buen apocalipsis en forma de comic.
Pues eso es lo que encontrareis en este integral, terminado ya el arco de “La Plaga de Ranas” que nos acompañó en los primeros cuatro volúmenes, y después del “descanso” del quinto con historias del pasado de la Agencia, aquí nos encontramos con el comienzo de un nuevo ciclo, “El Infierno en la Tierra”. Las consecuencias del anterior ciclo se desparraman sobre la Tierra de forma devastadora y terrorífica; puede que ya no queden ranas, pero en cambio de la misma tierra están despertando los Ogdru Hem, y no solo de la misma tierra, si no en forma de espíritus que poseen a seres humanos para infiltrarse de forma sibilina. La AIDP ahora tiene el respaldo y el apoyo económico de la ONU, pero eso lo único que consigue es más papeleo y lentitud en su proceder, y el grupo está fragmentado, roto, por las consecuencias ya sean de los acontecimientos como por sus propias historias personales. Sin duda ya lo advierte el propio Mike Mignola en el prólogo, se avecinan tiempos oscuros, la esperanza se muere, el cacareado fin del mundo que nunca llega en las historias de superhéroes ha llegado, no hay vuelta atrás, y cualquiera puede morir, cualquiera.
En la primera historia, “Un nuevo mundo”, tenemos a los ya conocidos Mike Mignola y John Arcudi a los guiones y Guy Davis en el dibujo junto a los siempre maravillosos colores de Dave Stewart. En esta historia tenemos de forma introductoria como se van narrando los acontecimientos mundiales. Texas es un hervidero tras la erupción de un volcán que se lleva por delante toda una ciudad, criaturas que salen de la tierra para devorar toda vida, millones de muertos y millones de refugiados que no tienen donde ir y huyen donde pueden, las teorías de la conspiración crecen, el pánico, el caos, el saqueo, cultos del apocalipsis, sacerdotes ortodoxos proclamando la corrupción del ser humano y la demostración de su castigo divino. Típico caldo de cultivo de cualquier historia del fin del mundo, que narrado en las expertas manos de Arcudi y pasado por el filtro de historia de terror mezclada con aventuras y acción de la AIDP no puede ser mejor. Además observamos el regreso de un personaje que había desaparecido y la incorporación de nuevos personajes.
En la segunda historia, “Dioses y Monstruos”, tenemos un cambio importante, puesto que nuestro dibujante estrella que nos acompañó casi desde el primer integral, Guy Davis, nos abandona en mitad del arco, dejando a su paso a un también gran Tyler Crook como sustituto, que aunque diferente al estilo Davis, caza con lo que pide AIDP. En este arco, Abe y Devon, que no se llevan especialmente bien desde que el segundo acusara al primero de ser el futuro anticristo, intentan encontrar a una joven llamada Fenix que acompaña a una panda de refugiados perroflautas que huyen de la catástrofe de Texas. El motivo es que la tal Fenix es capaz de predecir el peligro inmediato, por ello se salvaron de la erupción del volcán y del ataque de las criaturas, y la AIDP la quiere en la Agencia, pero las cosas no van a salir como deberían, como dijo Mignola, ya nadie es imprescindible, el peligro abunda en cada esquina. Además tenemos a Liz Sherman, que está escondida en un campamento de caravanas, rehuyendo de sí misma y de su destino, enfrentándose a un extraño culto de personas que están siendo poseídas por algo y cual zombis parasitados, obedecen las órdenes de un líder. Es el nuevo modus operandi de los Ogdru Hem, poseen a los seres humanos, aprendieron de su error en el pasado, ya nadie puede confiar en si el que está a su lado es un humano realmente o es otra cosa. Hay momentos de gore, y se nota que este El Infierno en la Tierra va a aumentar la casquería y las muertes, que ya de por si nos tiene acostumbrado el Mignolaverso. Mooooola.
Y para terminar en la última historia, “Rusia”, mi favorita diría, tenemos a Kate y a Krauss visitando a la “Agencia paranormal rusa” la cual le ha pedido ayuda por un problema urgente. Otro peligro que se esconde bajo tierra, despertando a los propios muertos cuales zombis.
Además recuperamos a un personaje que salía en una de las historias cortas de Abe Sapien en su serie propia, Iosif el ruso, el cual con el paso de los años está algo cambiado. Pues hablamos de un personaje que estaba “muerto” en una especie de crio estasis durante décadas desde la Segunda Guerra Mundial cuando le conocimos en esa historia de Abe, pero que hace algunos años el gobierno ruso consiguió despertarle, y con el tiempo Iosif ha vuelto a tener pensamientos propios y se diría que ha aprovechado el tiempo. Ahora vive dentro de una especie de traje de contención que le mantiene con vida, deformado obvio, y convertido en el Director de esta Agencia rusa. Parece un buen tipo, y ayuda a nuestros protagonistas, sobre todo a Johann Krauss, pero no todo tiene porque ser como parece. Krauss que se sentía ignorado y despreciado por sus compañeros de la Agencia, ha visto en Iosif alguien que no solo puede considerarse casi un igual, sino en un compañero, y esto va a traer rencillas con los demás miembros de la AIDP. Además Krauss cada vez está más obsesionado con tener un cuerpo sensitivo, puesto que al ser un espíritu de ectoplasma añora sentir el roce de la piel ajena; el sabor de la comida y la bebida; sentirse vivo básicamente, y Krauss puede que sea capaz de muchas cosas para conseguirlo… Al mismo tiempo en Inglaterra está ocurriendo una gran tormenta bíblica, y Kate cree que Hellboy está implicado. Quien haya leído el tercer integral de Hellboy también publicado por Norma Editorial sabrá que la historia allí recopilada llamada “La Tormenta y la Furia” está sucediendo al mismo tiempo que esta historia, una vez más la maravilla del universo compartido y el puzle creado por Mignola.
Tenemos entonces otro excelente tomo que aunque introductorio y un poco más narrativo que los anteriores, nos narran de forma exquisita como todo tiene consecuencias, que intentar ser héroes en una misión que parece que cada vez va a peor deja cicatrices, y ni siquiera parece que nuestros protagonistas tengan la fuerza de derrotar estas amenazas. Con un enfoque más derrotista, catastrofista, la AIDP se baña en la peor pesadilla posible, y cuando todo termine, el mundo no será igual. Con una forma de hilar historias dentro de un universo compartido comiquero, sin pender la libertad creativa y que cada título tenga su propio tono, no deja de ser el toque Mignolaniano lo que mantiene vivo este universo (si te gusta Hellboy, te gustara AIDP, o viceversa), y te premia el tener al tanto las demás historias. Eso si, sin dejarte de lado, no te obliga. Puedes leer AIDP sin haber leído nada más y lo entenderás igual.
Mencionar los personajes, todos ellos diferentes, evolucionan y puede que alguno se nos muestre de forma que no creeríamos hace dos tomos. Además de la sensación de peligro de saber que cualquiera puede caer, esto no es DC o Marvel donde a los finales todos acabaran resucitando y el universo debe volver al status quo por motivos editoriales. En el Mignolaverso esto no es así, por el simple motivo de que no deja ser una gran historia con un principio, un nudo y un desenlace, no es para siempre, y todo acabara.
En resumidas cuentas, leer AIDP, leer Hellboy, leer el Mignolaverso, adentrarse en esta epopeya de mitología, esoterismo, horrores cósmicos, puro toque de acción de espías y agencias gubernamentales y el drama de seres humanos (y no tan humanos) que sienten, padecen, cometen errores y pueden ser egoístas llevados al límite ante un infierno sobre la tierra.
Pues eso es lo que encontrareis en este integral, terminado ya el arco de “La Plaga de Ranas” que nos acompañó en los primeros cuatro volúmenes, y después del “descanso” del quinto con historias del pasado de la Agencia, aquí nos encontramos con el comienzo de un nuevo ciclo, “El Infierno en la Tierra”. Las consecuencias del anterior ciclo se desparraman sobre la Tierra de forma devastadora y terrorífica; puede que ya no queden ranas, pero en cambio de la misma tierra están despertando los Ogdru Hem, y no solo de la misma tierra, si no en forma de espíritus que poseen a seres humanos para infiltrarse de forma sibilina. La AIDP ahora tiene el respaldo y el apoyo económico de la ONU, pero eso lo único que consigue es más papeleo y lentitud en su proceder, y el grupo está fragmentado, roto, por las consecuencias ya sean de los acontecimientos como por sus propias historias personales. Sin duda ya lo advierte el propio Mike Mignola en el prólogo, se avecinan tiempos oscuros, la esperanza se muere, el cacareado fin del mundo que nunca llega en las historias de superhéroes ha llegado, no hay vuelta atrás, y cualquiera puede morir, cualquiera.
En la primera historia, “Un nuevo mundo”, tenemos a los ya conocidos Mike Mignola y John Arcudi a los guiones y Guy Davis en el dibujo junto a los siempre maravillosos colores de Dave Stewart. En esta historia tenemos de forma introductoria como se van narrando los acontecimientos mundiales. Texas es un hervidero tras la erupción de un volcán que se lleva por delante toda una ciudad, criaturas que salen de la tierra para devorar toda vida, millones de muertos y millones de refugiados que no tienen donde ir y huyen donde pueden, las teorías de la conspiración crecen, el pánico, el caos, el saqueo, cultos del apocalipsis, sacerdotes ortodoxos proclamando la corrupción del ser humano y la demostración de su castigo divino. Típico caldo de cultivo de cualquier historia del fin del mundo, que narrado en las expertas manos de Arcudi y pasado por el filtro de historia de terror mezclada con aventuras y acción de la AIDP no puede ser mejor. Además observamos el regreso de un personaje que había desaparecido y la incorporación de nuevos personajes.
— ¿Crees que podemos ganar?
—No lo sé… No sé si ganaremos. Ni siquiera sé si se supone que debemos ganar.
— ¿Cómo?
—Eres poli. Apuesto a que nadie en el cuerpo piensa que algún día vayáis a “ganar” ¿verdad? Sin embargo, no por eso dejáis vuestro trabajo.
En la segunda historia, “Dioses y Monstruos”, tenemos un cambio importante, puesto que nuestro dibujante estrella que nos acompañó casi desde el primer integral, Guy Davis, nos abandona en mitad del arco, dejando a su paso a un también gran Tyler Crook como sustituto, que aunque diferente al estilo Davis, caza con lo que pide AIDP. En este arco, Abe y Devon, que no se llevan especialmente bien desde que el segundo acusara al primero de ser el futuro anticristo, intentan encontrar a una joven llamada Fenix que acompaña a una panda de refugiados perroflautas que huyen de la catástrofe de Texas. El motivo es que la tal Fenix es capaz de predecir el peligro inmediato, por ello se salvaron de la erupción del volcán y del ataque de las criaturas, y la AIDP la quiere en la Agencia, pero las cosas no van a salir como deberían, como dijo Mignola, ya nadie es imprescindible, el peligro abunda en cada esquina. Además tenemos a Liz Sherman, que está escondida en un campamento de caravanas, rehuyendo de sí misma y de su destino, enfrentándose a un extraño culto de personas que están siendo poseídas por algo y cual zombis parasitados, obedecen las órdenes de un líder. Es el nuevo modus operandi de los Ogdru Hem, poseen a los seres humanos, aprendieron de su error en el pasado, ya nadie puede confiar en si el que está a su lado es un humano realmente o es otra cosa. Hay momentos de gore, y se nota que este El Infierno en la Tierra va a aumentar la casquería y las muertes, que ya de por si nos tiene acostumbrado el Mignolaverso. Mooooola.
Y para terminar en la última historia, “Rusia”, mi favorita diría, tenemos a Kate y a Krauss visitando a la “Agencia paranormal rusa” la cual le ha pedido ayuda por un problema urgente. Otro peligro que se esconde bajo tierra, despertando a los propios muertos cuales zombis.
Además recuperamos a un personaje que salía en una de las historias cortas de Abe Sapien en su serie propia, Iosif el ruso, el cual con el paso de los años está algo cambiado. Pues hablamos de un personaje que estaba “muerto” en una especie de crio estasis durante décadas desde la Segunda Guerra Mundial cuando le conocimos en esa historia de Abe, pero que hace algunos años el gobierno ruso consiguió despertarle, y con el tiempo Iosif ha vuelto a tener pensamientos propios y se diría que ha aprovechado el tiempo. Ahora vive dentro de una especie de traje de contención que le mantiene con vida, deformado obvio, y convertido en el Director de esta Agencia rusa. Parece un buen tipo, y ayuda a nuestros protagonistas, sobre todo a Johann Krauss, pero no todo tiene porque ser como parece. Krauss que se sentía ignorado y despreciado por sus compañeros de la Agencia, ha visto en Iosif alguien que no solo puede considerarse casi un igual, sino en un compañero, y esto va a traer rencillas con los demás miembros de la AIDP. Además Krauss cada vez está más obsesionado con tener un cuerpo sensitivo, puesto que al ser un espíritu de ectoplasma añora sentir el roce de la piel ajena; el sabor de la comida y la bebida; sentirse vivo básicamente, y Krauss puede que sea capaz de muchas cosas para conseguirlo… Al mismo tiempo en Inglaterra está ocurriendo una gran tormenta bíblica, y Kate cree que Hellboy está implicado. Quien haya leído el tercer integral de Hellboy también publicado por Norma Editorial sabrá que la historia allí recopilada llamada “La Tormenta y la Furia” está sucediendo al mismo tiempo que esta historia, una vez más la maravilla del universo compartido y el puzle creado por Mignola.
Tenemos entonces otro excelente tomo que aunque introductorio y un poco más narrativo que los anteriores, nos narran de forma exquisita como todo tiene consecuencias, que intentar ser héroes en una misión que parece que cada vez va a peor deja cicatrices, y ni siquiera parece que nuestros protagonistas tengan la fuerza de derrotar estas amenazas. Con un enfoque más derrotista, catastrofista, la AIDP se baña en la peor pesadilla posible, y cuando todo termine, el mundo no será igual. Con una forma de hilar historias dentro de un universo compartido comiquero, sin pender la libertad creativa y que cada título tenga su propio tono, no deja de ser el toque Mignolaniano lo que mantiene vivo este universo (si te gusta Hellboy, te gustara AIDP, o viceversa), y te premia el tener al tanto las demás historias. Eso si, sin dejarte de lado, no te obliga. Puedes leer AIDP sin haber leído nada más y lo entenderás igual.
Mencionar los personajes, todos ellos diferentes, evolucionan y puede que alguno se nos muestre de forma que no creeríamos hace dos tomos. Además de la sensación de peligro de saber que cualquiera puede caer, esto no es DC o Marvel donde a los finales todos acabaran resucitando y el universo debe volver al status quo por motivos editoriales. En el Mignolaverso esto no es así, por el simple motivo de que no deja ser una gran historia con un principio, un nudo y un desenlace, no es para siempre, y todo acabara.
En resumidas cuentas, leer AIDP, leer Hellboy, leer el Mignolaverso, adentrarse en esta epopeya de mitología, esoterismo, horrores cósmicos, puro toque de acción de espías y agencias gubernamentales y el drama de seres humanos (y no tan humanos) que sienten, padecen, cometen errores y pueden ser egoístas llevados al límite ante un infierno sobre la tierra.
July 11, 2018
Can I just start by saying I really miss Guy Davis? Tyler Crook is great, I have nothing bad to say about his art, but Davis really defined the B.P.R.D. for me. That said, I think the transition between the two went very well, and I can see Crook filling that role nicely in issues to come.
I think my four-star rating reflects how emotionally wearying this volume was. I deliberately didn't read any of Hell on Earth because I like having the collected stories in one place, and this may have been a mistake in this case because it was bleak. I kept going back and forth--old friends resurface, people suffer horribly, new characters emerge, and between all of that I think I just felt overwhelmed. I look forward to the next omnibus edition, and I'm so glad they're releasing them so closely together.
Highlights of the book:
Now I feel I ought to track down Hellboy in Hell, Vol. 1: The Descent and its sequels...
I think my four-star rating reflects how emotionally wearying this volume was. I deliberately didn't read any of Hell on Earth because I like having the collected stories in one place, and this may have been a mistake in this case because it was bleak. I kept going back and forth--old friends resurface, people suffer horribly, new characters emerge, and between all of that I think I just felt overwhelmed. I look forward to the next omnibus edition, and I'm so glad they're releasing them so closely together.
Highlights of the book:
Now I feel I ought to track down Hellboy in Hell, Vol. 1: The Descent and its sequels...
April 6, 2021
Well this book I was expecting more Hellboyish tales and there I sat wondering what the heck happened and found out that there was a series to be read about Frogs being the harbingers of the Apocalypse. And this was a Hellboy-less tale, with Abe picking up the reigns and other folks working for the B.P.R. D. It was a fairly nightmarish tale that will be re-released in four volumes and volume one was actually quite interesting. People adapting to a new world after the apocalypse and politics are still in place.
Even if you do not have any fore-knowledge like me you can easily enjoy this series with interesting and well written stories, the art is good to excellent.
It seems Mignola's worldbuilding or destroying in this case leaves a lot of interesting tales to be told, this first volume convinced me to pick up the next three, of whom 2 already have been planned within 2021.
Even if you do not have any fore-knowledge like me you can easily enjoy this series with interesting and well written stories, the art is good to excellent.
It seems Mignola's worldbuilding or destroying in this case leaves a lot of interesting tales to be told, this first volume convinced me to pick up the next three, of whom 2 already have been planned within 2021.
October 9, 2020
A very bleak dystopian lovecraftian story that involves major cities being destroyed and demons emerging through out the world. Perfect for 2020 and the month of October!
The art and writing are excellent and the characters are well flushed out.
The art and writing are excellent and the characters are well flushed out.
October 22, 2022
It's weird re-reading BPRD, because I'm constantly on the lookout for signs of the decline in quality I know (from bitter experience) is coming. In its heyday the greatest "team book" on the market, it ended up with a rushed conclusion after personnel changes and what feels like a collapse in interest among the people telling the story.
So when did the decline start? Some would have it that the loss of artist Guy Davis sets the book on a downward slope. This volume is the test of that theory - it's the handover between Davis (who draws the first storyline here) and new regular artist Tyler Crook, before his Harrow County stardom but even at this stage very clearly attracted to the folksier end of horror.
Crook's first work is the short among-the-rednecks story Monsters, and while it's not a high point for the BPRD in general, the ways in which it does work are all down to him - after years of Davis' scratchy line and pulpy dynamism, the cleaner look of Crook's pencils mean the shocks land unexpectedly well and the grotesque feels fresh again. The issue with Monsters is the low stakes - it feels like a story that could have worked as a fill-in at basically any stage, and doesn't fit with the wider canvas the rest of Hell On Earth is keen to use.
Fortunately, the rest of this volume uses that canvas extremely well. The set-up of the story at this stage is that the BPRD have partially averted the apocalypse. But a partial apocalypse has still had horrific consequences - millions dead, cities destroyed, grotesque cthulhoid beasts revealed to the world and monsters roaming the freshly created wastelands. Yet life, and bureaucracy, go on. The Bureau have gone from underfunded to over-scrutinised, and have plenty of unfinished internal business to deal with.
The result is a comic which leaps around from Texas to the Pacific Northwest, from England to Indonesia, and ends up with a five-issue story in which the BPRD meet their Russian counterparts, whose director spent 40 years a drowned corpse and looks it. (Crook's drawings of him are reliably disgusting - score one for the new guy). It's scattered, but not confused, and each individual plot (those rednecks aside) has weight and excitement.
There's a subtle difference between comics which feel directionless because the writers don't have a plan, and ones which feel that way because the characters don't have one. The BPRD at this stage are exhausted, overworked, and unable to perceive what the wider threat IS, let alone respond to it well. Reading 3 volumes at once instead of singly, though, it's apparent that confusion is a creative choice: like everyone else in the comic, our heroes are in a new world, and its one whose contours they're only starting to feel out. Mignola's decision to let the reader share that disorientation is a strong one.
So when did the decline start? Some would have it that the loss of artist Guy Davis sets the book on a downward slope. This volume is the test of that theory - it's the handover between Davis (who draws the first storyline here) and new regular artist Tyler Crook, before his Harrow County stardom but even at this stage very clearly attracted to the folksier end of horror.
Crook's first work is the short among-the-rednecks story Monsters, and while it's not a high point for the BPRD in general, the ways in which it does work are all down to him - after years of Davis' scratchy line and pulpy dynamism, the cleaner look of Crook's pencils mean the shocks land unexpectedly well and the grotesque feels fresh again. The issue with Monsters is the low stakes - it feels like a story that could have worked as a fill-in at basically any stage, and doesn't fit with the wider canvas the rest of Hell On Earth is keen to use.
Fortunately, the rest of this volume uses that canvas extremely well. The set-up of the story at this stage is that the BPRD have partially averted the apocalypse. But a partial apocalypse has still had horrific consequences - millions dead, cities destroyed, grotesque cthulhoid beasts revealed to the world and monsters roaming the freshly created wastelands. Yet life, and bureaucracy, go on. The Bureau have gone from underfunded to over-scrutinised, and have plenty of unfinished internal business to deal with.
The result is a comic which leaps around from Texas to the Pacific Northwest, from England to Indonesia, and ends up with a five-issue story in which the BPRD meet their Russian counterparts, whose director spent 40 years a drowned corpse and looks it. (Crook's drawings of him are reliably disgusting - score one for the new guy). It's scattered, but not confused, and each individual plot (those rednecks aside) has weight and excitement.
There's a subtle difference between comics which feel directionless because the writers don't have a plan, and ones which feel that way because the characters don't have one. The BPRD at this stage are exhausted, overworked, and unable to perceive what the wider threat IS, let alone respond to it well. Reading 3 volumes at once instead of singly, though, it's apparent that confusion is a creative choice: like everyone else in the comic, our heroes are in a new world, and its one whose contours they're only starting to feel out. Mignola's decision to let the reader share that disorientation is a strong one.
March 5, 2018
Very excited that the collected volumes of BPRD: Hell on Earth are finally out!
June 6, 2024
This really gets going quickly after the frogs arc. I was expecting a lot more slow storytelling moments, however this had great pacing.
The only downside is that I was so used to Guy Davis art from plague of frogs that with this book having 3 (I think?) artists felt a bit weird. It was cool seeing Tyler crooks work this early in his career. It’s still very good, but nowhere near as good as his Harrow County or Black Hammer work.
The stories were all fun and I’m excited to continue
The only downside is that I was so used to Guy Davis art from plague of frogs that with this book having 3 (I think?) artists felt a bit weird. It was cool seeing Tyler crooks work this early in his career. It’s still very good, but nowhere near as good as his Harrow County or Black Hammer work.
The stories were all fun and I’m excited to continue
Read
July 6, 2020“New World” is a classic B.P.R.D. story that nicely transitions from the old world to the new one where Ogdru Hem have awakened. It starts out small with Abe going off on his own to investigate something in Canada, while we see growing tensions between other B.P.R.D. members now that they report to the U.N. Kate is stressed out, Panya is sneaking around, and Johann seems to be trying to revive Roger. The team dynamics have certainly changed, and Abe gets a taste of what’s to come, monster-wise. This is just a really solid read with good dialogue and action. Well done.
After a short story featuring a pair of B.P.R.D. agents, we get the dual “Gods” and “Monsters.” These focus on groups of people surviving in the aftermath of the Houston volcano. In “Gods,” we see some kids roaming around under the hesitant leadership of a psychic girl named Fenix. I’m interested to see where this goes. This story also has the potential death of a major character; I’m guessing it’s not permanent but it’s still shocking. Then, “Monsters” picks up Liz’s story where she’s living with hillbillies in a trailer park. Normally I love Liz but this story felt a little off to me. Maybe it’s the focus on frogs, which I’m kind of done with honestly. Tyler Crook comes on board for this arc, and his art fits like a glove. No disrespect to Guy Davis but I like Crook’s style better.
Then we have “Russia.” This is the best story in the collection, as it expands the scope of the Ogdru Hem world even more. Kate and Johann head to Russia where weird things are happening. Namely, that zombies are building a large structure near a mine that a psychic explored and came back from infected. The Russian team is led by Iosef, the soldier from the Abe Sapien story “Abyssal Plain.” He’s basically an asshole here, and seems to be slated for a major villain role, or at least a pain in the ass for B.P.R.D. That last page has me really interested in what comes next with him.
The collection closes with the 8-pager “An Unmarked Grave.” Kate meets Father Bill and Alice in England and gets caught up on Hellboy’s fate in “The Storm and the Fury.” You’ll want to read that before this.
After a short story featuring a pair of B.P.R.D. agents, we get the dual “Gods” and “Monsters.” These focus on groups of people surviving in the aftermath of the Houston volcano. In “Gods,” we see some kids roaming around under the hesitant leadership of a psychic girl named Fenix. I’m interested to see where this goes. This story also has the potential death of a major character; I’m guessing it’s not permanent but it’s still shocking. Then, “Monsters” picks up Liz’s story where she’s living with hillbillies in a trailer park. Normally I love Liz but this story felt a little off to me. Maybe it’s the focus on frogs, which I’m kind of done with honestly. Tyler Crook comes on board for this arc, and his art fits like a glove. No disrespect to Guy Davis but I like Crook’s style better.
Then we have “Russia.” This is the best story in the collection, as it expands the scope of the Ogdru Hem world even more. Kate and Johann head to Russia where weird things are happening. Namely, that zombies are building a large structure near a mine that a psychic explored and came back from infected. The Russian team is led by Iosef, the soldier from the Abe Sapien story “Abyssal Plain.” He’s basically an asshole here, and seems to be slated for a major villain role, or at least a pain in the ass for B.P.R.D. That last page has me really interested in what comes next with him.
The collection closes with the 8-pager “An Unmarked Grave.” Kate meets Father Bill and Alice in England and gets caught up on Hellboy’s fate in “The Storm and the Fury.” You’ll want to read that before this.
July 4, 2023
It feels so good to be back at Hellboy Universe after so many years. I believe, the last time i read Hellboy was in 2004... before it got cancelled by The İtaki (a native publisher) in Turkiye because of poor sales. Ofcourse this was before Hellboy and Marvel films, especially The Marvel Films which really boosted the comics sales in Turkiye.
Hell on Earth, vol. 1 was amazing. I must add, i haven't read the Plague of Frogs which was the B.p.r.d. adventure before Hell on Earth because the Plague of Frogs books are out of stock... I'm late to the party once again. Hellboy, Liz Shurman and Daimio quit the B.p.r.d. in this adventure, we had Abe Sapien, Johann Kraus and Panya team as our lead monsters working with the B.p.r.d. . Characters talked some about Plague of Frogs in the Hell on Earth, vol. 1. They explained how a creature in the story told that Abe Sapien would be the leader of Frogs, brought the Apocalyps and rule the Earth. That was kind of paralel to the Hellboy's destiny, as the Anug Un Rama, The Demon King, he would bring the Apocalyps and rule The Earth in the end. But there was a little difference, No one was sure if this was true in The Abe's case. The Creature in The Pleague of Frogs might have been laying. The Story started as The World was at the brink of Apocalyps. Liz's fires helped to stop the Frogs but woke up something far more sinister, a Lovecratian monster called Ogdru Jahad and its minion giant creatures Ogdru Hem and they were looking for ways to get in the world by using human hosts.
The woman who gave birth to a Ogdru Hem arc was fine, i really enjoyed the part about the antiant shamans who were using a collepesed and forgotten civilization's teachings to fight the Ogdru Jahad in the past but what i really liked was the Red Neck trailer park cult people and how Liz Shurman dealt with them. The story could get really gory at parts. Russian counter part of B.p.r.d. was really fun to see, the psytic girl was interesting, how she shot Abe without hasitation meant that Abe was really one of the bad guys ? We will see... The Art was consistantly good through out the book.
Hell on Earth, vol. 1 was amazing. I must add, i haven't read the Plague of Frogs which was the B.p.r.d. adventure before Hell on Earth because the Plague of Frogs books are out of stock... I'm late to the party once again. Hellboy, Liz Shurman and Daimio quit the B.p.r.d. in this adventure, we had Abe Sapien, Johann Kraus and Panya team as our lead monsters working with the B.p.r.d. . Characters talked some about Plague of Frogs in the Hell on Earth, vol. 1. They explained how a creature in the story told that Abe Sapien would be the leader of Frogs, brought the Apocalyps and rule the Earth. That was kind of paralel to the Hellboy's destiny, as the Anug Un Rama, The Demon King, he would bring the Apocalyps and rule The Earth in the end. But there was a little difference, No one was sure if this was true in The Abe's case. The Creature in The Pleague of Frogs might have been laying. The Story started as The World was at the brink of Apocalyps. Liz's fires helped to stop the Frogs but woke up something far more sinister, a Lovecratian monster called Ogdru Jahad and its minion giant creatures Ogdru Hem and they were looking for ways to get in the world by using human hosts.
The woman who gave birth to a Ogdru Hem arc was fine, i really enjoyed the part about the antiant shamans who were using a collepesed and forgotten civilization's teachings to fight the Ogdru Jahad in the past but what i really liked was the Red Neck trailer park cult people and how Liz Shurman dealt with them. The story could get really gory at parts. Russian counter part of B.p.r.d. was really fun to see, the psytic girl was interesting, how she shot Abe without hasitation meant that Abe was really one of the bad guys ? We will see... The Art was consistantly good through out the book.
January 27, 2018
Another great series of Horror comics by a master of the genre... Mignola! While I'm not a fan of Horror movies or books these comics are really creepy and fun... this volume picks up where the four volume of the BPRD plague of frogs left off. Looking forward to reading volume 2 when it comes out in a few months!
June 15, 2024
(Zero spoiler review) 2.25/5
Ok, now I'm pissed. What the hell is this? Seriously, what the fuck, like. This from the world of Hellboy? One of the most spectacular comics book series I've had the pleasure of reading. My first foray into the wider world of Hellboy and I ran smack into this middling dreck. I mean, I had high expectations because of how good Hellboy was, but if I had subsisted for the last few years on nothing but modern Marvel movies and gender studies literature, this would still be a firm and furious kick to the nads.
The timeline for the Hellboy world isn't my forte. I know I should have started with Plague of Frogs first, but given the scores for that series and this one on Goodreads, they are both scored about the same. Is this the standard for the entirety of this IP, outside of Hellboy? If so, I'm gonna have a hell of a lot of hardcovers that need selling.
The art is awful. AWFUL! Guy Davis and Tyler Crook (the slightly better of the two) need to learn how to draw humans. Far too stylised and cartoonish to be anything more than silly. This is meant to be horror, yet it looks like a Saturday morning cartoon. Only the short Duncan Fegrado drawn story at the end takes me back to the Hellboy art style that I love. Give every Hellboy story ever to him and at least it will look good. Even Dave Stewart (one of the best colourists going) turns in some pretty dire work here. Then again, he didn't have much to work with.
The writing is weak and lifeless. Lacking the sparse melancholy, the feeling, the emotion, and the fucking kick ass cosmic horror of Hellboy. Mignola gets a writing credit here, but you kinda feel like he contributed about 2% and threw his name on it for the cache. Weak sauce no matter how you slice it.
The 10 page closing story in this 400 page book was better than the preceding 390 pages put together. This shit would want to get better fast, or I'm gonna be one unhappy camper. 2.25/5
OmniBen.
Ok, now I'm pissed. What the hell is this? Seriously, what the fuck, like. This from the world of Hellboy? One of the most spectacular comics book series I've had the pleasure of reading. My first foray into the wider world of Hellboy and I ran smack into this middling dreck. I mean, I had high expectations because of how good Hellboy was, but if I had subsisted for the last few years on nothing but modern Marvel movies and gender studies literature, this would still be a firm and furious kick to the nads.
The timeline for the Hellboy world isn't my forte. I know I should have started with Plague of Frogs first, but given the scores for that series and this one on Goodreads, they are both scored about the same. Is this the standard for the entirety of this IP, outside of Hellboy? If so, I'm gonna have a hell of a lot of hardcovers that need selling.
The art is awful. AWFUL! Guy Davis and Tyler Crook (the slightly better of the two) need to learn how to draw humans. Far too stylised and cartoonish to be anything more than silly. This is meant to be horror, yet it looks like a Saturday morning cartoon. Only the short Duncan Fegrado drawn story at the end takes me back to the Hellboy art style that I love. Give every Hellboy story ever to him and at least it will look good. Even Dave Stewart (one of the best colourists going) turns in some pretty dire work here. Then again, he didn't have much to work with.
The writing is weak and lifeless. Lacking the sparse melancholy, the feeling, the emotion, and the fucking kick ass cosmic horror of Hellboy. Mignola gets a writing credit here, but you kinda feel like he contributed about 2% and threw his name on it for the cache. Weak sauce no matter how you slice it.
The 10 page closing story in this 400 page book was better than the preceding 390 pages put together. This shit would want to get better fast, or I'm gonna be one unhappy camper. 2.25/5
OmniBen.
November 19, 2022
(4,2 of 5 for this somehow locally-apocalyptic adventure)
I don't like the BPRD that much as standalone Hellboy's adventures, but Hell on Earth is so far very decent. There are various characters, especially Kate, which is a great one - she's not a very likeable character, but you somehow understand her struggle.
New World is Mignola/Arcudi/Davis, which is mostly Arcudi and Davis. Not bad, they're both great, they are "the BPRD" for me as Mignola is Hellboy. I liked Abe's adventure (and meeting his old "friend").
Seattle is a short intermezzo from the eyes of line BPRD agents. I like those stories and I would love to see more of them.
Gods and Monsters are nicely following the previous story, again with Arcudi directing and Davis "behind the camera". Gods are followed with Monsters, where Davis is changed for Tyler Crook. I love Crook's art, so I looked forward. Monsters are like training wheels for him, the story from the trailer park is perfect for Tyler to "get the ropes". And yes, his art fits this "Mignolaverse" perfectly.
Russia - I love this one, by theme, setting, story and Crook at full speed. Very thrilling, and rich in characters, action and mystery. Just how I like it.
Unmarked Grave is like an after-credits scene. It's linking this storyline to other storylines (from Hellboy), joining the context of both to promise things to come.
Bottom line - I liked it very much. The local mysteries and Crook's involvement helped very much. So I look forward to the next omnibus.
I don't like the BPRD that much as standalone Hellboy's adventures, but Hell on Earth is so far very decent. There are various characters, especially Kate, which is a great one - she's not a very likeable character, but you somehow understand her struggle.
New World is Mignola/Arcudi/Davis, which is mostly Arcudi and Davis. Not bad, they're both great, they are "the BPRD" for me as Mignola is Hellboy. I liked Abe's adventure (and meeting his old "friend").
Seattle is a short intermezzo from the eyes of line BPRD agents. I like those stories and I would love to see more of them.
Gods and Monsters are nicely following the previous story, again with Arcudi directing and Davis "behind the camera". Gods are followed with Monsters, where Davis is changed for Tyler Crook. I love Crook's art, so I looked forward. Monsters are like training wheels for him, the story from the trailer park is perfect for Tyler to "get the ropes". And yes, his art fits this "Mignolaverse" perfectly.
Russia - I love this one, by theme, setting, story and Crook at full speed. Very thrilling, and rich in characters, action and mystery. Just how I like it.
Unmarked Grave is like an after-credits scene. It's linking this storyline to other storylines (from Hellboy), joining the context of both to promise things to come.
Bottom line - I liked it very much. The local mysteries and Crook's involvement helped very much. So I look forward to the next omnibus.
June 14, 2022
So, the War is public now and has been for some time. Here is the rest of the world...
I am surprised at just how BIG the story has become.
Tyler Crook takes over the inks and after what I think to be a lackluster start, really comes into his own in "Russia", the last of the three arcs included here.
I am surprised at just how BIG the story has become.
Tyler Crook takes over the inks and after what I think to be a lackluster start, really comes into his own in "Russia", the last of the three arcs included here.
April 21, 2024
I'm going to miss Guy Davis soooo much 😢
June 26, 2021
247/365
Volvemos al presente de AIDP y comienza la época del Infierno de la Tierra. A menudo, en las obras de aventuras, ciencia ficción, fantasía o terror, siempre se intenta evitar lo peor y, más o menos, se consigue escapar del apocalipsis.
En AIDP y el Universo Hellboy de Mike Mignola la respuesta es no.
Ha empezado el fin del mundo y lejos de haber esperanza, hay muchos monstruos, enfrentamientos, misterios... y eso pasa factura a los personajes de AIDP, que siguen siendo tan tridimensionales y llenos de dobles lecturas que hacen que amemos este cómic.
Los guiones geniales, el dibujo espectacular y solo me ha faltado un poco más de calma y desarrollo de los personajes, pero entiendo que estos tres primeros arcos sirven para establecer lo que vendrá en los siguientes... que es, nada más y nada menos, que el auténtico fin del mundo... y lo que viene después.
Volvemos al presente de AIDP y comienza la época del Infierno de la Tierra. A menudo, en las obras de aventuras, ciencia ficción, fantasía o terror, siempre se intenta evitar lo peor y, más o menos, se consigue escapar del apocalipsis.
En AIDP y el Universo Hellboy de Mike Mignola la respuesta es no.
Ha empezado el fin del mundo y lejos de haber esperanza, hay muchos monstruos, enfrentamientos, misterios... y eso pasa factura a los personajes de AIDP, que siguen siendo tan tridimensionales y llenos de dobles lecturas que hacen que amemos este cómic.
Los guiones geniales, el dibujo espectacular y solo me ha faltado un poco más de calma y desarrollo de los personajes, pero entiendo que estos tres primeros arcos sirven para establecer lo que vendrá en los siguientes... que es, nada más y nada menos, que el auténtico fin del mundo... y lo que viene después.
January 11, 2020
Not much to say. After/during the HELLBOY IN HELL adventure, this one deals with what's happening on earth, and it ain't good! does a great job of moving characters forward, dealing with action and never feeling like it's doing info drops despite a lot happening. Guy Davis and Tyler Cook both do a great job of honoring Mignola's art while making it their own.
This is all part of a larger story and serial, so hard to rate on it's own other than to say it's good, engaging and I'm sticking with it.
This is all part of a larger story and serial, so hard to rate on it's own other than to say it's good, engaging and I'm sticking with it.
August 27, 2023
The start of the Hell on Earth saga begins with this volume.
New World--With the U.N. takeover of the B.P.R.D., the agents are running thin. Global coverage is hard to maintain as problems break out all over. Abe gets a lead on where Ben Daimio is, which leads into a backwoods encounter with a disheartening resolution. If that wasn't bad enough, the agents at the Bureau are starting to get on each others' nerves. Johan suspects Panya of personal intrigues. Devon suspect Abe of being the next creature of the apocalypse. It's an unhappy start to the new storyline.
Seattle--Seattle is wiped out by a big demon, though this story is just a conversation between a B.P.R.D. agent and a local cop. They discuss whether this new war can be won or not and what they should do about it. It's a nice bit of human interest and all too brief.
Gods--Survivors from the Houston volcano are following a teen-age girl named Fenix. She has some sort of precognitive ability that's enabled her and people following her to avoid disaster. As the B.P.R.D. catches up to their group, a lot of bad things happen. Kate tries to force Abe and Devon to patch up their differences, though both are very reluctant to move on. In the field, they still are very cool to each other, until Abe gets shot up at one of the monster hunts.
Monsters--Liz Sherman has settled in a trailer park where she hopes to live a quiet life. The locals don't make that possible when they start dabbling in the occult, forcing Liz back toward her "secret agent" life, though she's a long way from the B.P.R.D. Meanwhile, Abe's condition gets worse, as does the world-wide supernatural disasters. While it's nice to know what's happening with Liz, it's not happy news.
Russia--Kate goes to meet with the Russian equivalent of the B.P.R.D., an agency named the SSS or Special Sciences Service. Following the typical Russian stereotype, they are both secretive and invasive. They know a lot more about the B.P.R.D. than they initially admit too and have plans that they do not reveal until the very last moment. Their manipulativeness pays off in some unexpected ways, making for an intriguing story.
An Unmarked Grave--Kate goes to England to follow up on clues to where Hellboy might have wound up. She finds out very little, other than that impending sense of doom is only getting worse and worse. This was quite a downer, even with its very brief page count.
The book ends with a sketchbook of ideas and visual drafts of the various characters and creatures.
Overall, the plot and tone are too bleak to be fun to read. While the characters keep fighting the good fight, the hope of success, either short-term or long-term, has dwindled so much. Having read the ending of the Abe Sapien storyline, I know the bad place they will wind up and just don't have the heart to keep watching the trainwreck.
Mildly recommended, though I probably won't read more of this storyline.
New World--With the U.N. takeover of the B.P.R.D., the agents are running thin. Global coverage is hard to maintain as problems break out all over. Abe gets a lead on where Ben Daimio is, which leads into a backwoods encounter with a disheartening resolution. If that wasn't bad enough, the agents at the Bureau are starting to get on each others' nerves. Johan suspects Panya of personal intrigues. Devon suspect Abe of being the next creature of the apocalypse. It's an unhappy start to the new storyline.
Seattle--Seattle is wiped out by a big demon, though this story is just a conversation between a B.P.R.D. agent and a local cop. They discuss whether this new war can be won or not and what they should do about it. It's a nice bit of human interest and all too brief.
Gods--Survivors from the Houston volcano are following a teen-age girl named Fenix. She has some sort of precognitive ability that's enabled her and people following her to avoid disaster. As the B.P.R.D. catches up to their group, a lot of bad things happen. Kate tries to force Abe and Devon to patch up their differences, though both are very reluctant to move on. In the field, they still are very cool to each other, until Abe gets shot up at one of the monster hunts.
Monsters--Liz Sherman has settled in a trailer park where she hopes to live a quiet life. The locals don't make that possible when they start dabbling in the occult, forcing Liz back toward her "secret agent" life, though she's a long way from the B.P.R.D. Meanwhile, Abe's condition gets worse, as does the world-wide supernatural disasters. While it's nice to know what's happening with Liz, it's not happy news.
Russia--Kate goes to meet with the Russian equivalent of the B.P.R.D., an agency named the SSS or Special Sciences Service. Following the typical Russian stereotype, they are both secretive and invasive. They know a lot more about the B.P.R.D. than they initially admit too and have plans that they do not reveal until the very last moment. Their manipulativeness pays off in some unexpected ways, making for an intriguing story.
An Unmarked Grave--Kate goes to England to follow up on clues to where Hellboy might have wound up. She finds out very little, other than that impending sense of doom is only getting worse and worse. This was quite a downer, even with its very brief page count.
The book ends with a sketchbook of ideas and visual drafts of the various characters and creatures.
Overall, the plot and tone are too bleak to be fun to read. While the characters keep fighting the good fight, the hope of success, either short-term or long-term, has dwindled so much. Having read the ending of the Abe Sapien storyline, I know the bad place they will wind up and just don't have the heart to keep watching the trainwreck.
Mildly recommended, though I probably won't read more of this storyline.
July 25, 2023
Вони у тому Бюро слабенько здогадуються про масштаби катастрофи, а світ майже тричі пішов по відомому місці. Та й коли там займатися аналізом, коли над тобою вже ООН стоїть, халепи відбуваються одна за одною, а наслідки Жабочуми так і лізуть. А тут ще й внутрішні конфлікти, рефлексії по Роджеру, мумія із якимось хитрим планом, пророцтво про рибоантихриста, пірокінеткиня з невиправданим комплексом провини, кілька старих монстрів на свободі - коротше, біда-бідося, заряджай зраду.
Тканина реальності почала рватися, з інших вимірів полізло всяке, з’явилася інфа про діяльність якихось культів смерті, а по тєлєку проповідник нової релігії віщає про зміну відносин бога й людини. Населення з жабопостраждалих регіонів пускається кочувати, і в деяких з груп кочівників проявляють себе екстрасенси.
Тим часом в рашці влада випалює вогнеметами власне населення, яке почало піддаватися мозковим хвилям жаб. Ну ок, деформовані мутанти - це одне, але рашка має страждати повністю, тому от вам ще працезомбі, які будують буквально хатинку для жабомонстра.
Отже, у Бюро повно роботи, а у оперативників повно страждань, бо лише через виклики можуть рости персонажі. В сюжеті повнісінько неочікуваних поворотів, світ весь час підкидає нові сюрпризи.
Ще тут було дуже щемне прощання з Хеллбоєм. Емоційне, правильне…
Тканина реальності почала рватися, з інших вимірів полізло всяке, з’явилася інфа про діяльність якихось культів смерті, а по тєлєку проповідник нової релігії віщає про зміну відносин бога й людини. Населення з жабопостраждалих регіонів пускається кочувати, і в деяких з груп кочівників проявляють себе екстрасенси.
Тим часом в рашці влада випалює вогнеметами власне населення, яке почало піддаватися мозковим хвилям жаб. Ну ок, деформовані мутанти - це одне, але рашка має страждати повністю, тому от вам ще працезомбі, які будують буквально хатинку для жабомонстра.
Отже, у Бюро повно роботи, а у оперативників повно страждань, бо лише через виклики можуть рости персонажі. В сюжеті повнісінько неочікуваних поворотів, світ весь час підкидає нові сюрпризи.
Ще тут було дуже щемне прощання з Хеллбоєм. Емоційне, правильне…
This entire review has been hidden because of spoilers.
October 11, 2018
I'm starting B.P.R.D. Hell on Earth: Working on Book 1 of 15. This in some ways is the Climax of the Hellboy/BPRD Story (not in terms of conclusion) but a world where Hell is literally arrived and it has just been exposed to the world. Reality is fracturing and there are so many sinister plots in place that the BPRD will be stretched too thing and ultimately fail.
Demons are no longer a subject of rumor and debate, and the world is changed here--hence the change in title from Plague of Frogs (which was much more conspiracy theory-laden), this is the actual war and it's on many fronts.
It's a series that has many ups and down, and Arcudi/Davis did a hell of a job keeping up the pace (in many ways it was superior writing to Mignola's Hellboy)--however with first the loss of Davis, then Arcudi (and several of the characters), the band can't keep playing for ever.
The final volume; of the BPRD EPIC Trilogy, "The Devi You Know" will be wrapping up early next years, so I am getting prepared--all things must come to pass.
Demons are no longer a subject of rumor and debate, and the world is changed here--hence the change in title from Plague of Frogs (which was much more conspiracy theory-laden), this is the actual war and it's on many fronts.
It's a series that has many ups and down, and Arcudi/Davis did a hell of a job keeping up the pace (in many ways it was superior writing to Mignola's Hellboy)--however with first the loss of Davis, then Arcudi (and several of the characters), the band can't keep playing for ever.
The final volume; of the BPRD EPIC Trilogy, "The Devi You Know" will be wrapping up early next years, so I am getting prepared--all things must come to pass.
March 5, 2019
Hell on Earth volume 1 marks a a big shift in tone and content for BPRD. It seems appropriate that long standby artist Guy Davis sees his work with the series come to and end here. Tyler Crook is a pretty admirable replacement, but Guy and Arcudi are BPRD and it's sad to see that team broken up.
The tone is different here. The stories are often shorter and the action is more militarized. It becomes less of a horror adventure and more about solving the problem of the week for the BPRD in what is almost a post apocalyptic world. I'd be lying if I said I didn't miss the spirits and monsters from previous volumes.
Nonetheless, this is a pretty entertaining read. There's plenty of Abe, Johann, Kate, and even a brief return from Daimo. Things have started changing for the BPRD and with that the book is changing too.
The tone is different here. The stories are often shorter and the action is more militarized. It becomes less of a horror adventure and more about solving the problem of the week for the BPRD in what is almost a post apocalyptic world. I'd be lying if I said I didn't miss the spirits and monsters from previous volumes.
Nonetheless, this is a pretty entertaining read. There's plenty of Abe, Johann, Kate, and even a brief return from Daimo. Things have started changing for the BPRD and with that the book is changing too.
July 25, 2025
Maybe it was a bad idea to pick this one up so long after reading the bprd series, but I just really... struggled with this one. I was excited to see the "end of the world" and "desperately fighting against the night" feel of the book that I've heard so much about, but I don't feel it, it feels rather that the world is kind of... fine. It's a little shaken but fine and you follow pretty standard bprd stuff. Being rusty on the lore must not help me on this aspect in all honesty. Not being a fan of Guy Davis art either.
And while I love some horror elements and some characters' moments, it simply didn't quite resonate with me, as bprd on a whole in comparison to the hellboy series. I may try the second one (on a discount for this edition, which is pretty pricey), but I may just drop it and focus on hellboy books in the end.
And while I love some horror elements and some characters' moments, it simply didn't quite resonate with me, as bprd on a whole in comparison to the hellboy series. I may try the second one (on a discount for this edition, which is pretty pricey), but I may just drop it and focus on hellboy books in the end.
August 18, 2018
I'm liking Hell on Earth more than I thought I would. The transition from Guy Davis to Tyler Crook isn't too jarring. The story moves forward at a good pace. For a 400+ page hardcover, though, there isn't much of a payoff. A lot of stuff is set up that will presumably play out over the next few volumes.
The sketchbook section at the end is nice. There's some text included with it that gives you some insight into the process of creating the creatures and characters. Overall, it's a nice package.
I'd have liked to have seen a good recap page (or three) included. While this is the beginning of a new arc, it's building on a lot of previous history, most of which isn't explained here at all. So I don't think this would be terribly friendly to new readers.
The sketchbook section at the end is nice. There's some text included with it that gives you some insight into the process of creating the creatures and characters. Overall, it's a nice package.
I'd have liked to have seen a good recap page (or three) included. While this is the beginning of a new arc, it's building on a lot of previous history, most of which isn't explained here at all. So I don't think this would be terribly friendly to new readers.
January 1, 2022
I always thought Hellboy was missing something, and B. P. R. D. turned out to be the missing piece. Though it's neither as artistically interesting, well-drawn, nor drawing on mythologies from around the world, preferring to draw on its own mythology, it develops two essential things that were in my opinion missing from Hellboy: The world and the characters.
It is a weakness that in order to enjoy either Hellboy or this that you have to read both, which is plenty of material, and also that it really can't stand on its own, but together it makes a compelling read that I would recommend to those who liked Hellboy.
It is a weakness that in order to enjoy either Hellboy or this that you have to read both, which is plenty of material, and also that it really can't stand on its own, but together it makes a compelling read that I would recommend to those who liked Hellboy.
January 13, 2023
I've just blasted my way through this volume after reading the finale of Hellboy, "Hellboy in Hell".
The difference between the two is like and night and day. Hellboy in Hell had fantastic Mignola artwork, but murky storytelling and as a finale to Hellboy's story felt incredibly disappointing to me.
This BPRD volume on the other hand...
Great art, clear storytelling (not once did I not know what was going on) and story. Arcudi and Mignola are not afraid to go big with the world changing events, all whilst giving as great moments with the characters I've grown very fond of. Can't wait to read volume 2.
The difference between the two is like and night and day. Hellboy in Hell had fantastic Mignola artwork, but murky storytelling and as a finale to Hellboy's story felt incredibly disappointing to me.
This BPRD volume on the other hand...
Great art, clear storytelling (not once did I not know what was going on) and story. Arcudi and Mignola are not afraid to go big with the world changing events, all whilst giving as great moments with the characters I've grown very fond of. Can't wait to read volume 2.
January 18, 2024
It's sad to say, but "Hell on Earth" is a big letdown. There are bright spots, like another meeting with Daimio and Liz Sherman, but the rest feels like a different series. Less cosmic, Lovecraftian horror; more boring fights with generic-looking monsters, zombies, and crab-like creatures.
And way, way too much gore and graphic violence! I always appreciated the nuance and subtlety of Mignola's action scenes, and when Guy Davis turned up the tempo sometimes in "Plague of Frogs" (like meetings with Jaguar God in the jungle and in BPRD Colorado base), the violence was shocking in its intensity and scarcity. Here, it's just present on almost every page and gets boring after a while.
And way, way too much gore and graphic violence! I always appreciated the nuance and subtlety of Mignola's action scenes, and when Guy Davis turned up the tempo sometimes in "Plague of Frogs" (like meetings with Jaguar God in the jungle and in BPRD Colorado base), the violence was shocking in its intensity and scarcity. Here, it's just present on almost every page and gets boring after a while.
April 23, 2023
A change of pace from the previous volumes. The return of Ben Daimo changes the perspective of the end times that the B.P.R.D. is trying to prevent. In New World, the horrors from outer realms have changed their approach and found more subtle ways to invade. Russia is the other highlight story, because it introduces the benevolent monster Iosif of the S.S.S. This volume seems to be setting the stage for the upcoming conflicts and I am eager to see how the B.P.R.D. will confront those challenges.
July 20, 2023
The Hell On Earth era begins with the team almost completely disbanded. Things are fittingly dire and melancholic, but it’s also a bit too disjointed. I’m a little surprised that more non-human or not-fully-human characters haven’t been introduced yet. We get one in the Russia arc, but he doesn’t seem like he’s going to become part of the BPRD. The Liz stuff is maybe some of the weakest parts. It feels a little too regressive for the character. The art is solid across the board. Tyler Crook does a fine bit of filling in and Dave Stewart keeps everything looking consistent as always.
March 10, 2024
A very Strong Start.
The new story starts with this number and it is a strong one.
New interesting characters, new monsters, some cool cameos and lots of combat and action.
Iosif is a vomplex character and I can't wait to know more of him.
The ony two problems that I saw was that the story of Phoenix (or was it Fenix?) was weirdly paced just to be almost on pause at the end, wich was weird becaus of what happened in that story in regards of one of the main characters.
Also the last part of this omibus was a little weak.
The new story starts with this number and it is a strong one.
New interesting characters, new monsters, some cool cameos and lots of combat and action.
Iosif is a vomplex character and I can't wait to know more of him.
The ony two problems that I saw was that the story of Phoenix (or was it Fenix?) was weirdly paced just to be almost on pause at the end, wich was weird becaus of what happened in that story in regards of one of the main characters.
Also the last part of this omibus was a little weak.
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