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Hellboy: The First 20 Years (英語) ハードカバー – 2014/4/1
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Mignola has expanded Hellboy into the most exciting group of books since the early Marvel universe, and his style has influenced art and illustration far beyond the world of comics. Selected finished pieces are shown alongside sketches and raw scans from the last twenty years.
* Never-before-seen art!
* Mignola's best pieces from the last twenty years!
"Nothing is better than having Mignola himself rendering Hellboy's world."—IGN
"I envy the sheer variety and invention Mignola brings to Hellboy's world. [He] consistently manages to depict even the most grotesque monstrosity and make it somehow beautiful."—Peter de Sève, award-winning New Yorker cover artist and character designer for Ice Age film series, from his introduction
Mike Mignola's fascination with ghosts and monsters began at an early age; reading Dracula at age twelve introduced him to Victorian literature and folklore, from which he has never recovered. Starting in 1982 as a bad inker for Marvel Comics, he swiftly evolved into a not-so-bad artist. By the late 1980s, he had begun to develop his own unique graphic style, with mainstream projects like Cosmic Odyssey and Batman: Gotham by Gaslight. In 1994, he published the first Hellboy series through Dark Horse. There are thirteen Hellboy graphic novels (with more on the way), several spin-off titles (B.P.R.D., Lobster Johnson, Abe Sapien, and Sir Edward Grey: Witchfinder), prose books, animated films, and two live-action films starring Ron Perlman. Along the way he worked on Francis Ford Coppola's film Bram Stoker's Dracula (1992), was a production designer for Disney's Atlantis: The Lost Empire (2001), and was the visual consultant to director Guillermo del Toro on Blade II (2002), Hellboy (2004), and Hellboy II: The Golden Army (2008). Mike's books have earned numerous awards and are published in a great many countries. Mike lives in Southern California with his wife, daughter, and cat.
Along with finished covers and cover variants, we occasionally see scans of Mignola's original artwork in pen/brush and ink, adding an educational component and a touch of contrast. Sometimes, these works are presented side-by-side with the finished, colored version, and other times they stand on their own. There's no set formula, and the book is all the better for it. We also get occasional thumbnail sketches, inked sequential pages, convention prints or program covers, and even a handful of watercolors. Part of what makes the book successful is its layout—an effective, dynamic mix of images presented both full-bleed and with margins. Kudos to the book's designers! It's never formulaic or boring, yet has a satisfying stability and makes the most of every page.
Other than the introduction by Peter De Sève and a foreword by Mignola, the book contains no text. An index of images is included at the end. My only wish is that they had designed this index as a foldout, as it's an important resource if the reader wishes to familiarize themself with chronology and sourcing.
My prediction: You'll notice something different every time you thumb through this. Consider that with most books, the cover is the part that gets looked at most often, and this book is nearly all covers! It's a good one to get lost in.