Read B.P.R.D.: 1948 by Mike Mignola Free Online
Book Title: B.P.R.D.: 1948|
Format files: PDF
The size of the: 827 KB
v The author of the book: Mike Mignola
Edition: Dark Horse Books
Date of issue: September 10th 2013
ISBN 13: 9781616551834
City - Country: No data
Read full description of the books B.P.R.D.: 1948:What I love about Hellboy, BPRD and all of the associated books is the way Mike Mignola and co. work in haunted houses, gothic castles, black forests, demons, witches, and folklorish characters-turned-evil into their stories. And sometimes they throw in some Nazi vampires and cyborg gorillas too! It’s a potent combination to read a horror comic with horror elements done right which is why the first two Trevor Bruttenholm (pronounced “Broom”) BPRD books, 1946 and 1947, are such enjoyable reads. 1948 though? Uh uh. Mignola drops the ball on this one.
In 1948 we’re in the middle of the Utah desert where the army are experimenting with atomic bombs as a viable means of blasting astronauts into space. Except the atomic blasts have caused a rift to open up - not unlike the rift that brought Hellboy into our world - and a number of monsters have come through. Enter Trevor Bruttenholm.
In 1948, gone are the romantic and spooky backdrops, replaced with boring flat desert and rocks. The Utah desert is completely charmless and dull. Gone are the complex creepy villain characters, replaced with monsters who can’t speak and just attack for no reason. Great, completely arbitrary threats that are there because the authors haven’t got any other ideas. Gone is any semblance of mystery, replaced with nothing. This is such a boring book because its the most straightforward, predictable story without any surprises that you could read. Gone is the originality and imagination that made readers like me look forward to these books, replaced with tedious dialogue scenes between two-dimensional army goons and scientists, bland monster action and a static plot.
This has got to be one of the least interesting BPRD books I’ve ever read. Trevor rocks up, he and the other characters blather on for a few issues, then he figures out what to do about the monsters - the very first plan he thinks of turns out to be the right solution - and it’s done! There’s a subplot about Trevor trying to court a sexy female scientist, while at BPRD HQ a young Hellboy’s feelings are hurt, but really, that’s it for the book? What a load of nothing! None of the storylines tie together at all and seem completely unconnected to one another.
Trevor is the only developed character and that’s thanks in large part to having been around for 20 years! The others couldn’t be more lifeless. And that Anders character is just terrible - I can’t believe he’s become such a prominent figure in this series! Ooo, I’m troubled, I’m gonna wander about alone in the desert and shoot stuff and yell! Yawn. Seriously, get a personality, chum.
I don’t think I’ve seen this artist’s work before but I really liked Max Fiumara’s art in this book. He has an excellent eye for motion and the action scenes between the giant bird monster and the army were good if only for his efforts. And of course Dave Stewart’s colours remain second to none.
Like the BPRD: Vampire book with Gabriel Ba and Fabio Moon that follows this, Mike Mignola and John Arcudi are on autopilot in 1948, lazily throwing together some things that make this look like a story but is in fact a load of insubstantial and forgettable codswallop. This was so disappointing because the Trevor Bruttenholm books are usually among the best in the BPRD series. 1946 and 1947 both show that a BPRD book can work without Hellboy, Abe Sapien, Liz Sherman, Johann Krauss or Lobster Johnson, and that Trevor is a great character in himself though you wouldn’t know that from reading 1948. If you haven’t read them, pick up 1946 and 1947 instead - I can’t recommend 1948.
Read information about the authorMike 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.
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