Even though Hellboy has been dead for years, Mike Mignola continues to explore his universe, and this week his siblings take focus in The Crown: A Tale of Hell #1. And what better way to explore sibling rivalry than with Mignola’s brother, Todd, joining in on the fun? Armed with artist Warwick Johnson-Cadwell, the first issue reminds us how messy Hellboy’s family is, fighting for attention and in competition for power.
The Crown: The Tale of Hell #1 is an interesting look at the melodramas of a family that seems to have too much time on its hands. Included in that batch of family members is Hellboy’s dad, siblings, and mother, who is released from imprisonment at the start of this issue. Like a Shakespearean play, Hellboy’s siblings’ mother, Sedara, attempts to gain favor while competing with his father, who aims to make Hellboy’s brother the leader of the armies of Hell. While Hellboy is only in the issue briefly for a flashback, it’s interesting to see the goings on of demons.
As a two-part story, the Mignolas do enough to set up the eventual direct conflict while we meet the various characters. Hellboy’s half-siblings Gamori, Lusk, and Gamon are young, and you can see their youthful ignorance and inability to control emotions on full display. Meanwhile, Hellboy’s dad, Azzael, is quiet as he plots and conspires.
Courtesy Dark Horse
With these various characters brooding and plotting, this issue doesn’t hold much in the way of conflict or action. It feels more like a story that’s mostly setup, with stakes that seem quite low. Being a flashback, we know nothing will occur that will rock the Hellboy universe, so mostly this is an interesting look at the Hellboy family and their messed-up ways.
The art is stunning, with a kooky nature to Johnson-Cadwell’s character designs and some excellent environments. There aren’t necessarily establishing shots of the setting, but as characters walk around, we see the castle’s ornate details, making it seem opulent and historical. Character design goes a long way in conveying personality: Gamori’s larger form feels clumsy and a bit dense, as we learn he pretty much is, while Lusk knows how to get on Gamori’s nerves with his thinner, conniving frame. There’s a lot of charm in this art’s look, which makes the story feel a bit whimsical and appealing to fantasy fans.
The Crown: A Tale of Hell #1 functions as a deliberate introduction to a volatile family dynamic simmering beneath Hell’s surface. The Mignolas focus on character relationships and political maneuvering rather than explosive confrontations, which makes the story feel restrained yet layered. Johnson-Cadwell’s expressive art and ornate settings provide the strongest hook, giving personality to every demon on the page. While the issue reads primarily as groundwork for the coming conflict, it offers a compelling expansion of Hellboy’s mythology and establishes a strong visual and thematic identity for the series moving forward.
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