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Mike Mignola/Dark Horse Comics

Our Interview with Hellboy Creator Mike Mignola

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Mike Mignola/Dark Horse Comics

In 1993, Mike Mignola stepped away from a successful career drawing comics for Marvel and DC to pursue his dream of creating his own comic book character. Twenty years, hundreds of comics, four novels, and two feature films later, Hellboy has spawned an entire world of characters and stories that endures today. (And that's despite the fact that Hellboy himself was killed off in a recent mini-series.) After a number of years writing for other artists, Mignola has returned to writing and drawing the posthumous adventures of Hellboy in the afterlife in a new ongoing series, Hellboy in Hell.

This month, to celebrate the 20th anniversary, Dark Horse Comics is releasing a new hardcover collection, Hellboy: The First 20 Years.

I had the pleasure of speaking with Mike Mignola about the past 20 years of Hellboy and what the future holds.


The very first drawing of Hellboy

On creating Hellboy

Did you ever dream when you first created Hellboy that you’d still be telling stories with him 20 years later?

No. I’d been doing comics ten years at the time and I wanted just once at least to have done something that was made entirely out of the stuff that I wanted to draw. So I went into it creating something that, if it worked, I could continue doing it. I tried to make up what I thought would be my dream book but had no expectations that it would sell at all. I wasn’t really looking past the first 4 issues of the comic. I was fully prepared to go back and do another Batman comic or something like that so, yeah, I’m very pleasantly surprised to be here 20 years later.

It’s the kind of longevity that people really dream of trying to create with their characters. What is it about Hellboy, do you think, that has made him so popular all these years?

Well, the fast answer would probably be the movie. No, I mean, the movie helps as far as keeping him out there. I’d love to think I’d still be doing it if the movie hadn’t happened.

You did get him to the point where he was popular enough for a movie, I guess?

That’s not really the case, because, the comic never lost money but it was never one of the really successful comics. It was entirely the case of a director (Guillermo del Toro) who saw the comic, was a fan of the comic, and then was persuasive enough and patient enough that he eventually found a studio to let him make the movie. There was never a time when the studios were coming to me and saying, “Hey, we want to make a movie out of this successful comic.” It was never that at all.

But as far as the popularity of the comic, all I know is, I took everything that I love and stuck it in there. And I tried to write Hellboy as a regular person. Not as some superhero comic. And so maybe some of that comes through. I do think there’s a difference when you see a book where you can tell the creator’s doing something they really love or are really passionate about as opposed to an artist or a writer who is just doing a particular job or trying to sell a product or trying to cash in on a popular trend. With Hellboy, I guess there was nothing really like it at the time because I wasn’t looking at any other one comic and saying “I want to do my version of this.” I just wanted to make something that was created entirely out of all these different things that I liked.

Am I right that you modeled Hellboy’s personality—in some respects—after your father?

The personality is really much more me but some of the physical stuff is my father, so it’s a bizarre combination of my father’s physicality—I mean, my father missed WWII but he was a Korean War guy, a tough guy, one of those guys who would come home with blood all over himself from getting his hand stuck in a piece of machinery. He was so leathery. You knew he could strike one of those old fashioned matches off of his calloused hands. So, I knew I wanted Hellboy to feel like that but his personality—the way he addresses situations, the way he talks—is just the way I would talk. I had never written before so the only way I knew to write a character’s personality was to use my own personality.

On managing the Hellboy universe

You started Hellboy on your own but over the years it’s grown into kind of a comic enterprise insofar as you have other people working on other books, like B.P.R.D., that are part of the same universe. It’s like a guy that started a company in his garage and now finds himself running a large organization. Is it a lot of work managing all the various parts of the “Mignola-verse,” as they call it?

Yeah, I think it could have turned into that, I think at times it did feel like it was turning into that. There was a spooky period there—especially when I was involved in the second movie—where I wasn’t drawing the Hellboy comic. We brought Duncan Fegredo in to draw it. I was writing that book but a lot of the other stuff I wasn’t writing. Just kind of co-writing and managing a lot of stuff. And that felt like I could just keep sliding this way and I could just be a guy assigning jobs to other people and doing a minimal amount of writing myself. But I really missed being an artist.

Fortunately, once the dust settled on the movie, I was able to come back and take over drawing again. It never quite became just a guy managing a company because I missed being down in the trenches. Now, it’s interesting because, with the other books, I’m listed as “Co-writer,” but it’s pretty minimal. It’s long, comfortable conversations with Scott Allie, the editor who also writes Abe Sapien, and John Arcudi, who writes everything else, about the direction in which everything is headed, but not a lot of micro-managing on my part. And more and more, 80% or 90% of my focus is on Hellboy in Hell, my corner of this thing. I’ve kind of gotten back to where I was ten years ago where I wake up in the morning and I sit down and I’m writing and drawing my own comic. Yes, I have to write some other things and I help steer the other books, but I just feel like I’m the creator of my one little corner.

I guess that’s the benefit of bringing in good people.

Yeah, I mean it’s nice. If you get the right people then a lot of my job is not telling them what to do. My conversations with John and Scott is working on where things are going and trusting them to get to those places in the best way they know how. I respect and admire what they do so it’s been a very comfortable collaboration with those guys.

And the beauty with the Hellboy stuff is that it’s just been the three of us. Scott and I have been together almost since the very beginning and John and I for maybe 10 or 15 years now? So it’s just three of us that are doing all the writing and steering of these books and we haven’t had to bring in writers that are unfamiliar with this world. So we’re all on the same page.

On looking back at his own work

Tell me about the new Hellboy: The First 20 Years. How did you decide what to put in it?

That book was a nice surprise. We all thought it was going to be a nightmare to do because I genuinely do not like my own work. I’m super critical and the idea of filling a book with images that I would actually like seemed impossible, but I did have 20 years of stuff to pick through so it went kind of fast. I wanted a book that would show where Hellboy started and how it’s blown up into this whole world of its own. At the same time, it cruises through the first ten years really fast because a lot of that stuff was already in this Art of Hellboy book we did about ten years ago and because I really didn’t like most of my drawings from those years. So, with this one I was really able to focus on the last ten years where I’m really happy with a lot of that stuff.

Going through this book, it goes from that very first primitive drawing of Hellboy to all these images from the first couple of issues and, by the last part of the book, Hellboy only appears in, like, half the pages. Instead you get all this spooky, Victorian stuff—Abe Sapien, Lobster Johnson, all of that. It just shows that there’s this whole world—with a lot of range, I think—that just sprang out of this one character.

You said you don’t like looking at your old drawings, but do you ever re-read your old work, say the early Hellboy stories?

You know, I don’t know if I should admit that. Some of the stuff I do re-read because I’m still piecing together this puzzle I’ve been building for 20 years, so I do need to re-read in order to see how I previously said something or whether there’s room to interpret something I did in this other way. But, you know, some of the short stories I do re-read once in a while and quite a few of them I go, “Yeah, that still works. That holds up.” I mean, there’s certainly some that I don’t even want to look at, but, yeah I’m pretty happy with some of this stuff.

There’s also stuff I’ve done with other people, like Richard Corben and Duncan Fegredo. Those stories are just a pleasure to go back to and look at because of what they did with what I gave them.

On digital and creator-owned comics

Do you read digital comics? Do you spend much time thinking about how comics may be read differently on the screen?

I never, ever look at anything digitally, other than looking over the color for a new issue of Hellboy on the screen. I just never read anything that way. I think it makes sense and I think eventually that’s the way we’re going to be regularly getting our comics and if that’s the way it goes I can live with that.

There’s certainly technical things that I appreciate about it: The speed to which comics can be delivered. My guy can color my stuff and the next day, or even within a matter of hours, this thing can be out on the internet. That’s nice. Doesn’t kill any trees. That’s nice. Looking at the color on the screen, the color is going to be so much better. That’s great. So there’s really a lot of advantages.

Also, I design my stuff so that two pages work facing each other, which is the way you look at print comics. When you’re doing a regular comic, every two pages you can count on surprising the reader by putting something on top of the left hand page. So, the reader can turn the page and go “Oh, holy __! I didn’t see that coming!” But if you’re looking at one page at a time on screen, I guess you can do that with every page.

If that’s the way it’s going to go, that’s fine, as long as ultimately there’s a book version. I’m a book guy. I want to have a book that I can hold. I can do without the 32 page comic. If that goes away, fine. But I need to have that collection.

Another way comics have changed a lot in the last 20 years or so is that now it seems a little bit easier for someone to do what you did: step away from Marvel and DC and create your own character and then have people buy it. Do you think it is easier now?

It seemed like it was pretty easy even when I did it. Because the Image Comics guys had gone and done it and that made it so mainstream. I think what surprises me more often is really how few people actually do it. I think it’s such a practical business model… I shouldn’t say that because it certainly isn’t a proven commercial business model, but I do think it has so much potential for success. Certainly, if you can do something called “Hellboy” and it can be as successful as this thing has become, I would think more people would at least try.

If you’re coming out of mainstream comics and you have a following, I’m just amazed by how many of these people don’t step out from the safety net of Marvel and DC comics and at least try it. If you’re a super successful guy drawing Batman or whatever it is, if you take a year in-between re-upping your contract and try doing a creator-owned book, I can’t imagine, if it doesn’t work, you couldn’t go back and get another big company job at that point.

I have a lot of guys come to me saying “I’d really like to do what you’re doing but it doesn’t pay as well,” or it doesn’t do this or it doesn’t do that. It’s one thing if all you ever want to do is draw Batman. I can understand that. That’s cool. But it’s the guys that say “I want to do it, but, DC is paying me 5 bucks more a page.” Yeah, that’s great but you’re never going to know. You’re never going to know if your own thing could be successful.

Certainly, there are generations now doing comics that never considered going through what I went through, which was the conventional wisdom in those days: draw something in mainstream comics and then, if it works, eventually you can branch off into your own thing. There are so many people growing up in this industry now that it would never even occur to them to work through Marvel and DC. I think there are so many different outlets right now for doing this stuff. I think it’s exciting to see people have so many opportunities.

On the future of Hellboy

Where do you see yourself and Hellboy in another 20 years?

Well, I pretty much know where I’ll be. To some extent with Hellboy, I’m telling a finite story. It’s increasingly strange to think, “What am I doing with Hellboy if I’ve already killed him off? How do I end that story?” But certainly as far as what’s happening on planet Earth, we’re telling a very finite story. And, in 20 years that story should be done. So, I’m not sure where we’ll be by then. There are things that are meant to continue beyond that which I can’t really talk about. But, for me personally, I imagine I’ll still be drawing comics.

This Hell world that I’ve created in Hellboy really is this stage where I can see myself doing all my future work. The visuals of this world, aren’t that far off from the stuff I was doing with The Amazing Screw-On Head and other stories like that. I created this wonderful little fantasy world where I can do anything within it.

So, will I be telling Hellboy stories set there 20 years from now? Maybe. I kind of can’t wrap my brain around not doing Hellboy but at the same time I can see myself telling other stories that don’t have Hellboy in it but are set in that kind of world.

If someone was brand new to reading Hellboy where would you tell them to start?

I’ve said this to comic store guys: Instead of pushing the first Hellboy trade paperback—because we do have them numbered—I would give them one of the five short story collections that we’ve done because you get kind of a sampler and then you can go off and read the whole story if you want.

If you could do anything differently about the past 20 years, in regards to Hellboy and the universe you created, what would it be?

I really wouldn’t. I’ve thought about this question and a couple of other people have asked this question. I don’t know that I would. There are some decisions I’ve made about pairing the right artist with the right kind of story that I would have second-guessed, maybe. But in the big picture, in this whole world we’ve been building, I’m very happy that after 20 years it’s consistent and we haven’t ever hit a brick wall. We haven’t done anything where we went “Oh, now we’re at a dead end.” Everything still seems very fluid and very organic the way that it’s growing.

So, no, nothing springs to mind. I’m not kicking myself over any particular decision.

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iStock // Ekaterina Minaeva
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Man Buys Two Metric Tons of LEGO Bricks; Sorts Them Via Machine Learning
May 21, 2017
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iStock // Ekaterina Minaeva

Jacques Mattheij made a small, but awesome, mistake. He went on eBay one evening and bid on a bunch of bulk LEGO brick auctions, then went to sleep. Upon waking, he discovered that he was the high bidder on many, and was now the proud owner of two tons of LEGO bricks. (This is about 4400 pounds.) He wrote, "[L]esson 1: if you win almost all bids you are bidding too high."

Mattheij had noticed that bulk, unsorted bricks sell for something like €10/kilogram, whereas sets are roughly €40/kg and rare parts go for up to €100/kg. Much of the value of the bricks is in their sorting. If he could reduce the entropy of these bins of unsorted bricks, he could make a tidy profit. While many people do this work by hand, the problem is enormous—just the kind of challenge for a computer. Mattheij writes:

There are 38000+ shapes and there are 100+ possible shades of color (you can roughly tell how old someone is by asking them what lego colors they remember from their youth).

In the following months, Mattheij built a proof-of-concept sorting system using, of course, LEGO. He broke the problem down into a series of sub-problems (including "feeding LEGO reliably from a hopper is surprisingly hard," one of those facts of nature that will stymie even the best system design). After tinkering with the prototype at length, he expanded the system to a surprisingly complex system of conveyer belts (powered by a home treadmill), various pieces of cabinetry, and "copious quantities of crazy glue."

Here's a video showing the current system running at low speed:

The key part of the system was running the bricks past a camera paired with a computer running a neural net-based image classifier. That allows the computer (when sufficiently trained on brick images) to recognize bricks and thus categorize them by color, shape, or other parameters. Remember that as bricks pass by, they can be in any orientation, can be dirty, can even be stuck to other pieces. So having a flexible software system is key to recognizing—in a fraction of a second—what a given brick is, in order to sort it out. When a match is found, a jet of compressed air pops the piece off the conveyer belt and into a waiting bin.

After much experimentation, Mattheij rewrote the software (several times in fact) to accomplish a variety of basic tasks. At its core, the system takes images from a webcam and feeds them to a neural network to do the classification. Of course, the neural net needs to be "trained" by showing it lots of images, and telling it what those images represent. Mattheij's breakthrough was allowing the machine to effectively train itself, with guidance: Running pieces through allows the system to take its own photos, make a guess, and build on that guess. As long as Mattheij corrects the incorrect guesses, he ends up with a decent (and self-reinforcing) corpus of training data. As the machine continues running, it can rack up more training, allowing it to recognize a broad variety of pieces on the fly.

Here's another video, focusing on how the pieces move on conveyer belts (running at slow speed so puny humans can follow). You can also see the air jets in action:

In an email interview, Mattheij told Mental Floss that the system currently sorts LEGO bricks into more than 50 categories. It can also be run in a color-sorting mode to bin the parts across 12 color groups. (Thus at present you'd likely do a two-pass sort on the bricks: once for shape, then a separate pass for color.) He continues to refine the system, with a focus on making its recognition abilities faster. At some point down the line, he plans to make the software portion open source. You're on your own as far as building conveyer belts, bins, and so forth.

Check out Mattheij's writeup in two parts for more information. It starts with an overview of the story, followed up with a deep dive on the software. He's also tweeting about the project (among other things). And if you look around a bit, you'll find bulk LEGO brick auctions online—it's definitely a thing!

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8 Common Dog Behaviors, Decoded
May 25, 2017
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Dogs are a lot more complicated than we give them credit for. As a result, sometimes things get lost in translation. We’ve yet to invent a dog-to-English translator, but there are certain behaviors you can learn to read in order to better understand what your dog is trying to tell you. The more tuned-in you are to your dog’s emotions, the better you’ll be able to respond—whether that means giving her some space or welcoming a wet, slobbery kiss. 

1. What you’ll see: Your dog is standing with his legs and body relaxed and tail low. His ears are up, but not pointed forward. His mouth is slightly open, he’s panting lightly, and his tongue is loose. His eyes? Soft or maybe slightly squinty from getting his smile on.

What it means: “Hey there, friend!” Your pup is in a calm, relaxed state. He’s open to mingling, which means you can feel comfortable letting friends say hi.

2. What you’ll see: Your dog is standing with her body leaning forward. Her ears are erect and angled forward—or have at least perked up if they’re floppy—and her mouth is closed. Her tail might be sticking out horizontally or sticking straight up and wagging slightly.

What it means: “Hark! Who goes there?!” Something caught your pup’s attention and now she’s on high alert, trying to discern whether or not the person, animal, or situation is a threat. She’ll likely stay on guard until she feels safe or becomes distracted.

3. What you’ll see: Your dog is standing, leaning slightly forward. His body and legs are tense, and his hackles—those hairs along his back and neck—are raised. His tail is stiff and twitching, not swooping playfully. His mouth is open, teeth are exposed, and he may be snarling, snapping, or barking excessively.

What it means: “Don’t mess with me!” This dog is asserting his social dominance and letting others know that he might attack if they don’t defer accordingly. A dog in this stance could be either offensively aggressive or defensively aggressive. If you encounter a dog in this state, play it safe and back away slowly without making eye contact.

4. What you’ll see: As another dog approaches, your dog lies down on his back with his tail tucked in between his legs. His paws are tucked in too, his ears are flat, and he isn’t making direct eye contact with the other dog standing over him.

What it means: “I come in peace!” Your pooch is displaying signs of submission to a more dominant dog, conveying total surrender to avoid physical confrontation. Other, less obvious, signs of submission include ears that are flattened back against the head, an avoidance of eye contact, a tongue flick, and bared teeth. Yup—a dog might bare his teeth while still being submissive, but they’ll likely be clenched together, the lips opened horizontally rather than curled up to show the front canines. A submissive dog will also slink backward or inward rather than forward, which would indicate more aggressive behavior.

5. What you’ll see: Your dog is crouching with her back hunched, tail tucked, and the corner of her mouth pulled back with lips slightly curled. Her shoulders, or hackles, are raised and her ears are flattened. She’s avoiding eye contact.

What it means: “I’m scared, but will fight you if I have to.” This dog’s fight or flight instincts have been activated. It’s best to keep your distance from a dog in this emotional state because she could attack if she feels cornered.

6. What you’ll see: You’re staring at your dog, holding eye contact. Your dog looks away from you, tentatively looks back, then looks away again. After some time, he licks his chops and yawns.

What it means: “I don’t know what’s going on and it’s weirding me out.” Your dog doesn’t know what to make of the situation, but rather than nipping or barking, he’ll stick to behaviors he knows are OK, like yawning, licking his chops, or shaking as if he’s wet. You’ll want to intervene by removing whatever it is causing him discomfort—such as an overly grabby child—and giving him some space to relax.

7. What you’ll see: Your dog has her front paws bent and lowered onto the ground with her rear in the air. Her body is relaxed, loose, and wiggly, and her tail is up and wagging from side to side. She might also let out a high-pitched or impatient bark.

What it means: “What’s the hold up? Let’s play!” This classic stance, known to dog trainers and behaviorists as “the play bow,” is a sign she’s ready to let the good times roll. Get ready for a round of fetch or tug of war, or for a good long outing at the dog park.

8. What you’ll see: You’ve just gotten home from work and your dog rushes over. He can’t stop wiggling his backside, and he may even lower himself into a giant stretch, like he’s doing yoga.

What it means: “OhmygoshImsohappytoseeyou I love you so much you’re my best friend foreverandeverandever!!!!” This one’s easy: Your pup is overjoyed his BFF is back. That big stretch is something dogs don’t pull out for just anyone; they save that for the people they truly love. Show him you feel the same way with a good belly rub and a handful of his favorite treats.

The best way to say “I love you” in dog? A monthly subscription to BarkBox. Your favorite pup will get a package filled with treats, toys, and other good stuff (and in return, you’ll probably get lots of sloppy kisses). Visit BarkBox to learn more.

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