No one can challenge destiny … unless you’re stubborn enough.
Creative Staff:
Writer: Nick Bermel
Artwork: Jason Muhr
Colors: Maxflan Araujo & Grostieta
Letters: Kurt Hathaway
What They Say:
Many generations ago, the Völsung clan was tasked with slaying the dragon, Fafnir. Sigurd, the last of his clan, must now take up the fight against his family’s ancient and terrible foe.
Content (please note that portions of review may contain spoilers):
Deep within the Fjällen Mountains with biting winter wind nipping at exposed skin, the last of Völsung clan rides into the heart of this desolate landscape to face his destiny, a familial legacy to defeat a beast which no one has been able to complete and yet many have fallen within before tooth and fang – the dragon Fafnir. Sigurd is the lone survivor of this cursed ancestry and the only one who may now lay his forebears to rest, those courageous men and women who before sacrificed their lives in an attempt to bring an end to this formidable fire breathing lizard. It was a scant ten years ago when he remembered hunting with his brother and then a fraction of time later when his last relative left to fulfill his duty – never to return and thus breaking a promise to a young child. Now it was his chance to grasp his obligation, even as he struck flint to iron all to light the way through a cavernous path littered by bones and ruined arms of the past, a grim reminder many passed before him … and yet all too few as being none executed the task, now the responsibility is his – one which he will surely fail.
As he marched through this ancestral path of the dead, the fetid stench of death attracted feral beasts to feast on bones and desiccated flesh, and yet Sigurd did not hesitate to easily dispatch one of the creatures as it charged to protect its meal. Nothing would stop him from accomplishing this goal, even when he spotted a familiar valkyrie winged helmet sitting atop a bare skull, even without any recognizable marks he knew this was the body of his mother. Fourteen years ago she too left to avenge the death of a mate who wished to settle a long-standing score, but now the child knows the fate of his parent and takes a memento to remember her wishes. It is only then does he also take up the blade of a father he never knew, resting by a skeleton whose face Sigurd does not remember, the celebrated sword of his family known as Wrath. This would be the weapon he would use to end the legacy which ripped away so many before him, bring an end to the monster whose existence was the bane for generations … and yet as he stepped from the flaming cave of his ancestors, this creature who has become the obsession of Völsung clan was – asleep. There spread prone upon a metallic mattress of golden coins, glimmering jewels, ancient armaments and even more remains of the past lay the draconian menace which called itself Fafnir, slumbering peacefully without a care in the world, especially from the final generation of this foolish family. Is this the one who conquered so many kinsmen over the centuries, an abomination with battle scars strewn over its body and matching corpses for each one decorating its lair, the fear who urged his entire family to throw themselves against scaly hide until there was but one left … oblivious and not caring for his approach? Is he this formidable and so overpowered there is no worry as to keep watch – what kind of nightmare is Sigurd going to face?
In Summary:
When we were first introduced to the concept of Dragonsblood within Grimm Universe Presents 2019, I immediately thought of this fantastical story as being the equivalent of a Nordic saga like Saga of Bósi and Herraud or more familiarly the epic Old English poem Beowulf. However as writer Nick Bermel expanded the exploits of Sigurd within this opening issue to flesh out the prior’s dramatic emphasis, the mood seems to shifted from a rousing tale told in a tavern into something which seems to mirror J.R.R. Tolkien’s The Hobbit, with said hero taking the role of Bilbo and Fafnir has become the talkative Smaug, including the same vulnerability in his armor. While this deviation from what I would consider a Norse myth based narrative is not necessarily a bad thing, especially since it helps to establish our hero’s reputation, it also makes this introduction feel too dependent upon a preset foundation with lingering concern the remaining story may also borrow from other well-known fantasy sources, which I sincerely hope Bermel will not cross with this series. However, at the same time, this pre-established scenario which we are familiar does grant an audacity due to the grandeur of a titanic battle, expressing unto the audience the stakes of the event and what may happen if the hero does not emerge victorious. Then on the opposing side of the coin since we know what will happen thanks to said barroom story and Sigurd pronouncing he is the last of his line, the resulting conundrum results in a conclusion which releases any tension before it can be made, thus leaving the reader with a bit of disappointment, even as we are trying to catch our breath due to the false anticipation of what may happen.
And yet as we accustom ourselves to this derivative premiere, it does not mean the graphic display which expands upon this Norse world will suffer thanks to a lack of enthusiasm, in fact, the opening wonderfully sets the stage for a tragic tale. To watch the barrenness of a winter landscape gradually introduces readers to the marvel of Jason Muhr’s talented pen, all as he silently unfolds the somberness of one man’s obsession, made that more pronounced by a singular panel focused upon Sigurd’s determination as he dons his helmet. The clean crisp lines upon a bleak background immediately reflect the solemnness of his quest, however as we recall the events which lead to the present, it is the pastel inspired softness of Maxflan Araujo and Grostieta’s colors which allow us to relax with the tranquil veil of childhood. The dramatic contrast between harsh shadows and sun-dappled gentleness is disarming, making us wonder if this is the same story, only to shock us back to reality with darker tones emphasizing the horrendous present. It is this theatrical transition between time periods via vivid and moody palettes which allows the reader to understand the development of the hero in such an enlightening visual manner. While this shift could have been accomplished alone via Muhr’s amazing illustrations, the sensational impact could not have been as forceful without the colorists’ dedication in provoking an emotional impression within every striking image. This synergistic transformation is especially provoking as we watch Sigurd pace down the path of death toward his destiny, evident once he is forced to face his first obstacle – the lizards feasting on his kin; it is amazing how you almost hear the ambiance of the scene thanks to the cooperation between these fantastic artistic disciplines – crackling of flame, fetid smell of the beasts’ breath and then finally the primal crack of our hero’s fury for this desecration, all of these effects made more impactful thanks to intricately applied ebony layers of shading to accentuate every muscle and sickening sound of cracking bone. This is how you create a nuanced environment which builds up toward an epic showdown, however at the same time while this ambitious coloring scheme and insanely complex line work does promote the poignance needed for the moment, at the same time these techniques also produce a clashing effect when we finally face the dragon – to be honest these amazing results are too clean for a battle which should be epic and monumental. With the accumulation of negative scenery which unfolds Sigurd’s quest for vengeance, I would expect an environment which was more gritty, morose and foreboding, but as our hero steps out of the suffocating tunnel he is greeted by a sun-filled cavern adorned by glittering treasure and a sleeping enemy unconcerned by his presence. While I can appreciate Fafnir’s skepticism after centuries of useless enemies, the mood which is portrayed by this graphic display seems to be a moment filled with lethargy and not the intensity of finally having satisfaction. Perhaps it is the lighting which spoils the mood but the following scenes do not help much since everything is too bright to establish the serious bleakness of what should be a thrilling fight to the death, all to communicate the grandeur of the battle. In foresight I would have liked a sunset dressed atmosphere reflecting the end of the day and in essence the conclusion of someone’s life, but the over-illumination spoils what could have been a pleasingly moving moment and in effect seems too concerned in allowing the reader to see everything and not feeling the finality of a moving conflict.
Dragonsblood may begin as a rousing tavern tale recanting of the exploits of Sigurd, but as we are introduced to the fledgling hero the overabundance of effort creates artistic confusion and a sense of unnecessary nostalgia. Although the concept seems worthwhile, it is the familiarity of the story and an overexposure within the sensational conclusion which restricts the growth of someone we should be cheering for, but instead, are left with an unwelcomed degree of disappointment. Hopefully now that the story has been established we can look forward to something which is tentatively pleasing, but for the time being, we can only regret what we might have missed.
Grade: A
Age Rating: T (for Teens)
Released By: Zenescope
Release Date: May 01, 2019
MSRP: $3.99
