Why does Abe conceal himself in "Hellboy: Seed of Destruction" ?

[middenway]

I've always kinda wondered why Abe Sapien shows up in disguise in Hellboy: Seed of Destruction. I mean, it's set in 1994, yet in all but one of his stories in the 1980s he isn't disguised. I figured it was just an artifact of it being the first miniseries. It was a decision that Mike Mignola later didn't want to be locked into, kinda like the way Hellboy refers to Liz always calling him "Mr. Wizard" and then that never ever happens again because Hellboy being called Mr. Wizard is just... GOD, NO.



I always thought Abe's reason for being in disguise was, you know, he's a fish-man. Hellboy has been a household name since the late '40s so there's no point him being in disguise. But Abe was still an unknown to the general public back then. And back when this story was drawn, Mignola didn't know there'd be '80s Abe stories. The disguise shows up once in The Haunted Boy, Abe's first mission in which he's dealing with members of the general public, but it doesn't stick around long. I figured it was just an artistic choice. The creative team didn't like the disguise, so they ditched it.

But it totally makes sense. Abe originally wore his disguise in The Haunted Boy because he didn't know how people would react to him. He put it on to make things easier for himself and others. But he quickly decided he didn't need it.

So why'd he bring it back in Seed of Destruction, over a decade later? Well, if you're going to send an amphibious man to investigate frog monsters, you don't parade him around. It could raise some hackles. But I think there was another element to it too. See, back then Abe didn't know what he was or where he came from. He had no answers at all. Putting on that disguise again could also be him retreating from those questions. Ever since the revelations of Plague of Frogs it's been clear there's a part of Abe that's scared of what he is. It's especially pronounced in the Abe Sapien ongoing series.

But he's always had that fear in him. He learnt fear in the labs of the Bureau when he was nearly dissected by their scientists, and he took that fear out with him when he went out into the field in The Haunted Boy. And I think in Seed of Destruction he hid behind a beard and glassed for fear of the recognition he might see in the eyes of Mrs. Emma Cavendish.

Even later in that very comic he acknowledges the part of him that fears the kinship he might share with those creatures.



What do you guys think?

[Kees_L]

I think that, even besides any narrational or in-story elements, Mike Mignola created Hellboy for being specifically something he would create.

As if such would have to be a comic, not as merely featuring perfectly fleshed out or straight up stuff, but also with stuff as happening or feeling organic. Or even happenstance-like, occasionally. I hope that's a word.

Because Hellboy's character and basically any of the characters consist of being graphical and enticing but they ordinarily present a potential more rather than any certain or all-too-outlined function or destined role to take on. Characters seem to present a paradox moreso than one singular plight. Even for any destiny, there'll be much of "maybe I will, maybe I won't".
As if that would offer potential moreso than just meeting up with demand in a hearbeat. As if characterization or narratives would do well without fleshing everything out and without distilling thought processes into but readily tangible things - as if thinking is best inspired without too much distillin' going on.

I'd say that for comics in general both as within mr Mike's pages, things are put forth rather distinctly, which won't mean the story needs to be anything singular or clearcut.
If any stuff gets crazy everything slows down or becomes real distinct like the scope of stuff may become really focused and narrow - although with ever present intricate mood and intenseness - with enough room that the reader can get weirdness or mystery just shoved in front of them. With no mercy.

And for such elements as being graphic and for stuff to happen organically, I'd think Abe his internal or personal inclinations are made part visually within the story.
Like his doubts or his needs onto bringing his beard or shades along, or that hat and coat. Bringing those along, even when it might not be making much practical sense, when he'd do away with them again only moments later.
I would think mr Mike just put it in there for a draft, with letting it stay there.
Maybe only for the graphical value, but likely for granting Abe enough personality in order to be having doubts or fears and stuff.

Other than that, I agee with you that as it says in the story: the froggies seem to rattle Abe in ways as seeming telling of Abe's feelings over his own appearance, even in a Hellboy tale as early as that!

[middenway]

Oh, this reading of it definitely came later. It was something that organically evolved. It's just nice to look back and go, "Oh wow, that really fits on a deeper character level now." The extra meaning it has is cool, even though the original concept came from a completely different place.

[Kees_L]

Oh, this reading of it definitely came later. It was something that organically evolved. It's just nice to look back and go, "Oh wow, that really fits on a deeper character level now." The extra meaning it has is cool, even though the original concept came from a completely different place.

What I mean is:

wouldn't it be possible the phoney beard and spectacles would have been put into 'Seed of Destruction' due to proving (inherently) graphical,
due to just consisting of stuff apt to getting penciled visually into the comic panels? Just as practical and straight up as that?

Like maybe at the time of making SoD there would arise a limit to fleshy torso's getting depicted, so Hellboy would be
fitted with a coat and perhaps Abe too, although his raincoat-and-hat-appearance would also prove a thing of itself?

[ Enter Abe, an instantly recognizable fishy guy, showing up as... wearing a hat and glasses, trenchcoat and stick-on-beard...
Even without any speaking that seems to point to reasons or at least meaningful stuff...! ]

Like whatever any meanings behind it, now or later, it would likely make for graphical both as thought-inspiring content?

Thought-inspiring also due to presenting hardly anything all fleshed out or fully established, so a reader would HAVE TO BE interpreting it for themselves?

For puzzling or for things to seemingly make sense or even as everything seeming connected over time, stuff would need to be left open a good bit, instead of presenting things as fully fleshed out.
Plus, if narratives developing 'organically' would be an incentive for a comic, then that comic's narrative would need to communicate itself like as being comprized of actually such stuff?

And lastly: eventhough narrative bits might be made later on, or early more rather than recently, that wouldn't make it less 'initial' per se, not any less or more well-thought-out. Would be my thinking.
Maybe writers/creators think a lot about things to write, but it could just as likely be they would just see where the stuff could be taking them. Like readers might as well. Stuff could prove subject to change, like shadows making shapes onto a wall.

Sorry if I'm wordy or repetitive-seeming, but this is simply me trying to convey what I mean with my response(s) to yours...

[Skinkie]

I've always just accepted it as an artifact of being the first arc, but I do like your explanation that helps slot it in a little cleaner