In the grand ballads of the golden age of Raj Comics, the ‘Kapalika’ special issue (No. 103, value 16.00) is a chapter that not only boasts adventure and action, but also presents a unique confluence of mythological elements and emotional ups and downs. This comic, which takes forward the story of earlier issues like ‘Kalkoot’, ‘Mrityujit’ and ‘Dankini’, follows the entry of Mahabali Bhokal and his mighty companions, Atikrur and Dhanusha, into the ‘Kalanka City’ and their fierce battle with the demonic powers. There is a story of war.
The main attraction of this issue is the destruction of the ‘Rudhir Yagya’ and the peak of the demonic ambitions of Kapalika and her sister Kalankini. This story is not limited to a direct contest between hero and villain, but it contains drama and conflict on many levels like Hanuman’s compulsion to remain ‘committed’ in his old form, Atikrur’s mysterious blood relationship, and Dhanusha’s seemingly impossible goal of breaking the action is intertwined. Pictured by Kadam Studios, this special issue represents the distinctive style of Raj Comics, where every frame is full of vibrancy and energy.
Drawing and Presentation
The cover of ‘Kapalika’ itself gives a glimpse of the great battle that is waiting inside. Bhokal is shown in front of a huge demonic shadow (probably Kapalika), in an attempt to free himself from the clutches of his wife and fellow demon. The Kadam Studio portraiture, a hallmark of Raj Comics of the period, is at its peak in this issue. The use of colors is dark and dramatic, especially in the depiction of characters such as Kapalika and Atikrur.
Page after page, artists depict action scenes with incredible speed and force. Be it the attack of the tyrant Ajgaura with his destructive weapon ‘Dantak’, or the firing of the archer with a ‘Kotish piercing arrow’, every movement infuses a wonderful energy. Demonic forms (like Ajgaura, Mahamund, Bawander form of Kapalika) have been made terrifying and impressive, which draws readers into the horrific environment of ‘Kalanka Nagari’. This distinctive style of drawing is what gives this comic a timeless appeal.
Narrative: Depth and Pacing
The story of Kapalika is very dense and dynamic. The story immediately brings the readers to the center of the great crisis, where despite defeating Mrityujit, Bhokal’s family is imprisoned in the city of Kalanka and the superpowered Kapalika is preparing for the ‘Rudhir Yagya’.
Beginning and Hanuman’s ‘commitment’:
Bhokal, Vridha (Hanuman), Atikrur and Dhanusha cross the Vishsagar and move towards Kalanka City. Bhokal’s victory over Matsyaketu demonstrates the initial action, but the real complication comes when Kapalika kidnaps Bhokal with a deceitful ‘Bawander Maya’.
At this juncture, the character of Hanuman (dressed as an old man) gets caught up in a profound moral dilemma. His invocation of ‘Jai Shri Ram’ before Lord Rama and Rama’s explanation that he (Rama and other deities) are ‘committed’ because of the boons given to demons and cannot interfere directly adds an important mythological and philosophical dimension to the story. This shows that even the divine powers are bound by rules and decorum, and the burden of protecting religion on earth ultimately rests on humans (Bhokal, Atikrur). Hanuman’s helplessness, his inability to save his devotee, gives emotional depth to the story.
Rise of the Atikrur (The Rise of Atikrur):
After Bhokal is kidnapped, the focus of the story shifts entirely to Atikrur, who emerges as the unlikely protagonist of this issue. The battle of Atikrur with Ajgaura (Giant Serpent) guarding the outer course of Kalanka is a great piece of action. In the face of Ajgaura’s invincible power and ability to blow rocks, Atikrur uses his extraordinary physical strength and ‘Dantak’ to defeat him. This battle establishes the cruelty of Atikrur (as is evident from his name) and his indomitable resolve.
Next, when both Dhanusha and Atikrur enter Kalanka City, the law of the story (Rule of the City) comes out — “every virtuous power is impaired as soon as it enters Kalanka.”
The failure of the archer’s arrows and the weakening of his power show the seriousness of this rule. But Atikrur, whose blood belongs to the demonic race, remains unaffected by this influence. This point prepares the reader for an important mystery.
Kalankini’s mystery and emotional extremity :
The emotional and dramatic climax of the story comes when Atikrur frees the imprisoned Bhokal and the old man (Hanuman). Kapalika calls ‘Mahamund’ and fights with Atikrur, but Atikrur breaks the great demon into pieces with a single blow of ‘Dantak’. The desperate Kapalika uses her most powerful weapon ‘Kapal’ (blood-drawing weapon) and starts sucking the blood of Atikrur.
At this very moment, Kalankini, who appeared on the call of the Rudhir Yagya, intervenes and reveals a big secret: Atikrur is the son of her ‘Dharma-Dutri’ Sarupa, and hence he is her ‘Dharma-Nati’.
Kalankini, who till now was the embodiment of pure demonic cruelty, is forced to do so because of her boon and word. This emotional twist brings out the conflict between relationships, religion and demonism, elevating the story above just an action saga.
Kalankini’s statement that she is putting the power of her blood sacrifice at stake to save Atikrur adds unexpected humanity (or demonic morality) to her character.
Final victory and destruction of blood sacrifice
Atikrur’s intelligence is also part of this climax. He uses not a worldly thing from Kalankini, but his mother’s boon (which is why Kalankini is committed), to ask Kalankini for a boon to come out of the city of Kalanka and fight with him. This was a masterstroke, because as soon as Kalankini goes out, the rule of ‘depleting the virtuous power’ of Kalanka City is broken.
This strategic move causes Bhokal and Dhanusha to enter Kalanka and recover their powers. Dhanusha, who was earlier powerless, destroys the ‘Rudhir Yagya’ by bursting eleven lakh blood ponds simultaneously with his ‘Kotish target-piercing arrow’.
In the final scene, the sacrificial fire fails to end Kapalika, who dies in a terrifying explosion by consuming her own power (blood). Kalankini, defeated and free from all her bondage, becomes invisible after giving two hours to the thundering Atikrur in anger — with the warning of a new conflict.
Character-analysis
Atikrur (Atikrur): The ‘show stealer’ of this issue is Atikrur. Not only do his cruelty, indomitable courage and physical strength emerge, but also his intelligence (in asking for a boon from Kalankini) and emotional honesty (in resolving not to stop in the city of sin). He proves to be Bhokal’s most important ally in this story.
Dhanusha (Dhanusha): Dhanusha is shown as an intelligent and determined archer. His momentary powerlessness and then finally making the impossible possible with a ‘Kotish target-piercing arrow’ makes him a decisive hero. He is a symbol of strategy and precise implementation.
Bhokal (Bhokal): Bhokal spends a large part of the story in a state of captivity or powerlessness, despite being the central protagonist of this issue. This makes the structure of the narrative interesting, as it gives secondary characters the opportunity to shine. Bhokal here becomes a catalyst for the power and loyalty of his comrades.
Kalankini (Kalankini) and Kapalika (Kapalika): These two villains are powerful and cruel. Kapalika symbolizes pure action and elusive deceit, while the character of Kalankini is more complex. Her affection for her ‘son of religion’ and her helplessness bound by her ‘word’ transforms her from a powerful demonic queen to a mother in dilemma. Kalankini’s characterization adds a rare emotional layer to the comics.
Themes and conclusions
‘Kapalika’ comics are based on many important themes:
Dharma and Maryada (Dharma and Vow): Through Hanuman and Ram, the message has been given that adherence to ‘Dharma’ (respect for duty, commitment) is supreme, even in the path of destruction of unrighteousness.
The Victory of Truth over Deceit (Truth over Deception): Kapalika’s deceit (the drama of Bawander Maya and Sandhi) ultimately fails because her deceit is broken by her own blood relation (by Kalankini).
Collective Power: This story tells that even in the absence of a Mahabali (Bhokal), his loyal and strategic companions (Atikrur and Dhanusha) can collectively defeat the greatest evil.
The ‘Kapalika’ special issue is a milestone in the history of Raj Comics. It is a blend of action, emotion, and mythology that continues to engage readers today. It not only presents a successful conclusion to the previous sagas, but also gives a new and deeper dimension to the character of Atikrur, laying a powerful foundation for future stories. The art of Kadam Studio and Sanjay Gupta’s in-depth narrative make it an essential classic. This comic is proof of the level to which Raj Comics had taken Indian comics during its golden period.
