“Doga”, the steely protector of Mumbai, and “Bheriya”, the invincible warrior of the forests of Assam — the great confluence of these two major and contradictory characters, “Kaun Bada Jallad” (special issue number 0124), is not just a comic book but a historical event that has brought these uncrowned kings of their respective worlds face to face. Composed by the legendary duo Tarun Kumar Wahi (writer) and Dheeraj Verma (penciler), this comic asks a fundamental question from its title itself — who is the “Jallad”? Is he the one rooting out criminals in the concrete forests of the city, or the one who rips apart intruders in the lush forests of nature? This review will thoroughly analyze the story woven around this question — its characters, its art, and its impact.
Urban hunter in the jungle
The story begins with the “hangman” Doga of Mumbai entering an unfamiliar area — the dense, mysterious forests of Assam. Doga is here to capture one of his old enemies, Michael. Michael, a vicious criminal, is hiding in the forest and carrying out some dangerous conspiracy. This is a new challenge for Doga. His area of work is the streets of Mumbai, skyscrapers, and underworld haunts — not the greenery, wild animals, and mysterious mist.
On the other hand, this forest is home to “Bheriya”. He is the king here, the protector here. The law of the jungle is his law. When Doga, an “urban”, enters the forest with his heavy-handed weapons (especially his Chengan), he becomes an intruder in Bheriya’s eyes. The principle of Bheriya is simple — “If any devil comes and peeks into Bheriya’s forests, I will tear his chest apart.”
The first part of the story is based on the misunderstandings between these two. Writer Tarun Kumar Wahi has cleverly created a situation where both heroes are right from their own point of view. Doga is on his mission and he can’t let anyone get in his way. Bheriya is protecting his home and sees every outsider as a threat.
A third and important angle in the screenplay is that of “Kobi”. Kobi, who is a replica of Bheriya and is the leader of the Bheriya army, is always busy proving his superiority over Bheriya. When he sees Doga in the woods, he finds it another chance to show his strength. In this way, the story turns into a triangular conflict — Doga vs. Bheriya, Doga vs. Kobi, and to a lesser extent, Bheriya vs. Kobi.
The story takes a turn when Michael’s sister, “Jane,” arrives in the woods. She pretends to be a helpless, innocent girl searching for her “wandering brother.” Bheriya, who is the protector of the innocent creatures of the forest, falls into Jane’s trap and promises to save her from Doga. Now the Doga and Bheriya confrontation becomes not just a misunderstanding but a principled battle. In Doga’s eyes, Jane is an accomplice to a criminal, while in Bheriya’s eyes, she is a “guest” and “refugee” whom it is his duty to protect.
This conflict brings the story to the point where both heroes have to decide who their real enemy is.
Analysis: Philosophy of the “Hangman”
The real heart of this comic goes deeper than its action-packed story. It reinterprets the term “hangman.”
Doga – Executioner of the System: Doga’s philosophy is rooted in his tagline — “I don’t solve problems, I root them out.” That stems from a system that has rotted away. Where the law and the police fail to punish the perpetrators, Doga’s justice begins. He is an anti-hero. He does not flow with emotions. For him, Michael is a criminal and Jane is his helper. He has come to eliminate them, and he will do it. His justice is cruel and final, and that makes him the “hangman” of Mumbai.
Bheriya – Executioner of Nature: The philosophy of Bheriya is natural and primitive. That is the law of the jungle. He is an “executor” of poachers, smugglers, and intruders who disturb the balance of the forest. His justice is also quick and cruel, but he is bound by the laws of nature. He is a “hero,” a protector. When Jane comes to him for refuge, his “hangman” form melts away and the “protector” form emerges. He sees Doga as a hunter who has come to kill an “innocent.”
The Real Executioner – Michael: The real “executioner” of the story is Michael. Not only is he making “Ayurvedic poison” by smuggling the rare herbs of the forest, but he also exploits the feelings of his real sister, Jane. He does not hesitate to put his sister in danger either. Tarun Wahi makes a social comment here — the real executioner is the civilized, educated urban criminal who kills both nature and humanity for profit.
This comic does not provide a direct answer to the question, “Who is the big executioner?” Rather, it leaves it to the reader. By the time they reach the end, the reader comes to understand that both Doga and Bheriya are “executors” of their own kind and that both are fighting for justice. Their real enemy is the one who is hiding behind the scenes.
Characterization
Doga: Tarun Wahi has kept Doga’s character connected to its roots. Despite being in the woods, Doga’s behavior does not change. He speaks little, analyzes accurately, and has steely intentions. When he says to Bheriya, “I have nothing to do with the law of the jungle… I am my own law,” that reflects the basic character of Doga.
Bheriya: Bheriya is shown in all his glory. He is short-tempered, powerful, but also passionate. His sympathy for Jane pits him against Doga, reflecting his character’s human (or rather, natural) weakness.
Kobi: Kobi is the “wild card” of this story. He is a symbol of chaos, as always. Dheeraj Verma’s art has shown Kobi to be more ferocious and wild than Bheriya. His fight with Doga is one of the finest action sequences in comics.
Art and Painting: The Peak of Dheeraj Verma
If Tarun Wahi is the soul of this comic, then Dheeraj Verma is its beating heart. This comic is an excellent example of the artistic peak of Dheeraj Verma.
Anatomy and Dynamics: Every character of Verma is a muscle storm. Doga’s giant body, Bheriya’s wild agility, and Kobi’s demon-like form — every panel is full of energy. The action sequences have movement, a flow that makes the reader turn the pages.
Portrayal of the Jungle: Dheeraj Verma has presented the jungle not just as a backdrop but as a living character. Mysterious elements such as “blind mist,” “Kaigula,” and “Tanatanna” (which are taken from Bheriya’s own comics) make the forest a supernatural and dangerous place for Doga.
Dreaded Expressions: Verma’s biggest quality is the facial expressions of the characters. Anger, hatred, cruelty — every emotion is clearly visible. When Kobi pounces on Doga, or when Bheriya stares at Doga, the brutality on their faces is worth seeing.
Color and Inking:
Sunil Pandey’s color decoration and Rajendra Dhoni/Manu’s inking have further enhanced Dheeraj Verma’s penciling. The dark green and brown colors of the forest, the dark shades of Doga’s costume, and the use of bright orange and yellow at the time of the explosion set the mood of the story.
Dialogue: The Magic of Tarun Wahi’s Pen
The dialogues of this comic are as powerful today as they were at that time.
“I don’t solve problems… I root them out.” (Doga)
“Some devil should come and peek into the Bheriya’s forests… I will rip his chest apart.” (Bheriya)
“You urban worm… What are you doing in my forest?” (Kobi to Doga)
“Stop if you can, Bheriya… Both this criminal and his poison will go with me to Mumbai.” (Doga)
These dialogues are not just lines; they are a mirror of the characters’ personalities.
Climax and Conclusion
The climax of the story comes when Bheriya discovers Michael’s truth. Michael attempts to kill his sister Jane as well, and Bheriya’s “protector” form is then awakened. He understands that Doga was right.
What happens next is a dream come true for Raj Comics fans. Together, Doga and Bheriya attack Michael and his goons. This is an unmatched team-up. On one side, Doga’s Chengan spits bullets, while on the other side, Bheriya’s sharp claws tear the enemies apart.
The final battle takes place underwater, among crocodiles. It shows that both heroes are capable of fighting not only in their own worlds but in any circumstances.
In the end, when Michael is defeated, the two heroes understand each other. Doga and Bheriya shake hands. It is not the union of two “executors,” but of two “heroes.”
“Your forest didn’t like me, Bheriya,” says Doga.
To which Bheriya replies, “Maybe even the forest has understood that there is a forest in the city too… And you’re its protector.”
Final Decision
“Who’s the Big Hangman” is not just a comic but an experience. It brings together the two biggest and most opposite-minded heroes of Raj Comics on one platform and shows that when the goal is justice, the destination can be the same even when the paths are different.
This story is relevant even today. The conflict between nature and industry, between law and justice, still continues. This comic tells us that the real “hangman” is not the one who cruelly judges, but the one who cruelly does so for selfish reasons.
This special issue will always be remembered for Tarun Kumar Wahi’s excellent screenplay, Dheeraj Verma’s timeless art, and one of the biggest crossovers of Raj Comics. It is a priceless work in every comic lover’s collection.
