In the Indian comics world, some stories are not limited to pages only; rather, they create a whole era. The suspense that started with ‘After Nagraj’ and the energy crisis that deepened in ‘Fuel’ has now reached its biggest and most decisive turning point. The final part of the most popular trilogy of ‘Raj Comics’, ‘Venom’ (Venom), is not just the story of the return of a protector, but it is also the announcement of the complete end of evil and the beginning of a new form of hero. Sanjay Gupta’s presentation, Jolly Sinha’s balanced script, and Anupam Sinha’s brilliant illustrations have made this comic a true ‘masterpiece’ in Indian comics history. This review will elaborate on every exciting aspect of this 60-page epic, the depth of its thinking, and the artistic nuances.
Missiles of Destruction and the Last Struggle of Humanity
The story starts with a very scary visual. It is clearly visible on pages 1 and 2 that the ‘Venom’ fuel, which was being said to be the future of the world, has actually become a ‘slow poison’. Venom-powered cars are not only emitting deadly smoke but are also turning into fireballs on the go. This scene immediately creates fear in the mind of the reader as to what trouble man has given rise to due to his greed.
The main story revolves around the global conspiracy of ‘King’ (King) and ‘Mammoth’ (Mammoth). King has forced the world’s armies to kneel on the basis of ‘Venom missiles’. The story reaches a big turning point on pages 24 and 25, when Dr. Karunakaran comes before the world and confesses the truth that Venom is not a boon but a dangerous curse. From here, the pace of the story becomes so fast that the reader hardly gets a chance to even breathe. The last battle becomes not just a direct contest of strength, but of ‘truth’ and ‘lies’.
The Truth Behind the Masks: Who Is That Mysterious Stranger?
The biggest question that readers had from the last two parts (‘After Nagraj’ and ‘Fuel’) was, “Is that mysterious stranger Nagraj?”—its answer is very effective in this part. On pages 49 and 50, it is revealed that Nagraj had resorted to ‘self-hypnotism’ (Self-Hypnosis) to neutralize the effect of the ‘Suicide-Ray’.
This twist shows both the author’s understanding and cleverness. Nagraj himself had closed his memory so that the enemies could not find Nagdweep from his mind. This revelation not only seems logical but also strengthens Nagraj as a ‘master strategist’. That mysterious stranger was not a clone or soul, but the same form of Nagraj who never deviated from his duty (protection) even after forgetting his identity.
Reincarnation of the Hero: The Journey from Nagraj to ‘Shah’
The development of the characters in this comic is shown in a very mature manner.
Nagraj/Shah: In this part, Nagraj appears in a new form. He no longer just appears to be a superhero but also a savvy detective and skilled planner. Finally, his adoption of the name ‘Shah’ (Shah) and becoming a manager in Bharti’s office highlights both his humanitarian and strategic aspects.
King and Mammoth: As villains, both of them are completely successful in creating fear. King’s ego and Mammoth’s hybrid form (page 45) clearly show the extent to which evil can be distorted. Mammoth’s ending becomes a symbol of evil falling into its own trap.
Bharti and Visarpi: The way these two female characters take charge in the absence of a protector becomes a strong example of women’s empowerment. Visarpi’s snake powers and Bharti’s communication system prove to be the real backbone of this victory.
Anupam Sinha’s cinematic adventures scattered on paper
Anupam Sinha once again proved through ‘Venom’ why he is called the uncrowned king of Indian comics. On pages 51 and 52, when the Venom missiles rain from the sky, the depiction of explosions and smoke seems so vivid as if the scene would emerge from the pages. The transformation of Mammoth into a giant hybrid animal and the changes taking place in Nagraj’s body are shown in detail, which reflects his amazing understanding of drawing.
Apart from this, the fear reflected in Visarpi’s eyes and the light smile of ‘Shah’ emerging on Nagraj’s face—the beauty with which Anupam ji has captured these feelings in the lines is praiseworthy. The choice of colors also perfectly aligns with the grim and devastating atmosphere of the story.
Nature’s Vengeance and the End of Greed
‘Venom’ is not just an action comic, but it comes across as a strong ‘ecological thriller’. Here, Venom fuel becomes a metaphor for our real fossil fuels and gives a clear message that any tampering with nature ultimately poses a threat to humans. Whereas King’s character shows that when technology gets into the wrong hands, it can take the whole world ‘hostage’. The whole story together firmly establishes that the biggest weapon is neither the atomic bomb nor the Venom missile, but human ‘willpower’ and ‘intelligence’ are the real strengths.
The Edge of Dialogue and the Tightness of the Screenplay
Jolly Sinha’s dialogues give a different height to this great story. The explanation of the decline of humanity given on page number 3 is quite deep and thought-provoking. This time in Nagraj’s dialogues, a new kind of ‘authority’ and well-established decency is felt. On the other hand, the ‘cruelty’ and ‘ego’ filled in King’s dialogues make him a villain to remember. Furthermore, the script is so tight that no part feels spare or drawn out, and every scene moves the story towards its bigger and stronger ending.
Technical Superiority: Editing and Effects
The technical side of this comic appears equally strong. Manish Gupta’s editing ensures that the three parts remain tightly connected and the story does not seem to break. Harish Sharma’s calligraphy has given a distinct identity to the ‘sound effects’ and dialogues, making the reading experience even more effective. Also, Praveen Singh’s digital effects give a kind of global-standard look to the comic, especially in the missile and fire scenes.
Critical Analysis: Concluding an Era
Although ‘Venom’ is a great comic, its complexity can definitely become a bit of a challenge for new readers. To understand it completely, it is almost necessary to have knowledge of the last two parts. But this seems less like a weakness and more like its merit, because it is among the few series of ‘Raj Comics’ that one feels like reading again and again.
The manner in which the trilogy is concluded gives deep satisfaction to the readers. Nagraj’s return does not seem to be just a physical return, but it comes as a victory for his principles and thinking. King’s fall and Nagraj becoming ‘Shah’ indicate that the protector is always present—just changing form over time.
Conclusion (The Final Verdict):
‘Venom’ (Venom) is a shining star of the ‘golden age’ of Raj Comics. This whole trilogy teaches us that when the world is immersed in darkness, poison is being served in the name of energy, and the protector himself has forgotten his identity, still a small ray of ‘expectation’ has the power to save the whole world.
This comic is great for all readers who enjoy superhero fantasy as well as deep social and philosophical messages. Anupam Sinha’s work seems to be at its peak here. Overall, this trilogy emerges as one of the most powerful ‘story arcs’ in Indian comics history.
