Review: MOUSE GUARD “Dawn Of The Black Axe” Is Creating A Legend

Who can resist high adventure and historic-fuelled legends acted out by tiny rodents in a world of imposing nature? As a pre-teen, I grew up reading Robin Jarvis’ Deptford Mouse books, a very English series of fantasy books containing medieval type wars between mice and stoats. This led me into the world of Redwall by Brian Jacques, whose books were compared to JRR Tolkein’s famous fantasy series, The Lord of the Rings.

So, it will come as no surprise that when David Petersen began releasing his Mouse Guard series through Archaia Studio Press in 2006, I was waiting with open arms. The comics were appealing on a number of levels: art, design, and magnificent storytelling. However, the initial appeal was the cast of central characters, each one a striking individual, even though they were just mice. Over the years, I have loved and re-read the comics already available, becoming a big fan of Petersen and his errant rodents, so much so that I named the players in my last Blood Bowl league team after his enchanting characters.

On March 19th, 2025, in conjunction with BOOM! Studios, a new Mouse Guard saga begins; an historic tale set before any of the other comics that have been released. Dawn of the Black Axe starts with the introduction of a metalsmith, Farrer, who is travelling to Lockhaven in the middle of the storm. He brings with him The Black Axe, forged by himself in a fit of vengeance aimed at the snake Langtspyd who killed all of his family. But the weapon is too heavy a burden for the metalsmith, and he drags it across the kingdom in search of a champion to wield it. Initially, the request for one of the Mouse Guard to assist him is rejected, but Bardrick steps up—a noble, honourable mouse who will risk banishment to protect all mice.

And so begins the legend of the Black Axe and Bardrick, its first wielder.

Dawn of the Black Axe is the first in (hopefully) a line of miniseries set in the Mouse Guard world. Each series will see David Petersen work with a different artist to tell new stories while maintaining the same, hypnotically natural aesthetic that has come to define the Mouse Guard books. Over the years Petersen’s work has been captivating, blending together lyrical narratives with beautiful artwork. And the inclusion here of a new artist, Gabriel Rodriguez, does not diminish any of this. Rodriguez adopts the style from the previous books with fine line work and highly detailed panels. The characterisation is wonderful but the true beauty comes from Rodriguez’ ability to make them act on the page. Extravagant gestures, solid posturing, and some of the best facial mouse expressions ever are committed to the page. This comic is Shakespearean in staging and delivery. It is perfect for the story that Petersen is telling.

It is impressive how much story Petersen can make you think you have read. This first issue of Dawn of the Black Axe is fairly straightforward with two, arguably three, major scenes, however Petersen is able to pack the comic with an abundance of history and set up. The metalsmith has a small role but he is a fully rounded character with a tragic past and a determination to his present. We only need a quick glimpse of the matriarch Siobhan to get a full understanding of her character and how she treats her subjects. She is a strong leader, able to control a room, but there are hints of her clever manipulation of the other characters she interacts with. Returning once more to Shakespeare, Siobhen inhabits a presence on the page equal to any of the bards most famous female characters: the Lady Macbeth, Gertrude The Queen of Denmark, or even Titania herself. Siobhan is a pillar that the story revolves around while maintaining physical and emotional distance from both the other cast members and the readers. Both Petersen and Rodriguez understand this and chose her place within a panel accordingly. They have also designed her so that she stands out on the page, even when she is hiding in the shadows.

Speaking of shadows, Rodriguez uses a lot of heavy black spaces to represent the shadows within the comic, especially in the halls and candle-lit rooms of Lockhaven. This produces very atmospheric scenes and gives the comic a shifting tone as the adventure moves from the fabricated walls of the city to the open expanses of the surrounding woods. It also makes the first half of the comic very staged, as if it is a performance to be viewed. When the readers follow Bardrick out of the city to hunt down the snakes, we transition from audience to companion. We stop merely watching the action unfold and become more like a squire to the questing knight where we get thrown into the action on the ground level. It is a strong emotional shift that brings us closer to Bardrick and we understand the sacrifice he has made and the danger that he now faces.

There is so much going on within each page, but it somehow seems simple and dreamlike, almost uneventful. It is possible to sum up the storyline of this comic in a single sentence, but to explain what happens, to give someone an idea of how the story is told, would take you so much longer. There is a depth to Dawn of the Black Axe that you often see with this type of story. It is like a lake—the crisp shimmering of the surface is flat but enticing, and the closer you get the more you can see happening beneath the surface, drawing you in until you are submerged in an expansive, beautiful world.

The Mouse Guard series has always had a bi-monthly, if not longer, release schedule, and it has been nearly 10 years since any new Mouse Guard comics have been published. However, it is always worth the wait, especially when Petersen himself is involved. Mouse Guard: Dawn of the Black Axe is a magnificent comic that will draw any reader in, whether you are new to the series or an obsessive. David Petersen, with Gabriel Rodriguez’ help, has created a beautifully styled, performance-esq, legend narrative that compliments his ongoing series perfectly.

And I’ve not even mentioned the superb design of the product itself. There is something satisfying about the square format of the comic that allows for some wonderful storytelling but also, of itself, produces a fantastic reading experience. I have always found the reading of comics a very tactile experience, having the physical product in my hands, and this is enhanced when the product challenges our expectations. By simply changing the size and shape of the comic, we interact with it in a different way and accept that what we are reading is different to our usual comics. It has a physical impact that creates a memory specific to that comic. And any time a comic tries to interact with you in a new and physical way, it is worth your time.