A train of German prisoners arrived in Nuremberg Train Station in 1947. 2 US soldiers open the van where they were parked and discovered a bloody carnage. Trevor Bruttenholm is installed at a military base in New Mexico and he peels his records when Varvara interrupted his thoughts. They know both the culprit: the Baron Konig. The next day, Bruttenholm asks Margaret (his secretary) to bring him the files of agents approached to intervene on the ground: Jacob Stagnation, Simon Anders, Frank Russell and Gabriel Ruiz. So they are sent on mission in Annecy, the lake, to conduct research in the library and investigate Konig castle. Among the four agents, there is one who is more conscientious than others; he begins the investigation alone while his comrades spend a good evening at the local bar before going to work the next day. The supernatural is not slow to emerge and carry the agents in its wake.
Mike Mignola and Joshua Dysart continue to narrate the beginnings of the BPRD. After the carnage of the previous volume, Bruttenholm must compose a new team. But this time, he is not involved in the field; He gives orders from the air base of New Mexico, while keeping an eye on more or less distracted Hellboy still a child (but already with a taste for pancakes). Dysart fixed on 1 page the main traits of 4 field agents. Then he develops the personality of Simon Anders small touches to progressively situations it faces. This approach results in a very organic results (as opposed to artificial) that allows the reader to discover little by little this remarkable individual. Thus, there is a clear improvement as regards the psychology of characters (with respect to "1946")
Regarding the overall story, it is easy to perceive the tab Mignola beyond simple monsters encountered. In particular, he said in a text page visually how he thought the kidnapping of Simon Anders in the supernatural reality. The reader finds repeatedly Mignola exceptional talent to ward off monsters in traditional situations and forms that are less, while respecting nature. Again, this volume does more than put a few ingredients in the pot, it offers a scenario built with several reversals unexpected situations.
Paul Azaceta has been replaced by the brothers Grabiel Bá and Fabio Moon (who also illustrated Daytripper & Casanova). The two brothers share the sequences between the two worlds. They have a fairly similar style which avoid the gap between the two types of sequences. For the passages in the real world, there is a use of black-to dishes that evokes that of Mignola, without aping them. The sequences in the other world are more aerial. Bá and Moon have a sense of fair detail. They personalize each individual and decorations element thanks to several specific details without cluttering the boxes. Bonuses pages show they performed research for the historical elements are just and true. What I like least is the somewhat loose, too sketched sequences in the other world. This mode of representation rather reminds me of humorous cartoons that situations halfway between horror and fantasy. Nevertheless it installs a graphic style very particular and not unpleasant atmosphere.
The volume closes with a Bruttenholm youth adventure in 1938, 8 pages, written by Mignola and Dysart and drawn by Patric Reynolds. As usual with short stories Mignola, the reader remains unsatisfied and is not this night in a church that will make me change my mind.
Overall, the reader finds here the elements that make the series of Hellboy and BPRD unique, beginning with an obvious love for monsters and supernatural creatures that permeates every page. The scenario is quite elaborate, well-structured and drawings provide a strong personality, with a strong immersion power. To my taste, this adventure does not allow me to familiarize myself with the characters enough so that empathy is involved.