4 out of 5

Something about this double feature felt more in line with classic HB versus the inconsequential nature of the last entry.  I mean, this one’s inconsequential as well (and actually, my only nit here is when it makes a nod to the larger HB world, so go figure), but if the purpose of this series is to glimpse at the early days, this double feature works for that.  The last one felt a bit more timeless, which is why it felt pointless to exist under the 19XX banner.

Again with the art, we have Stenbeck getting to step outside of the gloom of his Baltimore days and experiment more with some blown out action that isn’t limited to a human protagonist and variations on vampires.  In that sense, his framing and motion have just gotten better and better (I felt like he was getting tired of the same-old toward the end of his Balty run), although he drops backgrounds quite frequently; I’m not yet sold on it being a strategic application.  Stewart delivers on colors as usual, especially during some blood-soaked flashback moments.

A witch comes back from the dead in story one, which has a humorously HB deflating ending that Mignola winkingly lampshades with Bruttenholm commenting he should have handled things that way sooner.  The short feels a tad over-stuffed with characters and the reference to the Old Ones wasn’t really needed; stripping it down a bit would’ve given it more punch.  The backup “Bloody Bones” bit is great, pure old-school Mignola that goes huge and then goes home within a panel.

Both stories give you reference to a more naive Hellboy of the time, as well as to the types of events that would build up his cynicism and sarcasm.