With each issue, this latest miniseries of Baltimore gets better and better…
Written by Mike Mignola and Christopher Golden
Illustrated by Peter Bergting
Colors by Dave Stewart
Lettering by Clem RobinsLord Baltimore attacks a coven of witches to free his friend, but the witches will not give him up so willingly. Alone and freezing, Baltimore can now only save himself. Will he survive the wrath of the witches?
This issue hooked me right away. I read the original Baltimore novel before the comic, so the core elements I identify as a Baltimore story have their roots firmly planted in the novel. One thing the novel did a lot of was introducing characters through their own experiences with the supernatural. It’s a tradition that has continued in the comics with most of the main characters so far. Sofia Valk, Judge Rigo, and Simon Hodge all had tales of their own, brushes with the supernatural that marked them in some way.
So when this issue began with a character telling a tale of his encounter with the supernatural, I sat up at once. Is this the introduction of another main character? Maybe. Maybe not. I’ll certainly have my eye on Mr. Marchand in future…
All this happened in the first three pages. From there the story jumps between the three groups of characters and I have to say, for a book that was primarily focused on Lord Baltimore for so long, it takes to this new ensemble format like a duck to water. Christopher Golden juggles all these plotlines, never staying with one too long or too short, keeping the tension up from start to finish. This book really works. There’s so much energy in it, I suspect Golden had a lot of fun writing it.
Another thing I’m enjoying about this series is how each character is developing and showing what they bring to the table. The stuff with Captain Aischros and Mr. Kidd were my favorite moments from this issue. For readers that haven’t read the novel, this must be the first time they’re really getting to know Aischros. It’s good to see he’s still the character I remember, a man with good instincts for the supernatural and a cautious attitude (earned through a horrific encounter with puppets). Aischros and Mr. Kidd bounce off each other well, and as they discover… well, I can’t say without spoiling things a little, but as they discover certain things, their tale takes on an Indiana Jones and the Temple of Doom kind of feel.
In my previous review, I said I wanted to know more about Harish (I still have my fingers crossed for a flashback or one-shot in future), but after this issue, I want the same thing for Mr. Kidd too. And just for the hell of it, if Golden does do some flashbacks, hopefully we’ll see Quigley again. At this point, I’m having so much fun with this, I’m up for whatever he’s got cooking.
Judge Rigo was another character that got to shine in this issue. He proved his usefulness, but in a way that showed more of who he is and what makes him tick. Action that reveals character always makes for taught story telling. This issue went by very quickly, yet it felt satisfyingly full too.
Peter Bergting seems to be having as much fun as Golden. There’s a great panel early on, you’ll know it when you see it, of an eye looking out from behind broken glasses. It says so much about what’s going on in the scene and in a way that’s visually striking.
I can’t quite articulate why, but there’s something about Bergting’s environments that summons up grand swashbuckling adventure. It was there in the hidden library in the first issue and again at the end with the giant jellyfish freezing the ocean. At the time I chalked it up to the needs of the story pushing it to these places, but as I get further into it, I’m noticing how much care he’s put into his environments to make them visually distinct. The Red King’s temple was especially interesting and I was left with a very strong sense of the space.
Continued belowWith each passing issue, Bergting seems to be getting more comfortable with the characters’ faces, knowing which emotions he can push in them, especially Lord Baltimore. Ben Stenbeck had the same thing happen with him during his time on the book. In the beginning, Baltimore’s expressions were restrained, but over time he became more expressive. (I used to love those rare moments when Stenbeck threw in an eye roll from Baltimore.) I imagine Baltimore can be quite tricky for the artists, because normally he is so restrained. A bigger show of his emotions could become cartoonish, but Bergting’s got a good sense for what works for the character. Lord Baltimore needs an artist that can find these moments, because without them he becomes one note.
The way Bergting’s drawing Childress and Aischros now summons up memories of Mignola’s illustrations in the novel. (This is no doubt a big part of why I enjoyed the Aischros part of this story so much. He was so much like the character I had in mind when reading the novel.)
The only character that seems a bit left out at the moment is Dr. Rose, but with a cast this big, there’s no harm in that. By necessity some characters have to take a step back. If he doesn’t get his moment in this story, I’m sure he’ll get one in a future tale. Mignola and company are juggling nine characters, and they’re doing so in a way that makes it seem effortless (which is usually a sign that a lot of hard work went into it).
Final Verdict: 8.5. If this miniseries keeps up like this, it’s going to be my favorite Baltimore story yet.
