The main feature of the series is still the humorous and accessible approach (which is evident from a short passage at the beginning relaying the difference between wizardry and sorcery for newcomers) to medieval fantasy; but #2 also has a few moments that shed some light on Delina’s past and her abilities, as well as how it relates to her brother. The story also reveals a separate faction, in the Watch, to increase the number of perspectives of the conflict. Not enough time is spent here to make it a viable approach to the story, but it’ll probably be important later. The majority of the story is spent on the interactions between Minsc and Delina and Krydle and Shandie. The two new characters are the typical roguish types, but within the context of the story, their inclusion was practically mandatory. They take a sillier approach than Delina, but without the childishness of Minsc. Their reasons for the thieves to help the pair isn’t convincing and is dismissed with a joke, which fits the atmosphere of the story, but still isn’t a substitute for plot. The most important thing to take from Legends of Baldur’s Gate #2 though, in relation to the story, is the identification of the antagonist (well…an agent of the antagonist anyway) which allows us to put some kind of face on the protagonist’s adversary, and the instigator of the conflict.
In short, a simple plot reveals some of the main character’s background and even a few enemy faces to hate. A brief but far from boring sword and spell fight keeps things exciting, and is bolstered by the expressive art and a dynamic panel layout. The battle scene is incredibly arena-like, but it’s done in an open enough area that it makes sense for it to unfold the way it does, and provides a sense of scale to the setting. Character interactions are quick, stylish, and full of wit. It’s not as realistic or dramatic as Zub’s Pathfinder work, but it’s a hell of a lot easier to get in to. Legends of Baldur’s Gate #2 keeps it fun and personal. It’s colorful and involved without getting too heavy or dramatic. It’s fantasy by numbers that’s been tailored for virtually any audience.