I think that basically a weird thing about reading or "reading style"(s) as you say, would be that reading can be two thousand different things all at once, even as per reader, plus also even as per writer.
Either Hellboy or the BPRD can be to seem very outstanding examples of what comics may amount to. But at the same time they may seem nothing or hardly like any other comics.
And it could be that Hellboy or the BPRD would want to be seeming like outstanding other types of stuff too on and off, like outstanding old horror movies, or antique action tales both as folklore or proud tragedies potentially. Wayward or in-depth, or teamy-uppy and character- or continuity-laden, earth-shatteringly doom-impendant yet also intricate or delicately moodswept.
It's all comics, although the stories seem often organic or so hardly like anything that it's as if the stories would seem to tell themselves.
And as such it seems to me that after the first Hellboy story, which is said to be made not necessarily as being a starting point to a definite series - but more rather as something which needed to work and be good or there wouldn't likely be more to come, until one more story followed, later another and then another - that the dynamic of forming either part issues / issues / two parters / story-arcs would be deliberate and rather encompassing.
For both Hellboy or either the BPRD, or any related titles or standalones to spin off.
So that the 'writing styles' could be to vary. Eventhough it would basically all fit side-by-side as being to inter-connect. Hellboy as a title may take on rather different story formats and so does the BPRD, for either ongoing stuff or more rather side stuff, I'd think.
Like to the point that either mr Mike or anyone collaborating, could be to take on different voicings or storytelling formats or be to move in different directions or fashions as desired, all FOR the sake of storytelling or effect, more rather than against it. (Eventhough any such styles or effects would all be adding up to conscious choices made already yonks and yonks before - again FOR the sake of how stuff would be meaning to be as, like neededly.)
Which would have it be not onlly a thing of reading style, but well, two thousand other perspectives (or 1999) as well potentially, I'd feel.
Which could be fun, because any rereading can be producing new stuff to consider.
If stuff like Tolkien or Star Trek, or Star Wars once you'd know any of it fully by heart, if stuff like that would be one thing, than to me 'Hellboy etc' would seem as quite another, because eventhough it would amount to in-your-face full-on enticement, it would also be making itself far more impossible sort of, as being such a hard to oversee wealth of different things, like horns that could resemble goggles almost or weird hands and crazy life-spans or powers and destinies which could be proving curses in the end or any event.
With offering telling tales in different voicings and y'know, all that.
Like there would REALLY be nothing like it?
Plus also, that for created or creative produce, such as comics or books or graphic stories, more importantly than what things (like formats) would be, would be what it could SEEM?
Like that maybe comics stuff might really WORK as seeming potentially very different things? Either as loose issues or TPB's or collections - all fitting side by side? Or as however any reader or fan would want to be seeing things?
As for "cliffhangers", since mr Mike would be the stuff's creator, things may work as issue-ending cliffhangers potentially as much as not so much - because mr Mike uses cliffhangers as per panel moreso than only as per page-ending or as per issue I'd be to think. The panels seem as vital and essential as much as or more than how the issues'd be set up as issues? Even with other writers or other artists at work, the stories would be seeming similarly storytelling-driven both as graphically driven, in distinct ways, I'd think?