This issue’s cover by artist Megan Hetrick features a slightly cartoonish yet still realistic sense of design and a color palette to match. Despite this cover’s color palette being good it does add insult to injury for the interior work. Said injury being the interior color palette being a garish selection, especially the yellows and greens. However, colorist Mark Englert does have a unique style that is reminiscent of color pencils or crayons. At least when it comes to most of the colors. Though to be fair the cover’s logo is not the greatest due to being partly obscured by the main character and looking more dynamic than the rest of the cover.
As for the art, the cover is a little more over the top gruesome than is necessary. In fact it is more suggestive of a schlock horror title than a piece with a legitimately decent narrative. Yet, there is something to say about how it unmistakably says this is a horror title and that it is not for those who are squeamish. While the interior art by artist Corin Howell features excellent consistency the proportions and designs. Not to mention each character design (including the stock ones) is distinctly different. There is also just the right amount of confidence in the line work via the curvature.
As for the lettering, writing, and editing, there is a mistake with a word’s placement in a sentence. This mistake occurs in such an obvious way that most readers will catch it and disengage for a bit from the book. Also, while the font is readable it could do with a change in style and size to make it pop more. Though letterer Carlos M. Mangual, writer Tim Seeley, and editor Mike Marts do a commendable job in all other ways. Lastly, the writing is engaging, but it feels like it could be just a touch more accessible. Perhaps the addition in future installments of a very short recap consisting of the previous issue and/or the premise. Overall this is a rather decent issue.