Investigator Miranda Keller is attempting to solve a series of bombings in the locale of Miskatonic Valley. Will she find a run of the mill culprit, or is something more sinister at play?
The main cover by artist Jeremy Haun and colorist Nick Filardi is arguably the most engaging. But this is simply because it is not falling into displaying cliches like the other covers. Though the variants by artist Peach Momoko are more stylistic. Filardi also does a good job with artist Tyler Cook on the very cliche, but good-looking, incentive cover. Unfortunately, the variant cover work of artist Kelsi Jo Silva almost suggests adult content rather than standard horror. Lastly, artist Aaron Lovett and colorist Josh Viola provide a dazzling visual, but one that is cliche and better off as a poster.
The logo design by letterer Dave Sharpe is unique in how it hints at the premise. While the interior lettering by Thomas Mauer features a unique choice of text boxes. Also all of the lettering is fine in positioning. And considering the amount of text, the positioning being proper speeds up the slow pacing artist Giorgio Pontrelli creates with the art. Readers should also note that Mauer uses a scratchy font style for certain horrific sounds. Nevertheless, one problem exists in Mauer’s work and that is how Josh Viola’s credit is smaller in size than the others.
The interior visuals by Pontrelli and colorist Pippa Bowland feel slightly Victorian. This is partly due to the thin lines Pontrelli uses for everything while the application of the color palette creates a heavy texture. However, all of this impressive work is rather pointless due to the script writer Mark Sable provides, which borrow too heavily from author Howard Porter Lovecraft’s The Shadow over Innsmouth (1931) and the movie Dagon (2001). The only distinctly different things which make it original are the choices in protagonist(s) and certain plot elements. Thus, if one is familiar with those other works than there is nothing really of interest to find within this issue.