Agent Miranda Keller and Detective Tom Malone discover horrors while investigating bombings in the 1920s. Who is concocting these horrors?
Writer Mark Sable seems to have a lot of knowledge when it comes to the work of writer Howard Phillips Lovecraft. This is mainly a good thing since this series references a lot from those works. There is also great intelligence on display with how Sable utilizes the bigotry and fears that are part of this period piece. Specifically Sable creates a script that reflects back these horrible notions in a way that makes the reader remember that humanity has not come very far. Sable also does a respectable job with the characterization and plot. However, his dialogue does fail slightly when trying to have characters speak in a competitive manner. Not to mention the opening page is somewhat reliant on reading the prior issue.
The main color of the logo (the design of which is by designer Dave Sharpe) clashes with the majority of colors on the cover. Yet this clashing of hues does allow for the eldritch part of the design to pop out. While colorist Nick Filardi does a superb job selecting the rest of the colors for the cover. This is especially notable when one considers how Filardi suggests lighting. Some kudos should also go to artist Jeremy Haun for achieving a near perfect combination of depth and scale.
The interior visuals are by artist Giorgio Pontrelli and colorist Pippa Bowland. While the art is high quality it does have two flaws. One of the flaws is how some of the lines are too obvious. This is mainly due to the inks being too thick on these lines. The second flaw is simply a matter of close-ups of single characters being too extreme. There is also a pacing flaw, but that seems more down to the script than the art. Finally Bowland and letterer Thomas Mauer do good work, but there is nothing revolutionary about either’s work.
Miskatonic #3 is now available from AfterShock Comics at your local comic shops or comixology.com.