This issue’s cover by artist Keron Grant is arguably the best of the 4 covers. It has a fresh and horrific feel to it, plus the colors and line work display plenty of confidence. Unfortunately, the cover art may be more fascinating for readers than the interior art due to how the interior line work seems less confident. This is partly due to how it looks shaky in several panels. Also interior artist Dalibor Talajić lacks a truly comparable sense of style versus Grant’s this time around. This is not to say that Talajić is bad, because he is not. It’s similar to having a choice between eating a thing you want versus something less desirable.
As for the interior coloring by colorist Lee Loughridge one can at least say Loughridge uses a wide enough range. Yet, some scenes such as the opening page are duller than others. While the page after the credits has a skyline that is oppressive due to the use of one color for the majority of four out of five panels. There are also a few moments where the coloring of clothes is inconsistent. This happens with a reddish-orange shirt suddenly looking like it is a grayish-pink in a subsequent panel. Though Loughridge does do well at providing cool colors as well as solid black and browns.
The lettering by Sal Cipriano is readable. Though it still has the problem of looking like it is too thin which in turn affects the emotional part of characterization. Also, there are several places where the anchors to word balloons are a bit too far from the characters. Lastly, the script writer John Lees provides is good in how it ties the various tales together. However, Lees gives away his obvious interest in having this series be read all together in a collection format. This is shown in quite a few parts, including some dialogue from the opening page and various parts near the end. Overall, this is one of the more solid issues, but it’s also an issue that is too reliant on what comes before it.