Rachel's decision to visit her mother's grave initially comes off as a very sweet and tender moment. A daughter reaching out to her deceased mother for some comfort during these inexplicably dark times is a perfectly natural reaction for the character; however, the scene swiftly morphs into a morbid and potentially damning moment for Rachel. Her touch seems to be the catalyst in bringing the dead back to life, and if the weeping angel is any indication, no good can come of this. I certainly did not see this twist coming, and I am extremely intrigued to find out more about Rachel's past via her no longer deceased mother.

Despite the positive character work present in this issue, this series still has one glaring problem: the art. I enjoy Riley Rossmo's work in other series, so I assume it is the color palette that just doesn't flow with his pencil work. Most panels look muddy, and the actions scenes are annoyingly difficult to follow. I hope this series can get another artist onboard soon, because until that happens my enjoyment of it will continue to be hindered.

While this issue is mostly about setting up the characters so we can eventually watch them fall, Terry Moore manages to inject the last few pages with just enough spine-tingling horror to remind us that this is and will always be, a horror comic. The sequence of panels with Zoe seeing Mary Scott again was terrifying, that grin on her face gave me goosebumps. Also of note, the last two pages of this issue were crafted expertly. The art and dialogue combine in such a way that only one with a complete mastery of storytelling such as Terry Moore could effectively pull it off. I look forward to what the next issue has to offer, I just really hope it doesn't involve Earl taking Dr. Siemen's "love" story to heart.