The idea of Cranston's secretary playing damsel in distress when we know she's just as strong as her boss, for example, is particularly effective, not the least of which is because of how Rodriguez makes her body language so frail at the outset, only to have it change when the time comes to act. There are a lot of great touches on this one, many of which relate to how closely the art nails the plot, pacing, and dialogue. Even the ending cameo works well within the plot Marz uses here, a nice nod to the original stories and how they came to be. To say more than that would give away the ending, but suffice to say that those hoping to see Cranston's alter ego dispense justice on the evil of a Lovecraftian cult won't be disappointed, though how it plays out may just surprise you. Everything flows naturally (thanks to help from some really stellar art from Ivan Rodriguez-more on that momentarily) and ends the way you'd expect, given that the Shadow deals in truths, not legends. Ron Marz does just about everything right here, from setting up the fog that traps the pair in the town to reluctant townsfolk telling the Lovecraft portion of the story to the way in which the Shadow gets mixed into the story. Lovecraft's world, and even if this is the only one we get, it's note-perfect. It's only natural that eventually at least one of the pulp characters from Dynamite's considerable stable had to come face to face with H.P.
Are they truly servants of the dreaded Chtulhu itself and a vile mix of human intercourse with demons? Only The Shadow knows. A strange fog strands Cranston and his secretary in the small, insular town of Innsmouth, where strange creatures are said to haunts the docks at night.
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