Ellis doesn't need to revisit Robin again this issue to show us that he's back in his normal hotel room the intent is crystal clear, even as we can't help but stop and examine every last leaf to see the immense amount of detail put into every single one. Not only is it dramatic, but it ends the scene perfectly. Shalvey and Bellaire have created hundreds (if not thousands) of leaves that explode across the scene, the mystical forest burning off in an expanse of bright white light.

Shalvey has created a distinctly uninviting forest, and Bellaire colors it in dark greens and grays, so that it's still recognizably a forest but one that screams 'Run away!' rather than 'Come visit!' When Robin tells the spirit of the forest that he's not helping, the end result is a jaw-dropping two-page spread. It's an incredible looking series of panels and pages as a flock of birds takes off, the foreboding gets stronger and stronger. As he's talking, he begins to sit up as he starts to notice what observant readers have picked up the panels are getting darker, and his surroundings slowly are getting replaced with a dank forest until only the phone and a window remain. There's an amazing sequence where Robin starts a phone conversation sprawled on a hotel bed. That said, the storytelling that truly stands out is what Shalvey and Bellaire accomplish in the visuals. It's enough to make sure that the book isn't just spinning its wheels and continues to lure the reader down its path.

It's a deliberate dribbling out of information we now know what strangeness is centered around the missing archaeologist and that it's connected to the Injection. 'Injection' #3 once more mixes the present - Maria Killbride puzzling out what to do with the mess that an archaeologist helped create, Brigid Roth preparing for a consultation and Robin Morel trying to avoid becoming a Cunning Man - with the past, which sees more of the initial meeting of the Cultural Cross-Contamination Unit.

Injection, Vol. 2 by Warren Ellis