Anvilicious: The final issue has characters remark that Lovecraft's fiction has penetrated every aspect of mainstream culture and sparked a series of copycat incidents and Defictionalization, with characters remarking with a straight face how if any other writer can claim such an influence. The problem isn't the sentiment about Lovecraft's reputation and influence so much as the overwrought and preachy way it's done, which is also in any case dubious and arguable.
The problem is that Lovecraft's work has always been a cult influence rather than a mainstream one for most of the 20th Century, his stories being fairly unknown at the time of his death. Authors like J. R. R. Tolkien can claim to have had a bigger influence, let alone the likes of Franz Kafka, as well as multi-media artists like Charlie Chaplin, Walt Disney and George Lucas, whose works permeate Western culture on a level that Lovecraft hasn't yet attained.
Likewise, copycat phenomenon and Defictionalization is not unique or exceptional to Lovecraft, as the trope pages demonstrate. In so far as the world of Providence, The Courtyard and Neonomicon is Like Reality, Unless Noted, there's no grounds to suggest that Lovecraft in Moore's fiction became a bigger figure than other artists, and indeed in a violation of Show, Don't Tell, the Stella Sapiente admit in Issue 12 that they had been obscure and marginal for most of the 20th Century because Lovecraft died before getting his recognition and fame. This wouldn't be a problem were it not for the Meta Fiction conceit at the end.
Awesome Art: The artwork by Burrows is really impressive, not only for its use of colours but the paneling, layout and general tone.
The brief glimpse in Issue 6, of Hali aka Abdul Alhazred, "The Mad Arab".
Much of issue 8, with its heavy meta-fiction and bizarre exploration of the Dreamworld. Likewise Issue 12, with its Meta Fiction taken to the level of on-panel literary criticism.
Evil Is Cool: The Ghouls in Issue 7 have a creepy if cool design, are surprisingly endearing and goofy, and they give the hero a pep talk. It helps that the story implies that Pitman is the one who generally kills people and the ghouls merely feed on the dead, outside of their occasional massacre.
It's the Same, Now It Sucks!: The comic replays a lot of motifs and story-beats from Promethea including the concept of an idea space where language, thoughts, and ideas have physical agency, The End of the World as We Know Itbegins with a woman freeing prisoners in orange jumpsuits from captivity, albeit Promethea is more pacifistic than Brears, and the conclusion involving humanity living in an elaborate dream-world. Certain lines of dialogue such as "it is now, and always has been now", "It is yuggoth, and shall always be yuggoth" and "Now is Before" are identical.
Narm: The denouement at the end of Issue 10 is pretty scary, but the panels showing the Church rushing straight into the window is a little silly looking, since it's done in the cliché disaster-suspense sense.
One-Scene Wonder: Not all the Lovecraftian creeps appear throughout the series. Special attention has to go to the Ghouls and Pitman who in a single issue manage to be memorable, compelling, and highly frightening characters.
Tear Jerker: Lovecraft slumping his head down while his unbalanced mother rants at him that he's a monster. It's worse in that she's in some ways right.
Robert Black on the whole. Especially after Issue 6, as he spends most of issue 7 believing that he has gone mad and raped a young girl.
Poor Leticia Wheatley as even Robert remarks in his book and notes. She is simple-minded but genuinely naive and innocent and is cruelly exploited by her father.
Off-screen, Elspeth Wade suffered a horrible fate: trapped in her dying father's body while a centuries old sorcerer absconded with her own.
H.P. Lovecraft, who deals with a father who passed when he was 5, a grandfather who passed when he was 14 (causing severe financial difficulties), and an insane mother who loathes the sight of him.
Series
Harsher in Hindsight: When the siblings long-lost grandfather bestows monetary gifts on each of them—a donation so that Sydney can repair her clinic, $10,000 for Robbie and Joanie each—he also leaves money for Hannah's college tuition—"Class of 2020". The episode aired in the spring of 2001 and obviously, no one had any idea that by then, poor Hannah's senior year would be disrupted by the COVID-19 pandemic.
