When the narrative last left the investigators, they had arrived in London and begun making inquiries with Jackson Elias’ known contacts in the city. Noontime found them pondering their next move over meat pies. What could be accomplished while waiting to hear from Inspector Barrington? Review of the clippings gathered from Mr. Mahony at The Scoop, including one Ryan helped himself to from the desk, prompt Jake Spadowski to suggest visiting the artist Miles Shipley, noted in an article as having gained some amount of note with the visceral, repulsive imagery in his paintings.
A stroke of luck in perusing the Times‘ art section revealed that while Mr. Shipley’s exhibition had ended, the artist himself could be found in Holbein Mewes. The investigators cabs it there without delay, to find themselves deposited before a decaying two story brick house. The eldery woman who greets them at the door is wary at first, but eventually ushers them in when von Fasselstein hints at interest in buying some of Shipley’s work. The artist just so happens to be on break at the moment, so the party marches up to the third floor garret, in which Miles creates his works of art.
The rows of paintings leaned against the wall shared in common unsettling scenes filled with figures and landscapes not known on Earth. While Ryan is preoccupied by a portrait of an amorphous figure that bore a strong resemblance to the horror he confronted under Juju House in Harlem, the piece that stands out among all others was a landscape of a black mountain with a tentacled figure rising behind it, one long, red tentacle in particular waving in the air. And most tellingly are the figures on the ground, all wearing red headbands just like those found on the mysterious assailants in New York City, seeming to worship the tentacled figure.
This catches everyone’s attention. Continue reading