The page opens with a bold title DYSTOPIA and the blood-red, jagged subtitle SCYLLA beneath it, set against a cracked stone backdrop. Below, the main panel shows a long industrial sewer tunnel lined with red-brick walls, stone arches, and looping metal pipes. Deep, jagged claw-gouged channels tear through both sides of the tunnel, exposing packed earth and suggesting that something massive burrowed straight through. From the streets above, gunfire and explosions rumble through the manhole covers rendered as THUD THUD THUD, BOOM!, and KA-BANG!, signaling a battle raging overhead while the sewer remains a grim quiet zone.

In the foreground, Tanya stands on the left wearing a light-green hoodie, the large “M” logo of the Metascience Corporation displayed on the right chest. She studies a tablet with calm analytical focus. Beside her is Henry Ventrik, dressed in a one-piece industrial protective jumpsuit bearing the same Metascience logo. He adjusts his glasses as he studies the claw damage, his expression thoughtful and calculating. Crumbled debris and loosened soil spill across the walkway around them.

Caption boxes frame Ventrik’s thoughts: first observing that what struck him wasn’t the size of the creature that carved the tunnel, but the tensile strength of the claws capable of doing it; the second noting that such a realization is exactly the kind of thought a weapons designer would have.