Adriaan Bogaerts mentions that there are two versions of the first Dutch print. The first version mentions on the back cover that the second Rork album still has to appear. On the second version the second album (Doorgangen) is already named. Apparently for the first version a type of brown was used for the cover that later turns green. This has not happened to the second version. The same phenomenon has also occurred to the third album (Kathedralenkerkhof).

He also mentions a misprint of this album that has a French cover and Dutch pages.

Some influences are noteable, namely that of horror-and-fantasy writer Lovecraft and of draftsman Wrightson. Of Berni Wrightson (whom Andreas introduces in the first story as the young writer Bernard Wright) we recognize the typical, cramped postures of the persons: wide spread legs and arms, tendinous hands, faces with mouths whose ends are drawn downwards, and the 19th century clothing and waving cloaks. Furthermore Wrightson uses certain, very conspicuous camera positions, like the bird perspective (for example looking into the room from between the beams of the ceiling). He also has a specific way of drawing lines, among others a specific way of indicating shadows, namely by hatching.
We find this in Andreas work unmistakably. In the black-and-white pictures that are published at the start of the first Rork album, Fragments, are published we recognize Wrightson's last work so precisely, the black-and-white illustrations for Mary Shelley's 'Frankenstein', that we can see this as an ode. In his strips Andreas shows that he is very well capable of telling his own story, even with borrowed techniques. He perfects these techniques as well, and uses them in a very personal way. For example he uses a very abnormal page layout and often plain spectacular perspectives.