[2] Set on location in Devon and Hampshire on the south coast of England,[3] a conservationist father and daughter investigate what transpires to be a government cover-up of an imminent pollution crisis from their converted trawler boat.

Their efforts collide with a more fantastical threat, involving a malevolent guardian's abuse of clairvoyant abilities held by her blind young boy, and his link to ancient powers foretold by a 17th century alchemist forefather.

Former popstar-turned-environmental conservationist Tom Frewen lives at sea on the south coast of England alongside his teenage daughter Nell, regularly observing it from their eponymous trawler boat home, the 'Eye of the Storm'.

Martha tries to find the stones by tracking down Montliskeard descendants and manipulating Luke's extraordinary clairvoyant visions of events he was not present for, intending to summon the destruction in a cave ritual, but has her plans thwarted when the Frewens' efforts collide.

[6] In preparation for the on-air launch of Meridian Broadcasting as an ITV station, the then-new franchise holder’s controller of children’s and daytime programming Janie Grace (formerly of predecessor Television South)[7] bought three shows by independent production companies for the former audience during 1992.

[15] These were shown alongside previews of Zzzap!, a production made by Buchanan for younger children, and Wizadora for pre-school infants, showcasing the full range of Meridian’s first offerings for youth audiences.

[22] Alongside earlier excerpts of praise from the Times Educational Supplement read out by Dineage and a brief clip, Cooper credited the actors and Childsplay Productions, whom he would work with once more on their BBC adaption of Children of the New Forest before his 1998 passing.

[27] Eye of the Storm has seen less critical recognition over time, and unfavorable comparisons have been drawn in retrospect between it and another ecologically-focused Childsplay production, Life Force, in spite of its more controversial reception on initial airings in 2000.

[28] Writing for the BFI in The Hill and Beyond: Children's Television Drama, former Doctor Who Magazine journalist Alistair McGown perceived the serial to rely heavily on tension at the expense of strong character development, an aspect he believed to have potential.