Friday, 10 February 2017

Interview - Nick Abadzis [Writer / Doctor Who: The 10th Doctor]



I was lucky enough to be given the opportunity to interview Nick Abadzis, the writer of the Doctor Who: The Tenth Doctor series for Titan Comics. I've really enjoyed Nick's run on the series over the past two years, and the way he introduced two brand-new companions into the mythology with Gabby and Cindy. As the series prepares to launch its third volume of adventures, I caught up with Nick to find out his experiences writing for the Tenth Doctor and creating brand-new companions for the series. 



PCB Blog: First things first, I have to ask the dreaded question – Which incarnation of the Doctor is your favourite? And, why?

Nick: I really do honestly have trouble answering that question, because “my” Doctor – the one who made a massive impression on me as a kid – is Tom Baker, although I do remember Jon Pertwee and began reading the Target novelisations when he was still the incumbent Time Lord. Obviously, I also have a great affinity for David Tennant’s tenth Doctor and am loving Capaldi as the twelfth in almost equal measure. 

Equally, I find Troughton utterly compelling. I wish more of his serials were extant in the BBC archives because I find watching him one of the most enjoyable things ever. McGann also holds a major importance for me, as he was the Doctor in my head for perhaps the longest time – off-air for about nine years during which I read of the eighth Doctor’s adventures in the BBC books and listened to all his Big Finish audios. 

I also have a bit of an aversion to making lists and rankings – I don’t like it because I feel as if it boxes my imagination in. I like to feel that my favourite Doctor is the one I happen to be watching in the current moment – sometimes I’ll feel like a bit of McCoy, a bit of Davison or even some Cushing, y’know…?


PCB Blog: Continuing with this theme of questioning – which of the Doctor Who monsters (classic or modern) do you have a fondness for? Feel free to go as obscure as you like!

Nick: I do love all the big obvious ones (points to line of red toy Daleks on bookshelf and Cybermen and Sontaran figure collection)… 

I love the Ood, although I tend to think of them as a put-upon but sympathetic alien species rather than a monster. I was very happy when Stephen Moffat brought back the Zygons… I like the weird creepy ones like Zygons, Axons, Autons and Rutans that have some kind of rapport with matter or flesh. Krynoids and Wirrn are good for that, too. I love the concept of things that can get inside your thinking, like the Weeping Angels or the Mara. 

But there is also the glory of crap or even just slightly lame monsters. I don’t think we’ve yet seen enough of the Krotons. Now, they have the potential to go really bad. Someone needs to bring the Garm back. Or those sanitation robots from "Paradise Towers". Good robots are hard to do though – you’ll always be measured against great ones like "The Robots of Death". 

Tractators – I have an idea for a solo companion story called Turlough and the Tractator Challenge in which the fifth Doctor’s loyalty-challenged former companion finds himself on a reality TV show not unlike Big Brother.  He’s trapped in a house with a whole load of crap monsters whose behaviours he has to be irritated by and complain about to Gabriel Woolf’s disembodied voice, which he can only access from the one single toiletry facility that everyone in the place uses. He must use his wits to get in there before the Tractators embark upon their improbably long bathroom ablutions every morning. 


PCB Blog: Is there a particular story, from either the classic series or the relaunch, which you really enjoy? And, why?

Nick: I think it might be fairly obvious at this point that I enjoy "Pyramids of Mars" a lot, which I think was Robert Holmes at his pressurised best. Some people think it falls apart in the fourth episode, but I don’t agree or care – it’s genius. I love that whole Hinchcliffe and Holmes-produced period of Doctor Who. But 70s and the first part of 80s Who as a whole was a huge part of my childhood.  

If I had to pick a modern Who episode, I’d probably say "Blink", which remains not just a masterpiece of Doctor Who, but of modern TV, even though the Doctor’s barely in it. I also have a soft spot for "Gridlock", which is one of the weirdest things anyone’s ever got on prime-time television. I often think it’s more telling to ask what a person’s second or third favourite story is. 


PCB Blog: What is it about Doctor Who as a series that appeals to you as a writer (and viewer)?

Nick: Everyone always goes on about the incredible flexibility of Doctor Who as a storytelling format, but it’s true. It’s all of time and space. It was always an ingenious idea as you can pretty much go anywhere and tackle almost any kind of genre ever within that remit. That’s probably why it works so well in so many different media – on TV, in comics, on audio, and certainly as long-form fiction. There have been some utterly brilliant SF novels and audio plays written which are probably not well enough known amongst a wider audience because they were written as tie-in fiction. 

Which is not to say that Doctor Who isn’t an incredibly difficult thing to write. As has also been well-documented, it just eats ideas at an incredible rate of knots. There’s no formula, not without being horribly obvious, no easy repeat moves, it just never allows you to be lazy. You have to be unfailingly original. But that’s the thing – it invites this, challenges you to always rise to that demand.  


PCB Blog: What is it about the Tenth Doctor that sets him apart from his other incarnations? As a writer, how does the character appeal to you?

Nick: First of all, David Tennant’s characterisation of the Doctor caught me the moment he first appeared – in our household, we all loved him instantly, which certainly helps if you’re writing him. At first, he seemed harder-edged, less forgiving, certainly of his enemies, and his mood could spin on a penny. But this also disguised a tendency to get more involved in the emotional lives of his companions, even when he pretended he wasn’t.

He’s often said to be one of the most “human” of all the Doctors, but I think that’s just his emotions being nearer the surface than some other incarnations, although he tried hard to disguise a deep guilt complex – after all, at this point, he still thought he’d destroyed his own home-world. He’s also often touted as the most vainglorious incarnation, which is perhaps one of the most human qualities any Doctor has ever displayed. 

But people forget that both he and the ninth before him were still traumatised after the Time War, so I tend to think it’s a manifestation of survivor’s guilt. He’s cocky rather than conceited, and it masks a deep loneliness. If he didn’t watch it and didn’t have that conscience in the shape of a companion, it could lead to a situation like "The Waters of Mars".  What was important though was that he still cared. He might’ve messed up, but he never gave up, never stopped caring about the universe, and the little guy’s lot in it. I’ve allowed him to get a little bit comfortable – you might have noticed that I’ve mellowed him very slightly – this is the influence of his current companions, to a degree.


PCB Blog: Which version of the Doctor would you say most resembles you, and why?

Nick: The tenth, without a doubt. An outer hide like a rhino that houses a heart(s) of slop and gold; a tendency to be unable to suffer fools gladly, a liking for Converse All-Stars (which I had before he did). Though my wife would say the fourth. I might lack a long scarf but she’s often telling me I’m from a completely different planet. And apparently, I’m at my most dangerous when I’m grinning. Grinning, not smiling.


PCB Blog: You’ve introduced two brand-new companions to accompany the Tenth Doctor in Gabby and Cindy. What inspired you to create these two characters and choose modern-day New York as their home?

Nick: Originally, the Titan range was aimed at the US market, and it was suggested to me that we have an American companion. Because I live and work in and around New York City, it seemed entirely natural to find a companion there. It also seemed the most obvious thing in the world that if you wanted to riff on Russell T Davies’ version of Doctor Who, then you had to at least nod at the family-at-home format he initiated  back in 2005 with "Rose". That episode was my basic template, but everything else in "Revolutions of Terror" is mine. I cycled around Brooklyn and ended up in Sunset Park, where there is a large Mexican and Chinese population. Gabby and Cindy were born there, literally and in my imagination. Elena Casagrande realised both characters visually, and did an incredible job. At that stage, no-one, least of all me, had any idea that Cindy would take on the role she since has, but she simply wouldn’t go away.  She refused to be parted from Gabby, partly because she has an enormous crush on her, partly because the character dynamic was so strong. Our editor Andrew James, in his wisdom, suggested that this was a relationship we hadn’t really seen on board the TARDIS before, that of pre-existing, very close friends who both become the Doctor’s companions, albeit at different times. So I gave in to it. (Am I talking like they’re real people? They’re all real to me.) 


PCB Blog: How would you describe Gabby and Cindy in five words each?

Nick: Well, they’re both full of contradictions, but let’s give it a go…

Gabby: imaginative, practical, warm, complex, cosmic, instinctive. (“Instinctual,” if you’re American, but I’m British.) Oh, that’s six, sorry… 

Cindy: loyal, gutsy, humorous, self-deprecating, shrewd, compassionate. 


PCB Blog: Despite being best friends, there is a bit of rivalry between the pair as they vie for the Doctor’s attentions in the TARDIS. How would you describe the relationship that each of them has with the Doctor?

Nick: Well, Gabby got there first and, in a sense, had a real need for the Doctor in her life. She also had the imagination and the courage to follow him and help him. Despite her protestations to the opposite – much of which is in support of Cindy, who can sometimes be a bit needy – she is incredibly brave, and very selfless. Yet she really did need a teacher, and she chose the Doctor, who, as Donna reminded him, needs someone fair-minded and levelheaded to help him see things from a slightly less lofty perspective than his. Despite her creativity, Gabby is quite grounded and can be a little sober, but she’s also deeply romantic and this gives her a sense of far-sightedness and emotional intelligence, a sort of artist’s self-belief and internal equilibrium. 

In a sense, she’s by far the most “adult” of this TARDIS crew, but she’s also the most empathic and sensitive. She’s able to communicate that warmth, which in turn sort of puts her in charge of what I call “TARDIS outreach” work. The Doctor knows he doesn’t have to work to charm people so much with her around. This is perhaps one of his less egalitarian traits, but it means he knows he absolutely needs her – even if he rarely shows it. He knows she’s as inquisitive as he is, but that her insight and emotional instincts will keep him on an even keel. (Like the Twelfth Doctor says about Clara – “She cares, so I don’t have to.” Even though he does, even though his interests are the bigger picture.) 

Cindy, by comparison, sort of invited herself to the party and more out of a need for acceptance than any desire to explore the universe and learn. Like the Doctor in this regeneration, she’s a little bit of a lost soul, not realising that the person she needs most is herself, the best version of her. She is super-smart but doesn’t trust herself much, which is why she feels she missed Gabby so much, as Gabby’s a very supportive sort of person. 

At first, the Doctor thought Cindy was just a pest, but he began to respect her persistence and refusal to be overcome by her own fears. In a sense, Cindy represents what we sometimes perceive as the worst of us, while Gabby is the best, but they absolutely need each other, as they do the Doctor, and they all balance each other as characters. Cindy really does love Gabby, and even though she’s slightly jealous of what she perceives as a bit of favouritism on the Doctor’s part, it’s actually just a mechanism of simple chemistry and Cindy, as usual, underestimating her own importance. She’s happy to play the fool, as it gives her a role, and she’s terrible at masking her true feelings. She also has few diplomatic skills, which to Gabby, come naturally. 

But the Doctor loves this about Cindy, he thinks she’s hilarious, and is surprised to find that she absolutely and unexpectedly is indeed companion material. She’s far braver than even she herself realised, sometimes recklessly so, which appeals to the Doctor. Her deficiency is that she simply won’t acknowledge either aspect of this courage, which is fuelled in huge part by her senses of compassion and loyalty. Either way, however she sees herself, she’s most certainly a very important part of the team. 

This balance is soon to be upset in a big way, however…!


PCB Blog: I know it’s like asking a father to pick his favourite child, but which out of the two do you prefer? I’m leaning towards Cindy Wu myself – she is more emotional and unpredictable compared to Gabby.

Nick: Nah, Gabby’s just better at controlling her emotions! Except when Cin really riles her, and she knows how to push her friend’s buttons. They have a very sisterly relationship. They play off each other and the Doctor extremely well, but I think Cindy has a more obvious advantage with readers in that she’s funnier – I admit, I tend to give her the one-liners. But if you look closely, while Gabby’s a more complex, self-sufficient character, she is very much the glue of the team. Cindy can only go it alone for a certain amount of time without her (or even Cleo), and the Doctor tends to overlook this. He’ll throw her in at the deep end – sometimes with his faith entirely justified – because he thinks of her as the balance to Gabby, which she is, sort of. 

But there are also moments where he accidentally puts Cindy in serious, life-threatening danger because he’s not always great at judging these things from a more human standpoint and fails to realise Cindy simply isn’t as accomplished and natural a cosmopolitan creature as Gabby, despite how much she’s learning. 

I think I successfully avoided answering your question because, no, I can’t pick a favourite.


PCB Blog: With plot thread set up in the finale of Year One coming to fruition in the conclusion of Year Two – how far ahead do you typically plan your stories? Do you have an idea of how Year Three will take shape? Is there much wriggle-room or do you follow a strict plan?

Nick: I write year-long plans, so I know roughly where everything is heading and how certain character arcs will play out. When I finished Year 1, I knew I’d have to revisit Anubis and Dorothy at some point.  These plans are not so much plot-driven as character driven, with a lot of visual notes and concepts for enemies and just weird SF or historical ideas that I want to explore. 

As of writing this, I’ve written (almost) the first three scripts of Year 3 and yes, I am keeping roughly to plan, but I try not to be too strict about it. Sometimes you’ll get an idea that you want to follow, and in my experience, it’s best to follow those weird, stray happy accidents and see where they take you, because it’s usually a better route to the same eventual resolution you had in mind, better than the one you’d initially envisaged. Writing is a weird process of instinct versus plot sense, of coaxing coherence from creative chaos. But if you trust yourself to go off the map, you’ll almost always get better results than if you stick to the well-worn road.


PCB Blog: You’ve dabbled with historical stories briefly with a two-part excursion to the Jazz Age, but is there another time period that would you like to explore more of in future stories?

Nick: Does a visit to Neolithic times not count as a historical (when The Doctor and Gabby meet Munmeth, the Neanderthal Shaman)? I thought it did. That was a lot of fun to research – I’m fascinated by the idea of Neanderthals, of two human species inhabiting the Earth at the same time in the deep, deep past. Probably where the idea of “them and us” comes from – one of the most bogus ideas humankind has ever propagated. 

When you write a “historical,” there’s a the sense that it always has to contain an SF element, though it’d be nice one day to do something that didn’t, although I think you need a certain page count to do that properly, plus there’s always the pressure to have a monster of some kind. 

The TARDIS crew will be visiting ancient China in Year 3, by the way. I was also  toying with the idea of a visit to mid-20th century USSR, which readers of some of my other work know is a period and location that holds a great deal of interest to me. That may yet happen.


PCB Blog: Midway through Year Two, you had Captain Jack Harkness appear in a guest appearance – do you have any more plans to include the Torchwood Leader in future stories?

Nick: I’d like to – I’m very fond of Jack and suggested at the end of his appearance in "Arena of Fear" that he might be setting up a new US arm of Torchwood, perhaps with Cleo as his right-hand woman (can you imagine the sparks if she and Gwen met?) and Erik Ulfriksson providing resources. But he has his own comic now, so I don’t know if that’ll happen. It’s still out there, if other writers want to pick up on it.


PCB Blog: Out of the stories you’ve written for the Tenth Doctor so far, which has been your favourite to work on?

Nick: It’s always the latest, but I’ll plump for the end of Year 2, which I think will be collected under the title "Sins of the Father". I had to work really, really hard to provide dialogue for a certain villain that was created by one of my writing heroes, Robert Holmes, so it was a real challenge. I suppose everyone knows by now that it’s Sutekh. I hope I rose to the occasion – I certainly gave it my very best effort.


PCB Blog: Are there any Easter Eggs or hidden references you’ve slipped into your work that most people wouldn’t notice?

Nick: Probably loads. I’m not even sure I notice them all myself, but I’m told by a stalwart friend and fan that there are a lot of little touches like that. This is what happens, if you’ve been steeped in Doctor Who lore from year zero. I dunno if anyone noticed the tip of the hat to Terrance Dicks in "The Fountains of Forever"? There’s some dialogue there that’s a direct nod to the novelisation of "Pyramids of Mars".


PCB Blog: The overarching ‘big bad’ for both “season finales” have been the Osirians, Anubis and Sutekh, who first appeared in the iconic Fourth Doctor serial, “Pyramids of Mars” - what made you choose the Osirians for this role?

Nick: At the point I chose them, no-one had ever really used them much. There’s a Virgin Adventures book by Justin Richards, "The Sands of Time", and they’d been mentioned in passing or made cameos here and there in other stories and a Big Finish audio, but unless you count some of the unofficial audios, they’d never really been deeply explored as a race and culture. So, to me it seemed to be an instance of the proverbial “low-hanging fruit.” 

When our issues began to run, I discovered Big Finish were bringing out a Bernice Summerfield box set with Sutekh as the villain, which I can only applaud. But I did think there was the potential for a lot of rich, deftly-sketched in background detail – as usual when you create characters, you have no real idea of how deeply they will take on lives of their own, and Anubis certainly did. Clearly, his dad is one of my all-time favourite Doctor Who villains, so I wrote them both with Gabriel Woolf’s voice in mind.


PCB Blog: Are there any plot threads from Year Two that will be brought over into the third year, or will you be starting from a fresh slate? What can readers expect from the next year of Tenth Doctor stories?

Nick: Well, some locations will recur, the musical theme – the song of the Doctor – will almost certainly recur, but as much as anything can ever really be wrapped up on Doctor Who, there is the sense of an ending, for the time being. 

Certain character threads will continue and there will of course be an emotional aftermath – but this is Doctor Who, so that will have to happen as a new adventure begins. I can promise that in Year 3, you will see a return of the Time Sentinels who featured as villains in #2.14. There will come a reckoning.


PCB Blog: Are there any other licensed properties you’d love to write for in the future? 

Nick: Yeah, anything that begins with the word “Star” in the title. I’m also waiting for someone to invite me to write a continuing series of the original 1970s incarnation of The Tomorrow People with John M. Burns as artist. Plus, there’s my plan to crank up a new genre of AI Romance comics using Machine Man and Jocasta, if Marvel will let me. They’re not calling me back, though. 

I can never tell if my own answers to questions like these are serious or not, but I suppose I should also mention ALIEN and The Thing. I have the greatest idea for a Continuing Adventures of The Thing comic. Also vampires and werewolves. I really have to try to get back to writing some horror at some point, as, Hugo Tate excepted, that’s pretty much where I started.


PCB Blog: Do you have any other work in the pipeline that you’d like to tease? 

Nick: Well, yes. Fortunately, I always have other irons in the fire. In July, with artist Jerel Dye, I am launching my own world in the form of a new graphic novel from First Second, who published LAIKA. It is a world that is populated, initially at least, by various forms of pig. It is a YA tale of anti-chauvinism, magic, industry, and warfare. It’s called Pigs Might Fly. It’s the first in a projected series… I’m gonna share a few pieces of advance art with you. We worked really incredibly hard on this book and are very, very happy and excited about what we achieved, and we hope you’ll want to read it. If you like my Doctor Who stuff, you’ll enjoy this. I think it’s very timely, because it’s certainly about what’s happening in the world right now.


Pigs Might Fly - Exclusive Preview Art - [Click to Enlarge]

PCB Blog: And, finally, which comics are you reading at the moment? Do you have anything you'd like to recommend?

Nick: There is a hell a of a lot I need to catch up on, including Rob Williams’ Unfollow, which is top of the pile, but recent reads include these…

Megahex by Simon Hanselmann, Exquisite Corpse by Penelope Bagieu, the all-new Love and Rockets magazine #1 by Los Bros Hernandez, Caliban and War Stories Vols 1 and 2 by Garth Ennis, nearly all the Marvel Star Wars titles, of which I’m disappointed Kieron Gillen’s Darth Vader is ending ‘cause that was the best one. I’ll read anything by Dan Slott. I was also following Bendis’ Iron Man but I’m behind on that because I just couldn’t get the whole Mary Jane Watson thing. Although, I just read Invincible Iron Man/Ironheart #1 which, frankly, pissed me off and isn’t a comic I’d give to my daughter even though it’s sort of aimed at her. She’s into Moon Girl and Devil Dinosaur, which is really an excuse for me buying and reading it. David Gallaher and Steve Ellis’ The Only Living Boy is another good one for readers of her age – she’s 11, nearly 12. 

Oh, and I’m waiting for someone to hurry up and translate Frederik Peeters’ RG into English, because I’m slow at reading French and my life is getting shorter by the day. If you don’t know his stuff, read AAMA, and read it now.


PCB Blog: Excellent. Thank you very much for your time, Nick, and I look forward to reading more of your work on the Tenth Doctor during Year Three.



Nick Abadzis is available on Twitter under the username @NickAbadzis. Please give him a follow and let him know if you enjoyed this interview.

Doctor Who: The Tenth Doctor (Vol. 3) # 1 was released on 11th January and is available in all good comic book shops, as well as digitally via the Comixology website, where users can also subscribe and receive copies of the remaining issues each month.

Previous Tenth Doctor stories have been collected into trade paperbacks and are available in all good comic shops!

Wednesday, 8 February 2017

2000AD Prog 2017

Prog 2017 Cover by Jake Lynch

Judge Dredd gets a bit meta with this cover from Jake Lynch as he bursts out from inside the Prog, revealing snippets of the Nerve Centre contents page as he does so. It's an effective image and I love the whole concept of having Dredd rip through the cover and out towards the reader. Lynch puts in a lot of attention to detail here, especially when it comes to the interior imagery of the Nerve Centre, and I really like his take on Dredd. My only nit-pick would be the arms, particularly the one holding the law-giver – I think the eagle emblem on his shoulder obscures the angle somewhat, making it look like his arm is coming out of his chest. That said, it's a great piece and definitely stands out from the crowd. I applaud Lynch for trying something new and different with the cover format!


JUDGE DREDD - DEEP IN THE HEART (Part 6)
Script - Michael Carroll
Art - Henry Flint
Letters - Annie Parkhouse

The hunt for the Sector Zero operative hurtles towards a conclusion as Dredd and his unlikely group of assistants finally discover his true identity. There’s a nice moment where it seems as if the fugitive is one step ahead of Dredd once more, but it’s revealed that Dredd has accounted for this and sent a group of Texas City Judges ahead of time. I really enjoyed the sequence between Dredd and Vega and the way he disregards her threats to jump out of the transport. I’m glad she got some clemency for helping out the Judges and I hope she returns in a later story – she had a great visual design, and I like her spunky, energetic personality.


Henry Flint continues to demonstrate why he is one of the most popular Judge Dredd artists in recent history, displaying his flair for the action sequence as he choreographs a scene where our heroes attempt to outmanoeuvre a rogue Robocab. As mentioned before, his design for Paradox Vega really helped the character to stand out and I hope Michael Carroll revisits her in a later storyline, as he often does. I have to admit that the fugitive doesn’t fit the typical look for an undercover assassin, but I guess that’s the point and Dredd’s doom-laden prediction for Weaver and his team suggests that we might see his true abilities in the next episode. 



KINGMAKER (Part 7)
Script - Ian Edginton
Art - Leigh Gallagher
Letters - Ellie de Ville

Ian Edginton reveals treachery in the kingdom of the Dryads in this latest episode of Kingmaker, as he continues to peel back more layers behind this mysterious mystical world. It appears that the mysterious energy discharge from the earth which Crixus witnessed may be a manifestation of the Ebora – the very spirit of the earth itself. Lord Tycho's alliance with the alien hordes is unexpected, but makes sense within the context of the tale, and I suspect that his daughter may end up accompanying Ablard and Crixus on their quest to awaken the Ebora. Looking at the narrative structure, there are definite similarities between this series and Edginton's other epic adventures such as Scarlet Traces, Brass Sun and Helium. He has a very clear authorial voice that shines though in all of his stories for 2000AD, and there's a timelessness nature to his adventures. There is a fantastically epic scale to all Edginton's work, and Kingmaker is no exception.


I continually find myself mesmerised by the quality on display from Leigh Gallagher's artwork as he effortlessly captures the darkness of this tale. Gallagher has proven himself more than capable at depicting the grittier side of medieval fantasy, and I love the highly detailed backgrounds of the Dryad's woodland palace. With pink lightning bolts whizzing about the place and a shock betrayal, there's definitely a touch of Star Wars about this sequence and it also reminds me of the sequence from The Lord of the Rings: The Fellowship of the Ring when Saruman battles Gandalf. Edginton does well to riff on this iconic moments in science-fiction and fantasy, but without losing his own voice in the process. Kingmaker remains a highly original hybrid of genres, taking the best elements from alien invasion stories and fantasy war stories and merging them together to produce a one-of-a-kind adventure.



THE ORDER - WYRM WAR (Part 7)
Script - Kek-W
Art - John Burns
Letters - Annie Parkhouse

Stepping back from the time-travelling antics of the previous few installments, Kek-W instead returns to character development as he focuses on the fates of several core characters from The Order's second series, specifically Daniel Calhoun, Francis Bacon and Izta. I really enjoyed the cast of heroes from the Elizabethan adventure, so it is great to see them returned for this third storyline, albeit aged and in the twilight of their years. There's even romance between Cyrano and the Wyrm Lady Catalina, demonstrating Kek-W's love for unlikely romantic pairings and his innate knack for characterisations. Even in a quieter, more reflective chapter such as this one, John Burns' fully-painted artwork stands out with its wonderfully emotive qualities. That final panel where Ixta and Calhoun's children are running through the fields chased by a huge Wyrm is absolutely chilling and works effectively as a cliffhanger, forcing the reader to come back to find out their fates. 



FUTURE SHOCKS - DONATIONS WELCOME!
Script - Rory McConville
Art - Steven Austin
Letters - Simon Bowland

Rory McConville returns to the Prog with another Future Shock, bringing with him relative newcomer Steven Austin, following their collaboration in Prog 1982 with the Time Twister tale, “The Timeless Assassin”. McConville opens up this short story with the wonderfully subversive concept of soldiers being forced to donate their organs to help repair more physically proficient soldiers on the battlefield. It's a great idea, and unfortunately it doesn't get much chance to shine in this short four-page story. It would have been great to see it explored in greater detail in a Rogue Trooper tale, for example. As with his debut appearance in the Prog, Steven Austin’s artwork is hugely impressive and evokes memories of those early classic 2000AD Future Shocks from the late-seventies. It’s a great self-contained story, and one that offers a breath of fresh air amongst the Prog’s current line-up. 



KINGDOM - AS IT IS IN HEAVEN (Part 7)
Script - Dan Abnett
Art - Richard Elson
Letters - Ellie de Ville

Dan Abnett deals with the aftermath of last episode's bloody battle between the Aux with a surprisingly emotional death scene for Cutback. While it was obvious that Michelle Barkmann and Cutback were destined for that doghouse in the sky, Abnett made both of their deaths resonate and gave them strong final moments, instead of reducing them to cannon fodder. While this story-arc has felt like an elongated chase sequence through various corridors, this chapter ends with a shocking twist that introduces another species to the world of Kingdom. The idea of a feline version of the Aux to rival the canine ones is an inspired idea and in retrospect, it seems so obvious that I'm surprised I didn't see it coming. It's a brilliant twist and it opens up a whole new world of possibilities for the series.


Richard Elson maintains the same level of momentum from previous installments, especially during Cutback's final moments. I'm amazed how seamlessly Elson can switch from those quieter character moments into an action-packed cliffhanger. The design of this new feline Aux is brilliant and feels smoothly into the established aesthetics of this series, capturing the animal's cat-like properties whilst maintaining similarities with the Aux. Abnett wisely preserves Major Canis for a later date, having him survive his injuries but resting on the subs bench whilst his second-in-command heads off on a suicide mission to eliminate his targets. As this story-arc heads towards its conclusion, there is a touch of inevitability about the remaining episodes as Gene and Leezee attempt to escape from the Orbital Station. That said, Abnett and Elson still know how to surprise, and I wonder whether there might be another twist in the tale before it comes to a close.



OVERALL THOUGHTS / NEXT WEEK:

Once again, this was another strong Prog as the various stories seem to be heading towards their conclusions in the next couple of weeks. The addition of a Future Shock adds a sparkle to the line-up, offering a ‘done-in-one” adventure amongst the long-form storytelling that has been in play since the beginning of the year. It’s tough to pick a “Thrill of the Week” for this Prog, but Kingdom narrowly edges out Judge Dredd to take the spot, thanks to its surprisingly emotive send-off for Cutback and a whopper of a twist ending.

Elsewhere, Tharg’s eyes are firmly on the future, with another tease for the 40th Anniversary Edition revealing the return of Ro-Busters with the same Pat Mills / Clint Langley creative team that brought the series back for a “lost adventure” within ABC Warriors. I really enjoyed the trip down memory lane with the “Return to Ro-Busters” storyline and I look forward to another chance to visit that era again when the 40th Anniversary Edition comes out on 22nd February.


Thrill of the Week: Kingdom


The physical edition of 2000AD Prog 2017 will be available in stores on Wednesday 8th February - Digital copies of this Prog will be available on the same day through the standalone 2000AD app, which can be downloaded onto iOS and Android devices.

Keep checking back each week for more reviews and features about 2000AD, the Galaxy's Greatest Comic! Remember to leave your comments below, or contact me on Twitter or through my Facebook page!

Friday, 3 February 2017

Review - Agents of SHIELD: 4x12 - "Hot Potato Soup"

Agents of SHIELD
Episode 4x12 - "Hot Potato Soup"

Synopsis

Aware that Radcliffe is working with the Watchdogs, Coulson attempts to locate Agent Koenig – the last person to handle the Darkhold. The only problem is that there is a lot of different Agent Koenig’s within SHIELD…

Review

It is only fitting that in a story-arc featuring LMDs so prominently that Agents of SHIELD would revisit its first attempt at bringing LMDs to the series - The Koenig Brothers. In each of their appearances in Season One and Two, it became something of a running joke whether the identical Agent Koenigs (all played by Patton Oswalt) were in fact clones or robot LMDs of one person. This episode is no different and there are plenty of humourous references to the various conspiracy theories surrounding the identical quartet. Rather than frustrating fans with another open-ended explanation, we are finally treated to the truth and it is that all of the brothers are real identical quartets, but they once worked on the original, and failed, SHIELD LMD programme. Personally, I thought it would have added much more to the characters if they were actually robots, but I can understand the need to remove any confusion around the LMDs featured in this arc. I was quite relieved that this ongoing sub-plot had been finally addressed as I’ve found it one of the goofiest aspects of the series – it was a bit too Meta and “winking at the audience” for my liking.

Focusing an entire episode on the Koenigs meant that the tone was skewed towards humour instead of drama, which made sequences such as the Superior’s attempt to torture Billy Koenig lose their impact. No matter how much he was going to pretend to be tough stuff, he was never going to hurt the series’ comic relief character. I also don’t think that the Koenigs are all that funny – they just seem to be an exaggerated version of how Coulson was portrayed in the original Avengers movie. It feels like someone doing a bad Joss Whedon impression, using the Koenigs as a proxy for the audience and making jokes about fan-fiction and geeking out over superhero codenames. It doesn’t quite fit the tone of the series, and having it feature so predominately in this episode weakened the overall experience for me.


There were some really good moments in this episode, such as the much-anticipated reveal that Radcliffe had made a May LMD. I was surprised at how quickly this was discovered, but I suppose that this was only one part of the story-arc and the real action will begin now that Radcliffe and the Watchdogs have gotten their hands on the Darkhold. The scenes with Robo-Radcliffe talking with Fitz, Simmons and Mack as the former unfastens screws in the back of his skull was suitably eerie. I love that uncomfortable vibe that the LMDs give off when they openly acknowledge themselves to be artificial but continue to talk “in character” as the person. Robo-Radcliffe was able to have a real conversation with Fitz about his father that the real Radcliffe probably would have done, but it was creepier because it was a facsimile of the doctor who was sharing this really personal information. I suspect this foreshadowing about Fitz’s father is either because he is going to show up again soon, or because Fitz is going to start heading towards the dark side.

Much like the 'Ghost Rider' block of episodes, this LMD story-arc has moved along at a fair pace but never felt rushed. I’m actually really enjoying this more segmented approach to the season, pacing out the stories across three acts but with a common thread joining them together. The final batch of episodes has yet to be named, but I suspect that it may be something to do with changing the past. With Mack’s past with his daughter teased in the previous episode, and Fitz’s relationship with his father explored in this one, I wonder if we might see our heroes challenged by the power of the Darkhold and the potential to rewrite histories and right wrongs. It would be a HUGE pay-off to this Darkhold story-arc, and an opportunity to re-introduce lost characters such as Hunter, Mockingbird and even, Agent Ward. While this episode lent too far on the comedic elements of the Koenig family tree, it did at least provide us with some closure and definitely moved the main plot forward. With SHIELD’s enemies in possession of the Darkhold, I am eagerly awaiting to see what the Watchdogs have in store for the Inhumans.


Score - 9.1 out of 10


Easter Eggs/References
  • There are plenty of references to the Koenig brothers being LMDs as part of a long-running joke throughout the series, although this episode confirms that they are just identical quartets.
  • The Superior references Coulson's appearances whenever there is extraterrestrial activity on Earth, including Thor's arrival in "Thor", the Chitauri attack ("The Avengers") and the Inhumans.

Mysteries
  • How does the Superior intend to wipe out the Inhumans with the Darkhold?
  • What happened to Fitz's father, and why are they so estranged?
  • What did Fitz's father say to Radcliffe?

Next Episode - "BOOM"
An explosive Inhuman surfaces and the team are tasked with containing it. Elsewhere: Coulson and Mack encounter Radcliffe's inspiration for Aida.

Thursday, 2 February 2017

Review - Supergirl: 2x10 - "We Can Be Heroes"

Supergirl
Episode 2x10 - "We Can Be Heroes"

Synopsis

When Livewire escapes prison, Supergirl enlists superhero-in-training Mon-El to help out but it proves to be a mistake when citizens get injured in the process. Meanwhile, when M’Ghan is victim of a psychic attack, only J’onn is able to save her, but does he want to?

Review

As one might surmise from its inspirational title, the focus of this episode was on heroism and what it is that makes someone a hero. There was a lovely bit of synchronicity throughout the heart of this episode with Mon-El, Guardian and M’Ghan’s storylines revolving around their identities of heroes, with each plot thread focusing on a different aspect of heroism. Mon-El was presented as a ‘selfish hero’, only embracing the title because he wanted to impress Kara and frankly, he had nothing else going for him. Sure, he has all the power but he also has none of the responsibility, and that makes him a reckless and flawed hero. On the flip-side, Guardian has no power and too much responsibility, making him equally as reckless and flawed but at the other end of the spectrum. It’s easy to see why Kara grew frustrated with the pair of them as they attempted to follow in her footsteps. The story-arc with M’Ghan was different, and was more about J’onn accepting her as a hero and not the villain he’d condemned her as. Even Livewire had a brief moment of redemption at the end of her journey, further strengthening the episode’s theme.

Kara’s discovery that James is the Guardian was played out as expected, with the female Kryptonian disapproving of her human friend’s attempts at playing hero. I have to admit that I agree with her as James Olsen has no real fighting skills and is largely reliant on Winn’s suit on keeping him alive. That said, this story-arc is the best thing to happen to the character and makes him much more interesting that the eye-candy and love interest role he inhabited during Season One. Part of me wonders if we’ll get a Batman vs Superman-esque confrontation between the two at the end of this season. Guardian certainly looks like the armoured version of Batman from that movie, so it could be possible that he has to fight against a possessed Supergirl at some point. It’s still not clear what the eventual endgame behind Olsen’s decision will be – given the doom-laden predictions from Supergirl in this episode, I suspect that some kind of tragedy lies ahead for the Guardian.


While some may consider him unnecessarily goofy, I find Chris Woods’ Mon-El to be one of the strongest additions to Supergirl since the start of Season Two. Having recently landed on the planet, he provides that “alien adapting to Earth” humour that Kara lacks after being raised on the planet for twelve years. I really enjoy seeing him attempt to fit in with Earth’s conventions and his awkward one-liners and greediness. The chemistry between him and Melissa Benoist is spot-on too, eclipsing the rather weak love interests that were seen in Season One. This episode focuses on his inability to put others before himself, or Kara, and it fits in line with his established personality perfectly. Given the hints from previous episodes that Mon-El may actually be the surviving prince of Daxam, it seems logical that he would be born of privilege and it adds an extra slice of motivation behind his selfish behaviour. Mon-El’s journey to becoming a true hero seems to be the main throughline of this season, and I suspect that we may see more ‘roadblocks’ when he eventually clashes with his mysterious pursuers.

Despite the fact she saved his life, it isn’t until he goes into her mind and actually listens to her story that J’onn forgives M’Ghan for being a White Martian. I quite liked the friendship that was developing between the pair before she revealed her true identity, and I’m glad that the writers have restored the status quo and put the Martians on the same side again. Of course, the threat of White Martian invasion doesn’t mean that the relationship is going to last and I wonder whether J’onn might lose another friend to the White Martians. David Harewood is one of the strongest actors in the show and seeing him incredulous with rage in one scene and full of empathy in another just demonstrates the level of range he has. Even Mehcad Brooks (James Olsen) managed to put in a half-decent performance when talking with Kara about his desire to be a hero. I’m still not a massive fan of the character, but I appreciate the fact that they are moving him into a new direction.

One thing that Supergirl does well is uniting its separate plot threads under one over-arching theme, and this episode was a wonderful example of that. With the skill and grace of a ballerina, the writers co-ordinated the various storylines together to converge and benefit each other. The reappearance of Livewire was an added treat, and even though she was featured in a reduced role, it was great to see the series establish her as both an arch-nemesis for Kara, and a potential ally one day in the future.


Score - 9.3 out of 10

Next Episode - "The Martian Chronicles"
A White Martian called Armek comes to National City with the intention of bringing M'gann back to Mars to be punished for her treason.

Review - Gotham: 3x14 - "The Gentle Art of Making Enemies"

Gotham
Episode 3x14 - "The Gentle Art of Making Enemies"

Synopsis

Fixated on killing Bruce Wayne, Jerome takes advantage of the city-wide blackout to achieve his task. Meanwhile, Ed reveals himself to be the architect of the Penguin’s downfall and prepares to carry out his final act of revenge.

Review

Wow, that was a near-perfect episode of Gotham, and a much better mid-season finale than the disappointing ending to “Beware the Green-Eyed Monster”. Finally aware at how much Cameron Monaghan energises the show, Gotham made ample use of him during this episode as he took Bruce hostage in a carnival of terrors, somewhat reminiscent of “The Killing Joke” at points. Taking inspiration from all that came before him, Monaghan chews the scenery like Jack Nicholson’s Jack Napier and has the edginess of Heath Ledger’s Joker. Ultimately, he is best described as a real-life version of Mark Hamill’s voice-acted Joker, which is high praise indeed. The show’s writers wisely avoided angering the series’ fan-base by not killing off the Joker at the end of this episode, but attempted to shock fans with the apparent death of the Penguin instead. Obviously, we know that he’ll be back – death doesn’t quite hold the same sense of finality anymore in Gotham, and I think he’ll return alongside his former mistress, Fish Mooney, at the end of the season.

The scenes with Bruce and Jerome were absolutely mesmerising, teasing the character’s eventual rivalry as Batman and the Joker. I loved the sequence where he begun stapling into Bruce’s arm, and how he attempted to hold in the pain to deny Jerome any pleasure. This, and the sequence in the Hall of Mirrors where Bruce beat Jerome to a bloodied pulp, demonstrated how far the character has come over the past three years and I hope that this marks a concerted effort from the show’s writers to portray Bruce as a capable force to be reckoned with. If Gotham returns for a Season Four, we need to start seeing a prototype Batman running about the streets, learning his trade on the streets. His speech at the end of the episode with Alfred certainly seems to suggest that this is where the show is headed and I think David Mazouz is now old enough to convincingly portray Bruce as a young vigilante. I mean, Robin was his age when he started out!


The other major confrontation that fuelled this episode’s narrative was the long-awaited clash between the Riddler and the Penguin. I loved his initial acid-based death-trap, which just felt so “Riddler” in nature with its Rube Goldberg Machine design. I also like that the Penguin actually proved that he loved Ed by not betraying him to save his own life – it was a nice touch, and one that may mean that there is some glimmer of reconciliation at the end of this story-arc. Riddler seemed conflicted in that wonderfully-acted pier sequence, and it actually felt touch-and-go whether he would let the Penguin go or not. Obviously, Oswald has history with these waterside executions but he wasn’t quite as lucky this time around – although I certain that he will be “fished up” by his former mentor and Hugo Strange. As for the Riddler, he still has to deal with Barbara, Butch and Tabitha but I suspect that he will begin to take the first steps to his more flamboyant comic-book identity during the remainder of this season, especially considering the title of the next episode.

This episode was the closest that the series has ever come to feeling like a true Batman prequel, placing James Gordon in the background for one episode to focus on Bruce Wayne and three of his most famous enemies: Joker, Riddler and Penguin. It was fascinating to watch, and I really hope that Gotham can maintain this same excitement and character development for Bruce Wayne across the remainder of this series, as his Court of Owls story-arc has come second-place to James Gordon throughout the season. Given Uncle Frank’s appearance at the end of this episode, I suspect Gordon will be dragged into Bruce’s troubles and we will start to see some resolution of the whole convoluted and overdrawn ‘secret society’ storyline that has dragged Season Three down. This series is always strongest when focused on a single maniac figurehead, be it Penguin, Proto-Joker or Mad Hatter – if Season Four can weed out the series’ more ridiculous elements and return the focus onto Bruce Wayne’s growth into Batman, then I’m sure the series will continue to course-correct itself with fantastic episodes like this.


Score - 10 out of 10

Next Episode - "How the Riddler Got His Name"
Edward finally gets Oswald to pay for his terrible actions and finds himself with a new dilemma on which path to take.

Wednesday, 1 February 2017

2000AD Prog 2016

Prog 2016 Cover by Alex Ronald

This brightly coloured cover from Alex Ronald looks quite different from the artist's usual style, instead evoking memories of Colin MacNeil's artwork, especially with Dredd's design. I love the stoic look on Dredd's face as he lifts up his grinning perp towards the reader, it's a great juxtaposition and makes you want to read inside to find out more about this unusual-looking criminal. Ronald does a great job at maintaining consistency with Henry Flint's interior work on the strip, but he also puts his own stamp on the piece too. I like the heavy use of yellows and blue as a colour scheme, adding a summery feel to the cover that helps distinguish it from the streets of Mega-City One. This is a solid cover design, and one that piques the interest of the reader to find out more about the situation that is being depicted.


JUDGE DREDD - DEEP IN THE HEART (Part 5)
Script - Michael Carroll
Art - Henry Flint
Letters - Annie Parkhouse

Henry Flint joins Michael Carroll for this next stage of Judge Dredd's adventure in Texas City, taking over from Tiernen Trevallion as Dredd and his temporary partners search for a mutant that may be able to help them locate their perp. I really like the design of Paradox Vega as she parkours and cracks wise across the shanty-town – she reminds me of Screwball, the social-media focused bandit from Amazing Spider-Man. I'm not sure if she's appeared in Judge Dredd before – there seems to be some familiarity between her and Dredd, so perhaps she was in a previous Michael Carroll storyline as he does like to revisit past plot threads to create a strong sense of continuity amongst his own adventures.


As with previous episodes of this story, Carroll is taking Dredd (and the reader) on a tour of Texas City, using the hunt for the Sector Zero fugitive as the main through-line for a group of smaller stories – it reminds me of “The Hunting Party” series of stories from Prog 1033 – 1049 where Dredd and a group of cadets went from adventure to adventure in the Cursed Earth whilst trying to discover the origin of some dune sharks that attacked the Big Meg. It's great to see Henry Flint on art duties – he is one of the most prolific Judge Dredd artists in recent years, present for some of the biggest events in the series' history so it is always a welcome sight to see his beautiful and distinctive artwork in the Prog. Even though it was a bit jarring to have a switch in artist, the transition between the adventure in Oil Rig Diana and this section in the Shanty-town ensured that it wasn't a total upset to the narrative.



KINGMAKER (Part 6)
Script - Ian Edginton
Art - Leigh Gallagher
Letters - Ellie de Ville

Safe from their enemies, our unlikely heroes find themselves deep within the kingdom of the Dryad, although they don’t receive the warmest of welcomes from the tree-people. Ian Edginton’s script reveals the deep-seated prejudices between the Orks and the Dryad, causing some misunderstandings and in-fighting between these potential allies against the Shrike. Edginton does a tremendous job at filling in the history between these characters and their natural animosity between each other, and I like how he uses dialogue to establish the character’s personalities. There’s a hint of Avatar about this sequence, and Leigh Gallagher’s artwork captures the dense feeling of the forest and the magical qualities of this hidden realm. I really like his design for the Dryads which maintains an humanoid, almost elf-like appearance but with vines and greenery growing onto their skin as armour, almost like the Witchblade – but with much less cleavage! Despite its slower pace, Kingmaker continues to feel like the beginnings of a legendary quest and I like how Edginton is taking his time on uniting his ‘fellowship’ of heroes.



THE ORDER - WYRM WAR (Part 6)
Script - Kek-W
Art - John Burns
Letters - Annie Parkhouse

This episode of The Order is another brief respite in the battle against the Wyrms, which allows Kek-W to explore the concept of humanity through two of his most inhuman characters. I love how the makes the parallel between Catalina and Ritterstahl – two 'creatures' who've “tasted what it's like to be human” and have evolved past their programming. It's a shrewd connection, and one that demonstrates Kek-W's skill as a character writer as he showcases just how much Ritterstahl has developed over the past three series but placing his different iterations up against each other. Each version of Ritterstahl has a distinct personality, as a result of the specific stage in his life, and it's great fun to see them interacting with each other.


This is a series that definitely rewards long-term readers, with plenty of nice call-backs to the previous adventures. While its not a necessity to have reader the previous chapters, it enhances the feeling of nostalgia as the various timelines clash together. Given Ritterstahl's futuristic design and the anachronistic nature of the series, I am fully expecting our heroes to travel to the future at some point to set events into motion. It's like Terminator – someone at some point must send the original Ritterstahl, Jan Grimm, back in time to protect mankind from the Wyrms and the further into the series we progress, it seems like we're heading closer to discovering who that might be. John Burns continues to deliver some tremendous fully-painted panels here, managing to convey a true sense of grief and loss into the expressionless face of a robot head. You can feel Ritterstahl's anger in those final panels as his loss spurs him on to face his mortal enemy, and I can't wait to see what'll happen next!



HOPE - ...FOR THE FUTURE (Part 6)
Script - Guy Adams
Art - Jimmy Broxton
Letters - Simon Bowland

Coming out of nowhere, this chapter of Hope acts as a mid-series finale as the series goes on hiatus for a few months. As a result, Guy Adams throws in a hell of a curve-ball, quite literally if my suspicions about the mysterious Hollywood Producer are correct. Up until now, Hope’s own past with his missing son has been seen as motivation for his interest in this case, but the stunning revelations in this chapter seem to suggest a direct correlation between the two missing children. The sudden sucker-punch of reveal is a jarring change of pace, made even more disorientating by Jimmy Broxton’s artwork which transitions from white open spaces to a darker, black-centric series of panels. It’s an effective technique and the reader comes away feeling as stunned as the central character himself, left confused and wanting more information. These past six episodes have been a great introduction for the series, and I can’t wait for it to return in the near future to continue the bleak, noir-drenched hunt for Joey Fabrizzi.



KINGDOM - AS IT IS IN HEAVEN (Part 6)
Script - Dan Abnett
Art - Richard Elson
Letters - Ellie de Ville

The hostage situation between the two Aux factions reaches a dramatic and bloody conclusion in this latest episode of Kingdom. I'm glad Dan Abnett didn't write Michelle Barkmann as a victim and had her go out like a fighter, sacrificing herself for her pack leader. It was a strong moment for the character and Richard Elson gore-drenched panels really made it stand out as one of the more startling moments of the series. Given his injuries, I suspect that Cutback might not last much longer than his friend, leaving Gene without a pack to back him up. Also, isn't it ironic that his name is Cutback and it's Gene who has ended up with a “cut back”...Oh well.


I wasn't expecting Major Canis to suffer such a dramatic injury, since he'd seemed to be positioned as Gene's mirror-image, but I guess he had to be out for the count so the more foolhardy Bull would discharge his weapons in the cryo-chambers. I fully expect Canis to return in the future, though, as he has far too much potential to be killed off this soon. There has to be a no-holds-barred fight to the death between Gene and Canis before this series is finished, and with his neck injury here, I'm sure Canis will be even more determined to make the Wild Aux pay. Abnett and Elson are doing a terrific job on this series, not letting up on the tension throughout the past six episodes. I can honestly say that this might be the most thrilling installment of the Kingdom saga yet!



OVERALL THOUGHTS / NEXT WEEK:

This Prog saw a couple of surprising shake-ups to the status-quo, with the first being Henry Flint taking over art duties for the latter half of this Judge Dredd storyline. Unexpected, but not unwanted – this change in artist hasn't affected the strip drastically, especially since the narrative has moved towards a different area. The second shake-up was the sudden hiatus for Hope, which had proven to be a solid gem in Tharg's collection of rarities. Of course, this is a temporary break for the series, but it is a shame to see it go, especially when things were beginning to heat up for the detective. 

Kingdom takes the spot of 'Thrill of the Week', thanks to its action-packed resolution to its hostage drama. While we bid a sad farewell to one of the series' mainstays, it was a strong character moment that was handled terrifically by series creators Abnett and Elson.

Alongside the exciting news that Nikolai Dante will be returning for the 2000AD 40th Anniversary Special, Tharg teases the revival of another old favourite as Durham Red returns to the Prog. Judging from the promo image, this will be another untold tale as she appears to be alongside Johnny Alpha, although its unclear whether this will contradict the events of "The Scarlet Cantos", or predate that story-arc. Personally, I hope this is a way to reintegrate Red back into the Strontium Dog continuity, especially since Carlos Ezquerra is back on art duties for the character. 

Thrill of the Week: Kingdom


The physical edition of 2000AD Prog 2016 will be available in stores on Wednesday 1st February - Digital copies of this Prog will be available on the same day through the standalone 2000AD app, which can be downloaded onto iOS and Android devices.

Keep checking back each week for more reviews and features about 2000AD, the Galaxy's Greatest Comic! Remember to leave your comments below, or contact me on Twitter or through my Facebook page!

Review - Doctor Who: The 12th Doctor (Vol. 2) # 14

Doctor Who: The 12th Doctor (Vol. 2) # 14
"Invasion of the Mindmorphs" (Part 1 of 2)
Written by: Robbie Morrison
Art by: Rachael Stott
Colours by: Rod Fernandes

In a stark contrast to the high-stakes and cataclysmic endings seen in the Tenth and Eleventh Doctor series, Robbie Morrison opts for a surprisingly subdued and emotional two-parter for his Year Two finale - one that sees the Doctor playing matchmaker as he befriends two comic-book creators. The duo produce the Time Surgeon comic, a Doctor Who-inspired series that takes elements from the character’s lore and jumbles them together to produce an amusing parody of the real Doctor. It gets a bit Meta – a Doctor Who comic within a Doctor Who comic – but it is a fun insight into how normal people must deal with the urban myth of the Doctor. This isn’t the first time Morrison has tinkered with the idea, as he featured the Time Surgeon comic during his previous foray into meta-based storytelling, “The Fourth Wall”. In an effort to ‘get the story right’, the Doctor takes the bickering creators on a tour through time and space, introducing them to prehistoric dinosaurs and bizarre new worlds. It’s fun to see the pair gradually falling in love with each other, similar to how Ian and Barbara eventually became a couple after travelling together.


Rachael Stott returns to the series for its two-part season finale, and her artwork suits the more emotion-driven narrative of this adventure. Stott has a knack for channelling Peter Capaldi’s mannerisms onto the page, especially the maniacal glee with which he throws himself into adventures. I also liked her work on the opening pages of the Time Surgeon comic, creating a version of the Twelfth Doctor cobbled together from the rumours of others. Obviously, the fictional artist took the ‘punk rock’ aspect of the Twelfth Doctor’s personality a tad too literally as the Time Lord has a Mohawk, earrings and a neck tattoo. I also liked Stott’s take on the Master, known as the Minister in this fictional universe, and I would love to see her working on a Third Doctor series one day in the future.

This penultimate episode of the Twelfth Doctor’s second year of adventures offers a refreshingly different take on the ‘season finale’ with a relatively laid-back storyline that is a departure from the apocalyptic events of last year’s “The Hyperion Empire”. This story feels like a Christmas Special, minus all the seasonal trimmings that comes with that annual event, and it’s great to see Morrison focus squarely on the effect that the Doctor has on others, and their perception of him.


Score - 9.3 out of 10

Doctor Who: The Twelfth Doctor (Vol. 2) # 14 is now available in all good comic shops, including Forbidden Planet, as well as on the Comixology website. Be sure to put in a standing order for the upcoming issues in the series when you pick up your copy!
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