Effectively held hostage by a long-forgotten enemy of the Doctor, the TARDIS crew must try and stop a major distortion in the time vortex itself. Being a Time Lord should give the long-lived hero a sporting chance, but will he go to the extent of sacrificing any number of his fellow travellers?

Any story opening with the panel 'The End' would be lacking something were it not to take a head-scratching premise and run riot with it. Doctor Who of the 21st century has offered numerous 'timey-wimey affairs' - especially with incumbent showrunner Steven Moffat. This story gives the great man a run for his money, and uses the particular comic format to wonderful effect. Every panel of this story has something to offer, and the layout of reverse chronology and back again offers notable re-readability, which is quite unusual for most comic book stories.

The Eleventh Doctor is truly in charge here, but at the same time very keen to make sure that his companions offer a helping hand. Of the three of them it is perhaps somewhat surprising which one provides the best and most dramatic way of confusing the villain. I will not disclose exactly who is involved in making life difficult for do-gooders, but can say that we have another nod back to Classic Doctor Who - akin to 12th Doctor effort 'The Swords of Kali'.

A lot of the dialogue is on the money this month. There are quite a few speeches and bits of exposition that may have been a bit over-done were this to be more conventional a tale. Yet with so much material demanding multiple viewings, a bit of excess is justified. And as the frantic task to unbend the convolutions of chaotic cause-and-effect take centre stage, there is still some very engaging characterisation which lets the reader know some inner feelings and beliefs that the regular protagonists harbour.

Alice and ARC are both very well-done companions that offer interesting but very different qualities. The pastiche figure of Jones is to my mind perhaps a bit weaker in realisation, but still fulfills plot requirements comfortably. There is also some real suspense over just who will be left standing out of this quartet. Without spoiling the storyline, it would appear the worst does happen - but it's lasting effects seem to be minimal. What could have been a big weakness instead amounts to both a justified reset button and a definite progression for the TARDIS crew.

Although I enjoyed Boo Cook's contribution visually in the previous two issues, the return of Simon Fraser is certainly not unwelcome. And he clearly knows how to best use his style to tell such a dynamic story. In addition to dialogue, Rob Williams' writing in general is consistently engaging; managing to make this adventure stand up as a solo piece for the more casual sci-fi or comic aficionado. Somewhat of a relief is the lack of any overt 'SERVEYOUinc' story arc threads, which allows for this issue's villain to stand on his own balletic feet.

In summary, with fizzy dialogue that reflects the sheer zaniness of events, along with simultaneously gripping and carefree plot mechanics, this is a must-read. It will both satisfy fans of this Titan series, and convert those somewhat more sceptical about Doctor Who's suitability for this medium. I was perhaps not too impressed with earlier one-offs starring the Eleventh Doctor, but this holds up as a work of art which rivals the crème de la crème of visual storytelling.

** Bonus comedy strips: AJ's 'Ice Cold' sees the apparent return of an alien that has both helped and hindered the Doctor during his many lives. A sneaky twist however provides a fine punchline.
'Bus Replacement TARDIS' from Marc Ellerby is a wonderfully irreverent effort and also appropriately set in snowy conditions. Amy and Rory struggle to cope with the climate and and an infuriatingly bubbly Doctor who fails to apologise for the change to their 'normal' travel and accommodation.

"Take your time, why don't you?..shoot the distinguished gentleman with the twinkle in his eye --or the raging monster that's about to rip him limb from limb?!" - The Doctor demanding to be rescued.

The villain roster goes from one supernatural entity to another in this new multi-part story. The Doctor and Clara are ushered through India's past and future in a bid to stop a form of vampire creature which has infiltrated the country's 'premier dynasty'. Originally a deliberate break from action was planned, but the Doctor had been hailed by a gentleman called 'Tiger' via the TARDIS phone. Tiger is a friend from long ago again needs some help. 'The Swords Of Kali' features a good handful of time zones and locations with the dramatic events having one TARDIS occupant stranded in 1825 and the other in 2314 trying somehow to reach them. 

There are echoes of the Jagaroth (from 1979 TV gem 'City of Death'), in that a supernatural family have helped mould and direct Mumbai's path from a tribal nation to a cutting-edge interstellar presence. There are other nostalgic details too: the Fourth Doctor's image is featured in a picture on a wall, and the Mona Lisa has once again been affected by the Doctor's actions. There is even a cameo from Leonardo Da Vinci (who was absent from that same Classic Series story). 
And for those only familiar with modern Who, the plot is worthy of 'Blink' and other 'timey wimey' TV installments; not letting up in pace, but thankfully avoiding being rushed. There are many strong original characters once again, but the stand-out is Rani Jhulka. She is a remarkably powerful and quick woman, who saves a couple from some thugs in the pre-credits section, and proceeds to infiltrate a fortress - where she meets up with one of the regulars. With a striking look, and a distinctive way of speaking, she is a much better realisation than Jenny from Series 4 tale 'The Doctor's Daughter'. 

Morrison's writing is again fluent and full of incident, but also offering engaging themes and strong characterization. Dave Taylor reprises his memorable artwork - with sterling support from colourist Luis Guerrero. Both the regulars and the guest characters are drawn with full life and emotive range, and the pages of this comic almost seem to turn of their own accord. Imagery and symbolism are strong too: the atmosphere generated by various sources of light and energy against the backdrop of night-time is inspired. For those readers living through wintry conditions this provides an added edge.
The villains and monsters involved are certainly not the run-off-the-mill stock which Doctor Who sometimes is guilty of, and there is real sense of jeopardy and high stakes. Again this clearly demonstrates how artist and writer are getting their combined vision across.

Much complex shifting from one time zone to the other is central to the plot. This could have been clumsy, but instead is handled well and only adds to a story filled with incident and excitement. The Twelfth Doctor is typically brusque; his portrayal keeping with continuity in that he is really struggling to relate with Clara. Furthermore he is arguably chillingly indifferent to a young woman's grieving for her murdered father. Yet the Doctor is still a hero and will gain retribution for the violence perpetrated by the vampires. One downside in all this packed excitement is that fans of the Clara character will see her being overshadowed by both the actual events and some of the new protagonists featured. Yet the theme of Series 8 is maintained with her well-intentioned efforts to make startled onlookers understand the Doctor's seeming apathy for the crisis unfolding. And with her left to cope with the crisis alone, perhaps the former 'Impossible Girl' will pull off something remarkable. 

** 
Bonus Humour Strips: 'Dark Water' (AJ/RF) advertises a specialist drink that is produced on a Cyberman dominated world. Somewhat disturbingly it reminds us of the dehumanising process that the Cybermen hinge on to multiply, and yet the tone is not muddled. 
'Planet of the Diners' (courtesy of Colin Bell and Neil Slorance) uses Doctor Who's time-travel element at its most frenetic, but still succeeds as a bit of an enjoyable diversion. The lack of noses on the faces of characters is perhaps odd, but otherwise this is colourful and convoluted fun.

The Arts in Space Conclusion

The Doctor is in a very compromising situation, and seemingly outwitted by the trap that has been sprung by the disturbed apprentice of artist supremo Zhe Ikiyuyu - who may be lost now forever, Once again it is up to the latest companion onboard the TARDIS to try and save the situation, and thus protect all those who live on the unusual world of Ouloumos. Will Gabby be able to cope given just how alien the environment is compared to her native New York?

This is a very good story to show the multilayered personality that underlines the Tenth Doctor. Even in comparison with the solid first story in this series ('Revolutions of Terror') this really feels like an authentic portrayal on paper of Tennant's magnetic characterisation. The Time Lord is very assured but also quite concerned about the potential ramifications of the apprentice taking over the art zone. He has a quip or two always to hand, but appreciates that he perhaps was a little too late to help his good friend Zhe - such is the somewhat arbitrary nature of when and where the TARDIS lands.

The team behind this comic continue to chart a course of fine conceptualisation and execution. Abadzis knows how to balance plot, characterisation and overall continuity very well, and clearly has thought through his abundant ideas so that the key skill of firm storytelling is not lost along the way. The constant threat posed by the antagonist is certainly played just right: Zhe has become victim to her own amazing computations, with her apprentice now a creature that is strong enough to form a 'male' and 'female' persona in separate corporeal forms. This two-parter has lots of deliberate confusing moments, almost as if the readers themselves have turned up in an absurdist, surrealist and nightmarish world.

Yet with some solid exposition this state of bewilderment is not over done, and there is a clear sense of what is fundamentally going on as the story reaches a crescendo. Also effective is the gentle set-up for the next adventures to feature the Doctor and Gabby; potentially leaving space for a return to the world of Ouloumos and/or its inhabitants. Art work this time is almost all done in the 'main style', as used in issues 1 to 3 and some of issue 4 - Casagrande and Florea doing some fine work together. One excellent visual device is the variety of odd animated objects - particularly the butterfly lips that perhaps reveal a little too much of characters' inner secrets.

However one especially large panel by Florea does see a brief appearance of the diary sketches that Gabby is able to put down as she makes use of spare time in-between high-risk escapades. This perhaps means that the entire story is best read in a single sitting. The journal is the most overt way of portraying a youngster joie de vivre and relative lack of world weariness, and reflects just what is most needed by the Doctor. He is by this point time-and-space-weary; maybe owing to how late into his original life cycle of regenerations he has progressed. The fine artwork seems to be fully reflective of the heavy themes and topics of the art world in the story, and is arguably at the highest level of the series thus far. Of particular note is how clearly the various characters are drawn - with the apprentices being particularly well-done as sinister and yet somewhat sympathetic living entities. The variety of frame sizes and how much dialogue is utilised also shows the strong harmony the writer and artist for these comic books have generated together.

And there is a lot of subtext at work in this story, making it a lot more memorable and imposing than the somewhat run-around nature of 'Revolutions'. We are made to consider what it is like to see a world and its occupants from another perspective entirely. There are also emotive topics such as lacking belief in oneself and allowing isolation to cause a flawed decision making process. Overall this is another winner in a very consistent series.

**
Bonus strips this time round are following suit with the main features by forming multi-part stories. 'To Heck and Back' by AJ sees the apparent return of the Satan creature (from the 'Impossible Planet' story in Series 2 of the parent TV Show). Although it is quite an imposing figure, we are never in any doubt that the Doctor is up to the challenge of fending it off once again.
The latest entry in the 'Rose by Any Other Name' storyline - courtesy of Rachael Smith - is again quite amusing. The new cat onboard the TARDIS is playing up to the 'prima donna' stereotype, managing to dash the lofty dreams that the Doctor had in mind for it. This is a good mini-story with nice traditional artwork. Composition is solid and there are clear emotions on the faces of the characters which don't feel forced.

Issue 5: The Sound Of Our Voices

As this story comes to a climactic showdown, the TARDIS crew must avoid grave peril abroard the SERVEYOUinc research satellite, and find if possible a peaceful solution to the apparant threat of the ‘ARC' creature. The Doctor is required to put on his thinking cap and deduce the vital clue to this mysterious scenario, but is forced to handle violent Security Chief Officer Hart. Suddenly appearing out of thin air in the middle of a crisis has ended up making the time travellers ideal scapegoats for the nefarious goings on. The new companions of the Doctor meanwhile are themselves forced to use their ingenuity - with Alice stepping to the fore as the decisive one, just as John Jones seems like a rabbit in the headlights.

Those readers wondering if Alice and the Doctor will part ways get their answer promptly enough as the Time Lord shows his considerable nous. In doing so he finds the real truth behind the ARC creature, and ensures that those abroad the station realise just why things have got so perilous. Although Alice is in many ways trying to find herself again after losing everything back in her 'real' home, she is also having a brand new start in life. Like so many before her such as Amy Pond and Rose Tyler she can now avoid having to worry about the mundane aspects of life back on Earth. But learning to understand an individual as deep and complex as the Doctor could still outweigh all the giddy heights that are now coming her way.

John Jones on the other had has not really had much of a detailed journey in this two parter; his intro in issue three still being the standard which needs to be met or exceeded . Nonetheless this character does not in anyway detract from events, and there is still plenty of time for some good material to appear. Male companions can sometimes not quite work in Doctor Who as well as the more traditional female counterpart, but there are enough strong examples to inspire Titan's creative team. Also in all fairness Alice was introduced first, and with enough background that she deserves to have further exploration. And unlike Jones she does not represent a take on an iconic cultural figure, and as such deserves focus.

Al Ewing completes the first multi-part story of this comic series well enough; perhaps a whisker short of fulfilling the promise of the first installment. The Eleventh Doctor really feels like the real article that graced TV screens for four years. When the conclusion unfolds, the Doctor's assertive manner in resolving affairs is spellbinding and uplifting. Of note also is the way he evaluates Dr. Rutherford on her actions and instead chooses a rather surprising companion to join him. Ewing complements the decent characterisation with a brisk pace and lively speech bubbles for the majority of the players involved. Although it could be argued that Jones only really works in the story to explain the comment by Hart that there were 'three' in the doctor's party when they first met him on the world of Rokhandi.

I continue to enjoy the efforts of artist Boo Cook, with him providing a style of artwork that engages and fits in perfectly with the sterile and detached future setting. A fine line is trod between a believable world and a slightly 'out-there' dimension, and this evokes quite well the very distinct style that the Matt Smith/ Steven Moffat stories constituted. The expressions of Jones and indeed Alice to some degree are what one would expect of people who do not belong to this corner of space. in a chapter of history yet to happen from their points of view. Also praiseworthy is how Cook’s artwork becomes more literal and realistic to emphasise fierce emotions - especially when it comes to the distinctive face of the Doctor.

As much as I was engaged by this story on the whole there are some areas to criticise. The plot may have some hooks as far as who is really manipulating affairs, but much of the action resorts to the typical Doctor Who trope of running around and making up a solution on the fly. There is also the obvious overuse of Serve You Inc, with little substantial development to compensate. As this is issue 5, the reader will no doubt wish for a bit of a change up. The story arc has become just that bit too noticeable, and hopefully there will be some strong stand-alones which remind the reader of Doctor Who's unequalled scope for a plethora of bold stories.
Issue 4 did have a bit more thematic depth which does not have quite the pay off here. At the same time even the best stories can have this element of mindless action to and fro. This story does at least reach a conclusion which is able to subvert expectations and as a part of an ongoing series it works well enough.

**
Once again the two bonus strips Are from AJ and Marc Ellerby respectively. 'Stop That' involves the Doctor on a planet that seems uncannily like Mars seemingly ready to find some trouble. But before he can get far, it would appear the TARDIS is trying to aggravate him, as concerns his final destination that was foretold long ago.
The second bonus comic has the TARDIS crew of Amy and Rory and gives the Ood a big starring role. Fun is poked at social media and popularity, with the Doctor clearly insecure that he is not quite the darling with the universe that he used to be. 'An Ood Thing To Say' is pleasant enough, but perhaps not quite as funny a piece as Ellerby is capable of.

Carrying on from Issue 1 the Doctor and Clara continue to be front and centre of the main action on planet ISEN VI, where a cutting-edge terraforming has gone awry. The mysterious entity that is behind the violent disturbances is fleshed out via the opening flashback sequence. The reader learns of the core history of the Hyperions - a race of sentient sun-like beings- that have turned vicious and destructive as their natural life cycles ended up coming to an end. Such is their all-consuming lust for energy they had completely forgotten their prior placidness. They were ultimately a threat to the entire comos, and this meant that various other powerful species constituted a Galactic Alliance. One of those in the collective were none other than the Time Lords - with Rassilon himself being involved. Now there seems to be the one sole surviving Hyperion, and it wishes to devour all it can on Isen VI. The Doctor and Clara require the assistance of their current allies, and need to find a solution effective enough to stop this threat once and for all. The Twelth Doctor's wits, sharp tongue and full force of personality end up helping him as much as his technical skills and vast bank of knowledge acquired over the centuries.

The overall quality of this series is reliably consistent. Morrison is a fine hand at using pacing to full effect, and seemingly aware of providing context for any readers who may have missed the previous instalments or are just new to this fictional universe in general. Despite the flashback full of exposition opening things up, the story never really drags. Also there is just enough of a sense of the back-story being necessary for the themes, emotions and plot.

In comparison with the other new comics lines, these stories could end up being the most purely ambitious as they play out on the largest scale. Thankfully characterisation is still a strong priority - the hallmark of Doctor Who on top form. Writing also is strong in providing us a lead character who very conceivably evokes the sharp persona of Peter Capaldi's Time Lord. He is still not quite sure of who he really is, but upon facing an old enemy of his own people he is forced to bring his best efforts to bear; rather than stand about and be passive as he clearly has shown himself to be by now. And his teacher friend Ckara Oswald continues to be fully at ease in an environment fare more dangerous than Coal Hill School, but seemingly less stressful at the same time!

The climactic confrontation scenes between the Doctor and the villainous Hyperion known as Rann-Korr work on both a dramatic level as well as bringing to mind the whole lone survivors dynamic that would crop up on television on occasion (i.e. with Van-Statten's Dalek and the Master). And as with part one there are echoes of television Series 8: Clara has to fence one of the possessed robots in much the same way that the Doctor confronted Robin Hood with cutlery in episode 3.

When it comes to how Clara and the Doctor operate together, there is little overt tension other than the standard superficial bickering which can be seen even with TARDIS crews who are thoroughly comfortable together. However this would presumably change as this comic line seeks to portray stories that were not on-screen from later on in the Series 8 timeline. Dave Taylor is more than equal to the writing, with some evocative pencils here. The action scenes feel real and lively, and the range of reactions to various developments that are ethched on characters' faces is also commendable, Arguably the highlight of both issues 1 and 2 is the fiery visualisation of the Hyperion itself..

Of course we need a sound presentation of the Doctor as well, and the good dialogue provided by the writing is reinforced by familiar expressions that we all know and appreciate from the very talented Capaldi. This is a comic which has been given a lot of attention to detail, and one that is good enough to deserve a re-read later on. For whilst the main story at hand is enticing enough, there are lots of other themes and subplots to engage the reader. I especially enjoyed the contrived wedding -complete with the runaway groom, and the pair of twist codas - one of them revealing just how vicious a supposedly cute group of monkey-like aliens really are.

The next story is only tantalisingly shown but would appear to have an archaelogical aspect to it which evokes such popular stories as 'Tomb of the Cybermen' and 'Pyramids of Mars'. All those who miss their customary fix of police box and sonic screwdriver on the TV can certainly find a more than worthy substitute, thanks to these confident original stories from Titan Comics.

**

The first extra strip 'Me Time' - from AJ- is a simple enough story which reflects just how casual the Doctor/Clara pairing can be, given her whole other life working for a living in London. The jokes are reasonable enough but perhaps this could have been a touch stronger when considering the material that has been offered to us in other editions in the last few months. The second strip - from new team Colin Bell/ Neil Slorance - is both thought-provoking and amusing. The philosophical debate over how each individual senses life in a unique way is made even more interesting by considering how a humanoid alien like the Doctor has his own perception; given his infinite-seeming lifespan. But this is a bonus strip with a twist in the tale. We get a punch line in the final panel which avoids trivialising those deep concepts excessively as well as actually making this one page story sufficiently memorable.

This new multi-part story takes place almost immediately after the end of 'Revolutions of Terror'. Gabriella Gonzalez has joined the Doctor for a one-off trip in the TARDIS; which of course will not turn out to be the case in practice. The Doctor saw something in Gabby’s courage and resourcefulness, and so allows another companion to join him. This despite the deep trauma of losing perfect pal Donna. The destination is a deliberate one as the Doctor wishes to introduce his New Yorker friend to 'Ouloumous' - a considerably more futuristic art gallery than the likes of the Guggenheim. The Time Lord has many acquaintances across the cosmos, and the visit is designed to lead to a reunion with mega-gifted artist Zhe; a being who can sing her works into existence, using the familiar device of block transfer computation (as seen in 1980s Doctor Who). After a comprehensive tour of the museum proper, a visit to Zhe's retreat is in order, and the real adventure and danger begins to show itself. Zhe appears to not be quite her normal self, and there are other beings present who seem to have a chip on their sculptured shoulders.

As with issues 1-3 artwork is consistently impressive and helps convey the story very well. But there is an added hook here as much of the story is told from Gabby’s point of view through the medium of her diary. Many sketches exist to portray her deepest thoughts and impressions concerning this remarkable change to her lifestyle. This serves the story by both making things refreshing, as well as broadening Gabby's character to include aspirations of being a comic illustrator one day in her own right. Well-judged humour abounds, and since the Tenth Doctor is so magnetic and engaging a new person's reaction to his many quirks is always going to be of interest.

Whilst many of us fans may be now quite familiar with the 'new recruit' on the TARDIS, it is worth remembering that as each person is unique, so their ability to adjust and appreciate the sights and sounds of the cosmos will be unique as well. Gabby is a clearly thoughtful and deep-thinking type and documents her perception of the animals, plant life, topography and even the sensations of an alien world's weather system. And somehow just as spellbinding for her is the Doctor's total relaxation at being somewhere so different to Earth. So what could just have been a gimmick ends up being a wonderfully creative way of adding to an already promising character. She has grown quickly in the short span of time since we saw her in the Laundromat, and is now pretty much outside of being subservient to her family - particularly her domineering patriarch.

The story itself regarding sinister beings using Zhe's shape-altering powers is solid but takes a back seat for much of this issue. Presumably this is to allow for more focus on plot and the requisite twists and turns in next month's installment. I regard Nick Abadzis as a man who really tells a story in an engaging manner, and he is clearly taking full advantage of the possibilities offered by the Doctor's vulnerability from the end of Series 4. Exposition is mostly delivered well, although if one were to be fussy there some self-indulgence with one or two sections of the gallery that the Doctor covers in his role of 'tour-guide' which adds little to proceedings. Tennant's on-screen interpretation shines througjh well, and I really can appreciate how carefully Titan have made sure each of the ongoing lines provides the right stories and material for the particular incarnation of the Doctor. Elena Casagrande’s art again impresses and the eeriness of being on a lunar landscape in the dark is perfect for the autumn release date of the comic. And when it comes to the journal written by Gabby, we can enjoy a rather different style of sketching, courtesy of secondary artist Florean’s own brand of illustration. As the icing on the cake there are some good subtle references to Classic Who - in addition to the strong reminder of Logopolis and Castrovalva's hard-sci-fi concepts. So another very enjoyable entry from Titan, and David Tennant fans will be well-catered for.

**
As with other issues, there are comedic bonus entries. Wardrobe Malfunction by AJ, features the Doctor trying on various costumes inbetween adventures; whilst A Rose by any other name, from Rachael Smith, concerns the iconic first modern day companion and a new spin on well-known Shakespeare text.