Writer - George Mann
Artist - Emma Vieceli
Colorist - Hi-Fi
Letterer- Richard Starkings + Comicraft's Jimmy Betancourt
Editor - Andrew James
Assistant Editors - Jessica Burton & Gabriela Houston
Designer - Rob Farmer
Released January 13th, Titan Comics

After their riveting and most risky escapades on an alien world, the Doctor and Josie have seemingly been able to relax a bit more, and explore the more sedate corners of time and space. Eventually the pair are in a good enough travelling state of mind to afford themselves some Victorian magic theatre. But soon the actual vanishing/reappearing mirror act on stage is revealed to be something far more disturbing. The time travellers must help not only some new friends, but indeed the wider population of Edinburgh, as an ultra confident showman aims to turn every soul into a servile puppet of his. And even the presence of the powerful Spherions cannot be totally escaped, as a make-shift solution is desperately sought..

This is one of the most handsome and confidently arranged comics on the visual front that I have had the pleasure to work my way through, and even outshines the best work on the Ninth and Eleventh Doctor ranges. A lot of detail is packed into each panel, and the character designs are done with the necessary thoroughness, and thus I never lost track of who was who, even with a decent number of players in the unfolding story. Emma Vieceli is a very capable artist, and I can only hope she has many more comic stories up her sleeve in the future. Once again female talent is being harnessed for the Doctor Who universe, and the intended recipients (in fans and the general public) are beneficiaries.

The official cover is full of excitement and colour. But despite it being another stunning way to attract a passer-by's attention, I must point out that its promise of the Doctor and Josie fighting their evil doubles is something which actually was never going to happen, given the scenario, and the rules of the magic mirrors involved.

Once again the Eighth Doctor is an arresting presence. As much as we can hope for, and certainly not expect , some form of TV outings for a strong actor like Paul McGann to feature in, the fact remains he had one of the most assured debut appearances of any Doctor. Therefore half the work is almost done for any given writer. But George Mann still puts a lot into adding that bit more of light and shade to this Doctor and giving him some memorable tasks to do. He shows a certain naivety in going along with the whole theatre/magic tricks scenario as long as he does, but there is always the chance that on some level he is anticipating the problem behind the ultra-perfection facade.

This is a very good outing for Josie as companion, making the most of what we knew before from her opening story, and making her more proactive throughout events than she was in Music of the Spherions. Her joie de vivre for the danger that is around the corner never extends into smugness, and her concern for others never quite erodes the sense that she is a self-sufficient and independent person.

Perhaps the main villain Silversmith is written in broad strokes, but he is still tremendously effervescent in persona, and almost charming. When the real version behind this illusionist is revealed, it is somewhat thought-provoking but also quite sad. There are no monsters as such involved in proceedings - unlike the first two titles in the mini-series - but we have a disturbing collection of assorted head and body parts, that seem to be able to exist purely for the dark designs of Silversmith.

The opener to this miniseries was a nice character piece, but almost a watered down version of The Eleventh Hour in having a localised threat. The second issue was much more grandiose, but had a somewhat predictable resolution. This effort however does well to mix the exciting ideas with a well thought out story which works very comfortably within the one issue format. The decision to make the overall arc tying these issues a bit more explicit is a wise one, and a multitude of questions will draw readers in for the upcoming fourth issue.

Extra Features  - Making Of The Comic (Page One)

With some detailed notes, this example of the composition of a page in the comic proper shows the meticulous care which enables strong underlying foundation, and therefore a very good chance of a strong end product. Titan certainly want to offer value for those who seek out these mini-series, and most likely do so in addition to the regular lines with the last three modern TV Doctors, and this level of insight is commendable.

When the previous series of this long-running spin-off  drew to a close, there was a massive game-changer that affected Henry Gordon Jago and Professor George Litefoot. Having been declared as would-be assassins of the Queen, they had to go on the run and undercover.

The extrapolation of The Talons Of Weng Chiang's brilliant 'double act' - and the more stock types of characters they encounter in a manner that engages - is something that consistently manages to hit the mark. To have the vastly experienced Benjamin and Baxter - who utter every recorded line to perfection - is crucial. These leading men also manage to promote an ensemble dynamic with cast and crew, that ensures the stories feel sufficiently engaging.  

My own anticipation for Series Seven was that some or all of the stories would involve the leads having to be on the run as part of the actual storylines, and probably having to resort to safety abroad. As it turns out, though, the production team opt for more of the same Victoriana mayhem that was prominent in most prior series. With the duo taking on different names and identities, but holding onto as many aspects of their real selves as possible, they somehow are able to inhabit their new lives somewhat convincingly.

There is good continuity and thematic clarity throughout. The first and third stories both often refer to the fictional detective that helped inspire Talons in the first place. However, they are distinct in style, and one does not rely on the other. The second story certainly could be placed in another season where the heroes are not on the run, but still works very well as a character piece that explores the cumulative pressure they have had to cope with. By contrast, the finale not only is kicked off by their 'arrest' for their 'crimes', but goes onto try and address those loose threads from Series Six.

1 - The Monstrous Menagerie by Jonathan Morris

Jago and Litefoot have obtained sanctuary at Baker Street, with some help from Professor Dark. They soon meet the famous scribe Arthur Conan Doyle, who has become extremely jaded with his trademark creation of Sherlock Holmes. They agree to taking on the 'roles' of Holmes and Watson, so as to help a woman called Laura Lyons who is facing supposed persecution by a certain Mr Baskerville.

Supernatural creatures soon make this whole affair a lot more complex than even the brilliant Conan Doyle could have envisaged..

Morris knows a thing or two about good Doctor Who, and its extended universe. I was impressed with his linking of well-known Conan Doyle stories to the events the  author is entangled in. It has a lovely performance from Steven Miller as Conan Doyle.  Suitably treacherous and single minded villains also make the story feel urgent and compelling.

2 - The Night of 1000 Stars by James Goss

Leela of the Sevateem has turned up (minus the Doctor) rather unexpectedly. Jago, Litefoot, and Ellie Higson must contain any delight when a dangerous entity forces them all to take shelter in their house on Baker Street. Various tales of the past begin to be told, but paranoia and suspicion also begin to take hold over the group of four.

Whilst the writer is a newcomer to the show this series, he nonetheless comes up with a gripping chiller here. Set in just one room for much of the running time, it is able to use sound effects and have a broader canvass. There is a frequent sense of an act being performed to an indistinct crowd.

Louise Jameson is as good as ever as Leela, but there is a different dynamic to her character which ties in with the story's resolution most satisfyingly. We also get to see the more deplorable aspects of our two title heroes, but this only goes to add depth and believability to them.

3 - Murder at Moorsey Manor by Simon Barnard and Paul Morris

Jago and Litefoot are now desperate to clear their name, and so visit Moorsey Manor. There, they encounter a rather varied group of eccentric people, and any one of those could be behind a gruesome events that ensues. The very finest deductive skill is needed from our two heroes as the body count rises further.

This is quite an enjoyable story, even if the eventual antagonist is portrayed in broad strokes, and a bit less interesting than the 'fake person' they had been beforehand. Also it can be hard to visualise the closing action scenes when they come around, making this feel perhaps somewhat belonging to another medium than audio.

4 -  The Wax Princess  by Justin Richards

Still seeking an all-important pardon from Queen Victoria, there is just the small matter of catching the fugitive Jack the Ripper for the duo. As one would fear, girls have begun to go missing again, and from Jago's very own New Regency Theatre. A dark plan eventually is unveiled, and one that could have catastrophic consequences for the British Empire, as a deceased heir to the Queen somehow is returning to life.

As with other finales from yesteryear, this is dramatic, fast paced and never loosens its grip. The Ripper is a difficult character to do 'wrong' creatively, and furthermore is brought to life by one of the guest cast. (But I dare not spoil who that is, as it provides a nice twist in the tale).

Documentary on Making The Show

Having been underwhelmed by some Big Finish documentaries, this edition does a lot to mend my belief. Courtesy of a generous running time of about 75 minutes, we hear from the team who have much experience by now of working together, but still are able to reflect and summarise their efforts in a fresh way. I particularly enjoyed the  insight into rehearsals and getting to hear Lisa Bowerman's assertive direction.

The Sherlock Holmes themes recurring across 'Menagerie' and 'Moorsey Manor' are  revealed to be through thematic coincidence, and not deliberate design. There also is some good explanation on how the leads are so crucial to the whole enterprise working, and how splitting them up too long is not a good idea in general. 

Most notably, this extra feature showcases plenty of clips from other Big Finish stories, and they are inserted in a suitably organic manner. The excerpts help greatly in either jogging regulars' memories, or piquing the interest of those less familiar in seeking out those other stories.

                                                                                                                   **

This is a confident batch of stories, backed up by a clutch of behind the scenes' gems. Unlike other years' output, I cannot single out a 'weak link' and particularly enjoyed the first and final stories. As such then, this is the most consistently solid box set in the range I have thus far experienced.

Written by Nick Abadzis
Art by Rachael Stott and Leonardo Romero
Lettering by Richard Starkings
And Comicraft's Jimmy Betancourt
Colorist Hi-Fi
Published August 12, 2015 by Titan Comics

Millennia ago the Gods left the Earth. That’s when the Cult of the Black Triangle formed. Generation after generation its members have waited, keeping both the faith and the secret. Now their time has come. The Gods have returned. But will the cult members get rewarded as they think they should? The Doctor, Cindy and Black Triangle gang are transported up to the alien’s ship where they come face to face with the Seeker, an artificial intelligence whose sole purpose is the destruction of all evidence that the Gods ever existed.

For some reason I thought that this was going to be the last issue in the story arc so I was a little disappointed and also excited when I reached the final page and realized there was still more to come. Here we are four parts in and writer Nick Abadzis has everything clicking along perfectly. There are plenty of characters in this storyline that are new but at this point you feel like you know them and understand their intentions and motives. To keep things fresh he changed the perspective on us for part of this book. A few pages in Cindy takes over the narration.  Set up like she is sending texts to her best friend Gabby back down in New York, she describes the attitudes and actions of the cult members and the Doctor as they argue and fight over what to do next. It works as a segue or montage to help show the passing of time onboard in an interesting way.

The Cult of the Black Triangle members were first convinced that Dorothy Bell was their Goddess incarnate. After that they decide that the being who brought them onto the ship must be their God. But it turns out it isn’t even a living being but a program that searches the universe seeking out all the left over artifacts from when the Gods were prevalent. Once found, it destroys them. As with many other stories, these aliens masqueraded as the Egyptian gods we are so familiar with.

Some of my favourite stories, whether they be comic books, novels or even television episodes, hinge on the “something familiar is actually not what you thought.” Doctor Who has done this so many times that you actually have to stop and think for a moment before you can find an item that hasn’t been twisted in that way. And even though it has been done quite a bit, I still love it.  This story is a take on the Egyptian mythology, that the Gods were actually aliens. A concept that has been done before, notably it formed the entire basis of the movie Stargate and the subsequent spin off TV show Stargate SG-1. The show even gets a mention from one of the characters during this issue. But of course classic Doctor Who fans know the idea goes back a lot further than the early 90’s. The Tom Baker story The Pyramids Of Mars quickly comes to mind with the villainous Sutekh. In many ways this might be a sequel to that story, or at the very least a new chapter. Speaking of new chapters, now that I know that this story isn’t done yet, on to the next one!

Bonus Strip: A Rose By Any Other Name by Rachael Smith

The Doctor is getting fat from eating too much ice cream so Rose The Cat decides he should regenerate to get over his lost love and lose some weight. After a couple of really funny bonus strips this one didn’t do much for me. The plus side is that the previous two were good enough that I don’t automatically dislike them anymore.

ELEVENTH DOCTOR Volume Two - Issue One
Writers - Si Spurrier + Rob Williams
Artist - Simon Fraser
Colourist - Gary Caldwell
Letterer - Richard Starkings 
And Comicraft's Jimmy Betancourt

(Abslom Daak created by Steve Moore and Steve Dillon)
Editor - Andrew James
Asistant Editor - Kirsten Murrary
Designer - Rob Farmer

Released September 30th 2015
Titan Comics

This new start - for a slimmed down TARDIS team of the Doctor and Alice  - takes the journey of a long, long lifetime into new playing fields. It also, however, acknowledge the richness of the Doctor's past, and in particular the Time War.

A splendid cover  - with the image of a confident Matt Smith - belies the actual demeanour of his alter-ego for the story itself. The Doctor is firmly on the back-foot and has to try and show some resemblance of self-belief and ability to conjure a plan on the fly. In this case, he really struggles, and can only begin to reconstruct what is the reason for the leaders of the Overcast race to capture him, and declare he faces sentence for his crimes. It is Alice who is able to show more outright heroism - especially given her paucity of experience and knowledge, in comparison to her alien co-traveller.

A previously unseen ally (and from long ago in the Doctor's past) also lends a helping hand or two. Despite being somewhat eccentric, the dedicated Squire shows herself to be more than ready to stand tall in the face of danger.

It will not escape a loyal follower's notice that the unmistakably grey-haired and bearded John Hurt version is also on the front cover. And we do get a fair amount of material with the War Doctor. In the primary flashback he is accompanied by a tiny figure. When questioned by this unknown companion over what he is going to do, he replies "What I Have To", and is grasping a formidable gun with both hands. Further recalls of this deliberately sidelined  - yet long-lived -incarnation are interspersed later on in the story. The ultimate intent is that the current Doctor has a reminder that he is the same man as he always was, and he must take responsibility for what he has done.

But perhaps the writers are trying to make us think of quite an uncertain debate here. The Overcast blame the Doctor, in that he deprived them of the outsiders with powers that gave them so much prosperity. Soon after, they were vulnerable to a much more Malignant visitor to their planet. However, the War Doctor may still have been arguably balancing the scales in the right direction, so as to save the wider universe, and time itself. The specifics are not mentioned here, and may not be in the concluding issue to come, but the Doctor has every right to be a bit flippant when stating how he is in a courtroom just one more time out of a "Bazillion".

Of course, the theme of a fair portion of Matt Smith's tenure - Series' 5 finale and Series 6 in particular - was all about his accountability for actions that left a mark or two on those it directly affected. So, it feels quite natural to pursue this fascinating topic now, after much of Year One concerned itself with Serve You Inc's soullessness, and the resilience of one dogged enemy in particular.

I found the visual aspects of this season opener equivalent to be pretty good. Simon Fraser uses a deliberately gaudy style, that certainly leaves an impression for some time, after readers put their paperback editions down, or exit the reading app they prefer. The artwork consistency is pretty robust, and there are thus no glaring peaks and troughs. Much of the story is set in darkness or shadows, and this suits the rather grim subject matter of a once-bustling civilisation of pioneers now reduced to - effectively - scavengers crammed into a feeble space station complex. There is also a well-done 'symbolic' image of a brace of Doctor regenerations that reminds us of the brilliant Tom Baker cameo in The Day Of The Doctor, and what exactly it may actually be alluding to.

The monster introduced here is known by precisely the same title as the story proper. This creature is a resonant and brilliant example of Doctor Who showcasing creative talent. A truly fertile imagination sparked the TV show, and that aspiration grew manifold in the hearts of viewers and fans, as well as the minds of countless professional contributors, over time. The effect this powerful foe has on the Doctor and his companion is disturbing, yet quite, quite fascinating too.

The icing on the cake, however, is the re-introduction of one of the very best characters to join the Doctor Who universe in the early 1980s.

A man who has done some unspeakable crimes. A man who offered to try and atone for his sins. But still a man whose morals are questionable. 

He obsessed over a prospective girlfriend dying in his arms from a Dalek ray, before even a first date could be granted to them.

He died in a huge explosion. Then he was brought back through time, for yet another showdown with his lifelong nemeses. 

Yes, Abslom Daak is back into the fray, and ready for some visceral mayhem. Everyone had better hold on tight.

EXTRAS:

A humour strip and three alternative covers feature.

New Year. New Who is once more an example of Marc Ellerby wrong-footing readers. It devotes a lengthy set-up to suggest a most critical course of action by the Doctor, where he will re-assert his authority over an adversary or six. (In fact he is dealing with a very domestic problem, which serves to frustrate all three of Amy, Rory and River Song).

Two of the variant covers are done in the humour strip style. One of these is a very sharp parody of the Doctor facing all his enemies, whilst trapped in the TARDIS, by Ellerby. 

Written by Joseph Lidster
​Directed by Barnaby Edwards
Starring: Tracy-Ann Oberman (Yvonne Hartman), Gareth Armstrong (Barry Jackson), Rebecca Lacey (Helen Evans), Dan Starkey (Ross Bevan), Catrin Stewart (Meredith Bevan)
​Released by Big Finish Productions - December 2015

For better or for worse, the quirky premise powering the fourth instalment in Big Finish's first season of Torchwood ​initially sounds more akin to that of a parody take on the original series as opposed to a respectful continuation of what came before; after all, can you really imagine one of the intrepid Torchwood Three team ever spending almost an entire episode roaming the intoxicated (both metaphorically and ​literally, in this case) streets of Cardiff in the hope of protecting local mayoral candidates from a series of grisly demises? Either way, that's precisely the situation which Yvonne Hartman, the short-lived commander in chief of Canary Wharf's Torchwood One who had both her entrance and exit in 2006's two-part Doctor Who ​serial "Army of Ghosts / Doomsday", finds herself in as she travels over from England's capital to Cardiff Bay just three weeks after both cities fell under siege from the Nestene Consciousness' Auton armies in March 2005.

It perhaps shouldn't come as a great surprise to any keen follower of the Whoniverse that far from the aforementioned extraterrestrial attack seeming to have had any noteworthy impact on Welsh society's apparently universal (at least if the manner in which One Rule ​depicts England's neigbours is any indication) appetite for an extravagant, no holds barred nightlife, life appears to have moved on in such a way that Cardiff's residents regard the attempted invasion more as a running joke than anything else. Indeed, in a similar vein, this reviewer couldn't help but gain the suspicion that whereas The Conspiracy and in particular last month's ​Forgotten Lives ​were intended to serve as reminders that the darker, often more enticing elements of Torchwood ​as a franchise still live on in aural form, Joseph Lidster hoped to demonstrate that much of the humour which came to define the show over the course of its five-year tenure still resides in Big Finish's adaptation, even if doing so meant crafting a more simplistic, inconsequential piece of drama than its recent predecessors.

In case any readers are wondering based on that sweeping assertion whether Lidster's latest addition to the history of the organisation which still insists on branding itself as being "outside the government, beyond the police" doesn't deserve their time, rest assured that whilst it's far from the series' finest hour to date (either in terms of its newly-conceived audio incarnation or in terms of the overall saga which began life way back in 2006 with the aptly-named "Everything Changes" on BBC Three), One Rule ​still provides its listeners with more than enough in the way of laughs, memorably exaggerated set-pieces (most of which brilliantly play on Yvonne's undisguised disdain for the working class by placing the character in an all manner of situations where social etiquette is immediately thrown out of the window) and intelligent references to the programme's now less than recent history - look out in particular for an unexpected development with regards to Ianto's burgeoning romantic relations with a certain soon-to-be "Cyberwoman" - to warrant its asking price. There's no doubting that Lidster still holds just as keen an understanding of what the Torchwood ​fan-base was surely looking for from this quasi-prequel tale (not least some insight into Torchwood One's perspective on everyone's favourite ragtag team of Welsh secret agents) and better yet, how best to exploit Tracey-Ann Oberman's character so as to ensure she reaches her full potential here.

Of course, had Oberman not brought the trademark wit, droll outlook on the so-called British Empire in its current state and vengeful charisma which rendered her somewhat tragic construct as such an instantaneous hit in the eyes of fans in 2006, then Lidster's efforts to resurrect Yvonne in style might well have been fruitless at best. As was the case with John Barrowman in September, Gareth David-Lloyd in October and the dynamic duo of Eve Myles and Kai Owen just two short months ago, however, the ​Eastenders ​star brings with her all of those qualities and so much more, infusing ​One Rule ​with a relentless sense of energy and momentum even when its central plot arc - which rarely taps into themes much deeper than surface-level political corruption or the needlessly selfish aspects of human nature - grinds to a halt for no other reason than to have her character down another pint or find herself the subject of social ridicule as a result of the state in which her increasingly digressive mission leaves her. This isn't to say that Lidster and / or Big Finish need necessarily hurry to invite Oberman back for further appearances in the role, but rather that if they elect to take this approach, then even if Ms. Hartman's next outing falls similarly short in terms of overall narrative ambition, then at least we can breathe a sigh of relief, safe in the knowledge that having her at the reins will at least guarantee the audience a hilarious (albeit low-octane) ride.

Yet if Oberman represents this oft-uninspiring fourth chapter's saving grace, then unfortunately, her co-stars can easily be singled out as one of the primary factors behind its failure to captivate: neither Gareth Armstrong nor Rebecca Lacey afford their respective councillors any more enthusiasm or political / emotional nuances than the script asks of them, instead simply casting both constructs as wholly one-dimensional Welsh citizens, with only Lacey's Helen Evans coming anywhere close to representing an empathetic construct as she enters into a brief discussion with Yvonne on the subject of her somewhat empowering approach to politics late in the day. Worse still, whilst one could arguably have relied upon the Paternoster Gang's own Dan Starkey and Catrin Stewart to elevate proceedings to a certain extent in most cases, the married couple the pair portray barely make it through a single scene before taking their leave, meaning that neither of the two talented thespians receive more than the briefest of moments to leave an impact despite them having more than proved their joint ability to hold their own in recent Who ​serials such as "The Crimson Horror" and "Deep Breath". Naturally, some characters in an action-driven storyline must inevitably exist only to progress said narrative with their untimely departures, yet to have Starkey and ​Stewart fulfil such menial roles when they might well have served the release as a whole better had they traded places with Armstrong and Lacey seems a counter-productive move on either Lidster or the studio's part(s) at best.

Nevertheless, even if ​Torchwood: One Rule ​won't likely go down as a prime example of what makes Big Finish the strongest possible candidate to carry the show's legacy in its hands now that its televisual days are seemingly done, that it's still a far superior effort to many of the studio's monthly main Who ​releases (at least from this reviewer's modest perspective) should at least instil fans with a fair degree of confidence about the programme's immediate future on the airwaves. Oberman still presents the audience with an authentic, laugh-out-loud take on her character a decade on from her memorable on-screen debut, Lidster's script - while lacking in meaty thematic material - undeniably achieves its goal of taking the series in a more light-hearted, casual direction than was the case with the overly melodramatic Miracle Day ​(the less said about which, the better!) in 2011, and for what it's worth, despite their contributions only amounting to cameos, both Starkey and Stewart do a fine job of attempting to redeem the title's otherwise wholly underwhelming supporting cast ensemble. David Llewellyn's masterful season opener The Conspiracy ​still doesn't have anything to worry about in terms of maintaining its place on Big Finish's recently-erected Torchwood ​throne, but all the same, thanks in no small part to Oberman's return to the role, devotees of the British Empire's most dedicated servant will still find plenty to love this time around.