This is the text version of the podcast review I recorded for the "Doctor Who Show - TARDIS Library" episode released on 1st January 2017. The numbering sequences are mixed up a bit now as Rob is releasing content throughout the month, not all of which I am part of. That's fine, so I am just going to have the sub-numbering refer to the episode I'm actually on in future. Clear as mud.
As we move forward in 2017 I hope to expand the scope of this slot beyond just the Titan comics. I'll be listening to some "Torchwood" audios, maybe reading a smattering of old novel releases and perhaps there might even be a surprise or two. Let's see what comes up. For now, let's start this first episode of the new year with a look at the continuing adventures of the Twelfth Doctor. I'm slightly behind with the releases but hopefully I'll catch up soon.
Twelfth Doctor # 2.11
"Terror of the Cabinet Noir" Part 1. Writer Robbie Morrison. Artist: Mariano Laclaustra
We're back in Earth history for this story - specifically Paris in 1695 during the reign of King Louis XIV. Inside the candle lit Cathedral of Notre Dame, a French nobleman meets with the infamous Cardinal Richelieu. Attempting to protect himself with armed henchmen proves to be of no use as they are swiftly disposed of by shadowy creatures hiding in the cathedral roof - their bones picked clean in mere moments. Agreeing to enter the confessional box and reveal his sins, the nobleman soon learns that the Cardinal is less than human as dark tendrils consume him...
It's an effective cold open worthy of the TV series. You can easily imagine the theme tune crashing in as the victims screams echo through the vastness of Notre Dame. But if you thought this is where the Doctor comes in, you would be wrong. We are then treated to a first person narrative - a brief four page history of the real life Julie D'Aubigny, known as Mademoiselle La Maupin. A notorious swords-woman, brigand, murderer and fugitive from justice, she has only been conditionally granted a pardon from the King because of her excellent singing voice. Now the flame-haired songstress performs at the Paris Opera, drinking her way through her mentor's champagne supply and trying (and failing) to stay out of trouble.
Having disposed of one of her loudest critics with a swift boot to the unmentionables, she turns on another who resolutely stayed sitting during the curtain calls - a white haired gentlemen in a red velvet jacket. Yes it's the Doctor putting in an appearance at last. It turns out he's no fan of opera (as if all the previous stuff with electric guitars and punk rock concerts hadn't clued you in). Taking drunken offence, La Maupin challenges the Doctor to an instant duel and before you know it there is the clash of steel blades and the pair are trading blows and witty barbs across the courtyard.
The fight is suddenly interrupted as a crude small bomb is thrown into the arena and everyone dives for cover. The culprit is the sinister looking Captain Verlock, head of the Red Guard - who rule the streets of Paris with an iron fist. Duelling is forbidden in Paris - Mademoiselle La Maupin's life is forfeit and the Doctor is apparently wanted for questioning. Refusing to submit, the feisty singer attacks the Captain, driving him backwards and eventually piercing his chest with her sword. But Verlock just laughs and as his eyes bleed blackness, he shouts that the 'darkness' will consume them all.
Thankfully a blast from the trusty sonic screwdriver causes the soldiers enough pain for the Doctor and his new friend to escape the Red Guard and slip into the maze of alleyways - although the men are in hot pursuit. Thinking he has the duo trapped, Verlock is stunned to find they have vanished into thin air. Of course it's obvious they really just dematerialised in the TARDIS. Having already seen a man pierced through the heart and carry on living, La Maupin takes the wonder of the TARDIS in her stride. It's the Doctor who is more astonished when she reveals that the Red Guard work for Cardinal Richelieu - a man whom the history books say should have died fifty years ago...
Although this story is set somewhat later, it has a real feel of those classic tales of the Three Musketeers, which I have always loved since I read the original book by Alexander Dumas when I was young - plus of course I adored the wonderful Richard Lester movies from the mid-1970s starring Oliver Reed, Michael York and Richard Chamberlain plus a host of other famous faces. The whole swashbuckling genre with the heroes defending the downtrodden, saving the day and rescuing the damsel in distress is very appealing and I am surprised Doctor Who hasn't attempted something like this before now (well outside Big Finish audio plays anyway).
It's always a fun idea when the Doctor meets historical figures, and although I have heard of La Maupin, I'm not that familiar with her. For those who want to know more, there is a nice essay at the back of the issue about the real person behind the comics character. I think she is going to be an interesting contrast to the Doctor and he is going to struggle to rein in her hot temper (and possibly her drinking habits).
If I have once criticism, it's that her introduction is a bit info-dumpy - devoting a full four pages seems a little excessive and I wish there was a way that it could have been broken up more without interrupting the flow of the story. Having said that, I guess we did need to know why this opera singer is so good with a sword, so perhaps it was the most pragmatic choice to get all that personal history out of the way up front. On the positive side, the art used for these flashback scenes is just wonderful - a scratchy, slightly out of focus style all in sepia tones with just the bright red of the young Julie D'Aubigny's hair in contrast.
That brings me neatly on to the art for the rest of the issue and as expected Mariano Laclaustra doesn't disappoint. There's only one splash page at the very start, so he packs a lot of panels into the comic - and baring one or two places during the Doctor's initial confrontation with Mademoiselle La Maupin they are panels filled with detail - which addresses some of my concerns from a few months back. Mariano has obviously done some research and although I can't comment on the exact historical accuracy, the costumes and weapons certainly invoke the feel of the period. It's the little things that appeal to me - the fretwork on the confessional box, the varied ornate hilts on the swords offered to the Doctor, the etchings on Captain Verlock's metal epaulettes. Just lovely. The figure work is equally impressive with Mariano starting to rival Rachael Stott with the number of expressive faces and poses he displays for the Doctor.
Particular mention needs to be made this month about the colours from Carlos Cabrera. What I liked the most was actually the lighting effects - the hazy glow of the candles in Notre Dame, the dazzle of the stage in the opera House and the moonlit alleyways of Paris. It takes real skill and certainly adds to the mood of the story. The best element is right near the end as the Doctor and his companion are pursued through the streets by the Red Guard. As they escape in the TARDIS, we don't see a dematerialisation, or a "Vworp Vworp" sound effect - just a subtle electric blue glow reflecting on the walls. Very clever.
All in all it's an excellent first part, with the feel of the modern TV series, an intriguing villain and a mystery to solve. What more do you want from a Doctor Who comic? Bring on part two !
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Supremacy of the Cybermen # 4 - 5
Writers: George Mann & Cavan Scott. Artists: Ivan Rodriguez & Walter Geovanni (& others)
Moving on to the second review of the month and it's an overview of the concluding two parts of this years Titan "event "series.
We left off after issue three with the four new series Doctor's fighting the Cybermen on multiple fronts throughout history - and with the help of another old foe it appears that time is being rewritten. Nine has lost Rose to Cyberisation in 2006, Ten is facing Cyber-Kings alongside a Sontaran fleet. Eleven is trapped on Prehistoric Earth battling converted Silurians and Twelve? He's on Gallifrey with the Cyber-leader and a returning Rassilon and he's not going to win this time. The Cybermen are going to reshape the universe - permanently.
I really quite enjoyed the first three parts.I was excited that George Mann and his co-writer could deliver something great - an original roller-coaster ride that was strong on plot and deserving of the title "event". Sadly, instead, Mr Mann continues his long run of valiant failures. Once again it's "nice idea, interesting execution - shame about the ending". We don't even get the four Doctors meeting. I knew I shouldn't have got my hopes up.
I mentioned in my review of parts one to three that the writers were having fun with the lore of the series (particularly since 2005) and spinning things off in new and interesting directions. The problem is, they've also taken the worst bombastic elements of the series as well, which means that the climax is a big ball of timey-wimey nonsense which steals from pretty much every season finale to date. You want a Doctor using the heart of the TARDIS? Check, A Doctor shouting wildly at nothing? Check. An enemy destroying reality and rebuilding it in their own image? Double check. A Doctor resetting time with the power of the Timelords and just his thoughts? Check, check and (sigh) triple check.
When you paint yourself into a corner and alter history so much, the reader *knows* that the only way out is that big old reset button. At least when Donna saved the universe from the Daleks she lost all the memories of her travels with the Doctor. With this there's no real sense of peril. No consequences. No repercussions. We just don't care.
There are some positives. The Tenth Doctor's companions Gaby and Cindy actually get to do something in issue four. There is some nice interplay between Nine and Jackie Tyler. Eleven's dialogue does sound like Matt Smith could deliver it. There's a cameo from a couple of other incarnations. Small moments.
With the art, well...the actor's likenesses continue to be a bit of a problem but they just about get away with it - although the less said about Rassilon the better. Part of the problem may be the multiple inkers, which means there is a lack of consistency. There's also a bit of a Neal Adams thing going on in places with gurning faces and huge hands reaching out of the panels. The apocalyptic scenarios do at least allow the artists to indulge in a bit of over-the top-destruction with a huge Cyber-King foot crushing some poor Sontaran clone troopers. The page design is also worth mentioning. I always like a bit of overlapping panel work.
Last time I also talked about the lurid colours from Nicola Righi and she continues in the same vein in these concluding issues. You certainly can't accuse her of not using the full paintbox. Perhaps she is a little keen on the blue energy crackle effect and that obscures certain elements of the artwork, but generally I think she comes out of the five issues having developed a distinct style.
In the end then it's an interesting series let down by what turned out to be a familiar plot and an obvious over-the-top resolution. Not all big events have to be about the destruction of the universe you know.
That's all for now. More next time , Which might be sooner than you think...
Remember...the Force will be with you...always. Rest in peace, Carrie.
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