20 December 2024

4-Dimensional Vistas: The DWM Comic Strip by the Numbers (From Stockbridge to Beyond Segonus: A Doctor Who Magazine Comics Marathon, Part 56)

The Doctor Who Magazine comic strip, as I have chronicled extensively on this blog, has a very long history. Thus, we can compile all kinds of interesting numerical facts about it! Note that for all of these, I'm just focused on the "main" strip, not the back-ups.

Longest Runs by a Writer

Here, I'm looking at the longest runs as the writer of sequential strips. These runs have to be unbroken, either by a fill-in writer, or by the strip itself taking an issue (or more) off.

  • 1. Scott Gray on #512-52 (41 issues)
  • 2. Scott Gray on #442-80 (39 issues)
  • 3. Steve Parkhouse on #53-84 (32 issues)
  • 4. Scott Gray on #308-29 (22 issues)
  • 5. Scott Gray on #333-53 / Dan McDaid on #400-20 / Jonathan Morris on #421-41 (21 issues)
  • 8. Scott Gray on #284-303 (20 issues)
  • 9. Steve Moore on #35-82 (18 issues)
  • 10. Pat Mills & John Wagner on #1-16 and on #19-34 (16 issues)

Unsurprisingly to anyone who has been reading all this time, our man Scott Gray has five of the ten longest runs as the comics main writer! He racked up long runs during the McGann, Smith, Capaldi, and Whittaker eras. And if you read him, you'll know why; I don't think there's anyone else who has ever "got" what makes Doctor Who work as a comic better than him.

Longest Runs by an Artist

  • 1. John Ridgway on #88-133 (46 issues)
  • 2. Dave Gibbons on #19-57 (39 issues)
  • 3. Mike Collins on #355-76 / David A Roach on #359-80 / David A Roach on #467-88 (22 issues)
  • 6. Dave Gibbons on #1-16 (16 issues)
  • 7. David A Roach on #451-64 (14 issues) / Lee Sullivan on #584-97 (14 issues)
  • 9. Martin Geraghty on #244-55 (12 issues)
  • 10. Mick Austin on #73-83 and John Ross on #524-34 (11 issues)

Somewhat surprisingly, to be honest, John Ridgway's run as an artist is longer than any of the runs by a writer! He provided the art for every Colin Baker strip and then into the Sylvester McCoy era (and also returned a few times after that). Mike Collins and David A Roach have overlapping runs because Collins was penciller when Roach was inker.

Both of these rankings just cover the strips in the collected editions; I think both Barnes and Sullivan continue on the strip after #597, so they should climb a bit.

Most Strips by a Writer

But who has actually done the most overall, regardless of number of sequential strips?  

  1. Scott Gray (184 issues)
  2. Steve Parkhouse (46 issues)
  3. Alan Barnes (27 issues)
  4. Pat Mills & John Wagner (32 issues)
  5. Jonathan Morris (28 issues)
  6. Dan McDaid (26 issues)
  7. Dan Abnett (24 issues)
  8. Jacqueline Rayner (20 issues)
  9. Steve Moore (18 issues)
  10. Gareth Roberts (17 issues)

Impressively, Scott Gray has written four times as many strips as his nearest competitor! It's hard to imagine anyone overtaking his record in the near or even distant future. 

Most Strips by an Artist

  1. David A Roach (162 issues)
  2. Martin Geraghty (143 issues)
  3. Mike Collins (75 issues)
  4. Dave Gibbons (66 issues)
  5. John Ridgway (61 issues)
  6. Robin Smith (55 issues)
  7. Lee Sullivan (44 issues)
  8. John Ross (31 issues)
  9. Adrian Salmon (18 issues)
  10. Colin Andrew (14 issues)

Regular inker David A Roach dominates here; he's inked many Martin Geraghty strips and many Mike Collins ones, allowing him to surpass both pencillers. John Ridgway still does well here, landing in the top five. Robin Smith, a bit of a forgotten inker to be honest, is in sixth.

Longest Gaps between Contributions

I think it was when John Tomlinson popped up as the writer of a David Tennant strip, having previously written one back during the Sylvester McCoy era, that I first got interested in this statistic. I am going to count people who came back for #500 but are otherwise not regular contributors outside of my ranking.

  • X. Dave Gibbons (431 issues between Stars Fell on Stockbridge and The Stockbridge Showdown)
  • X. John Ridgway (289 issues between Uninvited Guest and The Stockbridge Showdown)
  • 1. Lee Sullivan (267 issues between Children of the Revolution and Liberation of the Daleks)
  • 2. John Tomlinson (210 issues between Nemesis of the Daleks and The Betrothal of Sontar)
  • 3. Alan Barnes (204 issues between The Warkeeper's Crown and Liberation of the Daleks)
  • 4. Sean Longcroft (156 issues between A Life of Matter & Death and Mortal Beloved)
  • 5. Mike Collins (152 issues between The Good Soldier and The Nightmare Game)
  • 6. Adolfo Bullya (126 issues between Junk-Yard Demon and The Grief)
  • 7. John Ross (104 issues between Bus Stop! and Spirits of the Jungle)
  • 8. Alan Barnes (95 issues between TV Action! and The Warkeeper's Crown)
  • 9. Scott Gray (89 issues between The Flood and The Chains of Olympus)
  • 10. Lee Sullivan (78 issues between ...Up Above the Gods... and The Last Word

Tomlinson held onto that record for a long time, but the second David Tennant era finally saw him dethroned by the return of Lee Sullivan after a twenty-year absence. It's pretty amazing that the strip has been running so long some of the people who have contributed the most can also be on the list for longest gaps between contributions!

Longest Runs as Main Companion

This one I'm counting a bit differently. Instead of looking at individual strip appearances, I'm looking at how long each companion was the "main" one for the strip. So, for example, Izzy gets a point for Unnatural Born Killers in #277 despite not appearing in it because she was the main companion during that era (appearing in the strips immediately before and after it). Along those lines, I did not count one-off reappearances (e.g., Ace in Ground Zero, Rose in Monstrous Beauty) or reappearances where a former companion serves a different narrative role (e.g., Fey in The Clockwise War).

  1. Izzy in #244-328 (85 issues)
  2. Frobisher in #88-133 (46 issues)
  3. Yaz in #531-52, 559-62, 570-83 (40 issues)
  4. Clara in #462-99 (38 issues)
  5. Ace in #164-92, 203-10 (37 issues)
  6. Amy in #421-55 (35 issues)
  7. Sharon in #19-48 (30 issues)
  8. Peri in #104-29; Fey in #257-71, 318-28; and Ryan & Graham in #531-52, 559-62 (26 issues)

It was honestly surprising for me to realize how long of a run Yaz had, the longest of any tv companion.

This post is the fifty-sixth in a series about the Doctor Who Magazine comic strip and Marvel UK. The next installment covers a reading order for the collected editions. Previous installments are listed below:

18 December 2024

Doomwar by Jonathan Maberry, Scot Eaton, Robert Campanella, Andy Lanning, et al.

Doomwar is a six-part miniseries (with a double-length first issue) published in 2010; even though it was not branded as belonging to a particular Marvel series, it is clearly a Black Panther story. Despite having guest characters from across the Marvel universe (e.g., the Fantastic Four, the X-Men, War Machine, even Deadpool), the story picks right up from the end of Black Panther volume 5 by the same writer, and the protagonists are definitely T'Challa and Shuri as they struggle to defend Wakanda from an invasion by Doctor Doom.

from Doomwar #5
As a result, I didn't expect to enjoy it very much, having not really enjoyed Jonathan Maberry's "Prelude to Doomwar"... but by the time I was partway through issue #2, I realized I was pretty into this! I had been afraid this would be a big generic Marvel event, but as I said, it's very much a Black Panther story about the characters of T'Challa and Shuri, and about the politics of Wakanda. It would fit right into, for example, Christopher Priest's run without a lot of tweaking. Though I still feel like Shuri isn't a very strong character, mostly just being an angry young woman, I felt Maberry had a good handle on T'Challa here, showing how dedicated he was to his country even in trying circumstances. And while I felt like the populist uprising in vol. 5 was kind of contrived, Maberry does a good job with its consequences here. 

On top of all this, I kind of groaned when Deadpool showed up (especially when they put him on the cover of issue #4, but he didn't appear until the very end, presumably so they could also put him on the cover of #5), but Maberry makes good use of him, and he doesn't derail the book like I was afraid he might.

from Doomwar #4
The story was aided by two other things. One is definitely the artwork; Scot Eaton (mostly inked here by Andy Lanning & Robert Campanella) is the best penciler assigned to Black Panther since Jefte Palo's Secret Invasion story in volume 4, with clear storytelling and good character work. (I think he was doing Ioan Gruffud for Mister Fantastic and Denzel Washington for T'Challa. Of course I approve of the former.) And John-Francois Beaulieu, who I really liked on the Marvel Oz comics, does a great job as the colorist. Bad coloring can muddy the storytelling, but I felt that even with dark colors, everything popped and was visually clear—even though he obviously uses a very different palette here than he did in Oz!

The other is Doom himself. I haven't read many Fantastic Four comics, so I don't have much of a handle on the character, but I really liked Maberry's take on him here, especially when we find out how Doom was able to overcome T'Challa's locks on the Wakandan vibranium vault. It plays out exactly how I expected... but was nevertheless perfectly done. A great depiction of a great villain.

from Doomwar #4
I found the ending both interesting and frustrating. The characters can kill Doom, but don't, so that they're "better" than him. While I believe that, say, Reed Richards would have this philosophy, it doesn't make any sense for T'Challa and Shuri, and surely it only happens this way because Doomwar is part of a wider Marvel universe, and can't be the story that kills off a key character. On top of this, T'Challa makes a very interesting choice: he destroys all Wakandan vibranium rather than let Doom make off with some of it, preserving Wakandan values but perhaps at the cost of Wakandan security. But this happens at the very end of the story, so we get no implications of his choice. This isn't so much an issue for Doomwar itself (though I think the way that the country's rebuilding gets a single panel is) but one that I am afraid future Black Panther stories will not really engage with. I guess we'll see!

Doomwar originally appeared in six issues (Apr.-Sept. 2010). The story was written by Jonathan Maberry; penciled by Scot Eaton; inked by Andy Lanning (#1-5), Robert Campanella (#1-6), Jaime Mendoza (#6), and David Meikis (#6); colored by John-Francois Beaulieu; lettered by Cory Petit (#1-5) and Joe Caramagna (#6); and edited by Axel Alonso. (Note that issue #2 is called "Part 1" and #6 "Part 5" on their title pages.)

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

16 December 2024

Legion of Super-Heroes Archives, Volume 1 by Otto Binder, Al Plastino, Jerry Siegel, John Forte, et al.

Legion of Super-Heroes Archives, Volume 1

Collection published: 1992
Contents originally published: 1958-62
Acquired: May 2024
Read: November 2024

Writers: Otto Binder, Jerry Siegel, Robert Bernstein
Pencillers: Curt Swan, Al Plastino, George Papp, Jim Mooney, John Forte
Inkers: George Klein, Al Plastino, George Papp, Jim Mooney, Sheldon Moldoff, John Forte

Having reached the maximum forward extent of the original Legion of Super-Heroes with the Five Years Later Omnibus, Volume 2, I now jump back to the beginning, to fill in with the Legion Archives I haven't yet picked up. The very first of these also happens to be the first very one full stop, which collects the Legion's legendary original appearance, a smattering of guest appearances across various titles, and then the beginning of its ongoing run in Adventure Comics. I had read a few of these stories before (their original appearance, the death of Lightning Lad) but not most of them, and as both a literary scholar and a continuity nut, what interested me here—far more than the actual contents of the stories to be honest—was the way in which the Legion concept evolved and mutated as it was first established. There was absolutely no intention, originally, of making it into an ongoing thing... and how that would come about is not very straightforward!

It all begins with Adventure Comics #247 (Apr. 1958), where Cosmic Boy, Saturn Girl, and Lightning Boy (as he was then) come back in time to invite Superboy to join the Legion of Super-Heroes. Because this in the 1950s, and these Superboy stories for some reasons love for the characters to be assholes, they set up an initiation test for him that they purposefully rig to fail. At the end, they say, "it proved you're a super-good sport, taking it all with a smile!" I once read this aloud to my six-year-old, and they didn't understand why Superboy just wouldn't say why he couldn't complete the initiation tests (he had a legitimate reason every time), or why the Legion would do this to them. 

Okay, but then who's the guy in red behind Brainiac? And the guy who we only see the back of his head?
from Adventure Comics vol. 1 #247 (script by Otto Binder, art by Al Plastino)
Other members of the Legion appear in crowd shots, but only a couple are ever in focus, on the final panel of page 11. One seems to be Brainiac 5, but apparently he had white skin in the original printing of this story; the Grand Comics Database tells me this character was recolored to look like Colossal Boy when the story was reprinted in Superman Annual #6 (Winter 1962/63). It's not clear to me when he was first recolored to look like Brainiac 5; the GCD first mentions the recoloring in its entry on this volume, but I can see that in the interim, it was also reprinted in DC Special Blue Ribbon Digest #1 (Mar./Apr. 1980) and Adventure Comics #491 (Sept. 1982).

Anyway, it took over eighteen months for the Legion to reappear, in Adventure #267 (Dec. 1959). While their first story was written by Otto Binder, this one is by Jerry Siegel, and you can see that Sigel closely studied the first Legion story, in that once again, the three Legion founders turn up and act like assholes: they deliberately upstage Superboy so that he feels isolated and lonely and flies away from the Earth, enabling them to trick him into going to a planet with a kryptonite prison, where they lock him up so that he cannot commit crimes they saw him perform five years hence on the "futurescope." (Surely it should be the pastscope, because these events would occur 995 years earlier for the Legion!) Like a lot of comics stories from this era, once has the feeling Jerry Siegel made it up as he went along. Superboy escapes the prison because a trophy on the planet explodes, "launching an atomic chain reaction" the causes the collapse of the kryptonite prison; the chain reaction also releases the element "sigellian," which is poisonous to the Legionnaires, so Superboy shouts loud enough to change its molecular structure, rendering it harmless. At that exact moment, Saturn Girl happens to hear a radio transmission from Earth where the U.S. president releases Superboy from his oath of silence, allowing Superboy to finally explain that he didn't commit those crimes five years in the future but just then (the futurescope was miscalibrated), and they weren't really crimes, but things he was asked to do by the U.S. government! 

Superboy probably has an anxious attachment style.
from Adventure Comics vol. 1 #267 (script by Jerry Siegel, art by George Papp)

Like Jesus Christ, could this chain of events be any more contrived and nonsensical? There are repeated references to the planet being built by a group of superheroes along with the Legion, who we see in some crowd shots; I kind of think Siegel missed that the Legion was from the future because there's only one quick reference to a time-bubble, which I feel like could have been added by an editor. Anyway, it seems like the first Legion story was a success, but the perception was that what people really liked about it was the Legion being jerks to Superboy for contrived reasons, so they just told that same story again. I did really like the art by George Papp, though, which is more expressive than normal for the era.

The Legion wouldn't appear in another Superboy story for over another year, but in the interim they did pop up in a Supergirl story, in Action Comics #267 (Aug. 1960). Once again, it emulates the original story, this time by having the three original Legionnaires pop up to tease Supergirl that they know her secret identity, before bringing her to the future to undergo an initiation test, which she ends up failing. (Here because red kryptonite causes her to turn into an adult, rendering her too old for Legion membership; rather than, say, help her, the Legion just dumps her into the past, where luckily she soon de-ages.)

Convenient, I guess... and oddly specific.
from Action Comics vol. 1 #267 (script by Jerry Siegel, art by Jim Mooney)

The story is the first to give us new, named Legionnaires: Colossal Boy, Invisible Kid, and Chameleon Boy. What's also noteworthy here is a fact that later stories would eventually ignore: the Lightning Lad, Saturn Girl, and Cosmic Boy who meet Supergirl here are in fact the children of the ones Superboy met; I guess the idea was that the Legion was always travelling exactly one thousand years into the past, and while Superboy is Superman when he was a boy, Supergirl was the adult Superman's contemporary, and thus from a generation later. Eventually, though, this would be streamlined and retconned away, so that these were the same three Legionnaires Superboy originally met, and indeed, my understanding is that at some point it was established that from the Legion's perspective, Action #267 actually preceded Adventure #247, so that the Legion actually recruited Supergirl first. I am not sure when or why this was done.

A tumble!? Wow, Lana is pretty horny for a 1940s girl.
from Adventure Comics vol. 1 #282 (script by Otto Binder, art by George Papp)
After this, we get a string of minor appearances, lacking the full Legion. In Superboy #86 (Jan. 1961), Lightning Lad cameos in a story about Superboy battling Lex Luthor, seemingly just there to point out that he is yet another "L.L." in Clark Kent's life. Then in Adventure #282 (Mar. 1961), we get the first story that actually substantively uses a new member of the Legion, when Star Boy chases super-criminals back in time, and Lana Lang decides to date him in a failed attempt to make Superboy jealous. We spend a lot of time here on Star Boy's home planet of Xanthu in the future, which I don't remember seeing much about in later stories. It has two noteworthy aspects: it's first story to really expand on the Legion's future world, and it also deviates from the Adventure #247 formula, so clearly writer Otto Binder was putting some thought into what people liked about the Legion stories. But also it has Chamelon Boy as a Legion member in Superboy's time, so Binder seemingly missed that Chamelon Boy was from a generation later according to Action #267. Or, I guess, this Chameleon Boy is that Chamelon Boy's parent! Either way, the confusing nature of having two Legions both a millennium hence but a generation apart is pretty obvious, and is already causing problems.

A very fast courtship.
from Action Comics vol. 1 #276 (script by Jerry Siegel, art by Jim Mooney)

Supergirl goes into the future again in Action #276 (May 1961); this is the story that sees her gain Legion membership, alongside Brainiac 5, in his first appearance. Is Brainiac 5's appearance here the reason for retconning Supergirl to predate Superboy in the Legion, so as to line up with Brainiac 5's appearance in the reprints of Adventure #247? Anyway, this story is pretty dumb but I guess you have to hand it to Jerry Siegel for coming up with a clever spin on a villain with Brainiac 5.

I don't think this is really consistent with later stories of the "Adult Legion," but I'm willing to be told I'm wrong.
from Superman vol. 1 #147 (script by Jerry Siegel, art by Curt Swan & Sheldon Moldoff)

I'm not totally going story by story here, but Legion lore develops in a really significant way with Superman #147 (Aug. 1961), the first story where the adult Superman meets the Legion. In this story, Lex Luthor reaches out into the future to discover that just as there's a Legion of Super-Heroes, there's also a Legion of Super-Villains. I hadn't realized that the LSV (do people call them that?) first appeared in a Superman story—but that's the reason they're adults, I guess, because they come from one thousand years in Superman's future, and thus the era where the Legionnaires are grown up. The Legionnaires appear here, too, and since they're relatively contemporary to Superman, they are also grown up.

Nothing I love more than a plot that hinges on a previously unmentioned critical fact.
from Adventure Comics vol. 1 #290 (script by Robert Bernstein[?], art by George Papp)

The collapsing of the two Legion eras into one somewhat happens in Adventure #290 (Nov. 1961), which establishes how Sun Boy joined the Legion—we saw him get rejected at the tryouts in Action #276, a Supergirl/Superman-era Legion story, but now he's in the Superboy-era Legion. Was this on purpose? Was the unknown writer just confused? (I should also note that many of these early Legion stories indicate only one person can join the Legion per year, but later timelines would indicate all of these happened over the first year of the Legion. Which makes sense as a retcon; there are so many members now that the founding members couldn't be teenagers if there really was one new member per year!)

(One should also note that for many of the stories here, the Legion is said to be from the twenty-first century, not the thirtieth. Not sure why this happened, except maybe carelessness. In one of the stories to mention the twenty-first century, we're also told evolutionary processes have happened since Supergirl's time. I mean, I know one thousand years isn't enough for that, but certainly one hundred aren't!)

Saturn Girl knows what she wants, I guess, and is not afraid to cross the line. But the best thing in this sequence of panels is probably Supergirl's assumption that Phantom Girl is probably pathetically single as an adult.
from Action Comics vol. 1 #289 (script by Jerry Siegel, art by Jim Mooney)

I think the last story to clearly have the two different Legion time eras is Action #289 (June 1962). This is a deeply weird story where Supergirl decides Superman needs a woman worthy of him; among the things she tries is taking him to the time of the adult Legion, to see if Saturn Woman could be it. (She's not, because she's married to Lightning Man... that says, she allows Superman to give her two really deep kisses anyway!) This story has Superman and Supergirl devise the flying belts that replace the rocket packs the Legion used in earlier stories... but the flying belts continue to appear in Superboy-era Legion stories after this.

We also get the first Legion of Super-Pets story in Adventure #293 (Feb. 1962); I hadn't realized that in Comet the Super-Horse's original appearance, he was picked up from Supergirl's relative future, as he hadn't actually been introduced in the Supergirl stories yet! 

Look, who among us hasn't accidentally downed an entire bottle of a bizarre chemical formula instead of soda pop?
from Adventure Comics vol. 1 #301 (script by Jerry Siegel, art by John Forte)

After appearing once in 1958, once in 1959, once in 1960, five times in 1961, and four times in early 1962, the Legion got an ongoing feature in Adventure #300 (Sept. 1962), the first six installments of which appear here. Adventure #301 (Oct. 1962) is the first Legion story with no Supergirl or Superboy or Superman, the first to purely take place in the future era, indicating that DC saw what the appeal of these characters really was. Adventure #302 (Nov. 1962) is the first where there's no specific reason for Superboy coming to the future, he just zips in to hang out with the Legion.

That the Legion was on ongoing concern is very clearly demonstrated by the second-last story collected here, Adventure #304 (Jan. 1963), where Saturn Girl is elected Legion leader and Lightning Lad dies. Here we see that adventures can have real, meaningful consequences. Also, this is the establishment of Saturn Girl's practical, ruthless side—she is one of my favorite Legionnaires. Manipulating her way to become Legion leader so she can save everyone else's life! Amazing. Along the same lines, we do get the saga of Mon-El, who first appears in a non-Legion story included here, Superboy #89 (June 1961), where he is trapped in the Phantom Zone, and then reappears in Adventure #300, where he temporarily gets out, and then he permanently gets out in #305. Disconnected from the need of superhero comics to be in an eternal present, the Legion can develop and change over time.

These stories, as my comments probably indicate, are generally not very sophisticated, in either art or story, though I did generally appreciate the work of George Papp. But there are a multitude of character and concepts here that would provide fertile ground for what has been sixty years of stories thus far. I am glad to finally dive back into these earliest tales, and I look forward to seeing the Legion continue to develop when I get to volume 2.

I read a Legion of Super-Heroes collection every six months. Next up in sequence: Legion of Super-Heroes Archives, Volume 2

13 December 2024

Reading The Hidden Prince of Oz Aloud to My Kid

My six-year-old and I are rapidly running out of "quasi-canonical" Oz books. Unlike previous books published by the International Wizard of Oz Club, The Hidden Prince of Oz has no connection to any Royal Historian; rather, the Oz Club ran a competition to find a book manuscript to commemorate the one hundredth anniversary of The Wonderful Wizard of Oz.

The Hidden Prince of Oz by Gina Wickwar
illustrated by Anna-Maria Cool

Published: 2000
Acquired: May 2024
Read aloud: October
–December 2024

This is probably the reason for a (pretty minor) bit of backstory about the Wicked Witch of the East and the Tin Woodman; the novel takes place one hundred and one years exactly after she passed away. Aside from that, though, Hidden Prince reads much more like a Ruth Plumly Thompson pastiche than a Baum one: we have a small kingdom with comedy advisors, an orphan propelled to Oz in somewhat contrived circumstances, a nonhuman character who turns out to be another character under an enchantment, and a climax that features a wedding (various examples of these tropes: Kabumpo, Grampa, Giant Horse, Yellow Knight). As a Thompson fan, I don't mind this... but I found this book to be a drag. 

The fundamentals are good. In one subplot, the illegal magician Zeebo disappears, and his two faithful pets, the parrot Beak and the teacup poodle Penny (complete with magical teacup, of course) must set out to rescue him; in the other, the American orphan Emma-Lou winds up in the Oz kingdom of Silica along with a living wooden Indian from the porch of an Arizona trading post. Two small animals against the fearful world seems like fertile ground for an Oz plot; I really like Oz books where seeming underdogs go on dangerous quests and prove themselves (e.g., Wonderful Wizard, Patchwork Girl, Kabumpo, Merry Go Round). But Penny and Beak quickly get lost in a slew of characters that join their quest; Ketzal the feathered boa is a fun idea, but there's also a completely pointless bit about a leperchaun. In the other plotline, you barely get to know Emma-Lou and Chief Thundercloud because they're joined by Bungle the Glass Cat, Princess Vitria of Silica, and her cousin Vitrix. More and more characters are piled on, until by the end of the novel we also have the Tin Woodman, the Wizard (though he leaves before the climax), Smithereens the third assistant glassworks keeper, Venté the passenger pigeon, Polychrome the Rainbow's Daughter, and the Saw-Horse. And I think I am probably forgetting someone else! Any one of the added characters are fine on their own, there's just not enough space for them here. Wickwar should have saved them for another book!

None of the characters gets the space to do anything interesting or clever or memorable, and it seems like in many cases they just get a line of dialogue or bit of action per chapter so you don't forget about them... but that often seems outside their scope or personalities. (Penny and Venté, for example, carry bags of gold, which seems unlike for two characters with no hands!) The cores of the book (in my opinion) ought to have been 1) Penny and Beak's devotion to their master, who frankly doesn't deserve it, and 2) Emma-Lou's finding of a place in the world, probably with Thundercloud. The two animals should have stayed on their own; Emma-Lou and Thundercloud should have gone on their quest with just Bungle at most. But these things are buried under a piling-on on incident and characters, and Emma-Lou weirdly ends up adopted by Zeebo, a character 1) she only just met, and 2) who has displayed nothing but dubious moral character the entire novel! She should have become a princess with Cyan and Vitrea! And why does Vitrea have to give up her kingdom for a man, anyway?

Anna-Maria Cool illustrates, and proves herself a solid mid-tier Oz artist. She's no John R. Neill or Eric Shanower... but then, who is? She's good at bringing characters to life in particular; her faces have a real liveliness to them that really helps with the book's storytelling.

On top of all this, I don't think the book is longer by word count than a typical Oz book, but it's got thirty chapters instead of the usual twenty-something; this means that if you read a chapter aloud on alternate nights (as I do), the book does seem to drag on, taking over a month to get through. (Reading it back to back with Ozmapolitan revealed that I use the same voice for Eurkea and Bungle, a sort of "southern belle" accent. I guess it just seems right for cats.)

All that said, though, when I asked my six-year-old if they liked it, they said yes, and when I asked what, they said, "All of it." I think they particularly liked the unusual characters like Penny and Ketzal, so it's a shame they didn't have more to do.

Next up in sequence: Toto of Oz

11 December 2024

Star Trek: Asylum by Una McCormack

Strange New Worlds is by far my favorite of the Paramount+-era Star Trek shows, and Una McCormack is by far my favorite of the current stable of Star Trek novelists. Put these two together, and let's say that I was predisposed to like this book.

Star Trek: Strange New Worlds: Asylum
by Una McCormack

Published: 2024
Acquired and read: November 2024

So thankfully, I did. The book has two parallel narratives; in one, the Enterprise is assigned to Starbase 1 to assist with negotiations with a race of catlike aliens. These aliens turn out to 1) have a racial minority that they oppress, and 2) have been encountered by Una ("Number One") in her Academy days. As the novel goes on, the negotiations are complicated by mysterious acts of vandalism on behalf of the oppressed minority. In the other, we follow Una during her Academy days as she befriends those aliens, but also struggles with balancing all the other aspects of life she wants to participate in, including a Gilbert and Sullivan production and the maintenance class taught by the Enterprise's future chief engineer, Pelia ("The Broken Circle"). At the same time, she also meets Christopher Pike for the first time, as he returns to the Academy to give a lecture series for cadets in the midst of a personal crisis of his own.

I zipped through this on a plane ride during my Thanksgiving vacation, beginning it before the plane took off and finishing it before it touched down. McCormack's novels are always easy to read, but in a pleasurable, rewarding way: there's a real depth of characterization here missing from most tie-in fiction, which typically just aspires to make sure you can imagine that the actors are reading the lines. Una is the novel's standout, McCormack deftly using her backstory as someone who must "pass" in a society that discriminates against her to bring out the complexities of such an undertaking. How can Una advocate for other people to be who they are when she herself must deny who she is in order to survive? McCormack was in higher education for many years, and her depiction of Una draws on that to show off a very real type of person from academia, the one who wants to do everything but soon finds themself hitting their limitations.

On top of that, unlike many tie-in novels, it's thematically rich, dealing with the complexities of cultural oppression and cultural resistance. There are sfnal metaphors here for the kinds of things that have happened and continue to happen in the US, the UK, and around the world when majority groups confront minority groups, and it all feels very real. I know many tie-in writers don't like it when I say things like this, but every time I read a Star Trek book by McCormack, typically the only thing I don't like about it is that it means McCormack hasn't written the great original sf novel about cultural clash that I truly believe she has within her! I read this at a rough time in my life, but like Bujold's Brother in Arms (which I read around the same time), it reminded me of what I needed to do: fulfill my obligations, both to myself and others, as ethically as possible.

I have some quibbles—Una has to make a mistake I really don't buy to set off the novel's present-day events, the Federation ambassador negotiating with the aliens seems to know curiously little of them—but there's a lot to like here. So far there's only two SNW novels, and I don't know how many more there will be in the long run, but I am willing to wager that this will be the best, unless of course McCormack writes another. (Shame about the incredibly bland cover.)

09 December 2024

The NEW Blackhawk Era!: From Junk-Heap Heroes to the Return of the Black Knights (#228–43)

To a certain type of comics fan, the story of "The New Blackhawk Era" is a familiar one. The Blackhawks were in continual publication from 1941 to 1967; despite having been designed as World War II heroes, they had survived the end of the war and even a change of publishers, going from Quality Comics to DC, and moving on from battling dictators, to battling criminals, and later aliens, and later nascent supervillains. But as the 1960s continued, the Silver Age of comics was in full swing, and a group of war characters was out-of-date. There was one attempt to rejig the Blackhawk concept with 1964's issue #196 (see item #5 in the list below), but it didn't last.

Still, clearly something needed to be done. I don't actually have any behind-the-scenes insight here, but a comic doesn't undergo a creative change like this one if everything is working fine. In the three-part The Junk-Heap Heroes! storyline (issues #228-30, written by Bob Haney, art by Dick Dillin and Chuck Cuidera), the Blackhawks go an a mission where things go horribly wrong—and suddenly the President of the United States has called in the Justice League to evaluate the Blackhawks.* Their assessment?

In the words of Batman, "They just don't swing!" (It was the 1960s. Try to imagine Kevin Conroy saying that.)

from Blackhawk vol. 1 #238
(script by Bob Haney,
art by Dick Dillin & Chuck Cuidera)
Over the course of the story, the Blackhawks are disbanded, they split up, they each come up with new "superhero" identities, and then they reform. The identities include such winners as Olaf getting a mechanical costume that lets him jump really far as "the Leaper," Andre displaying a previously unmentioned penchant for building machines and becoming "M'sieu Machine," Chop-Chop getting his hands encased in metal so he can be "Dr. Hands," and Chuck wearing pyjamas covered in ears because he is now "the Listener."

Okay, say that you buy the Blackhawks needed a makeover... but did they need this makeover? Surely not! Look at Hendrickson as "the Weapons Master"... is this guy supposed to look more cool? He looks dumb, surely they even thought so in the 1960s!

(That said, I did kind of like how Chop-Chop mixes "ancient Chinese wisdom" with "happening 1960s slang" in this iteration.)

One of the things that fascinates me about superhero comics, especially minor ones, the whole reason I undertake projects like my Justice Society one, like my Green Arrow one, is how they get reinvented over time, how the premise warps and mutates to accommodate what is popular. Superman and Batman can set the trend, but Green Arrow responds to it. The Blackhawks, it seems to me, are a particularly vulnerable case of this, as their original premise is so closely rooted to the context of World War II. Can you update the Blackhawks to be relevant to the 1960s without also losing what made them the Blackhawks to begin with?

Not if you do it this way, at least. Nothing of what mad Blackhawk enjoyable in his original incarnation is to be found in the adventures of "Big Eye."

So far, so familiar; I'm not saying anything lots of comics critics haven't said before. Lots of comics fans know the story of "The New Blackhawk Era" and have judged it as a colossal mistake. And surely it was.

(There's a bit in issue #232 where Blackhawk asks, "Is this the New Blackhawk Era or a clown convention?" You're just tempting fate with a question like that!)

But... what about the stories?

I don't think I've ever read a review of this era that actually discusses the actual stories told about this version of the Blackhawks. Like, I've heard about the premise a million times, but that's just the first three issues. What about all the other ones?

The new Blackhawks work for G.E.O.R.G.E., the "Group for Extermination of Organizations of Revenge, Greed, and Evil"; they have a boss with a blank face (much like Mr. Cypher from the previous era) named Delta; they go on James Bond–style missions against S.P.E.C.T.R.E.-style global criminal organizations. For all the fact that they've been reinvented as superheroes visually, the actual stories owe a lot more to Cold War spy-fi. Gone are the airplanes, but now they are leaping into action in strange locales across the globe.

And do you know what else? They are actually kind of fun. Because, you know, they are written by Bob Haney, and Bob Haney is the kind of comics writer who lives the insanity. You say, "Bob Haney, the characters you have been treating as serious crimefighters are now goofy superheroes," and Bob Haney says, "Bring it." The stories crackle with energy and invention. Put aside how dumb the premise is—and I've never seen a commentary on this run do that—and they are actually kind of enoyable. The Junk-Heap Heroes! is full of energy, but I enjoyed even more the first full adventure of the new era, a three-part story running across issues #231-33 ("Target: Big-Eye"/"With These Rings I Thee Kill!"/"Too Late, the Leaper!"). I couldn't begin to explain to you why the Blackhawks are in space, but I enjoyed it a lot. On art, Dick Dillin and Chuck Cuidera prove they can pretty much do anything, responding well to the vim and vigor of Haney's scripts.

Well, anything except make the new costumes look good. Most comics creators struggle to come up with one good superhero design, and unfortunately, they had to think up seven.

from Blackhawk vol. 1 #232
(script by Bob Haney, art by Dick Dillin & Chuck Cuidera)
That said, you can tell Haney was making his stories up as he went along, and he doesn't always get away with it. In "The Terrible Twins"/"A Coffin for Blackhawk" (#234-35), we lurch from complication to complication, and what began as a Cold War thriller ends with the Blackhawks learning that the circus owner was a G.E.O.R.G.E. agent all along, who can just solve all their problems for them... presumably because Bob was out of pages. "Melt, Mutant, Melt!" (#236) is similarly rushed, but I did really enjoy "The Magnificent 7 Assassins"/"The Walking Booby-Traps!" (#237-38), where the Blackhawks discover they may have caused the death of a fellow G.E.O.R.G.E. agent... only he's still alive? And... evil!? And... an android?!? Go for it, Bob Haney, why not. Again, it kind of fumbles the ending, but when the journey is such a pleasure, I don't really care.

(Also, Lady Blackhawk is accidentally restored from her Queen Killer Shark identity in #228... and the proceeds to stand around making tea for the remaining issues. Is this really my Zinda Blake? I'm not sure why they bothered.)

Alas, this is clearly the point where DC realizes the series can't be saved. With issue #237, it goes bi-monthly; with issue #240, the main stories drop from twenty-four pages to sixteen, with an eight-page reprint to pad it out. (#240 reprints 1957's "The Perils of Blackie, the Wonder Bird" from #111; #241 reprints 1961's "The Phantom Spy" from #160.) Issue #241 marks another important change; the editor begins apologizing. (GCD says Dick Giordano took over from George Kashdan with #242, but Giordano clearly did at least the lettercol for #241.) Sorry, they say, the new Blackhawks are stupid.

And then in #242 ("My Brother–My Enemy!"), the New Blackhawk Era is quite definitely ended. While the Blackhawks are on vacation, literally everyone in G.E.O.R.G.E. is killed. Since they left their new costumes at the G.E.O.R.G.E. base, the Blackhawks must readopt their OG WWII-era uniforms to fight the villain, who turns out to be Blackhawk's Nazi-brainwashed brother. The story is plotted by Marv Wolfman, but still scripted by Bob Haney! I tell you, the man can do anything, even completely reinvent the characters he just completely reinvented eighteen months prior, and casually dismiss the entire premise he'd spent fourteen previous issues building up.

This is the first story to tell us Blackhawk's real name, and unfortunately, it's "Bart Hawk," but other than that, I found it pretty solid, especially thanks to the stylish, dark artwork of Pat Boyette. Good use of the series's WWII roots, though I think the origin for Blackhawk doesn't fit what we learned in Military Comics #1 or Blackhawk #198.

from Blackhawk vol. 1 #243
(script by Bob Haney, art by Pat Boyette)
I also enjoyed #243 ("Mission Incredible"), again by Haney and Boyette, a largely grounded spy thriller about the Blackhawks having to evacuate a little girl from the other side of the Iron Curtain. It seemed to me that the creative team was working out a space for Blackhawk in the spy-fi era... but even though the lettercol in issue #243 promises more to come, it never did. Blackhawk was finally cancelled after a run of eleven years and 136 issues at DC, not to mention its previous sixteen years at Quality.

But cancellation at issue #243 doesn't mean there's no issue #244. Stay tuned for next time!

This is the sixth post in a series about the Blackhawks. The next installment covers Blackhawk vol. 1 #244-50 and The Brave and the Bold vol. 1 #167. Previous installments are listed below:

  1. The Blackhawk Archives, Volume 1 (1941-42)
  2. Military Comics #18-43 / Modern Comics #44-46 / Blackhawk #9 & 50 (1943-52)
  3. Showcase Presents Blackhawk, Volume One (1957-58) 
  4. Blackhawk vol. 1 #151-95 (1960-64) 
  5. Blackhawk vol. 1 #196-227 (1964-66)

* This is the first explicit indication that the Blackhawk stories take place in the DC universe. In the pre-Crisis cosmology, this surely must be Earth-B.

06 December 2024

Almost Heaven (As Usual, Again)

"Why do we sing about West Virginia, Dad?"

Kid Two cheesing with his Aunt Cat
This is the question Kid One (now six, and on their sixth Mollmann Thanksgiving) asked me Friday night after the traditional Mollmann hot dog roast. I explained that the Mollmanns have been congregating in state parks for Thanksgiving for over fifty years now, and that in those old days, when it was just my grandparents and their five children, they used to go to Pipestem State Park in West Virginia. So even though we haven't gone to West Virginia since 2008 (too far for my grandmother these days), we still sing John Denver's "Country Roads." It is nothing to be proud of, but what (most of) the Mollmanns lack in musical aptitude, (some of) the Mollmanns make up for with enthusiasm... though for some reason the lyrics of the second verse continue to evade many of us. I recorded it this year, out of a sort of morbid curiosity, but I haven't yet had the courage to listen back to it.

These traditions are important, of course, they keep us who we are. Every Thanksgiving the Mollmanns congregate in a state park, we eat chili for dinner Thursday, we go hiking during the days. My own little unit of the Mollmanns has acquired its own traditions, too; I have to teach  the week of Thanskgiving but my wife doesn't, so my wife and kids fly out Saturday and spend some time with my wife's family, while I don't join them until Tuesday. It's more work for her, of course, but I think she really appreciates getting to spend that extended quality time with her mother, and the kids get a lot out of it, too.

Kid One tastes their first(ish) snowfall
Kid One can be resistant to changes in routine—I feel like last year they were particularly anti-hiking—but now I think we've done it enough that the kids recognize the annual routine themselves, and thus come to find it comforting as well. They were both enthusiastic, engaged hikers this year. I would say it was an above-average Thanksgiving for them. The last couple years, we've stayed in three or four medium-sized lodges, this year we stayed in two big ones. This meant that my immediate family stayed with a couple others, and thus my kids got to spend more time with my cousins' kids of similar ages, which was quite nice. Kid One declared another cousin their friend once they spent some time listening to Kid One's Yoto together (but could not, of course, remember her name), while Kid Two kept bossing around another kid who was two years older than him!

Most excitingly, they got to experience a snowfall! As Florida babies, their experiences with snow have been few and far between. It did snow when we were in Cleveland for Christmas in (I believe) 2021, but neither of them remember this, so it was very exciting, even though by Ohio standards we're talking a light dusting. "Is it Christmas?" Kid Two asked my wife. No, not yet, buddy.

After I explained the origins of Mollmann Thanksgiving, Kid One declared we ought to back to West Virginia. I don't know that the Mollmann clan can make this happen, probably the logistics are too complicated when Mollmann Thanksgiving has something like fifty total attendees. But tradition is important, and if I ever get the opportunity, I'd like to take my family back to where it all began, back to what they claim is "almost heaven."

04 December 2024

The Vorkosigan Saga by Lois McMaster Bujold, Part 7: Brothers in Arms

In my Vorkosigan reading order, this is the seventh book overall, but the fourth Miles one, though the previous Miles-focused one (Cetaganda) didn't really move the character forward in any kind of way. So here, we have Miles's first progression since what was the second book I read, The Vor Game. However, it's worth pointing out that in publication order, this is the second Miles novel, preceding Vor Game. (Bujold was crazy!)

Brothers In Arms by Lois McMaster Bujold

Originally published: 1989
Acquired: December 2022
Read: November 2024

Perhaps this is why the opening of Brothers in Arms jars a bit. If you left off with Miles in Vor Game or Cetaganda, you left off with him as a member of the Barrayaran military; he has his links to the Dendarii mercenaries, but his focus is on his traditional military career. It's weird, then, when you begin Brothers in Arms and find not only that Miles is with the Dendarii mercenaries, but this is apparently what he does on a regular basis, to the point of leading them into major combat actions! My vague understanding is that the book I will read next will actually fill this in somewhat; even if it didn't, though, it's the kind of thing one must get used to when reading a series of books about someone's career published out of chronological order; certainly as a fan of C. S. Forester's Hornblower, I am very familiar with it!

Once you get over that initial discomfort (and this just may be the fault of my reading order, not the book), the beginning of the novel is good fun. Miles has been serving with the Dendarii, who are repairing and resupplying on Earth, but finds himself ordered to join the staff of the Barrayaran embassy on Earth while he's there, so he must simultaneously maintain his Admiral Naismith persona and his Lieutenant Vorkosigan one—all the while the Cetagandans are trying to kill Naismith, but the Dendarii need him, and his Barrayaran superior has ordered him to stay away.

It's a recipe for farce, and of course farce is a thing that Bujold is quite good at. But it's more than that; the book itself points out that Miles is always acting: Admiral Naismith is a persona, Lieutenant Vorkosigan is a persona, and so too is Lord Miles. So who, then, is left? Who is he when he's not fulfilling all these obligations to other people? What is the Venn diagram of those people?

Like any farce, though, things must escalate, but to discuss this, I must get into spoiler territory, so look away if that offends you. (I will say, though, that it's a thing I knew going in, being familiar in a very broad sense with the overall outline of the saga.) In order to explain how Admiral Naismith and Lieutenant Vorkosigan can be in the same place even though they're not the same person, Miles invents the idea that one is a clone of the other created by his father's enemies... and what should happen but who waltzes into the situation: a clone of Miles created by his father's enemies! As complications go, it's honestly a bit contrived even if it is, obviously, fun.

Bujold does her best to justify it, but it's not so much the justification that lets her get away with it as what she does with the conceit. Because who is "Mark" (as Miles dubs him), but the blank space in the middle of that Venn diagram, the person that Miles might be without all those obligations weighing on him? So even though his clone wants to kill and replace him, Miles wants to help his "brother" to be the person he never can be.

But it's not true, of course. Mark is no more free than Miles is; in a sense, he's even more a victim of others' obligations than Miles is. At one point, Miles asks Mark to imagine who he might be if he was free of his creators and their plot... but can Miles imagine who he might be if he were free of all his obligations? No, Miles has no idea at all. In this book, he tries to romance Elli Quinn, but Quinn won't come back to Barrayar with him... and Miles just can't imagine himself without Barrayar, even though in doing so it seems he might actually be able to have Quinn. Who are we, Brothers in Arms seems to say, but all our obligations? Or at least, the ethical ones?* In the end, Miles must try to fulfill all his obligations as ethically as he can, because otherwise, there is no Miles at the core of that Venn diagram. That means saving Mark, but not imposing himself on him. Mark will discover his own obligations for himself.

This sounds very pretentious, perhaps, but it's Bujold, so of course it's not. Like I said, the whole thing is wrapped up in a beautiful veneer of farce, with good comedy, fun character moments, and some genuinely tense action sequences. If I have any criticism, it's that it seems to me there's more thematic depth to be mined from the character of Mark than we actually get here, since Bujold's emphasis is largely on the action and intrigue plot. Like yes, all of the above is definitely going on, but it's more of a background element than a foreground one at times. But my understanding (no spoilers for me, please) is that Mark returns in future books. Bujold has a pattern of introducing an idea and then returning to it years later in a more complicated way (Shards of Honor versus Barrayar, Warrior's Apprentice versus Vor Game), so I have faith that this book isn't just a fun action-adventure romp, but also a set-up for something bigger and better later on.

Every five months I read a book in the Vorkosigan saga. Next up in sequence: Borders of Infinity

* Not just via Miles and Mark, but also through the subplot about Miles's superior Galeni, who I loved. I hope he comes back someday.

03 December 2024

Reading Roundup Wrapup: November 2024

Pick of the month: Brothers In Arms by Lois McMaster Bujold. It seems a bit unfair to all other authors in a month where I read a Vorkosigan book, but there really is no competition. Still, I did read a lot of good stuff; Naomi Novik would have won it any other month!

All books read:

  1. Star Trek: The Next Generation: Headlong Flight by Dayton Ward
  2. Black Sun Rising: The Complete Doctor Who Back-Up Tales, Volume 2 by Mick Austin, Vincent Danks, Dave Gibbons, David Lloyd, Alan McKenzie, Mick McMahon, Steve Moore, Paul Neary, Steve Parkhouse, John Peel, Gary Russell, Geoff Senior, John Stokes, et al.
  3. Monstrous Beauty: Collected comic strips from the pages of Doctor Who Magazine by Dan Abnett, Colin Andrew, Martin Geraghty, Scott Gray, Russ Leach, Paul Peart, Jacqueline Rayner, Gareth Roberts, John Ross, and Brian Williamson
  4. Children of Time by Adrian Tchaikovsky
  5. Brothers In Arms by Lois McMaster Bujold
  6. Star Trek: Titan: Fortune of War by David Mack
  7. Star Trek: Strange New Worlds: Asylum by Una McCormack
  8. Victory of Eagles: Book Five of Temeraire by Naomi Novik
  9. Doctor Who and the Loch Ness Monster by Terrance Dicks
  10. Legion of Super-Heroes Archives, Volume 1 by Otto Binder, Al Plastino, Jerry Siegel, John Forte, et al.

I had a bit of a slow start; two-thirds of the way through and I'd just read four books this month. But then Thanksgiving Break came along (plus some shorter book) and I made up lost ground.

All books acquired:

  1. Monstrous Beauty: Collected comic strips from the pages of Doctor Who Magazine by Dan Abnett, Colin Andrew, Martin Geraghty, Scott Gray, Russ Leach, Paul Peart, Jacqueline Rayner, Gareth Roberts, John Ross, and Brian Williamson
  2. Star Trek: Strange New Worlds: Asylum by Una McCormack
  3. Legion of Super-Heroes Archives, Volume 9 by Win Mortimer, Jack Abel, Jim Shooter, et al.
  4. Victory of Eagles: Book Five of Temeraire by Naomi Novik
  5. Steering the Craft: A Twenty-First-Century Guide to Sailing the Sea of Story by Ursula K. Le Guin
  6. The Fantastic Four Omnibus, Volume 5 by Roy Thomas, Gerry Conway, John Buscema, Rich Buckler, et al.

Currently reading:

  • The Best Science Fiction of the Year, Volume 8 edited by Neil Clarke
  • Star Trek: Section 31: Control by David Mack

Up next in my rotations:

  1. The Pelican History of England: 3. English Society in the Early Middle Ages (1066-1307) by Doris Mary Stenton
  2. The End of the World: Classic Tales of Apocalyptic Science Fiction compiled by Michael Kelahan 
  3. Victorians and the Prehistoric: Tracks to a Lost World by Michael Freeman
  4. Star Trek: Coda, Book I: Moments Asunder by Dayton Ward

Books remaining on "To be read" list: 662 (down 1)

02 December 2024

Monstrous Beauty (From Stockbridge to Beyond Segonus: A Doctor Who Magazine Comics Marathon, Part 55)

Monstrous Beauty: Collected comic strips from the pages of Doctor Who Magazine
by Dan Abnett, Colin Andrew, Martin Geraghty, Scott Gray, Russ Leach, Paul Peart, Jacqueline Rayner, Gareth Roberts, John Ross, and Brian Williamson

Collection published: 2024
Contents originally published: 1991-2022
Acquired and read: November 2024

Like the final Peter Capaldi volume, the final Jodie Whittaker one is a weird catch-all one that has the "Collected Multi-Doctor Comic Strips" branding, with its Doctor's last two stories combined with a miscellany of material from previous Doctors: the first, third, fourth, seventh, and ninth, plus Dr. Who. As I usually do, I read the book's stories in original publication order, not internal order.

This book is a landmark volume, though! In plugging in the two gaps of uncollected strips (one during The White Dragon, the other between The White Dragon and Liberation of the Daleks), it means that every Doctor Who Magazine strip from issue #1 to issue #597, from 1979 to 2023, has been collected! In a mere thirty-four volumes! What an achievement—but more on that in a future post.

The Man in the Ion Mask, from Doctor Who Magazine Winter Special 1991
script by Dan Abnett, art by Brian Williamson, letters by Helen Stone

This is a slight-but-charming story of the Doctor visiting the Master in prison after the events of The Dæmons; the Master claims to have reformed, but the Doctor of course is wary, and rightly so. There's not much action (in a good way), and artist Brian Williamson is quite good at handling the dialogue and characterization the story requires.
Are You Listening? / Younger & Wiser, from Doctor Who Magazine Summer Special 1994
written by Warwick Gray, art by Colin Andrew, lettered by Amer Anwar
A linked first Doctor story and seventh Doctor story; the first visits a mysterious city with Vicki and Steven and runs off, while the seventh returns with Benny, finally understanding what's going on. They have their moments, but there's not a lot of conflict in Younger & Wiser, which is basically the Doctor and Benny just chatting.
from Doctor Who Magazine Winter Special 1994
Plastic Millennium / The Seventh Segment, from Doctor Who Magazine Winter Special 1994 & Summer Special 1995
stories by Gareth Roberts, art by Martin Geraghty and Paul Peart, letters by Elitta Fell
The first of these is fun, a stylish Martin Geraghty–drawn story about the seventh Doctor and Mel (in her DWM debut, I think) taking down some Autons. It's not very complicated, but the art really sells it. The second is also carried by the art—or rather, the art is the best part, because I found this noir pastiche featuring the fourth Doctor and the first Romana utterly impenetrable.
from Doctor Who Magazine #557
Monstrous Beauty, from Doctor Who Magazine #556-58 (Nov.-Winter 2020)
story by Scott Gray, artwork by John Ross, colouring by James Offredi, lettering by Roger Langridge
This Time Lord Victorious tie-in brings back the ninth Doctor and Rose, and plunges them into the "Dark Times" of the ancient Time Lords' war against the vampires (see State of Decay). Scott Gray is usually good value, and John Ross a strong artist, for sure, but something about this didn't sing. I think the stakes are ultimately too abstract. There's not a lot of sympathetic characters here, so ultimately it's kind of hard to care about any of this. Looks great, though (Ross does very well by Christopher Eccleston; actually, so does Gray), and I appreciated the very obscure (but footnoted!) callback to Tooth and Claw from the End Game collection. The DWM universe gets its tentacles everywhere!
Dr. Who & the Mechonoids, from Doctor Who Magazine #578 (July 2022)
story by Jacqueline Rayner, art by Russ Leach, colour by Mike Summers, lettering by Roger Langridge
Maybe this would have been funny if I had more than a dim memory of one Cushing film, or if I got the reference to the actor "cast" as the one-off male companion here. But I didn't and it wasn't.
from Doctor Who Magazine #579
Fear of the Future / The Everlasting Summer, from Doctor Who Magazine #579-83 (Summer-Nov. 2022)
story by Jacqueline Rayner, art by Russ Leach, colour by Mike Summers, lettering by Roger Langridge
Unfortunately, I don't think Jac Rayner (or, perhaps, her editors) ever got to grips with the format of the six-page DWM strip, especially with the reduced panel count. The first story here is too slight even at six pages: Dan sees vaguely bad things, the Doctor realizes why, the end. The second story, on the other hand, like Rayner's last attempt at a thirteenth Doctor epic (Hydra's Gate), attempts to squeeze in too much and thus is basically impossible to follow. Which is a shame, because all the thematic ideas she gives in the backmatter sound great... but what's on the page is a confusing jumble of ideas, too many of them. Russ Leach will never go down as one of the DWM greats, with a strong tendency toward confusing panel transitions and weak storytelling skills. I get that COVID was at fault in very real ways, but #570-83 is surely the weakest run of the strip in the history of the mag since... well, I was going to say the early McCoy strips, but skimming back over my reviews, those were at least inconsistently enjoyable, whereas these are consistently unenjoyable. Maybe since the mid–Colin Baker run (#100-19)? But even those had John Ridgway!
Stray Observations:
  • Alas, the original idea Scott Gray recounts in the notes for Are You Listening? and Younger & Wiser, that they'd be told in different orders from the perspective of the Doctor and the alien city Xenith, is better than what we got. Similarly, it's hard to read the notes on Monstrous Beauty and not wish that Scott Gray had got to write the eighth Doctor and Destrii story he'd originally pitched.
  • Reading Plastic Millennium only a day or two after Business as Usual, I couldn't help but thinking the Auton and plastic factory here ought to have been the same one as in that story.
  • I've charted the DWM strip's influence on Russell T Davies in the past; the line from Plastic Millennium to "Rose" seems pretty obvious!

This post is the fifty-fifth in a series about the Doctor Who Magazine comic strip and Marvel UK. The next installment covers statistics about the history of the strip. Previous installments are listed below: