Science's Less Accurate Grandmother: Ground Zero (From Stockbridge to Segonus: A Doctor Who Magazine Comics Marathon, Part 24)

18 July 2022

Ground Zero (From Stockbridge to Segonus: A Doctor Who Magazine Comics Marathon, Part 24)

Ground Zero: Collected Comic Strips from the pages of Doctor Who Magazine
by Scott Gray, Martin Geraghty, Alan Barnes, Gareth Roberts, Adrian Salmon, et al.

Collection published: 2019
Contents originally published: 1995-96
Acquired: December 2020
Read: April 2022

This volume continues the "past Doctor" focus of Land of the Blind, but with a more unified approach otherwise. Bar two fill-ins, every story in the volume is illustrated by Martin Geraghty; the strip hasn't had a unified artistic vision since John Ridgway went from primary artist to one of many back in 1988, so around seven years prior! I like the unity of approach, but even better that it's Geraghty, who is great both with likenesses and storytelling, the combo you need—but don't always find—in a tie-in artist. There's also a new unity of vision behind the scenes; the commentary in this volume by strip editor Gary Gillatt is great stuff, showing how he decided to totally change the approach of the strip.

Curse of the Scarab / Operation Proteus / Target Practice, from Doctor Who Magazine #228-34 (Aug. 1995–Jan. 1996)
stories by Alan Barnes and Gareth Roberts, art by Martin Geraghty and Adrian Salmon, lettering by Elitta Fell

We open with a three-part fifth Doctor and Peri story, a three-part first Doctor and Susan story, and a one-part third Doctor and Jo story. They are all pretty competent. Curse of the Scarab is a decent adventure runaround, with some fun ideas and some more implausible ones; like a lot of Alan Barnes's Big Finish work, this involves plunging the Doctor into a certain moment in historical pop culture, and Barnes is a good pop culture historian, so it works. Some lush artwork from Geraghty helps. Operation Proteus is okay; again, there's some good stuff and some other stuff I found harder to buy, such as the way the cure is deployed. Target Practice is the DWM main strip debut of Adrian Salmon (I guess he was already doing the Cybermen strip, but I won't get to that for some time), and he is one of my favorites. His style is well suited to the subject matter.

from Doctor Who Magazine #235

Black Destiny, from Doctor Who Magazine #235-37 (Feb.-Apr. 1996)
story by Gary Russell, art by Martin Geraghty, inks by Bambos Georgiou, letters by Elitta Fell

Martin Geraghty may be a good artist, but he's not a good enough artist (yet, anyway) to save us from Gary Russell's confusing transitions; there were several moments in this story where I didn't know what was going on or who was who. The resolution is total nonsense, introducing a whole idea never before mentioned in the story.

from Doctor Who Magazine #238

Ground Zero, from Doctor Who Magazine #238-42 (Apr.-Aug. 1996)
story by Scott Gray, pencils by Martin Geraghty, inks by Bambos Georgiou, letters by Elitta Fell

It feels different this time...

This story does a lot of things to change it up, to signal that the comic strip as you knew it is at an end. There's an ongoing story in DWM for the first time since, I think, The Mark of Mandragora way back in #169-72... five years prior! Ground Zero picks up on hints dropped in three of the previous four stories in this volume, paying off why a mysterious a voice accosted Peri, Susan, and Sarah Jane.

It's also our first story with more than three installments since Final Genesis in 1993. It uses its five parts to good advantage, twisting and turning through a complicated plot; it has powerful cliffhangers. Obviously the death of Ace, but the reappearance of the old companions and the TARDIS plunging into the human collective unconsciousness are also great moments, well executed. The story uses its space to good advantage.

It also feels very now for the first time in a long time. This is the Doctor of the tv movie, not the show, not just in costume, but in attitude, and in an indication that both he and Susan are part human. The death of Ace adds to this: the strip is an ongoing concern, able to change its own narrative in a way that hasn't been true since the introduction of Bernice Summerfield. But it's not just the death of Ace. The story builds off what has come before and sets up what is to come.

On top of all that, it's a dang good story. I will say it runs a bit intense for my tastes—Peri is put through the wringer in a way I don't quite like—but it's engaging, it's interesting, the identity of the narrator is a good reveal, it has great concepts, it has great visuals. The empty streets, the Threshold, the TARDIS straining itself, the console room exploding, and of course Ace's death. Tremendous stuff, and I devoured it. Though I have enjoyed the strip more than I have not since A Cold Day in Hell!, it really does feel like something special is back.

from Doctor Who Magazine #243

Doctor Who and the Fangs of Time, from Doctor Who Magazine #243 (Sept. 1996)
story + art by Sean Longcroft, lettering by Elitta Fell

This is a neat little semiautobiographical story about writer and artist Sean Longcroft's on-again off-again love affair with the show, peronified by him interacting with Tom Baker as the Doctor. Well done, I found it amusing and heartwarming in equal measure. "[Y]ou can't be four years old forever, you know. But part of you always will be."

Stray Observations:

Gary Gillatt says in the commentary that around this time, strips by Colin Baker, Barry Letts, and Andrew Cartmel all fell through. We've seen good stuff from Cartmel, but the other two leave me a little more apprehensive. Did we dodge a bullet or miss works of artistic genius? We'll never know, I guess.
It took a few posts of explanation from friendly GallifreyBase posters for me to get the last-panel joke in Curse of the Scarab that Barnes is so proud of in the notes. A bit belabored.
Gary Russell admits he can't actually write comics in the notes, but he only realized this after being punted off IDW's Doctor Who comic after six issues of its eighteen-issue run. I agree, to be frank (his IDW story was terrible), and I admire his honesty. Despite this self-realization, he's evidently writing an upcoming comic for Cutaway...
I understand the reasoning behind jettisoning the Bernice Summerfield era from the strip's history (#193-208), maybe even all the way back to the first VNA allusion (The Grief in #185). But by showing the classic tv console room being exploded, the strip lops off a bit of its own history, as the new console room was its invention, in The Chameleon Factor (#174).
It's particularly a shame, as the strip had made this "yes our own history does matter" move before, with the sequence leading up to The Mark of Mandragora. As the new-era strip will do in its next installment in End Game, that storyline even referenced the very first ever DWM story to make it clear that yes, the ongoing story you have read since The Iron Legion is back! But that is gone, along with the VNAs, even though I don't think it had to go with them.
When logging this collection in LibraryThing, I realized that my children already own a book by Sean Longcroft... he is the illustrator of Usborne's First Book about the Orchestra, a "noisy" book I read them many times until the circuitry shorted. Now that I know, I can actually see it in the style.

This post is the twenty-fourth in a series about the Doctor Who Magazine comic strip and Marvel UK. The next installment covers End Game. Previous installments are listed below:

Science's Less Accurate Grandmother

18 July 2022

Ground Zero (From Stockbridge to Segonus: A Doctor Who Magazine Comics Marathon, Part 24)

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