The Pull List: 8 August 2018, Part 2

Rice and Mac break all manner of laws pursuing their alien suspect, and enter the spaceport for the first time. Some period later, their encounter is discussed on the news, and some difficult questions are asked.

There is a superb slow build to Port of Earth, as each issue pushes the core narrative forward to the next surprise and then comments on and illuminates the action via the framing device of a television interview. This drip-fed world building makes this an addictive read, as well as a smart and political slice of science fiction.

I am particularly liking Andrea Mutti's artwork, which has a semi-realistic, rather scratchy style that enhances the drama nicely. This is a very dramatic, straight-faced work, without much room for comedy in Zack Kaplan's scripts. It's been progressively getting better too; it's worth getting the first two trade paperbacks to catch up. (4/5)

Port of Earth #8. Image. Written by Zack Kaplan. Art by Andrea Mutti. Colours by Vladimir Popov.

Under the cut: reviews of Catwoman, Daredevil, Detective Comics, Doctor Who, Hawkman, Invader Zim, Mech Cadet Yu, Oblivion Song, and Spider-Man.

The Pull List: 1 August 2018

Seven to Eternity returns after a break with its 10th issue. I am happy for the book to take its time, because the intricately detailed artwork of Jerome Opeña must take an absolute age to compose - and I'd rather it look great that come out on a monthly schedule.

We pick up where we left off, with Adam Osidis having betrayed his companions to rescue the Mud King. Now they travel towards the mysterious Springs of Zaal, where Adam may finally receive a cure to the disease that is slowly killing him. That journey is interrupted by pirates who descend upon them from balloons.

It isn't just the artwork that makes this book so strong; it's the rich and distinctive fantasy world that Rick Remender has developed with which to tell his story. It's familiar in many respects, but peppered with superb original concepts and cultures. Want a great fantasy comic book? Look no further. (5/5)

Seven to Eternity #10. Image. Written by Rick Remender. Art by Jerome Opeña

Under the cut; reviews of Batman, Delta 13, Doctor Who: The Seventh Doctor, Giant Days, Green Arrow, The Immortal Hulk, Justice League, Mister Miracle, and Scales & Scoundrels.

Doctor Who: "The Zarbi"

It is 20 February 1964, and time for the second part of the Doctor Who serial "The Web Planet".

On the planet Vortis, the Doctor (William Hartnell) and Ian (William Russell) continue exploring the surface before being captured by the ant-like Zarbi. Meanwhile Barbara (Jacqueline Hill) finds herself captured by the Zarbi and the Menoptera, butterfly-like humanoids whom the Zarbi are hunting into extinction. Vicki (Maureen O'Brien) is still in the TARDIS, which the Zarbi then drag into their lair.

There is something quite impressive about this episode, which presents Doctor Who's first genuinely alien planet. There is no one here outside of the regular cast that looks in any way human. The ant-like Zarbi stumble around like drunk pantomime horses, and while the bee-like Menoptera have humanoid bodies, they are buried under bee masks and wings. I'm straining to remember for certain, but I'm pretty sure Doctor Who never tells a story so devoid of humans (or their analogues) ever again.

The Pull List: 4 July 2018, Part 3

The Man of Steel hits its sixth a final issue, which means wrapping up the immediate crisis of Rogol Zaar's attempt to blow up the Earth to kill Superman as well as revealing precisely what has happened already to cause Lois and Jon's absence.

The Rogol Zaar section is straight-up superhero action, as Supergirl assists Superman in defeating Zaar before his plan comes to fruition. It is very well illustrated by Jason Fabok, with a lot of pace and energy. That really is all backgrounded, however, in favour of Lois and Jon, and that's kind of where the issue struggles a little.

Superman's father Jor-El has arrived once again (oh yeah, he didn't die on Krypton after all), insisted on taking his grandson Jon around the galaxy to better train him in how to be a better super-human. Clark and Lois debate whether or not Jon should go, and ultimately Lois accompanies him on the voyage. After the terrible acts performed by Jor-El in his previous appearance, one would assume the idea of handing him your son would be unimaginable. Instead Lois and Jon willingly go with him, and Clark reluctantly allows it all to happen. It gets them out of the way for whatever ongoing story Brian Michael Bendis has in mind, but it's an awkward process and feels very badly shoe-horned in. It's not a great sign for the immediate future of the Superman ongoing titles. (3/5)

The Man of Steel #6. Written by Brian Michael Bendis. Art by Jason Fabok. Colours by Alex Sinclair.

Under the cut: reviews of Doctor Strange, Doctor Who: The Seventh Doctor, and Sword Daughter.

Doctor Who: "The Web Planet"

It's 13 February 1965, and time for a new episode of Doctor Who.

The TARDIS is dragged down by an unknown force to a seemingly desolate and rocky planet. Unable to break free, the ship remains trapped. Giant ant creatures lurk outside. A piercing noise in her head incapacitates Vicki (Maureen O'Brien). The Doctor (William Hartnell) and Ian (William Russell) head outside to explore. Soon the piercing noise returns, and Barbara (Jacqueline Hill) leaves the ship alone under some form of mind control.

Doctor Who enters into a new serial with the strangest goings-on since "The Edge of Destruction" all the way back near the beginning of Series 1. Vicki falling under a trance, Barbara succumbing to mind control, glimpses of giant ant people - it's all weird and off the wall stuff, particularly since it follows directly on from a four-episode comedic farce in "The Romans".

The Pull List: 6 June 2018, Part 1

In 1967 Australia, a crashed alien spacecraft is uncovered in the middle of the Maralinga nuclear test site. 60 years later, a satellite clean-up mission in Earth's orbit discovers another spacecraft drifting in space. What is inside that ship links both time periods, but it will take 1967's Group Captain Gilmore, Allison Williams and Professor Rachel Jensen - along with the Seventh Doctor and his companion Ace - to find out how and why.

Titan Comics' range of Doctor Who tie-in comics returns with revised trade dress and a new three-issue miniseries featuring Sylvester McCoy's Seventh Doctor. Let us not beat around the bush: this is hands-down the single best issue of Doctor Who that Titan has published to date. It is smartly written by McCoy-era TV script editor Andrew Cartmel, giving it an immediate authenticity and pitch-perfect tone. It is being published in extra-length issues, allowing for more plot per issue - and that really helps. Christopher Jones' artwork is exceptional, and captures the TV characters perfectly - and it's more than just the Doctor and Ace, since Gilmore, Williams and Jensen all return from Ben Aaronovitch's 1988 TV serial "Remembrance of the Daleks". It's a welcome return: they always seemed like they should have returned on TV.

A back-up strip sees the Doctor and Ace revisit the Psychic Circus and the werewolf Mags - a strip made oddly special by the artist being Jessica Martin, the actress who play Mags on television in "The Greatest Show in the Galaxy". Her art is not outstanding, but it's a cute touch. It's all just a bonus, however; the core storyline is essential for any discerning Who enthusiast. (5/5)

Doctor Who: The Seventh Doctor #1. Titan Comics. Written by Andrew Cartmel. Art by Christopher Jones. Colours by Marko Lesko. Backup written by Richard Dinnick, art by Jessica Martin.

Under the cut: reviews of Batman, Doctor Strange, Scales & Scoundrels, and Star Wars Adventures.

Doctor Who: "A Christmas Carol"

It's 25 December 2010, which means it's time for the fifth Doctor Who Christmas special.

A passenger space liner, whose passengers include Amy (Karen Gillan) and Rory (Arthur Darvill), is set to crash onto an isolated human colony. Its only hope is for an artificially generated cloud layer to be deactivated, but the only man that go do it is the miserly Kazran Sardick (Michael Gambon) - and he has no intention of saving anybody. It is up to the Doctor (Matt Smith) to change his mind.

Doctor Who traditionally hasn't used time travel as anything more than a convenient method to get the Doctor and his companions from one adventure to the next. When Steven Moffat started writing for the series that approach started to change. When writing for executive producer Russell T Davies, scripts like "Blink" and "Silence in the Library" were built around time travel. When Moffat assumed producing duties himself, his entire first season became wrapped around time travel and paradoxes. This focus on the story potential of time travel continues in Moffat's first Christmas special, in which the Doctor actively and repeatedly changes history to save the day.

Doctor Who: "The Big Bang"

It is 26 June 2010, and time for the Season 5 finale of Doctor Who.

The TARDIS has exploded. The Doctor (Matt Smith) has been imprisoned inside history's most impenetrable prison cell. Amy Pond (Karen Gillan) has been shot dead by her fiancee Rory Williams (Arthur Darvill) - who turns out to be an Auton. Oh, and the universe just ended.

Doctor Who's fifth 21st century season ends with a complicated, time-travelling oddly miniscule epic that brings Matt Smith's entire 13-episode debut run to a close. Rewatched almost eight years later, and it feels like one of the most essentially 'Steven Moffat' episodes that Moffat ever devised. For me it also feels as if it has aged remarkably well. Upon its initial broadcast it felt a little too frantic and complex for its own good, with a hand-waved fairy tale ending. Sure, it's still a fairy tale ending, but in an entire season based on the idea that we are all in the end just somebody else's story, it's difficult to imagine a more perfect conclusion than this.

The Pull List: 10 January 2018, Part 1

Trapped in a castle and targeted for assassination by unknown forces, Pyppenia must rely on her 'sleepless' bodyguard Cyrenic - unless she can somehow beg the king's permission to leave.

We're two issues into Sleepless and I think I've found another favourite comic. It is a beautifully developed but gently told fantasy, with a rich setting presented via beautiful artwork and engaging characters explored within excellent writing. Writer Sarah Vaughn and artist Leila Del Duca (not to mention editor and colourist Alissa Sallah) are presenting something rather special here.

While the deliberately slower pace does enhance the characters and the intrigue, it is making a little difficult to really ascertain precisely what sort of story Sleepless is going to tell. Personally, with writing and art this enchanting, I'm perfectly happy to wait and see it gradually unfold. (5/5)

Sleepless #1. Image. Written by Sarah Vaughn. Art by Leila Del Duca. Colours by Alissa Sallah.

Under the cut: reviews of Action Comics, Darth Vader, Detective Comics, and Doctor Who.

The Pull List: 29 November 2017

The latest movie property to be adapted into a comic book is John Wick, the 2014 action film directed by Chad Stahelski and David Leitch. Thanks to Dynamite Entertainment and writer Greg Pak, John Wick's ultra-violent gun-shooting adventures come to comic books on a monthly basis.

It's a wonderful concept to adapt, given Wick's stripped-back nature and reliance on near-endless, brutal gunfights. It is also heartening to see a talented writer like Greg Pak taking the reins. This first issue kicks off with Wick revisiting his childhood with lethal intent, and fills in some back story in the process.

Telling an origin story feels in some small part a betrayal of the films, since Wick's pre-existing reputation and anonymous history forms a fairly key part of his appeal. At the same time Giovanni Valletta's artwork does not seem dynamic and energised enough to capture the tone of the two John Wick films. There's promise in a John Wick comic book, but based on this first issue Dynamite is struggling to find it. (2/5)

John Wick #1. Dynamite. Written by Greg Pak. Art by Giovanni Valletta. Colours by David Curiel and Inlight Studios.

Under the cut: a bumper crop of reviews including Aquaman, Atomic Robo, Batman, Captain Kronos: Vampire Hunter, Doctor Who: The 11th Doctor, Green Arrow, Poe Dameron, Sacred Creatures, Spy Seal, Star Trek: Boldly Go, and Star Trek: Discovery.

The Pull List: 1 November 2017, Part 2

It has taken Titan Comics three attempts, but they have finally nailed a multi-Doctor Doctor Who crossover miniseries without feeling forced and without tying everything together with a rushed and disappointing finale.

By contrast, The Lost Dimension has been well-plotted, carefully thought out and brilliantly fore-shadowed. The entire storyline has circled around a mysterious white void that has been sucking things in from all of time and space. By the time the true nature of the void is revealed, it is simultaneously a shock and stunning obvious at the same time: the best kind of revelation.

Every Doctor gets at least a momentary cameo, with the bulk of the lead time shared between Doctors 8, 9, 10, 11, and 12. Mariano Laclaustra's artwork is superb, giving everything a beautiful aesthetic somewhere between painting and traditional pen-and-ink. Carlos Cabrera's colours only enhance it. It simply looks tremendous.

So congratulations to writers George Mann and Cavan Scott; while individual issues of the crossover have wavered in quality, they have pulled out one hell of a climax. And think this all started with a comic I absolutely despised... (4/5)

Doctor Who: The Lost Dimension Omega #1. Titan Comics. Written by George Mann and Cavan Scott. Art by Mariano Laclaustra with Fer Centurion. Colours by Carlos Cabrera.

Under the cut: reviews of Atomic Robo, The Beautiful Death, Darth Vader, Extremity, Lazaretto and Superman.

The Pull List: 25 October 2017, Part 1

Abram Adams was a cosmonaut who was sent into deep space, where an unexplained encounter transformed him into the enormously powerful cosmic entity known as Divinity. Now, after three great miniseries, the character is heading back out into void in this new four-issue event from the Divinity creative team of Matt Kindt and Trevor Hairsine.

It is a strong opening, one that both reminds the readers of Divinity's origins and current situation as well as set this new story in motion. The alien sequences are easily the best, showcasing a wonderfully 'out there' imagination of strange characters, names and settings.

The visuals definitely sit on a shelf next to the likes of Jack Kirby and Moebius, but there is a much more direct and realistic aesthetic to it. All in all it is an intriguing hook into what looks to be yet another excellent Valiant miniseries. (4/5)

Eternity #1. Valiant. Written by Matt Kindt. Art by Trevor Hairsine and Ryan Winn. Colours by David Baron.

Under the cut: reviews of Detective Comics, Doctor Who: The 11th Doctor, and Silver Surfer.

The Pull List: 18 October 2017, Part 1

For a lot of people Aquaman is a kind of silly punchline: the ridiculous superhero from that old cartoon Super Friends who wore orange and green and talked to fish. For DC Comics fans he's often something more, but in the grand scheme of things not that many actually care about the character enough to read his comic.

They should. You should. Right now Aquaman the comic is about as good as it has ever been. Under writer Dan Abnett it has evolved into a long-running, character-focused epic. Arthur Curry, the rightful king of Atlantis, hides in his city's bottom slums while the tyrant Corum Rath rules in his place. Above the surface his fiancee Mera fights desperately to locate a way into the city. It is one big undersea fantasy, with long-term consequences and great character-based pay-offs. This particular arc is illustrated by Stjepan Sejic, one of the finest comic book artists working today.

This issue brings the current arc right up to a climactic point, and it feels like it's going to be character-defining one. This is a sensational run on a hugely underrated character. (5/5)

Aquaman #29. DC Comics. Written by Dan Abnett. Art and colours by Stjepan Sejic.

Under the cut: reviews of Batman, Doctor Who: The Twelfth Doctor, and Superman.

The Pull List: 11 October 2017, Part 1

Scott Snyder epic and ridiculous story of dark universes and evil Batmen continues for a third instalment. This one feels as if the story has jumped forward a little too much, suggesting that all of those Batman one-shots in recent weeks were more of a necessary read that DC had previously suggested. What we get here is a lot of fast catching-up on how America is falling to the dark universe Batmen, followed by an assembly of remaining heroes working out a plan of fighting back.

The issue moves in fits and starts. It really does lack any iconic action, although the central hero meeting in the Oblivion Bar is a hugely enjoyable one. Fans of Detective Chimp will get an immediate thrill, as will anybody who enjoys these kinds of widescreen-style superhero event titles. The combination of characters is clever and effective, and while this issue feels like a bit of a drop in quality it does set up the future well.

Greg Capullo and Jonathan Glapion's artwork is excellent, and really sells the dynamic, over-the-top nature of the story. The colours by FCO Plascencia give everything a rich and dramatic look. It's imperfect, but this issue does keep Snyder's epic going. (3/5)

Dark Nights: Metal #3. Written by Scott Snyder. Art by Greg Capullo and Jonathan Glapion. Colours by FCO Plascencia.

Under the cut: reviews of Action Comics, Doctor Who: The Lost Dimension, Hulk, Kull Eternal and Star Trek: Boldly Go.

Doctor Who: "The Pandorica Opens"

 It is 19 June 2010, and time for another episode of Doctor Who.

A message bounces from person to person through time and space until it finally reaches the Doctor (Matt Smith), and directs him to AD 102 England where he discovers River Song (Alex Kingston), Stonehenge, and the Pandorica - a fabled prison for the most dangerous criminal in the universe.

As showrunner of Doctor Who, Steven Moffat clearly had a different attitude to story arcs than his predecessor Russell T Davies. For Davies it was largely sufficient to develop a buzzword or catchphrase ("bad wolf", "Torchwood", "Mr Saxon") and then lead the audience along until the meaning of the phrase was used in the season finale. With Season 5 Moffat took a much more active approach. The crack in Amy Pond's (Karen Gillen) bedroom wall, the growing silence falling across the universe, the revelation that the TARDIS will explode in the future, and the teasing of the mysterious Pandorica by River Song back in "Flesh and Stone" all come together in one two-part finale - not to mention cameo appearances in the cold open by Vincent Van Gogh, Elizabeth X and Winston Churchill. I'm honestly not sure any season climax has previously felt so deliberately climactic.

Doctor Who: "The Lodger"

It is 12 June 2010, and time for another episode of Doctor Who.

Amy (Karen Gillen) is trapped in the TARDIS after it ejects the Doctor (Matt Smith) and gets caught by an unexplained force. Stuck in modern-day Colchester, the Doctor is forced to rent a room and become the housemate of the unsuspecting Craig Owens (James Corden) until he can work out what it is that is preventing the TARDIS from landing.

 "The Lodger" is a strange little episode of Doctor Who that largely sees the Doctor trapped in present-day England and forced to pretend to be a normal human being for several weeks. The episode does have a science fiction plot at its core, but it is almost an arbitrary one. The bulk of the episode consists of Matt Smith trying - and failing - to look and act ordinary and not arouse any suspicions. It is messy, but also likeable.

Doctor Who: "Inferno"

It is 6 February 1965, and time for another episode of Doctor Who.

Barbara (Jacqueline Hill) races to escape Nero's court. Ian (William Russell) fights to escape the Roman Colosseum. The Doctor (William Hartnell) and Vicki (Maureen O'Brien) fight to avoid being murdered and to get back to the villa in the country. Nero fiddles. Rome burns.

"The Romans" comes to its blazing conclusion in "Inferno", as the historical events of Rome's burning finally occur, and the four TARDIS occupants manage to make their way back to their villa before anybody notices anybody else was away. It's a successful return to the unusual blend of action, drama and comedy that made the first two episodes of the serial so good, with less of the English farce elements that dragged down the third.

The Pull List: 30 August 2017, Part 1

It is time for Titan's annual Doctor Who crossover. This year, instead of taking place as a separate miniseries, the crossover is going the regular title route. Following this opening chapter, the remainder is playing out across the monthly books for the Ninth, Tenth, Eleventh and Twelfth Doctors.

There is no rush to hunt those books down, however, because truth be told The Lost Dimension is off to a horrifying start. The script by George Mann and Cavan Scott seems less interested in telling a dramatic story and more interested in packing in as many continuity references and cameos as possible, from the obvious (UNIT shows up, as does Jack Harkness) to the remarkably obscure (a bowship from "State of Decay"). In between these jarring cameos are momentary flashes of humour and charm, but they're utterly buried.

Then there is the return of the Doctor's cloned 'daughter' Jenny, last seen on television flying off to have adventures of her own in 2009's "The Doctor's Daughter". She was a gratingly irritating character on screen, and she is no more entertaining in print. The book even shoe-horns a way for her to briefly meet Peter Davison's Fifth Doctor with a cry of 'Dad!'; actress Georgia Moffett, who played Jenny on TV, is Davison's actual daughter.

This is the very worst kind of tie-in fiction. It is the sort of comic that gives all comics based on TV shows and films a bad reputation. I strongly recommend giving The Lost Dimension a miss. (1/5)

Doctor Who: The Lost Dimension #1. Titan Comics. Written by George Mann and Cavan Scott. Art by Rachael Stott with Cris Bolson, Pasquale Qualano, Elton Thomasi, Klebbs Jr and JB Bastos. Colours by Rod Fernandes.

Under the cut: reviews of Aquaman, Planetoid: Praxis and Saga.

Doctor Who: "Conspiracy"

It is 30 January 1965, and time for another episode of Doctor Who.

The Doctor (William Hartnell) is requested to play the lyre for Emperor Nero (Derek Francis). Barbara (Jacqueline Hill) earns the ire of Empress Poppaea (Kay Patrick), who tries to have her poisoned. Ian (William Russell) is recaptured and sent to become a gladiator.

The most remarkable part of that plot summary is that it all plays out as the broadest of comedies. To an extent there is a method to writer Dennis Spooner's madness: there is a surprising amount of rather callous bloodshed and murder in Nero's court, and playing such events straight would clearly make the episode unsuitable for children. By playing the same events for laughs it superficially softens the blows while actually making it even more unsettling after the fact.

Doctor Who: "All Roads Lead to Rome"

It is 23 January 1965, and time for another episode of Doctor Who.

The Doctor (William Hartnell) and Vicki (Maureen O'Brien) come face to face with the Roman Emperor Nero (Derek Francis). Barbara (Jacqueline Hill) is sold as a slave into Nero's household. Ian (William Russell) is bound to a slave galley on the open ocean. Will the four travellers ever reunite with one another?

"All Roads Lead to Rome" is a superb balancing act, managing to not only juggle three separate storylines with equal attention and entertainment value but to also juggle three distinctive tones. Barbara's experience getting sold through a slave market is straight-up drama, Ian's galley adventures are the stuff of a classic adventure story, while the Doctor and Vicki's Roman encounters play out like comedy. That it all weaves together as smoothly as it does it really quite admirable.