Doctor Who Into The Dalek Review

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12th Doctor, Ben Wheatley, Clara Oswald, Daleks, Danny Pink, Doctor Who, Doctor Who Into The Dalek, Doctor Who Series 8, Jenna Coleman, Peter Capaldi, Phil Ford, Samuel Anderson, Steven Moffat, TARDIS

Into The Dalek

Review by Paul Bowler

[Contains Spoilers]

In a remote corner of the galaxy a Dalek Saucer hunts down a lone spacecraft. The Doctor saves a soldier, Journey Blue, seconds before the vessel is destroyed and returns her to the rebels command ship, the Aristotle. The rebel’s hidden base contains the human forces last hope of survival, a Dalek captive, one afflicted with a bizarre malfunction. The Doctor must travel into darkness, on his most dangerous adventure yet. A miniaturised squad of troops, along with the Doctor and Clara, begin a fantastic voyage into the Dalek. With the Dalek fleet closing in, the Doctor must look to his conscience as he confronts a decision that could alter the Dalek race forever…

Into The Dalek takes the Doctor to one of the most dangerous places in the universe, a place where even he’s weary of visiting, the inside of a Dalek itself! With its exhilarating story by Phil Ford (co-writer on The Waters of Mars (2009), writer of the animated Dreamland (2009), and contributor to the Sarah Jane Adventures) and show-runner Steven Moffat, and Directed by filmmaker Ben Wheatley (Kill List and Sightseers), Into The Dalek sees the new Doctor confronting his old enemies, the Daleks, and the Doctor finds he needs Clara by his side now more than ever.

Returning to Earth to collect Clara from Coal Hill School, the Doctor and Clara are soon back on the Aristotle. The humans last chance rests with their “patient”, a Dalek, one so battle damaged that it has actually become good. The Doctor and Clara are taken to meet the Dalek prisoner. Intrigued by this Dalek’s unusual behaviour, the Doctor agrees to help them and find a way to use this malfunction against the rest of the Daleks. The Doctor, Clara and a special team of soldiers are miniaturised and injected into the damaged Dalek through its eyepiece on a mission to find the cause of this sickly Dalek’s altered moral state. The Dalek seems willing to cooperate, but can it really be trusted?

No Doctor ever really seems like the Doctor until they’ve battled the Daleks. Peter Capaldi’s first run in with the Daleks in this second story of series eight is a fittingly action-packed adventure. Capaldi delivers a towering performance as the Doctor. Faced with a chance to strike back at his old adversaries, the Time Lord must soon confront some unpleasant home truths about himself, while also getting miniaturised and sent on a mission inside a Dalek to boot! Of course, this isn’t the first time that Doctor Who has ventured into the realm of The Fantastic Voyage (1966), Tom Baker’s 4th Doctor and his companion Leela (Louise Jamerson) also got miniaturised and injected into the Doctor’s brain to defeat the Nucleus of the Swarm in the 1977 story: The Invisible Enemy. Into the Dalek sees the Doctor placed in the most dangerous situation imaginable. The scenes inside the Dalek are really effective, offering a fascinating new perspective on the universes most feared supreme beings, and Peter Capaldi brings so much gravitas to the role of the Doctor that you are left hanging on his every word after he’s miniaturised and sets about exploring the Dalek’s interior – where he gravely surmises the technology that has refined hatred into an evil beyond all imagining.

Into The Dalek is another good episode for Clara, as she is miniaturised along with the Doctor and the soldiers, and quickly finds she’s right at the heart of the action when their mission becomes a desperate battle for survival. Jenna Coleman is excellent Clara, and she’s involved in many of the stories key moments. The scenes in the TARDIS where the Doctor asks her if her to be a “pal” and tell him if he’s a good man, which featured so prominently in the series eight trailer, is finally put into context here, and there is a nice moment of levity between Capaldi and Coleman as well, when the Doctor later introduces her as his carer! Clara is still getting used to the new Doctor, there’s a really interesting dynamic developing here, and she’s not afraid to stand up to this more argumentative incarnation either. There’s also a hint of romance in the air back on Earth for Clara when new maths teacher, and ex-soldier, Danny Pink (Samuel Anderson), starts work at Coal Hill School, and despite the awkwardness of their first meeting, she eventually asks him out for a drink.

The crew of the Aristotle: Journey Blue (Zawe Ashton), Colonel Morgan Blue (Michael Smiley), Gretchen (Laura dos Santos), and Ross (Ben Compton) are all fairly well developed characters, and you get a real sense of how desperate the situation has become as these human survivors make their last stand against the Daleks. Once miniaturised and inside the damaged Dalek, nicknamed “Rusty” by the Doctor, there are some really tense encounters with the Dalek antibodies along with a heroic act of self-sacrifice as well.

Into The Dalek initially conjures up memories of the Robert Shearman episode Dalek (2005), from series one, which also featured a lone Dalek prisoner. Into The Dalek, while not exactly peppered with references to other Dalek stories, certainly embodies aspects from a few episodes that immediately spring to mind: that familiar Dalek heartbeat sound effect, a mainstay of nearly every Dalek story since their first appearance, which begins once the miniaturised team are inside the Dalek, seems even more ominous in this setting, the Doctor also reflects on his first encounter with the Daleks on Skaro, Rusty screeches “Death to the Daleks” at one point, the title of the third Doctor story that featured the Daleks in 1974, and we see moments of destruction from Journey’s End (2008).

The moment that really strikes a cord happens after the Doctor repairs the Dalek, and its original moral setting gets inadvertently restored. Clara gets to see a much darker side to this Doctor, especially after they’ve fallen into the Dalek’s organic refuse disposal, the way she challenges the Doctor when he’s about to give up on Rusty is superb, she also plays a key role in helping reboot Rusty’s memories, enabling the Dalek to once again experience the miracle of seeing the birth of a star and the endless rebirth of the universe. The Doctor manages to link into the Dalek’s mind, helping to open its thoughts to accept the truth of the Daleks, but Rusty is soon overwhelmed by the Time Lord’s ingrained hatred of the Dalek race. Rusty turns against the Daleks attacking the Aristotle and exterminates them, before leaving in the Dalek ship to continue its mission to destroy the Daleks. Though victory may be his, the Doctor is left troubled by the hatred the Dalek saw within him.

The Daleks are back, as hell-bent on universal domination as ever, and exterminating everything in sight. Phil Ford’s and Steven Moffat’s exciting scrip, with its intriguing central premise, engineers some fantastic moments for Capaldi’s Doctor, as he confronts a fascinating moral dilemma. With its disturbing insight into the concept of Dalek purity, unnervingly friendly lone Dalek (Barnaby Edwards), and titanic showdown between the Daleks (Voice of the Daleks by Nicholas Briggs) the Doctor’s old enemies are as menacing and as ruthless as ever.

Journey Blue endures the loss of her brother and her adventure inside the Dalek is fraught with challenges. Through it all she finds an unwavering trust in the Doctor, she asks to join the Doctor on his adventures, but he sombrely declines because she’s a soldier. With Clara taking a shine to Danny Pink it will be interesting to see what the Doctor makes of his companions blossoming relationship with this former soldier. There is also another brief interlude featuring the mysterious Missy (Michelle Gomez), a bizarre character who seems to be gathering up people that have recently died or sacrificed themselves for the Doctor.

With excellent Direction by Ben Wheatley, Into The Dalek fully embraces the darker tone of series eight, the underlying tension between the Doctor and the captive Dalek is positively electric, and Capaldi’s performance is riveting. The miniaturised crew’s exploration of the Dalek’s interior provides some really tense and claustrophobic scenes; there are moments of dark psychological horror, and some great character development for the Doctor and Clara. The special effects and big action set-pieces are truly spectacular, and by the time the Daleks begin gliding through the airlock you’ll be completely immersed in the spectacle of it all.

Into the Dalek provides a great second adventure for Peter Caaldi’s new Doctor, with its bold storyline, great dialogue, and impressive visual effects this episode is a sure fire winner. Dalek stories are always something special, the trick is finding new ways to feature them and keep them interesting, and Into The Dalek with its good script and excellent direction provides a fittingly action-packed adventure for the return of the Daleks!

Images Belong To BBC

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Doctor Who Deep Breath Review

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12th Doctor, Ben Wheatley, Clara, Deep Breath, Dinosaurs, Doctor Who, Doctor Who Deep Breath Review, Doctor Who Series 8, Jenna Coleman, Madame Vastra, Missy, Peter Capaldi, Steven Moffat, Strax, TARDIS

 Doctor Who Deep Breath

Review by Paul Bowler

[CONTAINS SPOILERS]

 

In Victorian London, a dinosaur suddenly appears outside the Houses of Parliament. The Paternoster Gang, investigating trio extraordinaire, Silurian Warrior Madame Vastra (Neve Mclntosh), her human wife/maid Jenny Flint (Catrin Stewart), and the Sontaran Nurse/Butler Strax (Dan Starkey), arrive to help Inspector Gregson (Paul Hickey) just as the T-Rex spits the TARDIS out onto the banks of the Thames. After taking charge the Paternoster Gang soon encounter a newly regenerated Doctor (Peter Capaldi) when he emerges from the TARDIS along with travelling companion, Clara Oswald (Jenna Coleman).

On their return to the Paternoster Gang’s residence Clara struggles to accept the Doctor’s transformation and new personality. When the Doctor witnesses the dinosaur bursting into flames from the rooftops, he sets off to investigate, and soon the connection with the recent outbreak of spontaneous combustion in the capitol becomes apparent. A newspaper advertisement for the Impossible Girl catches Clara’s eye. Believing it’s a message from the Doctor, she goes to meet the Time Lord in a restaurant, where the patrons turn out to be clockwork robots from the 51st century, controlled by the sinister Half-Face Man (Peter Ferdinando), who has been ghoulishly harvesting human body parts to rebuild himself.

Trapped inside the robots buried spaceship, the Doctor manages to escape, seemingly abandoning Clara in his confused state. Clara holds her breath to try and evade the robots, she’s captured, but the Doctor uses a robot disguise to reach her as the Paternoster Gang join the battle. The Doctor and his companions must end the terrifying menace of the Half-Face Man before he can escape, but exactly who is this new incarnation of the Doctor, is he a good man, and will the Time Lord’s friendship with Clara survive?

The eighth series of Doctor Who launched in a blaze of publicity with Deep Breath, a special feature-length episode, staring Peter Capaldi and Jenna Coleman, and written by show runner Steven Moffat, and Directed by Brian Minchin. Deep Breath certainly gets the 12th Doctor’s era off to a great start as Peter Capaldi, actor, Oscar-winning film-maker, writer, artist, and life-long fan of the show, known for playing darker roles, especially the notoriously potty-mouthed Malcolm Tucker from BBC’s cult political comedy The Thick of It, brings a much darker, edgier side to his incarnation of the Time Lord. With his piercing gaze, wild eyebrows, spiky attitude, and unpredictable nature, the 12th Doctor is instantly captivating, very impatient, abrasive, and even a little intimidating at times. Peter Capaldi’s superb performance energises virtually every scene and quickly establishes the mercurial idiosyncrasies of the new Doctor’s personality.

Post-regenerative high jinks aside, in between forgetting everyone’s name, his insistence that Clara is a control freak, running across rooftops in his nightshirt, or charging off into the night on horseback, the Doctor actually spends a lot of his time in Deep Breath telling people, and even a dinosaur, to shut up! There is a great scene were the bewildered Doctor meets a tramp, Barney, played by Brian Miller (the widower of Elisabeth Sladen), where the ensuing discussion about the Time Lord’s new face, the fact he’s Scottish now, and has “attack eyebrows” provide some really fun moments. Midway through the episode we being to get a real sense of what Peter Capaldi’s new Doctor is about: he’s a real livewire, he wont necessarily care what you think about him, and he certainly wont stand around waiting for your to keep up with him either – if anything, his erratic behaviour and unruly nature makes him seem even more alien and mysterious.

Jenna Coleman is excellent in this episode as Clara. Its clear from the start that Clara is struggling to cope with this radically different, older, and greyer version of the Time Lord, who she had, until now at least, developed a close friendship with. Now she’s not even really sure who he is anymore. The Impossible Girl proves as resourceful as ever though, especially after she’s reunited with the Doctor in the restaurant, their banter is terrific, and the flashback when she becomes the Half-Faced Man’s prisoner gives us further insight into her character. Jenna Coleman really gets a chance to shine in this episode, she makes Clara seem bolder, more confident, and as a consequence the new dynamic that’s established towards the end of the episode between Clara and the 12th Doctor also feels all the stronger and refreshingly different as a result.

Fan favourites, The Paternoster Gang, also make welcome return in Deep Breath. Neve McIntosh is magnificent as the Silurian warrior Madame Vastra, she is accompanied by Catrin Stewart who plays Vastra’s human wife Jenny Flint, and Dan Starkey is also back as the hilarious Sontaran Nurse/Butler, Strax. This episode is a great showcase for their characters individual strengths: Vastra’s and Jenny’s relationship is beautifully portrayed, Vastra also provides some very timely advice for Clara about the Doctor, and Strax gets some brilliant comedic moments too.

Deep Breath also heralds a significant change in the pace and tone of storytelling from Steven Moffat as well, there are longer, more developed scenes, and the extended running time is an added bonus that really allows the plot and characters a chance to develop naturally. Deep Breath is Directed by filmmaker Brian Minchin (Kill List and Sightseers), who brings his own distinct style of horror and suspense to this episode, and as a result, the sombre atmosphere, Victorian streets, and sinister Clockwork robots are elevated to a whole new level that really underlines the darker tone of this of this new series. There are references to a number of past Doctor Who adventures as well in Deep Breath: perhaps most notably with Vastra’s initial observation about the 12th Doctor, which is reminiscent of the Brigadier’s line: “Here we go again,” from the Planet of the Spiders (1974), when Jon Pertwee regenerated into Tom Baker, there is also mention of the 4th Doctor’s long scarf, and when Clara first sees the changes inside the TARDIS she says: “You’ve redecorated, I don’t like it,” echoing Patrick Troughton’s classic line from the Three Doctors (1974/74). During her debate with Vastra, Clara also mentions Roman Emperor Marcus Aurelius, who she quoted in the 50th anniversary special The Day of the Doctor (2013) while teaching in a lesson at Coal Hill School.

The Clockwork robots are also very effective, it’s clever how the episodes title forms the basis of how they attack, and their clunky, jerky movement are quite unsettling. The Half-Face Man (Peter Ferdinado), driven by his quest to reach the Promised Land, with his creepy mechanical features, unnervingly brought to life with some incredible special effects, also makes a perfect foil for the 12th Doctor. I thought the scene where Clara held her breath to try and evade the robots was really tense, and the way the Doctor then disguised himself as a robot provided an unexpected twist. The Doctor’s confrontation with the Half-Face Man in the restaurant after it takes off using a hot air balloon made of human skin, also reveals the Clockwork robots link to the 10th Doctor story The Girl in the Fireplace (2006), when the Doctor discovers this ship is the SS Marie Antoinette, sister ship to the SS Madame De Pompadour. The parallels between the Doctor and the Half-Face Man are actually quite striking in this story, both are attempting to rebuild themselves in some way, and the resolution of their conflict is chillingly effective.

When the Doctor and the TARDIS vanishes, leaving Clara stranded in Victorian London, Vastra assures Clara that the Doctor will return for her, which he soon does. However, Clara is unsure if she wants to continue travelling with him but when the TARDIS lands in Glasgow she gets a call from the 11th Doctor (Matt Smith) on her mobile, imploring her from Trenzalore to stay and help his new incarnation. The 12th Doctor remembers this conversation, he asks Clara if she will help him, and she agrees as they leave to go for a coffee. It is this scene that really stays with you long after the credits have rolled. Matt Smith’s cameo as the 11th Doctor provides a great link into the events of The Time of the Doctor (2013), Jenna Coleman handles this scene perfectly, and when Capaldi’s Doctor steps from the TARDIS and asks Clara to help him it become a heartrending moment of clarity that effectively re-defines the Time Lord’s friendship with his companion and reboots the series in an instant.

In the final scene the Half-Face Man wakes in a garden, where he is greeted by a strange woman called Missy (Michelle Gomez), who seems to know the Doctor and refers to him as her boyfriend, as she welcomes the Half-Face Man to Heaven. Michele Gomez’s unexpected appearance in Deep Breath as Missy, having already been officially announced as playing the Gatekeeper of the Nethersphere, hints that this bizarre Mary Poppins like character will play a key role in series eight. Could she be the woman in the shop, the one who gave Clara the Doctor’s phone number in The Bells of St John (2013), the same person who apparently put the advert in the newspaper so Clara and the Doctor would meet at the restaurant in Deep Breath? For now she remains a mystery, whoever she is she certainly knows the Doctor, and seems to delight in telling the Half-Face Man that he has finally reached the Promised Land.

Deep Breath features a brand new title sequence, a glorious steam punk mix of whirling cogs, punctuated midway with Capaldi’s steely gaze, all set against the swirling backdrop of the time vortex as the title logo is revealed. The special effects in Deep Breath are uniformly excellent, and the attention to period detail is exquisite. There’s a new theme tune as well, which initially took me by surprise, but it‘s really beginning to grow on me now. The TARDIS also gets something of a makeover, bookshelves now line the upper gantry of the console room, and a vivid orange glow emanates from the time rotor – swathing the entire TARDIS set in deep shadows.

While events in Deep Breath are resolved relatively straight forwardly, above all else it is Peter Capaldi’s terrific performance as the new Doctor that really impresses. Jenna Coleman also excels, and return of the Paternoster Gang was most welcome. Deep Breath, while not the most complex of stories, still offers an excellent introduction to Peter Capaldi’s new Doctor, and provides an enjoyable start to the new series.

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Batman #34 Review

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Batman, Batman #34, Batman #34 Review, Batman Eternal, comics, DCComics, Gerry Duggan, Matteo Scalera, Scott Snyder, The New 52

Batman #34

Review by Paul Bowler

Now that Zero Year is over, and events in Batman: Eternal have caused major upheaval in Gotham City, Batman #34 finds the Dark Knight faced with task of tracking down a mysterious killer who has been secretly haunting the streets of Gotham for many years. Now with the GCPD turned against him and Jim Gordon in jail Batman must work quickly to solve the mystery behind these heinous crimes before the killer can strike again…

Following the thrilling conclusion of Zero Year, Batman #34 sees the series move forward in time to coincide directly with the events and continuity that will follow the conclusion of DC’s current weekly series, Batman Eternal. Batman #34 is a stand-alone story, written by Scott Snyder and co written by Gerry Duggan (Who is also writing this October’s new series Batman Arkham Manor), is a spooky detective mystery, one that offers an unsettling insight into the mind of a killers deranged psyche, with art by Matteo Scalera.

When a patient from Leslie Thompkins medical clinic goes missing, Batman suspects that a killer is operating in Leslie’s neighbourhood. Batman #34 reintroduces us to a Gotham City still in turmoil following the events of Batman Eternal: the GCPD are no longer his allies, Selina Kyle is now a Kingpin, and Jim Gordon is locked up in Blackgate for murder. Now it seems a killer has been at work in Gotham and Batman didn’t notice. Furious with himself, Batman resolves to find this murder who has, until now, managed to evade the Dark Knight’s sight.

The Meek is dark and disturbing tale, one that simultaneously brings us bang up to date with current events in Gotham City while also providing a seamless transition from Snyder’s and Capullo’s 12 issue re-imagining of the Dark Knight’s origin in Zero Year. With its excellent story by Scott Snyder and co-written by Gerry Duggan, Batman #34 sees the Dark Knight working in a Gotham where the status quo has now been drastically altered. While so much has changed for Batman its good to see him working with his old friend, Leslie Thompkins, the medical practitioner who runs a clinic for the neglected and impoverished, during his investigation.

One of the aspects I really liked about this issue was the unsettling way it actually gets under the skin of the killer himself. This average guy, a person no one would notice, whose everyday life is as entombed within the realm of darkness, death, and despair as the poor and impoverished lost souls that he preys on at night. He’s one sick, twisted individual, someone who just happens to have slipped between the cracks, an opportunist nobody ever sees, his crimes blending into the dark underbelly of Gotham City, unnoticed even by the Dark Knight himself.

Matteo Scalera (Deadpool, Black Science) provides the art for Batman #34, capturing the dark and foreboding atmosphere of this tale with a series of dynamic page layouts that really pull you into events as they unfold. Scalera’s rendition of the Dark Knight’s world is perfectly suited to the tone of this story: from the cavernous shadows of the Batcave, to the headstones of Potters Field with Gotham’s skyline looming ominously in the distance, the concisely delivered recap of Batman Eternal forms a sublime collage of interconnecting images as Batman swings over the city, and the finale offers a chilling descent into the full horror of the killers design. The subdued grey and brown tones employed by colorist Lee Loughridge serves to enhance this issues dark atmosphere even further, creating a grainy mix of light and shadow that makes Batman’s search for the killer seem even more intense.

The issue concludes with a razor sharp double edged coda. While the Meek is effectively dealt with, the full extent of his depraved appetite and the dark legacy which it ultimately unearths is enough to render even Batman speechless. By the time you reach this stunning final page by Matteo Scalera and Lee Loughridge, the full impact of this issues story really hits home, and it’s an image that’s sure to send a few chills down your spine.

Batman #34 is a great self-contained issue, Snyder, Duggan, Scalera, and Loughbridge have crafted a deliciously dark and macabre story, and it certainly delivers plenty of shocks and surprises. Next we have a glimpse five years into the future, with September’s special tie in issue Batman: Futures End #1, before we return for the start of Snyder’s and Capullo’s next major Batman story arc, Endgame, that begins in October’s Batman #35, Endgame, is also set in during the same continuity established in Batman #34, and will subsequently take place directly after the conclusion of Batman Eternal.

Batman Endgame is Scott Snyder’s and Greg Capullo’s big event story for Batman’s 75th anniversary, featuring a large cast of characters and major events in store for the Dark Knight, together with back-up stories linking into the main story arc of Endgame, co written by Scott Snyder and James Tynion IV, with artists changing monthly, Batman Endgame promises to be Snyder’s and Capullo’s most epic storyline to date.

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Doctor Who Deep Breath Official TV Trailer

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12th Doctor, Deep Breath, Doctor Who, Doctor Who Sereis 8, Jenna Coleman, Peter Capaldi

Deep Breath Doctor Who: Series 8 Episode 1 Official BBC TV Trailer

Check out the official TV trailer for Deep Breath: Doctor Who Series 8 Episode 1

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Tales To Admonish #3 Review

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Andrez Bergen, comics, IF? Commix, Matt Kyme, Tales to Admonish, Tales To Admonish #3, Tales To Admonish #3 Review, The Condimental Op

Tales To Admonish #3

Review by Paul Bowler

Tales To Admonish #3 is the latest issue of the noir adventure series by Australian writer Andrez Bergen (Who is Killing the Great Capes of Heropa? & prequel comic book series Bullet Gal) and artist Matt Kyme (That Bullet Proof Kid) and will be available in print form and digitally on August 17th 2014 from IF? Commix.

This third issue from Tokyo based author Bergen and his fellow Melbournian, artist Matt Kyme, is their most innovative and stylish issue to date. Tales to Admonish draws on many influences, predominantly from the Silver Age of comic books, to splice its rich blend pulp adventure and noir inspired visuals with a knowing twist of black humour.

Tales to Admonish #3 features two very different stories. Hell’s Angels showcases the WWI ace pilot, “Wilks” Wilkinson, is a Biggles-style adventure set high in the skies above the North Sea where Wilks has a surprise run in with the goddess Britannia, and accidentally shoots at her before crashing his Sopwith Pup into the back of an enemy zeppelin. With his aircraft now embedded in the side of the zeppelin, one very angry goddess clinging to his planes landing gear, and the German’s shooting at him as the zeppelin rapidly loses altitude, our fearless hero must find a way out of his perilous predicament.

This Wilks Wilkinson tale is derived from The Condimental Op (Andrez Bergen’s collection of short stories, involving comic books and articles about music, movies, and Japan) and this faithful adaptation makes a seamless transition into the world of Tales to Admonsh. Hell’s Angels is a great story, the dialogue is sharp and witty, and it’s sure to keep you guessing right up until the surprise ending

The second story features the return of Roy Scherer and Suzie Miller, who also featured in the first two issue of Tales To Admonish. Hock, Flock, and Two Choking Carols, sees this darkly comic duo and their paranormal investigations uncover a gruesome skeletal corpse – who also turns out to be their client. Matters are complicated further when they find a bizarre alien device near the dissolving remains.

Roy and Suzie are like chalk and cheese, they are also popular characters from The Condimental Op, and this decidedly odd couple make a terrific team. Roy is tough private investigator, while Suzie is the enthusiastic geek of the partnership. The banter between the two of them is really funny, with Rory more concerned about not getting paid now their client is dead, while Suzie is more fascinated by the alien technology. Hock, Flock, and Two Choking Carols may be a little on the short side, but it’s a punchy little tale, and as ever where Roy Scherer and Suzie Miller are concerned, there is a fittingly neat twist that resolves the case.

This issue of Tales to Admonish is rounded off with brilliant piece from Sly, editor-in-chief, as he waxes lyrical about: “The Lamest Comic Book Villain Ever.” It serves as a perfect complement to his profile about Greatest Heroes from last months issue, and there are some equally fun references and anecdotes here as well.

Matt Kyme’s art is excellent throughout, both stories have their own distinct style, and Kyme perfectly captures the tong-in-cheek tone that makes Tales To Admonish such a great Aussie iNDie comic book. I really like how Matt Kyme’s art manages to convey the characters emotions and expressions, the page layouts are really well structured, and every humorous line of dialogue is pitched just right.

As a series, Tales To Admonish is a terrific homage to the 1960’s era of comics, with Bergan and Kyme ensuring there is just enough contemporary swagger to make every story shine. The Silver Age themes are carried through to the Dejavu at the Neon Bullpen letters section, and there are notes and galleries featuring Bergen’s and Kyme’s many IF? Commix titles to enjoy as well. The 32-page Tales To Admonish #3 comic will be published in print in Australia – launching on August 17th in Melbourne, with two striking covers by Andrez Bergen, and people can start ordering the physical edition internationally ($5, with no postage charge) or digital ($1) from that date, via the IF? Commix website from the link here. http://iffybizness.weebly.com

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Earth 2 #26 Review

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Aquawoman, Batman, comics, DC Comcs, Dr Fate, Earth 2, Earth 2 #26 Review, Flash, Green Lantern, Hawkgirl, Nicola Scott, Pete Pantazis, Red Tornado, Superman, The New 52, Tom Taylor, Trevor Scott, Val Zod

Earth 2 #26

Review by Paul Bowler

The final battle begins in Earth 2 #26. A massive Boom Tube has opened in space. While Green Lantern attempts to prevent the world being transported to Apokolips, the Wonders of Earth 2 have united with Commander Khan and the surviving World Army forces to attack the facility generating the Boom Tube in Geneva. The young Kryptonian Val Zod must now battle the evil Superman as Earth’s fate balances on the edge of oblivion…

Events take a dramatic turn in The Kryptonian: Part 6 as Tom Taylor steers the conflict on Earth 2 towards the mother of all showdowns between the combined forces of this parallel world and the might of Apokolips itself. After last issues extra sized prelude to this main event, Earth 2 #26 wastes no time at all in plunging you right into the thick of the action, with Green Lantern using all his power to stop the world being dragged through the Boom Tube, while Batman leads the charge against Bedlam’s base in Geneva, and Val Zod steps up to the plate as Earth 2’s new Man of Steel to confront the wrath of Superman, the former protector of this world, now transformed and resurrected by Apokolptian science as Darkseid’s crazed Herald.

Tom Taylor rounds off the current Kryptonian storyline in Earth 2 #26, with an issue that’s positively bursting at the seams with action, as we see Val Zod embrace his destiny as the new Superman of Earth 2. Faced with an army of Parademons and Warhounds standing between them and the complex housing the source of the Gateway threatening the world, Batman forms a plan with Aquawoman, Flash, Hawkgirl, Major Sato, and Commander Khan’s forces to breach the facility so they can free Mr Terrific, Terry Sloan, Mr Miracle, from Bedlam’s mind control and shut down the device they’ve been forced to build.

Earth 2 #26 certainly has more than its fair share of action, and Tom Taylor does an excellent job maintaining the pacing and structure of this issue while balancing all the characters and big action set-pieces. Its great to see all the Wonders of Earth 2 working together as a team, there are some great moment of characterisation as well, along with a couple of surprising plot twists that few of us could have seen coming either. Unfortunately there’s no sign of Dr Fate this issue, which is a shame really, as it would’ve been great to see him take part in the battle.

The scenes in Smallville, where Lois and Martha are still reeling after Superman killed Jonathan Kent, as the young Jimmy Olsen continues monitoring the global situation from Amazonia are handled really well. Tom Taylor has written some really strong roles for all the female characters of Earth 2, especially Lois Lane, her resurrection as the Red Tornado was an inspired move by Taylor, and her role proves even more crucial now following the events at the Kent’s farm. Aquawoman is another great character, regal and powerful, Queen Marella dominates every scene she’s in. The way she puts Commander Khan in his place when she arrives in Geneva is priceless, dismissing Khan’s greeting with hardly a glance, and her clash with Bedlam leaves us with no doubt that the Queen of the Sea is a mighty force to be reckoned with.

Ever since the Superman returned from the dead as the crazed Herald of Darkseid and Val Zod was discovered in Arkham Asylum, the inevitable showdown between these two Kryptonian powerhouses has been the major event that we’ve all been waiting for. One of the four Krytonians that Lara and Jor-El sent into space before Krypton was destroyed; Val Zod was then hidden in Arkham Asylum by Terry Sloan. It’s been fascinating to see Val’s character progress over the course of this storyline, as his new friends Jimmy Olsen and Red Tornado helped Val overcome his agoraphobia and he learned how to use his powers. Now his journey has come full circle. Val Zod’s confrontation with the evil Superman is the undoubted highlight of this issue as Val’s vow of pacifism clashes with the raw power and ferocity of Superman’s wrath.

Nicola Scott’s art is as superb as everything we’ve come to expect from her work on this series. Earth 2 #26 contains so many artistic highlights that you will be completely immersed and swept away by the sheer spectacle of it all. Nicola Scott has excelled herself with this issue, along with inker Trevor Scott, and colorist Peter Pantazis, every page is so vividly detailed and crammed with action: from the Warhound flattening Bat-Punch, to the epic scale of the ground battles themselves, and the conclusion of Val‘s showdown with Superman, this issue of Earth 2 has it all.

Earth 2 #26 is also Nicola Scott’s final issue. Nicola Scott has been with Earth 2 since issue #1, she has brought so much to this series, creating the distinct look and style of this parallel world, its technology, and of course its heroes. Nicola Scott’s contribution to this series has been outstanding, and I look forward to her future projects.

So, with Nicola Scott’s departure, a new era of Earth 2 is set to begin. First off we will discover what happens during the major clash of worlds in Futures End, followed by a glimpse five years into the future, with September’s special tie in issue Earth 2: Futures End #1, before Earth 2 #27 hit’s the shelves (Oct 8th) and the new DC Comics weekly series, Earth 2: Worlds End, debuts in October. Earth 2 #27, written by Tom Taylor, also sees Marguerite Bennett joining the main series as co-writer, (Taylor and Bennett are also part of the writing team on Earth 2: Worlds End), with Andy Smith taking over as Earth 2’s series artist.

While not quite living up to the promise of the great cover by J.G Jones and Paul Mounts, Earth 2 #26 is still an excellent issue. Tom Taylor and Nicola Scott have wrapped up this storyline up in fine style, with its brilliantly staged action, beautiful final page, and intriguing epilogue, the possibilities for the future look very promising indeed….

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A Look Back At Marvel’s Cinematic Universe Phase 1 & 2

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A Look Back At Marvel's Cinematic Universe Phase 1 & 2, Avengers, Avengers 2 Age Of Ultron, Black Widow, Captain America, Guardians of the Galaxy, Hulk, Iron Man, Josh Brolin, Marvel, Marvel Comics, Marvel Films, Marvel Phase 1, Marvel Phase 2, Nick Fury, Thanos, Thor, Ultron

A Look Back At Marvel’s Cinematic Universe Phase 1 & 2

Marvel Studios have released this awesome look back at their Phase 1 & Phase 2 movies in order to celebrate the expansion of the Marvel Cinematic Universe with the release of “Guardians of the Galaxy”

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