|DOCTOR WHO: THE ELEVENTH DOCTOR No. 3, October 2014|
True, the former freelance journalist’s ensuing tale of “something stalking the bluesmen through the swamps of Mississippi” and “offering them talent beyond imaging, worlds at their feet – in exchange for their souls” is not a terribly well thought out storyline; especially as it once again relies heavily upon the extra-terrestrial corporation SERVEYOUinc and its inexplicable ability to provide people with “some sort of nasty, quick fix life-force enhancement”. But it does at least afford the lead protagonist with plenty of Matt Smith-sounding dialogue, a couple of pulse-pounding foot chases through a southern U.S. state in 1931, and John Jones’ quite hilarious abduction of the indoctrinated Gallifreyan from amidst an entire planation filled full of creepy mantra-chanting mind-controlled minions.
Most of these Machiavellian machinations are well illustrated by Simon Fraser, with the Scotsman’s rather stylised, bendy-looking figures appearing suitably frantic as the Timelord’s rubber-like physiology permits him to straddle wooden fencing, negotiate a barn-full of reprogrammed negro workers and be roughly dragged protestingly into the back of a giant-wheeled Bessie. However, sadly the same cannot be said for the rest of the artist’s pencilling, which, whenever tasked to deliver a character’s close-up or render something sedentary in nature, like Alice simply holding a conversation, appears disinteresting, poorly detailed and unattractively malformed.
|The regular cover art of "DOCTOR WHO: THE ELEVENTH DOCTOR" No. 3 by Verity Glass|