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Lädt ... Liberation of the Daleksvon Alan Barnes, Lee Sullivan (Illustrator)
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Gehört zur ReiheDoctor Who {non-TV} (DWM Graphic Novel) DWM Comic Strips - Original Publication Order (issues 584-597)
Picking up from where the previous Doctor Who TV series left off, Liberation of the Daleks is the 14th Doctor's first official adventure. A new regeneration, but a familiar face, this exclusive comic strip collection, sees the return of the Doctor's deadliest enemies - the Daleks! Taken from the pages of Doctor Who Magazine, this 13-part tale bridges the gap between recent episodes, tying directly into the new TV series continuity. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)741.5942The arts Graphic arts and decorative arts Drawing & drawings Cartoons, Caricatures, Comics Collections European England & WalesBewertungDurchschnitt:
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It's DWM's longest story! By issue count, at least; I think The Glorious Dead still has it beat out by approximately ten pages. Picking up from the end of The Power of the Doctor, this leads right into Destination: Skaro... though I am unconvinced that its events really could squeeze into the sixty minutes the Doctor states have passed between the two stories in Destination: Skaro. I am pretty sure it took me longer than sixty minutes to read it!
It's a bit bonkers, and it's not very deep, but it is fun. One of Alan Barnes's strengths as a writer has always been rearranging pop culture iconography in interesting ways: here the Daleks attack the World Cup Final in 1966, only it turns out that it's all a simulation from the future, an amusement park where people go to experience Dalek wars... and the park enslaves real Daleks to make it all work. When the Doctor escapes from the simulation, he brings real Daleks with him.
It's not very deep, but it is deep enough; the story does some fun stuff with the disjunction between how we perceive Daleks as viewers (fun, goofy) and how they function in the narrative of Doctor Who (purveyors of genocide); probably the best of the many strong cliffhangers is the one where a bunch of tourists began chanting "EXTERMINATE," hoping to be exterminated! As you would, of course. It casts a lens on Doctor Who's own story, but also reflects the way that, say, Nazis come across in real pop culture. Alan Barnes amps it up as the story proceeds by even bringing in the TV Century 21 Daleks, contrasting their even more goofy iconography with the brutality of the "actual" Daleks.
It does give a feeling of being made up as it went along. Mostly I don't mind this (so does, say, the original Star Beast) but it does seem like the whole story could have ended with part eight but keeps going with a whole new subplot.
Lee Sullivan does a great job with Daleks of course, but all throughout; he captures new series Daleks, classic series Daleks, TV21 Daleks, all of them. James Offredi matches him on coloring with some good work, especially on the TV21 stuff.
If you thought this would be a deep plunge into the mysteries of the fourteenth Doctor (and I can see why you might have, though the story itself discards this pretty quickly), this isn't it. But it is a solid piece of DWM fun.
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