This era of DWM comics has “series finales” which aim to tie up everything from the previous year—or even further back. While it’s fun to see such a diverse range of characters, many of whom wouldn’t normally interact, all in one place, it does make for rather confusing reading.

There’s a solid level of threat in this story, and once the heavy continuity is dealt with, the narrative becomes quite intriguing. The Doctor, feeling dejected after losing the TARDIS, then getting his spark back is handled effectively.

Azrael is a fascinating villain who amazingly we don’t even get to meet yet impacts every part of this story. A deranged artist of death is a wonderful concept.

The aspects involving the cult-like behaviour and devotion of Azrael’s followers are absolutely brilliant, conjuring vivid imagery. The scene where they are asked to disrobe is both hilarious and memorable. However, the sections crammed with random characters from across the comic’s run, combined with a lot of convoluted lore, are less satisfying. It’s a shame that these two sides of the story—one compelling and the other overly complex—couldn’t be separated.

The concept of the Wasting Wall is horrific and thrilling, and it’s executed effectively. The idea of Azrael becomes increasingly interesting as the story progresses, though the impact is somewhat diminished when his face is revealed as Danny—someone I vaguely recall from past comics but had already forgotten, which is disappointing.

That said, the artwork in this story is extraordinary. The number of full-page and double-page spreads featuring stunningly ambitious imagery is remarkable. While the writing feels overly ambitious to the point of becoming muddled, the art style is flawless on every level. It’s impossible not to admire the visual achievement of this comic, even if the narrative doesn’t quite live up to it.