A strong beginning to Twelves DWM era, he is characterised perfectly in his series 8 mold, that harsher, darker Doctor,  but still the hero. Eight and Clara are separated for basically the whole story but get a great closing scene. The art work is wonderful, capturing our Tardis Team and the Umbra look great, contrasting greatly with the environment. They are defeated in an interesting enough way, and all the side characters are memorable, Rudy Zoom makes a characterful antagonist.

Evil scary monsters from the heart of the sun? The Doctor eats those for breakfast. Also has one of my favorite tropes of a person so delusional that mind control bounces right off of them.

Peter Capaldi’s Doctor makes a dramatic entrance in this first DWM comic – a tale where he is very much styled in the Series 8 mould. The Doctor leans into his pricklier, meaner persona here, though still undeniably heroic. Mr. Zoom proves a compelling antagonist, and the resolution – hinging on a narcissist’s vanity – offers a refreshing twist on the “evil emotion-feeding creature” trope (even if the concept of psychic parasites devouring negativity feels overfamiliar in Who.).

The artwork shines, with flowing, sun-drenched panels and striking designs for the shadowy “negative emotion” entities. The premise of a spaceship crewed entirely by women – a result of a narcissistic commander’s desire to be “the first man” to achieve a milestone – is particularly inspired, fostering a narrative populated by intelligent, dynamic female characters. It’s a shame such representation still feels noteworthy, but the story leverages it thoughtfully.

Pacing stumbles slightly in Part 4, where abrupt shifts (Clara’s sudden fire-escape leap) suggest compressed storytelling. The tone leans darker and more verbose compared to the buoyant Titan Comics of the time – a seriousness not entirely offset by its plot complexity. While Capaldi’s wit surfaces occasionally, the story lacks the playfulness that defines his best outings (in my opinion). A solid, visually arresting debut for Twelve in print, but one that prioritises grit over glee.