by Victoria Irwin
We join our inquisitively, accident prone trio of the Doctor, Amy Pond, and Rory Williams as they again travel the stars in search of adventure. The comic begins in medias res with Rory and the Doctor brilliantly doing what they do best; trying to clean up their mess before Amy realizes they’ve done something stupid.
Brandon Seifert’s story quickly explains to the reader why the namesakes of the issue, The Doctor and The Nurse, are in their predicament. After a series of petty squabbles Amy has decide that she has more than had enough of “her boys” fighting; her solution? She decides The Doctor and the habitually death prone Rory need to spend a little more time getting to know each other. Unsurprisingly, the chosen setting is London, 1814. After Amy leaves to go sight-seeing, “her boys” accidentally joy ride the TARDIS out of her time stream and suddenly find themselves unable to return. As she wanders around a rather bleak London, Amy discovers her own trouble involving the legendary order of the Silence.
Fans of the television program will love the homages to key dialogue throughout the history of the Ponds time with the Doctor. However, those who have not watched the show will easily be able to follow Seifert’s bright and witty dialogue.
Phillip Bond’s art is relatively comic standard, choosing to emphasize the details of our main characters, but often leaving relatively blank or overly cartoonish features on background characters. Charlie Kirchof makes great use of bright colors for the interactions between the Doctor and Rory. He keeps their panels light and playful, despite moments of crisis, indicating that this is an adventure not a tragedy for the two. The London of 1814 is intentionally bleak, save for Amy’s bright red hair and sweater acting to draw attention to her as she investigates her own danger.
Attention to history and Seifert’s success in making it truly feel right out of the Doctor Who-verse make The Doctor and The Nurse a storyline to keep your eye on.