Written by Kieron Gillen
Illustrated by Dan Mora
Colored by Tamra Bonvillain
Lettered by Ed Dukeshire
Cover by Dan Mora
Forbidden Planet & Jetpack Comics Exclusive Variant Cover by David Lafuente
Forbidden Planet & Jetpack Comics Exclusive Variant Cover Colors by Germán García
Edited by Matt Gagnon
Associate Editor Amanda LaFranco
Design by Scott Newman
“Don’t lose the string or Theseus is stuck with a big mean cow man.”
In This Issue: After an escape from the newly reanimated Arthur and his freshly-killed-and-quickly-zombified crop of new knights at Glastonbury Tor, Bridgette informs Duncan that they need The Doctor. Unfortunately, Sir Charles “Chunky” West, Doctor of History at Bristol University, is long dead—they’ll need a successor.
Duncan’s date from earlier that evening, Rose, fits the bill to a ‘T’. After collecting Rose (at gunpoint, because, as Bridgette says, “It seems to be working so far”), the trio makes a visit to the Bristol U. archives to collect something old Chunky left behind. It’s a lockbox full of keys, a file, and a very compelling note. Time to all cram back into Duncan’s car and travel to Bath Abbey, hopefully in time to get a shot at Elaine’s specially-bred Galahad as Arthur knights him. Rose, who had been skeptical, is as amazed as Duncan was at finding out the Bridgette wasn’t pulling her leg—everything is real. Asking Rose to recall the story of Theseus and the Minotaur, Bridgette, and Duncan leave her in the upper abbey with a candle, the way to get them back from their trip to the Otherworld as they descend into the lower levels of the abbey, the foundation of its original iteration.
They arrive in time to see Arthur pull a sword from a stone (which Duncan identifies as Excalibur and Bridgette tuts and reminds him that that sword belonged to the Lady of the Lake—this is a different sword altogether, so best just to stick with The Sword in the Stone,) and Elaine arrives with her offspring.
Bridgette has a clear shot lined up.
My Two Cents: Issue #3 of Once & Future offers the reader an uptick in complexity and action. While there is still a (very necessary) level of exposition, it has become increasingly woven into the dialogue. Speaking of dialogue, it had some clunky moments in issue #1, was immaculate in #2, and has reverted to being less well-flowing in #3. That aside, all the ideas come across perfectly fine and the relationships between the characters are deepening and becoming more defined. Art and color continue to be excellent, which must have been a painstaking task in this issue considering the fact that Bath Abbey, which is a Gothic construction, figured reasonably heavily in the plot, and Gothic architecture is notoriously finicky in detail. We leave the story at a moment which could play out any of three easily divined directions—though we may yet be surprised—and we’ll just have to wait and see where we’ll go from here.