Review by Karl Verhoven

Since her introduction Marie Blackwood has been shown as distrustful of the magical establishment, and while there’s more than instinct behind her antipathy we’ve so far not been supplied with any great reasoning. Having concluded Witch of Thistle Castle 3 with Marie’s childhood, John Tarachine opens with discussion of protests in London and speculation as to why Theo has been shipped to Edinburgh and her care. “The church would like to use the Blood of Righteous Anger as a weapon” is the conclusion. It makes no account of that title being applied to Theo, otherwise a likeable teenage boy.

Witch of Thistle Castle began so strongly, but has developed into such a frustrating series. The set-up of the first volume proved Tarachine could tell a story clearly, yet everything since emphasises the wrong moments and seems to have gaps. While a good artist technically and capable of defining people well, Witch of Thistle Castle has also been characterised by Tarachine’s almost deliberate concealment of incident. He can spend all the time needed on a conversation, but when it comes to the moments propelling his story they’re wilfully obscured. A case in point occurs early with an incident of violent sabotage inflaming an already tense protest about witches.

It’s an excuse for the church authorities to resume their investigations into witchcraft, which rapidly takes a sinister and manipulative turn, and this time Tarachine does highlight the action. Clarity, though, isn’t a priority, and it’s often difficult to make out what’s happening.

Against the odds, having spent three volumes establishing a world, Tarchine brings it to an abrupt close here with an epilogue chapter. While it ties Marie and Theo’s stories off neatly it leaves a substantial amount of supporting characters floating in the wind, meaning there was little point to introducing them in the first place for the roles they played.

There’s immense talent within Tarachine, but it’s desperately calling out for an ability to focus.