Reviewed by Martin Hudecek

Writer Al Ewing
Artist Boo Cook
Designer Rob Farmer,
Colorist Hi-fi,
Letterer Richard Starkings And Comicraft’s Jimmy Betancourt
Editor Andrew James
Assistant Editor Kirsten Murray
Released - March 2015

New Adventures With The Eleventh Doctor #9 - The Rise And Fall

The employees and big wigs of SERVEYOUInc turn up to work expecting just another day at the office, on a world which would more accurately fit the description of an asteroid - except it is full of light, colour. A true embodiment of pizzazz. But individuality and creativity are looking like they might die out.

The sleeping giant that had briefly reared its head  in the science labs is loose and the entire playing board where the Doctor is involved has been reset. This malevolent entity is making a play for power, and the surrounding inhabitants that were utterly dependent on the galactic corporation can only react passively to this dark turn of events

And what of the TARDIS crew who have been going back and forth through time and space with grave fear that they are being stalked? And after the near Armageddon in the Solar System during their last adventure, can they expect any respite that common decency demands?

The answer is simple: No, and there are more trials and tribulations coming en masse.

But the Doctor won't react cagily like some. This time enough really is enough. Spurred on by the disturbing manipulation of Alice by the very-much-'alive' Talent Scout, the Doctor is taking the fight to SERVEYOUInc. Or whatever he finds down on the asteroid...

This latest instalment in the 11th Doctor range builds on the arc that has been so strong and noticeable up to now, (excepting the chronic instabilities of High-Watermark-Issue 6).

Red herrings have been scattered in the readers direction leading up to this latest edition, and it is very organically done when the reader is alerted to who the real enemy is for the Doctor and friends. The final pages and panels are especially riveting as the TARDIS crew have a seeming traitor in the midst, when that would be the last thing they would have come to expect by now.

After Warren Pleece's somewhat inconsistent efforts in the previous two issues, we are once again privy to the assured work of Boo Cook. This type of presentation is once again more than ideal - for my money anyway - and really sells the emotional stakes very well.  The sheer fury that the Doctor is trying to stop from erupting is never far away, even when he contrives to make light of the events and people he encounters.

The duo of ARC and Jones however continue to serve the plot first and foremost. They really have lacked the splendid rich character development of Alice, but perhaps there is a planned pay-off which still requires perseverance for these two unique individuals.

The dialogue is full of great moments. A few select gems of our leading rogue Gallifreyan being:

"I’ve made my calls and I’ve done my homework and today this day is the day it comes down. Today......I mean business".

"I’ve spent a thousand years living in a box and stealing most of my clothes. I’ve saved up" (when the Doctor is challenged over finances). 

And the dismissive " Whatever they've done, they’re just... monsters. That's all. Because they don’t have the imagination not to be monsters. They can’t think of any other way than cruel and cowardly".

Al Ewing has been a touch questionable in his consistency compared to colleague Rob WIlliams, but this issue is very strong work and now has convinced me that his earlier plotting choices were well-chosen and will pay off well.

This is an assured and swift read for any true fans of Matt Smith's era, and hopefully Doctor Who fans in general. I never felt like I was having to generate belief in the story, and I managed it in one sitting being left wanting more.  And with such a brilliant cliff-hanger to tantalise, 'more' is certainly coming with the force of a speeding bullet.

Bonus Humour 'Tag' Stories:

'Daylight Savings' is a perfectly respectable piece of fun from regular writer and 3D artist AJ. As the clocks move forward at the time of reviewing this issue, it is amusing to see the Doctor have his own issues with units that measure time. And some old 'friends' that were brought to life from Steven Moffat's vast imagination on several occasions make a suitably mechanical impression.

Marc Ellerby conveys a brilliant return to the much-loved quartet of Amy, Rory, The Doctor and River with 'Double Date'. The near-absurdities of age gaps and power relations not being as they should are brilliantly high-lighted with sharp banter and a dollop of awkwardness. The variety of colours for backgrounds help the 2-d sketches feel as lively as AJ's computer wizardry.

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Reviewed by Martin Hudecek

Nick Abadzis  works on the ongoing Tenth Doctor series from Titan Comics. He recently gave an interview to Martin Hudecek of Doctor Who News

How exciting is it knowing that there is a couple of other regular series being made with the Tenth Doctor's successors at the same time?

It’s nice to know you’re in such good and esteemed company. I talk to Robbie Morrison and Cavan Scott a fair bit and I admire Al and Rob’s work very much, so there’s a sense that we’re all “keeping the flame.” Apart from the TV show, and all the other spin-off media, I’ve read Doctor Who comics since I was a little kid, so it’s an amazing thing for me to be a part of this.

Where is the 10th doctor at in his timeline? And what impact does this have on the friendship with Gabriella - the new companion you have introduced?

These stories take place after Donna Noble left the TARDIS. They’re how the TV show might’ve continued on TV for a fourth full season of David Tennant in the role of the tenth Doctor. After what happened to Donna, he’s in quite a dark place and very, very cautious about taking on any other long term travelling companions. He doesn’t want to endanger anybody else and that does have a bearing on how he deals with Gabby at first. She has to win his trust, but also his willingness to even see her as a potential friend, because he’s very much aware that just by being with him, she’s in a dangerous position. Initially at least, he doesn’t really trust himself to look after anyone, so any potential companion has to be able to take care of herself.

Did you try and recapture David Tennant's sheer zest, and match it with the type of stories you tell?

To a certain extent, just the enormous energy and joie de vivre David Tennant brought to the role of the tenth Doctor propels a story with its own momentum, because you’re writing for that same character, that same spirit. Any Doctor has his own particular cadences and mannerisms, but you can’t just repeat what you heard him say on TV, because the way he speaks must continue to evolve and be responsive to the situation he finds himself in. While it isn’t exactly easy, I have a good time writing him, because I am very fond of that particular Doctor. Equally, you’re trying to recapture a general sense of the RTD era, of its many layers, without trying to be slavish about it; to continue it and reveal hidden new depths to it. I want to generate new kinds of chemistry for him, with new characters and unfold wholly unexpected directions and mythology.

Of course, any Doctor lives longer and in a more labyrinthine fashion than any of us mere mortals are privy to, but the aim is to shed some light on these hidden moments in the tenth Doctor’s timeline.  As far as I’m concerned he is still very much a living, breathing character and I try to invest in him all that nuance, pathos and fun that David Tennant gave him onscreen, and I am very lucky to have my scripts drawn by Elena Casagrande, who I know loves him even more than I do.

Which time zone(s) have you set these stories in and why?

Why, all of time and space of course! Without being facetious, it’s GMT+5 – the east coast of the USA. Gabby Gonzalez is a Mexican-American from Brooklyn, New York City, where the Doctor first meets her. Like Rose, Martha and Donna before her, this means to a certain extent she has a tie to her hometown, so there’ll be a few return journeys to the Big Apple. I’m writing our first “season finale” at the moment, much of which is set there, and it’s epic. 

Are the 'cliffhangers' a big focus for you in the creative process of writing serialised Doctor Who?

I do love a good cliffhanger, probably because I was brought up on them with the classic show. You always try and write in a good reason to make a reader want to pick up the next installment, of course, it’s part of the tradition. 

Are there clear heroes and villains in your stories and why?

My first set of villains are very clearly bad guys, quite singular in their intentions and nastiness, although they are not really responsible for being that way – they were created with a very specific set of traits in mind, to be an invasion force. The villains in the next story are a rather more surreal pair, who came into being entirely by accident, through sheer force of creativity. I’m writing a “big bad” for the final arc this year at the moment who is an entirely different beast again, who is not even a villain precisely. He’s something of a sleeping giant, someone who was best left asleep. He’s quite grumpy when his “alarm clock” wakes him, and he decides he needs the Doctor’s help – help that the Doctor is disinclined to give. From small misunderstandings and demands, drama and a lot of heartache ensues. I like to give all my villains some tiny element of sympathy, so their darkness holds an understandable allure.

Is there a preference for having the Doctor or the companion drive the narrative in the stories?

There are different ways of telling stories, and I try to mix it up so it isn’t all one perspective or another. Sometimes, it’s from the Doctor’s point of view, sometimes the companion’s, sometimes another character’s, even the villain’s. In comics, you do have that luxury, and it isn’t always as jarring a switch as it might be in another medium like TV or the written word, because you float a lot of those changes on the visuals and the pacing. Comics is a language, and a far, far more sophisticated one than some people give it credit for, but as we now live in a world where comics grammar is used on a daily basis, where it’s colonized smartphones and desktop computing, I’d say we were ahead of the game.

Which other tv /film comic books have you done or might do one day?

I’m probably best known for a graphic novel called LAIKA, in the UK for my work on Deadline and a character called Hugo Tate (for readers of a certain age). As well as Doctor Who, I'm also currently working on a project for First Second, the same publisher as LAIKA. It's called Pigs Might Fly and yes, it's about flying pigs. You can stay tuned to my Twitter feed or Tumblr for updates on all my upcoming projects, including the good Doctor. 

What are your all time favourite comic stories or graphic novels? (e.g top 3, top 5)?

This changes all the time. Among perrenial favourites, I’d list:

The Incal – Moebius and Jodorowsky
The Love Bunglers – Jaime Hernandez
Hergé – Tintin in Tibet
Alan Moore and David Lloyd – V for Vendetta
Jack Kirby – 2001 A Space Odyssey

What would you say is the highlight of your comic book career so far?

Winning an Eisner award for LAIKA, and the various other international storytelling awards that came with publication of various foreign editions. Getting to write Doctor Who ain’t bad, either.

Historical fiction has been important in your writing career thus far. If you had a working TARDIS to hand, which past events would you want to visit and why?

“You can’t change history – not one line,” isn’t that right? I suppose I should say that I’d rescue the eponymous central character of my book LAIKA. If I was being a little more self-indulgent, I’d go and see David Bowie live as the Thin White Duke on the European leg of his Station to Station tour in 1976. Maybe nip forward a year and see Iggy Pop on The Idiot tour too, with Bowie on keyboards.

Have you used your own experiences of life in the USA to give life to your stories' characters and surroundings?

Yes. Any storyteller worth their salt uses their own experiences and observations  to bring their characters to life. They say write what you know, extrapolate from what you know and even the strongest flights of fancy, the best imaginative works have to be written so that a character and therefore the reader believes in them. It’s not so much about making it realistic, but making it believable.

Doctor Who: Tenth Vol. 1 hits comic stores on March 25 and books stores on March 31. Amazon UK Link Anazon US Link

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Reviewed by Martin Ruddock

Written by Richard Marson
Published by Miwk Publishing
Available April 8th 2015 in paperback and deluxe hardback editions  

Considering Verity Lambert's legendary status in broadcasting history, it's surprising that it's taken this long for a book about her to emerge. An iconic figure in Television - forever known as the smart, beautiful, stylish young woman who cut a swathe through the stuffy cloisters of the BBC as a neophyte producer with a little show called Doctor Who.

Verity's pioneering work on Doctor Who's formative years needs very little introduction. It's already well-documented elsewhere, and was only the beginning of a long and illustrious career. We've seen a glimpse of this part of her story in An Adventure in Space and Time, but right from the off, Richard Marson's excellent biography is keen to point out that the 'soft' Verity as portrayed by Jessica Raine in Mark Gatiss's drama was far from the whole picture. Indeed, friends and colleagues don't remember her for the doe eyes and Roedean vowels familiar to Who fans from archive footage - her 'public' face. They recall a passionate, expansive, driven woman - just as prone to epic dinner parties as she was to thunderous meltdowns. She liked a drink, she smoked heavily, and loved men. She lived well, and lived life to the full. 

Marson paints a compelling picture of Verity's life and career, shaped as much by friendships and lovers as by career decisions. Her passionate, but doomed relationship with brilliant director Ted Kotcheff leads her indirectly to work with her mentor, Sydney Newman at ATV, before he sends for her at the BBC to help deliver the problem child of a children's drama he's been helping develop. She puts up with the bitchy whispers about how she got the job, and kicks back against the pipe-smoking boy's club at the workplace to forge a strong reputation. Marson addresses the rumours about Sydney and Verity, and her friends and colleagues chip in with their thoughts - but the jury remains out whether the whispers were right.

After Who, Verity's fortunes vary at first, and Newman makes her unhappily take up production reins on a new soap opera before allowing her to work on her preferred project - Adam Adamant Lives!, which turns out to be a fairly fraught experience for all concerned. Nonetheless, Verity sees out the rest of the decade continuing to move forward in adult drama in the party atmosphere of the glass-chinking late-sixties beeb. It's only in 1970 that the party briefly skids to a halt, as Verity's contract at the BBC abruptly ends after an overspend on the prestigious W.Somerset Maugham series.

Verity quickly regroups, and moves on to Thames TV and Euston Films, where her career flourishes - but inamongst successes like Budgie or Minder there are bitter feuds over Rumpole of the Bailey and a long, messy court case over Rock Follies. She raises eyebrows with her marriage to the much younger Colin Bucksey - now an acclaimed director of US shows such as Breaking Bad and Fargo. 

Her later years in charge of Cinema Verity and return to the BBC in the 90s have a slightly thinner hit rate as TV production becomes more diffuse, but not even the debacle of Eldorado could slow Verity down. Cancer first diagnosed and treated in the early 70s returns with a vengeance in her final years, but Verity worked to the end with dignity and courage. In spite of all the personal drama and tensions at the coalface of TV production, there's plenty of fun stories and you get the impression that Verity inspired as well as innovated. She wasn't just respected, but loved. Marson's book is a class act, it doesn't stint on the sometimes scathing nature of its subject - but it presents a balanced portrait of a brilliant, trailblazing figure in broadcasting, the like of which we may never see again. Drama and delight indeed.

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Reviewed by Martin Hudecek

Starring Peter Purves, Jean Marsh, Ram John Holder,  Damian Lynch, Sara Powell and Stephen Critchlow. Written By: Matt Fitton.   Directed By: Ken Bentley Sound Design/Music:Toby Hrycek-Robinson Cover Art:Tom Webster Big FInish Productions - December 2014

Whilst safekeeping the Taranium Core, which powers the most powerful weapon in existence, the TARDIS crew are diverted to London in the 1950s. The Doctor has been rendered powerless to move or act and this forces his youthful friends to somehow take the initiative minus his wise advice. Both acquire jobs that get them out of their comfort zone - Steven at the docks, and Sara in the kitchen - and they also have to live frugally and in conditions which bring their comfy upbringings into sharp relief. 

They befriend the Newman family who are trying to establish themselves in Britain having left Jamaica behind. And whilst their new home is one rich in opportunities and resources, its inhabitants are decidedly mixed in the level of open-mindedness and welcome. This means that  Steven and Sara are forced to react to a hotbed of xenophobia - something particularly hard to imagine for a woman used to 40th Century Earth.

But deplorable human qualities are not the only adversary, as it soon becomes clear that the time travellers are late onto the scene of an invasion where people are being kidnapped and used as hosts for a force of non-humanoids. Their intentions being to redefine the dominant lifeform on the planet.

This four episode story starts off much along 'pure historical' lines with hints of the paranormal that eventually takes over. Having two characters from the future forced to get their heads round a time full of racism is a great launch pad for this story. In the context of The Daleks' Master Plan, we can reflect that Mavic Chen is not regarded as a villain in any way of his ethnicity, but instead due to his narcissistic and delusional personality.

Steven again is confident in coping with the new and unexpected, which fits his character outline of the 'fearless pilot'. It is also a neat idea to force this skilled man into rather banal manual work, but he still has the ability to work in a team and be unassuming and contrite. He almost gets into too much trouble, standing up for the bullied. The snarl of "You'll get yours Taylor" reverberates in listeners' heads - although Steven is not present for that threat. Billy Flint (Stephen Critchlow) is a fine secondary villain, and certainly disturbing enough in his bigotry. But the themes of prejudice are almost shoved to the sidelines; the emerging story of the hostile alien force with no regard for creed or colour is familiar enough territory and plays out with the usual beats we have come to expect from this type of science-fiction, 

Sara is given some respectable material herself, but doesn't quite stand out in the manner she did in 'Masterplan'. Due to her forthright personality and the attitudes of the other women native to this society, she takes on an 'early feminist responsibility'. This is of some interest as presumably gender politics are barely relevant in the far future she originates from, and where she has a high security rank. The scenes where her military training comes into play somehow end up being more amusing than compelling, and perhaps should have had more thought put into it. Even Jean Marsh does not seem quite sure how to play this one way or the other.

Potential romance with these two companions of the original Doctor is hinted at several times in this new story. Obviously this was not shown overtly in the family show 1965 Doctor Who undoubtedly was. However, this is quite welcome as Jean Marsh and Peter Purves clearly got on back then and still get on now, so it feels quite a natural translation in acting performance by two fine actors

The Doctor being involved quite late on allows for much good material for the companions, but once he really takes charge the character work for Steven and Sara is almost thrown to one side. Also frustrating is that some of the Time Lord's lines are right out of the 'dandy' Third Doctor's speech patterns and feel quite jarring  - even if those two Doctors were two of the more egocentric of the pantheon. Otherwise the plot, the motivations of the aliens and the themes merge well in final stages, after perhaps a slightly clunky transition during the third instalment. 

Some naysayers will point out that the total absence of the Daleks is a missed opportunity given the core topics explored in this play. But this should not obscure the achievement of getting two busy actors in Marsh and Purves to work together. Jean Marsh has been in many cult or classic films and is a very compelling actress by any standard. She has not been as involved in spin-off Doctor Who as often as some of the other ex-companions, but still comes across as comfortable returning to her short-lived role. And she might well have thought her effort would be long forgotten back when TV was essentially 'one-off theatre', and in the pre-video era. Purves is a stalwart narrator and does a pretty good Hartnell imitation, if perhaps not the definitive one given the excellent work that William Russell has turned in over the years.

Matt Fitton is a reliable author and shows his skill with the core story aspects that worked for the most part in his 'Counter Measures' stories. The actual enemy in this story is disturbing and unsettling enough, if lacking the sheer groundbreaking nature that was apparent in the Daleks. Also there is some humour sprinkled across which can be engaging and gives life to people who sometimes struggle to act naturally, which is a very human quality and not always used as it should be in scripted drama.

This release certainly helps justify the continued exploration of Doctor Who's black and white days. That was a time when necessity was the mother of invention and many of the strongest aspects that make the show such a juggernaut first emerged. The play is one of the better ones I have reviewed from Big Finish, albeit lacking that je ne sais quoi that defines a sure-fire vintage.

EXTRAS: These are rather brief on this occasion with a reasonable mini-documentary where the cast and crew participate in a laid-back chat over some aspects of making this production. Somewhat jarring statements are made concerning the show always needing paranormal aspects or aliens. The Hartnell era had plenty of pure historicals, and some of the best were in Season Three where this play slots in. Otherwise the insights given into the creative process are well-thought-through.

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Reviewed by Thomas Buxton

Writer: Robbie Morrison Artist: Daniel Indro Letterers: Richard Starkings and Jimmy Betancourt Colorist: Slamet Mujiono Editor: Andrew James Assistant Editor: Kirsten Murray Designer: Rob Farmer

If the seventh issue of Titan Comics’ ‘New Adventures With The Tenth Doctor’ saga is any indication, then in the case of the Weeping Angels, the eponymous pinstripe coat-wearing time traveller simply cannot catch a break. Thankfully, the character’s struggle to succeed in the face of overwhelming odds isn’t reflected in the text’s quality, since Part 2 of his second comic-book story arc – “The Weeping Angels of Mons” – easily maintains the momentum which its predecessor gained in terms of action, Hammer-esque horror set-pieces and (for the most part) a compelling set of secondary characters.

That said, before delving any further into how these elements combine to form one of the more memorable graphic adventures produced by Titan to date, it bears recognition that those aforementioned supporting players might irk some long-term Who fans given that half of their time seems to be spent inquiring as to what the mythology of the Weeping Angels entails, leading scribe Robbie Morrison to take the opportunity to throw in no shortage of exposition-laden lines of dialogue extracted near-directly from “Blink” and the Angels’ subsequent TV serials. For the scarce number of readers who picked Issue 7 up as a result of nothing more than mild curiosity as to what Doctor Who’s narratives centre on, Morrison’s approach will doubtless provoke a sigh of relief in that he ensures that knowledge of these silent antagonists’ backstory is anything but a prerequisite here, but one has to imagine given the show’s dual longevity and overwhelming popularity (at present, anyway) that most who shell out cash for these miniature tales will find themselves echoing this reviewer’s bemusement at the need for such heavy-handed call-backs to episodes gone by.

At the same time, it’s extremely encouraging to see that the odd instance of needless exposition – and the fairly uninspiring setting, though that’s more a product of the tale taking place in 1916 than anything else – barely detracts from the overall reading experience in the slightest. Whilst he doesn’t leave those who missed Part 1 of “Mons” to completely fend for themselves, Morrison certainly appears to appreciate the need for notably brief yarns such as these to get down to business sooner rather than later, hence his opting to only dwell but fleetingly upon the plight of two Great War soldiers who became stranded on a 19th Century steam-train last issue (in a turn of events which has tragic results this time around) before reuniting us with the Doctor, Gabby and their newfound accomplice Jamie Colquhon – whose all-too-familiar first name is naturally dealt with by the ever-nostalgic Time Lord in a humorous aside – as they discuss with medics, corporals and other officials (each of whom benefit hugely from some intricate characterisation in spite of the relatively constrained running time) how long their not-so-angelic pursuers have spent feasting on the temporal energy of displaced World War One veterans.

Had these exchanges formed the bulk of this (for the most part) gripping issue, then given its scribe’s evident talent for writing dialogue which mimics that of the TV show, few of us would likely have complained, but even so, a few action-packed chase sequences break up the dialogue-heavy scenes in an electrifying manner on a number of occasions. It is here where the series’ resident artist, Daniel Indro, comes into his own, not least by showcasing his ability to depict shattering windows, advancing statues, frustratingly erratic light-bulbs and an all manner of obstacles placed in the TARDIS crew’s path in such a way that one becomes wholly aware of both the immensely unique beauty of the comic-book as a form of pictorial literature and its development to a point where those with sufficient experience can render beloved characters in an uncannily realistic light. Whereas some might dispute the extent to which the Titan version of Matt Smith’s Eleventh Doctor resembles his on-screen counterpart, then, no such questions of representational fidelity need to be asked of Indro’s marvellously authentic take on Tennant’s incarnation or his persistent adversaries.

Even if viewed in isolation, these consistently impactful contributory elements would be considered worthy of plaudits in their own right, yet as they come together on the page, the readership must surely come to realise that both Morrison’s rapidly developing (in spite of its exposition and the familiarity of its premise) period narrative and Indro’s increasingly accomplished accompanying graphics work best by far in each other’s company. As a result, much as Peter Capaldi’s Twelfth Doctor appears to be making waves on TV screens across the globe nowadays, in the region of his comic-book escapades, he still seemingly has plenty of work to do if he’s to catch up with his spectacles-donning predecessor in the foreseeable future.

Bonus Humour Strips Mini-Reviews:

AJ treats us to a strip which pays homage to both the days of the First Doctor - via a subtle twist on his contemplation of what it's like to "touch the alien sand" - and the Tenth's encounter with the Vashta Nerada in 2008 with Shadows on the Pier. This innocent skit prioritises excessive dialogue over impressive visuals in order to get across its gags over the course of just six panels, yet does so with surprisingly effortless aplomb.

Rachel Smith's A Rose By Any Other Name, meanwhile, threatens to drive any reader whose tolerance for text language is limited close to insanity by throwing in non-words such as "soz" and "jeeez", but on the plus side, its lighthearted spin on how Tennant's Doctor might have spent his time post-"Doomsday" (when he wasn't busy getting a "Runaway Bride" to the church on time, of course). Although Smith - evidently an enthusiast of 1960s rock - might lose UK readers in namechecking Janis Joplin and needn't have included 'To Be Continued...' (a tag which will more than likely confuse newcomers to the strip) beneath the final panel, hers is a delightfully surreal contribution which only serves to strengthen the final product.

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Reviewed by Ben Breen

Paul McGann (The Doctor), Nicola Walker (Liv Chenka), Alex Macqueen (The Master), Barnaby Kay (Martin Donaldson), Rachael Stirling (Adelaine Dutemps), Sorcha Cusack (Mary), Dan Starkey (The Sontarans), Susannah Harker (Anya), David Sibley (The Eminence), Beth Chalmers (Kitty Donaldson), Charlie Norfolk (The Woman), Derek Hutchinson (Usher), Alex Wyndham (Thug), Blake Ritson (Barman), Camilla Power (Receptionist/Mademoiselle), John Dorney (Android), with Nicholas Briggs (The Daleks)

This review will not be the usual attempt to summarise an entire story; such a task is difficult without attempting to create a linear timeline of events.  Therefore, here are my first impressions and conclusions on Dark Eyes 4 to allow you to judge for yourself.  Please note, I will make reference to Dark Eyes 1, 2 and 3, but will try to keep spoilers to a minimum.

4.1 A life in the day
The plot of this initial episode keeps you guessing throughout, with the cast performing admirably, dropping subtle clues to the situation.  It’s hard to see how this whole adventure fits into the rest of the story, but it works as a standalone adventure in its own right.  The action sequences are well handled, with the transitions between multiple locations being smooth and not interrupting the flow of the story.

4.2 The Monster of Montmartre

Those familiar with Dark Eyes’ intricate plotline will be able to find one important link to the rest of the saga even in the opening to this story.  However, things take on much higher stakes for The Doctor and Liv as the mysteries surrounding Paris’ latest new attraction unfolds.  The cast again performs well, with McGann and Briggs emotion-fuelled conversations as glimpsed in the trailer being worthy of note.  The score of the last few action packed scenes builds to a crescendo to encompass a final reveal.  Whilst it was expected, due to the cast list, trailers and the events of the series overall, it was well executed and did not seem clichéd.

4.3 Master of the Daleks

The opening of this story is humorous for reasons that I will not spoil.  The dialog between Liv and The Master is also comedic at points, whilst showing this Time Lord’s confidence as to the grasp of the situation.  References to the events of Dark Eyes 3, which are not entirely elaborated on (possibly so as not to confuse people getting into the story) are made here, with humour still being used in The Master’s dialog.  There are also new series references, which whilst possibly not directly intended, make for good fan service for those familiar with the revival era.  The Daleks are voiced with their usual levels of ruthlessness by Briggs, with the Dalek time controller’s softly spoken tones harkening back to the manipulative schemes of Davros. 

4.4 The Eye of Darkness.

The most noticeable thing about this story is the opening sequence.  Rather, the fact that it doesn’t have one.  The unidentified announcer in the first scene post-introduction is reminiscent of the Drudger from Dalek Empire or The Sirens of time.  Again, the events of Dark Eyes 3 are referenced, with the actions of a certain Professor Markus Schriver being of particular note.  Nick Briggs makes a cameo as a medical assistant, similar to Stan Lee in the Marvel films – if you weren’t listening for it you might not notice it.  The splitting up of characters works well, with events taking a turn for the worse, but signified in a rather unexpected way.  Briggs again plays the role of the time controller with skill, portraying the maniacal desperation and pain as this leader tries to get what he wants; domination of all of time.  The Doctor and Schriver’s wordplay being cut short by the least likely of arrivals is surprising, tinged with a sense that this is definitely not the last large-scale event to occur before the story ends.  This theory is confirmed as events draw to a close with a twist that, whilst being a shocking one, in its own unique way was not wholly unexpected.

Conclusions

The score throughout the entire boxset was well produced, not rising too far above the actors’ dialogue.  The sound design was, as has been the case with the past 3 interlinking Dark Eyes box sets, of a cinematic quality.  The casts of all four stories performed well, with no need for visual aids to convey the emotions that bring these characters to life.

It is still unclear how the opening Story, “A Life in the Day”, ties in to the following episodes, although I do have a theory.  However, I will refrain from elucidating on this as it could spoil important elements of plot.  Regardless of this relatively trivial fact, I would suggest anyone wanting to gain the full experience to start with Dark Eyes 1, 2 and 3 first in order to understand the plot and see the linking references as they appear.  However, in saying that, Doctor Who is one of those rare instances where episodes or story arcs could, hypothetically, be listened to or viewed in an incorrect order and have events still make some degree of sense.  Therefore, for those who are feeling adventurous it may be possible to listen to this well put together collection of stories first, returning to the remainder of the saga afterwards to see the relevance of prior events.  However, I would advise the former approach (listening to all the sets in order) for coherence’s sake.

This is a fitting end to what has been a saga full of memorable moments.  In spite of the events of all four box sets, one question remains: what’s next for The Doctor? According to the announcement at Big Finish Day 6, we’ll find the answer to that question and possibly others in Doctor Who - Doom Coalition.

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Reviewed by Martin Ruddock

Written by Matt Fitton
Directed by Ken Bentley
StarringPeter Davison, Janet Fielding, Sarah Sutton, and Mark Strickson, with Annette Badland and Nickolas Grace

Picking up where Mistfall left off, Big Finish's new E-Space Trilogy throws the TARDIS crew into a snow globe, as they crash into the icy world of Isenfell - a land of howling storms, black ice, hunters, and snow beasts.

Accepting an invitation of dinner from the imperious Queen Karlina, it soon becomes apparent that all is not well, and Isenfell has a particularly draconian door policy - quite literally one in, one out. Not that this should be too much of a surprise for the Fifth Doctor and friends, invitations to dinner never end particularly well for them, and, as we know, nothing is straightforward in E-Space.

Matt Fitton's script features some fine world-building, and Isenfell is a good combination of quasi-medieval society and Davison-era hard SF. Underneath the fairytale chintz and courtesy of their hosts Karlina (Annette Badland) and Balancer Skarsgard (Nickolas Grace), this world is sick and crumbling - only kept in check by a strict control on the population. Badland and Grace give strong, layered performances, with Badland almost unrecognisable as the former Margaret Slitheen.

As Tegan and Nyssa discover, parents are hiding their young in caves below the surface to avoid the 'balancing'. It gives Nyssa a chance to reflect on how much she misses her own children, in between helping the Doctor unravel Isenfell's mysteries and try and save its people from armageddon. Indeed this is slightly more Nyssa's story than anyone else's.

It's not all bad news though, Turlough gets a bit of female attention for a change, and gets to spend four episodes being scared half to death by the attentions of the barking mad Princess Inger. That said, he doesn't get a lot else to do. The TARDIS crew are split up for much of the story, and Davison and Sarah Sutton get the best scenes together, as Nyssa quietly empathises with the Doctor's desperate struggle to save Isenfell, while everything goes to hell around them. There are no real villains here. Both Karlina and Skarsgard do questionable things, but get their redemption, and Isenfell is saved, but we close as we open - on a cliffhanger, with Tegan in the hold of a mysterious spacecraft, kidnapped for reasons unknown.

Excellently directed by Ken Bentley, with some strong, evocative sound design, Equilibrium is another strong offering from Big Finish. Next stop: The Entropy Plague, and the conclusion of this trilogy. 

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Reviewed by Martin Hudecek

Stars - Peter Davison, Janet Fielding, Sarah Sutton, Mark Strickson, with Jemma Redgrave. Also Stars - Nigel Carrington,Emily Woodward,  Paul Panting, and Matthew Carter Written By - Andrew Smith, Director -Ken Bentley Sound Design/Music - Nigel Fairs, Cover Art - Will Brooks Big Finish Productions, January 2015

The TARDIS and it's youthful looking inhabitants must cope with a surprise return to E Space, which leads to a dramatic re-acquaintance with the planet Alzarius. Time has moved on since the events of the original adventure involving the Doctor's Fourth incarnation. His successor, Nyssa, Tegan and Turlough are not alone on this dangerous planet, as a race of people has come to obtain what they feel is theirs by right, and one or two other parties may also cause some disturbances. Most significantly, the considerable forces of Marshmen are now poised to rise once again from their slumber...

1980's Full Circle was for myself, and a good number of Tom Baker fans the story where his final season really sparked to life, after two enjoyable but confused efforts. Even to this day many of it's bold ideas and surprise twists impress greatly, and there was a lot of skill behind the camera too, as Peter Grimwade made his directorial debut (after being a production assistant on some of the highlights of the 1970s era). It scarcely seems believable that a talented but still inexperienced 17 year old in the form of Andrew Smith was able to outshine many an old hand who had written for the enduring series, but he still firmly acknowledges the help of script-editor Christopher H Bimead in focusing his notable vision even to this day.

Some cynics may knock the story regardless for introducing Adric to the Who mythos. In all fairness he never really was utilised as well as even the average companions on the show, with some rather forced shiftiness that was much better done with Turlough. But many mainstream viewers, of whom quite a few were a similar age to the doomed Alzarian, welcomed the rare presence of a male on the Tardis crew. Of course there is always the debate over K9's status given the strong voice by John Leeson and David Brierly...

This new story begins with quite a bit of Adric referencing, and certainly Nyssa is quick to spell out the danger of the Marshmen, who she likely knows deprived her late friend of his one remaining relative. Perhaps though something is missed in deliberately setting this story in the period where Turlough has come on board, and not having Adric himself forced to re-visit the events that changed his life forever.

Also this is a fundamentally traditional tale - when so many of the best Big Finish productions try to do something a little bit daring. And at times certain moments are nothing more than obvious recycling of the source material. However the strong backstory and lore created by the writer does mean that fascinating themes are revisited with new characters, and some moral dilemmas play out with urgency. For those who know Smith's novelisation, there was a lot of thought put into the inter-connected lifeforms on Alzarius and the motivations of many characters, which did not always survive in the final cut that was demanded by scheduled television such as Doctor Who.

This audio drama allows for some of this pruning to be addressed by having new scenarios and types of personality to affect the consequences. The plot is reasonably coherent with some decent obstacles that present themselves as events progress. By having both a clear villain and a more uncertain antagonist in the form of the Marsh-Leader there is some good thematic exploration. For this story to shine however it needed some above average performances from the regulars, or that elusive je ne sais quoi that makes the listener re-examine a person they thought they knew already, in a somewhat different light. Nyssa has been afforded so many 'extra' stories from this busy audio production company, that perhaps even the strongest efforts from Sarah Sutton are somewhat blunted when she isn't served 'A-grade' material throughout an audio tale.

In a similar vein, there is no guest star that can be made out as weakening the dramatic effect, but also there isn't a really scene-stealing effort either. Jemma Redgrave is certainly credible as a leader, much as she is in the latest on-screen Doctor Who as Kate Stewart. Nigel Carrington is a serviceable villain, who has some sympathetic motives at the core of his actions. The 1980s Fifth Doctor stories tended to have some very striking guest characters, and/or 'celebrity casting' as was the preference by producer John Nathan Turner, and this production is arguably a contrast to the other extreme in 'playing it safe'.

The dialogue is functional but never that memorable, quirky or revelatory. "Tell Dexeter.. We've come Full Circle", "Not an alibi, Deciders!!", and even the Tom Baker embellishment 'How odd, I normally get on terribly well with children.." (when first meeting the Marsh-Child) are not rivalled by the spoken material this release contains.

But the time passes smoothly enough, and the cliff-hangers are played out with the required 'hook' fans are entitled to expect. Sound effects are very good, and the music fully captures the spirit of the original sublime track Paddy Kingsland produced for Full Circle. The documentary also is quite a good listen with some very 'off-the-cuff' remarks that show how much of a bond the regular cast have had over the years; both back when they first worked together, and now in this long-lived era of considerable output in different formats.

I cannot put my hand on heart and say that this is an unmissable product, but it still may be worth several hours of your time if you are the type of aficionado that enjoys a sequel that keeps closely to the spirit of the original.  The final stages do not disappoint in getting the immediate jeopardy wrapped up, and then urging the listener on to the next part of this 'Return to E-Space' trilogy. It could well be a quite bumpy ride in this unknown universe for our four heroes...

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Reviewed by Martin Hudecek

Writer: Robbie Morrison
Artist: Dave Taylor
Colorist: Luis Guerrero 
Letterer: Richard Starkings + Comicraft’s Jimmy Betancourt
Editor: Andrew James
Designer: Rob Farmer
Assistant Editor: Kirsten Murray

"Give thanks. Rejoice. Your feeble little lives have just gained great significance. You are the chosen of Kali, goddess of destruction. Your deaths will give her life and power beyond your darkest nightmares."  - One of the Scindia demonstrating their power.

   Without doubt one of the more ambitious stories from Titan in scope and thematic depth, there is no let-up and no break in momentum from parts one and two. The Twelfth Doctor once again has plenty to do, and seems one step ahead of his fiendishly vicious opposition. He however needs a bit of help given that his dear Clara now hosts a 'Goddess' hell-bent on ripping up most of time and space. This leads to him having to trust two other women who have been caught up in this chaos; which arguably makes for a typical day in his endless working week.

            Rani, who is now at least the third character in the Doctor Who universe named thus (following Kate O'Mara 1980s villainess, and one of Sarah Jane Smith's teenage assistants), has really been a stand-out personality. She can be impulsive, but there seems to be a depth to her mission in life and her value system which would make her a fine incumbent for the TARDIS crew. She also pines for her murdered girlfriend, and the story does a fine job of paying off this emotional element.

Priyanka is perhaps a little more generically a do-godder, but still engages us in her resolute efforts to avenge her father. One of the better one-liners is uttered when she faces danger. There is also another remark made by her of the Doctor's Scots accent which manages to come off quite well and not feel tired like it might in an all-round poorer story.

But when it comes to any amendments to the TARDIS crew, it would appear that Titan have no immediate plans to muddy the waters of the Doctor/Clara relationship that played out on our screens last year.

Clara is still important to proceeding however. After the wonderful closing 'hook' of Issue Four, she has become trapped in the truly imposing form of the many-armed goddess Kali. Some rather ripe puns concerning just what to call this hybrid entity make their way into the story, but are excusable given the gloom elsewhere. The outcome for the victims of Kali and the Scindia family would disturb may of the under-10s were this a fully-fledged Autumn TV effort.

The story is effective also in how it balances certain developments which are essential for a story to have a Doctor Who formula, but also surprise us in when certain developments occur. I was definitely wrong-footed by how and when the Doctor showed his guilde in dispatching two of his foes, without barely making much of an effort. The final epilogue also may surprise some, but arguably develops organically from earlier characterisation and exposition.

Great storytelling merges with effective visuals, and suggests that Morrison and Taylor are not just on the same page, but the exact same panel too. And were this not enough, Luis Guerrero is present in making the pencils and inks look at their optimum potential. As regards the house style of Series Eight, incumbent writer Robbie Morrison achieves great dividends in keeping the spirit but also being assertive enough to make his own voice heard in the narrative. The next story once again looks promising from what little clues we have.

Bonus Humour Strips:

'COPY/PASTE' by AJ is a decent one character piece. The Doctor's horror in having his trusty sonic screwdriver destroyed by the Terileptil leader may be well and truly forgotten, as sometimes you can have too much of a good thing.

 Bin Dilemma' (with Colin Bell and Neil Slorance teaming up again) is a much easier humour story to follow than previous ones in this slot. Yet it smartly reminds readers just how aloof Capaldi's Doctor can be, and just how much patience Clara Oswald can muster given her double duties as teacher and travelling companion. 

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Reviewed by Martin Hudecek

Writer Al Ewing Artist Warren Pleece
Designer Rob Farmer
Colorist Hi-fi
Letterer Richard Starkings And Comicraft’s Jimmy Betancourt
Editor Andrew James
Assistant Editor Kirsten Murray

The threat to Earth shows no signs of abating as the skies above cities, towns and countryside continue to be swamped by outlandish space craft that defy comprehension by the average human being. The perennial war between the Amstrons and J'Arrodic Federation cannot be ignored much longer, and something must happen before an outcome - positive or negative - can emerge from the tension.

Arc and Jones are soon rendered powerless to assist the Doctor, and it falls to redoubtable Alice to accept an incredibly daunting offer of having the chance to end the war all by herslef. Her time in the TARDIS will never be more beneficial, as she is forced to become greater than she ever thought she could be. The downside? The probable end of the entire human race...

If that premise was not enough, there are other questions that have already been set up and get their pay-off here:

*Is Alice's mother really back?

* And will this mean an end to the erstwhile Londoner's variablel relationship with the man who posesses the mental resources of a 1000 libraries?

There has been more than a couple of hints that Alice could depart the TARDIS at the drop of a hat. This story manages to make the three person confrontation between the Doctor, Alice and her apparently resurrected mother the heart and soul of the narrative. The reasons for Alice not listening to her head over her heart will strike a chord with many readers, and furthermore even the Doctor must concede that rebirth is not easily dismissed, given his own recent experiences with a particular companion. Also, the twist involving the Amstrons is interesting and so very Doctor Who - perhaps most recognisably from the brief but memorable Douglas Adams sequence of stories that rounded off the Seventies.

Despite a strong writing effort, the art work is comparatively a slight disappointment, especially given the quality seen beforehand. It tells the story clearly and expressions and scale by and large cut the mustard.

 Panel backgrounds suffer from being bland and/or interchangeable, and the potential to slip some in-jokes and satire into the covers of various books is perhaps a waste, given how much this is about Alice and her acquired wisdom along with natural gifts.  There does feel something lacking when taking the visual experience in as a single cohesive piece of work, and perhaps more tinkering would have helped. However since this second part of the story really is about the character clashes more than the big space extravaganzas, it ultimately feels acceptable.

But having said that, this second and final instalment of the latest story is more than satisfactory. The Eleventh Doctor certainly is at his most assertive here and gets to demonstrate that while he may be lackadaical and take adventures as they come (much like former incarnations such as the Second and Fourth Doctors), he can also put his foot down. Serve You Inc have stopped being an irritation and need to be dealt with head-on, and plenty of speculation can be made before issue 9 rolls along into the consumer sphere.

 Bonus Humour Section:

'Experimental Taste-Buds' by AJ is a fun little piece which aims modestly but still enchants. The decision to mix 3d graphics with apparently real-life photographs is a welcome break from previous efforts.

'Short Change' is Marc Ellerby at his assured best. A phone call across millennia between the Doctor and Amy is made something rather special as the events of one time zone quickly impact upon the other.

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Starborn
Written by Jacqueline Rayner
Directed by Lisa Bowerman
Big Finish Productions, released March 2014

After an uneventful trip to twentieth century Earth, Vicki finds herself locked out of the TARDIS and cornered by Violet, a self-proclaimed psychic. Agreeing to take part in a séance, Vicki is shocked to receive a message from a very familiar person: herself from the future. The message is very simple, if Vicki leaves this time, she will die. And future-Vicki should know, after all, she’s already dead...

Like many of the best Companion Chronicles, Starborn has an intriguingly clever and tricksy narrative, with an inventive twist to the way it is narrated. By having the main tale told from the perspective of future-Vicki the story keeps the listener guessing, and trying to work out the solution to the puzzle of her apparent demise. The solution to the mystery is hinted at in the dialogue throughout the play: eagle-eared listeners will pick up elements in future-Vicki’s story that seem out of place, which pay off later in the story.

The tale future-Vicki weaves is evocative and full of strong imagery. Like the early Hartnell stories, Starborn delights in world building and exploring strange settings and civilisations, in a way which is evocative of stories like The Keys of Marinus and The Web Planet.

Given that he central story is told by an apparently dead Vicki, themes of mortality and sacrifice are central. It is one of the few stories to address Vicki’s status as an orphan, with the séance evoking memories of her parents. If anything it feels like this side of Vicki’s character could have been explored further in the play, and it would certainly be worth returning to in any future iteration of The Companion Chronicles.

Overall Starborn is another strong Companion Chronicle, which makes use of clever narrative devices and ends with a satisfying solution to its central mystery. It is easily Jacqueline Rayner’s best contribution to the range, and shows a clear understanding and love of the era it recreates.

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Reviewed by Richard Brinck-Johnsen

Written by Jonathan Morris and John Dorney
Directed by Ken Bentley
Big Finish Productions, released August 2014

This box set sees the reunion on audio for the first time since 1982 of fifth Doctor Peter Davison’s original team of companions; Janet Fielding as Tegan, Sarah Sutton as Nyssa and the much anticipated return of Matthew Waterhouse as Adric. Consisting of two brand new four part stories both set during season 19 it is very much a box set of two halves. As this is no longer a brand new release I am considering this review fair game for any spoilers that follow.

Jonathan Morris’ Psychodrome is set in the immediate aftermath of the TV story Castrovalva with the Doctor’s companions still coming to terms with having been brought together and witnessing the Doctor’s recent regeneration. Morris cleverly plays with the fact that the four characters don’t know each other very well yet as established by the opening scenes. The first obvious comment to make is that Waterhouse is still finding his voice in this play as he faces the challenge of recreating his juvenile persona. However, after the first few scenes it becomes easier to adjust to this slightly deeper voiced than usual version of Adric, especially in the context of three other regulars who all occasionally sound thirty years older. The script’s clever placing of this story very early in these characters’ established adventures makes it easier to overlook this and enjoy the references and hints of what is to come. On first listen, the plot of what befalls the TARDIS crew when they land becomes a little confusing. This is because they encounter several sets of four characters who are each played by the same four actors. Whilst the actors concerned give solid performances, this does leave the listener with occasional moments of vocal confusion until the explanation of what exactly is going on within the Psychodrome is revealed. A particular mention should go to Robert Whitelock for the triple role of Professor Whitelock, Denyx and King Magus, the last of whom comes to dominate the third and fourth episodes of this story. An exciting misdirection occurs at the end of part two when it is suggested that Magus might infact be a new iteration of The Master but whilst Whitelock does have elements of the Ainley incarnation to his performance the reality is that Magus is a composite of Nyssa’s imagined view of both the Doctor and the Master allows for a more satisfying resolution. The only slight disappointment is in Magus’ final scene where Morris gives him the rather too knowing final line “is this death?” The listener is left feeling that this story has been a little too clever for it’s own good and perhaps there should’ve been another way.

John Dorney’s Iterations of I is set later in the season, in the aftermath of Black Orchid, and picks up the season’s arc with Adric attempting to rectify the Doctor’s continuing failure to return Tegan to Heathrow in 1981. The travellers find themselves separated from the TARDIS after landing on a remote island where they are forced to take shelter in a seemingly abandoned old house. Featuring a small cast including Being Human star Sinead Keenan the stories setting of Autumn 1981 is cleverly and quickly established and becomes a virtue of the story as the Doctor, by this stage bereft of his sonic screwdriver and stuck in a world that is still years away from inventing mobile phones is forced to make use of the limited technologies available such as a pocket calculator.

The main enemy of the story, the I, are a unique invention in that they exist in a dimension of numerical information and thus when they start to kill it becomes quite frightening. The Doctor’s technologically minded companions Nyssa and Adric come into their own as they come to terms with the mystery contained within the old computers. This story also takes an opportunity to foreshadow Adric’s impending exit in Earthshock with an touching scene in which he and the Doctor discover some graves. Towards the end of the story Adric is injured but the revelation that Alzarians heal faster than Humans allows for some fun action scenes. Waterhouse’s recreation of Adric seems more comfortable in this story which leads this listener to hope that our favourite Alzarian may yet return for more audio adventures. Overall this second story is a much more satisfying listen than Psychodrome although both stories very strongly evoke the feeling of season 19. This feeling is reinforced by clever use of music and sound design which feels very much of the period. Whilst not always hitting the mark, the Fifth Doctor box set is a rewarding listen and fans of the early Davison era will certainly be left wanting more.

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Reviewed by Damian Christie

Written by Alan Barnes & Mike Maddox
Directed by Barnaby Edwards
Big Finish Productions, 2013 (re-released 2014)

“Watch closely, Doctor! In witnessing my end, the seeds of my beginning are sown in you. That is all it takes for you too to be made corrupt! Farewell, Doctor, I die in the knowledge that my circle is complete! ”

The Valeyard, Trial of the Valeyard

 

The season-long storyline of 1986’s The Trial of a Time Lord is considered by most devotees of classic Doctor Who to be a narrative muddle, thanks largely to tensions behind the scenes (between producer John Nathan-Turner and script editor Eric Saward) and the untimely death of a beloved writer and former script editor (Robert Holmes) who was originally commissioned to write the climax. Not only was it unclear which elements of the first 12 (of 14) episodes were true – with a large quantity of the evidence mounted against the Doctor being revealed as fabrication – but fans were bewildered by the fate of Peri Brown and the Sixth Doctor’s departure at the end of the saga with Melanie Bush, a companion that he hadn’t even met yet!

On top of that, there was the bombshell revelation that the enigmatic Valeyard, the prosecutor appointed by the High Council of the Time Lords to discredit the Doctor, was actually a future version of the Doctor himself – an “amalgamation of the darker side” of the Doctor’s nature, “somewhere” between his “12th and final incarnation”. It was a jaw-dropping moment in the life of the TV series that would truly not be equalled again until the unveiling of the War Doctor in the closing moments of The Name of the Doctor in 2013 (indeed, in the same episode, according to the Great Intelligence, one of the Doctor’s mythical aliases at Trenzalore included “Valeyard”). Just when we thought we all “knew” the Doctor, the Valeyard emerged from left field and left us absolutely staggered.

However, much like Peri Brown’s destiny and Mel’s “first” meeting with the Doctor, the Valeyard’s background and fate have remained sketchy for nearly three decades. The character was never seen again in the classic TV series and it has been left up to both unofficial and licensed spin-off fiction in that time to speculate on who or what the Valeyard is/was. Big Finish has, of course, satisfactorily wrapped up Peri and Mel’s story arcs from the Trial season but it is only recently that it has turned its attention back to resolving that season’s greatest riddle. Who or what was the Valeyard? What was his agenda, aside from seeking the Doctor’s remaining regenerations? What happened to the Valeyard after The Trial of a Time Lord, when it appeared he had deposed the Keeper of the Matrix and seemingly had all the secrets of the Matrix within his grasp? Indeed, given the Doctor in the modern TV series is now into his 14th incarnation, does the Valeyard even still exist? Could the Doctor still become the Valeyard if he ever gives into the darker side of his nature?

Sadly, Trial of the Valeyard doesn’t really answer any of these questions, certainly not in the way that The Widow’s Assassin wrapped up Peri’s story arc from the Trial season or The Wrong Doctors resolved the Mel paradox. Alan Barnes and Mike Maddox’s 60-minute script tantalisingly postulates about the Valeyard’s origins but leaves the listener to decide if there is any truth to the account or whether the antagonist is again resorting to the trickster role that he so deftly pulled off in his TV appearance.

Much like a Doctor Who Companion Chronicle, the serial successfully uses minimal characters with very few resources at its disposal while painting in the listener’s mind an expansive, galactic backdrop – a lavish courtroom aboard an oversized space station orbiting a gas giant designated as Eta Rho, the hints of a Time Lord Castellan and his squads of Chancellery Guards with their military TARDISes, and an obscure mudball planet hidden from plain sight which carries a dark secret. And all of this is carried by just three principal characters: the Doctor (the irrepressible Colin Baker), the Inquisitor and the Valeyard (effortlessly reprised by Lynda Bellingham and Michael Jayston).

If you are overly familiar with the courtroom setting of The Trial of a Time Lord (as well as some prior visits to Gallifrey in the classic series, including Arc of Infinity and The Five Doctors), then a good 90 per cent of your imagination is already well catered for. While some fans found many of the courtroom sequences in the original Trial lacklustre and tedious (especially in the opening 15 minutes of episode 13, when there was a lot of exposition), there is no doubt that this setting in Trial of the Valeyard is ideal for audio. The story feels as if it is happening in “real time”, as if you are one of the Time Lord jurors officiating over the proceedings and with a ringside seat to the squabbles, banter, pomp and ceremony of the three principal characters. Whatever the fans may have thought of the original courtroom sequences on TV, they were often convincing thanks to the earnest performances of Baker, Bellingham and Jayston – and this continues in Trial of the Valeyard. While the play may feel like an “episode 15” tacked onto the original TV serial, the three artists again carry the narrative in compelling fashion and still manage to pack the dialogue with moments of comedy, intrigue and malevolence.

Colin Baker, of course, continues to excel as the Sixth Doctor. In fact, the pre-credits track at the beginning of the story runs for over eight minutes – and nearly half of that time Baker is acting alone, as the Doctor petulantly rails against being brought back to the scene of his trial. Although there is a lot of wordy dialogue and some tongue-twisting vocabulary, he not only navigates through it skilfully but also injects a lot of humour into his performance as well. Indeed, Baker gets to demonstrate a range of emotions throughout the serial, from wit to sarcasm to outrage to revulsion, as the Doctor finds himself in the unenviable position of having to represent a defendant he loathes whilst also trying to ensure that the latter is treated as fairly as possible by the court. While the Sixth Doctor on television was often accused by fans of being heartless, Baker definitely shows the character’s compassion and innate sense of justice, especially when it becomes clear that the last thing the Time Lords have in mind is a fair trial.

Trial of the Valeyard is regrettably Lynda Bellingham’s Doctor Who swansong. She recorded this play only months before announcing a much publicised battle with cancer (she passed away last October). As a result, Bellingham’s performance in this serial is extra special because her Inquisitor once again plays an admirable mediator and paragon of patience to Baker’s Doctor and Jayston’s Valeyard. While the Inquisitor seemed “whiter than white” in the original Trial story arc, Bellingham relished the opportunity over the years to evolve the character into a more Machiavellian diva (the explicitly named Inquisitor Darkel) in Big Finish’s Gallifrey spin-off series. Barnes and Maddox do not ignore Gallifrey’s evolution of the character; not only is Bellingham’s Inquisitor and Darkel reinforced to be the one and the same in Trial of the Valeyard but there are strong hints that the Inquisitor isn’t as benevolent as she seems. As a result, Bellingham not only exudes authority as Darkel but at various times instils steel and underlying menace into her voice that makes you question her motives.

Michael Jayston naturally slides back into the robes of the Valeyard and again proves to be an excellent vocal foil for Baker’s Doctor. Like Baker, Jayston also has to contend with some very heavy dialogue, particularly in the second half of the play when the Valeyard’s origins are raised, and he passes the test with flying colours. While Jayston’s voice at times reveals his advanced years (he’s now 79), and will sound more weathered to listeners who (like this writer) grew up immersing themselves in the original Trial season, there is no doubt at all that we are listening to the persona “generally – but not exclusively – known as the Valeyard”. And while Bellingham has unfortunately bowed out long before her time, it is reassuring that Jayston has had another opportunity to reprise the Valeyard in The Last Adventure boxset that is slated for release in September.

Unsurprisingly, this play is, of course, steeped in Time Lord mythology, with much discussion about the secrets of regeneration (ironically Trial of the Valeyard was released in late 2013 when the modern TV series was poised to address the question of the Doctor’s survival post his 13th incarnation). However, what is even more interesting is the serial’s underlying theme of corruption. We are reminded that not only are characters like the Doctor and the Inquisitor capable of falling to the dark but also how deeply mired in the darkness the Time Lords themselves are. Whilst it came as a shock to many new series fans in David Tennant’s swansong The End of Time (2009-10) that the Time Lords in the Time War were as corrupt and villainous as the Daleks, fans well versed in the classic series had long known since 1976’s The Deadly Assassin (when the Doctor’s mentor Cardinal Borusa instigated a clever political cover-up) that the Time Lords were largely a corrupt society. Given Borusa later sought to become an immortal despot in The Five Doctors (1983) and that his successors on the High Council were later exposed for nearly destroying the planet “generally – but not exclusively – known as Ravalox” (aka Earth) in the original Trial, it comes as little surprise in this instalment that the Time Lords are again up to their high collars in corruption. Indeed, their tricks are so devious that the listener (much like the Doctor) has to concede that perhaps the defendant is a victim of their machinations and deserves the benefit of the doubt.

Trial of the Valeyard is a clever and engaging serial, and (even though it predates them by nearly 12 months) a marked improvement on the varied quality of recent Sixth Doctor audio adventures (eg The Widow’s Assassin, Masters of Earth, The Rani Elite). Much like the original Trial story arc, whose events hinted at truth amongst elaborate fabrication, so Barnes’ and Maddox’s script also drops enough hints about the Valeyard and the Time Lords to be plausible without being definitive. As a result, the antagonist doesn’t lose any of his mystique and listeners are left with even more questions about this enigma shrouded in paradox and in turn, about the virtue of the Time Lords.

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Reviewed by Martin Ruddock

Starring Tom Baker, Lalla Ward, John Leeson,
Written by Gareth Roberts
Adapted by John Dorney
Directed by Nicholas Briggs
Big Finish Productions, January 2015

Following on in every respect from their marvellous version of The Romance of Crime, (with which it shares a box) Big Finish knock it out of the park once again with a superb adaptation of The English Way of Death, the second of Gareth Roberts’ classic trilogy of Missing Adventures novels, ably adapted again by John Dorney.

Whereas Romance was almost a Season Seventeen story with the picture turned down, this one is a slightly stranger and more freewheeling brew, pitting the Fourth Doctor, Romana II, and K9 against zombies, a hired assassin, a body-snatching sentient gas, mind-boggling science, and British Edwardian Manners. It kicks off with the Doctor breezily bypassing the Randomiser to return some library books in 1930, and unravels into a twisty-turny plot of mistaken identity and brain-eating - expertly combining P.G. Wodehouse, space opera, and zombie movie. It makes perhaps better use of its audio format than Romance - it has more of the feel of a radio play, but also conjures up tall visual orders like time corridors and sentient mist with ease. The only time it feels a little unwieldy is when the approach of an undead Policeman through said mist is described by one character to another. Happily though, this is just a blip, the rest of the story skips along beautifully.

The dialogue is packed with zingers, the characters are gloriously bonkers (and often very polite) - and Tom Baker, Lalla Ward, and John Leeson all excel. Tom sounds like he's enjoying himself hugely, and delivers lines about the average daily amount of attempts on his life with laid-back aplomb. Meanwhile, Lalla Ward is as charmingly indignant as ever, and John Leeson gets a creepy stand-out moment when K9 is possessed by the gaseous Zodaal.

Just as Romance echoed Eldrad from The Hand of Fear, Zodaal has split himself into components like Scaroth in City of Death, but with the added twist that he had his sense of humour removed - a nice riff on those humourless, grandiloquent 'possessed' villains of the seventies.

A strong supporting cast is led by Terrence Hardiman (of The Beast Below fame, and also known to a generation of British children for his performance as the Demon Headmaster), as the undead Hepworth Stackhouse and Annabel Mullion as sultry assassin Julia. Nick Briggs does an excellent job of directing as usual, and Jamie Robertson's score is a neat halfway house of Dudley Simpson's sound of '79 and the electronic approach of the Radiophonic Workshop's music from 1980.

Most of all, though, it's the joyous invention of Roberts' story - brought to life so well by Dorney's script that makes this such a winner. Big Finish continues to go from strength to strength, and has managed with this box set to reunite a TARDIS team we never thought we'd hear together again, and give them some of their finest material. Here's hoping that The Well-Mannered War (coming later this year) isn't the last we hear from them.

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Reviewed by Martin Hudecek

Writer: Robbie Morrison
Artists: Dave Taylor + Mariano Laclaustra
Colorist: Luis Guerrero, with Studio 641
Letterer: Richard Starkings + Comicraft’s Jimmy Betancourt
Editor: Andrew James
Assistant Editor: Kirsten Murray
Designer: Rob Farmer

"They made me an offer I couldn't refuse -- unlimited funding to pursue and recover one of history's greatest antiquities...the Swords of Kali, the ancient Hindu goddess of death and destruction."
- Tiger Maratha speaking to the Doctor in a holo-recording .

More beautiful imagery, elegant plotting and effervescent dialogue is on hand to delight all comic book fans in the second instalment of this continuing adventure for the Doctor and Clara. As the action opens the TARDIS crew are in the same location on planet Earth but not the same time zone. And both have much to deal with - not least danger, conspiracy and some mythical artefacts.

As in Part One, there is plenty of good character work achieved for two very different but equally fascinating female guest characters. Rani the warrior had shown her considerable fighting prowess and stealth in issue three, but now the reader has a chance to see what makes her tick on a more personal and emotional level. Her pairing with the Doctor - who has time-travelled by means other than TARDIS - is very well done and affords a look once again at how Capaldi's incarnation is able to show many different attributes depending on the inter-personal dynamc presented to him.

Priyanka Maratha has only just lost her father Tiger, and is by no means used to such hi- adrenaline exploits. An onslaught of six-limbed monstrosities without pity is almost too much to bear, but with help from Clara she is able to escape. However a terrible price is paid which affects all ensuing events. Later on Priyanka is privy to the holo-recording intended for the Doctor, as she discovers her father's true motives for his high-risk explorations all across the Earth. The wish to know the real inspiration behind the Thugee Cult is one of those driving forces.

The artwork continues to be of the highest calibre and leave impressions of themes and emotions as well as locations host to many incredible treasures, murals and sculptures. The addition of Mariano Laclaustra (who provides inks) only enhances what was already strong work from Dave Taylor in earlier editions. Characters are well-drawn, with distinct mannerisms and energy levels, and the colouring too is very impressive at times. Thus remarkably thorough detail is conveyed.

The likeness of Peter Capaldi never slips, which is boosted further by wonderful Doctor dialogue featured in most of his panels. This mimicry element is rather more of an issue with Morrison's other Titan Comics story featuring the Tenth Doctor. I do however think that Jenna Coleman's appearance is not the easiest to translate to the 2-d format, and at times it feels like a female relative of the Coal Hill School teacher is having a turn at substituting for her.

The story is also paced expertly and while there was potential to wrap things up with a 'rabbit out of the hat' move by the Doctor come the latter pages, instead there is a further development that throws the scenario into a whole new stratosphere. Most cliff-hangers to comic books are well-designed - if understandably concerned with bringing repeat business - but this particular hook is truly a subversion of expectation given the previous action and yet is comfortably familiar in putting a hero into peril.

This is a Doctor Who story up there with the best of the franchise in making clear its inspiration, with a certain Indiana Jones being present at least in spirit if not in actuality. And as much as the threat facing humanity from the powerful 'Indian dynasty' in times future and past conveys the suitable gravitas, there is a strong sense of fun and optimism that also pervades. How the Doctor deals with the malignant Scindia will certainly provide for riveting reading in the near future.

Bonus Humour Strips: AJ this time employs a single panel to tell his "Ebbing Tide" story. Meaningful exploration of the TARDIS crew's latest destination is rather limited, and provokes a session of bickering (as we have become accustomed to with them!) The Doctor's fob watch is proudly on display, although Clara is quick to point out the watery threat it faces.

“The Inversion Of Time” written by Colin Bell and drawn by Neil Slorance is another fine effort focusing on time distortion. It brings to mind the full-length Eleventh Doctor story from a couple of months back but is rather more easy to grasp given that it takes place in the TARDIS console room only and features just the main characters.

Related Reviews: Twelfth Doctor #3 - The Swords Of Kali (Part One) (9 Jan 2015)

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