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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Reviewed by Martin Hudecek

UNIT Counter Measures - Series 3
Starring Simon Williams, Pamela Salem, Karen Gledhill, Hugh Ross, Philip Pope
Also Starring: Michael Troughton, Rupert Evans, Timothy Bentinck, George Layton
Written By: Matt Fitton, Justin Richards, Ken Bentley, John Dorney
Director: Ken Bentley
Producer David Richardson
Script Editor John Dorney
Executive Producers Jason Haigh-Ellery an Nicholas Briggs
Released July 2014

This most recent release in the ongoing series by and large continues the good work of beforehand, if at times showing the odd weakness or two. Before discussing the four stories I must criticise the reworking of the main theme tune. The original was quite serviceable for me, if not really up there with a true classic tune (such as BBC Radio's 'The Hitchhikers Guide to The Galaxy' or 'The Lord of the Rings'). All the less pleasing element of the piece seem to have been emphasised and the pitch change just wasn't for me.

Nonetheless the series opens with an absolute belter of a paranormal yarn. 'Changing Of The Guard' allows the London setting of the mid 1960s to really be used well. A bunch of low-life criminals are managing to use some rather disturbing methods that are not of 20th century Earth to outwit the authorities, and the team of Group Captain Gilmore, Ms Jensen and Ms Williams are once again having to use all their experience to cope. Drama is also firmly centred in a trial - during which Sir Toby is put under a most unforgiving microscope and has to use all his mental skill to secure a positive verdict on his conduct. Sound effects are done splendidly throughout and the plot kept me guessing without ever getting too clever for its own good. I really welcomed how the main threat to the public was resolved and the increased focus on Allison, which turns out not to be a one-off in this box-set.

The writing is decent in 'The Concrete Cage' but something is just slightly missing for this to be called a success. The setting is not a bad one in-of- itself. Just as 'Quatermass' has inspired the earliest stories in this spin-off series, once again a Nigel Kneale work ('The Stone Tapes') gives rise to a story. Something has gone awry in a tower block and people seemingly suffer even after their natural demise. Rachel is given the most meaningful involvement of the core cast, but this does not mean that anyone is left out for long. The problem for me lies in the tepid use of the guest participants. They are certainly not helped by some hoary old dialogue that just really grated when I was trying to connect to their individual stories. Justin Richards is a very experienced writer, but some examples of his work speaks to me more than others.

Also whilst I have enjoyed seeing Michael Troughton in some television roles over the years, he really isn't given the most appealing character to play - even if this is the actual intent. The final scenes are also presented in a somewhat blasé manner and consequently the impetus of the story just never quite materialises. The inferior theme tune is sadly not alone in this outing either, as inharmonious electronic stings diminish the listening experience. However I am sure that this story has something to offer for those fans that like claustrophobic tales full of psychological horror. And it certainly outperforms the troubled Seventh Doctor story 'Paradise Towers'.

'The Forgotten Village' is perhaps the strangest story of the run in both structure and what it chooses to do with the cast. It still impresses through brave decisions as well as dialogue that feels very true to the heart of the main participants. The village setting sees much back story and revisiting of past loved ones, as well as the expected dosage of very odd goings on that need the best expertise Britain has to offer. Alison's father (celebrated 'The Archers' star Tim Bentinck) is given a lot of focus as he suffers poor health, but worse is to come. Alison is front and centre as the place where she spent her youth is succumbing to a bizarrely dangerous turn of events. Appropriately enough, Rupert Evans (of BBC prime time TV drama 'The Village') features in this effort, and is equally as strong a presence in this audio format.

Just as this box set begins on a positive note, it ends even stronger, as 'Unto The Breach' moves various pieces on the Cold War chessboard and then throws a game changer or two for good measure. East Berlin sees the bulk of the meaningful action, as the team must try and see if an alien really has been at work - and for the benefit of the Iron Curtain regime. Shades of grey have never been more indistinct as characters that seem benign are something else entirely. Picking up what it needs to from story three, the listener is entranced into discovering just who will be affected and to what extent. I was happy to note that the multi-talented George Layton featured in a good guest role as Lehne, and indeed there is not a false note struck by anyone who contributes to this thriller.

Looking at the overall sequence, Sir Toby doesn't get quite the same character growth of the last series, but is still utterly charismatic and engaging. Instead this is the time for Allison to truly come into her own as she takes more initiative and shows the ability to make strong decisions without being cynical and world weary. Karen Gledhill is a very likeable personality both in character and in real life, and it was high time she was given some more prominence.
However there is enough decent material for both Gilmore and Rachel, and also a continuation of their growing bond with each other, whilst still throwing in some obstacles. The team certainly know how to prevent this arc stumbling into a predictable state. Sir Toby is not always the focus for anger that he once was by those in his team, as Templeton now begins to really display his manipulative traits to quite overt effect. But more importantly, come the last two stories, two regulars are put in dire straits with little chance of a reprieve.

So when all is said and done, this is a solid quartet, with two of the best stories so far, a brave effort that works well enough, and a rather more average entry that still at least feels relevant to the series overall.

---

The bonus documentary once again merits full attention, and manages to be at least as entertaining as the actual stories. There is plenty of teasing banter, camaraderie and thoughtful reflection - including from the guest stars, some of whom are called upon to perform multiple characters. The decision to let certain cast members go into comprehensive detail over their character profile and the logistics of making the show (e.g. how audio recording differed from tv work in flexibility and attendance demands) leads to some sections being more substantial and meaningful than others. I must assume the interviews were done so as to develop as organically as possible, and then editing choices were made to fit the obligatory time limit. In any case, the regulars themselves again all provide good insights into their approaches to their role which both confirm what listeners are taking away from the stories, but also allow some interesting insights that may not have been obvious at first. And finally, the rationale behind how the creative team choose to end this series with more questions than ever before ensures that the wait for this July and Series 4 is a rather fraught one.

Related Reviews: Counter Measures 1 (29 Nov 2014); Counter Measures 2 (2 Jan 2015)

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Reviewed by Martin Hudecek

Writer: Rob Williams
Artist: Warren Pleece
Colorist: Hi-Fi
Letterer: Richard Starkins and Comicraft's Jimmy Betancourt
Editor: Andrew James
Assistant Editor: Kirsten Murray
Designer: Rob Farmer

New problems face the TARDIS quartet as they stumble upon a considerable threat to Earth. The war between the Amstrons and the J’arrodic is leaving a deadly impact on the Doctor's favourite planet. Airlines are unable to get off the ground and a toxic smog is suffocating the atmosphere. UNIT also appear to have their resources rendered null. Can the Eleventh Doctor avert disaster without too much fallout along the way?

One of the more epic stories offered up so far by the series' creative team(s) ensures that there is plenty of spectacle. A horde of futuristic ships are positioning themselves in proximity to Earth. Whilst televised Doctor Who did sometimes meet this level of ambition, it is always a surefire idea in a well-constructed comic book. Also enticing is the visualization of the Doctor and his team having to somehow travel with makeshift jet packs in order to reach their objective
Continuity both from the parent TV shows and from earlier issues is markedly strong here. In this encounter the Doctor follows up his brave head-attire of fez and Stetson with an aviator hat and goggles. We also get the well-remembered catch phrase of "Geronimooo.." prompting a variation from Arc when the protagonists have to make a thrilling leap. And for the second story in a row, Jones suffers a major threat to his survival; yet the real shock is left for the cliffhanger ending that brings part one of this two-issue tale to a close.

To get more background on Alice through her returning home proper is something which feels strong and organic, given the previous work done on her character arc. And in some ways the adventures she has had far away in different time zones have been less demanding than the stone cold realities of her home life struggles. With her being left to cope on her own, as her friends have their latest mad-cap hi-jinks, a major game-changer catches her completely unawares. It may well be the work of the mysterious being that appears to be another survivor of the Time Lord race, but there is no confirmation forthcoming still.
Yet somewhat disappointingly, and given the strong foundations laid for Alice in issue one, she is soon shunted off-page ..until the final story beat. I enjoyed the Doctor's various action scenes but they could have been compressed without losing the crucial element of joie de vivre that make Doctor Who such a personal favourite of so many.

But overall the actual plot is quite engaging and allows the usually forward-looking Eleventh Doctor to show his regret over the catastrophic Time War. Matt Smith was always capable of shruging off the clownish exterior to display vulnerability and cold rage, and it is good to have some reminder of just why the whole franchise is so enduring. We care about the Doctor, and his struggles to keep going on, when so many of his friends cannot join his 'walk through eternity'.
The nominal 'villains' in this story are also well-done. In contrast to the endless battles that pitted Sontaran against Rutan or the Kaleds against the Thals, this particular conflict needs a resolution of a very different kind. Due to its endless length, the actual beginning of the conflict and its context are long-forgotten. All that remains is the underlying desire to avenge the countless lost in combat.

Just as with 'The Weeping Angels of Mons' we have a returning writer - Williams - joined by another new artist. For the tone of the story concerned, Warren Pleece’s work is a strong effort. He is able to supply both believable facial expressions and explosive action moments aplenty. I did find Jones just a touch too different in build to the versions presented beforehand, but otherwise the TARDIS crew gets a very good showcase of their individual personas and mannerisms. And the colouring work that Hi-Fi continues to provide for these stories ensures that both new and returning readers are unlikely to lose interest easily.

Bonus Humour Stories: Once again AJ supplies readers with the opening sketch. This very much does as it says on the tin, as a 'Rebranding Exercise' manages to wrongfoot the Doctor by replacing one enemy with seemingly another in the blink of an eye.
Marc Allerby hits the bullseye yet again with 'An Adventure in Brine and Plaice' Although the Doctor is in every panel, this is very much River Song's story, and comes to a head with her facing another 'impossible' trap to overcome. Furthermore the return of a Second Doctor-era monster is a nice bonus for Classic Series fans and reminds us of Matt Smith's original 'homework' when he went about creating his own version of the Time Lord.

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Reviewed by Martin Hudecek

The Weeping Angels of Mons - Part One 
 

WRITER - ROBBIE MORRISON;

ARTIST - DANIEL INDRO;

COLORIST - SLAMET MUJIONO;  
LETTERER -RICHARD STARKINGS AND COMICRAFT’S JIMMY BETANCOURT;

EDITOR - ANDREW JAMES;

ASSISTANT EDITOR - KIRSTEN MURRAY;

DESIGNER ROB FARMER 

After a chilling pre-titles sequence set mere weeks into the First World War and featuring a pair of young British soldiers, this new story picks up again several years on during the Battle of the Somme. The Tenth Doctor and Gabriella Gonzalez are seemingly thrown into an all too familiar and haunting source of peril - following their somewhat bizarre first two escapades together. The TARDIS is quickly put out of commission by one of the more potent forms of artillery available in the early 20th century, and the Doctor sustains an injury that forces him to rely on his young friend's initiative and bravery. Although they manage to stay on the side of the battle where the British have control, their presence as casually dressed civilians is naturally viewed with suspicion. But the military trial system is the least of anyone'sworries as a terrifying foe that operates on time itself has come back to haunt the Doctor once again. 

The creative team has an overhaul in this new multi-part story for the Tenth Doctor and Gabby. Robbie Morrison who has been behind the recent Twelfth Doctor stories now gets to show his creativity with the iconic former incarnation of the Time Lord. Artist Daniel Indro makes his debut for Titan's Doctor Who line; his track record including famous characters 'Sherlock Holmes' and 'The Green Hornet'. For those drawn to this edition by the superlative cover it is worth clarifying that Tommy Lee Evans is the person responsible, but the overall standard in the main content is by no means inferior - just markedly different in style. 

Some enemies from Doctor Who are made just as intimidating in comic strip form as they in the parent TV format. I believe the Weeping Angels are one such successful translation. The sudden change of expression from any given panel to the next being distinctive and imposing. Even to this day they are arguably Steven Moffat's finest villainous creation. Just to recap on their unique style: a simple touch from any of the stone statues is enough to send a person back in time to live out the rest of their life, but sometimes in a manner which makes that remaining lifetime a cruel form of imprisonment. There is also the certainty that the victim never gets to meet anyone they cared for again in their 'normal' lifespan. Doubly obstructive is the Angels' capacity to turn to impervious stone when being observed, with any 'blink' allowing them to advance so much faster than a normal sentient being would in that fraction of a second. 

But while it is good to have the Angels back, it is somewhat more jarring to have such a change in style after two very successful stories that balanced darkness and light ably. This story is incredibly grim, and while that may be appropriate for the dark time that was the Great War, there is not even some black humour included as a concession. Some of the minor characters are not drawn terribly well and seem rather overshadowed by the premise and the setting. Still, the first person narration from Jamie - a British corporal - makes him by far the best original guest character. He seems astute enough to bond with his fellow soldiers and know their key attributes. Captain Fairbairn is serviceable also, if a little too routine in his mistrust of the Doctor and Gabby. Perhaps there is something more to him though that later instalments can offer? 

Another difficulty lies in distinguishing one uniformed character from another. There is not enough in terms of different builds or facial expressions at times. However, this is just the first instalment of four and perhaps this will be remedied as the plot allows for more back-story and idiosyncrasies to filter in. I also was a bit confused by the rather spiky dynamic between the Doctor and Gabby - which perhaps hints at some further story, or altercation in the TARDIS, which preceded these current events. But the cynic in me reckons that minimal communication between prior scribe Nick Abadzis and Morrison is just as likely. 

Despite all this, the reader is provided with a strong visual work overall, with backgrounds being consistently good, and the colouring suitably grey/brown for the most part. There have been better opening entries in the Tenth doctor series and also the other two Titan Who lines, but I cannot deny the potential for this story to go places and do something special. I have always been interested in historic wars, and regarded the Weeping Angels as first rank adversaries. With a bit more tweaking and clarity this story could still be one for the ages. 

Bonus Humour Strips: Rather in keeping with the main feature, these are just a touch below-par this month. 'To Heck and Back - Part Two' by AJ takes the decent opening and goes a little too far in defusing the original tension that featured when the Doctor took on the 'Beast' with the power of voice alone. The demonic entity seems to have morphed into a rather cuddlier type of alien and barely manages to make a dent when replying to a supremely confident Time Lord. The story ends up feeling pointless, and lacking the right brand of satire. 
The latest 'Rose By Any Other Name' - from writer/artist Rachael Smith - has still enjoyably vibrant art and a truly lovable feline protagonist to rival K9. But the conceit that this cat would liken human being Rose to any type of household pet simply evokes a raised eyebrow rather than a chuckle.

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Reviewed by Damian Christie

Written by Justin Richards
Directed by Ken Bentley
Big Finish Productions, December 2014

Peri (confused): A Time Lord! But that means ... No, you can’t be!
The Rani (satisfied): So you do know me, after all! I knew you would. Spit it out, girl! I can see it’s on the tip of your tongue!
Peri (in horrified realisation): The Rani!
Peri and the Rani, The Rani Elite

It is a little ironic that the release of The Rani Elite occurred only a month after the broadcast of Dark Water/Death in Heaven, the two-part finale in Doctor Who’s most recent TV series. The revelation that Missy was a female incarnation of the Master invited vast debate in online forums by fans, with some decrying the Master’s gender swap and others praising it. Those who opposed it in particular bemoaned that it would have been more “logical” if Missy had been another former Time Lady nemesis the Rani, particularly as the uploading of dying minds into the Nethersphere was apparently more in tune with the Rani’s modus operandi.

Realistically, there was never any chance that Missy would have been the Rani. This is because the Master is the most well known foe after the Daleks and the Cybermen to audiences of the modern series. If Missy had been the Rani, the modern audience’s reaction would have been “Who?” or “Huh”? As much as long-term fans may dislike this answer, it’s really as simple as that. The Rani featured in two stories in the latter years of the classic TV series – not least in an era when the show was in decline and maligned by the BBC, the audience and some fans alike. She certainly didn’t leave such a lasting impression that she deserved to be Missy. (Yes, the Rani has been in plenty of other Doctor Who spin-off fiction over the years and even the 30th anniversary short Dimensions in Time but again that’s not enough of a CV to impress a modern viewing audience!) There are plenty of other Time Ladies, notably Romana and Susan, who could have also been just as entitled to be Missy if the Doctor Who production team hadn’t been bold enough to make her the Master’s latest incarnation.

Fans of the Rani will simply have to settle for The Rani Elite as a consolation prize. The one thing in this story’s favour is that Big Finish has finally revived the character for audio; indeed, after 15 years of holding the Doctor Who licence, it’s surprising Big Finish never brought the Rani back sooner. Siobhan Redmond, best known for television work such as The Bill, Between the Lines and Holby City, has succeeded the late Kate O’Mara in the part (she is only the second actor to play the Rani, albeit the third Scot to play a Time Lord/Lady in the last year, after Peter Capaldi’s Twelfth Doctor and Michelle Gomez’s Mistress). It is also fitting that to herald the renegade Time Lady’s return to the Doctor Who universe, she is pitted against the original TARDIS team that she fought in 1985’s The Mark of the Rani: the Sixth Doctor (Colin Baker) and Peri Brown (Nicola Bryant).

In The Rani Elite, the Doctor and Peri answer an invitation to the CAGE – the College of Advanced Galactic Education – where the Doctor is to receive an honorary degree in moral philosophy that even he’s not certain about but he anticipates is “well deserved!” Deliberately arriving a day before the ceremony, it isn’t long before they discover that someone is conducting unethical medical experiments on some of the CAGE’s brightest students, in the process substantially altering their personalities. It soon becomes clear that the galaxy’s foremost authority in moral philosophy Professor Baxton isn’t whom she seems and her plans for the Doctor are not as benevolent as an honorary degree.

While the premise I’ve described is actually quite intriguing, it is dependent on the listener knowing as little as possible about the story for it to be effective. Unfortunately, it is all too predictable from the start because we know from the title that the story features the Rani; further, there was much publicity about the character’s revival and Redmond’s casting from Big Finish five months before the serial’s release. As a result, any opportunity for genuine surprise or twists is lost. Imagine how more effective the story would have been if it had a less revealing title and Redmond’s casting had been kept secret (she could have been credited simply as Professor Baxton on the CD sleeve) until the episode one cliffhanger. This would have been genuinely surprising for listeners and made the story far more engaging. The problem with knowing about the Rani in advance is that you’re then second-guessing exactly what her latest scheme is (and in this reviewer’s case, it didn’t take a lot of guesswork at all).

By comparison, Big Finish should have taken a leaf out of the book for one of its earliest Doctor Who releases over a decade back. The 2001 serial Dust Breeding marked the return of Geoffrey Beevers as the Master with little prior fanfare, making it a genuine, astonishing twist for long-term fans upon the first listening. To this day, it still remains one of Big Finish’s masterstrokes and brilliant cliffhangers. The only announcement at the time of that release which seemed significant was that Beevers was a guest in the story with his late wife Caroline John, presumably as a new character. To have revealed that Beevers would have been playing the Master would have ruined the tale – and the experience of not knowing who the villain was.

As a result, by revealing its trump card so early, The Rani Elite also lacks a major twist to the plot. In the two previous releases – The Widow’s Assassin and Masters of Earth – there were at least some unpredictable turning points to the tales that kept them ticking along and maintained the listener’s flagging interest. The Rani Elite is largely run of the mill from the moment the Rani reveals herself at the episode one cliffhanger, as the major characters get caught, escape, get recaptured and escape again.

U
Rather ironically for those fans that would have preferred Michelle Gomez had played the Rani on television, the Rani’s agenda (spoilers!) is eerily similar to Missy’s and certainly consistent with her grand plan in 1987’s Time and the Rani. It doesn’t matter that the Sixth Doctor is effectively encountering the regenerated Rani out of chronological order (for the Rani, these events occur post-Time and the Rani) because while we know the Doctor himself isn’t specifically threatened, Peri’s fate, occurring as it does after her muddled departure on television, is now much more open-ended. Indeed, for a while, you are left seriously wondering if Peri is still destined for a tragic end. After all, in this loose trilogy of Sixth Doctor adventures, Peri has been subjected to no small amount of repression by unconnected malevolent forces. In The Widow’s Assassin, we learnt she spent five years under the thrall of a mind parasite whilst Queen of the Krontep, and in Masters of Earth, upon her first trip back in the TARDIS, she was infected by a Varga plant and started to undergo a physical transformation into a Varga herself. In The Rani Elite, Peri finds herself again subjected to mind manipulation, a prospect that naturally terrifies her after the events of 1986’s The Trial of a Time Lord, and Nicola Bryant convincingly portrays that terror.

Once again, Big Finish’s sound effects and a strong cast help to paper over some of the cracks in Justin Richards’ script. Siobhan Redmond does Kate O’Mara’s memory justice in her portrayal of the Rani, faithfully continuing O’Mara’s original rendition of a highly intelligent, ruthless, amoral and calculating scientist with a superiority complex. In fact, were it not for the Scots lilt in Redmond’s voice, her portrayal would be almost indistinguishable from O’Mara’s performance.

Redmond’s interpretation is also a vastly different one to that of Gomez’s Missy – the Rani has none of the Master/Mistress’ megalomania and vindictiveness, she is simply cunning and matter-of-fact. She is a scientist that is dedicated to seeing the results of her experiments through to the end, whether by fair or foul means. She doesn’t necessarily enjoy killing or inflicting pain but she’s not squeamish about either, as she clearly demonstrates over the course of the story.

Colin Baker’s Doctor, of course, is the perfect sparring partner for Redmond’s Rani, someone that is at least her equal on an intellectual level (the Rani, of course, considers herself the Doctor’s superior, resorting to the insult of “Double Gamma” to make her point!). Baker, as ever, delivers a commanding performance but, as in Masters of Earth, injects plenty of humour into the dialogue too, eg:

The Doctor (to the Rani): And it’s a good job I did turn up early!
Peri: In time to thwart your plans!
The Rani: Thwart my plans? You must be a devotee of the cheapest forms of melodrama!
The Doctor: Forgive her, she’s American!

The younger members of the cast also deliver strong performances throughout the story. Becky Wright delivers a fearful, sympathetic turn in the first episode as Lizzo, one of the students at the heart of the Rani’s unethical medical experiments, while Charlie Morton (Reev) provides a slimy underling for the Rani and Mike Noble (Miklev) able back-up/moral support for the Doctor and Peri.

Ultimately, The Rani Elite, while full of promise, is a “by the numbers” Doctor Who tale. It is not only a weak serial in its own right but also the weakest link in a trilogy of Sixth Doctor stories in the last three months that have all been of mixed quality. All the serials have had some good ideas to recommend them but the stories have often been found wanting. This is a pity, as Colin Baker and Nicola Bryant have been fantastic in all of them but there hasn’t been enough character development between the Doctor and Peri that reflects their rekindled friendship after the traumatic events of The Trial of a Time Lord. The return of the Rani also under-delivers in its promise but there is certainly potential for the character to be reused and for Siobhan Redmond to stamp her authority on the part. Another round between the Rani and the Doctor and Peri, as well as encounters with other Doctors, ought not to be out of the question but Big Finish needs to conceive stories that will make the villain’s future appearances memorable and exciting for the listeners. In other words, more focus on the scripts, and less attention to the publicity.

 

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Reviewed by Martin Ruddock

The Romance of Crime
Starring Tom Baker, Lalla Ward, John Leeson, Michael Troughton, Miranda Raison
Written by Gareth Roberts
Adapted by John Dorney
Directed by Nicholas Briggs
Released January 2015

Big Finish have done a sterling job of recreating and complementing eras of classic Doctor Who over the years, be it new full cast adventures for classic TARDIS teams or the more stripped back Companion Chronicles and Lost Stories, often using the medium of audio to expand the scope and defeat the on-screen budget issues of the TV series. Often these tales are respectful riffs on a bygone era that go off in different directions, or shade in character development of the type that you’d see in the modern series. Perhaps it's the version of Classic Who you think you remember.

The Romance of Crime is different. Skilfully adapted by John Dorney from Gareth Roberts’ classic Missing Adventures novel (Scarily, twenty years old this month, where does the time go?), and reuniting the Fourth Doctor, Romana II, and K9 for the first time since 1980, it goes one better. It's not just a strong evocation, or a clever riff on an old idea. It is Classic Doctor Who. It’s as if someone taped Doctor Who on Betamax in 1979 but the picture on the ancient tape was lost to drop-out, leaving the soundtrack intact. Roberts has a particularly strong affinity for this era - this story forms part of a box set with Dorney's dramatisation of another of his classic novels, The English Way of Death.

The story itself could be a period script by Douglas Adams or David Fisher, directed by Michael Hayes. It has an artfully Dudley Simpson-esque score from Howard Carter, a strong cast of supervillains, ne'er do-wells, preening artists, and inept detectives. The dialogue both zings and sings. Basically, The Romance of Crime would be on to a winner even if presented as a more modest audiobook. However, Tom Baker, Lalla Ward, and John Leeson, with solid support from Michael Troughton and Miranda Raison make this something extra special. 

This particular TARDIS crew has never reconvened before for TV or audio, for perhaps obvious reasons considering Baker and Ward were once married - but here they are, exuberant as ever, and sounding like they've stepped straight out of Season Seventeen. That spirit of '79 chemistry is still there, and Roberts' story both captures them to a tee and gives them all good material to get stuck into. Tom, in particular sounds like he's having an absolute blast. Any script that can pull off a scene where the villain captures the Doctor and tortures him whilst explaining the entire plot is doing something right.

The plot deals with shady goings on at the Rock of Judgement, an asteroid-based prison. The TARDIS arrives just as vengeful super-being Xais is resurrected and all hell breaks loose, with cockney gangsters and dim Ogrons thrown into the mix. Miranda Raison is excellent in the dual roles of Xais and Margo, the unfortunate officer on the Rock that Xais possesses. Xais is a well-drawn villain, played by Raison with strong hints of Eldrad from The Hand of Fear. She's psychotic, with the rather nasty power to crush people to death with telekinesis, but is given a tragic backstory and a good reason to hate 'normals'. Elsewhere, Michael Troughton as cowardly artist Menlove Stokes comes very close to stealing the show in his scenes with Romana. The strong cast is rounded out by Marcus Garvey as hopeless, yet totally self-absorbed gumshoe Frank Spiggot, Graham Seed as the scheming Pyerpoint - and writer John Dorney, doubling up here as an Ogron and one of the Kray-esque Nisbett brothers.

Crime of the century. Go get it.

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Reviewed by Damian Christie

Written by Mark Wright & Cavan Scott
Directed by Nick Briggs
Big Finish Productions, 2014
Reviewed by Damian Christie

“But it doesn’t happen that way ... The Daleks don’t get wiped out – not yet anyway! I was there when their schemes unravelled, when the people of Earth walked free ...”

The Doctor, Masters of Earth

Much like the previous release of The Widow’s Assassin – which carried a lot of baggage from the TV series about the eventual fate of Peri Brown – Masters of Earth is heavily influenced by a vintage Doctor Who serial that recently celebrated its 50th anniversary – The Dalek Invasion of Earth.

The 1964 serial marked a seminal moment in the series’ then short history – it not only resurrected a menace that had captured the imagination of a generation of young children only a year earlier but it was also the first time Doctor Who brought an alien threat close to home. The sight of the Daleks in the deserted streets of London and trundling around famous landmarks like Trafalgar Square and the Houses of Parliament undoubtedly left a haunting mark on the collective memory – and would create a template for later production teams to bring more alien threats to modern day locations. Many people over the years when they fondly talk about The Dalek Invasion of Earth have unconsciously channelled Jon Pertwee’s later remark that it is far more frightening to confront a Yeti on the loo in Tooting Bec than on a far flung planet.

However, barring the many iconic moments that the serial evoked in the viewers of the time and long-term fans of the TV series, The Dalek Invasion of Earth isn’t an especially great story. In fact, by modern day standards, the serial suffers from sluggish storytelling and padding (it could have been told in four episodes, not six), extremely clunky production values (not least the Daleks themselves, their pet Slyther and some of the unconvincing miniatures!) and some cringe-worthy acting from the wooden Robomen. Yet, in spite of all these shortcomings, the serial has had an enduring legacy. In addition to inspiring the second colour Peter Cushing film in 1966, The Dalek Invasion of Earth over the years has been revisited in plenty of Doctor Who spin-off fiction, some average, some awful and some jaw-droppingly extraordinary, notably  Nick Briggs’ two-part Lucie Miller/To the Death in 2011 for Big Finish. But I’ll come back to that one later ...

Masters of Earth therefore can’t really stake any claim to being a wholly original spin-off/prequel to The Dalek Invasion of Earth. But then again, the production doesn’t strive to be original – it’s plainly an unashamed love letter not only to the original 1964 serial but indeed to a majority of the 1960s Dalek tales (even the title is inspired by the famous boast a Dalek made in the TV serial). Much effort is made within the production to emphasise that the Daleks of Masters are the same models featured in the original serial (both evident on the sleeve artwork and Peri’s own description of the metal meanies in dialogue when she notices the satellite dish arrays mounted to their backs). The extermination soundbite also mimics their 1960s guns, not the more familiar sound effect of the modern TV series. Throw in the Slyther (the 1960s equivalent of the Silurians’ Myrka!), Varga plants (from The Dalek Masterplan) and elite squads of Robomen, plus a cross-country scenario that channels Terry Nation’s later apocalyptic drama Survivors, and you have the perfect makings of a staple Dalek serial that Nation could easily have cooked up in five minutes (Nation was notorious for rehashing a lot of his scripts in the 1960s and ‘70s).

For the most part, Mark Wright and Cavan Scott’s script is a rather dull Dalek story told with some atmosphere, in a similar vein to the source material that inspired it. It’s an odd mesh of 1960s Doctor Who capped off with a 1980s flavour that is embodied by Colin Baker’s Sixth Doctor and Nicola Bryant’s Peri Brown. The serial is for the most part sluggish and very much a run-around story until the episode three cliffhanger. Only in the final episode does the dramatic tension go up several Dalek rels – listeners are presented with an innovative, exciting variation on an old theme that takes cues not just from the original 1964 serial but from modern Who’s Rise of the Cybermen/Age of Steel two-parter and even James Cameron’s original Terminator film. The Daleks even perish in a fashion that is more 1980s Who than 1960s – the death toll would make ‘80s script editor Eric Saward proud!

The problem is this surprise plotline almost feels tacked on – like an afterthought (although there are hints about some characters and their motives throughout the broader serial, it is not evident on a first listening). It also leaves more questions than answers for the listener (to elaborate in this review would unfortunately mean lots of spoilers!). Wright and Scott have a brilliant idea but don’t afford themselves enough time to wrap up the serial satisfactorily and convincingly.

The production itself makes up for some of the script’s shortcomings; Big Finish as usual excels itself in the sound design department. Nick Briggs – the Dalek Prime himself – not only lends his voice talents to the creatures for the umpteenth time but also directs the story and composes the music while sound designer Martin Montague does an exceptional job with natural, everyday sounds (eg seaside birdsong, wind, motorcycle engines, other motors) and manufactured fantasy noise (eg the whirring of a Dalek as it travels through a corridor, the traditional “heartbeat” of Dalek machinery, the rustling of the Varga plants and the elephantine roars of the Slyther). As a result, there is plenty of atmosphere at various points of the story, especially when the Doctor, Peri and the supporting cast are treading through what turns out to be a Varga plantation and later on a trawler on the North Sea when they are attacked Kraken-style by the Slyther (plural).

The cast is also impressive, given most of the characters are underdeveloped and quite two-dimensional (although this is deliberate for some characters in the first three episodes). Given the story is set in Scotland, the supporting cast are, of course, Scottish. However, while there has been a strong effort on the parts of the writers and the performers not to resort to stereotypes, inevitably some of the characterisation and dialogue does border on type, eg Brian McCardie’s portrayal of Alan Weir. Tracy Wiles, on the other hand, brings attitude and spirit to the story as Moira Brody, a hero of the human resistance whose exploits will inspire other rebels to eventually overthrow the Daleks. The character with the most promise that is the most horribly underused is Kyle Inskip, played by Hugh Ross. Given how outstanding Ross has been as civil servant Sir Toby Kinsella in the Doctor Who audio spin-off series Counter-Measures, it’s almost criminal how small his role is in the narrative. If the writers had been more imaginative, Inskip could have provided a great foil for Colin Baker’s Doctor.

Colin Baker and Nicola Bryant are, of course, on-song as the Doctor and Peri. In their one and only Dalek story on television (Revelation of the Daleks, 1985), they were bit players in the overall narrative. In Masters of Earth, while the Doctor and Peri cannot interfere in what is essentially a fixed point in time, they are very much part of the action and more often than not at the forefront of events. To again emphasise what an almost traditional 1960s-style tale this is, the duo in many ways fulfil the roles of the First Doctor and his companions in many purely historical tales of the same period – arriving at points in time that they know they cannot alter but inevitably getting caught up in those events, no matter how hard they try to avoid them.

The portrayal of the Doctor and Peri in this tale – occurring shortly after Peri rejoins the Doctor in his travels – is much warmer and affectionate than it was on TV in 1985. Bryant delivers a confident, mature and courageous performance as Peri who isn’t afraid to stand up to the Doctor when she has to, but she still displays her vulnerable side. No sooner is the young woman coming to terms with her sense of self after five years in the thrall of an alien mind parasite than she finds her will again put to the test when she is stung by a Varga plant. Baker clearly also enjoys the opportunity to work with Bryant again, particularly in scenes when they spar over some of the Doctor’s more questionable actions. 

Baker’s Doctor maintains much of the warmth and good humour that the character has developed over the last 15 years of Big Finish but he is never lacking in moments when he has to express steel in his voice or disgust and horror at the Daleks’ and other antagonists’ actions. Perhaps a little too much, Baker also lets his enthusiasm for teasing the Daleks show through. “Oh dear, it’s all going a bit Dalek-shaped, isn’t it?” is definitely one of his funnier quips!

Masters of Earth is entertaining in parts and compelling in others but mostly for three quarters of the story it’s just plain dull. While a tale that honoured the golden anniversary of The Dalek Invasion of Earth may have seemed a good idea in script meetings at Big Finish, Masters of Earth is almost a dull retread of the original story. Even when the tale finally starts to get interesting, the listener’s enthusiasm is cut short simply because the narrative runs out of time. While Doctor Who fans are likely to persevere through it, it’s hard to imagine a casual listener would dedicate that much effort and would probably run out of patience before the critical turning point in episode three.

Indeed, for a more profound and action-packed spin-off to The Dalek Invasion of Earth, then fans should instead listen to the aforementioned two-part Lucie Miller/To the Death. That audio tale is a more dramatic take on the original 1964 serial and shows that the Doctor and his companions are not invulnerable and that there are real consequences to fighting the Daleks, something that Masters of Earth barely touches on. Masters is a footnote by comparison, a Dalek “greatest hits” album that doesn’t quite pay off for the listener.

 

 

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Reviewed by Martin Hudecek

Issue 6: Space In Dimension Relative And Time
Writer -Rob Williams
Artist - Simon Fraser
Colorist - Gary Caldwell
Letterer - Richard Starkings/ Comicraft’s Jimmy Betancourt
Editor - Andrew James
Designer -Rob Farmer

Effectively held hostage by a long-forgotten enemy of the Doctor, the TARDIS crew must try and stop a major distortion in the time vortex itself. Being a Time Lord should give the long-lived hero a sporting chance, but will he go to the extent of sacrificing any number of his fellow travellers?

Any story opening with the panel 'The End' would be lacking something were it not to take a head-scratching premise and run riot with it. Doctor Who of the 21st century has offered numerous 'timey-wimey affairs' - especially with incumbent showrunner Steven Moffat. This story gives the great man a run for his money, and uses the particular comic format to wonderful effect. Every panel of this story has something to offer, and the layout of reverse chronology and back again offers notable re-readability, which is quite unusual for most comic book stories.

The Eleventh Doctor is truly in charge here, but at the same time very keen to make sure that his companions offer a helping hand. Of the three of them it is perhaps somewhat surprising which one provides the best and most dramatic way of confusing the villain. I will not disclose exactly who is involved in making life difficult for do-gooders, but can say that we have another nod back to Classic Doctor Who - akin to 12th Doctor effort 'The Swords of Kali'.

A lot of the dialogue is on the money this month. There are quite a few speeches and bits of exposition that may have been a bit over-done were this to be more conventional a tale. Yet with so much material demanding multiple viewings, a bit of excess is justified. And as the frantic task to unbend the convolutions of chaotic cause-and-effect take centre stage, there is still some very engaging characterisation which lets the reader know some inner feelings and beliefs that the regular protagonists harbour.

Alice and ARC are both very well-done companions that offer interesting but very different qualities. The pastiche figure of Jones is to my mind perhaps a bit weaker in realisation, but still fulfills plot requirements comfortably. There is also some real suspense over just who will be left standing out of this quartet. Without spoiling the storyline, it would appear the worst does happen - but it's lasting effects seem to be minimal. What could have been a big weakness instead amounts to both a justified reset button and a definite progression for the TARDIS crew.

Although I enjoyed Boo Cook's contribution visually in the previous two issues, the return of Simon Fraser is certainly not unwelcome. And he clearly knows how to best use his style to tell such a dynamic story. In addition to dialogue, Rob Williams' writing in general is consistently engaging; managing to make this adventure stand up as a solo piece for the more casual sci-fi or comic aficionado. Somewhat of a relief is the lack of any overt 'SERVEYOUinc' story arc threads, which allows for this issue's villain to stand on his own balletic feet.

In summary, with fizzy dialogue that reflects the sheer zaniness of events, along with simultaneously gripping and carefree plot mechanics, this is a must-read. It will both satisfy fans of this Titan series, and convert those somewhat more sceptical about Doctor Who's suitability for this medium. I was perhaps not too impressed with earlier one-offs starring the Eleventh Doctor, but this holds up as a work of art which rivals the crème de la crème of visual storytelling.

** Bonus comedy strips: AJ's 'Ice Cold' sees the apparent return of an alien that has both helped and hindered the Doctor during his many lives. A sneaky twist however provides a fine punchline.
'Bus Replacement TARDIS' from Marc Ellerby is a wonderfully irreverent effort and also appropriately set in snowy conditions. Amy and Rory struggle to cope with the climate and and an infuriatingly bubbly Doctor who fails to apologise for the change to their 'normal' travel and accommodation.

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Reviewed by Martin Hudecek

Writer - Robbie Morrison
Artist - Dave Taylor
Colorist - Luis Guerrero
Designer - Rob Farmer
Letterer - Richard Starkings/ Comicraft's Jimmy Betancourt
Editor -Andrew James

"Take your time, why don't you?..shoot the distinguished gentleman with the twinkle in his eye --or the raging monster that's about to rip him limb from limb?!" - The Doctor demanding to be rescued.

The villain roster goes from one supernatural entity to another in this new multi-part story. The Doctor and Clara are ushered through India's past and future in a bid to stop a form of vampire creature which has infiltrated the country's 'premier dynasty'. Originally a deliberate break from action was planned, but the Doctor had been hailed by a gentleman called 'Tiger' via the TARDIS phone. Tiger is a friend from long ago again needs some help. 'The Swords Of Kali' features a good handful of time zones and locations with the dramatic events having one TARDIS occupant stranded in 1825 and the other in 2314 trying somehow to reach them. 

There are echoes of the Jagaroth (from 1979 TV gem 'City of Death'), in that a supernatural family have helped mould and direct Mumbai's path from a tribal nation to a cutting-edge interstellar presence. There are other nostalgic details too: the Fourth Doctor's image is featured in a picture on a wall, and the Mona Lisa has once again been affected by the Doctor's actions. There is even a cameo from Leonardo Da Vinci (who was absent from that same Classic Series story). 
And for those only familiar with modern Who, the plot is worthy of 'Blink' and other 'timey wimey' TV installments; not letting up in pace, but thankfully avoiding being rushed. There are many strong original characters once again, but the stand-out is Rani Jhulka. She is a remarkably powerful and quick woman, who saves a couple from some thugs in the pre-credits section, and proceeds to infiltrate a fortress - where she meets up with one of the regulars. With a striking look, and a distinctive way of speaking, she is a much better realisation than Jenny from Series 4 tale 'The Doctor's Daughter'. 

Morrison's writing is again fluent and full of incident, but also offering engaging themes and strong characterization. Dave Taylor reprises his memorable artwork - with sterling support from colourist Luis Guerrero. Both the regulars and the guest characters are drawn with full life and emotive range, and the pages of this comic almost seem to turn of their own accord. Imagery and symbolism are strong too: the atmosphere generated by various sources of light and energy against the backdrop of night-time is inspired. For those readers living through wintry conditions this provides an added edge.
The villains and monsters involved are certainly not the run-off-the-mill stock which Doctor Who sometimes is guilty of, and there is real sense of jeopardy and high stakes. Again this clearly demonstrates how artist and writer are getting their combined vision across.

Much complex shifting from one time zone to the other is central to the plot. This could have been clumsy, but instead is handled well and only adds to a story filled with incident and excitement. The Twelfth Doctor is typically brusque; his portrayal keeping with continuity in that he is really struggling to relate with Clara. Furthermore he is arguably chillingly indifferent to a young woman's grieving for her murdered father. Yet the Doctor is still a hero and will gain retribution for the violence perpetrated by the vampires. One downside in all this packed excitement is that fans of the Clara character will see her being overshadowed by both the actual events and some of the new protagonists featured. Yet the theme of Series 8 is maintained with her well-intentioned efforts to make startled onlookers understand the Doctor's seeming apathy for the crisis unfolding. And with her left to cope with the crisis alone, perhaps the former 'Impossible Girl' will pull off something remarkable. 

** 
Bonus Humour Strips: 'Dark Water' (AJ/RF) advertises a specialist drink that is produced on a Cyberman dominated world. Somewhat disturbingly it reminds us of the dehumanising process that the Cybermen hinge on to multiply, and yet the tone is not muddled. 
'Planet of the Diners' (courtesy of Colin Bell and Neil Slorance) uses Doctor Who's time-travel element at its most frenetic, but still succeeds as a bit of an enjoyable diversion. The lack of noses on the faces of characters is perhaps odd, but otherwise this is colourful and convoluted fun.

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Reviewed by Damian Christie

The Widow’s Assassin
Written By: Nev Fountain
Directed By: Ken Bentley
Cast: Colin Baker (The Doctor), Nicola Bryant (Peri), Tim Chipping (Constable Wolsey/Mandrake), John Banks (Baron Pteratrark/Guard Two), Andrew Dickens (Reverand Flitamus/Guard One), FIona Sheehan (Princess Dirani), Glynn Sweet (Harcross The Ever-Patient/Pheen-Tu/Flunkey)

Released October 2014

“The thing is, Peri, I always go back ... for my friends. In time, I always go back ...”
The Doctor, The Widow’s Assassin

The Widow’s Assassin seeks to definitively address a question that has gone largely unanswered for nearly 30 years: What really happened to the Sixth Doctor’s erstwhile young American companion Perpugilliam Brown after their visit to Thoros-Beta?

When we last saw Peri (Nicola Bryant) on television in part eight of 1986’s epic, season-long serial The Trial of a Time Lord, it appeared that she had died on Thoros-Beta. In what must have been an even more confusing situation for the young woman, Peri had beforehand been seemingly betrayed and abandoned by the Doctor (Colin Baker). However, in what many fans nearly three decades on still consider a dreadful copout, it was later revealed that Peri’s life had been spared and she had become the queen of the Krontep warrior King Yrcanos. Even comforted by the knowledge Peri was still alive, it seems the Doctor never went back for her on-screen – or at least never attempted to reconcile with her.

Indeed, it has been left up to lots of spin-off and fan fiction over the years to speculate about Peri’s ultimate fate, sometimes ranging from the tragic to the absurd. Baker himself even had a go in his 1994 Doctor Who Magazine graphic novel The Age of Chaos. Writer Nev Fountain, best known for TV’s Dead Ringers and various other Doctor Who audio contributions for Big Finish, offered his own heartbreaking take on Peri in the Doctor Who Companion Chronicle Peri and the Piscon Paradox (2011). However, the most absurd theory came from Philip Martin, the scriptwriter of parts five to eight of Trial, who suggested in the 1989 novelisation of his script that rather than becoming a queen, Peri was safely returned to Earth and became Yrcanos’ manager on the US pro-wrestling circuit!

Now Fountain, who is actually married to Nicola Bryant, has had a go at definitively resolving Peri’s story (presumably with Bryant’s input) with The Widow’s Assassin. After nearly 30 years, has it been worth the wait, you may ask? And is it any better than some of the speculation that we’ve been served up over the years?

Fountain answers these questions by putting to us another: Yes, we know the fair maiden was ultimately rescued and became a queen – but was it ever truly that simple? On one level, Fountain’s tale is plausible, and he draws on the apparent fairy tale aspects of Peri’s fate to illustrate that perhaps it wasn’t all sweetness and wine after all (the opening monologue to the story is especially memorable). On the other hand, there are some elements of the story that just aren’t executed as well as they ought to be and really place a lot of blind faith in the listener’s conviction.

The tale start offs as a relatively straightforward murder mystery in a pseudo-mediaeval setting on Krontep. The Doctor arrives on the day of Peri’s wedding to Yrcanos to beg her forgiveness and to try to understand why she never waited for him on Thoros-Beta after he was whisked away to his trial. However, Peri has him promptly arrested and thrown into prison. Yrcanos is poisoned at his own wedding and dies a week later (fans who still cringe at Brian Blessed’s shouting nearly three decades on can breathe a huge sigh of relief – Yrcanos is only mentioned in dialogue and their sensitive ears are spared Blessed’s booming tones!). Five years later, Queen Peri pardons the Doctor and enlists him on a diplomatic mission to the planet Hurn to observe the suitors for the nuptials of its ruler Princess Dirani (Fiona Sheehan), only for the Time Lord to again fall foul of the law and be accused of regicide ...

The mediaeval flavour of The Widow’s Assassin gives the listener a story that is (much like Fountain’s period drama The Kingmaker) more farce than drama – or more Blackadder than Game of Thrones! It features many colourful, exaggerated characters with ridiculous and snobbish accents such as Baron Pteratrark (John Banks), Reverend Flitamus (Andrew Dickens) and Prince Harcross the Ever Patient (Glynn Sweet), as well as the distinctly Welsh working class intonations of the simply named Guard One and Guard Two (Dickens and Banks again), who fulfil similar roles to the fools of many Shakespearean epics. Indeed, the only no-nonsense character, apart from the Doctor and Peri, is the Queen’s head of security Constable Wolsey (Tim Chipping) – and even he is a genetically modified human-sheep hybrid! Apparently having four stomachs gives Wolsey an extra “gut feeling” when solving crimes!

The story also parodies fairy stories, particularly of the beautiful princess bagging her wonderful prince at the end of the story – although in the case of The Widow’s Curse, we discover that not all royal personages necessarily live happily ever after, nor they know true love either!

In addition to straddling the fairy tale, pseudo-mediaeval and murder mystery genres, The Widow’s Assassin to boot throws in a “wibbly, wobby, timey-wimey” element. This was a strong feature of Fountain’s Peri and the Piscon Paradox and also of The Kingmaker but the “timey-wimey” component in The Widow’s Assassin is subtler and requires not only a lot of exposition but an open mind on the listener’s part to make it credible (something that the author should make work of his own accord, not anticipate the listener to accept). It does, however, explain why the Doctor is supposedly content to spend time in prison rather than investigate Yrcanos’ murder.

While The Widow’s Assassin is mostly satirical, the cliffhanger to part two of this four-part serial takes the story in a more sinister and abstract direction from what you’re expecting and it ceases to be your conventional murder mystery. In fact, the story has a twist within a twist, completely overturning the usual assumptions we have had about Peri’s fate after life in the TARDIS and really testing the story’s plausibility and again the listener’s ability to suspend disbelief. Unfortunately, the antagonist, which is revealed to have as much of a personal connection to the Doctor as Peri herself, is “too grotesque to be real” (as the Sixth Doctor once said of another of his foes) – that is, the adversary is even more two-dimensional and underwhelming than intended (a fact not helped by the over-synthesised voice!). Fountain tries to be a little too clever with his script when he doesn’t need to be.

Nevertheless, the production itself is delivered with all the energy and enthusiasm that we have come to expect from the cast and crew of a BF audio production and, apart from sections which require a lot of ponderous exposition, the story is well paced and well performed by the cast. It is a credit to the likes of Chipping, Banks, Dickens and Sweet that they can deceive the ear with differing voices and inflections and create the impression that there are more actors involved in the production than there actually are. Indeed, all the actors, including the regulars, should be congratulated for fantastic voice work. Baker and Bryant even swap roles in the climactic stages of the story (Bryant’s portrayal of the Doctor is brilliant and Baker’s impersonation of Peri’s American accent is riotously funny!). Baker even lends his voice to other roles; the reason why makes sense as the story progresses (despite again testing the listener’s credulity) but you do not realise it is Baker’s voice until you sit through repeated listenings.

For the most part, The Widow’s Assassin is an entertaining, farcical romp with plenty of black humour but as a definitive resolution to Peri’s fate in the Doctor Who universe, it really should have been a more earnest, darker story – much like the Thoros-Beta story arc of the Trial season which inspired it in the first place. Indeed, you expect the story to be much darker after the great cliffhanger to part two; Fountain sets up what seems to be an intelligent, logical follow-on from events on television but then attempts to be too clever and fancy with it and expects far too much of the listener to accept some of his plot points and join the dots. Nevertheless, if you’re a fan of Peri Brown (and Nicola Bryant) and were always disappointed at the uncertainty of her departure, you will now be pleased that the character has effectively been given a new lease of life (pun not necessarily intended!) and that she may yet have more satisfactory closure in BF’s ongoing Doctor Who audio range than she did on television.

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Reviewed by Martin Hudecek

Manhunt; The Fifth Citadel; Peshka; Sins of the Fathers
Starring: Simon Williams, Pamela Salem, Karen Gledhill, Hugh Ross Written By: Matt Fitton, James Goss, Mark Wright & Cavan Scott, John Dorney
Director: Ken Bentley
Producer David Richardson
Script Editor John Dorney
Executive Producers Jason Haigh-Ellery and Nicholas Briggs

Released June 2013

A well-received first series of this spin-off drama ensured another quartet of adventures - which take place in Britain during the 1960s - would arrive in due course. And this second batch is just that bit more assured, well-rounded and cohesive than the previous one. All the main cast had proven their worth - ably helped by good characterisation and some enjoyably sharp witticisms - and they continue their fine work.

'Manhunt' sees immediate fulfilment of producer Richardson's promise (in Series 1's extras features) to build on the elements that proved effective and to limit those that detracted. One welcome aspect is that the story employs a 'beginning-in-the-middle' technique, which means a lot of exposition bringing listeners up to speed but also a change of pace that curbs formulaic repetition. The events and the sense of jeopardy are thankfully strong enough to ensure that this information does not feel unwieldy. A very good twist in the final act gives added dimension to the story. Gilmore is fighting to avoid capture and clear his name, and Simon Williams clearly enjoys having to play a quick-witted 'Bond' rift on his usual army-man persona. Allison notably seems to have a chance to make amends for her notably bad romantic life, but decent drama can often spare little regard for such a likeable character.

'The Fifth Citadel' is deliberately slow at first, allowing suspense. Some nice supporting characters help to get the listener involved in the actual plot, whilst there is plenty of intriguing character development for the main four players. Especially effective is the hitherfore uncommon pairing of Toby/Rachel and Gilmore/Allison. The play ultimately comes to full life and meets its potential thanks to the spellbinding Celie Imrie. The ending is suitably memorable and chilling, and also establishes an undertone of paranoia on whether the Counter-Measures team can really believe in each other's integrity.

Next up is 'Peshka' - a quintessentially Cold War story both in themes and in actual plot. To my mind this entry offers the best mixture of the characterisation and morals of this season with the paranormal events/action focus of the previous one. It is made further enjoyable by lots of good dialogue. Much of the personal interaction features heated argument, but impressively the writers avoid the trap of such repetition becoming ever so tiresome. The storyline of a chess genius wishing to defect again is notable in wrong footing the listener, as a decent twist leads to the real source of trouble in the final act. The two main guest stars (Bo Poraj and Emily Tucker) both impress and have put their homework in to sound authentically from their country of origin.

The season finale has its fundamentals from the unresolved details left hanging from 'Manhunt'. More cutting revelations come thick and fast, and manage to be sustained over whole story. The fate of one returning character is surprising in its fashion and when it happens; yet opens up a whole new can of worms. The brittle trust between Knight Kinsella and his Counter-Measures team is pushed to the limit, but could someone else entirely be the one who pushes things too far? One issue I have with a fair number of radio plays is the reliance on sound effects which may be of a confusing nature, and the lack of accompanying narration or explanatory dialogue. 'Sins of the Fathers' perhaps is the most troubled in the set in those terms, but otherwise the production is quite polished. It is also welcome that this really is designed as a direct sequel to the earlier story, as well as continuing the tension from the middle two. Rather predictably, some plot threads are left loose for Series 3 but at the same time the writing team have demonstrated enough flair to raise hopes of there being even more strong material to come.

As stated above, character development and the evolving dynamics of the core group make this series an improvement on the first. The Rachel/Gilmore relationship which was not so fertile in the first series - with other romances cropping up - now seems to be developing into at least a firm friendship if not something deeper altogether. Allison seems to still be learning the hard knocks of life which her older, somewhat embittered colleagues know just a bit all too well. But just as he stole the show in the first run of stories, Hugh Ross' complex character compels again of the main cast, and it now almost feels irrelevant that he never was in the main frame of action in the original television Dalek story. The latter two adventures especially see Sir Toby Kinsella entrusted with power and responsibility but facing awkward questions from his junior colleagues, and the results certainly live up to the strong premise. Further excitement is evoked through the development of the character Templeton. This is a man who clearly has a lot of depth, and a lot of amorality, allowing him to use means to justify end results. Actor Philip Pope is a very good fit for the role, and hopefully will feature again to a notable degree.

Extras are again very comprehensive and entertaining, conveying the sense that the entire cast and crew are working very well together. Anecdotes abound, including how Simon Williams was key in getting his renowned actress-wife Lucy Fleming to participate as Lady Waverly. Similarly Celie Imrie happened to know Hugh Ross before her being invited to return to Doctor Who - after her turn in the bells of St John - which certainly aids their excellent work together in 'The Fifth Citadel'.

The writing team reveal motivations and objectives including: gender politics and their evolution during the 1960s; being able to use tantalising clues for the uncovered interim period between stories/series; and exploring a twist on the Frasier/Niles family dynamic of the beloved American TV show. The latter method is perhaps odd, but ultimately welcome as realistic characterisation makes a decent audio story a good or great one.

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Reviewed by Ben Breen

The Abandoned
Written By: Nigel Fairs and Louise Jameson
Directed By: Ken Bentley
Cast: Tom Baker (The Doctor), Louise Jameson (Leela), Stephanie Cole (Marianna), Mandi Symonds (One), Andy Snowball (Two), Nigel Fairs (Three)
Released July 2014

The point this review would normally start at is, in a somewhat mundane fashion, the beginning of the story. But in fact, it’s probably best to start with the rather well put together trailer, appearing at the end of the previous two episode excursion in the Fourth Doctor Adventures range, “Destroy The Infinite”. The trailer itself feels very reminiscent of the revived series, particularly feeling like something from the series 8, 12th Doctor pen of Steven Moffat. With supernatural elements appearing ubiquitously, along with dramatic music and a fairly anxious looking Doctor, the premise, such as it could be understood, looked promising.

The two episode adventure certainly lives up to this, with a production that twists and turns whilst keeping the number of visited locations to a minimum. Moreover, the linear plotline of most stories is replaced by a relative maze of possible angles, with the situation encountered by The Doctor and Leela, played with their usual flair and characteristic quirks by Baker and Jameson, remaining unresolved for a not unreasonable length of time. The use of references to past events and characters, as depicted in previous stories such as The Evil One are not without reason, woven into the tapestry that leads to the dramatic climax. The structure of the adventure could be seen as filmic in places, with the location shifts providing an impression of cause and effect between the actions of individuals or groups.

The most apt descriptions, subjective though they may be, for this story would probably be surreal and ground-breaking. The doctor and Leela’s dialogue, while at points seeming a little tense, conveys the slightly odd student-teacher dynamic well. Stephanie Cole’s Lady Marianna is at once chillingly unsympathetic and unrelenting, the latter trope also being present in the rather unnerving performances of Mandi Symonds, Andy Snowball and Jameson’s co-writer, Nigel Fairs. The score is well suited to the adventure, falling quiet when the need arises for tension and allowing the eerie atmosphere to settle in, complimenting the high quality production that most have come to expect from Big Finish’s various audio ranges. Leela’s part in the story is suitably larger than usual considering the doctor’s deteriorating mental state, as well as the fact that Jameson came up with the original idea and had a large part in the writing process. The additional references to elements like Block Transfer Computation gives opportunities for fans familiar with the classic, pre-revival era to try and spot the others laced throughout which, according to additional research, even include references to audio ranges outside of the Fourth Doctor Adventures.

All in all, while the story itself is very well crafted by Fares and Jameson and is an interesting and thought provoking performance by all members of the cast, it would most likely be confusing to new fans of the range or indeed of Doctor Who in general. This is due, in part, to the fact that the entirety of the adventure is an exception to the classic idea of Doctor Who stories, where the Time Lord is seen saving a planet from some alien race or other. The fact that other previous stories are referenced, if subliminally, also means that fans familiar with a wider portion of the canon will, in theory, be able to get more out of this than those hearing this as an initial entry into Doctor Who audios. This is a good adventure in spite of these minor points and I would urge anyone looking for something new and relatively abstract to give this one a listen if they are fans of the third season of The Fourth Doctor Adventures or the Big Finish ranges in general.

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