Reviewed by Thomas Buxton

Written By: James Goss
Read By: Claire Higgins
Released by BBC Audio, 20 August 2015

Finding themselves yanked across the cosmos to a human colony world, the Doctor and his travelling companion are tasked with seemingly their most mundane mission yet: rescue an innocuous young girl’s missing cat. Suffice to say that as premises for a new yarn set in the limitless realms of Doctor Who go, this initial set-up seems neither as thrilling as that of recent TV serials like 42 nor indeed as continuity-shaking as that of The Day of the Doctor, yet it’s precisely the opening scenario which scribe James Goss lays before us with his latest contribution to the show’s mythology, The Gods of Winter.

The first instalment in a four-part series of BBC Audio releases featuring Peter Capaldi’s Twelfth Doctor as well as Jenna Coleman’s Clara Oswald – although only in name, since the studio have recruited the likes of David Schofield to narrate this interlinked quartet – Gods wastes no time in establishing the central plot arc which will bind together these otherwise standalone tales, introducing the aforementioned youth known as Diana Winter as she utilises an ominous "calling card" bestowed upon the Doctor to her ancestors for use on the worst day of each family member’s life. As was the case with Professor River Song back in 2008’s Silence in the Library / Forest of the Dead, however, the increasingly antagonistic Time Lord might well feel the desire to play Michael Buble’s "Haven’t Met You Yet" through the TARDIS’ speakers, since his initial meeting with the Winters clearly hasn’t occurred for him yet (and no doubt will be held back for the final instalment’s launch this December).

Regardless, even if answers regarding precisely why Diana’s family will have such a bearing on their newfound saviour’s life in days to come are a way off, Goss provides more than enough in the way of reasons for listeners to stick around in the meantime. Much as this reviewer jested about the subdued – to say the very least – nature of the quest placed on our time-travelling protagonists’ bigger-on-the-inside doorstep above, the situation involving the colony on which Diana resides and the apparently ruthless invaders plaguing its residents quickly escalates in unexpected ways, with the TARDIS crew forced to consider the origins of the Golhearn, a race whose motivations for serving as Gods’ supposed antagonists might not be all that they seem. Rest assured that we’ve no intent of spoiling any plot details beyond those offered in the audiobook’s précis, but we’ll at least tease that jumps in time, trips to other celestial bodies and commentaries on issues such as the dangers of blind faith and corporate legalities all factor into the piece’s overarching storyline in the seamless, inspired manner which only Goss can manage (as proven by his acclaimed past work on sub-plot laden Who romps including 2007’s The Infinite Quest).

Yet although the case of Diana’s lost feline companion does give way to a more layered, compelling adventure with political undertones aplenty, those hoping that Gods’ overall stakes would simultaneously be raised in the process might come away disappointed. Certainly, later set-pieces involving space shuttle flights across planet surfaces and seemingly abandoned religious temples up the ante in terms of action, placing both the Doctor and Clara – not to mention the first known member of the Winter dynasty – in occasionally grave danger, but if anything, this audiobook’s oft-relaxed tone at times seems far more reminiscent of that of a First Doctor serial (perhaps aptly given the representational similarities between Hartnell and Capaldi’s incarnations) than of one produced since Russell T Davies took the series’ helm just ten short years ago, a trait which could well deter any listener who approached the Twelfth Doctor’s latest audio voyage hoping for an adrenaline-fuelled experience along the lines of Into the Dalek or Death in Heaven. What Gods lacks in the way of substantial threats, however, the soon-to-be released tale compensates for with a hugely intelligent structure that initially lures the audience into wondering why Big Finish didn’t take the project on as one of their Short Trips scripts given the narrative’s supposed brevity, only for Goss to then throw a spanner in the works at the episode’s halfway point which ultimately more than justifies its (approximately) 60-minute running time.

Better yet, in the form of The Night of the Doctor star Claire Higgins (better known to series veterans as the mysterious figure who resurrected the Eighth Doctor shortly before kick-starting his successor’s plunge into the Time War), Goss has scored himself a simply ideal narrator, not least thanks to Higgins’ valiant attempts to distinguish the irritable Scottish tones of Capaldi’s Doctor, the remarkably more compassionate (if infrequently reckless) voice of Coleman’s Impossible Girl as well as the ever-maturing Diana. Whereas some of the previous contributors to BBC Audio’s various audiobook versions of the New Series Adventures novels have arguably tried and failed to capture the essence of either the programme’s current on-screen lead actors or indeed the one-off supporting players who’ve never featured on the TV show, there’s little point in denying that the first of the four thespians enlisted to bring the Winter escapades to life using their only vocal chords excels in both respects, effortlessly holding her audience’s attention as a result during both Gods’ (rare but appreciated) high-octane sequences and its calmer moments.

For a Who storyline which could quite easily have left its listeners baffled as to why BBC Audio didn’t simply transform it into a Sarah Jane Adventures novelisation, then, The Gods of Winter achieves a truly commendable number of feats, utilising its lack of action set-pieces as a means by which to tell a politically (and indeed philosophically) engaging yarn while bringing a hugely accomplished narrator into the fold so as to ensure that its audience never fails to remain captivated by proceedings. As with just about any tale intended largely to set up a broader plot arc, one could reasonably claim that the lack of genuine closure regarding the origins of Diana’s calling card robs Gods of a place amongst the higher echelons of off-screen Who, yet even if that’s indeed the case, this reviewer would gladly wager that the vast majority of those wise enough to pick Goss’ supremely accomplished latest work up will be too busy lapping up its myriad merits (not to mention attempting to predict how the story of Diana’s family tree might develop come October 1st in George Mann’s The House of Winter) to even begin to notice such incredibly minor shortcomings.

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Reviewed by Thomas Buxton

Writer: Robbie Morrison;
Artist: Daniel Indro;
Letterer: Richard Starkings and Jimmy Betancourt;
Colorist: Slamet Mujiono;
Editor: Andrew James;
Gabby's Sketchbook: Arianna Florean with Elena Casagrande;
Designer: Rob Farmer;
Assistant Editor: Kirsten Murray

Perhaps moreso than is the case with any of the show’s other recurring antagonists, finding an inspired new way in which to off the titular menaces of “The Weeping Angels of Mons” must be one of the most unenviable tasks a Doctor Who scribe can encounter. That their creator Steven Moffat has already produced three largely acclaimed serials based around the Deadly Assassins’ antics can’t help matters either, particularly since 2007’s “Blink”, 2010’s “The Time of Angels / Flesh & Stone” and 2012’s “The Angels Take Manhattan” (not to mention Toby Whithouse’s “The God Complex” and Moffat’s “The Time of the Doctor”, wherein the Angels play second fiddle to a more substantial manner yet still make quite the impact in the space of but a few minutes of screen time) each use them to such great effect before resolving the threat they pose to the Tenth and Eleventh Doctors in an equally surprising manner.

No wonder, then, that in bringing the second full arc of Titan Comics’ New Adventures with the Tenth Doctor range to a timely conclusion after four instalments, Robbie Morrison can’t help but seem to struggle to wrap up proceedings without evoking the final moments of beloved episodes gone by. As if Tennant’s Doctor, Gabby Gonzalez and their newfound wartime comrade Jamie Colquhoun’s campaign beneath the trenches to rescue the TARDIS from the Angels’ clutches wasn’t enough of a call-back to their eternal foes’ on-screen history, as the final chapter of his “Mons” narrative grinds to a halt, Morrison moreover goes so far as to stir up memories aplenty of “Human Nature / The Family of Blood” (with the present day-set closing pages owing a particular debt to Paul Cornell’s haunting TV adaptation of his own New Adventures novel), “The Angels Take Manhattan” (via his second investigation into the Angels’ physical shortcomings in as many issues) and even Blackadder Goes Forth’s most poignant shot of all, though one could perhaps forgive the latter allusion in light of the plethora of Great War fiction available for us to experience nowadays. Indeed, add in an dishearteningly abrupt resolution to the romantic sub-plot brewing between Gabby and Jamie that simply reeks of necessity and readers might well start to wonder whether or not the “Mons” arc is as doomed as the waylaid soldiers who stumbled onto battlefields such as the Somme between 1914 and 1918.

As will surely have become clear by now, had this at times derivative mid-season finale (of sorts) persisted with this reliance upon its esteemed predecessors without injecting any original moments of note, then little doubt exists in this reviewer’s mind as to the extent that the “Mons” quartet as a whole would have been rendered as an unsatisfying tale, particularly in light of the number of instances where the words ‘déjà vu’ came to mind as the Angels made their initial appearances amongst the rubble and shadows of the trenches. The truth of the matter is mercifully different, though; thanks in no small part to Morrison’s sustained implementation of the creatures who give this arc its name as a metaphor for the conflict in which “Mons” takes place, the military chaplain who until now had served as little more than a cliché-spouting secondary player becomes of paramount significance at the very last moment, affording Part 4 no shortage of emotional resonance as he justifiably calls into question everything which the Christian faith has taught him in light of the angelic forces of (super)nature assaulting him and his companions from every corner. Better yet, whereas past televised Who serials such as “Tooth and Claw” have seen fit to simply have their antagonists slay these theistic devotees, here we’re presented with an entirely different send-off which leaves that much more of a lasting impression as a result (and one which we therefore shan’t spoil for fear of ruining the scene in question).

Whereas Morrison therefore tows the line between narrative familiarity and symbolic innovation, Arianna Florean, Elena Casagrande and Daniel Indro – the former two of whom open Part 4 with another of Gabby’s rather delightfully whimsical notebook sequences before the latter resumes his work as the series’ resident central artist – collectively give their all in terms of ensuring that from an aesthetic perspective, the Tenth Doctor’s escapades in the early 20th Century remain a joy to see play out from page to page. Even if Part 3’s “Blink”-riffing cliff-hanger didn’t so much shock as doubtless remind many readers of the aforementioned 2007 serial’s “the Angels have the police box” t-shirt, the shot made for one hell of a tour de force of Indro’s visual capabilities, a trait which carries through to this predictably action-packed fourth instalment, wherein the artist in question renders underground skirmishes, 19th Century villages and even stirring Great War memorial gatherings without missing so much as a single crucial opportunity to stimulate the reader’s optic nerves.

In fact, in spite of its occasional missteps into the realms of dependence upon what’s come before, that notion of aiming to keep its onlookers thoroughly engaged throughout its running time seems a fine summary of “The Weeping Angels of Mons”’ overall aspirations. Whether or not Morrison could have ditched some of the early moments of Angel mythology-recapping exposition and derivative set-pieces so as to condense Tennant’s sophomore Titan arc into three instalments as opposed to four is a matter which we could debate until the end of time itself (though this reviewer would personally wager that there’s a strong case to be made in that regard), but that Morrison and the team of apparently infinitely accomplished artists tasked with bringing his monthly narratives to life remained intent on leaving their audience with no option but to turn straight to the next page (or indeed head to the nearest relevant retailer in order to pre-order their copies of subsequent issues) in hindsight seems beyond dispute. It’s an admirable goal too, although as we move out of the blood-soaked battlefields of the early 1900s and back to the streets of New York for the final days of Gabby’s first year alongside a Time Lord who’s running on increasingly borrowed time, those involved with depicting this intriguing new companion’s scribbled writings and actions alike might well consider prioritising further layered moral dilemmas like that of the chaplain’s and in doing so placing less emphasis on the infrequently repetitive action set-pieces which formed the crux of “Mons”, at least if they’re hoping to leave Paul Cornell with a strong foundation upon which to build with his “Four Doctors” crossover event later this year.

Bonus Humour Strip Mini-Review:

Less surprising than Morrison’s success in turning his oft-predictable antagonists into a compelling metaphor for modern conflicts and the harrowing psychological toll they carry for those desperate to cling to their faiths is Rachael Smith’s decision to integrate the Sisters of Plentitude (of “New Earth” and “Gridlock” fame) into the latest gripping chapter of “A Rose By Any Other Name” as Rose – better known to regular readers as the Tenth Doctor’s hastily acquired feline pet – attempts to find her owner a date somewhere in the depths of time and space. Much like an elderly cat on its last legs, it’s difficult not to wonder whether this storyline (or series of narrative-light skits, to put the situation more accurately) has run its course at this point. On the plus side, though, even if that’s indeed the case, with only around half a dozen issues remaining until Cornell temporarily takes the helm of Tennant (as well as Smith, Capaldi and even Hurt)’s comic-book adventures, those who share this reviewer’s growing apathy with this particular line of mini-strips can at least rest safe in the knowledge that Rose’s short-lived tenure aboard the TARDIS will surely go the same way as K-9, Kamelion and Theta Sigma’s other non-human companions soon enough.

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Reviewed by Matthew Kilburn

Changing the Face of Doctor Who
Designed by Colin Brockhurst
Additional illustrations by Steve Andrew
Published August 2015

Last year Colin Brockhurst’s portfolio The Day of Doctor Who was widely acclaimed for its presentation of a fifth anniversary special that might have been. There William Hartnell and Peter Cushing had joined Patrick Troughton in a story which – as the imagined Radio Times cover, listings and even telesnaps suggested – pseudo-anticipated The Day of the Doctor while tying in with 1960s stories from An Unearthly Child to The War Games as well as reconciling (for those who think it necessary) the cinematic and television versions of Doctor Who. The project looked less like something created than it did a series of artefacts which had somehow fallen through a wormhole from another universe, where Doctor Who had proceeded in a different but parallel direction to the one we know.

Colin has now returned with a second set, Changing the Face of Doctor Who, which explores an alternative past where a different succession of actors assumed the role of the Doctor. Again, this is an exercise in counterfactual history which draws on recognisable events, settings and products but shifts them slightly sideways so the audience is engaged with an alternate past just that little more out of reach than the one we know. Geoffrey Bayldon stares out of the Radio Times launch cover Doctor Who never had in 1963. We’d not have had discussions over what kind of hat the second Doctor wore in early photographs had he been wearing Brian Blessed’s bowler. Ron Moody appears on the cover of a Radio Times from the first week of January 1970 being menaced by a Yeti, recalling the photocall which revealed Jon Pertwee’s third Doctor; but opening the brown envelope printed ‘Radio Times listings’ discloses that in Colin’s projected universe the third Doctor’s era began with Mervyn Haisman and Henry Lincoln’s Yeti tale The Laird of McCrimmon. How Ron Moody’s Doctor is exiled to twentieth-century Earth to take on Peter Cushing’s Master the following year in The Spray of Death must remain a subject for speculation. The Radio Times entries, inspired by unproduced tales which were abandoned in early stages of their development by the production office, are especially eerie because their phraseology and layout accurately recaptures the Radio Times of their pretended day. Colin is a master at sourcing and recreating typography from the days of hot metal composition and photogravure as he is at recapturing the house style of more recent periods, as shown by a glance at his material commemorating Rik Mayall’s eighth Doctor. Mayall’s screen life seems to have endured beyond one TV Movie, unlike his counterpart in our universe; I wonder if there is a range of Big Finish audios in Brockhurst-Earth’s mediasphere.

Frustratingly perhaps, this set only covers the first eight Doctors. There is no Radio Times cover featuring Hugh Grant and whichever recent graduate from Casualty or EastEnders was supposedly being considered to play Rose Tyler, no James Nesbitt and Robson Green staring out from opposite sides of a DVD box design, no Paterson Joseph and Aisling Loftus on the cover of Doctor Who Adventures… This decision might be regretted, but one (unhappy) consequence of the decision to end with the eighth Doctor (but not necessarily in 1996) is that most of the actors Colin has chosen as his alternative Doctors are dead, one very recently.  Both this and the set's otherwise very limited engagement with post-2005 Doctor Who (but it is recognised, subtly) means that the set doesn’t risk confusing ongoing careers with what could be misinterpreted as marketing materials.

The nature of this kind of work means that Colin has to manage faces which sometimes do not want to be changed and where the source material to effect the transformation has been difficult to obtain, but ultimately the signatures of his alternative Doctors always overwrite those of the ones we know. His collaborator on some items is Steve Andrew, well-known in many fan circles for his Target book pastiches, who provides the cover illustration for the novelisation of Doctor Who and the Robots and for the badge showing Ron Moody’s Doctor in the style of the 1971 Kellogg’s Sugar Smacks series. Again, one suddenly feels the weight of cereal eaten to acquire it, long ago but elsewhen.

The set is definitely of interest to those who like testing the elasticity of Doctor Who’s past as well as its present and future and who imagine how the story of the Doctor and his companions (there are some alternative casting ideas there too) could have been depicted had different choices been made. Excite the interest and comment of all your friends, as Target Books once had it of their badge, but with Richard O’Brien’s Doctor’s first Doctor Who Magazine cover on your wall. In the meantime, I’m off to watch Ken Campbell’s Doctor in Storm Over Avallion – I’m sure I left the disc somewhere…

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Interviewed by Martin Hudecek

Renowned TV series writer Paul Cornell will be contributing his vivid imagination for the upcoming Four Doctors Titan comics crossover event.

This will be a "weekly event, running through August and September 2015" and features the Tenth, Eleventh and Twelfth Doctors and their companions from the comics, as well as the War Doctor. Neil Edwards will be the artist.

Doctor Who News reviewer Martin Hudecek was given the opportunity to ask Paul some questions in the lead-up to this special crossover event, which launches on Wednesday 12 August.

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Hi Paul, thanks for giving some of your time to talk to us at Doctor Who News.

1) What resulted in you working on this mini-series, apart from your numerous accomplishments in penning other Doctor Who stories over the years?

Titan editor Andrew James asked me, and I couldn't turn it down.

2) You are working with Neil Edwards for the first time I believe. How did this collaboration materialise, and how do your respective visions of DoctorWho align?

Titan asked me to take a look at his work, and I was blown away. He's amazing. He captures not just likenesses, but actor body language too, and his special effects are awesome.

3) Peter Capaldi's incarnation is obviously the current version, and we have many stories of his to come still. Are you following precedent in making him the 'main Doctor' or are you opting for a slightly different path here?

He's the main Doctor, but the other two get just about equal screen time. I think the audience want as much Doctor interaction as possible from a crossover, so they're together almost all the time. Ten doesn't trust Twelve at all, and Twelve can't or won't explain how he can even exist. Eleven tries to moderate between them.

4) Which of the TV multi-doctor stories was the strongest in your view, and was it also the one to influence you the most for coming up with this new story?

The Day of the Doctor is a staggering masterpiece of plotting. So I don't want to be in the shadow of that, and went another way.

5) Having adapted your own New Adventure book 'Human Nature' (which featured the Seventh Doctor) to instead be a Tenth Doctor for TV, could you describe the process of writing for different personalities and in different mediums?

When you've got an artist who can do the body language, that frees up the dialogue so I can keep going with interaction between the three (or more) Doctors. The plot is a bit of a summer blockbuster, in that it's more a timey-wimey rollercoaster, with a few old monsters, but it's all about how the Doctors react to what's being thrown at them. And how their companions react to other Doctors.

6) Is the intent for this summer event to have any long-term impacts on the Twelfth Doctor, or is it more to be enjoyed as a special story on its own terms?

One of the lovely things about working for Titan is that you know what you do will reflect on the titles afterwards. We may well have made some changes. Possibly big ones.

7) What has been the main inspiration for this new story, and how would describe the journey the different Doctors go through/?:

It's about a photograph that could destroy the universe. Clara tries to stop what she calls 'some sort of multi-Doctor...event!' from happening, and tries to talk to Alice and Gabby privately, but fortunately she fails, and the Doctor interaction mayhem ensues. They do come to trust each other, but it's only after a look into the future for all of them. Eleven awards himself a 'most sensible Doctor' badge at one point.

8) With a certain amount of regular characters to juggle, i.e. the various original comic companions as well as Clara Oswald, how do you approach making sure everyone gets a fair go of being involved?

It's just about juggling page time and dramatic content. Clara, Gabby and Alice all get to narrate at least one issue, so it's a good way for new readers to meet them. I want fans of every combination here to feel satisfied.

9) What approach do you take so that the combined team of Doctors have a worthy enough foe?

It's a problem that gradually gets bigger and bigger, with a big bad revealed along the way. We aim to surprise.

10) You made your mark on original Doctor Who stories back when the New Adventures book line was very new, and helped 'keep the flame burning' during the long hiatus for the show. Could you really have believed at the time just how prosperous the Who franchise would become?

It's wonderful, isn't it? Russell and now Steven's vision have made just about anything possible for the show.

Thanks again Paul, and best wishes with all your projects.

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Reviewed by Damian Christie

Written by Eddie Robson
Directed by Barnaby Edwards
Big Finish Productions, 2015
Stars: Peter Davison (The Doctor), Maureen O’Brien (Vicki), Peter Purves (Steven Taylor), Germane Grade (Quintus), Lysette Anthony (Sophia), Giles Watling (Belisarius), Tony Millan (Procopius/Yazid), Tim Wallers (Justinian), Saran Woodward (Theodora)

Doctor Who has had many proud milestones throughout its history, not least its 50th anniversary celebrations two years ago. Last year, Big Finish Productions also celebrated 15 years of producing licensed Doctor Who dramas with its Worlds of Doctor Who release. This year, BF has decided to mark its 200th release in the Doctor Who “main range” with its “locum Doctors” trilogy. It’s a milestone that’s pretty dubious, to be honest, considering BF’s Doctor Who output in the last 15 years truly exceeds 200 releases and does not encompass the Fourth Doctor adventures (with Tom Baker) or the Eighth Doctor adventures (Paul McGann’s Doctor started in the “main range” before getting his own series). By my estimation, coupled with various spin-offs, BF is really celebrating something like its “500th” release, not its 200th! But hey, any excuse for a party ...

The “locum Doctors” concept has already seen the Seventh and Sixth Doctors involuntarily replace the Third and Second Doctors in the 198th and 199th releases The Defectors and Last of the Cybermen. In both tales, each Doctor found himself forced to resolve the situation by directly contradicting the position of his predecessor and by extension threatening to unravel his entire time stream. In The Secret History, the Fifth Doctor (Peter Davison) finds himself transplanted into the First Doctor’s era and reunited with companions Steven Taylor (Peter Purves) and Vicki (Maureen O’Brien) – just in time for the TARDIS to materialise in Italy in the sixth century AD as Byzantine general Belisarius (Giles Watling) begins his conquest of Italy.

Just as The Defectors and Last of the Cybermen were homages to the Pertwee and Troughton eras, so The Secret History also honours the Hartnell era through an historical tale that sees the TARDIS crew interact with characters based on personalities from that period, eg Belisarius, his secretary Procopius (played by Tony Millan, whom the Doctor recognises as the author of the tomes The Wars of Justinian and The Secret History) and the Byzantine Emperor Justinian and his wife Theodora (Tim Wallers and Sarah Woodward). Indeed, the story starts with the tried and trusted Hartnell era formula of the Doctor and his companions arriving in a period setting and then being separated and forced to participate in events against their will. In this instance, Steven is taken prisoner by the invading Roman forces and transported from Italy to the Roman capital Constantinople. The Fifth Doctor and Vicki have little choice but to follow and by the time they arrive in Constantinople, the Doctor is arrested by Justinian on suspicion of being a Persian spy. He subsequently spends much of the second episode in prison and is largely absent from events (not unlike the First Doctor who could also disappear from the odd TV episode whenever William Hartnell took a week’s holiday!). This leaves Vicki to delve deeper into the mystery while Steven is recruited at the Hippodrome – first as a stablehand, then as a painter and finally as a driver in the local chariot races between the (historically accurate) rival green and blue teams as the regular drivers are struck down by the first bout of the Justinian plague. Vicki is particularly a great foil for the brazen Belisarius (“What d’you mean ‘we’?” he blurts out when he realises Vicki has invited herself to accompany him to an audience with the Emperor), continuing a humorous trait of the Hartnell historical – the Doctor and his companions would often provide much needed light relief amongst some of the earnest and unrefined figures they encountered in period settings. Writer Eddie Robson cleverly echoes the same approach.

However, it is from the second episode on that the serial really strays from the traditional Hartnell pure historical tale. Indeed, The Secret History becomes a SF story with a period setting as extra-terrestrial entities not unlike the modern TV series’ Weeping Angels seize control of Justinian and Theodora (and by extension the Roman Empire) and an old adversary of the Doctor’s under the alias of Quintus, aided by his time-sensitive assistant Sophia (Lysette Anthony), finally plays his hand and manoeuvres the Doctor into a trap that imperils his very existence. The final episode could not be more unpredictable from the first three as history (at least as the Doctor knows it) assumes an entirely different course.

The main story aside, Robson is excellent at portraying the politics of the Byzantine era, along with the exuberant, flamboyant personalities that inhabit it. Wallers’ Justinian is pompous, sleazy and paranoid while Watling’s Belisarius is ostentatious, authoritative, dutiful and dry-humoured, making them perfect rivals for the future of the Roman Empire. Woodward’s Theodora is also haughty, with some cutting dialogue for her husband, whom she clearly enjoys antagonising. Millan’s Procopious is unsurprisingly scholarly, a little cowardly and in Belisarius’ words “a complex chap”, given his misogynistic views of the Empress (“Her soul is a cesspool!”) and of women in general (“No man should trust himself around beautiful women!”). Millan also deserves another mention for his gruff, rough diamond performance as Hippodrome proprietor Yazid who is such a complete contrast to the quietly spoken Procopious that it is easy to assume the parts were taken up by separate actors.

Maureen O’Brien and Peter Purves reprise the roles of Vicki and Steven almost effortlessly, as if 50 years haven’t elapsed at all since their time in the TV series. Both actors obviously put a lot of youthful inflection into their performances to convey their younger characters but they never sound too old or unconvincing. Peter Davison, of course, continues to be as excellent as ever as the more “fretful” (in Vicki’s words) Fifth Doctor, displaying the vulnerability that was typical of the character in his era on television and far less of the assuredness and arrogance of his first incarnation. Davison’s expression of fear when his Doctor is presented with a solution that could save a man’s life (and by extension change the course of history altogether) is particularly noteworthy:

Belisarius: Doctor, is he saying that you could save this man’s life?

The Doctor: I’m afraid so.

Belisarius: Afraid? What are you afraid of?

The Doctor: Everything. Don’t you see? It would change everything.

Of course, it is precisely the Fifth Doctor’s character traits that the villainous Quintus exploits to spring his trap. The villain’s true identity (I hesitate to even name the actor who plays the part for fear of giving the character away) will either be a pleasant surprise or an unsatisfactory revelation to the listener (in fact, my suspicions about who might be behind the Doctor’s translocations throughout his time stream proved correct before I even listened to The Secret History, and the cowled figure on the cover sleeve – even though there’s no implication in the story that the villain actually wears a cowl! – did little to allay that suspicion). To this reviewer, it’s not exactly a bold revelation and the villain concerned is wearing a bit thin but nevertheless the actor who plays him (a renowned British comedian that we all would have loved on TV as we grew up in the 1970s – well, at least in Britain and Australia), delivers an excellent performance, offering the right balance of humour, charm, mischief and fervour.

While this trilogy fits with Quintus’ modus operandi (he even gets to fulfil every Doctor Who fan’s wish in the final episode!), I find it deliciously ironic that, given this is the “official” 200th release in the Doctor Who “main range”, the antagonist is driven to usurp and destroy the Doctor out of revenge for events that actually occurred in serials that are not counted by BF as part of the “main range”. Again, this illustrates to me that for all the pomp and ceremony, The Secret History is no more remarkable than any other BF Doctor Who release. “Main range” or not, it’s all Doctor Who!

That said, The Secret History is an entertaining and at times fun tale, with the right blend of drama and humour befitting a Hartnell era historical, and as long-time BF listeners can expect, excellent sound production values and performances. You really do believe that you could be accompanying the Doctor, Steven and Vicki around sixth century Ravenna and Constantinople, and the incidental music and sound effects, including the TARDIS interior noises, also create the impression that you are experiencing a “lost” Hartnell era tale, albeit with Peter Davison as the Doctor!

However, when compared to the rest of the “locum Doctors” trilogy, The Secret History is the weakest link (with The Defectors the highlight of the bunch). This is partly because unlike The Defectors or Last of the Cybermen, The Secret History ceases to be a story in its own right about half-way through and becomes a closing, convoluted chapter to a broader saga. It’s also dependent on whether you feel you get the pay-off that the trilogy promises – it doesn’t necessarily convince nor does the villain impress either, despite the threat he poses to our hero’s survival.

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Reviewed by Martin Hudecek

Starring: Trevor Baxter, Christopher Benjamin 
Also Starring: Conrad Asquith, Lisa Bowerman, Geoffrey Whitehead, Francesca Hunt, Keith Bartlett, Adrian Lukis, Nancy Carroll, Timothy Speyer, and David Timson 
Written By: Jonathan Morris, Matthew Sweet, George Mann,Justin Richards, 
Director: Lisa Bowerman, 
Sound Design/Music: Howard Carter,
Cover Art: Alex Mallinson,
Producer David Richardson, 
Script Editor Justin Richards,
Executive Producers Jason Haigh-Ellery and Nicholas Briggs

Now back safe and sound in their own era - foggy and full of questionable justice it may be - Jago and Litefoot do not have much respite before another series of adventures comes knocking on their respective doors.

The pattern opted for by the team of Justin Richards, David Richardson and Lisa Bowerman  is one where each story is linked, but the degree of which varies. Of the four, the second story would need the least amount of rewriting to stand completely on its own. The opener sets up some short-term and long-term consequences for the set but mostly wraps up the immediate loose ends with elegance. Finally the third and fourth escapades are very closely linked to one another and best appreciated with some awareness not only of the character of the Colonel (Geoffrey Whitehead) but also some basic understanding of Torchwood. Yes, the organisation that was teased out by Russell T Davies, and got explicit mentions of being set up by Queen Victoria in Tooth And Claw, plays its subtle role in these stories. This major continuity decision helps makes what is by now a well established series of original audio have a slight re-calibration in its mission parameters.

Our regulars are as good as ever, and  none the worse for having been fish out of water in the very enjoyable Series Five. We have a fine collection of both one-off and recurring virtuous aiders and abetters, and dastardly immoral riffraff  - sometimes the listener being sneakily wrong footed as to which camp the pathologist and theatre owner should assign those people they associate with.

The Skeleton Quay is a thoroughly evocative and well-plotted story to remind us of the many pluses a seaside setting and a mystery have to play in the audio medium. With Jago and Litefoot separated relatively early on, they must to try and deduce just what is actually going on around them, and what may be the cause of all the unrest. The dramatic hooks sink in almost without one knowing it. Lisa Bowerman makes her team put a wholehearted effort and that reaps fine rewards: good sound effects and moody original music that is right on the money.

Return of The Repressed takes some of the consequences for Jago from the previous romp and goes in some very unexpected directions. Now, it is always a good thing when the producers decide to shake a formula up a bit and try out some new things. I just cannot quite decide whether this crosses the fine line between over-stuffed, and brimming with one striking idea after another. This is certainly a character piece, and the conventional beginning middle and end do sometimes feel rather muddled together. The turn of Adrian Lukis as renowned psychoanalyst Sigmund Freud is a much more successful portrayal of a foreigner with a heavy accent than some from previous plays. Despite being framed in a comic manner, the written character also has enough meat on the bones to not just be a stereotype. The main female role is very well done, and her exact status being revealed and its significance for our intrepid duo is a great twist. The bookends of a musical do evoke the  splendid fourth episode of The Talons Of Weng Chiang (which of course was just one of six triumphs).

And after two enjoyable stories, this series really kicks into gear for the second batch. Military Intelligence is very focused in delivering drama and suspense, and also feels like it has more to say about Victorian society and the British national identity. The Colonel's more fleeting role in the series opener is considerably expanded here (although he was perhaps carelessly forgotten about in the second story). Now we start to see that he is perhaps not all he seemed, and the way Jago  and Litefoot respond to this new situation is of major interest. The different tracks come and go on for the listener at a rollicking pace, and there is a great mechanical monster involved which needs little effort to visualise. Great reactions, spoken descriptions and sound effects all add up to a strong climax, and yet the main story has only got to the halfway point; seguing with the arrest of Litefoot for a most serious offence.

Hence, The Trial Of George Litefoot. No dawdling here. One exciting development follows hot on the heels of the current one. The victim of murder, which Litefoot is accused of being solely responsible for, will surprise many. But that is one of a number of well-thought-out twists. Courtroom scenes are played out nice and snappily, and the entitlement of George as he languishes in a jail cell wanting better provisions is achieved so as to make him flawed but very human and relatable. Whitehead's Colonel is contemptible but has that touch of class at the same time to make him the type of Victorian villain akin to the original Master. Other wicked collaborators also come off as well-conceived and make the stakes feel suitably high. In the end our duo manage to show the right ingenuity to foil an assassination plot, and yet they still pay a heavy price. The whole cosiness of being home is again eschewed, and in such a manner that our heroes may never quite have the affluence and security they worked so hard for again. Series Seven will be very interesting listening..  

Bonus Material:

Once again Big Finish pays some nice airtime to showing just how fun a working environment is enjoyed both by the old established guard, and anyone else joining in for the first time. Some newcomers to sci-fi itself share their excitement at being signed up. The interview material is very organic and barely feels like the artifice of various questions has been needed in the first place. Having Francesca Hunt involved as the mysterious Camilla Trevlyan was a good decision; it is pleasant to hear the sister of India Fisher enthuse on joining the considerable Big Finish Family. Another such connection comes in the form of Justin Richard's nephew Howard Carter, who gives some very sparky information on juggling sound design and music duties. I previously praised Lukis as Freud, and the chance to ascertain his approach to portraying a real life legend is very enjoyable to gain insight from. There is also a fascinating explanation from Lisa Bowerman on how she (and the others of the creative team) make the effort to try different styles and areas to focus on story-by-story. A final note to end on? For those rushing to jot down the many odd words that Henry Jago opts for in order to try and convey gravitas, there comes a little bit of insight into the process on choosing material that makes even expert crossword-players shudder at.

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Reviewed by Martin Hudecek

STORY BY: Robbie Morrison
ART BY: Brian Williamson
 COLOUR: Hi-Fi
LETTERS: Richard Starkings + Comicraft's Jimmy Betancourt
HUMOUR STRIP - Colin Bell, Neil Slorance
EDITOR: Andrew James, DESIGNER: Rob Farmer
ASSISTANT EDITOR: Kirsten Murray 
Released - May 2015 (Titan Comics)

NB This review contains several spoilers as to the conclusion of this storyline.

The action proceeds at full throttle as readers begin the third and final part of the latest story. Clara desperately tries to help her Foster friends, as they are pursued by the seemingly malignant Fractures who need the 'alt-universe' Paul Foster.

With UNIT trying as best they can to fend off such powerful entities who believe their modus operandi to keep reality and timelines secure supersedes all other bonds such as family and friendship.. a final fateful decision must be made. What will everyone's favourite Scot-accented Gallifreyan decide? Will his brand new life cycle (granted officially to him by the still-lost Time Lords) soften his approach? Because it would appear this is ultimately a case of one person falling in order to save Everything Else..

This story has worked quite well in essence, but is perhaps the first story in this range to not quite hit the dizzy heights, which were almost becoming an automatic given for the starring heroes that are the current Doctor and Clara Oswald.

The plot has some very similar themes and aspects to Series 1 gem Fathers Day and yet carries on with an almost nonchalant manner regardless. Yet this story has a far greater scope and scale to it also, which is what we have come to expect from Titan Comics, and the many options available when sets, effects and time are not as much of an issue.

The Fractures were very creepy villains in part one and are decent enough ever since, yet the early promise is not quite met. The twisted doppelgangers aspect just fails to get its pay off. All the same, their moral high-ground over arch-good-guy Doctor is praiseworthy. His final decision to take on the brunt of their fury, and to pay penance in some way further down the line will be a source of speculation and anticipation as time passes by.

Robbie Morrison still never lets his standards slip below 'pretty good'. He keeps up the fine character development for the regulars, as well as fan favourites like Kate Stewart, and makes us care for the Fosters' well-being at all times. Of course having investment in new characters is crucial, and thankfully the emotional beats centre on these Earth mortals in a very involving way. Also, whilst the pacing is just as good in this third part as the previous one, still overall the three instalments do not quite read well together as they might do.

At the same time, the manner in which the Doctor opts for a hailstorm of negative follow-up perhaps betrays the seemingly methodical earlier stages of the plot. Father's Day ultimately was about sacrifice. With the Doctor's many get-out-of-jail cards, his choice to save Paul is rather more of an empty-handed gesture.

As for art quality this time round, I must admit this is somewhat a curate's egg. It's good in parts, and conveys expression and action well enough but some sections look rushed or unfinished. Also some of the real urgency and vibrancy that issues Six and Seven managed effortlessly is replaced with something a bit restrained in a rather different sense. Nonetheless the combination of story and visual style is still a decent pairing.

Peter Capaldi's brusque but passionate manner feels just as ever-present as any TV story. Kate Steward is written well and plays her part in the resolution, but sometimes it feels like a reminiscent sister is being involved every other panel, such are the inconsistencies. Overall then Brian Williamson produces something a notch or so down from the prior two issues. And having such an odd psychedelic / black-and-white cover is also somewhat perplexing.

More positively noteworthy, and indicative of the wider plans Titan's editors are managing carefully as cross-overs loom soon, is the referencing by the writer to creations of his from other stories. These include the 'Echo' featuring the Tenth Doctor, and also the Hyperions back from the very first story in this 'Twelfth' range.

 Bonus Humour Strip:

Amusing and creative stuff this month, as it uses rather vague time periods in the same basic setting of Clara's home. The Doctor is in and out of the TARDIS and trying to win his share of The Board Games but Clara has him hook-line-and-sinker.  This is a nice little coda to the heaviness of the main action, but a little odd in needing to give out the title and credits over and over again.

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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 

Were we to assign sub-titles to the various instalments of the Tenth Doctor’s second full ‘New Adventures’ arc, “The Weeping Angels of Mons”, by far the most fitting name for its penultimate outing would be “The Benny Hill Chapter”. Why? To put it quite simply, whereas Part 2 placed a profound emphasis on strengthening the backstories of the various supporting players as well as the tension surrounding the Weeping Angels’ ominous presence amongst the battlefields of World War Two, Part 3 places the chase sequences which served as highlights in televised Angel tales such as “Flesh & Stone” front and centre. This structural move predictably has just as many negative repercussions as positive ones, yet even so, the overall “Mons” arc continues to elevate the graphically novelised adventures of David Tennant’s beloved take on Theta Sigma to promising new heights.

There’s admittedly an irony in this reviewer’s use of the words “heights”, however, since such is the nature of a Great War-set tale of this ilk that much of this particular issue takes place within or around the trenches of the titular Belgian city, not least the bold cliff-hanger sequence, which places an intriguing new spin on one of the most significant plot points from 2007’s “Blink”. That said, it’s a welcome surprise to see writer Robbie Morrison use the time spent by the Doctor, Gabby and their British military comrades evading the universe’s deadliest assassins to his advantage, specifically by tackling some of the long-running misconceptions surrounding the limits – or lack thereof – of the Angels’ semi-mystical powers such as their collective ability to withstand blasts that would otherwise shatter ordinary stone edifices and whether or not weaponised vehicles such as tanks stand a chance when crossing the paths of one of the Doctor’s most relentless foes.

The perfectly-timed fan service doesn’t come to a halt there, either; whilst it’s easy at times for the casual – or indeed the hard-core – reader to forget that the Tenth Doctor’s ‘New Adventures’ are intended to take place during the final days of its eternal protagonist’s lifespan, namely as “The Waters of Mars” and “The End of Time” (itself) dawn, Morrison moreover takes a moment to offer us a firm reminder of the present chronology, briefly electing to have the aforementioned Time Lord turn on his companion in remorse as she struggles to come to terms with the joint horror of the historical and extra-terrestrial conflicts unfolding before her eyes. Better yet, there’s little in the way of evidence to suggest that Morrison intends to leave this particular plot thread dangling next time around, indicating that a more thorough psychological analysis of precisely why Tennant’s incarnation declined Lady Christina de Souza’s request to join the TARDIS crew after the events of “Planet of the Dead” – as well as refusing other offers from various supporting players in other novels, comic-books and the like – could be just around the corner.

Regardless of what’s to come from a narrative perspective, what’s more than assured at this point is the sustained visual power of Daniel Indro’s ever-alluring imagery. Given how easy it would be for this talented artist to allow the drab grey backdrop of a World War One battlefield to overshadow the entire colour palette of “Mons” – a shortcoming which this reviewer would argue Rachel Talalay perhaps fell prey to from a directorial perspective in last year’s televised Season Eight finale, “Death in Heaven”, though that debate’s of course for another time and place – that he constantly does quite the opposite, injecting moments of warmth and variety through dazzling explosions and through adaptive backgrounds meant to reflect the emotion of the characters featured within the relevant panels, is an astonishing feat to say the very least, one which makes all the difference in terms of ensuring that the overall reading experience remains engaging throughout.

All the same, that the chase sequences littered throughout Issue 8 warranted a Benny Hill comparison in this review’s opening paragraph only goes to show the extent to which they dominate proceedings here, and much as Morrison’s efforts to add depth through exploration of the Angels’ and the Doctor’s respective mythologies keep Part 3’s isolated narrative compelling – as does Indro’s artwork – a little less emphasis on action and more on creating a genuinely satisfying resolution come this second mini-arc’s denouement would certainly not go amiss. Just as “Blink”, “The Time of Angels / Flesh & Stone” and “The Angels Take Manhattan” each presented truly memorable means by which the Doctor could dispatch perhaps the universe’s oldest alien menaces, so too could “The Weeping Angels of Mons” benefit in no small part from putting as much time and effort into providing another such worthy conclusion as early as possible in Part 4 rather than holding out until the last moment in the hope of throwing a needless deus ex machina element into the - already busy - mixture.

Bonus Humour Strips Mini-Reviews:

As to-the-point miniature comic strips go, At-Mosphere-Choo most certainly ranks up there with the most succinct of them, presenting its onlookers with the most straightforward yet hilarious one-shot image possible in the form of Tennant’s Time Lord drifting above Earth after inadvertently sneezing his way out of the TARDIS. Look out in particular for one of the most impressive renditions of humanity’s home-world – not to mention a frankly stunning sunset on the horizon – in recent Who memory courtesy of scribe and layout handler AJ.

Whereas AJ’s one-page contributions to the ‘New Adventures’ range continue to be isolated affairs, Rachael Smith’s ongoing A Rose By Any Other Name continues the captivating adventures of the Tenth and his newfound companion, Rose-the-Cat, both of whom appear to be on perfect terms with one another until the subject of a certain metallic canine comes to the fore. Nothing particularly revolutionary crops up here from a comedic standpoint, although in fairness, Smith’s artwork is at once characteristically charming and remarkably accurate, whilst the resolution to Rose and K-9’s rather abrupt confrontation will surely garner chuckles aplenty, as will the slight nod to Jim the Fish present in the strip’s tantalising final panel.

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Reviewed by Richard Brinck-Johnsen

Doctor Who – The New Adventures of Bernice Summerfield
Volume 2: The Triumph of Sutekh
Written by Guy Adams, Justin Richards, James Goss, and Una McCormack
Directed by Scott Handcock
Starring: Lisa Bowerman (Professor Bernice Summerfield), Sylvester McCoy (The Doctor), Sophie Aldred (Ace), Gabriel Woolf (Sutekh the Destroyer)
Released by Big Finish Productions – June 2015

Following on from last year’s Volume 1, this boxset follows a similar format with long-running Big Finish regular Lisa Bowerman as the eponymous archaeologist Bernice, who is once again reunited with her former travelling companions, the Doctor and Ace, in rather surprising circumstances. Like last time, there is a effectively a single story running throughout the four adventures which make up Volume 2 but this time around, the stakes are much higher as we are presented with a clear threat from the very beginning. As the box set’s title reveals this series features the long-awaited return of Gabriel Woolf, reprising his well-known television role as Sutekh the Destroyer from the 1975 story Pyramids of Mars.

The Pyramid of Sutekh finds Bernice reunited with the Doctor in less than pleasant circumstances as the long-lost tomb of the Osiran Sutekh has been uncovered. Bernice must try to save the Doctor and prevent Sutekh’s attempts at self-revival. Along the way she is joined by a mummy with recognisable voice which is not credited so I shall also maintain the pleasant surprise, except to say that it will be very familiar to followers of Benny’s solo adventures. It is notable that the Doctor is given a more prominent role to play as there was some criticism that the Doctor and Ace were only featured peripherally in the last year’s boxset and it is great fun to hear Sylvester McCoy utter one of the most infamous lines in the history of Doctor Who.

The Vaults of Osiris finds Benny reunited with Ace, this time on present Earth as they attempt to make sense of recent events and discover the means to prevent the seemingly unstoppable triumph of Sutekh. This is a fun romp with some nice suprises, even allowing for some occasional lapses from the Big Finish school of dodgy foreign accents.

The Eye of Horus sees Benny once more reunited with the Doctor, who is very much not himself in this rather unusual episode. Set in an apparent forgotten period of Ancient Egyptian history this episode feels a little uneven and a little too comedic. It is however saved by the sinister presence of Woolf as Sutekh.

This set culminates in The Tears of Isis. This is another slightly unusual story which finds our protagonists witnessing the end of the world and the ultimate triumph of Sutekh. However, this is the virgin New Adventures universe and even at the darkest of times, the Doctor is not to be underestimated. Suffice to say there are some neat twists in the story’s concluding scenes which lead to a satisfying conclusion and the final confrontation between McCoy’s “Little man” and the Woolf’s deliciously evil Sutekh make for an enjoyable listen.

Overall, a very enjoyable set of stories if at times rather whimsical. The highlight is definitely hearing Woolf give further voice to Sutekh, but fans of Pyramids of Mars may be left wanting a sequel that is more in keeping with the gothic horror style of Season 13.

Related Reviews: The New Adventures of Bernice Summerfield Volume 1 (11 Apr 2015)

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Reviewed by Martin Hudecek

Written by John Lucarotti,
Read by Peter Purves,
Released by BBC Audio, 21 May 2015

This first Doctor historical was amongst the many early Doctor Who tales to be wiped by the BBC, at a time when home video releases were not yet introduced. Fortunately, as with all the other 'lost' stories, a soundtrack copy was retained and this story was the first of a wave of audio CD releases of various first and second Doctor stories at the turn of the century.

Original viewers of all ages saw a sophisticated but non-preachy historical drama. The Doctor quickly leaves Steven to manage on his own in 1572 Paris; full of political turmoil between the Catholic and Huguenot religious groups. The Catholic Abbot of Amboise catches Steven's eye, and soon this loyal companion wonders if his older friend is playing a very risky game of impersonation. A young girl called Anne Chaplet soon needs Steven's help as she flees the Abbot and attempts to warn the Huguenots of a deadly conspiracy. But history tells of the inevitable Massacre of St Bartholomew's Day, and time cannot be rewritten despite the sheer pointlessness of the violence that ensued...

A great cast was involved, many going on to be in later colour stories which all are now available. Examples include: The Deadly Assassin's Erik Chitty as Preslyn, Warriors' Gate's David Weston as Nicholas Muss and Arc of Infinity's Leonard Sachs as Admiral De Coligny. There is even a turn from Eric Thompson, father of the world-famous Emma. Also director Paddy Russell debuted here, and was behind later notable stories for the third and fourth Doctors.


The novelisation was published in the summer of 1987, and saw credited writer John Lucarotti bring to novel form the original scripts he created, after a number of amendments by script-editor Donald Tosh. Ultimately Tosh rewrote the story to be a very different one, but only received a co-author credit in the final episode.

Why Lucarotti did not approve of the final version is of real interest. Upon being promised a third historical story from initial showrunner Verity Lambert, Lucarotti then found the new team of John Wiles and Tosh to be rather less harmonious with his vision of Doctor Who. A rather darker show was being established, with grim endings such as the fate of the Drahvins, the fall of Troy, and the many tragedies in The Daleks' Masterplan. This perhaps was for the best as the fledgling Saturday tea-time show made its case for continued existence, long before it was famous globally.  

Even after two other story rejections, and finally getting a green light on using the Huguenot massacre as the backdrop there were still problems. William Hartnell was getting more difficult to work with and had poor health, and the then-showrunners wanted to try and remove him as lead on the show. Lucarotti's proposal of a double role for Hartnell as Abbot and Doctor was not in line with this intended path. This reputable TV writer was ultimately so dismayed that he wanted no on-screen credit. He did not get that wish but was paid for all four instalments and many years later retained the right to adapt his intended story for book form. The novelisation was enjoyed by both fans and general readers alike and now gets further exposure today as a CD/ Internet Download.

This story significantly manages to intertwine historical fact with fiction. Charles IX and Preslyn are real-life figures who are used for plot purpose; the former being a weak willed monarch under the thrall of his mother Catherine De Medici, the latter being a little paranoid but nonetheless a notable scientist of his time.

Notably unique to the novelisation is the framing device of Time Lords putting the Doctor through either an inquiry or another trial, but which future Doctor is not made too clear. More focus emerges as to the morality of his interference in events, and perhaps his eventual abandonment of the various people he meets to their fates.

The plot differs increasingly from Tosh's version after the initial sections that resemble Episode One. The key character difference is the Doctor is far more involved throughout. In theory William Hartnell would have shown his full range and poise (and as much as terrific glimmers of the Abbot did make it to screen).

As we know though, the production team were against the lead, and maybe his ill health would have also been too much also.

The paramount goal for our regulars is to survive, and it is particularly urgent, but we also care for the various Huguenots who try their best to fight a growing tide. Even  some sense of the pressure on the Catholics is generated by Lucarotti, though their ends certainly never justify their means. 

Peter Purves continues to impress, after my prior sampling of his efforts for Big Finish. He uses his theatre roots, which involved considerable variety from one play to the next, to solidly portray a host of players in the story, along with their myriad characteristics. The Doctor's voice again is done well, conveying the essence of Hartnell's rather complex interpretation. What music we do get generates a heightened atmosphere, and there are fine sound effects such as the gallops of hooves, crowd noise and other effects to signify action moments.

Our narrator only stumbles when attempting rage in voices that are markedly different  to Steven. Also while his Anne is passable, there is never any real doubt of this being a male imitation of a female, but then very few can overcome this downside of the solo-contributor format.


All the same, we are afforded a chance to experience the book's enticing prose, and how it plays to the mediums' best strengths. There is plenty of Steven's immediate perspective. How this man from the future uses his wits over any of his inbuilt skills or training is gripping, as is his role in partially defanging the Catholic conspiracy. Most fans agree that The Massacre is Steven's peak during his time as a companion.

Along with sterling heroes we need a good set of villains. The Catholics who ultimately win are to be respected as much as reviled. Simon Duvall is built up in the most notable antagonist, demonstrating a suave nature along with having a strong plan. How the Abbot and Duvall's fates are intertwined, not least due to the Doctor's ingenuity, is a payoff that works handsomely.

Of more trivial interest, we are introduced to some minor characters who were not retained for the final TV version, e.g. the bumbling locksmith who understandably is foiled by the TARDIS' secure door.


It is to be commended how Lucarotti has no easy answers and does not assume a moral highground. Even the characters we most empathise with such as Gaston, Lerans and Muss are not angelic by any means. The charismatic Admiral De Coligny is helped during the timeframe of Steven and the Doctor being around, but upon their departure he receives no better a fate than assassination. Such is the inevitable course of history. And had he been spared then he likely would have implemented methods little better than his religious enemies.

Praiseworthy also is the 'identical Doctor' aspect, which was repeated in other ways  throughout the TV show's long history. In this novel version the way both the Doctor and the Abbot show initiative and smarts is more exciting than the somewhat clumsy manner the TV Abbot saw himself into trouble. The Doctor is of course the wiser and sharper of the two, and having one of this religious zealot's own allies be manipulated into his downfall is most enjoyable.

A small flaw perhaps, but one most classic Who stories are guilty of, is the sheer lack of notable female characters in comparison to male. At least we do have two solid roles in the form of the ruthless Queen Mother and the young, vulnerable but brave Anne Chaplet.

The manner of how the Doctor manages to avoid the wrath Catherine shows the First Doctor at his typical smart best, and is especially exciting knowing he must convince as a man who only resembles him in appearance. Meanwhile the Steven-Anne dynamic is used very well to evoke real concern for the many innocents caught up between the scheming factions. It is one of the very first instances of a 'pseudo companion', i.e. who may qualify but circumstances finally say otherwise.


Catacombs has been a great trope over the years for Who, and they are sadly jettisoned in the TV equivalent. Along with the use of a crypt under Notre Dame, this story really has much to offer in terms of atmosphere.

Indeed, there is much suspense and intrigue, and yet the final sections do lack a touch of the all pervading sense of doom of Tosh's work. The debate between Steven and his mysterious mentor over what they can or cannot do regarding historical events is far less confrontational.

Tosh's rewrite saw potential descendant of Anne, Dodo, take up what initially appeared to be the Frenchwoman's place abroad the TARDIS. Yet I personally prefer the way that Anne is safe thanks to the Doctor's efforts. albeit with the only fleeting reference to Dodo in the epilogue Lucarotti opts for. At the same time, it is a shame that the famous soliloquy by Hartnell is nowhere to be found. It is a key moment of Who folklore and wonderfully recreated by David Bradley in An Adventure In Space And Time from autumn 2013.


This is perhaps not a story to be digested in one sitting as the previous off-air soundtrack can be. It is very ambitious and intricate, and requires a lot of close attention from the listener, but is more than worth it as the foundations are rock solid. Whilst reflecting the deliberate pace of the Hartnell era, it never feels tedious. This pivotal historical is as relevant to our society and its political and religious unrest as it was back when first pieced together under the most fraught of circumstances.

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Peter, being a die-hard Doctor Who fan yourself, were you nervous about living up to the huge expectations of the fans?

Peter: I was very nervous about playing the part, but I didn’t really think about the expectations of the fans. Because that’s not very useful. It would make me just more nervous. I just tried to think about playing the part as best I could.

Does it take guts to alter this much-loved character?

Peter: I don’t think he has altered much. I just felt very privileged to play the role. But it was frightening and is frightening, but luckily Jenna has been a fabulous support, help and friend to me and I was very lucky that she was playing the role when I arrived. She made it a very enjoyable experience as well as a challenging one.

So what was it like to see the TARDIS for the first time?

Peter: I saw the TARDIS once while David Tennant was the Doctor in an episode called Fires of Pompeii. I thought this would be my only involvement with Doctor Who. So I was very pleased that they asked me to be the Doctor. With Fires of Pompeii they offered me the part and I didn’t even read the script and said that I just want to do this. But my wife said “No, you mustn’t. You are a professional actor. You have to read the script and see what it’s like.” David was great. He showed me the TARDIS which I found quite moving at the time but I didn’t realise that a few years later I would be “driving” it myself. It is a very wonderful place to be. And also I am realising how popular the show is growing around the world and it’s interesting to go and meet the fans to see how it’s going down in other countries.

Jenna, how would you characterise your relationship with the Doctor?

Jenna: I think Clara is his conscience and his moral compass. Perhaps even his school-teacher in his social skills, teaching him how to interact with humans. I think Peter’s Doctor is a lot more Alien than the Doctors we’ve seen before. Clara helps to integrate him. There is a lot of history between them. She is the companion who has been there throughout all of his regenerations. So she is the long-standing friend.

Can you tell us a little bit about your journey from Clara Oswald, the impossible girl, to the school-teacher?

Jenna: With the impossible girl we didn’t really know Clara like we know her now. She had to be kept a mystery from the audience and from the Doctor, so we couldn’t really get to close to her. Series 8 allowed us more freedom to see more of her life, her home and what she does away from the Doctor. Also to see her struggle with and enjoying the two different lives she leads. We could finally explore her domestic life a little bit more, whereas we are a lot more space-bound in the upcoming Series 9. It is a lot more about life in the TARDIS and visiting as many planets and places as they can to have reckless adventures.

Jenna and Peter, which characteristic of your roles do you like and which do you dislike?

Jenna: I kinda like my bad qualities. Clara is really flawed. Egotistical and stubborn. A control-freak. And at the same time she is kind, brave, adventurous and romantic. But I like the fact that she is totally flawed.

Peter: I don’t dislike any qualities of the Doctor. I like everything that he does. I like the fact that he is tricky and distant. Sometimes friendly, sometimes clumsy, sometimes arrogant. I like all of it. And all of them.

Were you certain that an older, darker Doctor would work from the beginning or were there doubts?

Peter: No. I had no idea. You can’t second-guess the audience. You can’t try to come up with a version of the Doctor that is just good for marketing. You have to find out how you feel as an actor about this role and try to be true to that. While at the same time, playing the role that Steven [Moffat] writes. Matt, who I absolutely loved, was a very accessible and friendly Doctor, so we automatically tried to be a little less of that. But I think that’s all right. I didn’t want to seek the audience’s approval. I think it’s important not to ask the audience to love you. They must find out for themselves whether they like you or not.

The show has grown in popularity all over the world. Do you think it has something to do with changed viewing habits and new ways to watch TV like online streaming?

Peter: Yes, the way that people watch television is very different now. They can have access to all kind of programmes through different platforms and can watch whenever and wherever they like. So that helps a programme like ours, which is to some extend a kind of “cult”. People tend to discover Doctor Who and it’s a quiet, private thing and they don’t necessarily want it to become a big fan-thing that other people know about. Especially because in its history a lot of the time the show has been under-the-radar and people have loved it without being validated. There were times when you felt like being rebellious for being into it or you were not one of the cool kids for being a fan. Now it’s really cool, which is nice!

What do you think is the main difference between the new and the old show? Are the scripts today better than they used to be?

Peter: Part of the joy of it is that we make a programme that has the spirit of the old series but has the technical prowess of the modern, digital age. We have CGI and wonderful make-up and costumes. You couldn’t do the show today as it used to be done back in the days. The old show was only ever meant to be watched when it was transmitted. That was it. There wasn’t even a video industry and the show wasn’t expected to be examined in detail. An episode just existed for 25 minutes on a Saturday night. I get annoyed when some people say unkind things about some of the production values. The early show didn’t have much money and the makers didn’t have much time. But they had huge imagination. And it was the imagination and the images that the show triggered in children that was special. I was a child when Doctor Who began and it fired my imagination.

Can you tell us some secrets of the upcoming Series?

Jenna: Vikings!

Peter: Yes, Vikings. Very good!

Jenna: Our secret number one.

Peter: They are real Vikings! They are not Robot-Vikings or Space-Vikings.

Jenna: Actual Vikings!

Peter: In Viking times on Earth. Which is great. And that’s when we meet…erm….some more Vikings. [Jenna and Peter laughing]

How scary is it for an actor to suddenly be the face of such a phenomenon?

Jenna: I remember that Matt described it to me like a freight-train that you jump on. And that’s what happens. As soon as you start filming, you end up enjoying the job so much and that you are going to work every day and the storytelling is so dynamic. It’s almost too much fun. The filming part just takes over.

Peter: I just sort of try not to look down. If I become over-conscious of the scale and interest in the show it would probably make me a difficult person to live with. I don’t think it’s a very natural situation to be so recognised. I asked David Tennant about what is going to change for me. He told me that I will become incredibly visible. At home, in the Uk, that means when you go to the Grocery Store or wherever you look like the Doctor, so people will look at you all the time. But it’s fine. You receive a lot of affection.

You have been to Comic Con, doing conventions and promotion, now you are here in Germany. How do you keep your energy up? Is this side of your job still exciting or is it stressful?

Jenna: We drink a lot of coffee.

Peter: We do. And we are looked after by our wonderful team from BBC Worldwide. To be honest, we are in the middle of filming episode eleven right now. The production team has now been off on holidays for two weeks. And we have gone to Comic Con and to L.A. and now to Berlin. We don’t actually do that much. It takes nine months to film the show, so that’s what we spend all our time on. But you are right, this here is a different energy and a different way of being, that we have to get used to, too. But I think it keeps you young. When I started the job I thought I will get me an exercise bike, but it soon became clear that I didn’t need to do any exercise. Working from 7 a.m. in the morning to 7 p.m. at night is better than going to the gym.

Jenna, which Doctor would you like to hang out with at a pub?

Jenna: I’m happy doing that with my current Doctor. But if I had a TARDIS I would not go to the pub. I’d be on some other planet somewhere. If you got all of time and space, I definitely wouldn’t be in a pub.

Can you tell us about your sweetest gift by a fan or a fan encounter?

Jenna: I had very recently gotten a little box from Rome and it was a wooden box with Clara’s leaf from Series 7 carved into it. I thought it was really extraordinary.

Peter: I popped into the Doctor Who Experience once. I had this Saturday off and I thought of what I could do this day. So I decided it is going to be Doctor Who at the Doctor Who Experience. My wife actually persuaded me to do it. She said “you are going to make a lot of people very happy”. And I did. But they made me so happy, just by their affection. There were hundreds of fans and more kept on coming. I was kneeling down because I had my photograph taken with some children and suddenly this little girl screamed “Doctor Who”. And she came running and threw her arms around my neck. She was very small and she totally believed in Doctor Who. It was absolutely lovely. That was a wonderful experience. You are at the centre of a child’s utter believe in the magic of this character.

Jenna: The day before I started filming – no one knew I was a companion yet – I was walking around in London and suddenly heard the word “Cardiff”. I turned around and saw this little boy, fully dressed up as the Doctor with his Sonic Screwdriver. The chances of this happening, a day before filming… That was very sweet.

Have you taken any props from the set which no one knows about?

Jenna: I’ve been trying for so long.

Peter: She is always trying to steal stuff.

Jenna: I haven’t taken anything. But I want to. I want to steal some stuff.

Peter: I don’t take anything. Well, they need it.

Jenna: [laughs] Some bits from the TARDIS. I usually ask if there are any replacements before I try to steal them. There isn’t, so I cannot do it.

Peter, does your Doctor develop a catchphrase this series?

Peter: Catchphrase? I’m not interested in catchphrases. The Doctor never used to have a catchphrase. That is a fairly new development.

Jenna: “Shut up”?

Peter: Shut up?

Jenna: Someone was asking you to write that down recently.

Peter: Oh, yeah. But I don’t need a catchphrase.

There is a big discussion going on about budget cuts at the BBC. Do you think this will have any impact on Doctor Who?

Peter: Probably, at some point. It’s all in such a state of flux. The thing about Doctor Who is, it is a very powerful money-maker for the BBC. So hopefully it will be looked after. It would be silly to reduce the quality of what we are making. It is bringing so much more money back in and all that money is used to make other programmes. Not Doctor Who. [laughs]

So what do you both watch on TV?

Jenna: We watch…

Peter: Not together….

Jenna: No, not together. Game of Thrones. Mad Men. I really like Black Mirror and Inside No 9. Masters of Sex.

Was there a moment when you thought the Doctor and Clara found their groove?

Jenna: I think at the end of episode one. Not found our groove, but for me there was a moment of something different and new. We connected.

Peter: I felt very connected to Jenna right from the start because she made me feel so welcome. She looked after me. The nice thing is, we were both very conscious of not getting into a groove. We wanted to explore these characters as thoroughly as we could, so we were trying to not go to a place where we would feel too comfortable. That was the point of their story. They get to know each other as we were.

Will Series 9 continue to focus on the characters like Series 8 did? Last year we had the Doctor finding himself and Clara finally becoming a well-rounded character.

Jenna: They are a lot more united now and just enjoy the moment and the adventure. We are doing two-parter episodes as well this year, which is new. So we can have cliffhangers and explore the stories, the places and the characters for longer. I feel like we definitely moved into a different place this year.

Peter: I think they are much more bonded. The Doctor wants to enjoy himself with his wonderful friend. The thing that is tricky about the Doctor and his relationship with companions… You know, Christopher Eccleston says in his first episode “I can see…everything. All there has ever been and all there ever will be. And that drives me mad”. So in a way, the Doctor knows the fate of all of his companions. That makes it…difficult. But in this instance he is deliberately enjoying the relationship and this great toybox of time and space that they can explore together. But of course, as it’s Doctor Who, there is an ever deepening shadow pursuing them.

Will you both be back for Series 10?

Jenna: We haven’t read the script to episode 12 yet.

Peter: No, we haven’t got to the end of this series. So we don’t know yet what happens to us.

Thank you very much for the interview!

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Reviewed by Martin Hudecek

WRITER: Rob Williams
ARTIST: Warren Pleece
  COLOURS: Hi-Fi
LETTERER: Richard Starkings + Comicraft's Jimmy Betancourt
DESIGNER - Rob Farmer
EDITOR - Andrew James
ASSISTANT EDITOR- Kirsten Murray
COVER BY: Simon Fraser
PUBLISHER: Titan Comics
RELEASE DATE: May 20, 2015

A new set of adventures begin for our heroes, opening with a visit to Berlin garnering unwelcome attention from some East German soldiers. Soon, a near-fatal experience in space faces the Doctor and Jones before a mysterious 'non-comet' consumes the TARDIS. It threatens to break down the Doctor's ship in a permanently destructive fashion. But then the strange comet heads for Earth!

Just why is the TARDIS seemingly putting up no fight against the flames of the comet? And how can ARC assist, given his connection to the Entity? A whole different ball game may play out on the ground level of our small blue-green world, and some not-so-friendly acquaintances of the Doctor's are poised to make their presence known.

Yet another winner would be my immediate assessment for this story. Things certainly get off to a flying start as we see the Doctor and Jones bantering whilst on a motorbike chased by East Germans who may well believe they have Western spies to apprehend. On a personal level to me, the Cold War will always have much resonance so I was glad to see a (brief) call-back to such times in one of Titan's ongoing comic book lines.

Furthermore, this latest designated team of creative talents on the Eleventh Doctor line do a great job, and make Conversion a fine 'jumping on ' point for those unfamiliar with either this series or Titan Comics various output in general.

Warren Pleece  was last involved with the two-parter storyline of Issues 7 and 8. While not working for this title a number of months he seems to have gone away and acquired more insight into the very quirky (but enthralling) style that Doctor Who is meant to have. I found his panels showing the bike/helicopter chase a great 'grab' at the start. Also the later sections with the Roman soldiers and the melting TARDIS control room shone brightly as examples of how to tell an action story with real purpose and thematic depth to it.

There is a barnstorming cliffhanger to bridge into issue 13, tying in with the story's title and featuring a race of foes that the Doctor may ever so slightly tire of given his long-term association with them.

With much adherence to the Matt Smith era's style clearly evident, this effort builds further on the strong televisual foundations, due to the huge scope afforded by the comic book medium.  By this point I have come to expect writer Rob Williams to produce gold for the huge extended universe that is this franchise. His choice of giving Romans a part in proceedings is also fitting given their memorable role in the Series 5 finale The Pandorica Opens / The Big Bang.

A lot of set-up is done in this issue, and is successful; making us care for the rather hapless tin-plated soldiers who may wield a sword well enough, but could never grasp the basics of machine gun or space ray weaponry. How the Entity will make the returning monsters for this new storyline operate in a different fashion to before remains to be seen. Given the previously clever use of twists and 'added spice' to well worn tropes in earlier stories for this TARDIS crew, I except very good things.

Bonus Humour Strip:

Marc Ellerby is a consistently sparky writer month-in month-out. Here he produces a fun one page work focusing on a game of football at Leadworth. Bow-Ties For Goal Posts features just the Doctor and Rory this time round, with a brief reference to River Song.  I did find the lack of knowledge by the Doctor of this far-reaching sport a little odd, especially given his direct use of a football several times on TV (e.g. with Craig in The Lodger) . Perhaps he was coming of a draining recent adventure and his considerable set of memories was clouded briefly? But a cleverly done X-Men reference more than makes up for this. 

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