( poll )
And yes, I will probably do one about the audios next.
- Mood:
curious
Anyway, as before, going in order of decreasing consensus by Doctor.
( Ninth Doctor: The Empty Child / The Doctor Dances )
( Fifth Doctor: The Caves of Androzani )
( First Doctor: The Dalek Invasion of Earth )
( Sixth Doctor: Revelation of the Daleks )
( Seventh Doctor: Remembrance of the Daleks )
( Fourth Doctor: Genesis of the Daleks )
( Second Doctor: The Mind Robber )
( Third Doctor: Inferno )
( Tenth Doctor: Blink )
( Eighth Doctor: Err, yes. )
So that's it. Thanks for playing, and I shall probably do the same this time next year or thereabouts.
( 5) Doctor Who and the Visitation, by Eric Saward - better than expected )
( 6) Doctor Who - Arc of Infinity, by Terrance Dicks - standard stuff )
( 7) Doctor Who - Snakedance, by Terrance Dicks - standard stuff )
( 8) Doctor Who - Mawdryn Undead, by Peter Grimwade - better than I expected )
( 9) Doctor Who - Terminus, by John Lydecker - the best of this bunch )
( 10) Doctor Who - Enlightenment, by Barbara Clegg - starts well, ends with a whimper )
( 11) Doctor Who - The King's Demons, by Terence Dudley - the least impressive of this bunch )
( 12) Doctor Who - The Five Doctors, by Terrance Dicks - a guilty pleasure )
This brings me to the end of Nyssa's run on the show. As with a lot of the brainier companions, she doesn't transfer particularly memorably to the printed page. Although she does bring with her a tragic back-story, losing first her father and then her whole homeworld, this fades more and more into the background as time goes on. Having said that, there are a couple of stories - eg Black Orchid, Terminus - where she is pretty central to the action and this works well.
Nyssa of course continues to feature on Fifth Doctor audios from time to time, including on several of the best Big Finish stories - The Mutant Phase (with Daleks), Primeval (a sort of prequel to The Keeper of Traken), The Game (which brings back William Russell rather gloriously) and two particular favourites, Creatures of Beauty (which has a very unusual format but none the less works) and most of all Spare Parts (the origin of the Cybermen). Any or all of these would be a decent jumping off point to get into Big Finish, if you haven't already done so.
( Fifth Doctor: Time Flight )
( Second Doctor: The Underwater Menace )
( Ninth Doctor: The Long Game )
( Sixth Doctor: Timelash )
( Seventh Doctor: Time and the Rani )
( Third Doctor: The Mutants )
( Tenth Doctor: tie between Love & Monsters and Fear Her )
( Eighth Doctor: what do you think? )
( First Doctor: tie between The Chase and The Gunfighters )
( Fourth Doctor: The Horns of Nimon )
Thus is revealed the accumulated weight of Livejournal. I am in line with the majority on only three of the nine where there is a serious contest;
![[info]](http://p-stat.livejournal.com/img/userinfo.gif){kind=small}
blue_condition, whose debate with me sparked this, does rather better. So basically, Pete wins the argument.blue_condition and myself, I must ask the following questions:( which is the worst story of each Doctor? )
( 17) Doctor Who - The Smugglers, by Terrance Dicks )
( 18) Doctor Who and the Tenth Planet, by Gerry Davis )
So, that's it for the First Doctor novelisations. The best ones are David Whitaker's original Doctor Who and the Daleks, Ian Marter's Doctor Who - The Rescue and Donald Cotton's Doctor Who - The Romans, with honorable mentions to the other four by those three authors, John Lucarotti's Doctor Who - Marco Polo and the three Dalek novelisations by John Peel. None of them is quite the real thing though: Hartnell's performance was so strongly visual that it is impossible to catch on the printed page. The only way to really get a flavour of early Who is to watch it.
On to the Troughton era now...
( 13) Doctor Who - The Myth Makers, by Donald Cotton )
( 14) Doctor Who - Mission to the Unknown, by John Peel )
( 15) Doctor Who - The Mutation of Time, by John Peel )
I'd recommend all three of these. Next for me, since I've already read the Dodo novelisations, is Doctor Who - The Smugglers.
( 9) Doctor Who - The Space Museum, by Glyn Jones: not particularly impressive )
( 10) Doctor Who - The Chase, by John Peel: a good novel based on a less good story )
( 11) Doctor Who - The Time Meddler, by Nigel Robinson: better than I feared )
I've already read Doctor Who - Galaxy Four so next are the intermingled narratives of the Myth Makers and the Daleks' Master Plan.
4) Doctor Who and the Crusaders, by David Whitaker
These were the other two Doctor Who books published in the 1960s, after the initial success of Whitaker's Doctor Who in an Exciting Adventure with the Daleks. Both feature Hartnell's First Doctor with original companions Ian and Barbara, and relatively new girl Vicki.
( Doctor Who and the Zarbi )
( Doctor Who and the Crusaders )
I had been looking forward to this one, famed as one of the best Doctor Who novelisations, and I was not disappointed. Cotton has recast the narrative of Dennis Spooner's TV script into epistolary/diary form: letters from Ian Chesterton to his headmaster, the Doctor's own diary, letters from Ascalis the assassin and Locusta the poisoner, and contributions also from Barbara, the Emperor Nero, and Nero's wife Poppæa (but not Vicki); the whole thing framed in a covering note by Tacitus (obviously written several decades later). Eye of Heaven, the best of the spinoff novels featuring Leela, also featured multiple first-person viewpoints, and I've read first-person narratives in other First Doctor stories (here, here, and partly here), but this is the only case of the whole thing being ostensibly done from written records (the Doctor having compiled everything and then left it behind in the villa for the archivists to discover).
Admittedly, as an actual story it's no great shakes, and purists will be disappointed that we lose a lot of the funny lines from the TV version and one of its major comic elements (the two pairs of time travellers not actually meeting each other in their wanderings). But the whole thing is done for language and laughs; it's meant to be fun, and it is fun, and that's all you can really ask.
I wasn't overwhelmed with the only other Paul Leonard DW book I'd read, but I must say this one really grabbed me. Jon Pertwee's Doctor used to tell us that "Klokleda partha menin klatch" meant "Close your eyes, my darling - well, three of them at least" (see here, at about 1:20 in). Here Paul Leonard has taken that throwaway line and constructed one of the best alien cultures I've ever read around it; reminiscent a little of both the pentagonal creatures of At the Mountains of Madness (though a lot less evil) and David Brin's Alvin the Hoon, but faced with an imminent world-destroying tragedy - this is Venus of several billion years ago, still habitable though steadily deteriorating. It's set immediately after The Dalek Invasion of Earth and before The Rescue, so the Doctor is here with Ian and Barbara but no younger female companion. Leonard, like most writers, cannot write Hartnell's Doctor especially well, but the story and the setting more than compensate. An unexpected pleasure.
42) Doctor Who and the Dalek Invasion of Earth, by Terrance Dicks
Two quite different Terrance Dicks novelisations here. Doctor Who - Planet of Giants was literally the last First Doctor story to see print, in 1990; Doctor Who and the Dalek Invasion of Earth was from much earlier in the sequence of publication, in 1977. In fact they are respectively the last and the first Dicks novelisations of Hartnell stories.
I’m slightly surprised to report that Doctor Who - Planet of Giants is the better novel, perhaps because it had only three episodes on TV rather than six and therefore Dicks has had to pad rather than summarise; and his own powers of invention, once brought to bear, are helpful. We do miss out on the broadcast story’s key selling point, the visual special effects of the Doctor and company miniaturised to an inch in height, but the plot as a whole does hang together, though fans of Barbara will (as usual) complain that Dicks doesn’t do her character much justice. And once again, as with Doctor Who and an Unearthly Child, Dicks finishes by telling us that the Daleks are out there waiting to start the next adventure which is a bit tedious second time round..
Doctor Who and the Dalek Invasion of Earth leans a bit on the Peter Cushing film as well as on the originally broadcast story. Its most remarkable innovation, and improvement on the screen version, is the Daleks’ pet monster, the Slyther, which is much more terrifying on the page. But unfortunately a lot of the good bits of the TV story – the desperate chase across a deserted London in episode 3, and even the Doctor’s farewell to Susan at the end – are truncated and lose their effect. It’s still a good story but this comes across rather in spite of than because of Dicks’ efforts.
I’ve already read Doctor Who - The Rescue – probably Ian Marter’s best book – so will head for Doctor Who - The Romans by way of Venusian Lullaby.
The Council of Nicæa is a relatively short audio play in the Big Finish range, by Caroline Symcox (who I last saw at MeCon). It brings the Peter Davison's Fifth Doctor, his TV companion Peri Brown and new audio companion Erimem to the year 325 and the theological disputes over the nature of God at the eponymous Council. Supporting characters from history are the Emperor Constantine, his wife Fausta, and the competing theologians Athanasius and Arius.
The Witch Hunters, by Steve Lyons, is an early one of the BBC's Past Doctor Adventures, set pretty firmly in TV chronology between The Sensorites and The Reign of Terror, bringing the First Doctor with companions Ian, Susan and Barbara to the village of Salem in Massachusetts in 1692, just in time for the infamous witch trials.
Both are stories in which there is no sfnal element in the historical context apart from the Doctor and his companions, and thus are very much rooted in the early traditions of the show. Both stories are a kind of response in Who terms to other writers - Symcox reacting against J. N. O. Kelly’s Early Christian Doctrines, Lyons more favourably to Arthur Miller's The Crucible. Both of them feature a historical context where, essentially, the bad guys are the mainstream authority Christians and the listener/reader is invited to sympathise with the underdog (Arius and his followers/the accused "witches"). In both cases, the youngest of the Tardis crew (Erimem/Susan) is instrumental in trying to change history in the favour of the underdogs, in both cases (and this is hardly a spoiler) unsuccessfully.
Symcox takes more liberties with the setting (Arius is portrayed as a young man and Athanasius as somewhat older; in fact the reverse was the case), as she is writing a more standard Doctor Who story and also has less time to do it in (less than 100 minutes, compared to Lyons' 282 pages). As often with Who, the Doctor gains the confidence of the authorities rather implausibly rapidly, which then of course accelerates the amount of trouble he and his friends get into. The two key elements of the story are the didactic part, informing the average listener who is (safely) assumed to know very little of the Council of Nicæa, and the character development of Erimem, who sides with Arius partly out of national solidarity (Arius was from Alexandria, Erimem is an ancient Egyptian pricess) but more out of a sense of fair play. She pleads that because 325 is her future, she should not be accused of trying to change the past. It all worked rather well for me, certainly much better than The Church and the Crown, an earlier audio with a similar concept except that the Doctor intervenes to force history into our timeline.
Lyons makes the reader work harder; he has more characters to follow (not just four in the Tardis crew instead of three, but a large chunk of the population of Salem) and more background knowledge is assumed. He is also sticking closer to the historical sequence of events, though The Crucible is explicitly referenced, with the Doctor and crew taking in the first performance in Bristol in 1954, and the Doctor then returning with Rebecca Nurse to take it in again. Actually Lyons handles the possibility of changing history a bit less convincingly than Symcox, with even the Doctor rather un-Doctorishly seduced by the possibility of intervening to save lives. He also requires the Tardis to operate rather more accurately than we saw at this stage of the show's history. Balanced against this, there are a lot of pleasing references to the first few television stories. The narrative has its own drama, which carries the book in the end, but the Tardis crew rather end up with the roles of Rosencrantz and Guildenstern.
Anyway, I found it interesting to compare and contrast between the two approaches - same basic idea, but different format and different details.
I was deeply underwhelmed by the TV version of this story, which fights off strong competition from The Web Planet to be probably the worst Hartnell adventure. Curiously, Nigel Robinson actually manages to smooth over the most awful bits of the narrative - the poor acting of the human characters, the poor characterisation of the non-humans - to the point where one feels that there is actually a decent sf tale in there somewhere, trying desperately to get out. Unfortunately the attempt is doomed to failure because of Robinson's plonkingly awful prose style. Some day some keen fan will do a version of this - the Sensorites as they should have been written. Meantime this book is only for completists.
I've already read the next book in sequence, Doctor Who - The Reign of Terror, one of Ian Marter's better efforts, so it's on to Terrance Dicks and Doctor Who - Planet of Giants next. Though I may stop off via The Witch Hunters.
( 33) Doctor Who - Marco Polo: Lucarotti's best novelisation )
( 34) Doctor Who and the Keys of Marinus: Uneven but a decent effort )
I've already read Doctor Who - The Aztecs, so next up is Doctor Who - The Sensorites. Next week.
Robinson has taken a two-episode story and padded it out with some interesting new material of Ian and Barbara exploring the depths of the Tardis. Unfortunately, Robinson's own prose style is thunderously bad in places. For completists only.
There was a time when this was literally the only Doctor Who book in existence (under its excellent original 1964 title of Doctor Who in an Exciting Adventure with the Daleks); indeed it was the only commercially available representation of any Doctor Who story, in those days long before video-recorders (let alone DVDs). So we have Whitaker taking much greater liberty with Terry Nation's TV script than almost any other novelisation (John Lucarotti's treatment of The Massacre differs even more from the story as broadcast, but he was reverting back to his own original script).
And the result is quite possibly the best of the novelisations, judged as a novel. The opening of the story is comprehensively rewritten, Ian being an unemployed research scientist who accidentally encounters Barbara, who has been tutoring the mysterious Susan, and gets involved with the Doctor and his Tardis. So much time is invested - wisely - in setting the scene that we are a third of the way through the book before we reach the equivalent point to the end of the TV story's first episode (out of seven).
The biggest novelty, for those of us who have read almost any of the subsequent hundreds of Who books, is that the whole story is told in the first person, from Ian's point of view. (It's not unknown in later Who literature, but it is very unusual.) This does require a certain amount of narrative juggling, but Whitaker gets away with it better than I remembered from when I first read this, three decades ago.
Today's generation of fans will squee at the pronounced sexual tension in the Ian/Barbara relationship here - the TV story has Barbara close to flirting with Ganatus, one of the Thals, but he barely gets to look at her on the printed page. Poor Susan rather fades into the background as well after she has done her mercy run to the forest. The characterisation of the Doctor is much more harsh and edgy than Hartnell's depiction; since Whitaker was the story editor, perhaps this was what he had originally in mind? (A possibility supported by the surviving first cut of the first ever episode.)
And the Daleks themselves are pretty memorable here, though Whitaker seems a bit confused about their size - three feet high at one point, four foot six at another, though the illustrations are of our "normal" sized pepperpots. However, this confusion is compensated for by the glorious description of the mutants within the metal casings, and their glass-enclosed leader. The TV show has never managed such memorable presentations of the creatures inside, though it has occasionally tried. (The versions encountered by the Ninth Doctor come closest.)
Anyway, this is an excellent read, well worth hunting down.
Why yes, I am planning to (re-)read all the Doctor Who novelisations. They are mostly such a quick read that they just about fill a leg of my daily commute.
This is the novel version of the very first Doctor Who story, as broadcast in 1963. But the novel was not published until shortly before the story was shown again as part of the 1981 repeat season of the Five Faces of Doctor Who, so it ties much more into the continuity of the publication of dozens of Target novelisations of Who stories by the early 80s than into the TV programme's internal chronology starting on 23 November 1963. In fact, we already had a hard-copy version of the origins of Who in the form of David Whitaker's Doctor Who in an Exciting Adventure With the Daleks, so Dicks was in the peculiar position of writing the story over again, of making the weirdness and newness of the 1963 story both accessible and intriguing to the 1981 fan.
Anyway, he largely succeeds. We have a bit more background to fill out both the first quarter of the book, set in a contemporary London school, and the rest, set in a stone age environment; indeed, Dicks fills out both settings perfectly satisfactorily. If you are looking for a good entry point to the Doctor Who novelisations, this is entirely characteristic and appropriate. (Fans of Barbara will rightly assert that their heroine comes over rather girly, but this is a common Terrance Dicks problem with assertive female characters.)
Of course, the story's main importance is as a gateway for things to come, and Dicks does really well in his last couple of paragraphs, when the travellers have once again landed on an unfamiliar planet:
The Doctor was about to meet the creatures who were destined to become his greatest enemies.That, if nothing else, would make you want to read the next books in the sequence.
Out there on Skaro, the Daleks were waiting for him.
This was the first of the run of Doctor Who novellas published by Telos, set immediately before the events of the first TV series, in London in early 1963. It's written in diary form, with Susan, the Doctor's granddaughter, as the narrator. She and her grandfather are exiles from their home planet, and can't quite remember why; as she tries to fit in at school, she comes top in Maths and Science, but loses out in Geography as she can't remember what the various cities and countries are called this century.
As typical with Telos there is an irritatingly self-congratulatory blurb (this time by Justin Richards) detailing just how wonderful this particular novella is. However, in this case it is close to being justified. For one thing, Newman gives Susan her own voice - in the series, she was rather the archetype of the screaming girl companion, to the dismay of Carole Anne Ford who had taken the role believing that she would have alien kung-fu type skills and whose favourite memory is when she turned violent in The Edge of Destruction. Newman's Susan isn't Buffy - apart from lacking physical fighting skills, she is less lucky in her choice of friends - but she is her own person, plaing not just at being grownup like her friends but also at being human - and it all makes sense.
Newman's other success is that his First Doctor comes closer than any other written version I have seen to capturing the essence of Hartnell's performance. This is helped by the first-person narrative from Susan's point of view: her grandfather is familiar but not central for most of the story. He catches the alienness of the Doctor's motivation and manner very well.
The actual story hardly matters in all of this, but the plot of a monster based on Cold, awakened by drilling experiments and taking over the earth starting with London, is true to many a Who story and also to the horror tradition which Newman is rooted in, so he does it pretty confidently. There are of course pleasing nods to continuity: Ian and Barbara are glimpsed on a date at the cinema, there is a hint that Susan's own people may be sending a man with a beard after her and her grandfather, and more subtly her friends at school are John and Gillian (probably most Telos readers are sufficiently up in obscure Who lore to get that particular in-joke).
Anyway, based on this, one would be encouraged to get the rest of the series of Telos novellas. Unfortunately, I have read two of the others and they don't come up to the same mark (one of them is definitely the worst Who fiction I have read in hard copy). Still, it was a good start.
( Mother Russia: Steven tells a story of the First Doctor in Napoleonic times )
( Helicon Prime: Jamie and the Second Doctor on holiday, solve a mystery )
( Old Soldiers: Brigadier recounts a German adventure with the Third Doctor )
( The Catalyst: Leela and the Fourth Doctor in Edwardian times )
So, try the first of these, and if you like it, experiment with the rest; good performances from the key actors, not so sure about the story in some cases.
I'd been wanting to see this since reading about it in Ciaran Carson's The Star Factory, for purely personal interest reasons - the setting in Belfast, the connection with Doctor Who - but it really is a brilliant film in its own right. Even though you pretty much know what is going to happen right from the very beginning - terrorist bank raid goes wrong, the wounded leader staggers around the city pursued by friend and foe alike - the tension is maintained throughout. James Mason is superb as the central character, suffering angst and flashbacks, inspiring loyalty and love; and the whole thing is beautifully directed with great background music.
The approach to Belfast is ... peculiar. The film starts with a fantastic establishment shot from the air, coming in over the Lagan and zooming in on the Albert Clock and High Street (also the setting of the climax); but at one point we see the police inspecting a map of a completely fictional unnamed city on the edge of the fictional Fernagh Lough. However the trams in this city clearly go up the Falls Road! And while most of the adult actors seem to have southern Irish accents (basically because they were recruited from the Abbey Theatre in Dublin) the extras are definitely from Belfast - there's a beautiful scene with a dozen kids who the BBC was trying to track down recently.
And there's William Hartnell - only in two scenes, as Mr Fancy, the barman in charge of the "Four Winds" saloon (clearly based on The Crown, but equally clearly a studio set rather than the real thing), and sixteen years away from becoming Doctor Who: he none the less has a couple of very characteristic moments. His second scene has been Youtubed here and here: look at the way his eyes are moving about 1:25 into the first clip - we've certainly seen that before! - and listen his rant for the first half-minute of the second clip - very Doctor-ish until he uses the unnervingly colloquial word "quid"!
Anyway, a good start to the year's viewing.
( William Hartnell: First Doctor, 1963-1966 )
( Patrick Troughton: Second Doctor, 1966-1969 )
( Jon Pertwee: Third Doctor, 1970-1974 )
I think it will be a while before I do another post like this!
I think it's a brilliant run of stories. The First Doctor, having shed the original Tardis crew, settles down to being a strange cosmic wizard, with a slightly contemptuous and hobbyist attitude to technology and science, and a vigorous sense of ethics and morality. Peter Purves as Stephen plays straight man and action man, often tactlessly reminding the Doctor that he has no control over where the Tardis lands. There are no less than four female companions - Vicki (married off), Katarina (sucked into outer space), Sara Kingdom (the best of the four, who gets aged into dust at the end of The Daleks' Master Plan) and Dodo Chaplet (of whom I have written before). Nicholas Courtney makes his first Doctor Who appearance as Bret Vyon (and also ends up getting shot). And there are three particularly memorable villains: Mavic Chen, the Guardian of the Solar System who betrays humanity to the Daleks; the mysterious Celestial Toymaker; and, if only briefly, the Meddling Monk.
It's a tremendously varied set of stories too: three (or four) more or less straight sf, three historicals (two played mainly for laughs, the third a tragic drama) and the experimental format of The Celestial Toymaker. And having said that the Doctor's character has settled down, in fact we have a lot of experimentation with his own role: the first episode in this run, Mission to the Unknown, does not feature the Doctor or his companions at all; in the last of the stories, he contaminates the main villain with his life essence to turn him into a reflection of his own character; in between, he spends several episodes invisible (we also encounter not one but two races of invisible aliens), and, most notoriously, he breaks the fourth wall to wish the audience at home a merry Christmas. (A more minor point of formatting: The Savages was the first story not to have individual titles for each episode.)
The sequence is surprisingly bleak in places. The portrayal of future human society is not very positive - Mavic Chen is a combination of Tito and Franco, perhaps, with no democratic underpinnings, while the humans of The Ark survive by enslaving the Monoids (who then turn on them) and Jano and his colleagues are supporting their utopia by vampirically leeching off their own kind. Two female companions die horribly. All three historical stories end in mass killings (the sack of Troy, the eponymous St Bartholomew's Day Massacre, and the shootout at the OK Corral). But The Myth Makers and The Gunfighters, and the Christmas and New Year episodes of The Daleks' Master Plan, are basically comic, and though it's not to everyone's tastes I find it works for me. (The twentieth century appears basically as comic relief in The Daleks' Master Plan, and briefly at the end of The Massacre to introduce Dodo; the first real contemporary story was The War Machines.)
With audio, the listener is left to imagine the visuals, and given the way in which special effects technology has moved on in the last 40 years this is probably just as well (perhaps most true of The Celestial Toymaker, whose one surviving episode is visually rather dull). The various Daleks, other aliens and humans of The Daleks' Master Plan sound particularly memorable. That is also the story with the best sound effects, with various jungly noises for the planet Kembel, and the sinister throb of the Time Destructor. But the two final stories of the sequence are musically quite remarkable: the narrative of The Gunfighters is framed in a ballad performed by an off-screen narrator (not everyone likes this but it is one of my guilty pleasures), and Raymond Jones' electronic incidental music for The Savages is innovative and memorable.
Anyway, I've written each of these up separately before, but it was interesting to put them all together and listen in the sequence first intended (especially to separate Mission to the Unknown from The Daleks' Master Plan by the four episodes of The Myth Makers). It is surely the most diverse season the show has ever had, in terms of setting and tone. Perhaps none of the stories is individually as strong as the greatest of the Tom Baker/Philip Hinchcliffe/Robert Holmes years, but taken as a whole it's one of the best sequences of classic Who.
150 pages of interviews with people who had been involved with the making of Doctor Who in the 1960s. Some are more enlightening than others - the most interesting (slightly to my surprise) are the reflections of designers Barry Newbery, Raymond Cusick and John Wood. I wished others had been a bit more probing, especially since, sadly, many of the interviewees are no longer available. Only two actors are included - Anneke Wills and Peter Purves. Most of Dennis Spooner's anecdotes are disproved by the footnotes. A useful resource for fans of this period of Doctor Who, but not really a casual read for people not already familiar with the subject matter.
( The Tenth Planet )
( The Gunfighters )
( The Dominators )