Doctor Who - The Eleventh Doctor Adventures - Vol 6: The Malignant TruthBookmark and Share

Wednesday, 6 December 2017 - Reviewed by Damian Christie


Written by Si Spurrier & Rob Williams
Illustrated by Simon Fraser, INJ Culbard,
Gary Caldwell & Marcio Menys
Titan Books, 2016
HB ISBN: 9781785857300
SB ISBN: 9781785860935


Previously ...

The Squire is dead. Alice Obiefune is lost in the Time War, having piloted the Master's wounded
TARDIS back through the Time Lock. River Song's life hangs in the balance. And infamous Dalek Killer and bounty hunter Abslom Daak is almost certainly going to kill the Doctor for letting Alice go.
Now it's time for the Time War to give up its answers.
How was the Malignant created? Who killed the Overcaste? What great crime was the Doctor
responsible for? But will they be the answers that Alice - and the Doctor - want to hear?


The Malignant Truth is the concluding book which collects issues 11 through 15 of Titan Comics'
Second-year story arc for the Eleventh Doctor (as formerly played on TV by Matt Smith). The Doctor
has been blamed for killing the gods - or at least hyper-dimensional beings worshipped as gods - of
an entire species during the chaos of the Time War. It's a "crime" the Doctor doesn't even recall but
that's no excuse for the godless Overcaste who send bounty hunters after the Doctor, Alice and the
TARDIS, including an anomalous being known only as the Then and Now and notorious Dalek Killer
Abslom Daak.
With an extended TARDIS crew in tow - comprising an unwilling Daak (whose dead, trophy wife
Taiyin is being held hostage within the bowels of the Doctor's erratic time machine), a mysterious
elderly woman who claims she was the Doctor's squire in the Time War, River Song (who has yet
again escaped the sanctity of the Stormcage), and an Alice plagued by a string of "future memories"
of the Time War - the Eleventh Doctor establishes that he, and not the Master, may indeed have
committed the atrocity of which he is accused. This prompts Alice to steal the Master's TARDIS in a
desperate bid to break through the Time Lock and seek to prove the Doctor's innocence or stop his
wartime incarnation from committing a heinous crime.
By far the most interesting aspect of this storyline is the comic's interpretation of the Time War. The
war itself was glimpsed only briefly on TV (The Day of the Doctor) but has been portrayed in Big
Finish's War Doctor saga, in prose such as George Mann's Engines of War, and in Titan's own Four
Doctors
mini-series in 2015. Alice meets the War Doctor (as portrayed by the late, great Sir John Hurt
on TV), the younger Squire and an unexpected, dare I say "impish", version of the Master that will
astonish many readers (but could plausibly tie into Professor Yana's origins back in the 2007 episode
Utopia). A few other tropes from the Time War are also adopted within the story, including the
application of a Gallifreyan Psilent song box, another weapon from the Time Lords' arsenal, which is
very reminiscent in shape and size to the infamous Moment of The Day of the Doctor.
Alice also becomes a prisoner of the Volatix Cabal, a hitherto unknown faction of the Daleks that was hinted at in the chapter Downtime in Volume 5 (originally issue 8 of the Eleventh Doctor Year Two run) and are revealed in all their infamy here. In the Master's own words at the beginning of this volume, the Volatix Cabal are a "Dalek death cult of abominations, deliberately bred for disorder. Reviled by their own kind, tolerated only for the talent that no pure Dalek could possess. Creativity."
Certainly, in terms of style, the Cabal seemingly combine the concept of "spider Daleks" from the 1990s abortive US TV series with the covert zombified human agents that were glimpsed on TV in Asylum of the Daleks and The Time of the Doctor. But it is the Cabal's eerie, melodramatic and almost poetic dialogue and their proclivity for cannibalising the organic parts of other species (which is anathema to their regular counterparts) that makes this breed of Dalek quite sinister and creepy. Indeed, they encapsulate more of the body horror of the Tenth Planet-style Cybermen than the regular Daleks do.
In addition to the Volatix Cabal, Alice, along with the War Doctor and his colleagues, also encounters the Cyclors, the so-called "gods" of the Overcaste. Intriguingly, these "dimensional nomads" are recruited by the Volatix Cabal in a very similar fashion to the way that the enigmatic beings in Big Finish's War Doctor audio drama The Enigma Dimension are solicited by the regular Daleks.

While visually the Cyclors are well realised in the artwork, conceptually they are a disappointment. There is an implication that like the Enigma of the Big Finish drama, the Cyclors are almost naïve and immature, unskilled in the ways of the plane they are visiting. Yet unlike the Enigma, there also seems to be a malevolence and bloodthirst to the Cyclors (based on the new "sensation" the Volatix Cabal has offered them) that the book's scribes Si Spurrier and Rob Williams don't really elaborate on, aside from a throwaway line. Indeed, any threat they may pose to the War and Eleventh Doctors and their companions has all but vanished by the conclusion of the tale

In timey-wimey fashion, the story eventually returns to the "present day" as the Eleventh Doctor, with Alice's help, realises the awful truth and is virtually helpless to avert the triumphant return of the Volatix Cabal. Again, in a manner that is all too frequently criticised about the modern program by fans (especially during the Matt Smith era), key pieces seem to fall into place which enables the Doctor to seize a last-gasp victory from the almost certain jaws of defeat. At any rate, the tension and excitement that ought to be felt at this juncture in the story is lost because there is far too much exposition between the Doctor, Alice, the Squire and River Song about how they have managed to pull off the supposedly impossible victory.

 

 

For the most part, the characterisation and dialogue in this volume is consistent with the TV series.The Eleventh and War Doctors and, to a lesser extent, River Song (as portrayed by Alex Kingston on TV) are true to their on-screen personas, although River spends much of this book in stasis as she was infected by the Malignant entity in Vol 5.
The "pint-sized" version of the Master is as Machiavellian as his predecessors and successors, delighting in the moral dilemmas that the War Doctor encounters in the Time War (as it clearly makes them more alike, to the Doctor's disgust). Indeed, he's probably creepier than usual because physically and mentally he could easily be mistaken for an urchin.

What's particularly interesting about this portrayal is how much Spurrier and Williams reference Roger Delgado's Master throughout the whole Year Two story arc (rather than Anthony Ainley's version), even down to the interior of the renegade's TARDIS (which is the version first seen in The Time Monster, not the later black décor of Geoffrey Beevers' and Ainley's time machines). Perhaps this is just the authors' bias towards Delgado's incarnation, or perhaps the idea is to reinforce that despite his stature, this version of the Master still houses the sharp wit and intellect of the original (especially hinted at when Alice's time-sensitive imagination in one panel depicts the Master's original Delgado-esque features on his rascally form).
Abslom Daak's portrayal is true to the original one-dimensional character envisaged by the late Steve Moore and Steve Dillon, and is entirely predictable in his actions and motivations ("I got to smash a Dalek! I got to smash a Dalek!"). Daak's fate in this tale is entirely fitting - it gives him renewed purpose (after it seemed in Volume 5 that the disappearance of Daleks from the universe had made him redundant). Aside from inviting chuckles from the reader, the closing panel also raises the potential of a War Doctor mini-series. I suspect the pairing of the Doctor's wartime incarnation with the Dalek Killer - chalk and cheese multiplied by a factor of 10! - would be short-lived but it could make for great storytelling over five or six issues.

The true hero of the story is undoubtedly Alice who literally leaps through hell and back to prove the Doctor's innocence, little realising that she has been manipulated by the Doctor himself. ("You proved you weren't a manipulative, reckless abomination by being manipulative and reckless?" she asks him angrily when she learns the truth.) Nevertheless, Alice proves herself to be a compassionate, faithful, selfless and courageous companion, someone worthy of the Doctor's company, even if he makes her feel otherwise. There is no reason why she couldn't become one of the Doctor's most memorable comic strip companions (after the legendary Frobisher, of course!).The Cyclors look impressive on paper but are otherwise a disappointment.
The artwork in this volume is shared between INJ Culbard and Simon Fraser, with Marcio Menys and Gary Caldwel providing the colours. Comic artwork is, of course, a form of shorthand, so it's no surprise that established characters like the War Doctor seem more caricatured than some of the original characters. The artists, though, seem to struggle with capturing Matt Smith's youthful appearance; the Eleventh Doctor, particularly in the climactic scenes in the Overcaste's arena, lacks the defined features that made Matt Smith's appearance (eg the high forehead, the chin) seem so outlandish and extra-terrestrial. Fortunately, the artists provide a good rendering of Smith's features in close-up panels of the Eleventh Doctor.
The placement of Menys and Caldwel's colours are also interesting. Predominantly they use darker shades in the background with splashes of colour in the foreground. This is arguably most visible in the Time War scenes, whereby Alice's purple ensemble adds colour to the grey, drab features of the War Doctor and some of the other characters. Similarly, in the final showdown in the arena, the Doctor and his companions are of a brighter palette than their drab, grey surroundings and the Overcaste that are trying to convict them.
Overall, The Malignant Truth is an example of Doctor Who comics at their best - at least certainly within the Titan stable. Not only this volume but the entire 15-part Eleventh Doctor Year Two arc overall has been highly entertaining, creative and intriguing. Aspects of the story aren't perfect, to be sure (and some of it will no doubt be redundant after the release of BF's War Master boxset this month). It's a bold move for any comic book publisher to run an arc that is effectively 15 months long and could effectively lose readers and deter others. Yet Titan, through a great writing team and some talented artists and colourists, makes it work almost effortlessly.

Now, Titan, about that War Doctor/Dalek Killer Time War team-up ... In memory of the late Steve Moore, let's make it happen! :)


My thanks to Martin Hudecek for the opportunity to review this volume.
 





100 Illustrated AdventuresBookmark and Share

Wednesday, 22 November 2017 - Reviewed by Stephen Blenkinsop
100 Illustrated Adventures (Credit: BBC Children's Books)100 Illustrated Adventures
Hardcover: 208 pages
Age Range: 7 - 12 years
Publisher: BBC Children's Books
Published 2 Nov. 2017

The latest hardcover large-format book, 100 Illustrated Adventures, published by Puffin, highlights one hundred of the Doctor’s ‘most wonderful, jaw-dropping and eye-popping escapades’ and claims to bring these episodes to life like no other episode guide.

So does it live up to this billing?  The book is bang up to date, covering the show all the way up to the end of the 2017 series.  Most stories are given a double page spread which includes a brief episode guide on one page – the incarnation of the Doctor and his companions, first transmission dates, number of episodes and the writer, along with a very brief (around 200 words) story synopsis.  The other page is typically devoted to a related piece of artwork.  It is these, as the ‘illustrated’ in the title suggests, that are the selling point of the book.  These were gathered from the publisher’s Illustrated Adventures competition which has provided art in a variety of styles ranging from detailed pencil drawings (including some stunning portraits) to abstract representations, and from comic strip styles to children’s drawings.  These are therefore original pieces of art that you won’t have seen anywhere before, and whilst the breadth of styles means that not all the art will be to everyone’s taste they all display great talent, imagination, and creativity and show a love for the show.

The inevitable question with this sort of book – is my favorite story in?  Well probably -  If we take the DWM 2014 poll as a benchmark most of the top 100 from that list are in and you have to get to 38th in the poll to find a story not included in this book (The Daemons – sorry!) and all in all only 32 of the DWM top 100 are not included here.  The choice of stories to include may also, therefore, be an interesting point of discussion for fans.

Overall, as an episode guide this book probably works better for the newer fan than for someone who has followed the show for a long time, but as a delightful, original collection of art that shows the passion and imagination of fellow fans, it works for all.

 

Amazon Link





Doctor Who and the World of Roger Hargreaves - Official Launch EventBookmark and Share

Sunday, 23 April 2017 - Reviewed by Matt Tiley

As has been teased for some time, on Saturday 22nd April two mighty worlds clashed. Doctor Who and The Mr Men were put in a same blender and out popped.....Dr Mister....well four interpretations of four different Doctors, all set in the world first created by Roger Hargreaves back in 1971. The idea is to have a Doctor Who story in the Mr Men format, with all of it's simple shapes and colours,  and simple, broad humour, but told in a way that would appeal to both the young and of course - rather cunningly, us fans.

Doctor Who and the World of Roger Hargreaves Set One (Covers) (Credit: Penguin)The books available at the event were the four released, and I must confess that it seemed quite a random choice of Doctors to introduce into the Hargreaves world. We had Dr First (the first Doctor), Dr Fourth (the fourth - oh you get the idea!), Dr Eleventh and of course Dr Twelfth. 

To launch the series Roger's son, Adam (who has continued the much loved series of books since the death of his father Roger in 1988), was in attendance nestled among daleks and weeping angels, on the top floor of the Doctor Who Experience in Cardiff.  

So, I settled down next to a Skovox Blitzer that had defiately seen much better days, and watched the man charm an adoring audience of both young and old. I must confess to being a bit of a fan myself, as a child I was given a new Mr Man book every week, and can remember being rather proud of my little collection. (us fans and our collections eh? - nothing ever changes). 

Hargreaves took questions from both the the host of the event and from the audience while drawing Dr Twelfth for for all to see. And what an eclectic bunch we were, as well as the young, excited children were of course the fans, and they did us proud. There were cosplayers abound. Along with pretty much every incarnation of the Doctor, we had a couple of Osgoods, some Missys and even a Jamie. The cream of the crop though (in my opinion) was a young guy cosplaying as Missy in the full Edwardian dress, make up and varnished nails. He looked stunning.......and very, very tall.

Nuggets gleaned from the Q and A were that Dr Fourth was Adam's favourite to draw, as he loved the scarf and hat. He had drawn (spoilers) a Sea Devil, and took the colours of his Doctors were inspired by clothing they wore. He also divulged that the BBC has quite a bit of involvement in the stories, and the development of how the characters look. Also that the Mr Men books themselves started when Adam asked his Dad what a tickle looked like.

There was a break for lunch, during which a promotional video for the new range was shown, it was quite amusing to see cute little daleks scooting over the green hills of Hargreaves world. A sweet looking weeping angel stalking closer and closer to the camera, and a chunky little cyberman smiling cheerfully while taking pictures. The short film on a loop made me want to read the books, so it was obviously doing it's job.

Doctor Who and the World of Roger Hargreaves (Credit: Matt Tiley)When Hargreaves returned, he started signing. There were a lot of people wanting signed copies, evidently more than expected as the event over-ran slightly. The long queue for autographed copies snaked in front of a stone dalek around a brightly coloured Moffat dalek (urgh!) and all the way back to a wooden cyberman. I have to confess to having a quiet little chuckle to myself, as now and again I did notice Hargreaves give one or two puzzled and mildly concerned looks at some of the more elaborate cosplayers who were seeking his autograph. Welcome to our world sir.

By the time most of Cardiff (or so it seemed) had managed to get their books signed, we moved onto to a special video presentation. It was a reading of Dr Twelfth by none other than Missy herself, Michelle Gomez. Missy (quite rightly) featured heavily in the Dr Twelfth book. It is essentially the story of Missy stealing artefacts throughout time with the Doctor in hot pursuit, until he stops to have something to eat. It was obviously all very Doctor Who and all very Mr Men.

 

Doctor Who and the World of Roger Hargreaves: Set Two (Covers)Finally we had the big reveal - and that was the unveiling the next four entrants into this seemingly bizarre (but incredibly cute) cross over universe. There were clues given for each new Doctor who was to have the Mr Men treatment, the best by far being a road sign that simply said 'North'. The new Doctors were......Dr Second, Dr Seventh, Dr Eighth and yes, you guessed it, Dr Ninth. Dr Seventh with his cute little hat and question mark umbrella seemed to particularly suit this new range. After the announcement, a stunning looking cake was unveiled and the crowd went wild.

So, to sum up, it was a lovely afternoon, spent in the company of a very genial and patient man, who is obviously very proud and passionate about his father's brand. A brand that I'm surethat now, with the involvement of the BBC and Dr Who can only strengthen further.

As people started to disperse I made a quiet exit through the gift shop, and like the marketer's dream that I am, purchased an I.M. Foreman, Totters Yard hoodie on the way out.





The Macra Terror (AudioBook)Bookmark and Share

Sunday, 11 September 2016 - Reviewed by Martin Hudecek
Doctor Who: The Macra Terror (Credit: BBC Audio)
Written by Ian Stuart Black,
Read by Anneke Wills,

First published by Target Books in 1987,
Released by BBC Audio - 4 August 2016.
Running time: 3 hours,  5 mins

In the 24th Century, a human colony enjoy a truly enviable lifestyle in their domain, which in many ways resembles a holiday camp from yester-century. Conformity and contentment go hand in hand, as everyone serves the interests of a society that runs like clockwork and never shows anything other than a positive demeanour.

But one of their own, a bearded and fidgety man called Medok suddenly insinuates that foul creatures are taking over control. No-one wants to believe his rather alarmist claims though, at least that is until a crew of four strangers arrive out of the blue...

 

This story has grown steadily in my affections over the years as a fan of Doctor Who, and also someone interested in social science and philosophy in general. I first encountered it when it came out at the same time as The Evil Of The Daleks on dual audio cassette in 1992. 

As a child back then I would devoutly replay these releases on my portable Sony 'Walkman' when travelling somewhere new, yet I would only fully engage with David Whitaker's epic.

Macra was just a curiosity. Not even a solitary episode existed, and having the Sixth Doctor / Colin Baker as the narrator somehow felt more opaque than the definitive (especially back then) Fourth Doctor/ Tom Baker.

But over time I have realised how the Season Four finale does suffer slightly from its seven episodes, and multiple locations, even if it remains great escapism. Macra is however concise, ascends in its suspense and feeling of high stakes, and makes the most of its overall premise.

 

As of today, only The Power Of The Daleks stands head and shoulders higher over this tale, as the marquee story of a season of Doctor Who, that said 'goodbye' to one talented actor in the lead, and 'hello' to an arguably more skilful thespian. Of course now we have the news that the debut Troughton story will make a comeback of sorts in the coming months, in the form of an exciting and newly envisioned animation.

For a great story to exist in the first place, it invariably needs a very strong and confident writer. Ian Stuart Black is one of the perhaps more under-rated scribes in Who lore and should be thanked for giving the show a vital shot in the arm when it began to falter in the latter half of Season Three. Today, we only have The War Machines (essentially intact), whilst Black's other two efforts - The Savages, and this story - are lost almost entirely. All three do however deserve to be remembered fondly.

I do think Macra is the cleverest and boldest of Black's three televisual serials. The novelization here accomplishes admirably efficient world building whilst maintaining the pace of the 'snappy' four parter structure.

 

The story has much to make the readership ponder themes and philosophy. One of the more overt is the need to be sceptical and questioning over what a person is told, and how they should invariably conform. If there is not enough of this independent thought, then the individual is in danger of losing their array of senses, and to be effectively brainwashed. Each chapter has something to say about the subliminal techniques used by the story's antagonists to wield power, and this manipulation is effective primarily due to the victim' sense of being euphoric and having the perfect life.

By making Ben Jackson the most susceptible of the TARDIS crew, when normally he is the most argumentative and dominant in nature, the original TV story managed to take viewers at the time on a journey where they questioned if what they thought they knew about the show's heroes was perhaps more superficial than first thought.

There is also a very strong amount of in-depth exploration on the nature of what is acceptable in society, and what is 'eccentric' or 'insane'. The various references to insanity and to hospitalisation/medication that controls said malady are as relevant to today's social confines, where the idea of normal is so strongly prioritised, they were in the 'swinging' Sixties, when this story was conceived (and had its regrettably one-off UK transmission).

The fate of one of the key guest characters of the story is also altered. Whereas in the transmitted story this person seemed to meet an abrupt end, in this version the author was allowed to present an alternative fate, as he held the full reins as the writer of the novelization. Consequently this key player in proceedings is allowed a fully formed arc and a sense of vindication.

 

And as an audio book, this stands up rather well too. Anneke Wills does a very respectable job in showing her range of skills, as the sole member of a one person cast. Many guest actors in the original show were strong, not least Peter Jeffrey (as the 'Pilot'), who later went on to have an even better role as the more villainous Count Grendel in the Tom Baker Era. But Wills uses the rich text of the book to narrate events and characters vividly, and switches personas for the various members of the colony distinctly and with full attention to detail.

The only niggling issue I have is that whilst her Second Doctor portrayal has much of the core mercurial spirit of Patrick Troughton, the actual voice - in terms of pitch - is more akin to William Hartnell. But I must admit, this is one area that is rather easy to criticise, much like Maureen O'Brien could only gamely attempt to portray her Doctor in The Space Museum, released earlier this year. Sometimes the sheer star quality of the main man in this sci-fi/fantasy phenomenon can be a double edged sword...

 

Sound effects and musical cues are well up to the usual standard for these BBC Audio releases. Such is the strength of the core text, and the dedicated, whole-hearted presence of Anneke Wills, these supporting elements act as a nice bit of icing on the cake, rather than something to break up a potential monologue. Whether you are clued-up on classic Who like myself, or someone who has only glimpsed the Macra in the Tenth Doctor belter Gridlock, this is a great addition to your audio collection. This late summer release lives up to the legacy of the sadly missing black and white BBC production.





Doctor Who and the Sontaran Experiment (audiobook)Bookmark and Share

Thursday, 11 August 2016 - Reviewed by Matthew Kilburn
Doctor Who and The Sontaran Experiment (Credit: BBC Audio)
Written by Ian Marter
Read by Jon Culshaw
Released by BBC Audio on 7 July 2016
First published by W.H. Allen & Co. Ltd in 1978
Running time: 3 hours approx.

The Sontaran Experiment was the first two-part story to be novelized. Ian Marter’s text provided a model for others to follow, selectively expanding scenes or reimagining situations and sections of the plot in such a way that the book didn’t seem to have stretched its source material too thin in order to fill the 128 page count standard for Target in 1978. Not all his examples were followed by others, but Doctor Who and the Sontaran Experiment remains one of the most readable Target books. It’s now one of the most listenable too.

The success of Doctor Who and the Sontaran Experiment as an audiobook owes much, of course, to its reader. Jon Culshaw is a versatile and sensitive performer and shows his familiarity with the television source material. His Styr (as Marter renames Styre, slightly Germanically) has a lot of Kevin Lindsay’s bored colonial officer about it, but with an added note of cruelty to the hoarse voice in keeping with Marter’s reinterpretation of the character. The Galsec crew members turn up with South African accents present and correct, all distinctive and all from Culshaw. Sarah Jane Smith is Culshaw talking slightly more lightly and gently, and Harry Sullivan not too different from Culshaw’s narrator’s voice, respecting the relationship between the authorial voice and Harry’s viewpoint in Marter’s first two novelizations.

A good number of listeners will be curious to know how far Jon Culshaw’s fourth Doctor reflects his Tom Baker impersonation from Dead Ringers. Culshaw’s Doctor is realized more sensitively and subtly here than it was in his comedy persona, though there are still more than flashes of it every time Culshaw has to talk in pseudoscientific jargon or reminisce about constellations visited. He enjoys the dialogue which Marter adds, creating a fourth Doctor a little closer to the Tom Baker whom Ian Marter knew, crossing over fiction and reality. The Doctor’s rugby ball metaphor might have appeared on television, but certainly not his carrying around a flask of Glenlivet. We are assured, though not in precisely these words, that Styr would not have survived a night in the Colony Room with Tom and his Soho friends.

One of the great strengths of Ian Marter’s writing, at least where his first two books were concerned, was that he took the sets and locations of the television stories and created something extraordinary from them while keeping faith with his source. The Dartmoor locations of The Sontaran Experiment on television become the foundation for a gnarled postapocalyptic landscape, full of monstrous ochre reeds and brittle, black ferns atop deep ravines and cavernous labyrinths. As mentioned above Styr is developed into a dedicated sadist by Marter, who writes of how Styr enjoys putting his subjects – particularly Sarah Jane Smith – through tortures far more horrible than anything realized on television. In contrast he Styre written by Bob Baker and Dave Martin is someone who can easily be read, in the words of one of my favourite reviews, as ‘a harassed Biology student trying to complete his practical on time.’ Marter’s Styr, though, is a complex creation, a cyborg entity whose flesh is likened to plastic, seaweed, rubber and steel wool, and viewed by different characters in different ways. To Sarah, he’s a noxious reptile and a bloated, snorting pig; to Harry he’s ‘Humpty Dumpty’ and the Golem of Jewish folklore, as if spontaneously generated from the devastated Earth, though Culshaw’s short vowels will make listeners think of Tolkien’s Gollum.

There’s a lot to intrigue in the writing, particularly the hallucinating Harry’s successive threatening visions of Sarah. Perhaps Marter viewed Harry as jealous of Sarah’s relationship with the Doctor, depicted as intense and trusting with Harry too often a third wheel. However, one of the more spectacular expansions is Harry’s exploration of the Sontaran ship, a more complex vessel in the book than suggested on television, which not only allows Harry to be heroic but is read with a careful urgency by Culshaw.

Simon Power’s sound design is appropriate throughout, especially in the torture scenes which are given suitably visceral cues. At about 180 minutes this audiobook isn’t too long and writer and reader are good companions for a few hours. It’s a small but determined sidestep into a reimagined fourth Doctor era, of interest to old and new audiences and an early indication of the elasticity of Doctor Who.