The first thing I think anyone who is attempting to review this story is bash your head against your desk at the prospect of having to add anything of consequence to one of Paul Clarke’s stupefyingly comprehensive reviews. So I will take an alternate track and approach it from an entirely different angle. However, I still think it’s really good.

I experienced the story from the audio soundtrack on mp3, the version narrated by Frazer Hines, who I would never have recognized since I only know his work from Doctor Who. This is why the only voice I can associate with him is that thickly overdone Scottish accent. I suspect this weirdness is shared by the rest of you whose Frazer experience is limited. Viewed in conjunction with the slide shows of the story on the BBC website, as well as an active imagination, is almost as good as bringing a VCR back to 1967 and taping the story as it was broadcast. If only TARDISes were more readily available to the Doctor Who fandom. 

As a side note, I expect most of the TARDIS travellers would ignore the salvation of the missing shows and instead a legion of horny high school fans would descend upon young Deborah Watling in whatever ways their own active imaginations could muster. But anyway . . . 

Characterization of everyone involved in this story, from the regulars and major guests (Edward Waterfield and Maxtible), to the bit players (Molly the maid, Kemel the wrestler, Perry the antiques dealer) is superb. The plot is intricate, and nothing ever feels like the filler that is almost necessary for seven episodes, simply because there are no moments without purpose. The first episode is probably most likely to be labelled filler, which I think is undeserved for the following reason.

The plot of Evil of the Daleks is a strategy game played by the Doctor and the Emperor Dalek. The Emperor aims at the destruction of humanity, and the Doctor aims at the destruction of the Daleks. These seven episodes are a game of chess with the fate of two species hanging in the balance. The suspense comes not only from watching these brilliantly portrayed characters, but from watching the different levels of this battle of wits unfold, plus the strange joy that both these master manipulators get from putting their schemes in action. 

Thinking of the plot in these terms, the Doctor’s detective work in the twentieth century is the start of the game. The Emperor has taken advantage of Waterfield and Maxtible’s time travel experiments, set up his Daleks in the mansion, and is using Waterfield as a pawn to lure the Doctor into their trap. And the Doctor waltzes into danger without even realizing it. So begins the Doctor’s manipulations of the Daleks. He learns their plan to isolate the Human Factor, but he understands what it will do to the Daleks when it is introduced. 

At the start of episode six, when the humanized Daleks first speak, the Doctor sees his plan coming to fruition. The Daleks have sown their own destruction by introducing the ability to question orders to their race. One of the first things the Doctor said when he discovered the Daleks had lured him to 1866 for the experiments was “I will not be your slave!” The Daleks treat their human captives as slaves. During the behavioural experiments on Jamie, Victoria is paraded about as bait and expected to obey without question. When Arthur Terrall, Maxtible’s prospective son-in-law, is fully enslaved to his Dalek control device, he bullies everyone around him into obeying him. He dominates by making people his slaves. And what phrase do the Daleks say more often even than “Exterminate” in this story? “You will obey.”

When Edward Waterfield comes to rescue the Doctor from the Dalek capital, crumbling in flames of civil war between the slave Daleks and the free – humanized – Daleks, the Doctor is inspiring one last group of the humanized to rebel and fight the Emperor for their lives. As the Daleks disappear down the corridor and Waterfield begs the Doctor to leave, what response does he get? “That’s all right. I’m finished.” This was his checkmate over the Emperor Dalek. 

Sylvester McCoy’s Doctor has the reputation as the grand schemer, the manipulative one for whom even his best friends are pieces in a strategy game. But Patrick Troughton here gambles with his friends’ lives just as much as McCoy did in the darkest of the New Adventures. In fact, his deviousness comes out even more in Evil of the Daleks, as we can see the plan forming from the start, then marching almost inevitably to the conclusion: the total destruction of an entire species. And what was the foundation of the Doctor’s plot? The essential part of the human spirit that questions, that will not obey. Maxtible dies at the end of the story, blown to bits with the Dalek city, but he really died when he was implanted with the Dalek Factor, when he lost his individuality. I find it quite appropriate that the Doctor defeated his greatest enemies, formless blobs in tanks indistinguishable from each other, with the spirit of rebellion. That was the spirit that motivates the Doctor from the start. 

Evil of the Daleks has wonderfully drawn characters. Its script and plot is fast-paced and engrossing even over seven episodes – three hours in one sitting. At the centre of it all, it is impossible to take your eyes (or ears) off the Doctor, so phenomenal is Troughton’s performance and so complex does his character appear here. It has a thematic depth that can be inspiring. All these factors make Evil of the Daleks one of the greatest Doctor Who stories of all time, no matter what form it may take.

As I write this there is much discussion on the new character of the ninth Doctor. My mind goes back, however, to my reaction to the first regeneration. Others have asked the question as to what the appearance of the second Doctor would have had on them had they seen it at the time, rather than with hindsight. In a word my reaction at the time was one of complete confusion.

The Tenth Planet led us to believe the Doctor was not well, but what was the change that we saw? How could a man change? I had nothing to suggest that the Doctor was not human - he was simply an old man with a time machine who knew a great deal. Today we look back on elements in the first Doctor's era and try to identify those that identify him as alien, but nothing had made me think so at the time of the regeneration. 

Ben's doubts spoke for me. Polly's acceptance of the change seemed irrational. However, if what I was watching was not the Doctor, then what the hell was I watching? The new Doctor's behaviour did not endear (though now the second Doctor remains my favourite). The Doctor simply does not behave as he did. Where was the gravitas?

My confusion remained. However, the appearance of the Daleks soon kept me hooked. Along with Ben and Polly it was the recognition of the Doctor by the Daleks themselves that confirmed for me that this must be the Doctor.

Looking back now the regeneration was genius. I do not simply mean the idea - but also its portrayal. We were not given an explanation. To have the Doctor change without any real justification was risky and, at the time, left me with questions I wanted answers to and these were denied to me. Getting a new body for one that was wearing out was not an explanation. Did my confusion detract from the story? At first, possibly, but Daleks put most things into the shade. In hindsight the lack of information increased the mystery and led us slowly on the path that led us to the War Games and the slow drip of information after that.

At this distance my memories of the Troughton era vary. However, the striking effect of the regeneration was so strong that it remains as clear as any. If the way that the regeneration was handled was meant to make an impression, it certainly worked. Who knows, if we had been given an explanation, maybe I would have accepted it easily and allowed the memories to fade. Thank goodness we weren't and they haven't!

One of the greatly underrated stories that populate Doctor Who's archives. Why? It's a matter of defying expectations. Of course, now people lap it all up, with Russel T. Davies being congratulated galore for setting up an action-packed adventure about an exploding nuclear power plant, and delivering a soppy moralising sermon against the death sentence. Back, then, however, this behaviour was clearly frowned upon.

This is the second-last part of the mirthful Season 16, remembered for rampant whimsy and a general "Boy's Own" mentality. Furthermore, it is scripted by Robert Holmes, who was famous for his layered, bizarre plots and his sparkling sense of humour. Holmes, however, goes completely against expectations, and delivers a simple plot, filled with gritty violence. Oh, and a big squid.

Kroll, the squid in question, is the most criticised aspect of the entire episode. Holmes famously was asked by script editor Anthony Read to include 'the largest monster ever to appear in Doctor Who', and was relucant to integrate it into his plot. It was definitely a foolish decision, to create such a massive enemy on their often painfully small budget. That said, Kroll's legendary awfulness is much exaggerated. Especially compared to the Skarasen from "Terror of the Zygons"

And, this is all nullified by the skilled dramatic tension Holmes uses in the introduction of Kroll into the story, who is handled by typical horror style, as he is surveyed by the terrified personnel of the rickety refinery.

The plot is very simple. The imperialistic Thawn (the excellent Neil McCarhty) who manages the methane refinery is looking for any excuse to massacre the indigenous Swampies on the moon of Delta Magna. He finds his excuse in the form of a visit by gun-runner Rohm-Dutt to the swampie camp, and aside from attacks by Kroll the plot really doesn't advance much further than that.

What I find appealing about this episode are the gritty portrayals of all the characters. Neil McCarthy's maniacal Thawn is nothing short of brilliant. Phillip Madoc gets less material as second-in-command Fenner, but shows the same flair he had in "The Brain of Morbius". And, finally, John Leeson get to be on camera this episode, and plays Dugeen, the one sympathetic character in the story, and does a very good job. Glyn Owen, likewise, is great as the gruff Rohm-Dutt, even though his character is underused. The rest of the cast all do good work as well.

The episode ends on an exciting note, with a genuinely unexpected Key to Time revelation, and some of Tom Baker's best eccentric behaviour. Interestingly, the episode ends on a different note. No moralising, no judgement of any of the parties. The Doctor just gets the hell out of there! In a way, it shows that imperialism cannot always be fixed.

An episode like this, in my opinion, could only be considered sub-par in a tenure as consistent as Tom Baker's. Nowhere near Holmes' best work, it is true, but mostly because here he writes in another style altogether.

‘The War Games’- my favourite ‘Doctor Who’ story.

Out of over forty years worth of ‘Who’, this is the story which in my heart of hearts I truly believe to be better than any others. It lasts for ten episodes, it features a lot of running around, it has repetitive music, bizarre cardboard glasses and some very, very dodgy looking rubber suits: all these things are used against it, but for me they help to make it what it is: the best ‘Doctor Who’ story ever.

When I first saw it, I was eleven years old. I’d seen most stories, and those that I had not seen I knew about, aside from a handful, which included this story. One day, I was off ill from school, so as a treat my Dad let me rent out a video from the local video store- this was the one I chose since I reasoned it would take me a while to watch it.

I ended up getting through it by the end of the day; from its beginning- eerie surroundings, special sequence for the titles- I was hooked. All the characters were being well acted, all the effects were looking very nice indeed, and everyone seemed to be taking it very seriously.

The comedic aspects to come were a breath of fresh air; a nice contrast to the rather haunting nature of the story, but there is no escaping the darker aspects. This is a story about war- many wars, being fought for no real reason.

When you hear the Aliens reel off the numbers of new specimens to be taken to the War Zones, it hurts because you realise that they are replacements as so many people have been needlessly killed. Likewise, when you see Carstairs get put through the Mind Wiping process, it seems cruel and sadistic- something I shall return to later…

The length of the story makes everything seem so much bigger- the story’s scope seems to be larger than most stories, and everything has an epic quality to it; the incidental music reflects this, sounding as triumphant as the story tries to be. This is a story unafraid of trying to be big and bold, and it succeeds at being so. It is, quite simply, an epic adventure.

This is a story about raising the stakes, and raising the odds against our heroes. We’ve had base-under-siege adventures where hundreds of lives are in danger; this is a story where hundreds of lives have already been lost, and it is up to the Doctor and his group of fighters to try to save everybody, and it needs a group. The Doctor, Jamie and Zoл alone are not enough: they need help; they need the resistance, and even then the resistance are desperate to grow in number.

It is here that the story has its biggest shortcoming, in that the budget simply never allows for the Resistance to seem as large as it should, but rather than let this be a bad thing, we are presented with characters who are memorable enough to make us not mind that we do not see more extras. Who cares about the rest of the Resistance when we have characters as well rounded and loveable as Russell?

This is a story about running: the heroes run from place to place, time zone to time zone but time is running out, and you cannot keep running forever- you have to stop eventually. This is a story about stopping.

Of course, this is also the story that introduces us to the Time Lords, and despite how much I love what Robert Holmes did to them in ‘The Deadly Assassin’, I would firmly argue that they were never better than they are here because, everybody, for one night only, you can see why the Doctor fled his home planet.

The story is too big, the adventure is too over-whelming, and for once the Doctor cannot stop it- cue Time Lords.

Episode 10 of ‘The War Games’ is where ‘Doctor Who’ as a show changes forever. It starts off a tad ropey- attack of the stock footage!- but even this is fun, and more than forgivable given what is coming up. The trial of the Aliens is tense, a neat contrast from the fleeing of the Doctor we have just seen: from something so full of movement we are now presented with something so static.

This is where the parallels begin too. We have the War Lord’s trial reflected in the Doctor’s; we have the dispatch of the War Lord and the Aliens- death by dematerialisation- drawing parallels with what the Aliens themselves were doing: taking human ‘specimens’ and removing them from time forever; most horrifying of all, we have the mind wiping of Jamie and Zoл.

As mentioned earlier, when this happens before, the process horrifies us and that was when it happened to a supporting character. Now it happens to two regulars, it is too much to bear. You know something bad is going to happen- you can see it all in Patrick Troughton’s expressions; you hear that both Zoл and Jamie are safe, but it’s not enough; however it is only when the Time Lords both sentence the doctor to exile and force him to regenerate that the penny, as it were, finally drops: the Time Lords are no better than the Aliens.

The sentence imposed upon the Doctor is harsh and brutal- loss of two friends, loss of freedom and loss of identity. No wonder he fled whilst he still had the chance.

I could go on all day- there are bits I haven’t even mentioned: the absolutely terrific characters that are War Chief and the Security Chief, which are both superbly written and fantastically acted; I could mention the brilliant use of defamiliarisation- making the everyday object that is a pair of glasses seem so scary; I could go on at length about how this is the first time in ‘Doctor Who’ that you really, really care about the love lives of the supporting characters, namely Carstairs and Lady Jennifer. I could mention all this and more, but I have already gone on long enough.

‘The War Games’: my favourite ‘Doctor Who’ story for ever and ever and ever- I hope I’ve given a good enough reason for other people to love it as much as I do too….

‘Stop, you’re making me giddy!’

The Doctor, Jamie and Zoe find themselves in the middle of No Mans Land, in the Great War. They soon find their way to the British trench where they are welcomed and sent to HQ. At the headquarters however they find a less friendly welcome. They are soon standing trial for espionage. Things are not what they seem on the front lines.

The War Games is grand in scope. Over ten episodes we are shown the first world war, Ancient Rome, the American Civil War, the War Lords base and (apparently) Gallifrey. Over the course of the ten episodes there is remarkably little padding, the story zipping along until about halfway through, then picking up speed again for the dйnouement. The set design is fantastic, particularly at the British HQ where it seems criminal to have recorded in colour as the set looks so authentic, down to graffiti on the walls. In the technology and base of the alien War Lords too there is much innovative design, and the classic sf device of striking contrasts and kaleidoscope patterns. If the guard’s strange rubber uniforms and diving masks are a little dodgy we’ll overlook them in favour of the splendid Time capsules; suggesting the Tardis ever before the clues of the connection are planted.

Performance wise the guests vary extremely; it is not exaggerating to say that James Bree, as the Security Chief, gives an abysmal performance. The painfully stilted delivery of his lines, no doubt intended to suggest his alien nature, must take up about three episodes running time. Also not so great is Noel Coleman as General Smythe, though it may be partially due to his lines. The majority of the rest of the cast is excellent, however. Special mention should go to Rudolph Walker for an excellent turn as a confused American soldier and to David Troughton in a brief but touching cameo.

Edward Brayshaw, as the War Chief, is compelling. His performance is well judged and in his cunning – and his facial hair - he is almost a blueprint for the Master even before it is revealed that the Doctor is of his race. The scene where he and the Doctor first come face to face is a treasure. Their later scenes also play very well. It seems a pity that the actor spends most of his screen time waiting for the Security Chief to finish dripping his dialogue into the scene. Best guest artist award must go to Philip Madoc however, who is so urbanely evil and calmly vicious that he sets a new benchmark for Who baddies which possibly only he will meet. Whether reclining on top of his desk, or stood facing the judgement of the Time Lords; he is a pleasure to watch.

The regular cast themselves are present and correct. Frazer Hines and Wendy Padbury have little extra to do; even their leaving scene, sad though it is, is quite subdued. Patrick Troughton has some great grandstanding moments however, whether railing against the War Chief for his irresponsible actions, running to escape his people or getting cross when they expect him to choose a new face. Over the ten episodes you probably do get everything you love about the second Doctor, and it is a fitting farewell for him. We learn more about the character of the Doctor in the last twenty five minutes than has been revealed in the previous six years. Interesting that the explanation he offers here for leaving the Time Lords is different to the first Doctors suggestions that they were exiles, on the run. Would the first or the Second Doctor be telling a fib?

Malcolm Hulke has written here one of the most original plots the show has had, and it is a credit to his writing and the production team that the story doesn’t drag, as so many shorter ones do, and that the visuals are never less than convincingly executed. Not the best second Doctor story, but something like a greatest hits of Troughton, backed up with an original plot and some sterling performances. ‘The War Games’ is something special.

This is the first time I've felt completely undecided over the critical success of a film / television production. Whilst far from perfect, this opening episode is a quirky romp that reenergizes a previously-waning series. The seemingly relentless 45-minute format is welcome, although this suggests little consideration for character development in the near-future.

Christopher Eccleston provides what may transpire to be the most intense Doctor, although he plays second-fiddle to Billie Piper’s unexpectedly well-acted Rose – who effectively ‘saves the day’. The superficial Auton plot succeeds in introducing the protagonists, although the situations and scenarios are somewhat so-so. Camille Coduri and Noel Clarke’s respective acting leaves much to be desired. Mark Benton’s Clive and the whoisdoctorwho.co.uk site could be deemed cringe-worthy – was this aspect necessary? Likewise, some of the more self-demeaning moments: Auton Mickey’s ‘double take’ and the Auton wheelie-bin’s belch. 

The opening and closing theme is excellent homage to the Delia Derbyshire/Ron Grainer original, although Murray Gold’s incidental music is all wrong. Additionally, Russell T. Davies’ dialogue requires strengthening, although there are admittedly some chirpy one-liners. Keith Boak’s direction does the job. 

Overall, this entry radiates an underlying ‘getting on with it’ attitude, with which it succeeds, unlike the contrasting Doctor Who (1996) tele-movie – which introduced the new Doctor at about the half-way point. This new Doctor's simplistic and less dandified choice of attire emphasizes this new cutting-to-the-chase approach. The Autons are never referred to by name, suggesting that references to the past will be minimized and used only where necessary – these stories will stand on their own. The new Doctor shows promise, although Billie Piper may well threaten to upstage him [again?]. Bottom-line: he’s back…, and it’s certainly about time! – just take it lightheartedly and not too seriously.