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.

Writer: Nick Abadzis
Artists: Eleonara Carlini, Elena Casagrande
Colorists: Claudia SG Iannicello, Arianna Florean
​Cover: Alex Ronald
​Released: April 27th 2016, Titan Comics

In a year almost completely devoid of new doses of televised Doctor Who, there’s more pressure than ever on the likes of Big Finish and Titan Comics to deliver quality plotlines set in the same narrative continuity as the TV series, albeit via other mediums of storytelling. Thankfully though, the latter publisher already seems to have plenty of great ideas as to how to fill the void until December 25th, as evidenced by the superb first five instalments of their ongoing Tenth Doctor comic strip’s second year in action, all of which have been compiled to form the aptly-named The Tenth Doctor: Volume 4.

Sub-titled The Endless Song after the first of its three contributory tales, this compilation of graphic adventures takes David Tennant’s incarnation of Who’s eponymous Time Lord – along with Gabby Gonzalez, better known as his first Titan-exclusive companion – from alien worlds fuelled by enchanting melodies back to the ages of Neanderthals and beyond. By and large, we’re presented with a fairly standalone set of narratives which can virtually be read in isolation of anything that’s come before or that Titan delivers in the coming months, yet which nevertheless keep us fully aware of how the explosive Anubis plot arc teased in Year One’s finale continues to develop behind the scenes.

Read on below for our takes on each of the three independent trips through time and space – “The Singer Not the Song”, “Cindy, Cleo and the Magic Sketchbook” and “Medicine Man” – as well as our overall verdict on Volume 4 at review’s end…

“The Singer Not the Song” (Issues 1-2):

Our first stop is the musical planet of Wupatki, a cosmic setting developed magnificently over the course of this compelling two-parter by Nick Abadzis as we discover the intricate inter-species dynamics formed between a band of human colonists, the seemingly benevolent Bovodrines – whose “photosynthetic processes” apparently form “the lungs of this world” – and most importantly the nigh-invisible Shan’tee, the latter of whom can only be perceived once their melodies are consumed through one’s ears.

That Abadzis even manages to find time amidst all of this world-building to offer up an equally engaging narrative is an achievement of itself, but rest assured that the Doctor and Gabby’s efforts to cure the plague infecting the Shan’tee before Wupatki falls, as a planned vacation turns into a race against time for the TARDIS crew, are just as much of a selling point as the tale’s setting. What’s more, the scribe even finds time to dwell on wholly topical themes like colonialism, perception and the power of undistorted music, all while paralleling the threat of the planet’s song ending with the Tenth Doctor’s own arc nearing its end and throwing in a melodic final set-piece akin to that of The Lazarus Experiment for good measure.

Occasionally, however, the – necessary – emphasis on action over nuanced character development here means that secondary players like the youngster who introduces Gabby to a range of toxic remixes dispatched from Earth to his colony and Allegra, a scientist whose disease allows her to see the Shan’tee without any technological aid, don’t receive quite as much attention as would have been the case in a less crowded, time-sensitive storyline. With that being said, there’s no doubting that as a season premiere, “Singer” more than fulfils its role of getting proceedings off the ground with aplomb, thereby guaranteeing that its readership won’t possibly resist the temptation of picking up future issues.

“Cindy, Cleo and the Magic Sketchbook” (Issue 3):

Unlike those fans who picked up Issues 1 and 2 when they first launched earlier this year, of course, Volume 4 doesn’t force its consumers to wait weeks for the next chapter in the Tenth Doctor’s escapades, instead launching us straight into the one-off tale “Cindy, Cleo and the Magic Sketchbook”. It’s here that resident artists Elena Casagrande and Arianna Florean’s dazzling panels come into their own, as the team finds itself graced with a far more understated narrative than its predecessor, one packed with – gloriously executed – visual opportunities such as a masterfully drawn opening sequence focusing on the sketches Gabby sends to her old pal Cindy on a regular basis; an inherently fantastical antagonist whose visage can’t help but stun the eyes and above all a final page reveal virtually no one will see coming.

The last of those three elements does admittedly confirm “Sketchbook” to be more of a stepping stone instalment, in that – despite investigating the emotional and psychological aftermath of Year One’s finale, “Sins of the Father”, on those constructs who didn’t join the Doctor and Gabby aboard the TARDIS before the credits – the true threat of the maleficent Mister Ebonite upon Cindy, her time-travelling colleague as well as the cosmos at large is only gradually teased here, as is the larger role of the beloved modern Who companion who makes a shock return towards the plot’s end. Whereas Abadzis ensured “Singer” could be consumed in isolation – barring a brief teaser of what was to come when the Doctor and Anubis next crossed paths – he clearly wants to set up “Medicine Man” in this instance, but in fairness, there’s plenty to be said for intrigue and that quality absolutely manifests itself in abundance, giving this one just as much of a page-turning appeal as Volume 4’s two other fully-fledged storylines.

Better yet, “Sketchbook” arguably ranks as one of the Tenth Doctor strip’s finest character pieces to date, with readers afforded a far greater insight into Cindy’s psyche as a TARDIS reject of sorts forced to live the slow, linear life as the rest of the human race rather than joining Gabby on worlds like Wupatki as she might once have hoped, along with further exploration of the psychological toll that Cleo’s displacement from her home in “Sins” has oh-so-clearly had on her in recent weeks. As discussed in our “Singer” commentary above, too often these strips are forced to prioritize their set-pieces over their character arcs, yet combined with the captivating intrigue powering its bridging storyline, “Sketchbook” makes one hell of an argument for why the alternative approach doesn’t hurt once in a while.

“Medicine Man” (Issues 4-5):

Last but under no circumstances least comes a prehistoric age-set outing, “Medicine Man”, which serves as more of a standalone affair than its immediate predecessor despite its final pages revealing that Abadzis likes to play a far longer game than readers could have anticipated. Tasking the Doctor and Gabby with determining the truth behind the disappearances of entire clans from their Neanderthal villages alongside one such caveman whose paintings – vividly rendered by Arianna and Azzurra Florean – allude to the nature of the extra-terrestrial hunters responsible, this two-part epic boasts impressive scale thanks to its air-bound battles, not to mention a genuine sense of heart thanks to Gabby and the aforementioned Munmeth’s discussions with regards to the inevitable evolution of sapiens into homo sapiens.

You’d be forgiven for assuming that the final chapter of Volume 4 would feel like a re-tread of previous cavemen-featuring Who romps like An Unearthly Child or the more recent DWM 50th anniversary comic “Hunters of the Burning Stone”, yet quite to the contrary, Abadzis goes out of his way to introduce surprisingly inventive creative flourishes along the way, delving into Munmeth’s inability to comprehend much of the Doctor and Gabby’s modern vocabulary as well as the struggle of the Time Lord’s latest companion to, in a similar vein to The Fires of Pompeii, understand why the TARDIS crew will eventually have to leave a species doomed to be lost to the history books behind for the sake of time’s preservation. These aren’t necessarily story beats we’ve never seen before in the history of Who, but even so, the tale’s scribe and art team alike make an admirable effort to ensure they’re implemented in such a nuanced manner that most readers will barely recognise any resemblance to serials gone by.

Unlike many of the previous Tenth Doctor volumes released by Titan Comics over the past 12 months, The Endless Song wraps up – perhaps aptly given its suggestion of the potential of this strip to endure “endlessly” until such a time when the events of The Waters of Mars must eventually kick-start the Doctor’s final days – on an entirely open note, leaving us desperate to discover how the events commenced in “Medicine Man” will resolve themselves given the seemingly intergalactic nature of the conflict to come. All the same, though, even if Issues 4 and 5 represent but a fraction of a longer-running storyline still to be fully told, what’s here will more than whet the audience’s appetites until Volume 5 lands in stores.

The Verdict:

It’s always a joy to come across a release which doesn’t sport much in the way of shortcomings, or at least nearly enough points of contention to warrant giving it a miss, and The Tenth Doctor Volume 4: The Endless Song absolutely falls into that bracket, presenting fans of Who with compelling futuristic voyages, fascinating historical drama, accomplished writing from Abadzis and above all utterly stunning aesthetic elements courtesy of the two contributory art teams to make it an absolutely essential purchase.

Three months may still stand between the fandom and its consumption of the long-awaited 2016 Christmas Special, but until then, judging by the stellar first five instalments of the Tenth Doctor’s sophomore run of Titan journeys through space and time, perhaps the most beloved modern incarnation of the eternal Time Lord remains in extremely safe hands.

Written by James Goss, Guy Adams, Una McCormack, Emma Reeves
Directed by Scott Handcock

Cast: Lisa Bowerman (Professor Bernice Summerfield), David Warner (The Doctor), Zeb Soanes (The Librarian), Guy Adams (The Sage of Sardner), Tom Webster (Acolyte Farnsworth), Rowena Cooper (Mother Superior), Alex Jordan (Mandeville/Kareem Chief/Acolyte), Sophie Wu (Millie), Julie Graham (Prime Minister 470), Damian Lynch (Ego), Kerry Gooderson (Megatz), Deirdre Mullins (Fleet Admiral Effenish), George Blagden (Colonel Neave), Richard Earl (Gallario), Aaron Neil (Aramatz), Laura Doddington (Idratz), Lizzie Hopley (Sister Christie), Shvorne Marls (Ampz), Gus Brown (Forz), Scott Handcock (Elevator) and Sam Kisgart as the Master

Big Finish Productions – Released August 2016 

The concept of teaming up Big Finish’s longest serving lead character Bernice Summerfield withDavid Warner’s alternative Third Doctor (first introduced the 2003 Unbound story Sympathy for the Devil and last heard in the 2008 sequel MastersofWar) sounds like the sort of idea that the Big Finish execs might have come up with out of desperation to think of something “new” to do with Benny. However, with the news that Warner’s Doctor would be coming out of retirement alongside the infamous ‘Sam Kisgart’* reprising his rather unique take on The Master, this box set has become one of the most eagerly anticipated releases of the year, even with the ongoing excitement of Big Finish’s new series tie-ins. This reviewer is therefore pleased to say that for the most part, this box set does not disappoint. Teaming upLisa Bowerman’s universe-weary Bernice with David Warner's Doctor and a different universe where she’s completely cut off from everything familiar proves to be just the innovation this range needed and definitely an improvement over the previous two volumes of “New Adventures”.

The box set opens with Bernice being totally unsurprised by the TARDIS’ appearance and commenting that the Doctor’s frequent reappearances in her life are like a “lazy Suzy” before realising that she’s facing an unfamiliar Doctor who has used her as part of a failed attempt to escape from his own dying universe. There is an instant chemistry between the two leads with Warner's Doctor showing a twinkle in his grumpiness that occasionally reminds of Capaldi. James Goss’ opening story The Library In The Body takes a concept from the early 1970s and puts a wholly unique twist on it, although the constantly singing nuns are a bit irritating. There are however nice turns from Radio 4 announcer Zeb Soanes as the Librarian and Rowena Cooper as the Mother Superior.

Planet X by Guy Adams sees the Doctor and Bernice arrive on a planet supposedly so boring that no one could be bothered to name it properly. What they instead discover is a totalitarian society ruled over by none other than Julie Graham in wonderfully sinister form as Prime Minister 470. As the Doctor takes it upon himself to bring the Prime Minister’s regime to an end, Bernice is teamed up with ‘Millie’, an ordinary citizen who learns to experience genuine emotions for the first time, very believably played by Sophie Wu.

Una McCormack’s The Very Dark Thing picks up the story sometime later with the Doctor apparently sat by a river doing nothing on the idyllic world of Tramatz which is apparently being terrorised by unicorns. At the heart of this story is the revelation that the unbound universe is suffering from the aftermath of a cataclysmic event not entirely dissimilar to the Time War, except this time there are no Daleks involved.

This box set concludes with Emma Reeves’ The Emporium At The End, in which Bernice and the Doctor find themselves apparently facing the very end of existence as everyone attempts to escape with the apparent help of a sinister individual known only as “the manager”. Rather frustratingly, the Doctor never quite manages to fully recognise his old enemy and as Bernice has never encountered the Master before she is unable to provide enlightenment. However, it is to be hoped that we’ve not heard the last of Sam Kisgart’s memorable incarnation. Bernice shares some great scenes with the manager and the Mother Superior returning from the first story in this set.

This is a very enjoyable box set with excellent music composed by Jamie Robertson. Particular kudos should also go to Blair Mowat for his unique arrangement of the Doctor Who theme tune which genuinely sounds as if it might have been composed in an alternative version of the 1970s. Lisa Bowerman and David Warner make a fun team and it is rather pleasing that the door has been left open for them to have more adventures in the unbound universe before Bernice returns home. Yet another reason to look forward with eager anticipation to Big Finish’s output for 2017.

*The behind the scenes disc includes a lengthy discussion on Kisgart's career, for listeners who haven't tired of the joke by this stage an extended version of the interview with Kisgart was featured in a recent Big Finish podcast. 

 Written By: Mark Gatiss,

Adapted By: Kyle C Szikora,

Directed By: Scott Handcock

 

CAST: Sylvester McCoy (The Doctor), Sophie Aldred (Ace), 
John Castle (Edmund Trevithick), 
Samuel Barnett (Robin), Katherine Jakeways (Jill), 
Edward Harrison (Dr Hawthorne), 
Jonny Magnanti (Lawrence), Tom Price (Sgt Barclay)
and Carole Ann Ford (Susan)

Sound Design: Iain Meadow

Music: Blair Mowat

Cover Art: Lee Binding

Released: April 2016

BIG FINISH PRODUCTIONS

The Doctor and Ace arrive in Crook Marsham, in northern England, in the mid 20th Century. In normal circumstances they would be getting a feel for what trouble is in wait, and how to counter it. But the objective for the diminutive man, who has lived many lives and saved countless more, is to abdicate from the role of Time's Champion. His energetic and sometimes volatile female assistant cannot believe how withdrawn he has suddenly becomes, and how he desires to simply travel and be an observer. But he seems adamant, and his TARDIS seems to have purposely found the ideal place for relaxation: a 'sleepy' English village.

Yet business unusual typically rears its head. People are rendered powerless, as their most intense and personal memories are overriding all of their senses. And then bodies start to be deposited, left in a truly gruesome state of decay, and attracting swarms of insects.

Amidst this wave of nostalgia and death, is the real life appearance of creatures from the 'Professor Nightshade' show. Edmund Trevithick who played the title role is suddenly having to do more than relive his past acting duties through interviews. He must actually show true fortitude, and true heroics. His fellow villagers need help, and the two odd strangers calling themselves 'Doctor' and 'Ace' would seem to hold the answers to the multitude of questions.

*

As with Shakedown, reviewed on this site a few months back, the source material was an original novel featuring the Seventh Doctor, and published by Virgin during the 1990s. This particular audio release is a full cast dramatisation, and follows in the footsteps of other adaptations such as Love and War, and Damaged Goods. Those two novels, along with Nightshade, were written by men who would later have a major say in the direction of the 21st century brand of TV Doctor Who. 

Given the original book being of quite significant length, and having a number of deft subplots, what transpires here is a distinct pruning. This does work, though, in giving the two hour drama some urgency. Mark Gatiss provided a fundamentally straightforward core story, which made it accessible to virtually any given reader, and which was made memorable through strong characterisation and atmospheric suspense. Boiling down the original material to an entity that is more condensed is to admired, especially given the limited track record (in terms of official commercially released books/radio) by Kyle C Szikora.

Nightshade succeeds also in making the most of this particular incarnation of the main hero. The Seventh Doctor, as portrayed by Sylvester McCoy, is notable for his self-awareness and his depressive bouts of melancholy, as well as the other extremes of excitability, contempt and fury. The peaks and troughs, in terms of how different supporting characters fare in this story, match up well with our main protagonist's weary and deeply informed responses to the various events.

It is also laudable that this play does such a fine job of having a central romance, when much of the core elements of the production are pure 'Hammer Horror'. Ace is still very much the teenager full of powerful emotions that she has yet to fully harness, and she must try and make a choice over who to commit to when things hopefully are resolved - a fellow human being, or her alien confidante. In having such a down-to-earth and normal love interest for her in Robin (unlike, for example, Mike Smith or Captain Sorin) there is an added dimension of intrigue and engagement with the fates of the main players.

Also notable, is the effort to try and be realistic and show that those threatened by the Sentience are by no means purest of heart and soul. Dr Hawthorne in particular shows little regard for those that are below him in the career ladder, and has a rather bitter air of entitlement. But thanks to his engagement with the Doctor and Trevithick, there is something to be salvaged. Consequently, the overall impact of the play's events are that much more real and engaging, and not simply escapism. Additionally, later on in proceedings, the Doctor feels for the insect-like Sentience in a way, respecting its right to survive, but still knows he carries a responsibility to the rest of universe too.

A merely good adventure is usually made strong or outstanding by having a satisfying climax. In this adaptation, I am happy to say that the dénouement has plenty of time to play itself out. It is also given some real clout by having a nicely judged cameo with Susan, the Doctor's beloved grand-daughter, and how his anxiety over deciding to leave her on Earth still resonates six regenerations down the line.

With vibrant music, authentic sound effects, and a decisive director who knows how to harness his small but capable cast, Nightshade is a nice little treat from the spring of 2016. It shows the Sophie Aldred/ McCoy chemistry of yesteryear is every bit as strong and relevant as ever. In short: one to savour more than just once or twice for any fan of the Doctor Who universe.

WRITERS: GEORGE MANN & CAVAN SCOTT

ARTISTS: IVAN RODRIGUEZ & WALTER GEOVANNI

COLORIST: NICOLA RIGHI

LETTERER: RICHARD STARKINGS
AND COMICRAFT’S JIMMY BETANCOURT

DESIGNERS: ANDREW LEUNG & ROB FARMER

ASSISTANT EDITORS: JESSICA BURTON & AMOONA SAOHIN

SENIOR EDITOR: ANDREW JAMES

MAIN COVER: ALESSANDRO VITTI & NICOLA RIGHI
 
Released: August 17th 2016, TITAN COMICS

Four Doctors, occupying four very different time zones and places, but sharing one common denominator: an old enemy, who spearheads the ambitions of a race of perennial foes. There is much chaos to cope with, and many problems to solve for the grey-haired Doctor and his predecessors - who favour exclaiming "Allons-y", "Fantastic!" and "Geronimo" respectively to signify reaction to major developments.

Silurians have upgraded to the Cyber Race, and prowl the startling environment that is prehistoric Earth. The Sontarans are desperate for an unusual alliance with a Time Lord, as they gather their armies together in their native Sontar system. And back in 2006, in a council estate area of London, the Ninth Doctor and his closest friends try to save London from devastation by Cyber Forces. The most pivotal action is on Gallifrey itself, in a time of unrest and anxiousness, as the recently Clara-deprived Doctor tries his best to figure out the plans of his mortal enemy, who was once a Time Lord deity: Rassilon!

**

"The Cybermen bend their knee to me, Doctor. We are Time Lords. We mold eternity."

That quote from the ex-Lord President, that the Doctor so efficiently deposed in Hell Bent, is a fine way to solidify just what power ratio exists between The Gallifreyans and the Cybermen that have joined forces. (I also cannot help wondering if some Game Of Thrones in-joke is operating, given that Donald Sumpter has also portrayed the rather more moral Maester Luwin). There also is the fine concept of there being factions on the home planet of the Time Lords, which perhaps was not always explored in Doctor Who as much as it might have been over the many years since The War Games first was transmitted.

Rassilon works well enough as an engaging antagonist that clashes with the current Doctor's familiar righteous fury. It is also useful to have a clear figure that gives the Cybermen foot soldiers that extra dimension, even if all their dialogue remains much the same.

Also, he seems to be the exception to the rule that a Cyber Leader or Controller has all his emotions removed to the core. If anything this character at times is that bit more moustache-twirling and revelling in evil than any onscreen or off-screen depiction of the Time Lord's founding father from the parent TV show. And for the purposes of a mini-arc series released over summer this is acceptable enough.

Perhaps, however, writers in general could resolve to abandon one of the less engaging Who catchphrases. The Cybermen look great here, but some of their dialogue could be better, not least a certain catchphrase of theirs. I really do scratch my head that "Delete! Delete!" is still alive and well, eleven or so years after it's 'premier outing'.

Some of the Doctors get to shine better than others here. Obviously, the Capaldi incarnation cannot be shunned as he is the contemporary one, and he has all the sections most pertinent to the main plot. Tennant's doctor is bustling and full of giddy energy too, and quick to adjust to changes of circumstances like a top level pro chess champion. I also enjoy the interplay with his two female companions, and appreciate there is little reliance on continuity references, given that quite a few readers will not be reading the Tenth Doctor range that often, if at all.

The material for Doctors Nine and Eleven must be declared as rather ordinary in comparison to their counterparts. The Eleventh Doctor shows he knows the Silurians but there is no need for his keenest wit or skills. Someone else who had taken moments to read the TARDIS logs or diaries could easily have the same thing to say. Perhaps the most appropriate substitution would be River, who knew Madame Vastra, and would have some emotional engagement as a result. Things do pick up later on, when the Doctor uncovers evidence of the grander scheme by Rassilon and his armies, and explains to Alice the threat of 'Ark' ships.

The Ninth Doctor sections can border on the run-of-the-mill, barring a potentially decisive accident that may leave this TARDIS team stranded or severely wounded.  This last development is one of the quite common 'mini cliff-hangers', that immediately precedes the actual one to end this instalment on. The knowledge that Rose will encounter the Cybermen for the first time, with the Tenth incarnation of her best friend - at least if the Web of Time is restored to normality - makes her sections with them here feel very ephemeral, but also interesting in that these remorseless beings are such a menace to her beloved home city. (And as Noel Clarke once commented, the Cybermen have that raw physical intimidation to them, in that they can kick down the front door of your home.)

I am still hopeful that the various plot threads that intermingle in this epic crossover event will become less opaque. This progression would then allow for a fine execution of the core premise, and perhaps bring some new groundbreaking changes for the various ongoing monthly series, including: the well-established one for Doctors Ten and Eleven, the increasingly confident sequence for Doctor Twelve, or the fledgling first year proper for the much underused Ecclestone Doctor (after Scott's splendid miniseries).

Art is generally of a pleasing quality, although I again find myself struggling to hear Tennant's voice carry through during the Tenth Doctor sections, as the likeness here for this ever-popular incarnation is not the most representative. This has been a problem several times in the main range involving him before, and is somewhat puzzling.

Colouring is something I almost take as a given when I do these reviews, but in these two issues of the mini-arc so far, I feel like some attention is necessitated. With such a busy storyline, and so many characters involved it is welcome that Nicola Righi manages to make everything cohere that bit more, such is his considered use of palette. A lot of scope is required of the pencils/inks, and they need a particularly illustrious colourist to breathe full life. Consequently this is one event series that will reward re-readings simply for the enjoyment of scrolling through the visuals.

EXTRAS:

Two variant covers are presented both in mid-size, and full-page variants. The first is a photo cover, and the second is a striking effort by Fabio Listrani.