Written by Gareth Roberts
Adapted by John Dorney
Starring Tom Baker, Lalla Ward, and John Leeson 
 with Michael Troughton, Tim McInnerny, Jon Glover,
Jane Slavin, and David Troughton
Directed by Ken Bentley
Released April 2015

The last of Gareth Roberts' trilogy of Fourth Doctor novels to be adapted for audio by Big Finish is great fun. It's rather a lot of great fun though, like a seven-course meal shared with friends. It's slow-burning, filled with good ingredients and fine conversation, but also a little hard to digest in one go. 

In Roberts' earlier efforts, The Romance of Crime and The English Way of Death he gave us first a fine trad-Who story, then something a little more out-there. This is a Season Finale story turned up to eleven, it's a lot of story to fit into the four episodes here. The cliffhangers in the book are preserved by John Dorney, rather than reorganising into an easier six-parter. It's all good stuff, with an excellent cast, but the episodes are rather long.

The Well-Mannered War opens with the Doctor, Romana, and K9 landing in the middle of a war between humans and the tortoise-like Chelonians -  a conflict that is taking rather a long time to get going, over a century in. As wars go, it's more like a mild inter-office dispute. The opposing sides get on well, they go for dinner together. The war even has its own tea-trolley.

Being Doctor Who, of course this can't last - suspicious deaths on both sides lead to the war escalating into actual conflict, and the TARDIS crew are quickly separated and flung into variously investigating just who or what is behind this, and election campaigning, as K9 suddenly becomes rosette material. There are sinister carrion-flies, well-meaning robots, a fake civilisation, and an old foe to deal with. The overall effect is somewhat like a drastic rewiring of The Armageddon Factor, such is the amount of shared DNA. The dose of black humour is a little less than in The English Way of Death, this is more of a space-opera.

The Doctor, in truth, takes a bit of a backseat for the middle episodes, whilst Romana and K9 take centre-stage. Both are flung full-pelt into proceedings with cowardly artist Menlove Stokes (Michael Troughton, reprising his role from The Romance of Crime) in tow, whilst the Doctor plays sleuth with the Chelonians. That said, although they're separated for so much of the story, the three leads are all on fine form. Tom Baker is rarely better than here, his slightly moodier performance recalling the Hinchcliffe years in places. Lalla Ward and John Leeson are simply a delight, their rapport carries the story through some complex exposition, but most of all it's the character work that stands out for all three. Dorney's skilful adaptation of Roberts' story perfectly recaptures that spirit of '79.

With a fine guest cast, and some strong direction, music, and sound design - The Well-Mannered War is a fine tasting menu of a Doctor Who story. As with the original, it ends on a cliffhanger, as the Doctor pulls the TARDIS out of reality to escape the Black Guardian. We never found out how this was resolved, but Big Finish have recently announced that The Fourth Doctor, Romana, and K9 are due to return for more adventures. Perhaps we'll finally find out what happened next.

Writer Rob Williams
Artist Simon Fraser
Designer Rob Farmer,Colorist Gary Caldwell
Letterer Richard Starkings And Comicraft’s Jimmy Betancourt

Covers - Regular: Blair Shedd,
Subscription Incentive: Rob Farmer

Editor Andrew James
Assistant Editor Kirsten Murray
Released - March 2015

*Spoilers for this issue, which features many final events in the ongoing story-arc.*

"Hello,you are now owned by SERVEyouinc. Congratulations You" - The Doctor in a 'welcoming' mood.

No longer going by the moniker of the 'Doctor', is a man in charge of the insidious SERVEYOUinc who functions as an underhanded Chief Executive. Now fully involved with the corporation's plan to spread its state of monochrome hypnosis far and wide across time and space, this individual's former allies must do their best to fight a losing battle. The trio of Alice, Jones and the ARC creature show a real bond and a sense of justice which was not always apparent before. But will it be enough? Perhaps a very familiar apparition will play its part in steadying the ship before all chaos breaks loose for good...

Suitably building on the various oddball elements of issues gone by, this pivotal entry in the Eleventh Doctor line is as surreal as they come, and none the poorer for it. It evokes some of the themes found in such TV stories as 'Human Nature' and 'The Next Doctor' and explores the need for the genuine article present in order for problems to be resolved. By the same token the role of those closest to the Doctor is just as vital; the two human and one alien characters must constantly remind the Doctor just why he can never let self-pity and resignation take him over, even if many negative emotions are inevitable from being the last survivor of a powerful race. It has always been the TARDIS crew* that can prevent checkmate falling in favour of the enemy, and in this case an enemy so soulless that it is arguably not even in the 'evil' category.

This also is an issue that blends all the elements that have impressed in other stories - be they ones that followed the arc closely or were more standalone. They include: good character development, revelation, action set pieces, and some suspense over what a particular choice will entail.

Another big plus for me was the way that there was a constant sense of jeopardy, and an engaging element that puts the reader firmly in the same boat as the small team who somehow must find a solution with limited resources. Right until the dénouement nothing feels safe or guaranteed.

Granted, the coda does veer a little into sentimentality, with an almost overly utopia environment for those who appeared to be condemned victims. But ultimately the previously established themes and concepts of enforced joy and satisfaction being a curse, and the ability to manage 'ups and downs' as part of living life properly are what impress most. No Helen A, Fifi or Kandyman reprising their roles from the polarising 1988 TV story 'The Happiness Patrol' here, but nonetheless this provides a good evocation for the modern Doctor Who follower.

Alice continues to be written supremely well, and her major role in figuring out how to reach out to the Doctor enthrals the reader throughout. She also has help from an 'external hard drive program'; perhaps somewhat predictably, given all the set up of previous issues. But the story has real heart and soul to it, as we continue to observe the journey for the ex-librarian who has learnt life lessons most of her fellow Earthlings will never have the chance to.

This is also a very strong outing for Jones, with yet another new look which is both laughable and sublime, and evocative of the true uniqueness that is David Bowie. Even ARC isn't just there to make up the numbers and look amusing in any given panel, and even at one point performs a rescue manoeuvre which few others could conceive of.

Artwork is more than up to the ambition and objectives of the narrative. Simon Fraser did a stand out job in the brilliant 'timey wimey' issue 6, and this latest effort of his is almost up to that magnitude of composition and energy. Colour schemes are used with a real purpose, demonstrating a strong unison of effort between Fraser and Gary Caldwell.

Also pleasing is the portrayal of the very different Doctor-antagonist, the striking attire of Jones, the grey-purple backdrops of the city asteroid and most notably the symbolic Alice-as-the-Doctor front cover.

So in conclusion, we have various dangling story arc elements seemingly resolved with impressive finality. The story works as an ending, where so many conclusions to 2 parters on screen do somewhat falter and end up being the weaker link. And despite all the heaviness of mood and the sense of loss, the key aim of Doctor Who being fun escapism is not forgotten in the narrative.

BONUS COMIC SKETCH:

' We Love Titans' is a nice little bit of self-indulgence, which also ties into the main story's basic plot. A pony, a genie and a sinfully caloric hot drink are some of the elements of the deliberately thin story here.

Written by Russell T. Davies, 
Adapted by Jonathan Morris
StarringSylvester McCoy, Travis Oliver, Yasmin Bannerman,
with Denise Black, Michelle Collins, and Peter Barrett
Directed by Ken Bentley
Released April 2015

Revivals are a funny old thing. In popular culture, they tend to happen because something happened, say, twenty years ago. These revivals tend to take the form of TV specials or talking head documentaries detailing trends or fashion crimes of the time - or, in music, themed anniversary gigs or 'special editions' of albums. 

Big Finish is having its very own 90s revival at the moment. Thankfully, it's chosen to leave out the dodgy fashions and the Macarena. 

The 1990s were, arguably, not a brilliant time to be a Doctor Who fan. The TV series was effectively dead for the entire decade, barring around fourteen minutes in '93 and ninety in '96 when it briefly stirred from its slumber. However, Who enjoyed an extended afterlife in print through most of the 90s, where old hands and hungry young writers were given practical carte blanche to bend the rules, and take the TARDIS to new, more grown up places. 

Having successfully adapted a slew of the New Adventures and Missing Adventures novels, Big Finish have now moved on to one of the big hitters, Damaged Goods, a 1996 novel by one Russell T. Davies, expertly adapted here by Jonathan Morris.

Damaged Goods is an interesting beast, looking both forwards and backwards. It's very much a New Adventure in that we have a mysterious chess-player of a Seventh Doctor, new companions, adult content, Gallifreyan super-weapons, and grisly death everywhere. However, there's also a germ of the sort of Doctor Who that Davies would bring us nine years later, with its late-80s council estate setting, strong female characters, and that instantly recognisable dialogue. In fact, the only person not talking like a character in an RTD episode of Who is the Doctor himself. Sylvester McCoy is in a mellow mood here, rrrrrrrolling his rrrrrrs, and clearly very much enjoying himself.

He's not the snappy Doctor of 2005 - instead his dialogue is mysterious and florid, much more the Cartmel Masterplan than the Bad Wolf scenario, but it's a refreshing look at what might have been if the likes of RTD had got their hands on the series earlier.

He's joined here by Travis Oliver and Yasmin Bannerman as NA Companions Chris Cwej and Roz Forrester. Both are already established by the time of the original novel, and Morris wisely doesn't waste much time introducing them, instead choosing to write them in by basically having them arrive with the Doctor and that's that. Oliver is gung-ho and likeable throughout, playing up nicely to the coded sexual come-ons he receives. Bannerman is equally good, but in truth doesn't have as much to do, being basically back-up whilst the Doctor solves mysteries and Chris.....gets involved.

The story isn't quite a straight adaptation, instead this is more the sort of rewrite that Davies himself would later perform on Paul Cornell's Human Nature - faithful, but retooled for audio with hindsight and a few changes made with Davies' blessing. There's still sex and drugs, but the famous same-sex fumble between Chris and David is now a little less explicit, and the cocaine being dealt by the Capper in the novel is now, a 'made-up drug' - Smile, perhaps in tribute to Chris Morris's 'Cake' episode of Brass Eye.

This doesn't mean the story's been in any way neutered. This feels more like the darker moments of The Second Coming and Cucumber. The dialogue sings, but it's dark as hell, with perhaps the only concession to a family audience being a note of hope at the end.

The real heart of the tale is the terrible bargain that Winnie Tyler (Michelle Collins) strikes in the 1977-set prologue. The moment where she gives away one of her twin babies, through a third party, to rich, childless Mrs Jericho (Denise Black). Collins plays a troubled everywoman, driven to do the unthinkable by desperation. Black's Mrs Jericho is utterly chilling, appearing initially meek and grief-stricken, before she literally transforms before your ears into a very prim and proper murderer, who calmly visits the vendor to announce that she has been sold a faulty child and wants an exchange, whilst all hell breaks loose around them. In fact, she's almost oblivious to it. Further darkness is added by the creepy Capper, a reanimated grinning corpse full of tentacles, played by Peter Barrett. Barrett has a tough gig, having to convey undead malevolence purely through a low, gravelly voice and gritted teeth. He pulls it off, but is overshadowed slightly by the more human menace of Mrs Jericho.

The sound design and Ken Bentley's direction are both first-rate. The cast and crew rise to the material brilliantly, and Morris brilliantly re-weaves RTD's story for audio. Morris also surprisingly drops in one or two very on-the-nose new series references which I won't bring up here. One is definitely a portent of things to come, considering Big Finish's recent announcements about a certain institute based in Cardiff. The other could be something. I'll leave you to decide. New series links or not, this is another excellent offering from Big Finish. it's perhaps the only time we'll hear a Davies story on audio, but, you never know.......

Which other sci-fi or fantasy shows do you regard in the same league as Doctor Who and why?

What has made you such a huge fan and eventual contributor to the comic strip medium? 

How did you get involved in this mini-series project for Titan?

What do you regard as the Ninth Doctor's 3 biggest strengths?

And his 3 biggest weaknesses?

When Doctor Who was first brought back in 2005 could you really have imagined what a colossal hit it has gone on to become?

Does the Ninth Doctor regard Rose as anymore than a really close friend - (the TV show could be quite ambiguous at times)?

You have Captain Jack on the TARDIS crew in your story. Do you enjoy the slightly uneasy relationship that he has had with the Doctor, and why do you think the tension is there?

What was the main inspiration for the mini-series (apart from the lone TV season that featured Christopher Eccleston)?

Why do you think Doctor Who has endured for over half a century, and what makes it so suitable for other mediums than just the television?

Are the Daleks your favourite monsters, and if not which are// and if so why (delete as applicable)

Apart from your considerable fictional body of work, you have done some non-fiction. Which of these projects has been the most rewarding for you?

Written by Jonathan Morris
Directed by Ken Bentley
Starring Peter Davison, Sarah Sutton, Janet Fielding, and Mark Strickson, with Robert Duncan and Catherine Skinner

Sometimes, Doctor Who is slightly dark. Sometimes that darkness is offset by black humour. Other times it's not, and it's just plain bleak. This is one of those times.

The Entropy Plague wraps up both Big Finish's new E-Space Trilogy, and the story of the older Nyssa. Rather than picking straight up from Equilibrium's cliffhanger, it does something different. It opens with the Doctor sombrely visiting Nyssa's son Adric to deliver some bad news, and the story unfolds in flashback, with all four members of the TARDIS crew 'narrating' in turn. We know right from the off that something has gone terribly wrong, and that Nyssa isn't coming back.

The TARDIS crew, in pursuit of the kidnapped Tegan, arrives on Apollyon, a world that knows it is dying, a world with no power, wracked with entropy - patrolled by steam-powered robots and menaced by horrifying 'Sandmen'.

Here, fruit rots within minutes, and desperate citizens offer themselves up as 'tributes' to amoral scientist Pallister (Robert Duncan) in an attempt to get off-world. Pallister guards a portal - a way out of the CVE and back into N-Space, but it's powered by human life-force. The tributes are quite literally sacrifices, procured for Pallister by a group of space pirates led by one Captain Branarack.

The pirates are quite cartoonish, with their broad West Country accents and constant leering they just don't quite sit right with the rest of the story - which is so bleak that they don't even provide any form of light relief. The sneaky Pallister, on the other hand, is excellently played by Duncan. There's not a lot to him as a villain apart from standard-issue amorality and self-preservation, but Duncan runs with it and makes him compelling. Catherine Skinner also does well as the plucky Cherryanne.

The episodic flashback format is unusual, but works pretty well. Ken Bentley does a fine job of directing as always, and the sound design is superb with its hissing Sandmen and steam-driven Sentinels.

Writer Jonathan Morris really excels on two fronts. The first is a fine bit of world-building - vividly binding together not only themes from the rest of the trilogy but nods to Warriors Gate, The Keeper of Traken, and Logopolis, with a soupcon of the mexican day of the dead thrown in against a backdrop of dying stars. The second is in some fine material for both the Doctor and Nyssa, with the former starting off on rattling form - charming and cunning, until he realises how hopeless their situation is, and attempts to sacrifice himself by staying behind in E-Space. Peter Davison makes this all sound effortless, his Doctor is lining himself up here to do basically the same as his much older self will one day volunteer for on Trenzalore, he sells it well with a tiny hint of regret, and a sense of responsibility for dragging everyone into this.

Meanwhile, Sarah Sutton quietly steals the show - as wise, gentle Nyssa calmly and gracefully steps into the breach to save E-Space, at the expense of her freedom, leaving her friends and family bereft. This looks to be her final bow, her final speech is beautifully written and tear-jerking. Although it ends with a slight note of hope, this looks like more of a full stop than a comma. Nyssa has had more character development on audio than she ever did on TV, and her character has really grown.

Tegan and Turlough slightly fall by the wayside for parts of the story due to various collapses and captures, but have valuable contributions to make, with Tegan the angry voice of humanity and reason, while Turlough's trademark selfish nature twists well into upset frustration when his friends try to sacrifice themselves. It's a nice added dimension to his character, and it really adds to the story. 

Knowing Big Finish, this might not necessarily be goodbye for Nyssa, but if it is, it's a beautiful, sad send-off for an underrated companion - one of the Doctor's best friends. The Entropy Plague isn't always an easy ride, but goodbyes aren't always easy.

STORY - Robbie Morrison

ART - Brian Williamson, COLORS - Hi-Fi

LETTERS - Richard Starkings, Comicraft's Jimmy Betancourt

COVER - Blair Shedd, DESIGNER - Rob Farmer

EDITOR - Andrew James, ASSISTANT EDITOR - Kirsten Murray

PUBLISHER -Titan Comics - 2015

Mysteries and paranormal events are unleashed in this new arc for the current TARDIS crew. With a rather brutal enemy overcome, the way is open for the Doctor to grapple with a rather more elusive entity which has some pretty radical methods for achieving its goal. A goal whose exact nature remains to be seen.

With Coal Hill School once again in the foreground for the confrontations to come, as well as the presence of old allies ' UNIT', there is an element of 'been there, done that'. But will something nasty rear its head?

This story is as complex in its own way as 'Swords of Kali', but reads in a more immediately accessible way that is also less demanding of the general reader. It remains to be seen if the concluding sections work as well as the set up that is presented here.

Rather interestingly we join the Doctor and Clara as they contend with a very large but also rather stupid adversary who barely makes the duo break sweat in achieving victory. In the process the Judoon (one of the RTD era's best creations) get a name check but don't manage to actually appear.

The adventure proper for the duo then begins, although relevant events have already been presented to the reader in the story's initial pages which certainly set a mysterious and unpredictable tone.

This story notably picks up quite a while after issue 5's conclusion as Danny Pink has gone to the great place in the sky - both literally and metaphorically - following TV Series 8's finale.

Clara at this point in her life is truly enjoying her travels with the Scottish-accented Gallifreyan. Yet she wants another spell at the comfortable (by comparison) day job of teaching. Before the wish can be granted, they must both respond to a problem at UNIT where a reality gate has run amok. Paul Foster, who happens to be the late father of one of Clara's pupils, was killed in a car accident, but had been working on the projects with the gate; scientific work that the Doctor is very critical of as he once again meets Kate Stewart.

By having key Who settings and supporting players recur, this is really the first in this Twelfth Doctor range to reflect the general make-up of the TV series featuring the current Doctor and his companion. 

Writer Robbie Morrison continues to impress me following his earlier work in the preceding set of issues. He is a great portrayer of individuals who have a certain identity and powerful emotions that flow from the trials and tribulations of their life choices. The key theme of loss and family ties is well conveyed and gives some weight to what could have potentially been a mere romp, - 'Swords' already set a standard for a lot of moving players but also telling more than just a plot heavy narrative. Hopefully Morrison maintains this quality for a good while yet.

Also welcome is some respite from the more outlandish settings and multiple time zones with the threat being focused on contemporary Earth, barring that rarely used practice of having a finale to a mostly un-told story.

I would rate, Brian Williamson, as a  competent artist for the line, maybe favouring a rather literal style, with little of the quirks or artistic licence of some other contributors to other Doctor Who titles of late. Perhaps less commendable is the choice of limited colour -- the story jumps around more than enough here but the colours don't quite match this diversity.

Nonetheless any weaknesses almost get eliminated by the end as the actual cliffhanger with the major villains revealed is striking and memorable. At the very least I hope for this story to match 'TerrorFormer's quality on the basis of the potential so far displayed, if 'Swords of Kali's level would prove a step too far.

**

Bonus Comedic Strips:

"Sewer Monster" has a clever use of the Doctor and Clara in conversation but only one of them actually appearing. Yet another creature from the RTD era is brought back by writer/artist AJ, but perhaps not necessarily the most fearsome one, despite the piece's title.

"The Partying of the Ways" is also nostalgic, whilst managing to be very strong in its principal role as a comedic mini-story. It again shows the fruits of the Colin Bell/ Neil Slorance partnership. Clara's relationship with her centuries old friend is explored to an extent, whilst also organically growing out of the somewhat chaotic scenario they find themselves in.