This new issue in the line of comic strip adventures with The Eleventh Doctor confirms that John Jones is indeed a companion proper following his striking introduction in last month's escapades. Having been somewhat memorable at first, this is perhaps not the best use of this character as he spouts rather frivolous statements and does not really seem to be swept along by the amazing experiences he is so privileged to be having. He instead seems to be treating the whole thing as a trip on the chemical substance level - which may be a deliberate choice by the creative team but seems rather cloying. The old conceit of characters rarely needing comfort breaks is also bypassed as Jones seems desperate to go to a stopover place; when the TARDIS would surely offer much more comfortable options. At least Alice is as engaging as ever, even if she shows signs of being ready to resume her normal challenges in the real world.

The actual plot is nothing too different from the usual outer space fare for Doctor Who. Something is turning members of a spaceship crew researching beetle colonies into human vegetables, and The TARDIS lands at the very moment when those trying to maintain order have become rather paranoid. By being released in time for Halloween there is a perhaps deliberate atmosphere of creepiness and mystery as the rather odd alien entity causing the danger is employed sparingly and thus the tension is quite acute.

The Doctor also has the personal worry of Alice siding against him upon hearing him dismiss her and many of her predecessors as little more than outsiders and stowaways. Yet this is once again a good opportunity for modern Doctor Who to show off its winning character development attributes. Alice is certainly one of the more grown-up and steady of the companions and this means that the sometimes childishly positive Matt Smith incarnation must accept that life can be inescapably difficult. A key objective for a spin-off story in another medium is to try and add something that the source material did not explore - or at least not to a great extent. Thus Titan Comics are justifying their work beyond a purely franscise-level.

Al Ewing returns to writing duties with a much more gripping and memorable story than his previous solo effort in Issue 2. There is a good combination of black humour, intrigue and the threads of 'timey-wimey-ness' coming together from the previous set-up of prior installments. More striking though is that we have a different artist on board for the first time in this particular series, with Boo Cook getting to show off his style of presentation. There is very much a pure sci-fi feel, and by being set on a sterile craft in space there is less need for the heady mix of colours and contrasts that were noticeable in the other stories. For me personally the character designs of Cook stood up well; emotions and defining facial features were to a particularly solid standard.

Most reading this review will be pretty loyal fans of the show, but as some people make comics their first choice of entertainment/escapism, we can only hope these new stories are drawing in a whole new demographic to this five decade (and counting!) phenomenon. Perhaps a singular issue has less impact if not read in sequence after other entries, but there is some good work being done with the story arc and a long-term plan seems confident enough. Essentially the expectation now is that the 'hits' will begin to outweigh the 'near-misses', so that some real momentum is built for the flamboyant Eleventh Doctor.

**
Bonus strips are once again enchantingly amusing. A nice call-back to the wooden Cyberman of Matt's TV tenure features in 'Wooden Acting' by AJ. Can Marc Ellerby do no wrong?? Once again he ticks all he boxes you can ask for with his 'Wholloween' gem. The Doctor may be free to travel anywhere and anywhen but he can't escape alien kids after something tasty from his many forms of sustenance abroad the TARDIS. Amy dressed up as a witch is also of amusement, especially as she can't seem to get her Time Lord chum to make the same sort of effort.

This review contains plot spoilers.

Death in Heaven’s pre-credits sequence plays with the idea of a female Doctor; it’s a notion which hangs over this finale. The cheekily modified title sequence lends unexpected credence to Clara’s assertion as to who she really is, deftly borrowing a trick from Buffy the Vampire Slayer, although in the end all of this proves to be little more than a diversionary tactic.

There can be no doubting Steven Moffat’s ambition – this episode caps a story that has taken Doctor Who to some pretty dark places for a ‘family’ show, and concludes a series that has combined romps and dead-ahead monster stories with experimental, unusual and outright fantasy-driven tales. There’s a sense of the showrunner cutting loose and ditching tried-and-tested timey wimey devices in this episode; Moffat clearly relishes writing for a “bananas” Master, and takes care to show us the danger and potency of the character, particularly by killing off a returning friend of the Doctor’s. It's a version of the Master that seems indebted to Big Finish’s explorations of the Doctor-Master relationship, specifically framing this archest of arch enemies as a “childhood friend”. Moffat makes Missy’s agenda more personal than ever before: what she wants isn’t simply world domination, but rather full recognition of the fact – as she sees it – that the Doctor is her mirror image (it’s almost as if she’s read a scriptwriting manual on how to represent heroes and villains in the contemporary screenplay). This partly replays tropes from the tenth Doctor’s showdown with Davros in series 4. And it further develops Moffat’s thematic interest in the implications, or possibilities, of a warrior-like Doctor, something that's chillingly explored via the Doctor's use of any tactical advantage he can lay his hands on.

More than anything, though, this finale integrates the series that has come before: flashbacks to a range of episodes including Deep Breath and Robot of Sherwood pull series eight together impressively, representing a satisfying rather than gimmicky story arc. I’m tempted to suggest that this is Moffat’s finest series finale yet, as he riffs shamelessly on the “tomb of the Cybermen” image and idea, seeking to make the Cybermen as terrifying as possible (and delivering in spades).

Peter Capaldi, Jenna Coleman and Samuel Anderson all put in impressive performances – something enhanced by Rachel Talalay’s smart and assured direction – but the episode belongs to Michelle Gomez as well as her channeling of John Simm in the role. I realize that many of us would have liked a regeneration scene, but what we get is, in a way, more substantive than that. Gomez’s heightened and exaggerated performance consistently calls her predecessor to mind. Her mocking lip-biting is a joy to behold, as is her choice of pop music (even more narcissistically self-centred than the Simm-Master). And the child-like way that Gomez chooses to interpret a line about playing with more of the Doctor’s friends is also spot on. I very much hope she will return in the role, as there’s real scope to further explore this somewhat retooled relationship between Time Lord/Lady peers.

Death in Heaven offers another terrific piece of narrative trickery from Moffat. Having directed audiences to consider how the Doctor and the Master are the same (or not), we instead end up with a very different mirror image, as Clara and the Doctor face each other across a gulf of mutual deceit, both of them seeking to protect and release the other. And, most wonderfully of all, Moffat transforms what has up until now looked like a bit of mildly flailing comedic business – the Doctor’s aversion to hugging – into an emotional sucker punch, as the Time Lord explains why he doesn’t trust a hug. That instantaneous shift from slapstick froth to brutal truth might just be the darkest moment in the episode – it’s not a fantastical scenario of uploaded minds and upgraded bodies, just the simple, stark recognition that even those we most care about, and deeply trust, might nevertheless choose to lie to us about matters of life and death.

As well as lacking full-on time travel shenanigans (bar Missy’s acknowledgement that she’s been patrolling up and down the Doctor’s timeline, by way of explaining her earlier episodic appearances), this finale also plays out like a fairly linear continuation of Dark Water. Other Moffat two-parters have sometimes taken off in a whole new direction. Here, we get the shifting perspective of UNIT’s involvement, and the Doctor’s unexpected rise to mastery of Earth, but there’s still very much a sense of organically developing ideas from episode eleven. And if some of Dark Water’s darkness is backed away from, the Master’s made-over identity is nonetheless firmly embraced (though we are deprived of seeing Missy’s TARDIS, unless one counts Saint Paul’s as occupying the role). Unfortunately, I think Seb represents a slightly miss(y)ed opportunity, despite offering a pay-off to Missy’s initial explanation of her status. And although Seb’s final word offers a moment of fan referentiality (only someone as black-hearted as the Master could possibly be opposed to a good squee), it would have been interesting to see Chris Addison properly facing off against his The Thick of It co-star Capaldi.

This is an episode sprinkled with special, fan-pleasing moments, not least of which is the manner in which a much-loved classic series character is cleverly and poignantly featured. And it is an episode which, for me, integrates sentiment and intellect more thoroughly than, say, The Angels Take Manhattan, and in which the graveyard setting feels thematically relevant and earned rather than a case of set dressing or overt emotional manipulation. Clara’s (latest) story really feels as if it’s been completed here, although the cunning false ending, and Nick Frost's eyebrow-raising debut, both promise further adventures (and these moments were omitted from an advance screening of the episode, as well as from its BBC preview for journalists).  

Is the Doctor a “good man”? Did you ever really, truly doubt it? And has series eight offered a good run of episodes? More than that, it’s been startlingly great in its overall consistency, its risk-taking, its freshness and its vision. Much of this series, and Capaldi’s effortless, bravura inhabitation of the role, is surely up there with the very best of Doctor Who times past. Steven Moffat, Brian Minchin and the many other prime movers behind this run of episodes all deserve hearty recognition.

"In this city, you could get great rent on this place... 'Blue Unit.. From out of the blue" Gabby responding to the sight of the TARDIS interior.

This third issue concludes the first multi-part story in this new run of Tenth Doctor adventures, and sees our intrepid time travelling hero come up with a typically inspired approach to resolving the astral plane attack on New York (and effectively the entire world).

The early indicators of Gabby's relatives having a role to play in the unfolding plot and inevitable climax seem to have been a misdirection. Still, there is some good character development as they all show strong appreciation and warm regard for her role in combating the disturbing menace. Part Two had been the equivalent of an episode where most of the characters we met were extras/ passers by; this instalment gets more of a balance between the new TARDIS crew and the supporting characters that were introduced so well in the opening issue.

Significantly 'Revolutions' has allowed the Tenth Doctor to assert his authority and true heroic traits, Despite still coming across a bit madcap he eventually brings the crisis to a decisive end. There is some remorse though as he must accept that the race that gave life to the evil Cerebravores has paid the ultimate price. In resolving the cliff-hanger threat of one of these parasitic creatures, he is able to assist a female scientist who explains just why the crisis appeared in the first place. However in this instance the Doctors only delays the inevitable, as the learned alien commits to helping him find the solution before being lost forever to the terrifyingly destructive creatures. "[I] never knew her name' he laments.

Last time I praised the writing and development for Gabby, and I still am as excited about her potential in these new stories from Titan. Perhaps predictably, but still a positive, her scepticism towards the sheer improbability of the Doctor's claims diminishes drastically. The eventual demolition of the Laundromat serves both story and symbolic purposes, as it is signposted that the immediate future for the young Mss Gonzalez will be in a setting far removed from the somewhat humdrum society of 21st century earthlings.

And as Gabby seemingly begins to grasp the astounding fact that the Doctor is no ordinary law enforcer, upon entering his 'TARDIS hut', we can now keenly await what else she must get her smart mind to adjust to. At the very end there is an echo of the very first New Who story 'Rose' - with a slight tweak on the Doctor revealing the time travel aspect of his unique spaceship. Another reference also comes along with a fleeting look at what could be a Weeping Angel - but who knows if this is a cameo, an in-joke or an actual foundation for a later story with these iconic monsters.

So this initial story has played out well, although Part One promised more thematic depth in terms of the main Earth setting than we ended up actually getting. On the other hand the heavy use of mystical/magic themes, along with the astral plane concept and the alien beings is relatively original; especially if compared to the typical RTD episode that Tennant featured in.

The translation of the story's concepts into art continues to be of the highest calibre - as Abadzis and Casagrande clearly know what to expect of one another. With the tension ratcheted up by the preceding issue and now this conclusion, the art work has shown a good amount of range flair. The colours from Arianna Florean also end up proving more than serviceable, as the particular mood needs to be established. To summarise, this is as measured and well-constructed a conclusion as I tend to expect from a Doctor Who story that begins so confidently. Perhaps the absolutely most inspired material isn't quite achieved, but the story reads well, moves along without fuss and has plenty of incident and solid character development. And now the true scope of the TARDIS has opened up for the Time Lord and his latest companion, so there is plenty to look forward to from now on.

**
We are granted two bonus features in this issue, the first being a very welcome reminder of the 'Day of the Doctor'. Here, the War Doctor is given prominence, but incarnations 10 and 11 also get in on the act. Perhaps the actual humour featured is not for everyone but it is still pleasing to be reminded of the great John Hurt's frustation with his successors' 'immature' behaviour. (David Leach is the writer, with AJ conjuring up the visuals)

The second bonus is of more interest as it features the Tenth Doctor in passing on the end of a telephone line to the 'Psychic Paper Inc Claims Department'. With both the Ood and the Sensorites confirmed as planetary neighbours on TV, it makes sense to have them work together on an off-world space craft/centre. Even more intriguing is having an unnamed woman that originates from the sisterhood of Pompeii (featured in Series 4). And a rather greedy alien race introduced in the Sixth Doctor's era also is involved. (Emma Price is solely credited, and this hopefully leads to a main story being penned by a woman).

This review contains plot spoilers.

Poor Danny Pink. It was looking fairly inevitable that he'd end up paying the Nethersphere a visit at some point, but who would have thought he'd get there for not observing the Green Cross Code? Clara herself remarks on what a boring demise it is, in her numbed, traumatised state - even if 'death is not an end'.

These early scenes see Doctor Who handle death and grief in a very grown-up fashion, perhaps influenced by Broadchurch. Indeed, the whole episode deals with various facets of death, and is set to challenge one or two belief systems. One bit of blackmail-related plot misdirection involving lava and a dressing-down from the Doctor later, and it's time to go and rescue Mr Pink from his new home in the Nethersphere.

Speaking of the Nethersphere, we get our first proper glimpse here. Not only do we get a look at its impossible vistas and see how it works, but we finally get to the bottom of what's eating Danny.

Boldly, he's brought face to face with the young victim of his tour of duty in the Nethersphere, and we see his 'really bad day' in flashback. After weeks of treading water whilst Clara's story continues bounding forward, Samuel Anderson finally earns his stripes, as he finds out that 'death is not an end' via administrator-from-hell Seb (Chris Addison), and is left contemplating his own final end, as he tearfully manoeuvres Clara into hanging up on him.

Meanwhile, the Doctor and Clara make their way to the mysterious 3W institute. Here we meet Doctor Chang, who is pressed and pressed until he finally reveals the full horror of what happens after 'death', and the TARDIS crew finally get to meet Missy - who terrifies the Doctor with her unorthodox and highly invasive method of introduction.

After lurking on the sidelines since Deep Breath, Michelle Gomez gives a superb, playful, unsettling performance once given a bit of space to move. The terrified Chang is asked to 'say something nice' before she executes him. We still don't have the full lowdown on what she's about, but unsurprisingly, given the familiar publicity shots - Missy is in league with the Cybermen. The Nethersphere gets the minds, our friends from Telos get the bodies. There's some neat foreshadowing with the Cyber-eye motifs used on doors and the 'water tombs'. This is even used to alert the viewer ahead of the Doctor as to what's coming. The title itself is a plot point, and it becomes very apparent that it's there as Cyber-camouflage. It's good to finally have confirmation that these Cybermen are of organic origin, and not the RTD-era brain-cases though.

In another bit of misdirection, Moffat pulls the rug to reveal that the Nethersphere exists on a different plane to the institute, and the Doctor and Clara are actually in central London all along - as Missy puts things into motion, and Cybermen once again march down those St Paul's steps.

Interestingly, for a change, the Doctor has no inkling of the series arc, he blunders into it by accident while attempting to rescue a man he doesn't much like. Despite his 'so what' reaction to Clara's news, we know whether he's a good man now.

As ever, Capaldi and Coleman are excellent, and their relationship is key. The Doctor gets some good moments, be it his disbelief and horror at Missy's revelation, or tersely telling Clara how much she means to him when she attempts volcanic blackmail. Coleman meanwhile channels grief, deviousness, and pluck throughout, with the underlying unsaid note that her phone call caused Danny's death. The chemistry between the two leads is electric as ever.

Dark Water is a brilliant part one, how part two pans out is anyone's guess, but hopefully our questions will be answered next week, and it'll be worth the wait.

"ISEN VI is the start of a new era of peace and prosperity .. [what] we've pioneered make it possible to build worlds to any pacification" -
Kano Dollar being interviewed.

In-between their many adventures together both on and off the screen, the Twelfth Doctor and Clara face a new challenge to overcome in this hotly anticipated comic strip from Titan. The time-travelling duo are visiting a planet with great beauty and remarkable animal lifeforms - however almost all of it is not as nature originally intended; hence the title of this story. Some confusion and embarassment is immediately felt by Clara as she comes fully dressed for an alpine break away from her stressful teaching duties on the specialist snow planet of ISEN VI. Instead she and her alien companion have happened upon a totally transformed planet which is now very much tropical in its temperature setting. As investigations unfold and those at work on the terroforming become known to the captivated Doctor, it becomes clear that something rather more sinister is bubbling along under the lush exteriors of the planet.

The beginning 'pretitles' are a good mix of dark humour and a truly unnerving and mysterious monster presence. Although the victim is a bit up himself he still seems like a proper heroic type who is relatable. He not only is killed off heroicly, he also has his name misremembered (something a lot of us have had to accept in our Earthbound lives!). And the impact certainly registers more than with some 'red shirt' types which litter science-fiction/fantasy stories.

The art and colouring is overall terrific, and coupled with an engaging story this is as good an opening issue to a series as one could wish for. It is fully aware of the ongoing Moffatt/Capaldi run that so many of fans and general TV viewers are enjoying presently, with direct mentions of 'Into the Dalek' , 'Robin of Sherwood' and 'The Caretaker'. By having some distinguishable references, which need not trouble new readers who perhaps do not watch much TV 'Who' in the first place, there is a finely judged regard for Doctor Who as an ongoing franchise. Dialogue is very natural and strong and avoids some of the comic book indulgences which bother me every so often in other comic book lines from the likes of Marvel and DC that I also read.

Capaldi's lined and somewhat irregular face means that he translates well to the artistic licenses afforded in comic book format. As in most of the Tv episodes there is a bit of the aloof detective at work and he doesn't mince his words. Once the overall plot/situation presents itself to the Doctor he takes charge quickly and most convincingly if still lacking some charm. In that regard, the comic is consistent with the opening text intro. Once the situation presents itself to doctor he takes charge quickly and most convincingly - if lacking some measure of charm. As the text intro on the first page informs us, he wants people out of the way in order to just get on and save them.

Nonetheless for some reason he comes off a bit more likeable and carefree in general. The lack of Capaldi's domineering intonations may be a factor as readers have the option of bringing this comic medium to full life in their own way. Jenna Coleman's protagonist is perhaps a little too bland and lacks the sparkling brown eyes but still functions as a perky and decent-minded counterpoint to our inimitable Gallifreyan hero.

There is a generous helping of comedic altercations between these two, who now know each others quirks and foibles well enough. During one particular verbal tug of war, the latest version of the Doctor makes a pointed remark at his most immediate predecessor and his love for bow ties; perhaps echoing the doomed Tenth's Doctor's mutterings of a 'new man sauntering away'. Clara is not to be bulldozed of course, and gets in a good dig at the Doctors lifestyle of not needing money and not really being a part of Earth society. She could have a case that he lacks ties to identifiable society out there in the cosmos for that matter. But the Doctor's supreme confidence is all on show throughout this opening chapter. Along with the vanity of calling himself sophisticated and well dressed, he is quite keen to mention Scotland in passing for the most tenuous of reasons.

There is also a sense of competition once the two get on with the task of identifying their new surroundings. The Doctor gets to brandish a specialist magnifying glass, whilst Clara thinks she has coined a new word for a strange new species - but loses her skiing bobble hat in the process to the said 'skunkeys'.

Supporting characters are also commendable here. Natural allies appear in the form of Professor Spector (who has a hairdo similar to Gary Oldman's Zorg in 'The Fifth Element') and her team who work on various sectors of ISEN VI, of which the humanoid/ acquatic Dr Scrofolus is most notable. There is a real sense that we are witnessing a typical day in the lives of this scientific team - until things come to a head, all too typically dovetailing with the TARDIS crew's arrival.

More obstructive is the self-absorbed and greedy magnate Kano Dollar - who is not too impressed by the Doctor's assertiveness and gets to utter that much loved line "Doctor Who?" as a result of his skepticism . There is a media correspondent character who only pops up to deliver exposition on this fat cat/ corporate figure and how ISEN VI has changed but even such a minor character is quite well done by the creative team of Morrison and Taylor.

There seems to be a clear villain in the form of 'Hyperios' and secondary monsters in the form of quirky robots who are vulnerable to the thrall of this mysterious fiery entity. With the nuisance factor of deplorable businessman Kano potentially getting in the way in later chapters, the Doctor has his hands rather full indeed.

So the very early signs of this new comic are most promising. Whilst Titan's other new Doctor Who lines have demonstrated various strengths (particularly the Tenth Doctor line), this would appear to be the ace in the pack.

**
Extras are in the form of a large gallery of alternate covers, with the most notable variants being granted full page sizes.

Cover Variants

Infinite: Endless, continuing without termination. A noun that does seem to describe rather aptly the continuation of the Fourth Doctor’s resolve to go on a “holiday” with his companion Leela. However, that is not to say that the story is any less entertaining than those that have come before it in what could loosely be called a story arc.

This story in the Fourth Doctor Adventures range sees Leela and the Doctor land on the planet Delafoss, with the Time Lord stating that he recognises it by the trees. Nothing is quite as it seems, as demonstrated in a scene prior to their landing. We see a man identified as Larivan being transformed into a so-called “Infinite warrior” by an entity only known as “the Eminence”. When the Doctor and Leela eventually encounter him, he explains he was forced to take the “breath of forever”, which starts the transformation. However, he is unable to elaborate any further as he is wracked by pain. The Doctor and Leela seek help from a resistance group, engaged in a war with the Eminence and the forces it commands.

Leela’s father is again mentioned as seen in previous stories like The Evil One, in reference to supernatural forces being constructed around fear and misunderstanding. Just as Leela begins to speak, however, a patrol of Infinites discover the existence of the hideout. The Doctor, yet again being seen as a man with a very unclear plan as in previous stories, displays an air of almost new era glee as he makes the patrol believe they should turn back. Convincing the resistance group that they will be of use, the party resolves to go to “the construction pit” and provide photographic evidence of a new Eminence battleship, ironically named “The Infinite”.

After traversing a large and potentially deadly exhaust tunnel and coming out through a service exit, The Doctor, Leela, Sarla and Tillegat see vast lines of people entering the mammoth craft. As filming of the ship continues, it becomes clear through dialogue that the people are hostages. After being detected by Larivan, as well as beating a hasty retreat, the party split up to stand a better chance of escaping. When the Earth alliance ship arrives, a squad of Infinite warriors meet it with Tillegat sustaining a fatal wound. The scene then shifts to the commander of the Infinite warriors who, along with a comrade, witness the arrival of an Eminence casket. The episode resolves itself with a cliff-hanger implying that The Doctor must be captured, in a fashion not dissimilar to original Fourth Doctor TV offerings.

The second episode opens with Leela climbing reluctantly aboard the ship, but hijacking it using a Janus thorn whilst doing so. It turns out that both her and The Doctor both wish to return to the TARDIS, even though the evil that still enfolds the planet has not yet been vanquished. The Earth Alliance pilot and Sarla are both very confused, but this is all left unresolved as the ship is forced to flee from not only fire on the ground, but in the planet’s atmosphere as well.

A rather touching scene ensues with the Doctor attempting to reawaken the suppressed memories within their would be executioner, cut short by an outburst from the enraged man. A call from the commander of the Infinites, Zarith, halts the execution.

The Doctor and Leela then fight for separate goals – Leela to get back to the planet’s surface to be reunited with the Doctor, who ends up simply trying to stave off taking the “breath of forever”. Everything seems to go downhill from here in terms of an impending disaster, with both the Earth alliance and the Infinite warriors seeking to obliterate the opposition. Leela witnesses the stubborn controller of the Earth Alliance lose his nerve as he sees the annihilation of a large portion of his fleet, thus ordering them to turn tale and break off the attack.

The Doctor meets the Eminence for the first time, seemingly in an inescapable situation, whilst Leela convinces the controller of just how useful she can be in providing ideas for the war effort. This interesting overlap works well, as we see the Doctors potential peril coupled with Leela’s calm and cool tactical instincts. The stakes are raised even further when the Doctor, seemingly under the control of the Eminence, delivers a chilling message that, although unnerving the members of the Earth Alliance, only strengthens their resolve to continue the fight.

In an almost too obvious homage to Star Wars, A disguised Leela and the Earth Alliance forces engage in a last desperate attempt to attack the Infinite and rescue the Doctor, the outcomes and intricacies of which I will leave in ambiguity, open to interpretation.

The Doctor and Leela, as with the other stories this season, are played well by Baker and Jameson, accompanied by a well-fitting score appropriate to the military setting. However, the only criticism I feel worthy of note has to be the voices of the Infinite warriors, who do not, in my opinion live up to their cadaverous nature. However, in a sense their voices almost take on a retro quality, befitting of the era. The rest of the cast do a great job, with parallels almost present to the stereotypes of World War II RAF pilots, fighting for the right to freedom and even using humour just to get them through situations.

All in all, “Destroy the Infinite” leaves many interesting questions open, which gives rise to a Sixth Doctor audio sequel, The Seeds of War. With a cast, that for the most part, does a great job in spite of some slightly less impressive vocal manipulation, I think this story is one that’s definitely worth a listen and is interesting in the fact that it raises more questions than it solves. The score, acting and sound design are all to the usual high standard the majority of listeners will have come to expect, topping everything off with an adversary for the Time Lord who feels like something straight out of an original Tom Baker episode.