Synopsis: The White Guardian compels the Doctor (on pain of nothing… ever) to undertake a mission to find the six segments of the Key to Time. As part of the mission, the Doctor is given a new companion in the form of Romana. On the planet Ribos, a pair of grifters called Garron and Unstoffe are setting up an elaborate con, assuming the locals are too primitive to see through their scheme. Unfortunately, they have underestimated a visiting despot by the name of the Graff Vynda Ka .
1. Unwelcome Strangers
2. The Beast in the Citadel
3. A Shaky Start
4. Double Dealings
5. Arrest and Capture
6. Unlikely Allies
7. Escape Into the Unknown
8. The Doctor Changes Sides
9 .Lost and Found
10. Conjuring Tricks
Background: Ian Marter adapts the 1978 scripts by Robert Holmes.
Notes: The opening scene has the Doctor and K9 being rather snarky with each other. The Doctor suggests ‘Occhinos’ as a holiday destination.The TARDIS doors are opened from the inside by a brass handle. The Guardian sits within an exotic garden that features huge orchids and fountains. The garden disappears along with the Guardian, leaving the Doctor teetering on the edge of space and he has to propel himself backwards into the TARDIS. The Guardian makes no mention of a new companion for the Doctor; it’s left to Romana to introduce herself. Her tracer device is presented as the ‘Locatormutor Core’ and she knows of the existence of the Guardian (on TV, she’s left under the belief that she was selected for the mission by the President of the Time Lords). She graduated from the Academy with a ‘Triple Alpha’ and claims the Doctor achieved a ‘Double Gamma… on [his] third attempt’. The initial destination is Cyrrhenis Minimis (not ‘Minima’).
We learn that, while he was away fighting campaigns alongside his Cyrrhenic allies, the Graff Vynda Ka (‘not ‘K’) was deposed by his half-brother on the Levithian throne; his alliance forgotten, he received no help from his former allies and he now lives in exile (we lose the rest of his back story from the TV episodes). Thanks to its elliptical orbit, Ribos’s summer (the ‘Sun Time’) lasts 11 years. The Doctor refers to Garron and Unstoffe as ‘Laurel and Hardy’ before apologising to Romana for the reference. When the Doctor is searched, Sholakh finds ‘an ear trumpet. a corkscrew, string, marbles, a magnifying glass, a paper bag with a few jelly babies melted into a lump…’ – some of which have been referenced by Marter in his previous books. There are many Shrivenzales living in the catacombs under the city. The Seeker is…:
… a scrawny hag dressed in long strips of crudely dyed remnants. Her frizzled grey hair was parted on the crown of her domed head, and it reached almost to her feet in a thickly tangled cascade.
She survives the knives of the Graff Vynda Ka and crawls off towards the Hall of the Dead, only to be caught in the blast of the Shrieve’s cannon. Despondent after the cave-in, Garron wonders if it would be possible to commit suicide with the Locatormutor Core.
Chapter 7 brings Ian Marter’s take on a popular title, ‘Escape into the Unknown’, almost the same one Terrance Dicks used in Death to the Daleks.
Cover: John Geary created an atmospheric shot of the Doctor, a shrivensale and some moody candles.
Final Analysis: It wasn’t one of Robert Holmes’ greatest scripts and sadly it’s not one of Ian Marter’s best books either. There’s little room for Marter’s violent imagery here and it’s all a bit flat. Without the performances to help sell the characters, Garron and Unstoffe lack any depth beyond their grift, while the Doctor is a horrific bully to Romana (something that was thankfully phased out on screen within a couple of stories, but which comes across as much more savage here). Marter is able to make the lumbering TV shrivenzale into a fearsome beast with claws that make sparks against the catacomb walls and he takes on the death of Sholakh and makes it a little bloodier, but… no, this is largely as dull as I’d expected.
I’ve got to be honest, this is the beginning of a run of books I’ve been dreading.
Synopsis: The Doctor and Romana explore a dead world, unaware that one of them has been there before. A spaceship arrives containing the beautiful Movellans who inform the Doctor that the planet is Skaro – home of the Daleks – and their mission is to find the Dalek creator, Davros. But Davros is dead… and coincidentally, so is Romana!
1. The Dead City
2. Underground Evil
3. The Daleks
4. The Movellans
5. Slaves of the Daleks
7. The Secret of the Daleks
8. The Prisoner
9. The Hostages
10. The Bait
12. Suicide Squad
Background: Terrance Dicks adapts Terry Nation’s scripts for a story that aired just two months earlier.
Notes: Dicks calls Romana a ‘Time Lady’ and summarises the events from the climax of The Armageddon Factor, which hasn’t been novelised yet. The Doctor surmises that Romana’s higher score at the academy accounts for her greater control over how she regenerates, unlike his own traumatic experiences. They arrive on the strange dead world at night during a storm (it’s a bright, sunny day on TV). The slaves bury their dead under rocks because the foundations of the city ruins are too thick to dig up. The dead body that the Doctor investigates was a ‘Space Major Dal Garrant’ (so close to that familiar ‘Tarrant’ that Nation often used). While pinned under the fallen masonry, the Doctor reads ‘The Origins of the Tenth Galaxy’, written by a ‘particularly pompous Time Lord historian’ who he has never liked. He’s interrupted by the arrival of just two Movellans (Lan and Agella) and they’re wearing ‘simple, military-type space coveralls’, rather than the beautifully distinctive space-dreadlocks and Top of the Pops dance-troop suits. On the Movellan spaceship, Commander Sharrell’s rank is denoted by an insignia on his uniform.
Sharrel does not identify the planet they’re on beyond the serial number. Only later does the Doctor discover that it’s Skaro, when Tyssan tells him. As Davros revives, his eyes open [see The Witch’s Familiar in 2015]. The journey to the surface with Davros involves a long, steep, spiralling ramp. The Daleks cheat and make their way to Davros’s level using ‘eerily silent anti-grav discs’ as seen in Planet of the Daleks. Disappointingly, the Doctor doesn’t tell the Daleks to ‘spack off’. The Dalek mutant that he encounters in the sand dunes is more active than the blob of Slime-with-Worms from TV. It’s a ‘pulsating green blob, a kind of land-jellyfish’ that crawls up his arm. There’s a fair bit of gender-swapping here: Veldan and Jall’s genders are reversed, the Daleks’ sacrificial victims are both male and the Movellan that captures the Doctor and Tyssan is also male. Romana doesn’t dismember Sharrel during their fight, she merely kicks away his power tube.
Cover: Welcome Andrew Skilleter, who surrounds an image of the Doctor (based on a pic from The Pirate Planet) with very TV Century 21-style Daleks moving around in fog, as if at a disco. Alister Pearson’s 1990 reprint cover puts the Doctor and Romana alongside a moody Davros in profile, a Dalek and Agella against a salmon background.
Final Analysis: Destiny of the Daleks seems to polarise opinion, but as it was the first Dalek story where I was old enough to follow the plot in full, I didn’t care about how tatty the props looked or that the central point about a robotic impasse shouldn’t have worked because Daleks aren’t robots. I just enjoyed it for being Daleks on my telly. This novelisation is, for me, the first point in this project where Terrance Dicks’ straightforward script-to-page approach feels a little lacking. Racing to get this story novelised meant that Romana v2 is introduced before V1 – we’ve leapt past a season and a half of stories, which is quite confusing – but there’s no real explanation as to who Romana is, only that she’s changed and she’s from Gallifrey. The Movellan costumes are described in such generic terms that they lose some of their onscreen glamour, and it’s all a little… thin. However, there is this lovely harkback to Genesis of the Daleks, which highlights a decision the Doctor has returned to time and time again:
The Doctor sighed. He had hesitated once before, at a time when he could have destroyed the Daleks before their creation, simply by touching the two wires that would complete an explosive circuit. Who knows what horrors he had unleashed upon the Universe? The Daleks were stronger now and more numerous, and with Davros to help them… He must not hesitate again. The Doctor pressed the switch.
Synopsis: The TARDIS brings the Doctor, Jamie and Zoe between the trenches of the worst war in Earth’s history – World War I. Yet just a few miles away, the war is against Roman soldiers – and here it’s the American Civil War. As the time travellers make their way to the centre of the warzones, they discover a group of aliens controlling the battles as part of a hideous game. All too soon, the situation becomes too great even for the Doctor to handle. With no other choice, he is forced to confront his greatest challenge yet – his own people, the Time Lords…
1. Sentence of Death
3. The Time Mist
4. Back to the Château
5. The War Room
6. The Process
7. The Security Chief
8. Battle for the Château
9. The Trap
10. Fall of the War Chief
11. Trial of Doctor Who
Background: Malcolm Hulke adapts the 1969 scripts he co-wrote with Terrance Dicks.
Notes: The prologue is a mission statement from the ‘Chief War Lord’ (so the aliens are the War Lords, who aren’t named on TV; the War Lord is the leader of the aliens). They identify Earth as ‘the most war-like planet known to us’ and their project is called ‘The War Games’. Off the back of their last (unseen?) adventure, the Doctor has promised to take Jamie for a visit to his own time. On their arrival, he explains to his young friends the origins of barbed wire (the invention of ‘an American’ for the purpose of penning in cattle). He goes into detail about the purpose of trenches during World War I, in a time before the tank was invented, and the great loss of life involved in trying to capture ground from the enemy. ‘That’s a daft way to run a war,’ says Jamie, rather pertinently. The Doctor also explains the causes of the American Civil War to Zoe who, coming from the far future, has never heard of the United States.
General Smythe is ‘a huge man with a square jaw and cheeks like cliffs’. Captain Ransom reports to him that they have lost ‘twenty-nine thousand men in the past month’ and Smythe tells him that they’re fighting a ‘war of attrition’. Alone in his room, Smythe uses the hidden video monitor to report to a ‘fellow War Lord’ and request ‘five thousand more specimens’.
Carstairs’ first name is Jeremy and his father is a factory owner in Yorkshire (but he chooses not to admit this to Lady Jenifer). Head of the military prison, General Gorton, can’t remember if he was born in Wiltshire, Oxfordshire or Berkshire. Two deserters, Willi Müller from Berlin and George Brown from London, witness the shelling of the ambulance and the vehicle’s sudden disappearance in the mist. In the Roman zone, Drusus Gracchus and Brutus Sullas also see the ‘square elephant’ vanish and assume it’s a ‘Gaulish trick’. Drusus vows that he’ll sacrifice ‘three goats, two pigs and a human slave’ in honour of the God of War.
The War Chief is tall, with a uniform of ‘black with gold and red piping’. His fellow War Lords use a transport device called a ‘Space and Inter-time Directional Robot Allpurpose Transporter’, or ‘SIDRAT’ – a ‘tall black box similar in shape and size to the TARDIS’ (it’s mentioned only once on screen, by the War Chief, who pronounces it ‘Side-Rat’). The machines can deliver hundreds of soldiers to the various timezones and they are powered by green crystals that come from the ‘planet of the Time Lords’ (which the War Chief doesn’t name), but as these have worn out, the War Lord has used other materials that lead to a decreased lifespan. The Alien soldiers wear silver uniforms. The Security Chief does not like people to see how short he is, so he usually stands; he wears a ‘simple black uniform without braid or piping’ that makes him look ‘very sinister’. Foreshadowed before his arrival, the War Lord suddenly appears in the war room alongside the Security Chief and the War Chief and is not described at any point.
At one point, Lieutenant Carstairs wonders ‘just how many wars they have going on in this place’ – and it’s a fair few, as well as his own 1917 Zone: There’s an English Redcoat, taken from the battles of the Jacobite Rebellion of Jamie’s time; we learn of a ‘French Deserter’ from Napoleon’s army in Gorton’s prison; General Smythe references zones from the Dakota War / Sioux Uprising (from 1862), the Korean War (from 1951), the American War of Independence (from 1776), the ‘Punic Wars’ between Rome and Carthage and the ‘Mongolian Invasion’ of the 13th Century; the War Lord known as Count Vladimir Chainikof oversees the Russian side of the Crimean zone (at some point between 1853-56); there’s a zone from 1936 with Chinese and Japanese combatants, though this predates the second Sino-Japanese war by a year and would possibly have been the tail-end of the Chinese Civil War; in the Central Zone, the Doctor and Zoe see a mix of soldiers, including Aztec warriors, a Roundhead from ‘Oliver Cromwell’s time’, soldiers from the Franco-Prussian War (1870),, an Austro-Hungarian officer from the Boxer Rebellion (from where we later meet a Chinese soldier who joins the resistance), two women soldiers from the Spanish Civil War zone, a soldier from Catherine the Great’s army (presumably the The Russo-Turkish War of 1768–74), a Japanese Samurai warrior and a soldier in a suit of armour from an undisclosed period; Jamie joins soldiers from the Boer War from 1899 and a Chinese revolutionary from 1911. The zone for the American Civil War (or the ‘War Between the States’) is from 1862 and Hulke uses the term ‘Negro’ to describe an unnamed resistance soldier, which is period-appropriate but which may jolt the attention of modern readers (also, the role of Harper is absorbed into that of Russell). Arturo Villar claims that all of Mexico is ‘all war’, but he’s probably from the Mexico-American War of 1846-48. Another resistance soldier, Boris Ivanovich Petrovich, is from the Russian Revolution of 1812.
For the first time, Jamie begins to wonder who the Doctor really is and when he finally raises the question, the Doctor is about to tell him when they’re interrupted. It’s the Security Chief, and not the Chief Scientist, who first uses the term ‘Time Lords’. The War Chief reveals that the Doctor stole his TARDIS (The War Chief also has a TARDIS of his own, stolen like the Doctor’s and hidden somewhere). When the Doctor confirms this to Zoe, he admits that ‘it’s not one of the best models. The chameleon effect doesn’t work’ (Hulke previously referred to the TARDIS’s chameleon feature in The Doomsday Weapon and its use here still predates it being said on screen). During his trial, the Doctor mentions the Daleks, Cybermen, Quarks, Yeti and the Krotons. The Time Lords wear long white robes and they tack on an additional charge to the Doctor’s crimes of stealing a TARDIS, which is consistent with the version told in The Auton Invasion. Back on the Wheel, Zoe meets an unnamed man (not Tanya Lernvov as on telly). After the Doctor disappears, the prosecuting Time Lord admits that the Doctor ‘would never have fitted in back here.’ His colleague agrees, but laments: ‘It’s a pity. He would have brightened the place up no end.’
Cover: John Geary creates a mishmash of eras as the TARDIS stands in a battlefield where a Roman centurion approaches a British army officer. The 1990 reprint used Alister Pearson’s elegant monochromatic VHS cover with Troughton, the War Lord and a Time Lord in a grid of warzone triangles, accompanied by an American Civil War soldier, a Roman chariot and Lieutenant Carstairs.
Final Analysis: This is the longest novel since Doctor Who and the Cybermen, four years earlier. In condensing the ten-part epic from 1969, by necessity, Hulke makes it less of a Terrance-Dicks-style scene-by-scene adaptation, more a top-to-toe rewrite of the story with each chapter roughly covering a single episode. Although a lot of the beats are the same, Hulke is more concerned with creating the world for the reader than recapturing exact memories of a programme broadcast just once, a decade earlier.
Hulke’s human characters are, as ever, multi-faceted and they reveal much about the societietal attitudes of their respective times: Carstairs is a loyal and patriotic officer who struggles to accept the deception of his superior officer, but still manages to unpick the inconsistencies of the Doctor’s Court Martial (and considering the horrific injustices he must have witnessed already, this is saying a lot); he also reveals a degree of inverted snobbery, choosing not to reveal much about his background to Lady Jennifer; Zoe reveals a fierce feminist conviction, stating her opinion that things would be better if women were in charge. Lady Jennifer disagrees, saying that, aside from periods of war, a woman’s place is in the home, a view that seems to be introduced to support her belief that ‘new socialists… believe in a lot of nonsense’ (though she later tells Russell that she believes that women should have the vote, so she’s quite complex too).
Hulke sums up the brutality of the First World War effectively through a combination of the Doctor’s mini-lectures and the reactions of the soldiers to newcomers, immediately accusing them of being spies and threatening them with being shot. Lieutenant Carstairs observes that the average lifespan of a British officer on the front line is only three weeks. As they part company on No Man’s Land, he asks the Doctor ‘Did my side win?’
‘Was all the death and misery for nothing?‘
‘You have answered your own question, Lieutenant. War is always death and misery, and both sides lose. I hope that one day you humans will find another way to settle your arguments.‘
This adaptation covers so much ground that in some ways it damaged the reputation of the TV episodes it was based on. Terrence Dicks’ natural modesty (and the pressures under which he and Hulke wrote the story) always led him to underplay its success, but some readers were entertained enough by the novel to assume that all the stuff cut from the TV episodes must have been needless padding. The DVD release restored its reputation as one of the best stories of that decade, but this novelisation is also a magnificent undertaking. Some characters are missing, some scenes truncated, but none of this leaves us feeling short-changed. We’re lucky enough to have both the TV and novel versions and both of them stand among the very best of their respective genres.
Malcolm Hulke died in July 1979, aged 54. This book was published two months later.
Synopsis: A giant robot created by evil scientists stalks through the night, smashing everything in its path, while the Doctor recovers from changing his body. It’s the same plot as Doctor Who and the Giant Robot, but much, much faster!
Almost identical to the original novel, apart from an edit to chapter two.
Notes: The whole story is streamlined down to very simple descriptions and dialogue. Harry’s entire James Bond subplot is reduced down to two lines before he’s knocked out (and he calls the Brigadier on a radio rather than finding a telephone). The story ends with the Doctor watching as the robot turns to rust and is blown away. He muses whether he can tempt Sarah off on another adventure – but there’s no mention of Harry joining them.
Cover & Illustrations: The cover by Harry Hants has a slightly caricatured Tom Baker with a very detailed side-on view of K1 and an army truck. Peter Edwards provides 46 line illustrations that aren’t exactly flattering to their subjects but are still better likenesses of the guest cast than most of the early Target books had (they’re reminiscent of the kind of illustrations Terrence Greer used to do for Penguin, or it might remind modern adult readers of the grotesque characters in BBC Three’s animated comedy Monkey Dust). There’s a joyful picture of the Doctor emerging with a beaming grin from the TARDIS in a Viking outfit, while the scene of the virus being flung at the robot is gleefully epic. Kettlewell is, surprisingly, more refined than on telly, a bespectacled bald man, lacking the TV version’s crazy hair.
Final Analysis: Writing for younger children, Dicks manages to get all the details lined up in the correct order and rushes through the story with lots of energy. As the original novel was also the first not to have any illustrations, Peter Edwards’ ink drawings are a real treat that really help to tell the story rather than just break up the text.
Synopsis: Time experiments in an old priory resurrect an ancient evil. The Doctor and Leela arrive just as the manifestations begin – an image of the Fendahl, a legend from the Doctor’s own people that brings with it death – but how can they kill death itself?
1 The Skull
2 Dead Man in the Wood
3 Time Scan
4 Horror at the Priory
5 The Fendahleen
6 The Coven
7 Stael’s Mutiny
8 The Missing Planet
9 Ceremony of Evil
10 The Priestess
11 Time Bomb
12 The End of the Fendahl
Background: Terrance Dicks adapts scripts from 1978 by Chris Boucher.
Notes: We start with an introduction to the fated walker, who recalls a rhyme about a ‘frightful fiend’ on a ‘lonely road’. It’s not exactly confirmed onscreen but Colby is a professor, while Professor Fendelman has become ‘Fendleman’. Thea Ransome is described as being ‘strikingly attractive’, while Max Stael has ‘stiff Germanic good looks’ and ‘rather woodenly handsome features’ (which feels like a dig at actor Scott Fredericks).
We’re reminded where K9 came from, although this story doesn’t necessarily follow on immediately from The Invisible Enemy, as K9 has ‘developed some mysterious ailment’. Leela (or maybe just the narrator) wonders if the Doctor’s love of Earth wore off when he was exiled there by the Time Lords (let’s hope it’s the narrator as Leela wouldn’t know this) and Leela recalls her trip to a music hall [See The Talons of Weng Chiang]. Dicks explains the joke behind calling Colby’s dog ‘Leakey’, a tribute to ‘the famous anthropologist’.
Security Team leader Mitchell’s first name is Harry. By the way, in both the TV serial and this book, Stael is ordered to call ‘Hartman’ in London to send a security team to the priory; I’m calling this now with zero evidence – Hartman works for Torchwood.
Cover: John Geary paints the Doctor being menaced by a fendahleen in front of a grandfather clock in a wooden-panelled room.
Final Analysis: I remember reading this accompanied by a fan-made audio recording of the TV episodes and I managed to pretty much keep time with the programme. It’s a slim volume, possibly the slimmest, and it’s by no means as gory as it could have been, but Dicks maintains the horror levels rather nicely for a children’s book: The Doctor considers his first view of an adult fendahleen to be ‘the nastiest looking life-form he had ever seen’.
In shape it was vaguely like an immensely thick snake, though the segmented front gave a suggestion of a caterpillar. It was green, and glistening, and it seemed to move on a trail of slime, like a shell-less snail.
Later, the ‘green slimy skin’ of a dead fendahleen is said to have ‘burst in several places like rotting fruit’ – nice!
Synopsis: Aboard a mining vessel, the crew consists of indolent humans who allow robotic servants to do all the work. When one of the crew is found murdered just as the Doctor and Leela arrive, suspicion naturally falls upon the strangers. But as the murders continue, the crewmembers begin to suspect each other. Leela wonders why the killer couldn’t be the mechanical men, but it’s against their programming – robots cannot kill… can they?
3 Corpse Marker
4 Death Trap
7 The Hunter
10 Robot Detective
11 Killer Robot
12 Robot Rebellion
13 The Face of Taren Capel
Background: Terrance Dicks adapts Chris Boucher’s scripts from 1977, completing Target’s adaptations of Season 14 stories and the first three seasons of the Fourth Doctor.
Notes: The vessel is called ‘The Sandminer’ (it’s ‘Storm Mine 4’ on TV) and Dicks describes it as ‘a massive metal crab on an immense, multi-coloured sea of sand’. Cass is said to be ‘young and muscular, dark-skinned like Zilda’ (he’s also rather difficult to kill as he’s accidentally included in the assembled crew scene in Chapter 6 that takes place after his death. Oops!).
The robots are all silver (not shades of metallic green like the onscreen versions), have ‘high, polished boots’ (not bacofoil moccasins) and their numbers are denoted on a collar around the neck, rather than on the chest-plates. When Uvanov says it’s some consolation that the murders have increased their own share of the takings, it’s Toos, not Zilda who corrects him that it’s ‘no consolation’. ‘Lucanol’ is the rarest mineral of all. Poul clarifies that Chub’s weather balloons contained helium, which sets up the trap that catches Dask at the end.
As the ore threatens to drown him, the Doctor goes full-on Sherlock Holmes to work out a solution to the problem:
In any kind of emergency, the first thing to do is think. Wrong action can be worse than no action at all.
… and dismisses a number of options before settling on breathing through the tube.
There were 20 families who came from Earth to colonise the planet and it’s their descendants who are known as ‘Founding Families’. Poul reveals that many of the crewmembers on this tour were working for Uvanov on the tour that saw the death of Zilda’s brother. Robophobia is known as Grimwold’s syndrome (not ‘Grimwade’ as on TV). Dask’s ‘robot upbringing’ is expanded upon, laying the blame for his madness on the ‘lack of parental love’. The Doctor and Leela stay long enough for the survivors to send a distress satellite and request a rescue ship.
Cover: John Geary joins the family of Target artists with an attractive golden Voc and a lovely illustration of the Doctor holding a Laserson probe. The 1994 reprint was one of the very last Target publications and it had a painting by Alister Pearson showing the Doctor, a Voc face (as well as a full-length Voc) and the Sandmine, with a background inspired by the Sandmine decor.
Final Analysis: Terrance Dicks continues to provide us with a pre-home-video copy of the broadcast story, but he doesn’t get anywhere near enough recognition for the way he paints each scene, not just what we might have seen, but how it should have made us feel, as in this paragraph where the Doctor meets the mine crew for the first time:
He studied the people around him, the elaborate robes and head-dresses, the complex designs of the face paint. It was a form of dress typical of a robot-dependent society, in which no human needed to perform any manual labour.
Efficient, precise and slightly critical. And then he turns his attentions to Uvanov:
There was something pathetic about Uvanov. A middle-aged man pretending to be young, a weak man trying to be strong.
Yet just a few pages later, we’re told:
At times like this, there was something curiously impressive about Uvanov. Whatever his other faults, he was the complete professional when it came to his job.
Chris Boucher’s scripts were already among the best of the series up to this point (and, dare I say it, beyond), but it’s down to Dicks that this opportunity isn’t wasted.
Even if he does accidentally resurrect one of the murder victims…
Synopsis: The Doctor is unwell, fighting off an alien virus that is trying to possess him. Heading to a hospital in deep space, the Doctor meets Professor Marius and his robot dog K9, who eagerly assists Leela in fighting off an army of infected people. Realising they need to take the fight to the cause of the infection, the Doctor and Leela are cloned, miniaturized and injected inside the Doctor’s brain to find the nucleus of the virus before it can take hold permanently and use the Doctor to spread its swarm throughout the galaxy.
2. The Host
3. Death Sentence
6. The Clones
7. Mind Hunt
10. The Antidote
11. The Hive
Background: Terrance Dicks adapts the scripts for a 1977 story by Bob Baker and Dave Martin; that’s three consecutive books to be based on their scripts.
Notes: Terrance Dicks was using the very latest information available, so the reference to Saturn having ten moons is based on the discovery of Janus in 1966. In 1978, it was suspected that Janus shared its orbit with another moon – named Epimetheus – a theory confirmed two years later by the Voyager probe, which also revealed three more moons. It’s now believed that Saturn has over 80 satellites, plus many others embedded within its rings. Considering the definitions of ‘Moon’ and ‘Planet’ have shifted repeatedly in the last 40 years, we can therefore accept that the narrator of this book is using a classification of a significant size of satellite that was common in the year 5000. Or that something terrible happened to Epimetheus or Janus. So there.
The Doctor has high regard for Leela, despite his teasing of her as a savage, and has apparently shown her the basics of TARDIS piloting – and she’s retained the training enough to input coordinates, despite otherwise struggling with general levels of technology. Professor Marius came to the BI-AL foundation from the New Heidelberg University. Growing bored waiting for news of the Doctor, Leela explores the station, bypassing the lifts because she doesn’t trust them and scaling numerous flights of stairs before she finds the Doctor’s ward.
We’re introduced to the legendary K-9, who is a ‘squat metallic creature’ that looks like ‘a kind of squared-off metal dog’, with a ‘computer display screen for eyes, and antennae for ears and tail’.
Dicks manages to work around the visuals of the nucleus of the swarm, which, at micro-scale has ‘waving antennae, glistening wet red flesh, and a bulbous black eye that seemed to swivel to and fro’, while the version in the macro-world is rather unpleasant:
A horrible, incredible shape [which] was filling the booth. It was blood-red in colour and was as big as a man with a bony glistening body and lashing tentacles. The huge black bulbous eyes swivelled malevolently around the ward.
… and definitely not a giant prawn.
The virus tries to reinfect the Doctor through Marius and when it fails, the Doctor is full of glee. Marius gains help from the entire surviving staff at the Foundation in preparing the antidote samples. Back on Titan, the nucleus swells to an enormous size while its hatching brood look like ‘huge, malevolent dragonflies’.
Cover: A rather lovely portrait of the Doctor with the nucleus of the swarm in the background, courtesy of Roy Knipe.
Final Analysis: The opening scene adds a very subtle message that the people of the future are trained for their jobs, but then their environments are controlled so extensively by technology that they’re never required to put any of that training into practice. We also get a decent paragraph that explains the back-history behind Marius’s casual use of the term ‘spaceniks’. Once again though, it’s the little details added to give the monster of the week a greater sense of scale and menace than they could have achieved onscreen.