Chapter 64. Doctor Who and the Enemy of the World (1981)

Synopsis: Salamander is a peacemaker. Salamander is a hero. And to some, Salamander is their saviour. But to all, he is a very dangerous man. The Doctor tries very hard not to get involved in politics, but the inconvenient truth is that he bears an uncanny resemblance to Salamander. With the help of Jamie and Victoria, he uncovers the man’s insane plans.

Chapter Titles

  • 1. A Day by the Sea
  • 2. The Doctor Takes a Risk
  • 3. Volcanoes
  • 4. Too Many Cooks
  • 5. Seeds of Suspicion
  • 6. The Secret Empire
  • 7. A Scrap of Truth
  • 8. Deceptions
  • 9. Unexpected Evidence
  • 10. The Doctor Not Himself

Background: Ian Marter adapts scripts by David Whitaker from 1968. Whitaker had begun work on the novel before his death in 1980 and had stated in his planned synopsis for the book that he would give himself a ‘free hand’ to adapt the story within the allotted word-count and also provided Salamander with a first name – Ramon!

Notes: The cover tells us that the story is set in 2030 – 50 years in the future of the book’s publication. The TARDIS materialises with ‘an unearthly grinding and howling sound’, which is as good a description as we’ll ever get. Victoria emerges from the time machine wearing a ‘faded Victorian dress’. The Doctor enthusiastically accepts the opportunity to impersonate Salamander (he’s much more reluctant on TV). Kent’s list of Salamander’s alleged political assassinations includes Jean Ferrier, Astrid’s father. The dossier Salamander has on Fedorin contains evidence that Fedorin has been involved in ‘elaborate interzonal fraud’ (which is the same charge he denies on screen). A few characters gain full names: Theodore Benik; Nicholas Fedorin; Fariah Neguib; and the survivors in the bunker are Colin Redmayne and Mary Smith. We lose the cute-but-unnecessary ‘disused Yeti?’ joke.

This volume’s ‘savage description of a living actor’ targets the amazing Milton Johns, who played Benik on TV. While the character is an utter monster, Marter takes every opportunity to describe him as physically repellent too:

He was shorter than Bruce, with a thin body and a face like the front of a skull. Short black hair straggled across his forehead in a ragged fringe and his large red ears stuck out slightly. Huge eyes burned in deep sockets and the small mouth was drawn tightly over the teeth.

He’s also said to have ‘mean eyes’ and a ‘malicious smile’ which spreads ‘gradually over his emaciated features’. When Benik is arrested, he is taken under armed guard to Geneva. The story ends with the time travellers safe and in anticipation of their next adventure (unlike the TV version, which ended on a cliffhanger).

Cover: Goodbye to the Bernard Lodge logo as it makes its last appearance here. Bill Donohoe’s cover shows Astrid and Kent at a set of controls in front of an exploding volcano. Alister Pearson’s 1993 reprint cover focuses on Salamander. Or is it the Doctor pretending to be Salamander? Thanks to David J Howe’s book on the Target range, we can see some of the unused designs planned for this story, including a lovely one by Steve Kyte of Astrid and an exploding volcano.

Final Analysis: As ever, there’s no concession to younger readers here as Ian Marter relishes the opportunity to write up a political thriller. There’s the infamous use of adult language (‘That bastard Kent…’), and while it foregoes some of Marter’s usual violent descriptions, it also loses some of the joy from the serial – the Doctor paddles in the sea at the beginning rather than stripping down to long-johns and throwing himself in with gusto, while Victoria’s exchanges with the pompous chef are cut. I have to concede that this very straight-faced approach almost certainly played its part in Enemy of the World being brutally undervalued before it was rediscovered in 2013. At a guess, either the target audience were just too young for a political drama like this. Possibly those who dismissed this in favour of the more monster-focused stories of that era were swayed more by the dramatic cover of The Ice Warriors than its tedious contents. Whatever, this is still a solid adaptation of one of the best second Doctor stories.

Chapter 63. Doctor Who and the Creature from the Pit (1981)

Synopsis: The Lady Adrasta is used to being obeyed and her word is law. If you disobey her, if you displease her in any way, you’ll be thrown into a pit that they call… The Pit. If you’re lucky, you’ll break your neck as soon as you reach the bottom. If not, you’ll encounter a terrifying creature they call… The Creature. With the help of a forgotten astrologer, the Doctor uncovers the truth about the creature – and Lady Adrasta.

Chapter Titles

  • 1. The Pit
  • 2. Wolfweeds
  • 3. The Doctor’s Leap to Death
  • 4. The Creature
  • 5. Organon
  • 6. The Web
  • 7. The Meeting
  • 8. The Shield
  • 9. Erato
  • 10. Complications
  • 11. Wrapping Up 

Background: David Fisher adapts his own scripts from the 1979 story.

Notes: Madam Karela secretly thinks the whole business with The Pit is a waste of time and would prefer to use her knife to cut the accused’s throat. Romana discovers a multi-dimensional store cupboard that contains a box labelled ‘Toys from Hamleys’, a lone ‘patent-leather dancing pump, signed on the sole “Love from Fred”’; an animal jawbone, an object that might be a musical instrument, a ball of string and a blonde chest-wig! The box containing the transceiver is stamped with the Seal of Gallifrey and the device should have been installed 12 years ago. Romana has clearly been with the Doctor for a long time now, as she reminds herself of her own travels through ‘umpteen galaxies’ and ‘hundreds of thousands of years’, which presumably also included an encounter with the ‘Mudmen of Epsilon Eridani’, which she cites in a moment of exasperation.

The bandits are rubbish because they’re really miners who were forced out of the mines when the creature arrived 15 years ago. Adrasta’s engineer Doran is a ‘not unattractive young man’. When the Doctor lands at the bottom of the pit, Doran’s crushed body breaks his fall. As the creature approaches, the Doctor notices a ‘strange metallic odour, like silver polish or a run-down battery’. 

Yes, this is the novel where sex is introduced for the first time as we are treated to a lengthy section on the life cycle of the Tythonians, including steamy, graphic descriptions of their sexual reproduction (no spoilers but at one point it involves two things about six inches long). Tythonians can live for around 40,000 years or more:

… longer, if they avoided any physical activity, like movement or worry, and devoted themselves exclusively to music and poetry.

The story ends with the Doctor’s joke about the lucky number, rather than with the goodbyes with Organon.

Cover: A final submission from Steve Kyte and it’s a cracker as the Doctor looks up fearfully at a sword while Adrasta lurks in the background. I have a strong suspicion that Kyte’s photo reference is the same one used for the cover of The Human League’s track Tom Baker.

Final Analysis: I admit, reading through this, I forgot that this wasn’t Terrance Dicks – which is a good sign for a first entry in the range. Terrance repeatedly said that he stopped writing quite so many books when the scriptwriters slowly realised that they could make all of the money if they also did the novelisation, and this is the beginning of that trend (Fisher having already missed out on his first two stories). Season 19’s script editor Douglas Adams, who commissioned the original serial, had just enjoyed a meteoric rise to fame thanks to the novelisation of his Hitch-Hikers radio serial and it’s clear that Fisher has read it (the section on the life cycle of the Tythonian and the asides about various flora and fauna on Chloris are hard to read without hearing Peter Jones’ voice) but Fisher at least has the common sense not to try to blindly copy everything Tom Baker brought to the screen (the sequence where the Doctor hangs onto the edge of the Pit loses the ‘Teach Yourself Tibetan’ jokes and instead involves him recalling the lessons of Sherpa Tensing).

Chapter 62. Doctor Who and the Monster of Peladon (1980)

Synopsis: The Doctor returns to Peladon with his new friend Sarah Jane Smith. Though membership of the Federation has brought some benefits to the planet, there is growing discontent among its people. The young Queen Peladon rules with kindness, but the old ways of superstition still have influence and when manifestations of the great beast Aggedor disrupt the mining of minerals, a force of Ice Warriors arrives to ensure that mining continues. But Sarah Jane saw an Ice Warrior in the mines before they officially arrived – and the Doctor’s old friend Alpha Centauri begins to suspect that these Ice Warriors aren’t even part of the Federation, but are traitors intent on gaining the minerals for themselves.

Chapter Titles

  • 1. Return to Peladon
  • 2. Aggedor Strikes Again
  • 3. The Fugitives
  • 4. The Hostage
  • 5. The Wrath of Aggedor
  • 6. The Intruder
  • 7. The Ice Warriors
  • 8. The Madman
  • 9. The Return of Aggedor
  • 10. Trapped in the Refinery
  • 11. The Threat
  • 12. Aggedor’s Sacrifice

Background: Terrance Dicks adapts the 1974 scripts by Brian Hayles (who had started work on the novel before his death in 1978). This completes the Target run of adaptations of stories from Season 11.

Notes: Peladon has three moons. We’re told this as part of an introductory chapter that summarises both the events of The Curse of Peladon and the intervening years up to this point, during which a war with Galaxy Five has made Peladon a key resource for the Federation. Apparently, Sarah Jane Smith has been the Doctor’s ‘more or less unwilling companion on a number of adventures’ and she instantly regrets allowing herself to be persuaded by the Doctor’s stories of a ‘picturesque and primitive planet, just making the transition from feudal savagery to technological civilisation’.

Ettis is said to be ‘a thin, wiry young man’ (so the casting for the TV version clearly shows what a hard life it is, being a miner, because he’s not ‘young’). Sarah observes a number of differences between Commander Azaxyr and his subordinates: 

Although equally large, Azaxyr was built on slenderer, more graceful lines than his tank-like troops. He moved more easily, and in particular his mouth and jaw were differently made, less of a piece with the helmet-like head. While the other Ice Warriors grunted and hissed in monosyllables, Azaxyr spoke clearly and fluently, though there was still the characteristic Martian sibilance in his voice.

The Doctor notes that, as a member of an aristocratic Martian line, Azaxyr is ‘almost a different species from the ordinary warriors’. 

Cover: Steve Kyte’s design shows an Ice Warrior and the hulking form of a roaring Aggedor. Simple but effective. Alister Pearson’s 1992 cover shows the Aggedor statue and the Doctor as the background to a cluster of Sarah, Azaxyr, Alpha Centauri and Eckersley.

Final Analysis: It’s a welcome return for the Third Doctor, our first story to feature him since Death to the Daleks 19 books ago. Terrance Dicks might not attribute the colourful cuttlefish properties to Alpha Centauri that Bryan Hayles did in Doctor Who and the Curse of Peladon, but instead Alpha’s tentacles are the indication of his moods. Aggedor is said to be even bigger than he was the last time the Doctor saw him (and considering the illustrations of him in the previous novelisation, that must make him really huge now) and Dicks adjusts the Martian Commander to be as imposing as his warriors.

Chapter 61. Doctor Who and the Horns of Nimon (1980)

Synopsis: Romana and the Doctor land aboard a stricken ship heading for Skonnos with a group of terrified Anethans. The youngsters are intended as tributes to the fearsome Nimon. As soon as the Doctor has repaired the ship, its captain absconds, leaving the Doctor stranded. By the time the TARDIS gets him to Skonnos, Romana has discovered that the Nimon, a bull-headed alien, is just the first arrival, a spearhead for a race of parasites that intend to lay waste to Skonnos…

Chapter Titles

  • Prologue
  • 1. Ship of Sacrifice
  • 2. The Skonnons
  • 3. Sardor in Command
  • 4. Asteroid
  • 5. The Nimon
  • 6. The Maze
  • 7. Sardor’s Bluff
  • 8. K9 in Trouble
  • 9. The Journey of the Nimon
  • 10. Journey to Crinoth
  • 11. Time Bomb
  • 12. The Legend

Background: Terrance Dicks adapts Anthony Read’s scripts from 1979. This followed Nightmare of Eden on TV, so that’s another pair of stories to be released consecutively.

Notes: A brilliant prologue sketches the events of the rise and fall of the First Skonnan Empire in which we’re told ‘No enemy had ever defeated the Skonnans. They destroyed themselves.’ In-fighting led to civil war and the collapse of a once-proud race – and then came the Nimon, a god-like being who promised the restoration of the Empire in return for tributes, which the Skonnans, led by Soldeed, acquired on the peaceful neighbouring planet of Aneth. The ship we see in the first proper scene is the last surviving vessel of the former empire.

The Captain is here named Sekkoth and his co-pilot, Sardor, is younger, ‘plump-faced and overweight’. Sardor was too young to have fought in the wars, which accounts for his being ‘even more fiercely militaristic than his superior.’ The Doctor is curious as to why Romana has decided to dress like a fox-hunter. When Romana flees the Nimon’s chamber with Seth and Teka, it’s left to an unnamed Anethan girl to explain the plot so far to the Nimon. After the Complex is destroyed, we’re told what happened next: The Doctor takes Sorak aside and persuades him to enter into a peace treaty with the people of Aneth and lay the blame for previous enmity on the Nimon.

Cover: Steve Kyte’s first of three covers for the range, with the Doctor looking over his shoulder at a blue Nimon.

Final Analysis: Terrance Dicks often said that his favourite novels were the ones where the scripts were already good, so he had little to do, or the ones that were bad, where he got to fix them. Few fans would say Horns of Nimon is their favourite story, but the opening prologue suggests Terrance approached this with determination and a willingness to polish as he progressed. We might lose some of Tom Baker’s onscreen excesses here, but Terrance also takes things much more seriously than anyone in the TV version seems to have done: The opening prologue is as portentous as any other scene-setting chapter we’ve had, as a civilisation rises and falls; the comic trouser-splitting co-pilot is given a zealous determination that makes his ultimate demise a relief; Teka tells Romana that her fellow sacrifices are ‘too frightened even to talk’, which explains why only two of them are given any dialogue (genius!); Soldeed’s rise to power is shown to be a fluke and he clings to power knowing he’s ill-equipped to rule – something that Sorak seems to recognise and hopes to exploit; and of course, it’s the dreaded Nimon who Terrance really beefs up with customary relish – just have a look at this:

It was a fearsome, extraordinary creature, not unlike the great buffalo of Earth. Presumably on the Nimon’s planet some similar creature had developed intelligence and become the dominant life form. The Nimon was like a great black bull that had learned to talk and walk upon its hind legs like a man. The massive head merged directly into the enormous torso, with no suggestion of a neck. Great golden eyes blazed with a fierce intelligence and two amber-coloured horns jutted from the broad flat forehead. The creature wore only a wide jewelled belt and a kind of metallic kilt. 

The most terrifying thing about the Nimon was that it was never still. It was as if so much energy was packed into the enormous body that it throbbed with continual power, pacing restlessly to and fro like a great caged beast. Even when it was not speaking it gave off a constant series of low, rumbling growls. 

That is how to polish a cow-pat, even making the bizarre choreography something to fear. Right in the middle of his infamous ‘script-to-page’ period, Terrance gives us a surprising little gem.

Chapter 60. Doctor Who and the Nightmare of Eden (1980)

Synopsis: Two spacecraft collide and are fused together. An investigator suspects that one of the pilots was under the effect of a terrifying drug called Vraxoin. But how did it get aboard? The Doctor and Romana get involved and their attention is drawn to a device that stores snapshots of alien worlds. But these aren’t just photographs, that’s a real jungle from the planet Eden. That’s a real Mandrel from the jungle. Now that’s a real Mandrel leaving the jungle and marauding around the ship, killing real passengers. And more of them. And more…

Chapter Titles

  • 1. Warp Smash
  • 2. The Collector
  • 3. The Attack
  • 4. Monster in the Fog
  • 5. Drugged
  • 6. The Fugitive
  • 7. The Rescuer
  • 8. Man-eater
  • 9. Monster Attack
  • 10. The Plotters
  • 11. The Secret of the Hecate
  • 12. The Smugglers
  • 13. Round-up
  • 14. Electronic Zoo

Background: Terrance Dicks adapts Bob Baker’s scripts for the 1979 story.

Notes: The Doctor and Rigg discuss the history of Vraxoin, which the Doctor says keeps cropping up on various planets but its source has never been found as it was smuggled in from somewhere else. Scientists tried to create it artificially while trying to find a cure for vraxoin addiction, and the drug is ‘a mixture of animal and vegetable elements combined in some unique way’. Secker’s body is too frail after the attack as his system has been weakened by the drug. As ever, the version of the Mandrels from TV is enhanced in Dicks’ description:

The boar-like head had a curiously flattened nose-structure; the huge bulging eyes were a luminous green; and the creature was covered with thick, shaggy fur. Most terrifying of all were the rows of drooling fangs and the massive paws ending in razor-sharp claws. 

The Doctor urges Stott to quarantine Eden to enable the Mandrels to live in peace, their secret safe.

Cover: Andrew Skilleter paints the Doctor and a rather drab Mandrel (aside from its glowing green eyes).

Final Analysis: Another no-frills adaptation, a couple of small scenes are missing – the search among the passenger lounge when the Doctor and Romana have leapt through into Eden – and a few scenes are reordered, but otherwise it’s another basic tome.

Bonus Chapter #2. Junior Doctor Who and the Brain of Morbius (1980)

Synopsis: The Doctor and Sarah land on the planet Karn, which is home to a secret Sisterhood, a mad scientist – and a brain in a jar. The brain belonged to an evil Time Lord called Morbius and Solon wants to bring him back to life. Just like he wanted to do in the original novelisation.

Chapter Titles

Identical to the original novel

  • 1. A Graveyard of Spaceships
  • 2. The Keepers of the Flame
  • 3. The Horror Behind the Curtain
  • 4. Captive of the Flame
  • 5. Sarah to the Rescue
  • 6. The Horror in the Crypt
  • 7. Solon’s Trap
  • 8. The Doctor Makes a Bargain
  • 9. The Monster Walks
  • 10. Monster on the Rampage
  • 11. Deathlock!
  • 12. A Time Lord Spell

Background: Terrance Dicks once again rewrites his earlier adaptation of the story he originally wrote (ish) for TV – this time for a younger readership.

Notes: The murder of the alien Kriz by Condo is excised, with the book beginning instead with the arrival of the TARDIS. Solon’s first scene is also cut, jumping straight to the introduction of the Sisterhood.

Cover & Illustrations: Harry Hants gives us a much better cover for this than we got for the fuller version; even though it’s a very similar basic idea (the Doctor’s face huge in the background as Solon wrestles with the monster), it’s beautifully painted. Peter Edwards provides 35 wonderful illustrations and the gothic setting really suits his style. His Morbius monster has huge taloned feet like those of a bird of prey and pretty much every picture of blind Sarah is unnervingly creepy, but especially the one where she enters the room containing Morbius’ brain in a tank. Best illustrations so far.

Final Analysis: Confession time – this was the version of the story I had as a kid and I didn’t read the full novel prior to this project. It’s a great introduction for children to the genre of horror, enhanced greatly by Peter Edwards’ gritty illustrations, which truly are the stuff of nightmares. It’s a shame this was the last of these experimental junior editions and I wonder how a version for younger readers of The Android Invasion (the Fourth Doctor story with the lowest death count) might have looked.

Chapter 59. Doctor Who and the Keys of Marinus (1980)

Synopsis: A huge pyramid surrounded by a sea of acid. Inside is Arbitan, sole protector of the Conscience of Marinus, a powerful computer that can control minds. The Doctor and his fellow travellers agree to help Arbitan locate a set of keys for the machine, which have been hidden in different locations across the planet. So begins a deadly quest for the time travellers that will involve mind-controlling brains in jars, killer plants, a frozen tundra and a trial for murder. All the while, they are unaware that Arbitan’s enemy, Yartek, leader of the Voord, has captured the pyramid and now lies in wait for their return with the keys…

Chapter Titles

  • 1. The Sea of Death
  • 2. The Marble City
  • 3. The Velvet Web
  • 4. The Brains of Morphoton
  • 5. The Screaming Jungle
  • 6. The Whispering Darkness
  • 7. The Snows of Terror
  • 8. The Demons
  • 9. Sentenced!
  • 10. The Mystery of the Locked Room
  • 11. The Missing Key
  • 12. Arbitan’s Revenge
  • 13. Final Goodbyes

Background: Philip Hinchcliffe adapts Terry Nation’s 1964 scripts, during a period when the story titles for Hartnell’s stories had not been agreed on by consensus, so the title page states that this is an adaptation of Terry Nation’s ‘The Sea of Death’.  So far, this is the biggest gap between the broadcast of a story and its release as a novel, at 16 years, three months and one week. It’s also been three years and 29 books since the publication of a First Doctor story under the Target banner.

Notes: Time is measured in zeniths in inter-galactic time. The Voord submersible pods are BXV sub-oceanic assault craft. Apparently, Barbara suffers from space-time travel sickness and she believes human bodies are not built for time travel – or at least hers isn’t. Hinchcliffe describes the inside of the TARDIS thus:

They were inside a large hexagonal-shaped control room with white hexagonal-patterned walls. A hexagonal console in the middle of the room supported a transparent cylindrical column which moved slowly up and down when the ship was in flight. 

The Doctor has ‘mischievous blue eyes’ (unlike Harnell’s own, which were brown). Barbara and Ian’s first meeting with the Doctor and Susan is summarised and we’re told that the TARDIS can ‘change its appearance like a chameleon’. Ian is still wearing a ‘Chinese jacket’ that he picked up ‘the court of Kublai Kahn’ [sic], which we’re told ‘undermined his air of schoolmasterly interest’. 

The Voord have webbed hands and feet, they’re the same shape as a man, but stronger and more agile:

Its skin was dark and rubbery, its bulletshaped head smooth and devoid of features except for two frog-like eyes and a snoutish protuberance like corrugated piping. The head was flanked by two flat, pointed lugs. The face as a whole faintly resembled that of Anubis, the jackal-headed god of Egyptian mythology. The creature, however, was far from being any sort of god. It was, in fact, a Class I Voord Assault Trooper, programmed to kill enemy life-forms on sight!

The word ‘programmed’ suggests at least some degree of robotic or artificial intelligence. Yartek developed an immuniser that enabled the Voord to ‘rob and cheat, kill and exploit’; Arbitan’s people were helpless as the Conscience made them incapable of violent resistance. Susan calculates that Arbitan’s temple is a couple of miles all round, while Barbara’s comparison from the TV version of the temple to those of the Egyptians and South Americans is given to Ian for some reason. Vasor is said to be like a ‘Breughel peasant’, which suggests he should have been down an alley, puking. Yartek is said to smile and his face has ‘bulbous eyes’, so he doesn’t quite look like his TV counterpart.

Cover: David McAllister’s first contribution to the range is both beautifully painted and disappointingly bland – the TARDIS hovers in space above a generic planet. Were they too squeamish to attempt one of the Brains of Morphoton for this? As the policy of the time was to avoid having older Doctors on the cover, this might have limited their options, so having the iconic TARDIS might have seemed more marketable, but it’s a shame as we could have had something rivalling Alun Hood’s Terror of the Autons cover for sheer horror.

Final Analysis: This was one of four books I received as a Christmas present in 1980, the first Target books I owned, rather than loaning from the library. Aside from maybe an episode at a convention in the mid-1980s, I’m not sure if I saw the TV story for more than a decade later, so it’s Hinchcliffe’s version that was imprinted on my mind, alongside The Daleks, as what Hartnell’s Doctor was really like. Good going, considering the Doctor himself is missing for half of the story and Ian is, as on TV, very much the lead character. This is Hinchcliffe’s final novel for the range and it’s such a weird choice for him, but it’s every bit the Boy’s Own adventure that was at the heart of his time as producer (including what feels very much like the belittling of Barbara to elevate Ian more), so it’s perhaps not as surprising as it first appears. It faithfully adapts Terry Nation’s scripts, which acted as a template for what the series would quickly become. It has a quest (although after all those Key to Time novels, that’s not necessarily a positive); four alien lands with hostile environments; repulsive monsters; selfish antagonists who are more than a bit rapey; and a trial! At the end, the Big Bad Wolf-style villain is revealed to be rather disappointing, but as this is Hinchcliffe, the description of Yartek’s demise is much, much nastier than the fade-to-white we saw on TV.

Chapter 58. Doctor Who and the Armageddon Factor (1980)

Synopsis: Two planets locked in war, Atrios and Zeos. A princess tries to help her people while her zealous Marshal fights to win the war. Unseen, a shadowy figure is manipulating events as he awaits the final pawns in his game. The Doctor, Romana and K9 arrive on Atrios in search of the final segment of the Key to Time, and help comes from an unexpected source as the Doctor is reunited with an old friend. Soon, the Key to Time will be assembled – and the hidden enemy will be revealed. 

Chapter Titles

  • 1. The Vanishing Planet
  • 2. Missile Strike
  • 3. Kidnapped
  • 4. A Trap for K9
  • 5. The Furnace
  • 6. Behind the Mirror
  • 7. The Shadow
  • 8. Lost on Zeos
  • 9. The Armageddon Factor
  • 10. The Planet of Evil
  • 11. Drax
  • 12. The Bargain
  • 13. Small World
  • 14. The Key to Time

Background: Terrance Dicks adapts the 1978 scripts by Bob Baker and Dave Martin. This is now four stories to be released consecutively in the order they were broadcast on TV.

Notes: The first TARDIS scenes are condensed and moved to the beginning of the first chapter, with an additional explanation of the on-going mission to find the Key to Time. The Marshall’s description is a love-letter to actor John Woodvine:

Tall and broad shouldered, straight-backed with iron-grey hair, he wore a magnificent scarlet tunic with gold epaulettes, the eagle of Atrios emblazoned in silver on the breast. His stern face was rugged and handsome, his voice deep and commanding. 

Merak is apparently the son of one of Atrios’ oldest families and has secretly been in love with Astra since they were both children. They are both members of an underground peace party.  Drax is from the ‘Class of Ninety-Three’ (not Ninety-Two) and has heard that the Doctor ‘got done by the High Court’ for stealing a TARDIS and ‘served a stretch’ on Earth – Drax himself bought a TARDIS second hand and he agrees to stop calling the Doctor ‘Thete’ (short for Theta Sigma, which we’re told was a ‘Time Lord coding’), though he’s sensitive that, unlike the Doctor, he didn’t get his degree. Once exposed, the Black Guardian contorts into a demonic creature and it’s both his callousness about Princess Astra and his inability to set things right with the Key already assembled that alerts the Doctor to his true identity.

Cover: Bill Donohoe paints the Doctor (using a surprising photo reference from The Seeds of Doom) and Romana with the Key to Time locator core in her hand, with the red bird motif from the War Room on Atrios in the background. Apparently producer John Nathan-Turner didn’t like this cover – he was wrong though.

Final Analysis: Yet another fairly straightforward adaptation, with the only major omissions being those scenes with the Marshall preparing to fire on Zeos that are repeated on TV, which don’t need to be replayed here.

And so ends a long, long journey towards this point. There have been trials, tribulations and many disappointments on this quest, but finally we’re done… we’re out of the worst run of books in the series so far – perhaps ever. A combination of poor original stories and a very lacklustre approach to adapting them makes me so glad we’ve got a treat coming up next.

I hope…

Chapter 57. Doctor Who and the Power of Kroll (1980)

Synopsis: On the marshy moon of Delta Three, a methane refinery plant squats in the murky swamp. The small service staff have only minimal contact with the Swampies – primitive green natives whose village is nearby. The arrival of gun-runner Rohm Dutt on the planetoid coincides with that of the Doctor and Romana, still hunting for the Key to Time. Soon, the new arrivals will be forced into an uneasy partnership as they face the terrifying power of the Swampies’ god, Kroll.

Chapter Titles

  • Prologue
  • 1. The Swamp
  • 2. The Gun-Runner
  • 3. The Sacrifice
  • 4. The Tunnel
  • 5. The Thing in the Lake
  • 6. The Attack
  • 7. The End of Harg
  • 8. The Storm
  • 9. Escape Through the Swamps
  • 10. The Rocket
  • 11. Countdown
  • 12. The Power of Kroll
  • Epilogue

Background: Terrance Dicks adapts Robert Holmes’s scripts from 1978. This followed The Androids of Tara on TV, so this is the first time that three stories are released consecutively.

Notes: In the prologue (and with a lovely opening line: ‘Deep beneath the waters of the immense lagoon, Kroll slept’), we learn that Kroll has slept for hundreds of years, drawing power and growing in size due to swallowing whatever it was that the Key to Time had been disguised as. Then the men in rockets land on the planet and set up their rigs, which awakens the beast below the lagoon. In chapter 1, we’re told more about the Sons of Earth, an environmental pressure group concerned that the overpopulation of Earth is happening again on Delta Magna, and also regret over the displacement of the Swampies from their original home on Delta Magna to this moon (named here as Delta Three). Romana is again called a Time Lady and she’s wearing a bright orange tunic as well as boots to guard against the mud. We’re once more reminded of the mission to find the segments of the Key to Time.

Unusually for this kind of story, we’re told that Thawn’s crew are ‘all expert at their jobs and they worked well together, an efficient team’. Thawn tells Fenner that he’s seen Rohm Dutt on Delta Magna many times, which is how he knows the Doctor isn’t him. The roles of the named Swampies are clarified, so in addition to the chief, Ranquin, we have the war-chief, Varlik, and Skart is the High Priest, rather than just a part-time rubbish Kroll impersonator. Rohm Dutt thinks Romana might be a government spy. When the deception over the monster in the sacrifice is exposed, Romana is ‘disgusted with herself for being so terrified by such a simple device’. Significantly, when Thawn calls the Sons of Earth ‘fanatics’, Dugeen says ‘We are not fanatics’ (on TV, it’s ‘they’), so he’s not just sympathetic to the Sons of Earth’s cause, he is one of them. After he’s salvaged the Key to Time segment and saved the day, the Doctor suggests to Fenner that he should share his food stocks with the Swampie survivors.

Cover: It’s not immediately obvious but this is a game-changing cover by Andrew Skilleter. A bemused Doctor smirks as Kroll thrashes behind him in the swamp, but it’s believed that this is the first cover to take reference from a screenshot from the episode itself instead of a publicity still (it’s the frame where the Doctor escapes Kroll’s tentacles and grabs the Key to Time segment). The back-of-book text included another promotional block: ‘THE POWER OF KROLL is a novel in the Key To Time Sequence. Also available THE RIBOS OPERATION, THE STONES OF BLOOD and THE ANDROIDS OF TARA. Coming soon: THE ARMAGEDDON FACTOR’. Hmm – one story is conspicuous by its absence (and will be for over thirty years!).

Final Analysis: So very close to the end of this rather dry period for the books. Dicks once again translates the TV story onto the pages and makes it look easy, but he’s working from one of Robert Holmes’ worst scripts so there’s very little to work with. Dicks manages to add a little socio-economic commentary, but I can’t help feeling Malcolm Hulke would have done something more with this, had he still been around. We only have to wait a few years to see Holmes’ second attempt at the same story, for the fifth Doctor’s finale, and wait to see what Terrance Dicks does with that. Until then, we just have that final segment to find in the next book…

Chapter 56. Doctor Who and the Androids of Tara (1980)

Synopsis: The Doctor has gone fishing, leaving Romana to hunt down the next segment of the Key to Time. She completes her hunt with surprising ease, but just as quickly she becomes a prisoner of the scheming Count Grendel. Meanwhile, the Doctor’s holiday is interrupted by guards who serve Prince Reynart, a sickly monarch-in-waiting, whose reign is about to be cut short by Grendel. The Prince has an android duplicate of himself, which he hopes to use as a decoy long enough to ascend the throne. The android, however, doesn’t work. Separately, the Doctor and Romana work from opposite sides to fix the state of Tara. 

Chapter Titles

  • 1. The Doctor Goes Fishing
  • 2. Count Grendel
  • 3. The Double
  • 4. The Princess
  • 5. The Prisoner of Gracht
  • 6. The Android King
  • 7. Invitation to an Ambush
  • 8. The Android Killer
  • 9. Flag of Truce
  • 10. Count Grendel plans a Wedding
  • 11. Attack by Night
  • 12. Victory

Background: Terrance Dicks adapts scripts by David Fisher for his second story from 1978. This followed The Stones of Blood on TV, so that’s another pair of stories to be released consecutively.

Notes: The statue that transforms into the Key to Time segment depicts ‘a vaguely dragon-like heraldic beast, thrusting time-blunted claws towards the blue summer sky’. The very-much-alive creature that attacks Romana is a very generous evolution of the short, comedic beast seen on telly:

The monster was a good eight feet tall – and it walked upright like a man. It had coarse black fur, slavering jaws filled with yellow, pointed teeth and a stubby horn projecting from the centre of its forehead. A mixture of bear, ape and boar, with the nastiest features of all three. 

Count Grendel is said to possess a ‘darkly handsome face’ which is ‘marred only slightly by a fiercely jutting beak of a nose’ – an unflattering description of actor Peter Jeffrey. At the end, the Doctor rescues the adrift K9 – and Romana jokes that he ‘managed to catch a fish on Tara after all’ – before the time travellers depart in the TARDIS.

Cover: A scene painted by Andrew Skilleter shows the Doctor inspecting a segment of the Key to Time, watched by Romana (in her Ribos costume), appearing on a cover for the first time. In the background, K9 makes his first appearance on a book cover too, looking up at the Prince on his throne. The back cover announces ‘THE ANDROIDS OF TARA is a novel in the Key To Time Sequence. Read THE RIBOS OPERATION and THE STONES OF BLOOD available now.’ (said books didn’t carry this linking text).

Final Analysis: Around the time that this book was published, Shredded Wheat had an advertisement campaign that boasted that the product had ‘nothing added, nothing taken away’. Aside from the exaggerated details of the beast in the woods, this is all we get here. I still think it’s not fair to dismiss Dicks’ writing simply as just adding ‘he said / she said’ to the script, as he paints a vivid picture of the castles and woodlands of Tara, but this is a great example of Dicks at his most perfunctory. Everything that we might like about this came from David Fisher.