Synopsis: Alien delegates assemble on the eve of the planet Peladon’s acceptance into a galactic federation. King Peladon balances the superstition of his people and the promises of advancement, but his High Priest, Hepesh, wishes to preserve the Old Ways. The old priest plots to sabotage the King’s ambitions with help from an alien with selfish plans of their own. As the Doctor becomes entwined in the political future of this primitive planet, King Peladon of Peladon makes a proposal to Jo – an allegiance bonded in marriage…
1. The Deadly Guardian
2. Into the Chasm
3. An Enemy from the Past
4. The Doctor Must Die
5. The Attack on Arcturus
6. The Temple of Aggedor
7. Escape to Danger
8. Trial by Combat
9. A Conspiracy of Terror
10. The Battle for the Palace
11. The King’s Avenger
Background: Bryan Hayles adapts his own 1972 scripts.
Notes: King Peladon’s mother is named (Ellua) and she may have had a passing resemblance to Jo. Alpha Centauri changes colour, like a cuttlefish, to reflect moods. There are a few extra scenes, such as a chat between the Doctor and Ssorg, and another between Jo and Grun, just before the duel. Peladon saves Jo’s life by making sure Jo is not overheard by Hepesh when she criticises him about the Doctor’s trial (Hepesh would certainly call for Jo’s death too) and later, before a statue of Aggedor, Peladon vows to rid his land of all iconography of the beast if the Doctor is killed in the duel.The Doctor is specific about his encounters with the Ice Warriors, telling Jo he’s ‘met them twice so far’.
Cover & Illustrations:The first cover was again by Chris Achileos, a nice montage of the Doctor, Alpha, Aggedor (with smoking nostrils) and Ssorg. An illustration by Bill Donohoe solely for a 1981 hardback edition uses photo references from The Monster of Peladon for another Ice Warrior, Alpha and Aggedor group shot. Alister Pearson’s 1992 reprint cover shows the Doctor in weirdly beautiful blue-red lighting, the citadel, Arcturus, Ssorg and Aggedor. Alan Willow provides internal illustration again and it’s taken me way too long to realise that he wouldn’t have had access to the tapes, only of selected publicity photos, which is why the likenesses of the guest cast in these books are often so unlike their TV counterparts (here, King Peladon looks suspiciously like Christopher Lee!). Willow’s Aggedor is more monstrous and huge than on screen and the arena for the duel between the Doctor and Grun looks like a traditional medieval pageant.
Final Analysis: Bryan Hayles’ first novelisation and the ‘Escape to Danger’ chapter title makes its first appearance in a Target original (though we’ve been close a few times). This is largely a straightforward summary of the TV episode with just a few deviations and elaborations (noted above), but what he does change is for the benefit of the characters, in particular the Martians and Alpha Centauri.
Synopsis: The Master has been tried and imprisoned with a ‘life-long’ sentence (commuted from a death sentence by the Doctor’s plea for mercy). When the Doctor and Jo visit him in his high-security home, they are only briefly reassured that he’s secure before he escapes and sets into motion a plan to resurrect more of the homo reptilia race – this time from beneath the sea.
1. ‘Abandon Ship!’
2. Visitors for the Master
3. The Vanished Ships
5. Air-Sea Rescue
6. ‘This Man Came to Kill Me!’
7. Captain Hart Becomes Suspicious
8. The Submarine
9. Visitors for Governor Trenchard
10. The Diving Bell
11. ‘Depth Charges Away!’
12. Attack in Force
Background: Malcolm Hulke adapts his scripts from the 1972 serial (the smallest gap so far between story transmission and novelisation, at two years, six months and two weeks).
Notes: It’s a little less even-handed this time as Hulke plays the Sea-Devils (not ‘Sea Devils’) as the aggressors from the start (and what a great opening scene as the crew of the ss Pevensey Castle abandon ship and are pulled under water one by one). Hulke also doesn’t give names to any of the Sea-Devils. There’s some background from the Master’s trial, where the Doctor begged for his best enemy’s life; although the death penalty was repealed for murder in the UK (except Northern Ireland) in 1965, it was still available for treason until 1998.
Governor George Trenchard’s backstory is elaborated upon to be both comical and rather tragic. The Doctor and Jo’s walk up to the chateau is given extra detail with the engraved wall-tap and the mysterious poem that reveals ancient local legends and somehow inspires the Doctor to deduce a pun on ‘the scales of justice’. The Master reveals that he’s worked with the Ogrons before (not in the TV version, but this was written soon after Frontier in Space, so would be fresh in the mind of the author and his audience). And the lead character is referred to as ‘Doctor Who’ twice.
Cover & Illustrations: The first cover by Chris Achilleos (a yellow maelstrom with the Doctor, Jo, two Sea Devils and a submarine). The first cover I owned was the 1979 John Geary reprint with the green and yellow Sea Devils and a bluey-pink background. The illustrations are once again by Alan Willow and my favourite is either the Doctor ducking as a Sea-Devil fires a heat ray or a Sea-Devil watching the submarine on TV.
Final Analysis: Another corker from Hulke. Even though the Sea-Devils are more overtly villainous than their cave cousins, they repeat their claim on the planet and at least appear to waver before going on the assault (stirred up by the Master). There’s the oft-quoted business about Trenchard wanting to be brave but being killed by Sea-Devils because he left the catch on his gun, and the Doctor switching it off before Captain Hart notices, but this is only one of many moments of charm for the characters – in fact if anything, it’s Jo who comes across worst, brash and impatient and occasionally compelled to back down when she gets too hot-headed.
Synopsis: The Master’s up to no good in an English village, posing as both a vicar and the leader of a satanic cult. The Doctor and Jo appear on TV and they take on the Master, a gargoyle and an ancient god – with the help of UNIT and a self-proclaimed white witch.
1. The White Witch
2. The New Vicar
3. The Opening of the Barrow
4. The Appearance of the Beast
5. The Heat Barrier
8. The Second Appearance
9. Into Danger
10. The Third Appearance
11. The Rescue
12. Into the Cavern
13. The Sacrifice
Background: Barry Letts adapts the 1971 scripts he co-wrote with Robert Sloman as ‘Guy Leopold’.
Notes: An early manifestation of Azal is much more dramatic, involving the death of the verger. Benton recalls earlier adventures with the cybermen, Axons and the daffodil-touting autons, none of which have been novelised by this point, while Jo recalls her first meeting with the Master as seen on TV but which flatly contradicts the books so far. We also get the first revelation that the Doctor and the Master were schoolfriends – and that the Doctor wasn’t a particularly keen student. The character of Stan Wilkins is new to the book, on TV he’s just a nameless acolyte in the coven who recognises that the Master is evil and tries to save Jo and the Doctor. His courage serves to make Jo’s attempted self-sacrifice all the braver.
Cover & Illustrations: The original cover was by Chris Achilleos following the now-familiar formula of the Doctor’s face with a head-shot of Azal and a teeny Bok. Internal illustrations are by Alan Willow. There’s a lovely drawing of Jo back against an ivy-covered wall (that’s based on a photo from The Sea Devils), but Azal and Bok are both faithfully reproduced. My first cover was the 1980 reprint with a portrait by Andrew Skilleter of Azal in the cavern, while the 1993 reprint used Alister Pearson’s VHS cover, with an almost-Celtic cross that shows the Doctor and Master both in half-portrait, Azal at the top and Bok at the bottom against a sunburn-pink background.
Final Analysis: Barry Letts adapts the scripts well, so it’s surprising this is his only novelisation of a TV story (though it’s not his only entry in this blog – as you’ll find out in about 146 chapters). It enhances what was possible on telly but doesn’t elaborate vastly; the prologue is just everything that happens on TV before the Doctor appears, where Mac Hulke might have given us an insight into Azal’s arrival on Earth. Azal gets a better motivation to implode though – being both confused by Jo’s illogical actions and about to die anyway. And the lead character is referred to as ‘Doctor Who’, right at the start of the first chapter.
Synopsis: A British diplomat is the target of a group of fanatical time-travelling assassins trying to change the course of their own history. An accident sees Jo catapulted into the fututre and when the Doctor follows her, he finds an Earth under the control of the Daleks.
1. Terror in the Twenty-Second Century
2. The Man Who Saw a Ghost
3. The Vanishing Guerilla
4. The Ghost Hunters
5. Condemned to Death!
6. Prisoner of the Daleks
7. Attack of the Ogrons
8. A Fugitive in the Future
9. Escape from the Ogrons
10. Interrogation by the Daleks
11. The Raid on Dalek Headquarters
12. Return to Danger
13. The Day of the Daleks
14. All Kinds of Futures
Background: Terrance Dicks adapts Louis Marx’s scripts from the 1972 serial. It’s the first novelisation to have a title the same as used on TV (although ‘The Crusaders’ comes close, the story title wasn’t used on screen).
Notes: One of the best prologues in the range introduces the brutalised humans attempting to form a resistance. We encounter the Ogrons in a description that draws closer comparison to the gorillas from Planet of the Apes, then meet the Controller of Earth and the Black Dalek (the more senior-ranking gold leader seen on screen is introduced later). We have a solid idea of the Earth of the 22nd Century before the first frame of the televised story hits the page. When the Doctor emerges from underground in the 22nd Century, this future Earth matches how Malcolm Hulke had described it in The Doomsday Weapon: ‘Every inch of the countryside, as far as he could see, seemed to have been built up till not an inch was left…’
It’s possibly a conscious decision to only allude to those adventures of Jo that have been novelised, so we get a reference to the Doomsday Weapon and Jo’s trip to an alien world in the far future, but Jo’s relationship with the Doctor and the three main UNIT characters is much more familiar, as if she’s been with them for some time by this point. The Daleks also reference the first two Doctors, including the original visit to Skaro, even though at this point none of the second Doctor’s stories have been novelised (and his Dalek adventures wouldn’t see print for another 20 years). There are some other minor tweaks (Monia becomes Moni, Auderly House is now Austerly House and some of the minor resistance characters are given names), but the other main addition comes with the reprise of the double Doctor and Jo scene at the end, told from the vantage point of the doorway this time, which ties up the earlier scene neatly but also reminds us that the defeated Daleks were but a small unit of a much larger force, which reduces the scale of the ending somewhat.
Cover & Illustrations: The original and best cover, once again, is by Chris Achilleos – one of his all-time most dramatic, even with those weird Daleks inspired by the Sixties comics again. Neither of the reprints come close; the 80s one by Andrew Skilleter makes much of the Ogrons, while Alister Pearson’s 1991 version is fairly bland and the photo references combine the Pertwee one from the first cover and the Dalek from the second. The illustrations are some of my very favourites and include a map showing the ‘grounds and environs of Austerly House’. One of them is captioned ‘A shimmering effect filled the air around Jo’s body’ but it looks just like everyone’s impression of the Tales of the Unexpected title sequence.
Final Analysis: Terrance Dicks’ second novel and it continues the approach of tweaking and enhancing where possible, but that opening prologue aside, it’s otherwise a basic retelling of the TV story. Which still means it’s brilliant. In fact, even as a fan of the televised original, I have to admit I prefer the book.
… even if it’s slightly spoiled by someone pointing out to me that there’s a typo on the last page that I’ve failed to notice for over 30 years!
Synopsis: The Master has stolen information from the Time Lords regarding a mythical weapon, which can be found on a planet recently occupied by Earth colonists. The desperate people are caught between hostile attacks from the indigenous natives and a mining corporation intent on taking the planet’s resources for their own ends. All this awaits Jo in her first trip in the Tardis.
1. A Missing Secret
2. Into Time and Space
3. The Planet
4. The Monster
6. The Survivor
7. The Robot
8. The Men from IMC
9. The Spy
10. The Claw
12. The Bomb
13. The Attack
14. The Adjudicator
15. Primitive City
16. The Ambush
17. Captain Dent Thinks Twice
18. The Master’s TARDIS
19. The Return of Captain Dent
20. The Doomsday Weapon
At twenty, this book sets a record for the most number of chapters in a novelisation, which will remain unbroken until 1985.
Background: Malcolm Hulke adapts his scripts from 1971 for Colony in Space.
Notes: Another prologue of a scene that never happened, as an old Time Lord shares stories with an apprentice, revealing the history of early TARDISes and his own personal involvement in the resolution of The War Games returning the kidnapped soldiers to their rightful times. He refers to the Doctor’s TARDIS and the fact that it’s lost its ‘chameleon-like quality’. There’s also another cheeky ‘Who’ reference as the old Time Lord explains the Doctor’s inability to pilot his TARDIS: ‘‘Who? No, Who can’t control it… not always.’
Newly qualified security agent Jo Grant is introduced, having come top of her year in spy school before getting her uncle to pull some strings to arrange a posting to UNIT, where she’s ignored by everyone except Sergeant Benton and attempts to reprimand the Doctor before she finds herself whisked off to an alien world as her very first adventure. A lovely if inconsistent flashback. Meanwhile, Jane Lesson recalls being aware of other ‘terrifying space creatures’ ‘Monoids, Drahvins, some small metallic creatures called Daleks’ before referencing Hulke’s own creations, the ‘reptile men’.
The story’s set a bit further forward in time, 2972, and there’s a grim but casual detail in the Doctor realising that the colonists describe a creature ‘like a big lizard… from the picture books’ because the Earth animals were ‘exterminated by Mankind by the year 2500’ and not because, for example, they were describing dinosaurs. The Doctor speculates on the size of an attacking creature as ‘about twenty feet high’ and then corrects himself to ‘six metres’ as he remembers that all of Earth went metric a thousand years before. Surprisingly, the IMC robot is described as humanoid – a much more achievable look on TV than the bulky robot we ended up with (and the illustrations don’t quite match this new design either). Hulke provides an unsettling vision of the future: The entire surface of Earth in this time is covered in tiny cube apartments within huge buildings; The Interplanatary Mining Corporation arranges marriages based on computer-decided compatibility (though strangely Dent’s marriage seems happy while Caldwell’s has ended in separation); food is sourced solely from the sea; even when IMC chief Dent offers his team champagne, it’s from a can.
There’s a hint of the first pioneers across America here as the colonists have never done physical work (‘on Earth machines did everything’) so they’re even more badly equipped to found a new civilisation than it might appear. But when they have to consider how to bury their dead, Ashe recalls an ‘audiobook’ from back when Earth ‘still had open land’; it seems that even the disposal of dead bodies on Earth is automated as the Doctor has to explain to the colonists the rituals of graves, religious services and the importance of ‘a time for tears, and then a time to rejoice in the continuation of life. Hence the tea.’
The leader of the primitives is described as the size of a doll, explaining the earlier foreshadowing of the primitives reaction to a child’s doll, while the primitive priests have the faces of otters – and the rest of the primitives are stark naked!
Cover & Illustrations: The original cover and illustrations were by Chris Achilleos (though my first edition was the 1979 reprint with Jeff Cummins’ impressive portrait of Roger Delgado as the Master). I’m really not keen on the illustrations here, they’re a bit scrappy – some are clearly working from set photos while others show people who we don’t see in the TV version (Caldwell could just be an Auton!). I love the pic of the Doctor and the Master at the controls of the Doomsday machine though, as it looks like the Master is washing his hands.
Final Analysis: We’re only three books into Target’s own run of books and there’s still no guarantee that every story will be novelised, so we get a new introduction to Jo Grant that ignores all of her adventures prior to this, but gives her a marvellous backstory too. Some of the supporting characters benefit from an expanded biography too, specifically Ashe and Dent. Hulke’s second novel for the range hints at the author’s politics in the way it describes Earth in the far future as a desperate place: IMC represents the worst excesses of capitalism, dictating a person’s quality of life by how much debt they owe to the company and all minimal perks can be removed at the say-so of a cruel boss like Dent. Hulke doesn’t make the colonists too perfect either, as they’re more than happy to kill to survive (there’s none of the Thal-like pacifism here, and Smedley’s disposal of Norton, however justified, is quite callous. It seems the new (unnamed) world offers new hope to the colonists; as the Doctor and Jo leave, the entire landscape has already begun to sprout with grass and shrubs.
As Doctor Who Magazine writer Alan Barnes points out, the original title, Colony in Space, might have been exciting for viewers who’d become used to the Doctor’s Earthbound adventures, but as part of the mix-and-match releases of Target, it’s less of a draw. The Doomsday Weapon’ is a much better title anyway.