Synopsis: The planet Pluto has been colonised and made habitable by the addition of artificial suns. But life for the citizens is hard with astronomically high taxes that keep everyone in constant debt to the Company. When the Doctor, Leela and K9 arrive in the city Megropolis One, they quickly fall in with a band of inept rebels. Soon, they come up against the Gatherer, who controls the city’s finances, and the head of the Company, the slimy Collector.
1. The Cost of the Golden Death
2. The Fugitive
3. The Others
4. The Collector
5. The Reprieve
6. The Trap
7. The Rebels
8. The Prisoner
9. The Steaming
11. The Confrontation
Background: Terrance Dicks adapts scripts for Robert Holmes’ 1977 serial The Sun Makers (slight change of title there), completing the run of Season 15 stories for Target. This is also Leela’s final adventure to be novelised and they’ve all been written by Terrance!
Notes: Leela is unsettled when she discovers three people awaiting erasure on their ‘death day’; Condo tells her it’s called ‘business economy’ and Leela says ‘I call it murder’. When Mandrel threatens him with a poker, the Doctor responds:
‘You’re really not very good at this sort of thing, are you Mandrel? I don’t think you’re really nasty enough at heart. I can see it in the eyes – no conviction.’
Although they’re named in the TV episodes, Terrance makes sure we pick up on the names of two technicians – ‘Synge and Hakit’ – surely a reference to the popular drag performers ‘Hinge and Bracket’, who were emerging radio stars around the time of the TV broadcasts. On screen, Hade is thrown from the top of a building with a cheer; here, it’s with shame and disgust:
There was a general feeling things had got out of hand, gone a bit too far. But there wasn’t very much that they could do about it now. From the top of a thousand-metre building, it’s a very long way down.
Cover: The last novelisation to have ‘and the’ in the title. Andrew Skilleter’s cover art is an effective portrait of the Collector. It’s very subtle, but the spotlights behind him represent Pluto’s six suns.
Final Analysis: There’s almost a reworking of The Dalek Invasion of Earth with the opening line: ‘In a drab and featureless corridor, a drab and featureless man stood waiting before a shuttered hatch.’ It’s otherwise a predictably solid adaptation from Terrance, which is becoming a rare thing around this time, though as the above quote about Gatherer Hade’s demise shows, he still has room to add a tinge of dark humour that’s very much in the spirit of his friend Robert Holmes’ original scripts.
Synopsis: The Doctor has returned home to claim the Presidency of the Time Lords. As the Gallifreyan elite is driven to panic by this shocking development, this is just the first in a chain of horrific events as the new President banishes senior figures to the barren wastelands of Gallifrey – including his friend Leela. And then the Vardans arrive. This is all part of a trap created by the Doctor to defeat the invaders, but the trap backfires when the Vardans are vanquished and in their place arrive the Sontarans!
1. Treaty for Treason
2. The President-Elect
3. Attack from the Matrix
4. The Fugitive
5. The Betrayal
6. The Invasion
7. The Outcasts
8. The Assassin
9. The Vardans
10. False Victory
11. The Sontarans
12. The Key of Rassilon
14. The Chase
15. The Wisdom of Rassilon
Background: Terrance Dicks adapts the 1978 scripts attributed to David Agnew (Anthony Read and Graham Williams). This followed Underworld on TV, so that’s another pair of stories to be released consecutively.
Notes: Leela has brown eyes again [see The Horror of Fang Rock]. There are many references back to The Deadly Assassin that provide clarification or other information that wasn’t revealed in the onscreen Invasion of Time. There’s a summary of the events that led to the Doctor assuming the position of President by default, including the Doctor’s previous encounter with the Matrix, as well as an explanation that as there was no other candidate available, and the Doctor was absent, Borusa took on the role of acting President as well as Chancellor, making him extremely powerful. Castellan Spandrel has retired and his very recent replacement, Kelner, quickly established a Bodyguard Squad to protect himself; Kelner took possession of a suite of offices that are… :
… of transparent plastic and gleaming metal, with complex control consoles and brightly flickering vision screens everywhere. It was over-technological even by Time Lord standards, but Kelner, the new Castellan felt it helped to maintain his image.
Kelner is ‘thin-faced, nervous, rather insecure Time Lord’ who gained his position thanks to ‘good birth and political intrigue’. He has a bodyguard who is ‘very big, very brave, and very stupid’. Terrance Dicks maintains the impression given in The Deadly Assassin of the ceremonial chamber at the centre of the Panopticon and the scale of the Time Lord ensemble, which could never be achieved on TV:
The grand hall of the Panopticon is an immense circular chamber used by the Time Lords for all their major ceremonies. It is one of the largest and most impressive chambers in the known universe. The immense marble floor is big enough to hold an army, the domed glass roof seems as high above as the sky itself. Row upon row of viewing galleries run around the walls, and on the far side of the hall an impressive staircase leads down to a raised circular dais. By now the hall was filled with rank upon rank of Time Lords, all wearing the different-coloured robes and insignia of the different Chapters, the complex social family and political organisations that dominated Time Lord Society.
The Great Key of Rassilon is just a lost artefact on TV, but Dicks ties it to the one named in The Deadly Assassin; the one the Master stole was a replica and the real one is kept in the possession of the Chancellor; also unlike on TV, the Doctor deduces which one of Borusa’s keys is the correct one without Borusa first offering a decoy. The buildings on the edge of the Capitol have ‘sheer white walls’ and the gleaming towers can be seen many miles away.
Rodan is described as a ‘Time Lady’. The Outsiders live in log huts. Nesbin was expelled from the Capitol for an unprecedented violent attack upon another Time Lord. Ablif is a ‘burly young man’ and is the Outsiders who first captures Leela and Rodan – and gains a scratch across his face for his troubles. Jasko is also a ‘burly young Outsider’ who isn’t ‘especially bright’ but is ‘brave and strong’ and obedient. While these two Outsiders appeared on TV, a third member of the assault party is called ‘Jablif’ and it’s he who is fatally wounded but manages to kill a Sontaran before he dies.
Dicks’ description of Stor echoes that from Robert Holmes’ prologue for The Time Warrior:
The head was huge and round and it seemed to emerge directly from the massive shoulders. The hairless skull was greeny-brown and small red eyes were set deep in cavernous sockets. The nose was a snubby snout, the wide mouth a lipless slit.
Stor calls our hero ‘Dok-tor’ as if it’s his name, which is lovely.
Cover: Andrew Skilleter paints a much-minicked design of the Doctor and Stor smothered by metal cogs.
Final Analysis: Terrance Dicks guides us through what was actually quite a complicated script and helps it make sense along the way. Even Leela’s sudden departure is given a little assistance (in Leela’s tribe, it turns out, the women choose the men and Andred’s fighting skills and bravery clearly impressed her). He also succeeds in making the Vardans seem impressive:
The space ship was enormous, terrifying, a long, sleek killer-whale of space. Its hull-lines were sharp and predatory and it bristled with the weapon-ports of a variety of death dealing devices. Everything about it suggested devastating, murderous power.
… so that when their human forms are revealed, it’s more dramatic and less underwhelming as they’d already been fairly disappointing before the reveal. We’re still in this dry period where the books largely transcribe what happened on TV, but here, this at least prevents everything from feeling as cheap and improvised as it does on home video.
Synopsis: A group of space travellers seek the lost gene banks of the Minyans, a race of beings with tragic connections to the Time Lords. When their space craft becomes surrounded by a planet, the Minyan travellers discover a subjugated race – the Trogs – who live in underground tunnels as the slaves of the Seers and the god-like Oracle. Could these slaves be the descendants of the lost Minyans? The answers rest with the Oracle – and the quest is the quest…
1. The Nebula
2. The Minyans
3. The Intruders
4. The Quest
5. Buried Alive
6. The Trogs
7. Skyfall on Nine
8. The Smoke
9. The Mouth of the Dragon
10. The Sword of Sacrifice
11. The Crusher
12. The Battle
14. The Legend
Background: Terrance Dicks adapts the 1978 scripts by by Bob Baker and Dave Martin.
Notes: We begin with a prologue (how I love a prologue!) that details the events that led to the loss of Minyos and the isolation policy of the Time Lords. Back in The Invisible Enemy, the Doctor complained that the TARDIS control room is such a boring colour – ‘No aquamarines, no blues. No imagination!’ – and here, he’s trying to paint the control room aquamarine and getting paint everywhere (but in the final scene, he’s painting it white again). On learning of the sword ritual, the Doctor reminds Leela that her own tribe had a similar trial by ordeal. Leela suggests that they return to the TARDIS and leave the Minyans to their fate but the Doctor wants to solve the mystery of the P7E.
Cover: Bill Donohoe combines two photo reference from this story to create something rather like a pulp sex book you’d find in the saucy rack in a 1970s newsagent – the Doctor looks pensive while Herrick carries a near-death Tala – as if we’ve just walked in on a scene we don’t really want to be a part of.
Final Analysis: This would always be a tricky one, a real clunker from Bob Baker and Dave Martin (the kings of overambition) and it’s one that’s always been unpopular for good reason. Devoid of the visibly low budget of the TV version, we’re left with a story with no recognisable human interaction, just mythology that gets a bit repetitive. It’s a relief that Terrance Dicks finds a way to highlight that humanity: The father who grieves for his lost wife and daughter after they’re killed in a landfall is a rare highlight. Something I’ve noticed though is that the Fourth Doctor in this period is brash and often his overconfidence borders on bullying, which makes it hard to like him. The real highlight is that Dicks makes great use of K9 for his comedy potential, the wilfully over-literal explanations are hilarious.
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 Ian Marter might have made it, 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: 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.
Synopsis: A lighthouse off the coast of England at the start of the 20th Century. A light in the sky heralds the arrival of an alien warrior separated from its fleet, far from the battlefield. It explores the lighthouse, examines and dismembers one of its staff – and takes his form. The Doctor and Leela arrive shortly before they are joined by the survivors of a shipwreck. When the body of the lighthouse crewman is discovered, the Doctor realises they are locked inside the lighthouse with a murderer…
1. The Terror Begins
2. Strange Visitors
4. The Survivors
5. Return of the Dead
6. Attack from the Unknown
7. The Enemy Within
8. The Bribe
9. The Chameleon Factor
10. The Rutan
12. The Last Battle
Background: Terrance Dicks adapts his own scripts from the 1977 serial.
Notes: A prologue! Dicks sets up the location, a craggy rock in a furious sea, upon which stands a lighthouse. He tells of the legends of Fang Rock, the historic deaths and the glowing beast said to inhabit the waters that surround it. The Doctor wears a soft floppy hat and not the bowler hat he sports on the cover. Reuben, Vince and the Doctor help the survivors of the shipwreck from their lifeboat onto the shore of the east crag. As Leela ponders Reuben’s tale about the ‘Beast of Fang Rock’, the Doctor tries to rationalise the story, surmising that two men fought, one was killed, the other jumped into the sea, full of remorse, the third man was sent ‘out of his mind’ after spending weeks with a corpse for company. When Skinsale mocks Leela for sensing the temperature drop, Adelaide enters the room and complains about suddenly feeling cold. After Palmerdale’s death, Vince realises that he has his Lordship’s money and coded message in his pocket. Worried that it might incriminate himself in Palmerdale’s death, Vince sets fire to the evidence. There’s a detailed description of the Rutan that’s not quite what we see on screen.
In place of Reuben’s form there was a huge, dimly glowing gelatinous mass, internal organs pulsing gently inside the semi-transparent body. Somewhere near the centre were huge many-faceted eyes, and a shapeless orifice that could have been a mouth.
The Rutan’s habit of speaking in the first-person plural isn’t an affectation; Rutans don’t have individual identity, but are just one element of the whole race. It can move with ‘appalling speed’. The Doctor’s improvised rocket launcher is backed with ‘nuts and bolts, nails, cogs and other engineering debris’, as opposed to coins from various pockets.
Cover: For the first edition, Jeff Cummins paints a superbly creepy scene of the Doctor standing in front of the lighthouse (which Clayton Hickman later mimicked for the DVD cover). Such a shame that the reprints were canceled, as we lost Alister Pearson’s cover, featuring a lesser-seen Doctor pic with a Rutan and the lighthouse.
Final Analysis: The legend goes that Robert Holmes insisted Terrance Dicks researched lighthouses for this one and it’s possible some of his studies ended up in the novelisation (such as the description of each room on each level in the tower). I suspect that Terrance Dicks might have been working from an earlier script version for this, with a couple of scenes that feel like they might have been abandoned for the final TV edit. Vince’s disposal of Palmerdale’s bribe and message is a welcome addition, especially how it conveys Vince’s conflict, not just in doing the right thing but also in protecting himself from accusation:
It was more money than he’d ever see again in his lifetime – but there was nothing but relief in Vince’s heart as he watched it burn.
One thing that’s missing is a sense of the Rutans point of view – literally how we see many scenes on TV – Dicks creates a sense of menace through a ‘faint crackling sound’ that denotes the Rutan’s presence, but we get little sense of how it feels, how it considers the humans and their environment.