Chapter 75. Doctor Who – Meglos (1983)

Synopsis: Caught in a time trap, the Doctor, Romana and K9 have to find the key to break out of a repeating cycle of actions. When they eventually reach their destination, the jungle planet Tigella, the Doctor is immediately accused of stealing the Dodecahedron, the source of the Tigellans’ power and a holy relic to the religious Deons. It seems there’s a doppelganger on the loose and the Doctor must pay for the crimes of Meglos – the last Zolpha Thuran.

Chapter Titles

  • 1. Abduction of an Earthling
  • 2. The Deons
  • 3. The Screens of Zolfa-Thura
  • 4. Time Loop
  • 5. The Double
  • 6. The Impossible
  • 7. Prisoner of the Gaztaks
  • 8. The Attack
  • 9. The Sacrifice
  • 10. The Reprieve
  • 11. The Ultimate Weapon
  • 12. Final Countdown

Background: Terrance Dicks adapts scripts for the 1980 serial by John Flanagan and Andrew McCulloch. This release completes the stories in Target’s library for Season 18, also making it the shortest gap between first and last stories to be novelised in a season (ten books). Furthermore, that’s the last novelisation of a Fourth Doctor TV story we’ll see this century.

Notes: The first chapter takes a disturbing turn as it speculates that the results of numerous gangland killings have been buried underneath various newly built motorways. It also introduces ‘the Earthling’, who’s named George Morris; a predictable, mild-mannered assistant bank manager of a country branch who finds himself kidnapped by a band of aliens. For (almost) the final time [see The Five Doctors], Terrance Dicks gives us a lovely little description of this Doctor:

At this time in his lives, he was a very tall man with wide staring eyes and a mop of curly hair. Much of the time he wore a long elegant coat, something between overcoat and smoking jacket, made of some reddish, velvety material and cut in a vaguely Edwardian style.

Romana is ‘a fair-haired, classically good-looking young woman with an impressively high forehead and an air of aristocratic hauteur’. At the start, K9 is still out of action after his ‘rash dip in the sea’ in The Leisure Hive.

Oops! Terrance Dicks describes the dodecahedron as ‘five-sided’ (the clue’s in the name) so that it correlates with the five screens of Zolpha Thura – each face has five edges, which isn’t the same thing. Zolpha Thurans were ‘scientists of a particularly brilliant kind’ who developed the ability to take control of other beings and disguise their own vegetable forms and explore the universe. For once, the Doctor is able to steer the TARDIS successfully, so George Morris makes it home on time and decides not to tell his wife what happened. As she started hitting the sherry 20 minutes before he stepped through the door, this is probably a good idea.

Cover: Andrew Skilleter gives us another very straightforward but moody composition of Bill Fraser as General Grugger and Tom Baker as a thorny Meglos; it’s rather beautiful in its simplicity. There have been a few close calls with Chris Achilleos, but Andrew Skilleter here grabs a record as the first artist to provide a first-edition cover for every story in a single season. Alister Pearson’s cover for the 1993 reprint is a much brighter affair, with Meglos and the Doctor hovering above the Dodecahedron.

Final Analysis: So farewell then, Fourth Doctor, as we reach the end of your Target library [but see book 153]. Terrance makes a few adjustments and explains the bigger gulfs in logic to make this a rather jolly adventure; even the threat of being crushed under huge rocks seems rather mild. It successfully maintains the feeling of mild jeopardy where the main threat comes not from the malignant cactus but the blind obedience to dogma and plain stupidity. Dicks’ depiction of Brotodac as almost childlike is a particular highlight, though sadly he omits the scene where Grugger gives K9 a savage kick.

Chapter 73. Doctor Who and the Sunmakers (1982)

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.

Chapter Titles

  • 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
  • 10. Revolt
  • 11. The Confrontation
  • 12. Liquidation

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.

Chapter 72. Doctor Who – Logopolis (1982)

Synopsis: A sudden whimsy to reconfigure the TARDIS’s chameleon circuit leads the Doctor to confront a terrifying and certain future. The Master has returned and his new scheme puts the entire universe at risk. Surrounded by companions he didn’t choose and forced to enter a partnership with his oldest enemy, the Doctor has finally reached the end – and it really has been prepared for…

Chapter Titles

The chapters are simply numbered one to twelve. As Neil Corry suggested, Bidmead could have at least done them in binary!

Background: Christopher H. Bidmead adapts his own scripts from the 1981 story. Making good use of his past life as an actor, he also reads the audiobook, making him the first credited author to do so (although Barry Letts read The Daemons, the scripts were co-written and credited to ‘Guy Leopold).

Notes: The police officer killed by the Master is named Donald Seagrave. The police box he investigates is on the Barnet bypass (not specified on screen). Aunt Vanessa lives in ‘a cottage house in a quiet village-like street’ less than 50 miles from the Barnet bypass.  The Doctor recalls that Romana is ‘at the Gateway with Biroc and the Tharils’ (though we’re not told what this actually means for any reader who didn’t yet catch Warriors’ Gate). Adric is said to have a badge for mathematical excellence, but his ‘grasp of physics wasn’t very good’. As he inspects the real police box, he queries the wording on the telephone hatch:

Adric had seen identical wording on the outside of the TARDIS, and had taken it to be some sort of joke of the Doctor’s. Officers and Cars had never, to his knowledge, responded to Urgent Calls, although there were several occasions when he and the Doctor could have used a little extra help.

This is his first time on Earth, so it’s possible that the only encounters Adric has had with ‘officers’ is Proctor Neman on Traken – that pillar of the community who accepted bribes. The Doctor has cause to recall the recent events on Traken and is reassured that Tremas and his daughter are ‘happy’ but begins to worry that the Master might have escaped. Adric refers to the ‘console room’ (the first time this phrase has been used – it doesn’t even appear in the TV version). 

Tegan is ‘barely twenty years old’. When he sees Tegan on the TARDIS scanner, Adric has a feeling he has known her very well; he observes that her face ‘looked rather beautiful, framed by that dark red hair under the severe purple cap that matched her uniform.’ Tegan’s plane ‘back home’ is a Cesna. 

The TARDIS cloisters have a ceiling with an ’emulation of the sky, even as far as the suggestion of clouds’. The Doctor gives Adric a copy of The Complete Poetry of John Milton and the boy observes a similarity between a fallen angel and the Master. The Doctor hovers the TARDIS above Logopolis to give the Logopolitans advance notice of his arrival. As viewed from above, the City of Logopolis looks like ‘a giant brain’. 

The Master’s (unnamed) weapon is silver and leaves a whiff of ozone after discharge. The Doctor falls from the telescope when the cable he’s hanging from snaps. Adric realises the Doctor is ‘regenerating’, as he and Nyssa confirm their suspicions that the Watcher was the Doctor all along. The new Doctor has a ‘smoother, younger face’ and beams ‘somewhat vacuously’ at his friends. We’re presented with his first words::

‘Well, that’s the end of that,’ said a voice they had not heard before. ‘But it’s probably the beginning of something completely different.’ 

Cover: Andrew Skilleter paints a simple composition of the Master in front of the Pharos project. Alister Pearson’s 1991 cover has the Doctor looking tired, Tegan and Nyssa grinning, leaving the Monitor and Adric to look at the shrinking TARDIS.

Final Analysis: The opening paragraph warns us that…

When some great circumstance, hovering somewhere in the future, is a catastrophe of incalculable consequence, you may not see the signs in the small happenings that go before.

Accordingly, Bidmead progresses to foreshadow events: Tegan is about to embark on a journey that ‘she would never forget for the rest of her life’; Adric hears the cloister bell for ‘the first but not the last time’;  … and so on.

As with The Visitation, there’s no introduction for or description of the Doctor or Adric, but there’s a palpable enthusiasm for showing off Bidmead’s knowledge of modern science, such as Maxwell’s Second Law of Thermodynamics and ‘Mr Heisenberg’. The assumption is that the reader already knows who the Doctor and Adric are (which I’ve grumbled about with other writers), but we at least get a clear idea of the new arrival, Tegan. The best bit is the conclusion of Chapter 5:

Tegan’s voice exploded like a shrapnel-bomb in the quiet of the console room. ‘I demand to see whoever is in charge of this ship.

Chapter 71. Doctor Who – Full Circle (1982)

Synopsis: The TARDIS falls into another universe – Espace – and lands on Alzarius, a planet with the exact same coordinates as Gallifrey, except in negative. They meet a young boy called Adric and discover a small and terrified community housed in an ancient spaceship. The people of Alzarius are preparing for a cataclysmic event called ‘Mistfall’ when the air becomes unbreathable and strange creatures emerge from the marshes. The marsh creatures lead the Doctor to uncover a secret that has been hidden for generations.

Chapter Titles

  • Prologue
  • 1. ‘I Have Lost Control of the TARDIS’
  • 2. ‘I’m an Elite’
  • 3. ‘Master – Alert’
  • 4. ‘We’re Taking Over Your Ship’
  • 5. ‘We Don’t Know What’s Out There’
  • 6. ‘You Will Answer the Questions, Doctor’
  • 7. ‘A Little Patience Goes a Long Way’
  • 8. ‘I Am Beginning Surgery’
  • 9. ‘One Secret Our Ancestors Kept for Themselves’
  • 10. ‘We’ve Come Full Circle’
  • 11. ‘We Cannot Return to Teradon’
  • 12. ‘We’re Trapped’

Background: Andrew Smith adapts his own scripts from the 1980 story. At just 20 years old at the time, Andrew remains the youngest author of a Target novel.

Notes: A prologue tells of the arrival to Alzarius of the original inhabitants of the Terradon starliner, the demise of Commander Yakob Lorenzil and the hostile environment that greets the survivors of the crash, led by Sub-Commander Damyen Fenrik. This might feel like a spoiler until the exact moment that we realise it’s a clever deception. There’s an interlude with the full verses of a poem by First Decider Yanek Pitrus, a ‘tenth generation starliner’, setting out the legends of mistfall. 

First Decider Exmon Draith is accompanied by Decider Ragen Nefred and Decider Jaynis Garif. After Draith dies, Halrin Login is elevated to Decider level. As he takes on the role of First Decider, Nefred connects his brain to the System Files, which monitor the well-being of all Deciders; this is how Nefred confirms that Draith has died, as well as becoming exposed to the starliner’s darkest secret.

Adric and Varsh lost their parents when they were young; they were killed in a forest fire and the boys were taken in by family friends. Varsh is three-and-a-half years Adric’s senior. As this is Adric’s introduction (despite featuring in four novels by now), his creator gives us the best insight yet into who he is:

Adric’s diminutive stature and his youth belied the fact that he had one of the keenest intelligences on the starliner, an intelligence marred only by the occasional lapse into the naive mannerisms of the juvenile. 

Adric only lets go of Draith because he panics after a hand clasps his ankle underneath the marsh water. The other Outlers are here named Refnal, Gulner, Hektir and Yenik. 

As with all authors showing off their creations, Andrew Smith presents the giant Marshmen as much more impressive than TV would allow:

They flexed their scaly arms, allowed their mouths, dribbling with hungry saliva, to gape. Scaly, metallic-looking eyelids slid back over black evil eyeballs, which then scanned the surroundings. They started climbing from the marsh, mud slithering down their tall, horrible frames, heavy clawed feet finding a secure hold in the soil by the marsh. 

The Marshchild follows the Doctor onto the starliner and the Doctor takes it under his wing when he protects it from a frightened mob (on TV, he’s knocked out and the child is taken away screaming). The Doctor recalls once failing to save a young girl from a ‘witch trial’ in 17th-Century England and vows not to allow the Marshchild to suffer a similar fate. 

There is a pitch-black ‘spatio-temporal void’ between the TARDIS’s inner and outer doors! Romana utters a mild swearword (‘damn’, which is still the naughtiest word a series regular has said so far!). The Doctor’s mission to collect Romana and the broken K9 is interrupted by clusters of spiders swarming over him (shudder!). The Marshmen enjoy a level of shared minds and the brief involvement of Romana allows them insight into the starliner citizens. The ‘people of the marsh’ see themselves as guardians of the planet, ‘to serve and to protect nature’ from the alien technology of the starliners, who they consider ‘non-people; but the Marsh leader still pauses to lament the deaths they have caused: as they return to the marsh, he asks his brethren ‘… why does the maintaining of beauty always have to require the taking of lives? It is so very sad.’

Cover: Andrew Skilleter gives us a trio of Marshmen emerging from the mists. Unkind observers have noted that there appear to be pockets on the creature’s chest.

Final Analysis: This is how to do it! The third of four consecutive stories to be adapted by their original authors, Andrew Smith combines mythology and SF in an exercise in world-building that feels lived in and real. His version of the Doctor is, as with Warriors’ Gate, closer to the Fourth Doctor we recognise than the more sombre version of season 18, cracking jokes that reveal the Doctor as equally pompous and contemptuous towards assumed authority – but still with the righteous fury when confronted with the experiments on the Marshchild, or touching compassion for Tylos when he finds his body, killed during the Marshmen attack:

The Doctor knelt beside the boy. They had never spoken, yet he felt a sense of real loss. The taking of life was always to be mourned, the taking of a young life even more so.  

There are some solid horror elements – particularly the emergence of the Marshmen, the spiders hatching from the river fruit, Dexeter’s murder at the hands of the defiant Marshchild and Romana’s possession. Perhaps because he was a teenager himself when he wrote the TV scripts, Smith also presents Adric sympathetically, not blind to his awkward, precocious adolescence, but recognising how the boy feels he doesn’t fit in with either the inhabitants of the starliner or the Outlers; like many of the viewers, he identifies with the ‘otherness’ of the Doctor and Romana. We all love it when a novel presents new material or deeper insights into the characters, but this achieves a new high for the range.

Chapter 69. Doctor Who and the Leisure Hive (1982)

Synopsis: The people of Argolis are survivors of a terrible war. Dedicating themselves to the technology of Tachyonics, their home is a destination for pleasure seekers keen to try out the latest trends in entertainment. The Argolins are dying, the last child born on the planet was Pangol. While his mother only wishes for peace with their former enemies, the Foamasi, Pangol believes it is his birthright to lead his people towards a new dawn with an army created from tachyons to eradicate the Foamasi once and for all… 

Chapter Titles

  • 1. Brighton
  • 2. Argolis
  • 3. Brock
  • 4. The Generator
  • 5. Intruders
  • 6. Hardin
  • 7. Mirror, Mirror, on the Wall
  • 8. The Foamasi
  • 9. Rebirth

Background: David Fisher adapts his own scripts for the 1980 serial.

Notes: The opening sequence of the Doctor and Romana on the frozen beach is observed by a deckchair attendant and a candy-floss seller. Chapter 2 is a detailed history of the wartorn history of Argolis and their brief battle with a race of reptiles from the planet Foamas. The third chapter is introduced by a discussion between two journalists observing Mena and Hardin at the spaceport. Mena is the ‘consort’ of the ‘Heresiarch’, Morix. It’s heavily implied that Hardin and Mena had an affair back on Earth, a relationship that they both know cannot continue now. The Captain and second-officer on the Earth-to-Argolis shuttle discuss more Argolin history, specifically the first and second Precepts of Theron the Terrible: ‘Sorrow, pain and fear are weaknesses in a warrior… eliminate them’ and ‘War is the right and duty of every Argolin’. Later on, as Pangol seizes the Helmet of Theron, we learn three more Precepts of Theron: The Tenth is ‘An Argolin knight never refuses an order’; the Eleventh is ‘An Argolin knight obeys his leader without question’; while the final Precept declares that ‘To die gloriously in battle against the enemies of Argolis is the greatest joy an Argolin knight can hope to experience’.

The Doctor immediately irritates Pangol by interrupting his presentation with inconvenient questions. The incriminating statue that carries the Doctor’s scarf represents the great Argolin hero ‘Lismar the Champion’. Much more is made of the elderly Doctor’s senility. ‘Flesh suits’ – a standard piece of equipment for assassins – are banned on Foamas, though it’s possible to pay huge amounts for one. 

No Foamasi has ever actually met an Argolin before, their war was fought remotely. Most of the Argolin survivors were members of Morix’s crew (Mena was the communications officer). After the Argolin War (which the Argolin call the ‘Foamasi War’), the survivors on Foamas were split into ‘White’ and ‘Black’ clans. While the White families were small, they were united, whereas the Black clans splintered further, allowing the White families to pick them off until only two Black houses remained – the ‘Twin Suns’ and the ‘West Lodge’, a group of embezzlers who have successfully scammed the inhabitants of other planets prior to this. While Brock is arrested as shown on screen, Klout is captured separately, caught in the act of setting an explosive charge; he throws an unprimed grenade and then draws an electric stiletto (presumably the knife, not a shoe) before he’s tied up by the Foamasi agent’s instant-cocoon device.

As in Creature from the Pit, Romana is described as ‘an experienced Time traveller [who] had journeyed vast distances through Time and Space’, so there are definitely unseen adventures prior to this (cue Big Finish!). When the Doctor leaves the Randomiser behind on Argolis, Romana is concerned that it means they’ll never know where they’re going next – which is surely the point of the Randomiser…

Cover: Andrew Skilleter shows us the Leisure Hive merging on the horizon with Pangol and a Foamasi. Alister Pearson’s cover for the 1993 reprint is of a similar desert hue, with the Hive accompanied by a Foamasi and the elderly Doctor. 

Final Analysis: David Fisher returns and writes a densely packed adaptation that feels in earlier chapters like a less manic Douglas Adams script. It soon settles down though and the historical asides occur only where they fall naturally in the plot. It’s a shame Fisher never chose to do a Terrance Dicks and take on anyone else’s stories, I was starting to like him.

True fact, when the elderly Tom Baker was revealed in the TV episode, my library buddy was hugely disappointed, thinking Baker was going to play the next Doctor too. And this was about a month before it was announced he was leaving!

Chapter 68. Doctor Who and the Keeper of Traken (1982)

Synopsis: The Keeper of Traken presides over a union of harmony. Nearing the end of his very long life, he visits the Doctor and invites him to visit Traken. Instead of being honoured guests, the Doctor and Adric find themselves mistaken for the evil that the Keeper has warned about. In a nearby grove, Kassia, the wife of a consul bares her soul to a lonely statue, fearful that her loving husband will be taken from her if he is nominated to be the new Keeper. But then the statue speaks – and promises everything will be okay, so long as she obeys without question. Within the statue, in an impossibly large chamber, a decaying figure observes his plan coming together, a plan that will find him power to regenerate his husk of a body – and enact revenge on his nemesis, the Doctor!

Chapter Titles

  • 1. Escape to Danger
  • 2. Melkur Awakes
  • 3. Intruders
  • 4. The Voice of Melkur
  • 5. Melkur’s Secret
  • 6. The Net
  • 7. Prisoners of Melkur
  • 8. A Place to Hide
  • 9. Death of a Keeper
  • 10. The Rule of Melkur
  • 11. The Last Resort
  • 12. The Enemy

Background: Terrance Dicks adapts Johnny Byrne’s 1981 scripts, which followed Warriors’ Gate on TV, making this the second time that three consecutive stories have been released together.

Notes: The first chapter is called ‘Escape to Danger’ (yay!) and it directly follows on from Warriors’ Gate, explaining the disappearance of Romana and K9. Adric’s standard description now tells us he’s ‘a smallish, round-faced, snub-nosed lad with an expression of cheerful impudence’. We’re also told he ‘usually eats enough for two’ and Adric observes that ‘practically everyone on Traken was old, eminent, and bearded’, which is a brilliant line. We only discover the identity of Melkur at the same time as the Doctor. The description of the Master matches that from The Deadly Assassin:

The figure in the chair was both wizened and decayed, the body as worn out as the tattered robes. One eye glared madly from the crumbling ruin of a face and blackened lips drew back in a ghastly chuckle.

As he confronts the Master in his TARDIS, The Doctor recalls his nemesis back in his prime:

The stocky, powerful figure, the darkly handsome face with its pointed beard and burning eyes, the deep, hypnotic voice. All of that was gone, decayed, so that all that was left was a walking corpse.

The new Master’s first words are ‘Now begins my new life!’

Cover: Andrew Skilleter gives us a simple scene of Nyssa and Melkur. Alister Pearson’s 1993 reprint cover is another montage of faces, depicting the Doctor, the Keeper and Melkur, along with the screaming, decaying face of the Master.

Final Analysis: A lot more effort with this, even though it’s largely a straight translation from screen to page, as Terrance provides points of view and character insights throughout. One slightly odd thing is that it’s not exactly clear in the TV episodes when exactly the Keeper reveals that Tremas is to be his successor, as this is merely reported by the Keeper after he shows the Doctor and Adric the wedding scene. Here, the appointment is very much part of the wedding, meaning Tremas and Kassia are married for less than two days before they’re both killed.  As on TV, Nyssa is not signposted as the new companion and if anything her role is minimal, even though Terrance makes sure to tell us that she and Adric quickly become friends.

Chapter 67. Doctor Who and Warriors’ Gate (1982)

Synopsis: The Tharils were once a proud race, masters of the time winds with an empire forged on slavery. Then the robot Gundans came. Now the Tharils themselves are slaves, sold as mere components to be plugged into space ships as unwilling navigators. One such ship is the Privateer, fashioned from dwarf star alloy, captained by the dictatorial and stubborn Rorvik… and currently mired in a white void near a mysterious gateway. As the Doctor, Romana and Adric search for a way out of E-Space, their encounters at the gateway promise freedom at last for the Tharils… and Romana.

Chapter Titles

None! It’s just one big run of text. 

Background: Steve Gallagher adapts his own 1981 TV scripts under the pen-name of John Lydecker to avoid confusion with his other novels. This followed State of Decay on TV, so that’s another pair of stories to be released consecutively.

Notes: The opening scenes introduce a member of The Antonine Killer clan, a methodical, maverick Tharil in pursuit of Privateers trying to evade a blockage. The clan is part of the anti-slavery alliance and they’ve already targetted four privateer vessels. The actions of this Killer result in the Privateer being disabled and stranded outside of normal space. Early on, we’ve given an explanation of the Tharils’ time-sensitivity that really helps make sense of the entire story:

Time-sensitivity was the Tharils’ curse; from an infinite range of possible futures they could select one and visualise it in detail as if it had already happened. Sometimes in moments of extreme trance their bodies would shimmer and glow, dancing between those possible futures and only loosely anchored in the present. It took intense concentration to bring a Tharil back into phase with the Moment.

As K9’s health ails, we’re told that even though he could be rebuilt, ‘there was no way of reproducing its personality with any exactness… a copy would never be any more than just that’, so either the author has forgotten that this unit is the second model, or each K9 has its own individual personality that can’t be recaptured. Meanwhile, Romana departs with Lazlo, not Biroc, while we lose the final scene with Adric and the Doctor. There’s something of Brief Encounter or The Empire Strikes Back in the way the Doctor and Romana say goodbye:

‘I can only wish you good luck. It’s not likely we’ll meet again.’

‘I know,’ Romana said.

Cover: An ethereal composition by Andrew Skilleter showing the Tharil Biroc, the gateway and the Privateer in front of a blue hazy background.

Final Analysis: The most radical departure from the Target house style so far, Gallagher really dives deep into the story and his characters. It’s all the more impressive considering his first delivered version was much longer and had to be condensed (that longer version was later released as an audiobook). It’s a complete rewrite of the TV episodes and Gallagher’s style is more mature than we’re used to – and that doesn’t mean the kind of violence or language that Ian Marter employs, but in Rorvik we get a much more sadistic character than Saturday tea-time TV could allow. Surprisingly for someone writing for Season 18 setting, Gallagher also adds a lot of comic sequences – actually capturing the Fourth Doctor that we know, rather than the muted version we got that season (I’m reliably informed the jokes were in the original scripts, so we can work out what happened there!).

Rorvik cut across the diffident denial with another blast into the ceiling, another snowfall of plaster. 

‘This could be a listed building for all you know,’ the Doctor warned, but Rorvik’s sense of humour seemed to have been suspended. 

‘You’ll be listed as a former human being if you don’t play straight.”Human being? Are we descending to cheap insults now?’

And just a couple of pages later:

‘Can you hear me, Doctor? I’ve got a message for you. I hate you. Did you get that? Of everybody I’ve ever met, you’re my least favourite!’ And he hammered his fists on the mirror’s surface in frustration. 

On the page, Rorvik is one of the most sadistic monsters we’ve encountered so far – we’re told of the atrocities he’s committed to other Tharils even during Biroc’s short time on the Priveteer and Rorvik himself admits to others – yet Gallagher remembers that pomposity can actually be hilarious when the subject isn’t in on the joke. One tiny criticism, but it’s an obvious one, is that this is a very dense, detailed story with some very heavy SF themes and motifs; it would have really helped to have had chapter titles. I’m a traditionalist at heart.

Chapter 66. Doctor Who and the State of Decay (1982)

Synopsis: Exploring more of E-Space, the Doctor and Romana land on a planet where a small village lies in the shadow of a huge, sinister-looking tower, home to The Three Who Rule. A growing suspicion leads the Doctor to realise that the rulers are vampires, the mortal enemies of the Time Lords. As the pair try to form a plan to defeat them, they are unaware of a complication. A boy called Adric stowed aboard the TARDIS during their last landing and now he is about to become a servant of the Great Vampire…

Chapter Titles

  • 1. The Selection
  • 2. The Strangers
  • 3. The Stowaway
  • 4. The Messengers of Aukon
  • 5. The Tower
  • 6. Tarak’s Plan
  • 7. The Secret Horror
  • 8. The Resting Place
  • 9. Escape
  • 10. The Vampires
  • 11. The Traitor
  • 12. Attack on the Tower
  • 13. The Arising
  • 14. Departure

Background: Terrance Dicks adapts his own scripts from the 1980 serial, which in turn were adapted from scripts he originally wrote for the series in 1977 before they were cancelled. This is a completely separate adaptation to the one he scripted for an audiobook published by Pickwick the previous year.

Notes: Habris introduces us to this world, the village, the tower and the Lords who ‘weren’t quite human’. There’s no trace of the original title, ‘The Wasting’, which had survived to the broadcast version. Adric is introduced as ‘a small, round-faced, dark-haired youth’. The Doctor sticks around ‘well into the next day’ to help with explanations and clearing everything up. Ivo and Kalmar jointly agree to set up a new government, using the old rebel headquarters as its base.

Cover: Andrew Skilleter creates a composition of the Doctor, Aukon, a bat and more bats flying across a moonlit sky.

Final Analysis: This is the fourth complete version of the story that Terrance Dicks wrote – preceded by the abandoned one for Season 15, the broadcast one for Season 18 and that Pickwick audiocassette version from 1981. The Pickwick edit was significantly abridged, so this is a much more faithful adaptation and Terrance even borders on Ian Marter-style violence towards the end. The desiccation of the vampire Lords is particularly effective:

Grouped in front of him in a semi-circle, the three vampires paused for a moment, as if to savour their final triumph. Eyes flaring red, teeth gleaming, hands outstretched like claws, they lunged forwards in unison — and then froze. 

Their faces seemed to dry up, to wither and crack, like sun-baked earth. 

The dessicated flesh crumbled from their bodies and for one horrible moment, three gorgeously robed skeletons stood leering at the Doctor, bony fingers reaching out, as if to rend him. Then the skeletons, too, crumbled, leaving three huddled heaps of clothes resting on scattered dust piles on the floor of the cave.

Chapter 65. Doctor Who and An Unearthly Child (1981)

Synopsis: A thing that looks like a police box, standing in a junkyard. Home to a secretive old man and his strange granddaughter. Two schoolteachers allow curiosity to lead them into a terrifying journey back to a time where the greatest power is the ability to make fire, and the second greatest is merely to survive.

Chapter Titles

  • 1. The Girl Who Was Different
  • 2. Enter the Doctor
  • 3. The TARDIS
  • 4. The Dawn of Time
  • 5. The Disappearance
  • 6. The Cave of Skulls
  • 7. The Knife
  • 8. The Forest of Fear
  • 9. Ambush
  • 10. Captured
  • 11. The Firemaker
  • 12. Escape into Danger

Background: Terrance Dicks adapts Anthony Coburn’s scripts for the very first TV story. At 17 years, ten months and three or so weeks, this is now the record holder for the longest gap between broadcast of a story and release of the novelisation. Though this record will be broken a few times more in the future, this book can lay claim to another odd record in that the novelisation was released 18 days prior to being repeated in full for the first time.

Notes: We learn from the policeman in the opening scene that the old man who recently became the proprietor of the junkyard in Totter’s Lane has disappeared, along with his granddaughter and two teachers from a local school – so the rest of the story here is told in flashback (and the later flashback to Susan in the classroom is flashing even further back!). We briefly meet Susan in the first Coal Hill School scene as she waits for Miss Wright to fetch the book, and she’s ‘tall for her age, with short dark hair framing a rather elfin face’. Apparently Barbara Wright doesn’t ‘stand for any nonsense’ and Terrance Dicks gives her a rather balanced but critical appraisal: 

Someone had once said, rather unkindly, that Barbara Wright was a typical schoolmistress. She was dark-haired and slim, always neatly dressed, with a face that would have been even prettier without its habitual expression of rather mild disapproval. 

There was undeniably some truth in the unkind remark. Barbara Wright had many good qualities, but she also had a strong conviction that she knew what was best, not only for herself but for everyone else. It suited her temperament to be in charge. 

Ian in contrast is said to be ‘a cheerful, open-faced young man… about as different in temperament from Barbara Wright as could be imagined.’ Ian teaches Science and Mathematics, which explains why he sets his class a problem involving the dimensions ‘a, b and c’. When Barbara tells Ian about Susan’s mistake over decimal currency, she adds that ‘The United States and most European countries have a decimal system’, but Susan then claims ‘You’ll change over in a few years’ time!’ Susan explains that TARDIS stands for ‘Time and Relative Dimension in Space’ (singular) as on TV [see The Daleks, The Time Meddler and others]. As he removes his jacket in the TARDIS control room, the Doctor has the impression of ‘a family solicitor from some nineteenth-century novel’. When Barbara calls him ‘Doctor Foreman’, the Doctor confesses that he stole that name from the gates of the junkyard and suggests ‘It might be best if you were to address me simply as Doctor’. Most helpful of him, even if he then acts as if he’s never heard the name when Ian uses it in the next chapter!

It’s confirmed that Za is the son of Old Mother, who he saved from being cast out by the Tribe (as is their custom) after the death of his father, Gor after (it’s presumed, but not confirmed) a hunting accident. This act of kindness was viewed by the old woman as weakness, hence why she undermines him at every opportunity.

The final chapter is called ‘Escape into Danger’. It ends with a foreshadowing of the next adventure, on a wartorn planet called Skaro – home of the Daleks!

Cover: The first cover to use the Sid Sutton-designed ‘neon’ logo from the TV show, with metallic foil effect on the first edition’s logo, and with a red flash across the corner to tell us this is the ‘First publication of the very first Doctor Who story’. It’s such a simple cover really, as Andrew Skilleter recreates the set of the junkyard from a photo now believed to be lost. It could have done with being set at night, but the details are very satisfying as this cover is now our best view of that very cluttered set. A 1990 reprint used Alister Pearson’s VHS cover and it’s beautifully simplistic. Taking its inspiration from the cover art for Queen’s The Miracle (1989), Pearson merges the Doctor and Susan so they share an eye, positioned above a rocky landscape where the TARDIS is materialising.

Final Analysis: Terrance had just two weeks to complete this, to tie in with the ‘Five Faces of Doctor Who’ repeats, on the suggestion of producer John Nathan-Turner. It was also the first novelisation in six months, due to a writers’ strike that Terrance felt compelled to honour. There’s a Reithian hand at work here, as Terrance guides the young Target reader through some fairly alien concepts: Through the police officer in the opening scene, we learn that police boxes used to be a common sight on British streets and the policeman speculates that they might soon be phased out in favour of individual walkie-talkies; Ian tries to remember what kind of animals might have existed in the time of the cavemen, such as mammoths and sabre-tooth tigers, but making the point that there’d be no dinosaurs as ‘that was a common mistake’; and of course, Anthony Coburn’s original script included a means to make fire that every eager Scout or pyromaniac should know.

One other lovely detail is how Dicks describes Kal as having a ‘short jutting beard’. It’s the kind of description Malcolm Hulke might have used for the same purpose, as later, when the time travellers’ escape route is cut off by tribesmen, their leader is said to have a ‘short jutting beard’ – the viewers would recognise him as Kal, but the travellers wouldn’t, yet – so the reader is given this subtle clue. There’s one small issue with the first edition though – as Za enters the clearing and hears a low growl behind him; it’s such an amazing paragraph that it was repeated a few lines later… oops!

So we now have a novel of the first story, which leads directly into the next – the novel of which is hugely contradictory as we’ve already seen. Heaven help anyone trying this pilgrimage in broadcast order. Much better this way!

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.