Synopsis: When the Doctor and Romana land on the planet Zanak, apparently by mistake, they discover a world where young men are tormented by haunting visions and where the people are so wealthy that they leave rare gems lying in the street. High up in the mountains sits their ruler, the Captain, half-man, half machine. The Doctor is appalled to discover that the Captain has found a way to pilot the entire planet around the galaxy, absorbing other worlds. But that’s nothing to how outraged he becomes when he finds out why…
- 1. The Sky with Diamonds
- 2. Right Place, Wrong Planet
- 3. Meeting with Unusual Minds
- 4. Late to the Party
- 5. The Normally Delicious Smell of Pork
- 6. Dark Satanic Mills
- 7. The Death of Calufrax
- 8. The Trophy Room
- 9. Life’s Fleeting, but Plank’s Constant
- 10. An Immortal Queen
- 11. Dinner with Newton
- 12. The Captain’s Plan
Background: James Goss rewrites his earlier, longer novel, adapting scripts by Douglas Adams for a story broadcast in 1977. At 43 years and six months, this once and for all is the story with the longest gap between broadcast of the original story on TV and eventual novelisation as a ‘Target’ book.
Notes: For the first time since Doctor Who and the Sunmakers, we have a ‘Doctor Who and the…’ title! The Doctor is still concerned about Romana’s lack of experience (in fact, he’s slightly afraid of her). Their quest to find the second segment of the Key to Time is officially ‘Day Two’ and only Romana’s second trip in the TARDIS. At the start, Romana’s gown flows behind her ‘with a slithering grace that tended to scare furniture’
The Captain is an impressive giant of a former man:
It was hard to tell where the chair ended and the Captain began. Nestled amongst it all were the remains of a very large man. Half of his face was covered with a metallic plate,. A green eye patch glowed dangerously, metal lips sneered and even half of his beard was iron. Things got worse beneath the neck. A vast robotic arm, two artificial legs, synthetic lungs that hissed with effort, and, at the end of a velvet-covered sleeve, the rather pathetic remains of a human hand twitched.
His parrot is more birdlike than on TV, with metallic feathers and a habit of hopping from foot to foot. The Nurse wears a pale green dress rather than a white one. Calufrax has two suns. K9 plugs himself into a streetlamp to access Zanak’s information network. The planets in the Captain’s trophy room float inside their glass cabinets. Romana tells Kimus that there is a ‘vast space’ on Gallifrey ‘where the memories of dead Time Lords gathered to grumble’ [which could be either something inside the Matrix, or the Cloister Wraiths seen in Hell Bent].
Cover: The Doctor, Romana and the Captain are dominated by an oversized Polyphase Avatron, courtesy of Anthony Dry.
Final Analysis: While this story was previously adapted as a hefty hardback novel, James Goss was working from Douglas Adams’ original scripts, so there were more diversions from what made it to screen. This is a leaner, more faithful adaptation of the TV episodes, but it’s still on the thicker end of the Target scale. As with City of Death, the main impression is one of joyful chaos as the Doctor comes to terms with having a new companion foisted upon him, while Romana is surprised to find herself placing a lot of trust in a man she’s only known for a day. As on TV, it’s the story of the rebellious kid from the wrong side of the time tracks trying to impress a woman of a different class and Goss adds little asides to show us how the relationship develops. By close of play, Romana seems to have got the measure of the Doctor.
Leaving the Doctor alone with the largest bomb in creation was like leaving a child with a toy and expecting them not to play with it.
One element retained from the fuller novel is the narrator’s suggestion that Kimus is a fraud, full of high ideals and hot air, but still just as timid as the rest of the citizens to prevent him from ever actually doing anything. It’s rare that a non-villainous character is shown such justifiable contempt, personifying the general apathy of an entire civilisation that has grown accustomed to obscene decadence and become tolerant of oppression in barely a generation. Little details like this really make the continuation of the Target novelisations worthwhile.