Chapter 33. Doctor Who and the Brain of Morbius (1977)

Synopsis: The planet Karn is home to a secret Sisterhood who administer a sacred flame that can provide the secret to everlasting life. It’s also home to Dr Solon, a scientist with a very singular purpose – the resurrection of a Time Lord war criminal called Morbius. Only his brain survives, but Solon, with the help of his brutish servant Condo, has fashioned a monstrous new body to house the brain. All it needs is a compatible head – and the Doctor and Sarah have just dropped in for a visit…

Chapter Titles

  • 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 adapts his own scripts, which were hurried rewrites of scripts by Robert Holmes and broadcast in 1976 under the name ‘Robin Bland’.

Notes: The alien in the first scene is not specifically a ‘Mutt’ from The Mutants, but is identified as Kriz, a member of ‘The Race’, who are six-limbed mutant insects who ‘colonise, not conquer’ as they are a moral species, led by a ‘Great Mother, Goddess and Queen in one’. 

The sisterhood are dressed in black, not various shades of red as on screen. Maren uses a crystal ball. She enjoys immortality like the rest of the Sisterhood, but when they first discovered the secret of the flame, she was already old – hence why she looks ancient. Solon has made many clay busts of Morbius, destroying each one for not being right (yet he feels enthusiastic about his body for Morbius; maybe he just can’t draw fingers…).

The mind-wrestling battle skims over the other faces on the screen (you know the ones) without explanation, merely covered by Sarah having ‘a confused impression of even more faces on the screen’. Read after the events of The Timeless Children, it’s handy that Dicks saw not to lock down the identities of those other faces one way or the other. 

Cover: New artist Mike Little has a large portrait of the Fourth Doctor (using a photo reference from Robot) with Solon facing down the Morbius creature, all three outlined with a thick red line and electrical crackle (the red is dropped for later reprints). It’s a bit… basic compared to earlier efforts. The 1991 reprint cover used Alister Pearson’s gorgeously moody VHS cover, which shows the Doctor (as seen in Seeds of Doom) plus Solon, Maren, Sarah and the Morbius creature.

Final Analysis: It’s surely just a coincidence, or maybe just a product of the era being adapted, but Terrance Dicks follows Ian Marter’s debut with another horror novel. Considering the original script that Dicks wrote differed greatly from what became The Brain of Morbius, he resists the temptation to make sweeping changes to Robert Holmes’s transmitted version. What we get is a straightforward but sombre adaptation, not shying away from the more visceral descriptions, yet not quite reaching the levels of violence we enjoyed with Marter.

Chapter 31. Doctor Who and the Claws of Axos (1977)

Synopsis: A strange object from space lands on Earth near a nuclear power station. Inside are Axons, a family of golden beings who offer unlimited power in return for help with their damaged spacecraft. While the Doctor tries to keep an open mind, an ambitious politician rushes to seize the Axon’s power for his own interests. Deep inside the alien craft, the Master is being held captive – and as Jo Grant discovers, that’s not the only secret the Axons are keeping…

Chapter Titles

  • 1. Invader from Space
  • 2. The Landing
  • 3. The Voice of Axos
  • 4. Enter the Master
  • 5. The Doctor Makes a Plan
  • 6. Escape from Axos
  • 7. The Axons Attack
  • 8. The Power Robbers
  • 9. The Sacrifice
  • 10. Brainstorm
  • 11. The Feast of Axos
  • 12. Trapped in Time

Background: Terrance Dicks adapts scripts by Bob Baker and Dave Martin from the 1971 production.

Notes: As it soars towards Earth, the Axos ship has a ‘constantly changing’ shape and glows with a ‘myriad of colours’ – its intention is to be noticed. The first scene with the two radio operators is expanded here; they’re not UNIT operators here, but personnel at the tracking station – Ransome and his assistant, Harry – who work down the list of people they need to contact and find ‘something called UNIT’. The first interaction between the Brigadier and Chinn also provides background information – the minister in overall charge of Chinn’s department cannot stand him, and as the Brigadier is also a problem, he decides to set the two men against each other in the hope that the winner will eliminate one or the other. Although UNIT is governed from Geneva, the Brigadier’s operations are part-funded by the British Government. Corporal Bell is not part of this story, her role is given to a nameless male technician.

We get an introductory scene where Bill Filer is on the hunt for a man called ‘Joe Grant’ – and Jo corrects him. Bill is described as having ‘closely trimmed brown hair and a pleasantly ugly face’ – wow, that’s a pretty mean swipe at the reasonably handsome Paul Grist who played him.

The Doctor and Jo drive to the landing site in Bessie (yay!). 

The Axon who first frightens Jo subsequently appears as a male identical to the Axon leader. The Axon leader does not assume that the toad is livestock, but spells out the potential, had it been a ‘food animal’. The process transforms the toad into a huge form that overwhelms Chinn and makes him scream. Later, as Axos reacts to the Doctor’s experiment, the Eye of Axos is said to be ‘lashing wildly to and fro on its stalk’, which is much more fluid a movement than the TV prop could manage.

Jo overhears the Doctor speculating about Axonite’s potential for time travel and suspects he has selfish intentions early on. The Doctor spots straight away that the Axon-Filer is a fake thanks to his experience of the Autons replicating humans. He also baffles a sentry to gain access to the arrested Brigadier: ‘Good heavens, man, I know the Brigadier’s incommunicado. I’m incommunicado myself. There’s no reason why we can’t talk to each other.’ Delightful!

The Master enters the Nuton complex disguised as a visitings scientist and recalls the time he broke into UNIT HQ dressed as a ‘humble telephone engineer’. The Master’s TARDIS is a white dome, not a filing cabinet.

To the Eye of Axos’s surprise, the Doctor reveals that he’s deduced that Axos already has some limited ability for time travel; he realised that Axos reached Earth before the missiles were fired and Axos confesses that they can ‘move only moments in Time.’ Hardiman’s assistant (credited on screen as ‘Technician’) is named ‘Ericson’.

Cover: Achilleos gives us an eerie female Axon with rays of light coming from her eyes while an Axon monster looms behind her and the Doctor (taken from a photo from Frontier in Space) is pictured inset looking concerned. A 1979 edition had a cover by John Geary showing the adult male Axon and two very green Axon monsters.

Final Analysis: I’m hugely fond of The Claws of Axos TV episodes, one of those comfort stories I can bung on while I decide what I’d sooner be watching and then settle down and enjoy it. Terrance Dicks captures all of the conflicted loyalties that the Axons draw out of our heroes – are they victims in need, or should they have been blasted into bits from the start? –  but he enhances the suspicion that the Doctor is solely interested in using Axos to escape Earth and relishes in making Chinn hated by absolutely everyone he encounters. The Master once again enjoys the thrill of the adventure, deciding on a whim to jump from a bridge onto a UNIT truck and then exploiting his good fortune when it turns out to be going where he wants to be. The ending is also less rushed than on TV, as Bill Filer says his goodbyes and jokes that he’d thought England would be ‘dull’, Chinn scampers back to the Minister to try framing the success as his own, while the operation to rescue the TARDIS and get it onto the back of a UNIT truck turns into a huge argument, which Jo welcomes as things getting ‘back to normal’. 

Chapter 30. Doctor Who and the Dalek Invasion of Earth (1977)

Synopsis: The Doctor finally brings Ian and Barbara back to London but celebrations are short-lived when they realise they are two hundred years in the future and Earth is under the occupation of the Daleks. Separated and befriended by various groups of resistance fighters, the time travellers all come to the same conclusion – they must find out what the Daleks are doing and defeat them. But for one of them, life will never be the same again.

Chapter Titles

  • 1. Return to Terror
  • 2. The Roboman
  • 3. The Freedom Fighters
  • 4. Inside the Saucer
  • 5. Attack the Daleks!
  • 6. The Fugitives
  • 7. Reunion with the Doctor
  • 8. The Mine of the Daleks
  • 9. Dangerous Journey
  • 10. Trapped in the Depths
  • 11. Action Underground
  • 12. Rebellion!
  • 13. Explosion!
  • 14. The Farewell

Background: Terrance Dicks adapts Terry Nation’s 1964 scripts for the second Dalek serial. The title page says it’s adapted from Doctor Who and the World’s End, presumably taking the story title from the Radio Times Tenth Anniversary special, which used the titles of each first episode to represent the serial as a whole.

Notes: The first chapter features a recap of the schoolteachers and their first meeting with the Doctor, Susan and the TARDIS. The Doctor is a lot more tetchy than he was on telly; when Susan describes the TARDIS readings as ‘normal’, the Doctor corrects her with irritation: ‘Normal for where?’ Later, Susan tells David that she left her own planet when she was ‘very young’ – is this comparative for a teenager, or was she a young child?

Tyler’s first name is Jim, not Carl, and Jack Craddock becomes Bill, but David’s name is still Campbell [see The Crusaders for why this is interesting]. The events of the time travellers’ first meeting with the Daleks is put into perspective when the Doctor surmises that the city they attacked was just one on the planet Skaro (in the TV version, he guesses that their first meeting took place a million years in the future). The Black Dalek (also called the Dalek Supreme) is said to be larger than normal Daleks – maybe the standard Daleks don’t have the enlarged bumper in this version? There’s also a ‘second in command’, a ‘commander of the ground forces’ and an engineer without any descriptions – are these based on the movie Daleks?

The Doctor is dazed after escaping the robotisation process, but not unconscious as on TV. David calls the Dalek fire bomb a ‘blockbuster bomb’ – it destroys whole blocks in one go. Dortmun is buried under rubble (like in the movie), rather than just being exterminated, while Larry and his brother Phil don’t kill each other in combat; the rewrite is much more tragic: Roboman-Phil’s helmet comes off in the struggle, killing him and as Larry holds his brother’s body another Roboman guns him down. There are a few dialogue swaps, such as Barbara getting a second go at making the Robomen attack the Daleks – the Doctor merely adds that the slaves should join in. The Doctor’s party is celebrated for their part in overthrowing the Daleks, so there are a lot more people willing to help free the TARDIS (and Tyler says he doesn’t need to know why they want the police box). Ian doesn’t wedge the Dalek bomb to stop it, but diverts it off course (just like Tom does in the movie!). The Doctor’s goodbye to Susan is a little simpler than on TV, but it’s almost more emotional as a consequence. We then join the Doctor inside the TARDIS as he turns from the scanner and sniffs, daring the teachers to comment, before smiling and promising to get them home (and the schoolteachers agreeing he probably won’t).

Cover: Chris Achilleos presents one of my favourite covers ever, and it’s so weird. It depicts a scene that’s threatened but not actually delivered on screen – the burning of London to flush out the rebels, with a Dalek and roboman patrolling as Dalek spaceships set fire to the Houses of parliament. But the spaceships are from the second Dalek movie, the roboman is a mashup of a movie version and a Genesis of the Daleks soldier, while the Dalek looks like it’s from the first Dalek movie, but it’s red all over with black spots. Its gun is from one of the original TV props but that and its sucker arm are the wrong way round. However, it’s utterly stunning. The 1990 reprint cover by Alister Pearson also uses the Houses of Parliament as a backdrop but it’s much more understated, showing portraits of the Doctor and Susan alongside an accurate TV version of a silver and blue Dalek.

Final Analysis: There’s surely no better start to any of these books than the first page of The Dalek Invasion of Earth, particularly that opening line: ‘Through the ruin of a city stalked the ruin of a man.’ It sets up the tone of the book, which is a war story with Daleks, where each character has something to say about the life they’ve led up to this point. Of course, Dicks is working off the back of three other writers – Terry Nation, David Whittaker and Milton Subotsky – but it’s the stuff he adds to meld the work of the others together that makes this so perfect. 

One strange thing is that I recall Terrance Dicks claiming that he’d been sent the wrong photo for the Slyther, and what he described was the Mire Beast from The Chase, yet what he writes is pretty spot on and actually adds to the menace of the creature:

Ian saw a vast lumpy blob of a body, powerful flailing tentacles, two tiny deep-set eyes shining with malice… Moving incredibly fast, the creature lurched towards them.

and:

They heaved and kicked and punched at the Slyther’s flabby bulk, shoving it out of the bucket with maniacal fury, dodging the flailing blows from its enormous tentacles.

That the Slyther survives its fall at the end and crawls off means that even after the Daleks are defeated, there’s the problem of pest control still to deal with – unless the volcano sorted it out. Although, for all the little tweaks Dicks makes to improve on the scripts, he still has the Doctor leaving Susan behind with just one shoe!

Never mind – I might go as far as to say that it’s Dicks’s best adaptation, so I’ll be interested to see if anything can top this.

Chapter 28. Doctor Who and the Carnival of Monsters (1977)

Synopsis: Aiming for the planet Metabelis III, the Doctor and Jo arrive on board a ship in the Indian Ocean. Something strange is going on as the crew and inhabitants of the vessel appear to be trapped in a time loop, repeating the same actions and conversations in a cycle. And then the ship is attacked by a prehistoric monster that has been extinct for millions of years. Meanwhile, the planet Inter Minor welcomes its first ever off-world visitors, including a travelling showman and his assistant who possess a rather unusual device that contains wonders from around the universe. Purely for entertainment, strictly non-political – and highly illegal.

Chapter Titles

  • 1. Dangerous Arrivals
  • 2. The Monster from the Sea
  • 3. The Giant Hand
  • 4. Trapped!
  • 5. Inside the Machine
  • 6. The Monster in the Swamp
  • 7. ‘Nothing Escapes the Drashigs’
  • 8. The Battle on the Ship
  • 9. Kalik Plans Rebellion
  • 10. The Doctor Takes Over
  • 11. Return to Peril
  • 12. The End of the Scope

Background: Terrance Dicks adapts the 1973 scripts by Robert Holmes, which also makes season 10 the first complete season available in Target form.

Notes: The story follows on immediately from The Three Doctors, published two years before. The Scope draws in its audience, creating ‘a mild hypnotic effect, making the viewer feel part of the scene he was witnessing’. As well as environments containing humans, drashigs, Cybermen and Ogrons, we’re told that the Scope also has a collection of Ice Warriors. The Doctor uses a flare gun that he pocketed from the SS Bernice to ignite the marsh gas on the drashig’s planet (he uses his sonic screwdriver on TV). The drashig differs significantly from the beast seen onscreen; lacking the six eyes and gaining limbs, it’s less worm-like and a lot closer to the plesiosaur on the original front cover:

… something between a dinosaur and a dragon with squat body, powerful clawed legs, a sinuous neck and a mouth that seemed to contain not two but at least a dozen rows of enormous razor-edged teeth. The eyes were small and blinking, the nostrils huge and flared. 

Describing his part in vanquishing the drashigs, Vorg claims he is an ‘old soldier’. After the death of Kalik, Orum confesses to his part in the conspiracy, but Plectrac assures Jo that an inquiry must still take place for the sake of procedure – and it’s this that prompts the Doctor and Jo to depart..

Cover: Within a bright yellow frame, Chris Achilleos shows a plesiosaurus as it curves around a ship in the ocean and a monochrome Doctor looks sternly at the reader. The 1993 reprint cover art by Alister Pearson is a lot busier (in a good way!), incorporating a dramatic portrait of Jon Pertwee, two face-pics of Shirna and Vorg in a moody blue, while an Inter Minor administrator inspects the mini-scope and two drashigs loom up from the bottom of the page.

Final Analysis: Adapting Robert Holmes’ satire on bureaucracy, Dicks seems to tap into some of Malcolm Hulke’s influence. HIs description of the splitting of the ruling and functionary castes into two different species seems vaguely more political than usual. By the story’s conclusion, Officials and Functionaries alike congregate to congratulate Vorg and there’s no sign of the lower caste being ushered away. Maybe that’s wishful thinking but the suggestion is there. As mentioned in the introduction, 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. This was a year before I saw the story repeated as part of the ‘Five Faces of Doctor Who’ season, so it was a favourite even before I saw what a Drashig looked like, which for once was much more creative and fearsome on TV than the book had led me to believe.

Chapter 23. Doctor Who and the Genesis of the Daleks (1976)

Synopsis: The planet Skaro has been a battleground for generations as two races fight for supremacy. Deep beneath the planet’s surface, the chief scientist of the Kaleds, Davros, has determined the final outcome of his race and has planned for their future – as Daleks. The Doctor, Sarah and Harry are sent by the Time Lords to avert the creation of the Daleks – but do they really have the right to commit genocide?

Chapter Titles

  • 1. Secret Mission
  • 2. Prisoners of War
  • 3. The Secret Weapon
  • 4. Rocket of Doom
  • 5. Escape to Danger
  • 6. Betrayal
  • 7. Countdown to Destruction
  • 8. Captives of Davros
  • 9. Rebellion!
  • 10. Decision for the Doctor
  • 11. Triumph of the Daleks
  • 12. A Kind of Victory

Background: Terrance Dicks adapts Terry Nation’s 1975 scripts.

Notes: The story follows on from The Sontaran Experiment with the time travellers expecting to be back at Space Station Nerva [but see The Ark in Space and The Sontaran Experiment for how that doesn’t match the book universe]. Sarah recalls her first encounter with the Daleks on the planet of the Exxilons [See Death to the Daleks in 20 books’ time]  The Doctor  has time to explain the Time Lords’ mission to Sarah and Harry before they’re attacked and endure a more protracted battle on their first approach to the Kaled dome. There’s a little extra information about how Davros came to look the way he does:

Harry Sullivan looked at Davros in horror. ‘What happened to the poor devil?’

‘An atomic shell struck his laboratory during a Thal bombardment,’ whispered Ronson. ‘His body was shattered, but he refused to die. He clung to life, and himself designed the mobile life-support system in which you see him.’

A group of Thal soldiers are noted to be blond (as in the earlier stories, even though that was a product of their full cycle of mutation). Sevrin is a giant with agility like an ape, while Bettan has ‘an important official position’ and is responsible for the victory celebrations planned after the end of the war. Davros’s office looks down onto the laboratory, which gives the Doctor and his chums a better view of events than the small monitor they had on TV. As Davros is exterminated by the Daleks, his chair explodes into flames. The new Dalek leader, while announcing their mission statement, decrees that they shall build their own city [a reference to the first Dalek story?]. Sevrin sees the time travellers disappear (and Sarah waves him goodbye before the trio vanishes).

Cover: Achilleos gives the first edition a deceptively simple design as Davros (in a brown tunic) owns the centre while a Dalek lurks at the rear and the Doctor is inset and sepia as if on a screen. Alister Pearson gives the 1991 reprint a similarly plain cover, with the Doctor emerging through the fog as Davros enters, stage left.

Final Analysis: Matching the TV story, the tone of this adaptation is a leap away from the rompy fun of its predecessors. This is grim from the first scene and there’s barely any concession to a younger audience. Maybe it’s the quality of Terry Nation’s scripts (or Dicks’s friendship with the script editor who oversaw then), but considering the TV version has possibly the highest number of exterminations in a story up to this point, Dicks doesn’t shy away from any of it, and even goes into detail and singles out a few individuals for their personal experience of ‘Death by Dalek’. Even the Dalek incubation room benefits from a little extra groo, as Dicks paints a picture of glass tanks containing ‘ghastly-shaped creatures twisted and writhed in agitation, while in the darker corners of the room other monstrosities cowered away timidly’.

As if this couldn’t be more perfect, we get another chapter called ‘Escape to Danger’. Yay!

Chapter 13. Doctor Who and the Giant Robot (1975)

aka Doctor Who – Robot (1992)

Synopsis: As everyone comes to terms with the appearance and behaviour of a brand new Doctor, a robot with conflicting orders is stealing parts for a super-weapon. Sarah Jane Smith investigates an elite scientific research group while new arrival Harry Sullivan tries his hand at playing James Bond.

Chapter Titles

  • 1. Killer in the Night
  • 2. Something More than Human
  • 3. Trouble at Thinktank
  • 4. Robot!
  • 5. The Killer Strikes Again
  • 6. Trapped by the Robot
  • 7. The World in Danger
  • 8. In the Hands of the Enemy
  • 9. The Battle at the Bunker
  • 10. The Countdown Begins
  • 11. The Kidnapping of Sarah
  • 12. The Giant Terror

Background: Terrance Dicks adapts his own scripts for the 1974-5 story Robot (snatching the record from The Sea Devils for the shortest gap between broadcast and novelisation publication, at one month and three weeks).

Notes: The regeneration is a lot more involved and emotional than the simple cross-fade seen on telly. It’s told in flashback from the Brigadier’s point of view and it enables Dicks to give us a very brief history of the Brigadier’s relationships with his two previous Doctors.

Suddenly it had been all over. A new man with a new face was lying on the laboratory floor. Like, and yet unlike. Still tall and thin, still with the same rather beaky nose. But a younger man, the face far less lined, a tangle of curly brown hair replacing the flowing white locks.

The Doctor’s recovery takes much longer than on screen. On first seeing the robot, Sarah faints (no, she doesn’t, Terrance! No!). There’s a new scene where UNIT raids Thinktank only to discover they’ve already abandoned their base, while the K1 robot is attacked by RAF jets (as shown on the first cover). And at last, we experience Harry’s first reaction to being inside the Tardis!

Cover & Illustrations: Peter Brookes ushers in a more comic-book style for this cover, which shows the K1 robot attacked by fighter planes on three sides while an inset shows the robot’s giant hand clasped around a screaming Sarah Jane – it’s very reminiscent of King Kong, of course. The logo on the cover now reflects the logo used on screen for the first time, using a version of Bernard Lodge’s design, and for this cover only, the Doctor’s face peers from the ‘O’. No internal illustrations this time, but there’s a two-panel illustration on the rear of the cover depicting the giant robot booting a UNIT jeep into the air. My first edition was the 1979 reprint with the portrait of K1 by Jeff Cummins, which dropped the rear illustration. The 1992 version used Alister Pearson’s painting for the VHS cover, with the K1 robot changing size against a lovely portrait of the Doctor.

Final Analysis: Is this the beginning of the more simplified novelisations? Not much is changed from screen to page but it all flows along nicely without expanding the story to any great degree.

Chapter 7. Doctor Who and the Day of the Daleks (1974)

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.

Chapter Titles

  • 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.

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 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!