Chapter 42. Doctor Who and the Time Warrior (1978)

Synopsis: Scientists have disappeared from across the country. In an attempt to keep them safe, the remaining experts have been brought to a research centre under the guard of UNIT – but still they continue to vanish. The Doctor identifies the cause must be someone with access to time travel. Following the trail in the TARDIS back to the Middle Ages, the Doctor discovers the time-hopping kidnapper is a Sontaran warrior – unaware that the TARDIS has brought alomg a 20th-Century stowaway aboard in the form of intrepid journalist Sarah Jane Smith. 

Chapter Titles

  • Prologue
  • 1.  Irongron’s Star
  • 2. Linx’s Bargain
  • 3. Sarah’s Bluff
  • 4. Irongron’s Captive
  • 5. The Doctor Disappears
  • 6. A Shock for Sarah
  • 7. Prisoner in the Past
  • 8. The Robot Knight
  • 9. Linx’s Slaves
  • 10. Irongron’s Wizard
  • 11. The Rescue
  • 12. The Doctor’s Magic
  • 13. Counter Attack
  • 14. The Robot’s Return
  • 15. Shooting Gallery
  • 16. Return to Danger
  • 17. Linx’s Departure

Background: Terrance Dicks adapts Robert Holmes’ scripts for the 1973-4 serial, except from the prologue, which Holmes wrote himself before handing the task over to Dicks.

Notes: Three years after the word ‘Sontaran’ first appeared in a Target book [see Terror of the Autons], we finally meet one – in the most exciting prologue ever, written by Robert Holmes! We join Sontaran Commander Jingo Linx as his ship faces certain obliteration after an unsuccessful battle against the Rutans in their third galactic war. We learn that the Sontarans come from the planet Sontara and he listens to the ‘sweet strains of the Sontaran Anthem’ (presumably the same one that accompanies Linx’s flag when he erects it in front of Bloodaxe) as his ship makes a last desperate escape from the black, dart-shaped Rutan pursuit ships. Sontarans are cyborgs, thanks to implants in the back of their neck that allow them to draw energy through a ‘probic vent’. The procedure that allows this is undergone on entry to the Space Corps and although it gives him a rush of energy, Linx always dreads taking a ‘power burn’.

The flood of power through his tissues was like a roaring madness, a chaotic maelstrom of colour and sound depriving him of all sentient knowledge of the outside world. He felt himself clinging like a limpet within some solitary crevice of consciousness, aware only that he still existed… still existed… still… 

His cruiser is destroyed, driven into a sun as a diversion to allow him to escape the Rutans in a small scout ship. As the ship heads towards a little blue planet orbiting the sun, Linx allows himself a smile usually reserved for the ‘ the death throes of an enemy’. Most of the details here have been forgotten by subsequent authors, even Holmes himself [see The Two Doctors], but it should be mandatory reading for any hopeful Sontaran scribes. 

Irongron and his band of men had once ‘roamed the forest like wolves’ before stumbling upon a castle abandoned by a lord away ‘at the wars’. His group attacked the castle at night, its inhabitants massacred, and the castle became his. His nearest neighbour, Sir Edward Fitzroy, is sickly, having returned from the Crusades with a fever. Sir Edward’s son and most of his soldiers are still fighting the king’s crusades overseas, leaving him with a depleted defence. His young squire, Eric, is given a splendid introduction, riding through the forest, wary of being too close to Irongron’s castle and falling victim to a simple trap laid by Bloodaxe.

When he first addresses Irongron, Linx speaks with ‘a booming metallic voice… strangely accented but clearly understandable English’ and the suggestion is that this is due to a translation device, not his natural voice.

The Brigadier brings the Doctor in to investigate the missing scientists and equipment to distract him as he’s missing Jo since she had got married and has refused a new assistant ever since. The Doctor is described as ‘a tall man with a lined young-old face and a shock of white hair’ (we’ll be seeing this description regularly from now on). He insists on having the TARDIS brought to the research centre in case there’s an alien influence he needs to trace. Sarah Jane Smith is introduced, ‘an attractive dark-haired girl’ who is a freelance journalist (the ‘freelance’ bit is new to the book) who has been ‘making her own way in a man’s world for some years now, and she strongly resented any suggestion that her sex doomed her to an inferior role’. The Doctor tells Rubeish that ‘Lavinia Smith’ is a woman in her ‘late sixties’ as well as being in America. The Brigadier reminds the Doctor about his failed attempts to reach Metabelis III (‘I got there eventually’, says the Doctor defensively). We get Sarah’s first reaction to the inside of the TARDIS and she hides inside a wardrobe when the Doctor enters. Realising that the wardrobe is bigger than the police box she entered – and the central control room even bigger again – she quickly forms a theory that the Doctor is an alien responsible for kidnapping the scientists. She also watches the switch the Doctor uses to open the door and uses the same switch to escape.

Linx rides on horseback for the attack on Sir Edward’s castle. The attack on Linx, the destruction of Irongron’s castle and the Doctor’s departure with Sarah all happen at night. Although Hal’s arrow kills Linx, the hand of the dead warrior hits the launch button and his ship escapes the burning castle to be returned with Linx’s corpse to the war in the stars. And hurrah for Hal as he rescues Squire Eric from the dungeon!

Oh and there’s a chapter title called ‘Return to Danger’ – so close!!

Cover: Linx the Sontaran strikes a dramatic pose before his globe-shaped craft, a superb photorealistic portrait by Roy Knipe. The cover for the 1993 reprint by Alister Pearson places the Doctor, Sarah and Irongron in square tiles behind Linx, who’s side on and holding his helmet by his side.

Final Analysis: It might be heresy but I’m not a fan of this story on TV and reading this story I can put it down to Alan Bromly’s static, leaden direction. But look at all the notes in this chapter and join me in wondering if Terrance Dicks was spurred on by his friend Holmes’ wonderful opening prologue – top three in the series so far*. Compare the two descriptions of Linx’s face – the first is by Holmes, the second by Dicks, picking up the baton:

… the heavy bones, the flat powerful muscles, the leathery, hairless epidermis, the calculating brain.… little, red eyes that were like fire-lit caves under the great green-brown dome of a skull…

The face beneath was something out of a nightmare. The head was huge and round, emerging directly from the massive shoulders. The hairless skull was greenish-brown in colour, the eyes small and red. The little nose was a pig-like snout, the mouth long and lipless. It was a face from one of Earth’s dark legends, the face of a goblin or a troll. 

This extends to the major and minor characters – how Sir Edward waits for his wife to ‘run out of words’ and on the very next line ‘It was a considerable wait.’ It’s clear Dicks enjoyed this. I know I did. 

* – See also Doctor Who and the Crusaders and Doctor Who and the Day of the Daleks.

Chapter 40. Doctor Who and the Horror of Fang Rock (1978)

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…

Chapter Titles

  • Prologue
  • 1. The Terror Begins
  • 2. Strange Visitors
  • 3. Shipwreck
  • 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
  • 11. Ambush
  • 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.

Chapter 37. Doctor Who and the Talons of Weng Chiang (1977)

Synopsis: A London music hall in the late 19th Century is the setting for murder. Its proprietor, Mr Henry Gordon Jago, has just secured the services of a master magician of Chinese origin while a mortician called Litefoot examines a body fished from the Thames and covered in huge bite marks. The Doctor and Leela follow the clues that lead them into the lair of a Chinese God…

Chapter Titles

  • 1. Terror in the Fog
  • 2. The Horror in the River
  • 3. Death of a Prisoner
  • 4. The Monster in the Tunnel
  • 5. The Quest of Greel
  • 6. The Tong Attacks
  • 7. The Lair of Weng-Chiang
  • 8. The Sacrifice
  • 9. In the Jaws of the Rat
  • 10. A Plan to Kill the Doctor
  • 11. Death on Stage
  • 12. The Hunt for Greel
  • 13. The House of the Dragon
  • 14. The Prisoners of Greel
  • 15. The Firebomb

Background: Terrance Dicks adapts the 1977 scripts by Robert Holmes, just seven months after they were broadcast.

Notes: The ghoulish woman on the dockside who (on telly) discovers the body of the cabby, Alf Buller, becomes an old man who wants his reward – until he sees the state of the mutilated body. The young woman who Leela saves from becoming a victim of Magnus Greel is named Teresa Hart and Dicks explains that she’s up in the small hours of the morning because she’s employed as a waitress in a gambling club across London in Mayfair – just in case there’s any possibility of some other reason why a woman might be walking the streets alone at that time of night.

As he did with the cuddly Yeti in The Abominable Snowmen, Dicks also solves the basic failure of the giant rat on TV, too clean and plodding in its original form, but now ‘huge and savage’ with red eyes’, a ‘trumpeting scream’ and ‘yellow fangs bared in fury’. 

The Doctor taunts Greel by offering him a jelly baby (although North American editions change this for a jelly bean – utter sacrilege!). On TV, the Doctor recalls that Mr Sin – aka ‘the Peking Homunculus’ – was given to the Icelandic Commissioner’s children as a toy, but ‘something went wrong’ and the thing was ‘almost’ the cause of World War Six, but here there’s a little more more detail: the homunculus was really a programmed assassin, which ‘massacred the Commissioner and all his family’, which then ‘set off’ the World War. We later learn that Magnus Greel was the inventor of Mr Sin and that he triggered the war intentionally. As part of a ‘Supreme Alliance’ of dictators, he was defeated at the Battle of Reykjavik and, branded a war criminal, used the time cabinet to flee with Mr Sin to 19th-Century China.

There’s a slight addition to the last scene, as Jago invites Litefoot to a ‘little tavern’ for a ‘celebratory libation’. And it’s the beginning of a beautiful friendship.

Cover: Jeff Cummins provides a wonderful composition of the Doctor in his Holmesian gear, holding a shotgun, while behind him are Mr Sin, a giant rat and a circular design evoking the sewer. This is his first cover for Target, even though The Mutants was published earlier – and apparently it was later stolen from his portfolio, never to return. The 1994 reprint boasted Alister Pearson’s final reprint cover (as this was also the final release of the original Target books run), featuring the Doctor, Greel, Mr Sin and the head of the ornate dragon-shaped ray gun.

Final Analysis: Recently, this story has come under attack for the unsettling undertones inherent in the very racist genre it takes its inspiration from. While much of the problems are still here – an assumption that all the Chinese population of Limehouse are opium addicts, Irish Casey having ‘a weakness for the bottle’ as well as the general racism of characters from the time – there’s one section that suggests Dicks was at least aware of certain ironies; as Jago appraises the great magician Chang, Dicks makes a dig at the casting in the TV serial:

Perhaps he really was from China as he claimed. After all he really was Chinese, unlike most Oriental magicians who were usually English enough once the makeup was off. 

But Dicks also spells out that Chang’s own stage persona, speaking in pidgin English, is an artifice he employs solely to appease his English audience’s expectations; in this version, it’s the audience who are very much at fault. 

The opening chapter feels like Malcolm Hulke has stepped in to provide some social context by focusing on the different strata within the audience of the Palace Theatre:

The body of the theatre and the Grand Circle above were filled with local people, tradesmen and their wives and families, bank clerks and shop assistants. High above in the top-most balcony, known as the ‘Gods,’ the poorer people were crowded onto hard wooden benches. Labourers, dock workers, soldiers and sailors, even some of the half starved unemployed – they’d all managed to scrape together a few coppers for the big night of the week.

It’s an atypical observation for Dicks, but there’s plenty of social commentary throughout the story. Professor Litefoot is from a ‘wealthy upper-class family’ and his ‘aristocratic relations’ have ceased trying to get him to relinquish his calling to do proper work in the East End, instead of pampering ‘silly women’ in Harley Street. Chang considers the workers of London as ‘peasants’ – but presumably this is a description that places himself on an equal level to them – all subjects to higher powers.

Chapter 36. Doctor Who and the Deadly Assassin (1977)

Synopsis: The Time Lords of Gallifrey enjoy immense power, living in isolation from the rest of the universe. On the day that the President of the Time Lords is expected to announce his successor, security is tight! Yet somehow, an obsolete and unauthorised time capsule – a TARDIS – has landed right in the heart of the Capitol. Its owner, a criminal called the Doctor, is nowhere to be found. Then the President is assassinated – and the Doctor is found holding the gun. But could there really be two rogue Time Lords at play? Soon, the future of the Time Lords will depend on a battle of wits between two bitter rivals – and it will be a fight to the death.

Chapter Titles

  • 1. Vision of Death
  • 2. The Secret Enemy
  • 3. Death of a Time Lord
  • 4. Trapped
  • 5. The Horror in the Gallery
  • 6. Into the Matrix
  • 7. Death by Terror
  • 8. Duel to the Death
  • 9. The End of the Evil
  • 10. The Doomsday Plan
  • 11. The Final Battle
  • 12. The End – and a Beginning

Background: Terrance Dicks adapts Robert Holmes’s 1976 scripts.

Notes: That epic crawl from the start of the TV version is dropped, though its main details are absorbed into the rest of the book. In his youth, the Doctor trained for a seat on the High Council on Gallifrey, but he grew frustrated at the ‘never-ending ceremonials and elaborately costumed rituals’ and the ‘endless accumulation of second-hand knowledge that would never be used’. The Doctor recalls ‘boyhood memories of forbidden games, of hide-and-seek’, while the spark that sent him to flee Gallifrey is described as ‘a final crisis’. Dicks builds in vague gaps in the story deliberately, as none of this completely contradicts other explanations for why he left Gallifrey, but it does add to his possible reasons. There are a few references to ‘the Omega crisis’ and the ‘Omega file’ [see The Three Doctors]. The Doctor’s TARDIS control room is in the more traditional configuration, with a console that has a column at the centre (the one on telly is the wooden one without a central column).

The large dome at the heart of the Capitol (not actually seen on TV until 2007) houses the Panopticon. Spandrell is ‘unusually broad and muscular for a Time Lord’ and Goth is ‘tall, handsome, immensely impressive in his elaborate robes’. Goth is now head of the Prydonians, with Borusa elevated to the status of ‘High Cardinal’. The captain of the Guard is Hildred (not Hilred). Runcible and the Doctor had been at school together, where Runcible had been ‘utterly fascinated by rituals and traditions’. Now, he’s a ‘small plump figure’ unlike his onscreen depiction. When the hypnotised guard, Solis, tries to wreck the APN cables, Spandrell shoots him repeatedly. 

The villain at the heart of the tale was revealed in the end credits but it wasn’t spelled out until the Doctor saw the shrunken corpse of the cameraman and realised who he was up against. For the reader, Dicks teases the identity and after his accomplice calls him ‘Master’, he starts to use this as the villain’s title, but it’d still be fairly easy for a new reader to wonder if this is the Master, or just a master, especially as this Master is even more gruesome than on telly:

The cracked, wizened skin, stretched tight over the skull, one eye almost closed, the other wide open and glaring madly. It was like the face of death itself.

Later, the Master’s ‘bloodless lips [draw] back in a smile of hatred. The Doctor describes his enemy to Borusa thus:

He was always a criminal, sir, throughout all his lives. Constant pressure, constant danger. Accelerated regenerations used as disguise… He was simply burnt out.

During the trial, the Doctor interjects to confirm that the witness, an elderly Time Lord, can hear loud voices, thereby disputing the prosecution’s claim that he misheard the Doctor’s cries of ‘They’ll kill him’.

The final chapter uses a variation of a Terrance Dicks favourite – ‘The End – and a Beginning’.

Cover: The decaying Master leers from the top of the cover, while a stern-looking Doctor, flanked by two Time Lords in ceremonial robes and collars, looks off to the side. I can scarcely believe this is by Mike Little, it’s a huge step up from his previous efforts. 

Final Analysis: Not much to add to this, to be honest; it’s a straightforward adaptation, which is going to be the norm for a while now. Dick adds a few little details here and there, so as is often the case, it’s just a matter of scale – the Panopticon houses many more Time Lords from many other chapters than we could see on telly – but doesn’t change anything too much. When he’s working from scripts by his pal Robert Holmes, perhaps he doesn’t feel the need or the inclination.

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.

Although it’s purely transferring the TV characters to the page, we can note here that this story boasts by far the largest number of roles for women in this era (a period of three years where the ratio of female to male is roughly 1:6, excluding Sarah Jane, but where six entire stories feature no women guest characters at all). This is especially relevant as a reworking of the Frankenstein story, where the underlying subtext, created by a woman writer, was a man trying to create life by completely removing women from the process. Here, we have a man failing to create an authentic lifeform, hiding out mere feet from a community of women who have survived for centuries entirely without men. Our leading lady runs around literally blind to the horrors around her but the hero only survives thanks to a sacrifice on the part of the main female guest character.

Solon’s laboratory lacks the traditional lightning converters and sparks we might expect, the Sisterhood’s own future is assured thanks to a ‘spark’ (in the form of a firework that clears a blockage in the flue of the sacred flame). All of this is present in the book too, but we’ll have to wait a while for the best adaptation of this. Clue: It’s aimed at much younger readers…

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. The Doctor’s car, Bessie, is described as ‘an old Edwardian roadster’ (and we’ll see variations of this again over the years). 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.