Synopsis: A giant robot created by evil scientists stalks through the night, smashing everything in its path, while the Doctor recovers from changing his body. It’s the same plot as Doctor Who and the Giant Robot, but much, much faster!
Almost identical to the original novel, apart from an edit to chapter two.
1. Killer in the Night
2. More than Human
3. Trouble at Thinktank
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 rewrites his previous adaptation of the story for ages 5-8.
Notes: The whole story is streamlined down to very simple descriptions and dialogue. Harry’s entire James Bond subplot is reduced down to two lines before he’s knocked out (and he calls the Brigadier on a radio rather than finding a telephone). The story ends with the Doctor watching as the robot turns to rust and is blown away. He muses whether he can tempt Sarah off on another adventure – but there’s no mention of Harry joining them.
Cover & Illustrations: The cover by Harry Hants has a slightly caricatured Tom Baker with a very detailed side-on view of K1 and an army truck. Peter Edwards provides 46 line illustrations that aren’t exactly flattering to their subjects but are still better likenesses of the guest cast than most of the early Target books had (they’re reminiscent of the kind of illustrations Terrence Greer used to do for Penguin, or it might remind modern adult readers of the grotesque characters in BBC Three’s animated comedy Monkey Dust). There’s a joyful picture of the Doctor emerging with a beaming grin from the TARDIS in a Viking outfit, while the scene of the virus being flung at the robot is gleefully epic. Kettlewell is, surprisingly, more refined than on telly, a bespectacled bald man, lacking the TV version’s crazy hair.
Final Analysis: Writing for younger children, Dicks manages to get all the details lined up in the correct order and rushes through the story with lots of energy. As the original novel was also the first not to have any illustrations, Peter Edwards’ ink drawings are a real treat that really help to tell the story rather than just break up the text.
Synopsis: The TARDIS brings the Doctor and Sarah to an English village where something is wrong. The locals seem cold and machine-like, while a group of blank-faced astronauts patrol the area and shoot at the new arrivals. The Doctor tries to piece together the clues around him, but it’s Sarah who reveals the truth; the village isn’t a real village, this isn’t really Earth – and Sarah is not the real Sarah! The whole thing is an elaborate copy created by Styggron – chief scientist of the Kraals. And the real invasion has already begun…
1. Strange Arrival
2. Village of Terror
3. The Watcher
6. The Test
7. The Countdown
10. Hero’s Return
12. Death of a Doctor
Background: Terrance Dicks adapts Terry Nation’s 1975 scripts, completing the run of Season 13 stories for Target.
Notes: Sarah wears ‘casual late-twentieth-century clothes, with a brightly coloured scarf at her throat’. The army soldier who throws himself off the cliff isn’t from UNIT and the android Sarah finds inside the capsule by the TARDIS is an old lady. Chased by patrol dogs, the Doctor has a curious thought that anyone who thinks foxes enjoy being hunted should try being chased across country by dogs themselves. Styggron is described thusly:
The face hovering over her was broad and flat with leathery greenish skin. It was heavily jowled with a squashed pig-like snout, underhung jaw, and enormous ears set flat against a massive skull. Huge eyes glowed in cavernous sockets beneath the jutting brows.
The calendar in the Fleur de Lys only shows the month of September (on TV, it’s a day-by-day calendar with solely ‘Friday July 6th’ pages). The entrance to the Kraal bunker is hidden inside an empty barn. When Styggron says ‘There is no time for pleasantries’, the Doctor asks rudely: ‘How about unpleasantries, pig face?’ Haha!
Benton has promised to take his sister to the village dance (not The Palais). It’s not exactly clear on TV, but the android Benton is found leaning over Benton’s body. Here’s the paragraph:
The kneeling man turned and looked up at him and Adams gave a gasp of astonishment. The soldier leaning over Benton, was Benton… He opened his mouth to shout an alarm, and a savage blow struck him down from behind. The android technician caught the falling body and laid it down beside the body of the real Benton. The android Benton got to its feet, and gave a nod of satisfaction. ‘Good. Have them taken away…’
That’s not just ‘the unconscious Benton’, it’s ‘Benton’s body’. Eek!
It’s the Benton android, not the Doctor Android, that points out that there’s ‘much to do’. Once the Doctor has bluffed his way past Android Benton, the scene is not repeated with the android Doctor. We don’t get the final scene of the Doctor and Sarah leaving in the TARDIS; instead, the Doctor plans to collect up all the androids and dismantle them before the scanner beam can be switched off. Marshal Chedaki, meanwhile, waits in vain for Styggron’s signal to begin the invasion. ‘With Styggron dead, his master plan had come to nothing. The android invasion was over.’
Cover: Another brilliant cover by Roy Knipe, it’s just the Doctor being tied to the village memorial by spacemen while Styggron looks off into middle distance, but it’s so effective.
Final Analysis: Often dismissed as lightweight because of the grittier stories that surround it, I’m very fond of The Android Invasion. Here, Dicks adds a little to the playfulness between Sarah and the Doctor where, in the past, that might have been trimmed. Chedaki is more of an antagonist to Styggron, as a disgruntled leader of the military wing, and he’s more threatening a presence than the subservient TV version. Dicks then tidies up all the loose ends in a final section that unfortunately stresses just how rushed the conclusion was on telly.
And just in case we’re in any doubt – it’s Benton’s BODY! Not so lightweight now, eh?
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…
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
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’.
Synopsis: Researchers in the Antarctic uncover two alien pods. One of them germinates, infecting one of the researchers and transforming him into a murderous plant-like creature. The other pod is stolen and transported to the home of an eccentric British millionaire – the amateur botanist Harrison Chase. When the second pod also finds a victim, the Doctor and Sarah must try to prevent the resulting creature from reaching maturity and destroying all animal life on Earth.
1. Mystery under the Ice
2. Death Stalks the Camp
3. Hunt in the Snow
6. A Visit to Harrison Chase
7. Condemned to Die
8. The Krynoid Strikes
10. The Plants Attack
12. The Final Assault
Background: Philp Hinchcliffe adapts the 1976 serial by Robert Banks Stewart.
Notes: The Doctor wears his red velvet coat (his first one, the one many people assume is corduroy – don’t @ me) rather than the grey tweed from TV. Sarah has been the Doctor’s ‘special assistant’ for two years.
The Krynoid pod’s tendril snakes up ‘a few feet in the air’ before finding Winlett. The Krynoid in the Antarctic turns quickly into the large, shapeless blob of vegetable matter (on screen it remains human shaped). Chase has ‘a considerable private army’ and a large staff of botanists, not just Keeler. Amela Ducat’s involvement beyond her first scene is completely removed. The final scene sees Sarah (not the Doctor) invite Sir Colin for a trip and the civil servant watches from a window as the pair enters the TARDIS and disappears. We don’t see them return to Antarctic as on TV.
Cover: Achilles gives us the Doctor and Sarah in monochrome, flinching as the giant adult krynoid absorbs Harrison Chase’s mansion while under fire from an explosive airstrike.
Final Analysis: It’s difficult to know whether Terrance Dicks would have retained Amelia Ducat’s involvement in the main story, but I’d like to think so. Hinchcliffe opts to cut this and while it’s one of the easiest threads to dispose of, it’s a shame as Ducat is such a lovely character. Don’t go looking for your favourite lines either – ‘I could play all day in my green cathedral’, ‘she’s my best friend’, ‘Scorby – get Dunbar!’ are all missing. These minor crimes aside, Hinchcliffe pares down the six-part story really well, maintaining the growing level of crisis throughout. There’s a particularly strong moment where we gain an insight into Chase’s state of mind even before the Krynoid takes hold:
Chase was physically repelled by people. He reduced contact with them to the bare minimum; hence the black gloves to avoid touching them, and the elaborate safety precautions surrounding the house to stop them getting in. Apart from his immediate entourage he was a recluse, known only by name to the outside world. But within the high walls of his own domain Chase had created a different world—a luxuriant, peaceful world of green – a world in which, for moments at least, he could pretend to shed his human guise and commune with his beloved plants.
A solid first effort from Hinchcliffe though, looking forward to more from him.
Synopsis: The Doctor and Sarah return to Earth to discover that London has been evacuated due to a spate of dinosaurs appearing and disappearing across the city. While the Doctor goes monster hunting, Sarah uncovers a conspiracy that implicates some very surprising people.
1. London Alert!
2. ‘Shoot to Kill!’
3. The Time Eddy
4. The Timescoop
5. Monster in Chains
6. The Spaceship
7. The Reminder Room
9. Operation Golden Age
10. The Final Countdown
Background: Malcolm Hulke adapts his 1974 scripts for Invasion of the Dinosaurs.
Notes: An opening scene is added, introducing Shughie McPherson, a football fan from Glasgow who wakes up in an evacuated London and is killed by a dinosaur. The Doctor and Sarah find a cafe and discover the food’s rotten, while the Doctor is aghast that he’s taken Sarah around time and space but she gets really excited by the sight of a Woolworths (and later he points out a Wimpy’s too); this hints that they’ve had adventures since The Time Warrior but this is their first time together back on modern-day Earth.
Infamously, Butler has a ‘livid scar’ on his face, so that Hulke can make him easy to identify without spelling out who he is – very inventive (he could hardly say ‘a man who looked just like Martin Jarvis’, although that would have added a little extra fun to the audiobook). It also serves to humanise him when Sarah cruelly attacks him for choosing to be ‘ugly’ only to learn that he got the scar while serving as a fire officer saving the life of a child (and Sarah quickly apologises for being so callous). There’s no weird new car for the Doctor; instead, he borrows a motorcycle as the best way to get around London (which all feels much more logical and in keeping for this Doctor).
As he watches the Doctor on a TV monitor, Professor Whitaker comments that the intruder is ‘terribly handsome’, which seems to be an addition inspired by the casting of the role onscreen, but it does add an extra dimension to him (on paper, he’s extra-arrogant and driven by the glory of proving wrong a load of people who might not ever exist if he succeeds!). The story has a new conclusion where the Doctor shows Sarah a passage in Ezekiel that describes where Professor Whitaker and Grover might have ended up.
Cover: Best cover artwork ever. It’s just so lurid and melodramatic and sums up the vast differences between the TV version and the imagination of a child who’s read the book (and I do love both). The cheeky “KKLAK!” really makes it. Having stood in the living room of the person who owns the original art, I marvelled at the beauty of it and had criminal thoughts. The first edition I read was the 1978 reprint with a cover by Jeff Cummins showing a dinosaur standing on the lower steps at St Pauls (those ones we remember the Cybermen descending in The Invasion). Alister Pearson’s cover for the 1993 rerelease (as Invasion of the Dinosaurs) shows the Doctor with his weird device and a tyrannosaurus rex, with a very subtle incorporation of the London Underground logo in a manner that might be familiar to fans of Jurassic Park. It also solidifies Pearson’s record as the only artist to provide cover art for all of the novelisations in three entire seasons of stories.
Final Analysis: This has long been one of my favourites, ever since I picked up on a character having ‘badly bitten fingernails’, while Professor Whitaker’s are ‘well-polished’. That kind of subtle detail really jumped out at me at aged eight and it still does many years later. Hulke’s eagerness to give a balanced view of his worlds extends to showing us how a stegosaurus reacts to being shot at on Hampstead Heath and I’m not even going to make a joke about that or point out that dinosaurs and mammals didn’t really hang out together in the past.
Just a few additional lines to Mark and Adam on the ‘spaceship’ also help to flesh them out a bit and make them more rounded. Adam concludes that Grover is ‘a raving lunatic’ but Sarah counters that the politician knows exactly what he’s doing. Mark rounds on Ruth because, confronted with the evidence against Grover, she still supports him because she ‘can’t stand being made a fool of! You must never be wrong!’
it all helps to sell the underlying message: As with The Cave Monsters, the title has a double meaning as there’s more than one kind of dinosaur in Westminster; there’s also the type who can’t let go of ancient history and wants to drag us all back with them to a time that never really existed. Thanks in part to the actual dinosaurs being much more realistic and thrilling on the page than on screen, plus some deeper characterisation that helps us understand who these people are, this really might be the best Target novel so far. Trust me.
Synopsis: Oil rigs are being attacked off the coast of Scotland and the Brigadier summons the Doctor to help out. As the Doctor goes on a monster hunt, Harry and Sarah find something sinister under Loch Ness.
1. Death from the Sea
2. Murder on the Shore
3. The Zygons Attack
4. A Trap for the Doctor
5. The Sleeping Village
6. The Monster on the Moor
7. Hunt for a Zygon
8. A Visit to the Duke
9. The Secret of Forgill Castle
10. Plan for Conquest
12. Monster in the Thames
Background: Terrance Dicks adapts Robert Banks Stewart’s scripts for the 1975 serial Terror of the Zygons.
Notes: During the attack on the Bonnie Prince Charlie rig, we’re told that the radio operator’s name is ‘Jock Munro’. We get the deleted scene of the TARDIS outer shell disappearing after it lands and a brief bit of chat with the Duke where Sarah, sat in the back of his landrover, discovers a stuffed stag’s head under a tarpaulin. UNIT Corporal Palmer makes a reappearance (he’s an unnamed corporal in the TV episodes). The Zygon that Sarah first encounters is ‘a squat, powerful figure about the size of a small man:
Orange-green in colour, it had small, claw-like hands and feet. There was no neck: the big high-domed head seemed to grow directly from the bulbous torso. The face was terrifyingly alien, with huge, malevolent green eyes and a small, puckered mouth. A row of protuberances ran down its back. The really horrible thing about the creature was that it seemed to be a parody of the human form. It looked like a grotesque, evil baby.
Once Sarah and the Doctor are trapped in the decompresison chamber, the Zygon formerly known as Sister Lamont uses a comunications device to inform Broton (with ‘a note of gloating triumph in its voice’) that ‘The Doctor and the human female will soon be dead’. The Doctor’s encounter with the Skarasen on Tulloch Moor takes place at night. Although this is almost seen on telly, it’s made much clearer that zygons can sting when in their ‘proper form’, either to hurt or fatally wound (and they do both here – Angus is kiled while Harry and the Doctor are only stunned). The Brigadier and Sarah add sugar and milk to The Fox Inn’s porridge but the Doctor has it with salt, a taste he acquired ‘during the Jacobite rebellion’. Although Madra, the Zygon who impersonates Harry, is named, the one who poses as Sister lamont is not (she’s something that sounds like ‘Orla’ on TV). Oh and the Prime Minister who the Brigadier speaks to is identified as male.
Cover & Illustrations: It’s frustrating because in my mind, the artwork I want to see was that Radio Times piece by Frank Bellamy. This one’s okay, with the Skarasen looking fierce and the Zygon leaning into the centre, but the Doctor likeness reminds me too much of Eric Idle and the background is a little Looney Tunes. Might be heresy but I much prefer the Alister Pearson 1993 reprint where Broton’s face merges with the background, a sombre Doctor looks very smart in his Scottish get-up and the Sister Lamont Zygon (going on the publicity photo it references) stands full-length.
Final Analysis: Broton appears more of a frustrated administrator in this version, furious at his subordinates. Dicks’s description of a Zygon as ‘a grotesque, evil baby’ is spot on although he insists on describing a ‘claw-shaped hand’ that’s a lot less enticing than what we actually see on TV. Bonus points for explaining that zygons have stings, which is not really clear on screen.
The Zygons are among my earliest memories of the TV show and, 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.
Synopsis: A strange blob of jelly invades UNIT HQ while the Time Lords are being drained of energy. The answer to the mystery lies on the other side of a black hole, where a Time Lord legend waits to enact his revenge. As the Time Lords break one of their strictest rules to allow three of the Doctor’s incarnations to work together, Jo Grant worries they might only end up bickering…
1. Lightning from Space
2. Attack from the Unknown
3. The Menace of the Black Hole
4. Beyond the Unknown
5. A Shock for the Brigadier
6. In the Hands of the Enemy
7. Door to Freedom
8. Escape from Omega
9 .’All things shall be destroyed’
10. Return through the Flame
11. Three Doctors Minus Two
Background: Terrance Dicks adapts the 1973 scripts by Bob Baker and Dave Martin.
Notes: The Second Doctor has ‘dark brown eyes’ (which doesn’t match Patrick Troughton) that are ‘at once humorous and sad’. Omega’s servants are only called ‘Jelly creatures’ and ‘blob-men’ – not ‘Gellguards’ as we’ve come to know them. The First Doctor asks ‘what’s a bridge for?’ and it’s Jo who suggests ‘crossing?’, prompting the old Doctor to note ‘Gel’s got more sense than the two of you put together!’ (it’s the Third Doctor who grabs the glory on TV). The battle with Omega’s monster takes place in an open-air arena and the beast itself is still humanoid but eight feet tall and muscular (rather than a short avante-garde dance performer). There’s a hilarious pitch battle in chapter 10 where Jo is ‘staggering under the weight of an anti-tank rifle’ before she fires at the blob men and falls backwards, deciding instead to be an ‘observer’.
Cover: A Chris Achilleos classic, using references from the familiar Three Doctors photoshoot and merging them with a classic Jack Kirby Fantastic Four cover (depicting Galactus where Omega would be). It’s a vision in orange and gold. The first edition also has a rear illustration by Achilleos showing the second Doctor being led away by two blob-men. My first copy was the 1978 reprint with a cover by Jeff Cummins showing the three Doctors in front of a black hole in space (it’s the one a reader of Doctor Who Magazine criticised for making the Doctors look too old, too evil and ‘too Welsh’!). The Pertwee is from Invasion of the Dinosaurs, the Hartnell from An Unearthly Child and the Troughton isn’t the Doctor, but Salamander – hence why he’s ‘too evil’. A 1991 edition with a cover by Alister Pearson is a little more stylised, with a photorealistic Omega ranting before a backdrop of burnt-out Doctors as banners in front of a black circle.
Final Analysis: Dicks makes Jo our point-of-view character, so to her, the other Doctor that Benton knows is her ‘Doctor Two’, while the one on the scanner screen is ‘the old man’ and ‘the old Doctor’, which works so well. Dicks also has Doctor Two correctly identify his instrument as a recorder – then refer to it as a ‘flute’ for the rest of the book!
Synopsis: The Doctor’s adventures come back to haunt him as a stolen gem from Metebelis Three triggers ‘the most dangerous adventure of his life’. The Doctor’s greed for adventure and knowledge is matched by the greed for power of the Eight-Legs and their leader, the Great One. And none of them will survive this one…
Prologue: The Mystery of the Crystal
1. The Menace at the Monastery
2. The Deadly Experiment
3. The Coming of the Spider
4. The Chase for the Crystal
5. The Council of the Spiders
6. Arrival on Metebelis Three
7. Prisoner of the Spiders
8. The Doctor Hits Back
9. In the Lair of the Great One
10. Return to Earth
11. The Battle with the Spiders
12. The Last Enemy
Epilogue: An End and a Beginning
Background: Terrance Dicks adapts scripts by Robert Sloman (and Barry Letts, uncredited) from 1974.
Notes: Another lovely prologue that I wish we’d seen on TV as Professor Jones and his new bride encounter resistance in their trek across the Amazon forests. Jo Jones, formerly Jo Grant of UNIT, has to ditch a huge blue crystal that the Doctor gave her as a wedding present. There’s a Dr Sweetman working as UNIT’s medical officer today [but see The Giant Robot]. The soldier on guard at UNIT HQ gets a name (Corporal Hodges). We also find out that four of Lupton’s gang were hospitalised with nervous breakdowns, while the Brigadier helps Sarah to get Tommy into university.
Cover: ‘Read the last exciting adventure of DR WHO’s 3rd Incarnation!’ screams the back cover. On the front, Peter Brookes gives us the Doctor reacting to Sarah with the Queen Spider on her back, along with a montage of the Doctor changing face that’s much more dramatic than we get on telly. There are no illustrations inside but there’s one on the back cover of a spider crawling across a mandala. I had the 1978 reprint with an Alun Hood cover depicting a blue crystal and a red-backed tarantula clambering over some rocks. The 1991 reprint with art by Alister Pearson shows a haunted portrait of Pertwee reflected in the blue crystal and another tarantula-like arachnid reared to attack.
The epilogue is called ‘An End and a Beginning’; we’ll be seeing variations on this a lot over the next few years.
Final Analysis: My earliest memory is of Planet of the Spiders, where a spider appearing on a carpet after some men chant ‘Um Andy Pandy Um’ (I know what they chant now, of course!), so this holds a special relevance for me. This is a decent adaptation with some lovely additions to the thought processes of the characters. Dicks captures Sarah’s voice particularly well (although once again, he has her fainting!) and he adds greatly to our understanding of Lupton and his bitterness. We also benefit from a much more thrilling – and logical – version of the very padded chase sequence.
Synopsis: Deep beneath the hills of a Welsh town, pollutants from a chemical factory have caused the deaths of local miners. Worse, the chemicals have transformed maggots into deadly monsters. Fighting the chemical company is an idealistic young professor, who’s unimpressed by a clumsy fool of a girl from UNIT who wants to join his cause. Meanwhile, the Doctor finally lands the TARDIS on Metebelis Three…
1. ‘Wealth in our time!’
2. The Doctor Plans a Holiday
3. Land of My Fathers
4. Into the Mine
6. The Sluice Pipe
7. The Egg
8. The Maggots
9. The Swarm
10. The Green Death
11. The Chrysalis
12. One World, One People, One BOSS!
Background: Malcolm Hulke adapts scripts from the 1974 serial by Robert Sloman and (uncredited) Barry Letts.
Notes: The Global Chemicals of the TV show is now Panorama Chemicals. Elgin gets a first name (Mark) and a job title (public relations), and he doesn’t disappear as in the TV version, so his TV replacement, Mr James, doesn’t appear. Hulke has a lot of fun with Metebelis Three, constructing a bit of a legend around it involving a lone Time Lord and then giving us an insane escapade involving unicorns and giant eagles. The Doctor keeps the Professor’s gang amused with stories of his journey to Metebelis Three, rather than that wonderfully incomprehensible nonsense about the perigosto stick from the telly. Jo speculates why the Doctor never married, or even if there are Lady Time Lords, while stating on the very last page that the Doctor is 725 years old. In the TV story, the actual term ‘Green Death’ is never mentioned; in the book it appears in descriptions and dialogue eleven times.
Cover & Illustrations: The first edition cover, by Peter Brookes, shows a giant green fly raining acid down onto the Doctor and Bessie while in inset, Jo recoils from a huge maggot. On the back cover, there’s another two-panel illustration, depicting Ted Hughes discovering the deadly green goo in the mine. There’s a similar illustration of that scene inside, one of six by Alan Willow, the best of which shows the Doctor and Jo in a mine-cart surrounded by maggots. I had Alun Hood’s 1979 reprint cover, which has a beautiful dragonfly stretching its wings across the bleak murky landscape of the mine, surrounded by maggots. This is the final Target book to have illustrations.
Final Analysis: The opening chapter explains why the coal mines are being closed (and how the miners feel about this), how Elgin views the locals (being university educated, he considers himself superior to them) and what Stevens thinks of everyone else. And Professor Jones and Dai Evans discuss the forces of production in relation to the mining industry and the people of Llanfairfach – before they’re interrupted by the first tragic event. Even in the climax, the Doctor worries about whether any of BOSS’s ‘slaves or semi-slaves died’ in the aftermath. It’s not too heavy-handed, but it leaves us no uncertainty as to where Hulke’s politics might lean.
How strange that Jo Grant’s final story follows her first in publication order. And is followed by the Third Doctor’s last.
Synopsis: A renegade Time Lord calling himself ‘The Master’ has followed the Doctor to Earth and as an introductory calling card he’s brought the Autons with him. The Doctor has even more trouble on his hands with a new assistant forced upon him by the Brigadier, the very keen and very newly qualified agent Jo Grant.
1. The Terror Begins
2. Sabotage at the Space Probe
3. The Master Takes Over
4..Death at the Plastics Factory
5. The Killer Doll
6. In the Hands of the Autons
7. The Battle of the Forest
8. The Killer Doll Attacks
9. The Deadly Daffodils
10. Prisoners of the Master
11. The Final Assault
12. The End of Round One
Background: Terrance Dicks adapts Robert Holmes’ 1971 scripts.
Notes: Our introduction to Luigi Rossini (real name here is ‘Lew Ross’) presents a much more consciously obnoxious figure, employing labour of a mainly criminal type as they’re cheap and won’t risk complaining. This includes Tony the Strongman, who’s wanted by the police. Rossini manages to persuade his crew that the Doctor and Jo blew up Phillips as they were trying to steal the mob’s wages. The Auton meteorite device glows green as in The Auton Invasion, while the Master says that the plastic chair that kills McDermott is made of ‘polynestine’. The Doctor recognises the visiting Time Lord as being a member of the High Council who exiled the Doctor to Earth.
The Doctor recognises the device that the Master leaves in the cabin of the radio telescope is a ‘Volataliser’, a product of ‘The Xanthoids [who] use them for mining operations’, while the one that Jo tries to detonate in the UNIT lab is ‘a Saturnian Solar Bomb’. One of the best / nastiest additions is the revelation that the Master uses Professor Phillips to help him operate controls within his Tardis, but when he’s not on duty, he is both disguised as – and forced to work as – an actual clown, because it amuses the Master to ‘degrade a brilliant scientist into a mindless buffoon’. There’s a gap of a few days between Mr Farrel’s death and the Doctor’s visit to his wife, and the distribution of the daffodils spans a few more days too. Brownrose from the Ministry is completely removed and I didn’t even notice until just now. And of course, as the cover reveals, the description of the Nestene’s arrival is much more impressive than on TV.
Considering the Master’s crimes, the Doctor provides an insight into their race:
Once captured by the Time Lords, the Master’s life-stream would be thrown into reverse. Not only would he no longer exist, he would never have existed. It was the severest punishment in the Time Lords’ power.
The text refers to the ‘chameleon mechanism’ and ‘chameleon circuits’ for the first time in print (and ‘chameleon circuit’ won’t be said on screen until Logopolis!). There’s also a reference to a ‘Sontaran fragmentation grenade’ (the story came before their first appearance, but the novelisation was published a year after The Time Warrior aired). The Doctor makes good use of his sonic screwdriver, dismantling a bomb, opening the Auton-containing safe and trying to break into the Master’s Tardis. We’re party to the Master’s thought processes as he weighs up his options in turning against the Nestene, swayed by the Doctor’s persuasive argument – and the Brigadier’s pistol.
Cover & Illustrations: Peter Brookes’ original cover depicts a scene that doesn’t actually happen on TV as the one-eyed crabtopus Nestene creature envelops the radio telescope and, inset, the Doctor makes a surprise entrance as the Master plays with a lever. The back cover again features an illustration, Captain Yates inspects a fallen auton carnival dummy while another soldier in silhouette takes on a horde of autons. The 1979 reprint boasts a cover by Alun Hood, again depicting the imagined Nestene but in a more photorealistic style more akin to a Pan horror book; this was the edition I first owned and I was convinced this was a photo of the prop they used (what a disappointment the TV version turned out to be!). Alan Willow provides six illustrations, all of which expand upon what we saw on TV. It’s hard to pick a favourite although I love the one of the radiotelescope technician working away as ‘A dark shape peered down at him’ – the Master, snooping through a skylight, is much more dramatic than him just stepping through a door.
Final Analysis: Another good job by Dicks here, covering a lot of ground and adding nuance where appropriate. Jo’s previous ‘debut’ in The Doomsday Weapon is glossed over, but there’s some decent continuity between this and The Auton Invasion, including the Brigadier asking why they can’t just do what they did last time and the Doctor points out all the flaws in his previous attack plan.