Nostalgically, “Time-Flight” holds a special place in my heart as the first Doctor Who serial I watched one warm summer evening on San Jose’s KTEH. The story of a Concorde vanishing into pre-historical times hooked me on Doctor Who for life. And since I didn’t have much to compare it to, I thought it was one of the best things I’d ever seen.
It didn’t take me long to realize that “Time-Flight” wasn’t necessarily the best offering for not just the Peter Davison era but also Doctor Who as a whole. That’s probably why I skipped the Target book during my teenage years.
Forty years later, I’ve finally experienced the Target version of the story in audiobook form. And it was about as disappointing as I thought it might be forty or so years ago.
Freed of the limitations of an overstretched budget, I’d hoped that author Peter Grimwade might use the printed page to enhance and expand the story a bit. Instead, Grimwade seems to follow the Terrance Dicks of the Tom Baker era model and just translate the script to the page with a few descriptions of items, sets, and characters thrown in for good measure. The story of a Concorde being stolen down a time corridor in order to help out the Master’s latest nefarious scheme doesn’t even come close to making one lick more of sense on the printed page. It really does make one yearn for the days of Roger Delgado as the Master when the villain’s schemes felt like they had a bit more planning behind them.
The audio version of this one tries its best with Peter Davison in there giving it his all and the story full of sound effects that try their darnedest to make it all a bit more palatable. Alas, it never quite all gels and I can’t help but feel that this one was a bit of a disappointment.
Like most people, Nora Seed has regrets. She regrets giving up swimming because of the strain it placed on her relationship with her dad. She regrets calling off her wedding to Dan and working with him to start a country pub. She regrets quitting a band with her brother just as they were on the cusp of success due to crippling social anxiety.
After being laid off from her dead-end job in a music store, Nora decides that her life is no longer worth living. She sets about ending things, only to find herself at The Midnight Library. The library is a kind of way station between this world and the next, in which Nora is allowed to pick from a myriad of books that represent different choices she could have made during her life’s journey. The hope is that Nora will find a life in which she’s happier or one that helps her erase the heaviness of her personal book of regrets.
And so, Nora starts trying on lives. She can return to the library at any time if she starts feeling the life doesn’t live up to her expectations. Continue reading
An updated take on Lucifer’s Hammer, Claire Holroyde’s The Effort speculates that it (still) wouldn’t take much for civilization as we know it to collapse and our world to descend into chaos. In the case of The Effort, it’s a large comet that is on a collision course with our planet. Holroyde bounces between multiple characters in the story, from members of a team, tasked with finding a way to save the planet from destruction to those dealing with civilization as we know it falling into chaos as some of humanity’s more base tendencies toward self-preservation kick in.
Like Lucifer’s Hammer, I found myself slowly starting to root for the cosmic calamity to befall the planet and start getting rid of certain characters, chief among them the head scientist Ben. Ben’s worst tendencies include not allowing members of his team to manifest any physical appearance that time is passing and his lack of consideration for those he doesn’t consider of immediate benefit or impact to the group trying to find a last-second way to save us all from destruction. Continue reading
Victoria Schwab is quickly becoming one of my favorite writers — and I’m having a lot of fun exploring her catalog.
One aspect that makes Shwab’s output so appealing is her world-building. And that strength is fully on display with This Savage Song. In an urban fantasy world, a monster wants to be a human, and a human resisting the urge to become a monster. August and Kate come from the ruling families on opposite sides of a brewing conflict who are sent to the same school. Kate has been trying to get back home with her father since her mother died and August is sent undercover to keep an eye on her.
Schwab resists the urge to make August and Kate into a Romeo-and-Juliet-like couple, instead opting to make them become friends and reluctant allies in an attempt to keep a seemingly unstoppable impending war from happening. Each has his or her own secrets (August’s is particularly intriguing) and could be a useful pawn in the other side’s attempts to sway the balance of power.
Schwab’s world is full of strong characters, careful world-building, and earned dramatic escalations. The novel builds up the tension and does end on a cliffhanger that left me curious to pick up the next installment in the series and continue to explore this world and the lives of August and Kate. Continue reading
Thanks to the quirks of KTEH’s (a bastion of Doctor Who in the U.S. back in the day) scheduling of Colin Baker’s first season as the Doctor, I saw season 22 of classic Who a lot during my first decade or so as a fan. That kind of explains why it’s been a hot minute since I dusted off that particular season on either my VHS or DVD collection. It’s probably been at least a decade since I really dabbled in season 22 in a serious way — and boy, did revisiting Philip Martin’s adaptation of his script for “Vengeance on Varos” show that.
Martin takes a page from the master of the Doctor Who adaptation, Terrance Dicks, and gives us essentially the same story we get on-screen. Though to Martin’s credit (and Dicks in the early days before they chained him to a typewriter and he churned out eight novels in a year), he does at least try to make the story feel like it unfolds over a longer duration of time than what we got on-screen. Martin makes it feel like the Doctor, Peri, Jondar, and Arata spend a bit more time wandering around the punishment dome, trying to find a way out and escape. He even extends things out enough so it appears the Doctor has passed away for longer than five-minutes than we see on-screen.
There is an extended sequence where we pull back the curtain and see how the Governor truly lives when he’s not negotiating with Sil or being sprayed with death rays. And don’t forget that part where he has Sil fall into the vat of liquid that he’s constantly being sprayed with on-screen.
But despite all these flourishes, it’s the story of “Varos” that continues to shine through and where the success or failure of this particular story lies. Continue reading
Leading up to Christmas, I enjoyed a few holiday-themed audiobooks from Audible’s free for subscribers collections. One was my traditional (at least for a while) visit with Charles Dickens and the other two were very different ends of the rom-com spectrum.
A Christmas Carol by Charles Dickens (Adapted by R.D. Carstairs)
For a while, I followed a tradition of visiting Charles Dickens’ classic A Christmas Carol each holiday season. And while that tradition fell to the wayside the last few years, I decided that 2020 seemed like as good a time as any to revive it.
This year’s visit is a full-cast adaptation by R.D. Carstairs. Featuring a solid cast that includes Derek Jacoby as the narrator/Dickens, this version of the Carol hit all the right notes. The cast is solid, the adaptation is good, and I even found myself picking up a few highlights or notes that I hadn’t before.
Eight Winter Nights by Liz Maverick
Rachel met Oz at last year’s Hanukah party. But despite having a great connection and meeting him first, her friend Tamara swooped in and has been dating Oz for a year while Rachel pines away for him, filling journal after journal with love letters for Oz. Then, Oz hurts his leg and gets jilted by Tamara, who conveniently asks Rachel to take care of him while she’s partying in a sunny, warmer clime. Continue reading
Heading into the final semester of her senior year, Holland is trying to figure out her future. Where will she go to school? What are her goals in life? Will she stay with her perfect boyfriend Seth?
Instead of taking an extra study hall, Holland takes an art class. She also starts to notice and make friends with the new girl, CeCe, who has just transferred to her school.
Before the semester ends, Holland’s life will change completely in ways she couldn’t expect.
Julie Anne Peters’ Keeping You A Secret is a coming of age and coming out story for Holland. Over the course of the story, Holland begins to realize that the dreams her mother has for her (and seems to consistently force upon her) aren’t the dreams she has. Her mother dismisses her interest in art, continually belittles any school that isn’t Ivy-League-level, and even casts dispersions upon Holland’s growing friendship with CeCe, at one point telling Holland she needs to drop CeCe as a friend. (SPOILER alert — things get a lot worse when Holland comes out to herself and is then forced out by her vindictive ex-boyfriend, Seth). Continue reading
Until five missing episodes miraculously turned up in time for the series’ fiftieth anniversary, the only thing most Doctor Who fans had to judge “The Enemy of the World” on was an orphaned middle-episode that didn’t really highlight the story’s strengths and Ian Marter’s Target adaptation. So, it shouldn’t come as a surprise that once we had the complete serial back in the archives and available to view that the collective fan assessment might rise over the last half-dozen or so years.
It’s hard to blame Marter for the failings of this Target novelization. Clocking in at a mere 127 pages, Marter is hard-pressed to compress six episodes. He does try nobly to do so, but in the end, it never quite works. Scenes are dropped and while the outline of the story is still there, it never quite feels as solid as the David Whitacker scripts were on-screen. There are some interesting choices of what to leave out and what to include by Marter over the course of the novel.
But it’s not like Marter hasn’t shown he can compress a large number of episodes into a smaller amount of pages. He will later do it with the Patrick Troughton era serial, “The Invasion.” Of course, having emotionless adversaries at the heart of that one may have helped a bit.
As with all of Marter’s novelizations, there is a darker streak running through this story with all the on-screen deaths being just a bit more gruesome on the printed page.
At least the audio version of this story has Patrick Troughton’s son David performing the story. His interpretations of his father and the other actors in this story are spot-on and well done. I’m just glad the serial is back now so we can compare his take with what the actors did on-screen.
Unless you were watching in 1966, odds are you haven’t seen Doctor Who‘s season four debut story, “The Smugglers.”
Sure, we’ve got a couple of clips thanks to the Australian censors (though why they kept the clips and not the full episodes is something I’d really like an answer to) but there isn’t much out there to experience when it comes to this lost historical serial.
And yet, for some reason, I skipped the Target adaptation of this one when it was released in the late ’80s. Whether it was to save my money for another Target book coming later or that I was weary of Terrance Dicks’ adaptations, I can’t quite recall. But my omission then allowed me to enjoy the audiobook release of this one now as something (almost) new to me.
And I have to admit, I kind of liked it. Unless they somehow recover part of all of it tomorrow, this four-part serial’s biggest claim to fame will be a link to “The Curse of the Black Spot” from the modern series. As a historical, it works fairly well, though it does feel a bit as if the script is borrowing a bit of Ben’s reaction to time traveling for the first time from Stephen’s reactions in “The Time Meddler.”
After barging into the TARDIS, Ben and Polly are sent back in time with the Doctor to a seventeenth century Cornish town under assault by pirates. There’s a bit of chasing back and forth during some of the middle episodes from the pirate ship to the town settings, but overall the story moves along at a crisp pace and works fairly well. Of course, there’s a pirate treasure at the center of all this and apparently, the Doctor is the only one with the necessary clue to try and uncover it.
Read by Anneke Wills who played Polly, this audio adaptation is another solid release from this range. I realize that we’re slowly getting to the end of this range and there are fewer fondly remembered adaptations ahead of us. But having the chance to experience this one, I find it a solid offering from Dicks. It’s not quite on the level of his early work, but it’s not quite the translating the script to the printed page with a few descriptions that we got in the Tom Baker era.
How you feel about Stephen Wyatt’s adaptation of his own script for “Paradise Towers” probably depends on how you feel about the televised story. If you liked the broadcast version, you’ll probably enjoy it. If you weren’t a fan, there isn’t much here to really add to what we saw on television screens.
Back before season 24 aired, I met Sylvester McCoy at my local PBS station’s hosting of the Whomobile (a semi packed with props, set pieces, and an opportunity to sit in Bessie). McCoy regaled the audience with stories about his first season, making it sound far better than season 24 turned out to be.
“Paradise Towers” isn’t necessarily a terrible story. It’s one that has some ambition to it, but given the limited budget of the time and that it’s a studio-bound story that features a lot of running up and down corridors, it still ended up disappointing me at the time. The novel is extremely faithful to what we saw on screen, though Wyatt does try to make certain characters a bit more credible on the printed page. Pex, for example, seems to look the part a bit more in the descriptions we’re given in the book than the actor did in the television version. It also helps the Chief Caretaker be a bit more menacing when I’m not constantly taken out of the story by Richard Biers playing the role (though I will admit the audiobook isn’t done any favors by Bonnie Langford doing a fairly good impression of what Biers does on-screen).
All-in-all, this is a solid enough adaptation that ranks in the middle of the range. It’s not terrible, but it’s not great as other Target books featuring the seventh Doctor would be.