Obverse Books have announced today that they will be publishing my examination of the Doctor Who story The Time Warrior as the twenty-fourth book in their series The Black Archive. The Time Warrior was a four-part story broadcast between 15 December 1973 and 5 January 1974, written by Robert Holmes and directed by Alan Bromly. It was the first story of the eleventh season (Jon Pertwee’s fifth and last as the Doctor) and the first to feature Sarah Jane Smith, played of course by Elisabeth Sladen, and also introduced the Sontarans, with Kevin Lindsay as their solitary representative, Linx. The full announcement can be found below, via Facebook.
We sing in praise of total war…
This post exists to provide a link to my review of Doctor Who – The King’s Demons by Terence Dudley for the Doctor Who News Page. I find few redeeming features, but might just be thought open to some of the charges I level against Dudley – except that I do like the Doctor and Tegan. In general, from the mid-1980s I came to appreciate more and more the economic writing style of Terrance Dicks; handing over the books to the authors of the television serials didn’t always gain the desired results.
Considering that until recently I worked almost round the corner from the Cartoon Museum for nearly two years, it was a pity that I’d not visited it since the museum hosted an exhibition of Doctor Who comic strip art in 2013. This trip was occasioned by another Doctor Who-related project, a smaller but still informative and I hope influential exhibition of Doctor Who book covers, all commissioned for the range of novelizations published under the Target imprint in the 1970s or 1980s or in the case of three new covers for the BBC Books reissues in the current decade. Accompanied by my old comrade-in-Who Paul Dumont, we explored the current main exhibition, The Great British Graphic Novel, beforehand. As I wrote in the visitors’ book afterwards, perhaps reachingly, the museum displayed the work of Masters – Hogarth and Cruikshank and Achilleos and Cummins – alongside the Mistress, Marie Duval of Ally Sloper (a character about whom I first learned from an article on comics in the Look-In Television Annual published for Christmas 1976) but there were other masters and mistresses too, many of whom I’d not heard of before such as Carol Swain or Asia Alfasi, or those of whom I was dimly aware like Kate Charlesworth.
The Doctor Who covers were striking in their original forms, revealing a mixture of formats, materials and working practices. Several artists at times composed their covers on square boards rather than in dimensions which corresponded to those of the paperback cover, knowing that the logo and title and author straplines could be placed on a plain background above them. Some artists suffered from the editing of their work: Roy Knipe’s cover for Doctor Who and the Invisible Enemy had his signature trimmed off with the small but in the original welcoming detail of the button on the fourth Doctor’s coat cuff. On Doctor Who and the Android Invasion, we lost Styggron’s fingers. Knipe had a tendency to change the colours of the aliens, whether deliberately or because he lacked colour reference I don’t know, but Styggron is a memorable green rather than grey-brown as he was on television, where the Nucleus of the Swarm was a sort of mottled pale pink rather than the deep-cooked lobster red of and the Invisible Enemy‘s illustration. Others might undergo decluttering, such as David McAllister’s generic TARDIS-in-space used for Doctor Who and the Keys of Marinus. Paul particularly noticed Jeff Cummins’s original artwork for Doctor Who and the Tomb of the Cybermen, published in 1978, where the background was a more vivid blue and the light patterns across the glass of the tomb door a richer gold than any reproduction has managed. Indeed, the standard of reproduction on the Target covers varied over the years and some suffered from generations of copying as the books migrated from one printer to another and new reproduction methods evolved. Doctor Who and the Ark in Space, as Paul has also said, was a particular sufferer with the subtle beige-yellow of the Wirrn’s eyes in Achilleos’s original being reproduced as an intense and bright yellow-orange. Reproduction on the new impressions might be better, but Chris Achilleos’s new cover for Vengeance on Varos was altogether stronger with a noose around Colin Baker’s neck as was originally intended.
The collection encourages respect for craft. The ebb and flow of the ink on what appears as a solid purple border on Achilleos’s Doctor Who and the Pyramids of Mars is visible, as is the technique of his inking of the cosmic objects fizzing around the Doctor and his antagonists on his first three covers, Doctor Who and the Daleks, Doctor Who and the Zarbi and Doctor Who and the Crusaders. More impenetrable are the smooth washes of his early multi-coloured Daleks (very much based on the work of the last of the TV 21 Dalek artists, Ron Turner) and the methods by which he painted incredibly smoothly the features of Tom Baker on Doctor Who and the Genesis of the Daleks and Doctor Who and the Ark in Space.
The exhibition draws attention to the lost art of the book cover, but there was room for it to have made more of the links between the book covers and comic strip art. Chris Achilleos’s covers were initially intended as patterned after the style of Frank Bellamy, too expensive a comics artist for budget-conscious publishers Universal-Tandem to employ. Achilleos borrowed not only from Turner for his Daleks but famously from a Marvel Comics Fantastic Four Jack Kirby image when composing his cover for Doctor Who – The Three Doctors . Absent from the exhibition were the four mould-breaking but format-setting covers by Peter Brookes, which all appeared in 1975. At a time when the BBC Books reprint programme is associating the Target series exclusively with Chris Achilleos, the exhibition was a reminder that there were many other artists with the ‘family friendly’ image BBC Books have cited as their reason for using the Achilleos covers. I think a case exists for a Peter Brookes set of reprints, as well as a Jeff Cummins set and a Roy Knipe set. The use of light and indeed suggestion of reflections on smooth surfaces in the work of Cummins and Knipe wasn’t flattered by the reproduction of the covers during their original lifespan, but their imagery is surely something in which the current paperback market might have some confidence.
Though limited to one part of the upper gallery at the Cartoon Museum, and lacking some of the apparatus which other exhibits had, Doctor Who: The Target Book Artwork is more than welcome. Edward Russell, best known as a long-serving brand manager for latterday Doctor Who, deserves thanks for his effort in curating this exhibition, including sourcing the original artwork from several collectors, some well-known among fans veteran or otherwise, some not.
Followers of the Doctor Who books range have been pleasantly surprised by listings on Amazon which indicate that seven more novelisations of Doctor Who stories first published between 1965 and 1988 are to be reissued by BBC
Books as mass market paperbacks in April 2016. The titles listed are Doctor Who and the Zarbi, Doctor Who and the Web of Fear, Doctor Who and the Dinosaur Invasion, Doctor Who and the Genesis of the Daleks, Doctor Who and the Visitation, Doctor Who – Vengeance on Varos and Doctor Who – Battlefield. It also appears that Doctor Who and the Zarbi will appear in hardback, along with the other two novelisations published by Frederick Muller Ltd in the mid-1960s, Doctor Who and the Daleks and Doctor Who and the Crusaders, perhaps as a belated celebration of fifty years of Doctor Who books.
There is no news on whether the format followed by the reissues of 2011 and 2012 will be revived, with covers based on the design of the Target paperbacks (Target being the imprint which published Doctor Who novelisations for twenty years from 1973) and introductions by prominent writers associated either with televised Doctor Who or the contemporary books range. Given the four-year-gap between the second and third set this would seem unlikely, as the last three titles don’t come from either of the two series of covers by Chris Achilleos. Indeed, the inclusion of 1980s titles broadens the appeal of the range away from the 1970s nostalgia mined by the first two; this third set draws from the first seven Doctors and each has an obvious hook to sell the titles anew to the audience of 2016.
We have perhaps the most inhuman enviroment encountered by the Doctor; the subversion of the London Underground, a touchstone of metropolitan and perhaps English and British identity too, in a story which became part of Doctor Who‘s refoundation myths; a memorable allegory of middle-class protest turned authoritarian fantasy, with dinosaurs; the Dalek story I expected to be part of the second set; the serial which arguably moved the pseudo-historical genre from fan cr
itical theory into part of the series’ fabric, with alien monsters influencing the course of two famous historical events; a biting satire of reality television possibly even more relevant today than it was in the 1980s; and a story which promises (but doesn’t deliver in a conventional fashion) the meeting of the Doctor and his fellow British myth, King Arthur. If Amazon’s early listing is correct, this looks like a strongly commercial set.