A Year Without Doctor Who

The Sixth Doctor arrived in March 1984, thirty years ago this month.

Just a couple of weeks ago I got to discuss this milestone with both Colin Baker (the Sixth Doctor) and Nicola Bryant (his companion Peri) when I hosted a series of talks with them in Dunedin and Christchurch, at the Armageddon Expo events.

As I talked to these two actors about the anniversary of their first appearance in Doctor Who I couldn't help but think that the relevance was slightly lost on myself, and perhaps also on those members of the audience who were old enough to remember what it was like to be a fan thirty years ago in New Zealand.

1984, the year in which Peter Davison's third and last season aired and Colin Baker commenced playing the Doctor, was entirely devoid of any televised Doctor Who at all in this country. Not one of Colin Baker’s stories screened here until November 1988, several years later and indeed some time after Colin had departed the role.

The series had abruptly halted on TVNZ following ‘Mawdryn Undead’ in late November 1983. This was an unfortunate point at which to break the series as it left hanging the ongoing plot involving Turlough and the Black Guardian.

At first it appeared as though TVNZ were giving Doctor Who a brief respite over the summer months. I can remember being relaxed about this break at first, possibly even relieved. My family were in the habit of going away camping on a remote beach - without a television set - for two weeks in January. I’d have been most upset if the show had been on at the time.

I’m sure I would have been even more annoyed had I known that it would be a very long wait. That summer of 1983/84 came to an end without any sign of Doctor Who’s return. It became a weekly ritual to scan the New Zealand Listener’s television listings, eagerly searching out a billing for the next story, only to be deflated week after week, month after month. The series finally returned in April 1985, after a hiatus that lasted about 18 months. There was a bittersweet twist to this. The return was not the anticipated latter half of the Fifth Doctor’s era (which should have resumed with ‘Terminus’). Instead we were treated to older stories from the 1960s and 1970s. I was thrilled to get to see these vintage episodes, many which I’d never viewed and those I had seen were dim distant memories. It did mean however that it would be years before TVNZ got around to screening those much delayed new episodes.

The prolonged absence was made all the more agonising because for the first time ever I was well informed about what was screening in the UK. At the beginning of 1984 I discovered Doctor Who Magazine. My grandmother most generously set up a standing order with her local newsagent in East London, and started posting me a copy every month commencing with issue 84, which arrived in early January.

Doctor Who Magazine was a treasure-trove of previews, set reports, reviews, and photographs. I studied these issues in obsessive detail, scrutinising every word and picture, trying to imagine what thrilling-sounding stories such as  ‘Frontios’, ‘Planet of Fire’ and ‘The Caves of Androzani’ must be like.

I witnessed through the pages of the magazine the departure of the familiar TARDIS crew of the Fifth Doctor, Tegan and (for me, the newly arrived) Turlough, to be replaced by the Sixth Doctor and Peri. My impression of these two characters, played by unfamiliar actors, was entirely based on what I saw and read in the magazine.

A large part of my understanding of what the Sixth Doctor was like came from reading the Doctor Who Magazine comic strip. Of course I knew from the photographs elsewhere in the issues that he had a tasteless and gaudily colourful costume but in the uniformly monochrome strip it actually looked quite stylish. The new Doctor seemed good-humoured with an easy-going personality.

The Sixth Doctor’s stories were extraordinarily imaginative, at least in comic strip form. Even without having seen ‘The Twin Dilemma’ I think I must have realised that the surreal mind-bending visuals of stories like ‘Voyager’ and ‘Once Upon a Time-Lord’ were nothing like what was happening in the television series, but these strip stories gave me a deep and enduring admiration of Doctor Who in the comic strip medium.

1984 and the arrival of the Sixth Doctor has been occupying my thoughts a lot lately, and not just because of the thirty-year anniversary or talking to Colin and Nicola. I’ve reached the point in the writing of the second volume of The Comic Strip Companion in which I’m covering the earliest strip exploits of the Sixth Doctor. Thirty years is a long time, but as I re-read the pages of ‘Voyager’, marvelling at the gloriously surreal twists and turns of Steve Parkhouse’s surreal script and John Ridgway’s absolutely stunning illustrations, I can’t help but be transported back to that time when this was the only new Doctor Who.

I turned sixteen in 1984. I wish I could tell myself at that age that one day I’d be the author of a series of books about the comic strips, that I’d write the production information text for DVDs of those 1984 stories that I used to speculate about, and that I’d be chatting to the actors who played the Sixth Doctor and Peri. I’m not sure which of these facts would impress my younger self more. I’m not even sure he’d even believe me.

A Flawed History Lesson

Marking Doctor Who’s fiftieth anniversary is a monthly comic called Prisoners of Time, published by IDW, featuring a story for each of the eleven Doctors. At the back of each issue is a series of features on the history of Doctor Who in comics by various writers. 

Issue 4 (April 2013) has a two-page history of the comics from the beginning up to the present day, laid out as a series of panels with comic strip-style captions. The “history lesson on how it all came to be” (as it is headed) is presented by Dez Skinn, the man who devised Doctor Who Weekly in 1979. Skinn's own contribution to the history of the comic strip is immense; his legacy is still going strong today, as Panini's Doctor Who Magazine.

It is a shame therefore that certain aspects of this history are not particularly accurate. Some of the facts pertaining to the early years of the comic strip, prior to Dez Skinn’s involvement in 1979, are simply wrong - especially in relation to TV Comic, a publication that Skinn does not appear hold in high regard.

I want to be clear that my intention here is not to criticize Skinn, or to imply that he somehow deliberately set out to mislead. I'm simply keen to set the record straight on the subject. It does strike me as odd that no one seems to have fact-checked the piece (having written a book on this very subject, I'd have gladly offered my services).

The earliest error is to do with the television series rather than the comic strip. Discussing the beginnings of the series, Skinn states that An Unearthly Child, the opening story, was up against ITV’s The Buccaneers. In fact the first five episodes were screened against the ABC serial Emerald Soup. The Buccaneers appeared against Doctor Who on ATV London from 28 December 1963, one week into the second story.

The history then claims that The Dalek Book came out only five months after the Daleks made their television debut. This is a forgivable error, as many sources have wrongly stated that this book was published on 30 June 1964 (which is five months after the conclusion of The Daleks). It was only whilst researching The Comic Strip Companion that I learned that the book was in fact published later, on 30 September 1964. This long-standing misapprehension most likely originated because someone got one digit in the date wrong: ‘30/9/64’ became ‘30/6/64’.

This dating error has a knock-on effect when Skinn subsequently observes that the Doctor Who strip in TV Comic began "five months later". In fact The Dalek Book only preceded the TV Comic strip by about six weeks.

Perhaps the most egregious error in the whole feature is the suggestion that TV Comic did not mention the strip on the cover when it first appeared. This is plainly wrong. The first issue to feature the Doctor Who strip was #674, dated 14 November 1964. The cover of that issue clearly states: "Starts today! Doctor Who" (pictured here).

The history compounds the error by including the wrong TV Comic cover (the issue featured in the history is #709, dated 17 July 1965 - eight months later - which did not have a mention of Doctor Who).

Skinn offers the view that the strip wasn't mentioned on the cover "... maybe because they weren’t very good". That may be Skinn's opinion, but I have examined a great deal of correspondence between the BBC and the publishers of TV Comic from 1964, and there is no suggestion that the strip wasn't considered worthy of promotion. Four of the initial nine issues featuring Doctor Who have a reference to the strip on the front cover, so TV Comic could hardly be accused of failing to promote its new acquisition. Skinn makes no mention of the five month period in 1967 when the Doctor Who strip appeared in full colour on the front cover of every issue of TV Comic. 

The history goes on to mention The Daleks comic strip, which began in 1965. Skinn claims that the strip appeared in “TV 21”, but the comic was actually called TV Century 21. TV21 was the name given to a later relaunch of the comic in early 1968, two years after The Daleks strip ceased publication. This is an error that crops up in various places.

Another minor error involves the dating of the first World Distributors Doctor Who annual. It is claimed that it was launched for Christmas 1966, but the first annual came out a year earlier.

The history discusses the strip’s move to Countdown which later became TV Action, and states that the comic had "130 weekly issues". This is almost but not quite right: there were 132 issues.

Lastly, Skinn dismisses the later years of the TV Comic strip, claiming that with the arrival of the fourth Doctor the comic “simply ran reprints of Jon Pertwee strips with Tom Baker's face added!" There were indeed reprinted stories with Tom Baker’s features redrawn over Pertwee (and Patrick Troughton in one instance), but what Skinn doesn't mention is that this only happened in the weekly TV Comic issues for nine months from July 1978 through to the strip’s last appearance in March 1979. The history overlooks the three and a half years (a considerably longer period) prior to this when original, weekly Tom Baker strips were run in TV Comic.

I think it is clear that Skinn has a low opinion of the Doctor Who strip in TV Comic. He observes that TV Comic's license for “two reprint pages” prevented him from launching his own Doctor Who comic strip publication "for years". Presumably he is unaware that TV Comic only moved to running a reprinted Doctor Who comic strip in their weekly issues after the publishers had advised BBC Enterprises in May 1978 that they intended to quit the licence. The catalyst for this decision was probably the recent raising of the royalty rate for the strip that TV Comic was required to pay to the BBC. The timing of the strip’s last appearance in May 1979 suggests that it is likely that TV Comic may have been contractually required to give one year’s notice. If so, the very reprint strips that so irked Skinn were likely a portent that the licence was about to become available, paving the way for October 1979's triumphant launch of Doctor Who Weekly.

It is good to see that the long and fascinating history of the Doctor Who comic strip is receiving coverage with these features in the Prisoners of Time series. It is just a shame that in the case of this instalment the facts have not been accurately presented.

The Origin of The Vampire Plants

'The Vampire Plants' is a six-page Doctor Who comic strip featuring Patrick Troughton’s Doctor. It first appeared in The Dr Who Annual for 1970 (published in 1969), and was later reprinted in the omnibus collection Doctor Who: Adventures in Time and Space in 1981.

A synopsis for 'The Vampire Plants' follows:

The Doctor receives a message from his old friend Dr Vane and arrives on Venus, where Vane has experimental botanical gardens. The Doctor leaves Zoe behind in the TARDIS but takes Jamie with him to visit Vane. Vane is troubled by the recent mysterious disappearance of a newly-discovered plant, the galea tentipocus, found in the Galea galaxy. Vane’s assistant, Regan, is tasked with finding the thieves believed to have stolen the plant. Regan finds the tree in the wilderness but it grabs him and shoves him off a cliff. The injured Regan is looked after by Vane while the Doctor and Jamie go in search of the plant and discover that it has grown to an enormous size. It traps the pair in its branches. The Doctor has the idea of setting fire to the grass, and they escape from the plant’s clutches as it is engulfed in flames.

 When I reviewed this story in The Comic Strip Companion I observed that the comic strip was: “… a brazen recycling of the idea behind ‘Freedom by Fire’ from the previous year’s annual…” A few months after my book was published I became aware that 'The Vampire Plants' strip was actually an example of even more “brazen recycling” from an entirely different source.

Spaceman: Comic of the Future was a British science fiction comic that premiered around March 1953 and lasted for 15 issues. One of the ongoing strips in this short-lived comic was a series of stories featuring a character called Bill Merrill, who worked for the Scientific Investigation Bureau.

One of the Bill Merrill stories published in Spaceman was ‘Rockingham's Tree’. This was an eight-page, black and white comic strip.

A synopsis for 'Rockingham's Tree' follows: 

Bill Merrill and Velma, members of the Scientific Investigation Bureau, learn of the discovery by Professor Rockingham of a tree on Mercury. He has brought the Mercurian Tree, as it is called, it to Earth and puts it on public display in his botanical gardens in England. Over night however the gardens’ nightwatchman is killed and the tree goes missing. Merrill, Velma and Rockingham investigate the mystery. A butterfly collector, Colonel Butterworth, finds the tree in the countryside. The tree grabs the colonel and shoves him over a cliff. Butterworth survives the fall and relates his story to Merrill and his team. The Bureau begin a search of the countryside but a year passes before the tree is located in Epping Forest. Merrill, Velma and Rockingham race to the forest and discover that the tree has grown to an enormous size. It traps the trio in its branches. Merrill has the idea of setting fire to the grass, and they escape from the trees’ clutches as it is engulfed in flames.

The descriptions of these two comic strip stories share some remarkable points of similarity, but a comparison of the artwork removes any lingering doubt that the Bill Merrill story was indeed the source of the Doctor Who strip.

The similarities first start to emerge on the third page of the Bill Merrill strip (top) and the second of the Doctor Who story (bottom). The Nightwatchman, seen in the original is replaced by Dr. Vane, in the exact same pose, and the plant/tree gets a name-change, but other than that the artwork is very similar indeed.

The next page in both strips has three panels with features common to both strips. In the first of these panels, the body of the Nightwatchman is removed (no one dies in the Doctor Who version); Rockingham becomes Dr. Vane (complete with same hands-on-hips pose); lastly Bill Merrill is removed from the picture, and the Doctor is added.

This is the very next panel in both versions. Rockingham is removed and Merrill is replaced by the Doctor, situated on the opposite side of the panel.

Colonel Butterworth the butterfly hunter from the original strip becomes Vane’s assistant Regan in the later version, armed with a stick rather than a butterfly net. Note that the plant has added suckers in the Doctor Who version that are not present in the original.

Moving on to a new page in both versions, the sequence continues with the tree / plant breaking the butterfly net / stick.

Butterworth / Regan is then seized by the tree / plant…

… and falls off a cliff.

A jump ahead in both stories brings us to the beginning of the final confrontation with the tree / plant. In the original Bill Merrill, Velma and Rockingham discover the tree, whereas in the redrawn version Jamie and the Doctor are seen encountering the enormous plant.

The final page of both strips, showing just how closely the composition of the panels, as well as the artwork, was copied. Only the first and last panels on each version are entirely different.

There is no doubt that 'The Vampire Plants' story was adapted from the Bill Merrill strip. But how and why did this occur? 

Was this blatant plagiarism, or was the Doctor Who strip developed with the consent of the creator of the original story? Was the unidentified artist responsible for 'The Vampire Plants' perhaps the same person who drew the Bill Merrill strip and therefore was simply adapting his own work?

The Bill Merrill series was created by Ron Embleton very early in his career. Embleton later became established as a prolific and acclaimed British comic strip illustrator. The Doctor Who strip however looks nothing like the work Embleton was producing in the 1960s.  There is also some doubt over whether Embleton was responsible for drawing the 'Rockingham’s Tree' story. This might have been the work of another artist.

Unfortunately the revelation of the source of 'The Vampire Plants' strip alas brings us no closer to identifying the artist or indeed the writer of that story. 

If anyone can shed any further light on this, I'd love to hear from them.

With grateful thanks to Lee Moone for the 'Rockingham's Tree' strip and Shaqui Le Vesconte for additional input.

The TARDIS Tales Treasury

The newly-published TARDIS Tales Treasury is a collection of all of the published comic strips by the funny and talented Graham Muir. Graham is a New Zealander who is well-known in local Doctor Who fandom for writing and drawing a long-running humorous comic strip called TARDIS Tales, which often mercilessly poked fun at various aspects of the television series.

The strip's main character was not the Doctor himself (who nevertheless usually appeared in one or more of his incarnations), but rather Saucer, a smart-talking, laid-back, super-intelligent chicken not adverse to ridding himself of bothersome characters in the final frame with a knock-out punch or a blast from a sub-machine gun.

TARDIS Tales made its debut appearance in 1988 in the pages of Time Space Visualiser (TSV), the New Zealand Doctor Who Fan Club zine. The strip was a well-established regular feature by the time I took on the editorship of the publication for the second time in 1991.

When I became editor I gave the zine a major revamp, changing almost every aspect, but the only feature that I was happy to retain unaltered was TARDIS Tales. I admired Graham's talent and passion for the strip and recognised that his creation had a strong following with readers. I don't recall my exact words all these years later, but I'm fairly sure that my directive to him would have been along the lines of, "keep doing what you're doing, it's great."

Excerpt from TARDIS Tales: The U.N.I.T. Reunion (1992)

TARDIS Tales finally bowed out of TSV six years later. Such was the clamour from fans for new material that Graham was subsequently  persuaded to create a handful of spin-off strips for Telos and Reverse the Polarity!, a couple of Christchurch-based fanzines.

The TARDIS Tales Treasury collects all of Graham's fanzine strips, along with his artwork and some fascinating previously unseen examples of his early unpublished work, under one cover. For the first time Graham's strips are presented at 1:1 scale. I produced TSV's physical masters (in the days before digital publishing) at A4 size, with the printed copies reduced to A5-sized pages. Graham drew his strips at A4 but until now many readers have never seen TARDIS Tales at full size.

But wait, there's more! In addition to the strips and artwork there is also a substantial 'behind-the-scenes' history and examination of the strip, occupying most of the first 75 pages of this 200-page book. Written by Alex Ballingall, the book's editor, compiler and designer, the text section comprehensively chronicles Graham's cartoon work from its beginnings when Muir was doodling during his school days up to the latest (and last?) TARDIS Tales strip completed especially for the Treasury in 2010.

The paperback book is handsomely presented with a full-colour cover by Graham that is a fitting homage to The Dr Who Annual from 1968.

The book has been a long time in development. It was over a decade ago that I first organised a set of copies of the strips from the TSV print masters for this project. I later contributed comments for inclusion in the 'behind-the-scenes' sections and more recently an afterword. Thanks to Alex's perseverance the book has at last been published. 

I am most impressed with the look of the finished, printed book, and it clearly shows that Alex has devoted a lot of time and attention to getting it just right. 

Leafing through this volume I am now inspired to showcase more of TSV's 'back-catalogue' in this format.

Well done, Alex and Graham!

The TARDIS Tales Treasury is available to order here:
http://www.lulu.com/shop/graham-muir/the-tardis-tales-treasury/paperback/product-20381010.html

Artwork Auction

The limited edition hardcover of my book features a painting by 1960s TV Comic artist Bill Mevin that was especially commissioned for the book.

Now Mevin is selling the original artwork. The piece described as 'A4 in size and painted on thick, textured art paper', is listed on Ebay and is being sold on Mevin's behalf by Stephen James Walker of Telos Publishing. Here's the auction, which ends on Friday 5 October.

The Comic Strip Companion Sampler

I'm delighted to offer a set of sample pages from The Comic Strip Companion: The Unofficial and Unauthorised Guide to Doctor Who in Comics: 1964–1979.

As someone who often buys books online, I'm a great believer in the value of offering a preview of the contents and I've frequently decided to purchase on the strength of reading sample pages.

The PDF sampler is downloadable from the link below. It includes the contents pages, the first story entry, and one of the 'interlude' articles.

This should provide a taste of what the book's about and how I've approached writing about the comic strips.

The Comic Strip Companion Sampler

Thank you to David J Howe at Telos Publishing Ltd for arranging the sample.

Limited Hardback Edition

The plan was that The Comic Strip Companion would only be available in paperback but, when it was first made available to pre-order in June this year, a number of fans expressed their preference for a hardback version. Telos do not always produce hardback editions for their titles but, in response to popular demand, one is now being produced for my book.

The limited hardback edition (I'm told that over half the allocation has already been pre-ordered), features a different cover design to the paperback version. David J Howe at Telos wanted something special for the cover so sought out an artist who worked on the original comic strips to create a new painting especially for the book. I'm simply delighted that Bill Mevin has painted the cover.

Bill Mevin's association with Doctor Who comics dates back to the mid-1960s. He was the second artist to work on the the Doctor Who strip in TV Comic, over a six-month period from October 1965 through to April 1966, and was the first to illustrate each of the strip's weekly instalments as full colour paintings (his predecessor, Neville Main, had drawn the weekly strip in black and white). Mevin's cover painting features William Hartnell's Doctor, which is appropriate as his Doctor was current at the time that Mevin was working on the strip.

Both editions of the book are 608 pages (yes, considerably longer than as originally advertised!) with an eight-pages in colour displaying a number of the comic covers from the 1960s and 1970s.

The book was sent off to the printers yesterday. Now there's a wait of around six weeks until it is due to be released at the end of September. Oh the anticipation!

One Last Read-Through

I've been sent a PDF of The Comic Strip Companion. The design and layout has been done, and I'm really pleased with how it looks.

It's now up to me to read the book from beginning to end. This is my last opportunity to find any minor errors and get them corrected before the book goes to print.

I find it a great deal easier to spot mistakes on the printed page than I do on a screen, so I've printed off a copy of the PDF. All 684 pages of it. The stack of paper you see here is one copy of the book. Although I've printed copies of individual sections while I was writing the book, this is the first time I've had a physical copy of the entire thing. It somehow feels more 'real' to me now than ever before.


Time to get to work on those corrections...

Countdown to The Comic Strip Companion

The Comic Strip Companion: The Unofficial and Unauthorised Guide to Doctor Who in Comics: 1964 - 1979 will be published later this year.

The expected release date of 30 September 2012 has recently been posted on the Telos Publishing website, along with the reveal of the cover and blurb. Judging by the comments posted online in reaction to this announcement, it appears that there are many readers eagerly awaiting the book’s publication. I count myself among them. I may have spent countless hundreds of hours researching, writing and revising over the past five years, and I’m very keen to see the finished product.

The Comic Strip Companion is a guide to an aspect of Doctor Who that may be unfamiliar to many fans, as all the comic strips published in the years covered by this book are long out of print. The book does not reprint the actual strips. For rights reasons this is not possible. The book does feature an 8-page colour section featuring a selection of relevant comic strip covers.

Each individual episode has a plot synopsis, so anyone who has not read some, or perhaps even all, of the comic strips under discussion should still find the book entirely accessible. It also provides a lot of information that even readers who do have the strips to hand will not have known about before, sourced from original correspondence, synopses, scripts and interviews with some of the writers and artists.  

The fifteen year period covered in this book details every Doctor Who story, produced by Polystyle Publications (formerly TV Publications), that appeared in TV Comic, Countdown and TV Action. 

The Doctor’s comic strip adventures began in November 1964; one year after the television series was first broadcast. For the following fifteen years, Doctor Who appeared in comic strip form almost every week, amassing many more individual stories than the television series. In May 1979 the strip was discontinued. After a five-month hiatus the strip was re-launched as a regular feature in Doctor Who Weekly (later Doctor Who Magazine, where the strip continues to this day). This break and subsequent change of publisher marks the conclusion of the book’s comic strip coverage. I am writing a follow-up volume that will pick up the story of the comic strips from October 1979 onwards.

Most of the book is taken up with a year-by-year, story-by-story coverage of the weekly strip, but there are sections included for the comic strip adventures in The Dr Who Annual, the Dalek books and annuals, and The Daleks, a weekly strip that appeared in TV Century 21. The book also has appendices that detail all of the reprints, adaptations, humorous strips and even a handful of associated text stories.

The book is an A5-format paperback, around 500 pages in length, and is now available to order from Telos.

A Comic Conundrum

I'm taking advantage of a short delay before the publishers are ready to begin work on preparing my book, The Comic Strip Companion 1964-1979, for publication to test it out on a small group of readers.

These enthusiastic volunteers have delivered invaluable feedback on the manuscript, enabling me to identify areas that need slight tweaks, additions or corrections. My readers, working in isolation to each other, have delivered quite different sets of notes - but they have almost all queried the same one specific point in the book.

The third story, latterly known as ‘The Hijackers of Thrax’ (the original title, if one existed, is unknown), appeared in TV Comic #690 (6 March 1965) to #692 (20 March 1965). The strip was later reprinted in Doctor Who Classic Comics #13 (10 November 1993).

TV Comic was required to routinely submit a synopsis for each of their proposed strip stories to BBC Enterprises for approval. This was so that if something was considered to be too similar to an aspect of a planned television serial, or deemed inappropriate, it could be sent back to TV Comic with a request for changes before it was developed as a full script or an illustrated strip.

The storyline for the ‘The Hijackers of Thrax’ was submitted in January 1965. Donald Wilson (Head of Serials, Drama Television) asked Doctor Who producer Verity Lambert for her comments. Lambert wrote back, “It’s quite obvious what this is based on!! But it’s OK by me if it’s OK by you.”

Is it “quite obvious” though? What did Verity think it was based on? This question has puzzled myself and my proofreaders.

Although the correspondence between Lambert and Wilson has survived, the copy of the synopsis which would have once been attached to this memo has not. It is reasonable to assume however, considering that the story was approved without changes, that the synopsis bore a strong resemblance to the strip as it appeared in print.

So what’s the story about? Here’s my summary:

A spaceship delivering food and supplies from Earth to a colony on Venus in the year 2075 goes missing soon after leaving Earth. This is the seventh supply ship to disappear without trace. The TARDIS lands on a space station where the crew of the missing supply ships are imprisoned. The station is run by Captain Anastas Thrax and his pirates. The station is hidden from Earth in a cloud of mist, and the hijacked cargo is sold on the black market. Thrax locks up the Doctor and his companions John and Gillian, but John overpowers their guard and frees the rest of the prisoners. Some of the prisoners leave in a supply ship to warn Earth about the space pirates. Led by the Doctor, the remaining prisoners overpower Thrax’s men. Thrax is captured and forced to show the Doctor the mist-generating machine. The machine is destroyed and the mist clears, revealing the location of the station to Earth’s space police, who arrive to apprehend Thrax and his pirate crew.

So what was it that Verity recognised as so familiar and obvious in this story?

Please let me know if you have any ideas, because I’m stumped!

Dalek artwork origins uncovered

I'm currently making corrections and changes to The Comic Strip Companion 1964-1979, working from notes made on the manuscript by my good friend Jon Preddle, who is the book's very first reader.

Jon's notes on the chapter covering The Daleks strip from TV Century 21 alerted me to something I'd overlooked in the manuscript. Jon writes, "I might be wrong on this, but didn’t Chris Achilleos base his Target book cover Daleks on Turner’s style?"

This sent me scurrying over to my bookshelves to check, and sure enough Jon is correct - Target novelisation cover artist Chris Achilleos didn't just base his Daleks on Ron Turner's strip illustrations - he directly copied them, and here's the evidence:

Postscript...

And it doesn't stop there. As Jon has since pointed out, Achilleos clearly again turned to Ron Turner's artwork for the TV Century 21 strip when he illustrated the cover for the novelisation Doctor Who and the Day of the Daleks. This time, Achilleos reversed the images and altered the designs very slightly, but they are unmistakably based on Turner's artwork.

I've reversed the relevant sections of Achilleos's cover on the right for a direct comparison.

Vworp Vworp!

I received my copy of Vworp Vworp! Volume One today.

This is a publication of particular interest to me as it focuses on the history of Doctor Who Magazine, with a particular emphasis on the comic strips. Naturally, some of Vworp Vworp!’s material will be referenced and footnoted in volume two of my book, The Comic Strip Companion.

Vworp Vworp! is currently - and very deservedly - receiving many positive comments online. The A4, perfect bound full colour glossy publication is produced to such a professional standard that it could easily pass for a DWM special issue. It. What is most remarkable is that it is a fanzine, produced not for profit but as a labour of love by editors Grant Kavanagh and Colin Brockhurst.

The content includes an impressive line-up of articles and interviews with such familiar (to long-time DWM readers) names as Dez Skinn, David Lloyd, Dave Gibbons, Pat Mills, David J Howe, Andrew Pixley, Jeremy Bentham, Scott Gray, Clayton Hickman, Ade Salmon, Alan Barnes, Martin Geraghty and more.

Even though the written material is impressive it is just about eclipsed by the visual feast of colour and imagery throughout. If this were a professional publication I would still think it superb. That this quality has been lavished on a non-profit fanzine is, quite frankly, simply astounding.

All this aside, I must declare my own vested interest. My name appears in the “with thanks to” list, but that’s my one and only appearance in the issue. It wasn't always going to be this way, and in fact my involvement in its gestation stretches back over one and a half years.

I first got involved in October 2008 when I discovered online that a one-day event was shortly due to take place dedicated specifically to Doctor Who comics. I greeted this news with mixed feelings of delight and dismay; delight because it was exactly the sort of thing I wanted to attend since I was (and indeed still am) involved in writing a book on this very subject; and dismay because it was due to take place in a pub in Manchester, on the far side of the world. Frustratingly, had this taken place a few scant months earlier when I was still in London, you couldn’t have kept me away.

Had I been able to go, I would most certainly have volunteered as a guest speaker to talk about my book. Instead I did the next best thing. Gareth Kavangh, the organiser, was preparing a Doctor Who comics-themed fanzine called Vworp Vworp! to launch it at the convention. I emailed Gareth and offered to write an article for his zine, and he gladly accepted. I also provided him with some research material for a panel he was running at the event. So, in lieu of being there and giving a talk, I wrote down what I would have said instead. My article discussed my particular interest in Doctor Who comic strips and my book. I knew a number of like-minded comic strip writers, artists and fans would be in attendance and it was an opportunity not to be missed to let them know who I was and what I was doing.

Good plan - in theory. Trouble was, the convention came and went. Gareth ran out of time to get his fanzine together so it wasn’t published in time for the event. These things happen. Not to worry, he was still determined to produce the publication, and still wanted to use my article. In February 2009, Vworp Vworp! writer Matt Badham interviewed me by email about my book. The plan was for this interview to appear alongside my article.

Months passed. Gareth was busy with his Masters degree and the zine understandably had to get placed on the back-burner. By July, Colin Brockhurst had joined Gareth on the project. At this time I pitched a second article idea for the zine, this time a look at how Scott Gray got himself established as a comic strip writer. I interviewed a number of usual suspects, including, crucially, the elusive Scott himself. Before I could deliver the piece I learned that there was no room left in the issue and that the piece was instead under consideration for a planned second volume.

By December I learned that my earlier article and accompanying interview about my book had also been dropped from the issue. This wasn’t too much of a disappointment; during my years as a fanzine editor I was frequently faced with the agonising decision to drop a piece from an issue. That never gets any easier, and I could certainly appreciate that my article and interview were no longer a good fit for the issue's repositioning as a celebration of all things DWM. Besides which, my book still wasn’t finished, let alone scheduled for publication, so it made sense to hold the article over to a later date when it would be more timely.

Still very much eager to help out, I offered Gareth and Colin my services as a proof-reader and fact-checker. This was accepted, and shortly before Christmas last year, I pored through eighty pages of PDFs looking for errors. I came up with a list of sixty corrections, most but not all of which made it into the issue (if you see a few typos on page 79, rest assured that I did point them out!)

Gareth very kindly has sent me a complimentary copy of the issue, which I received in the mail today. I cannot recommend this publication highly enough. Although I saw it all on my computer screen when I was proof-reading, I cannot help but marvel at the final, printed product. It is a thing of beauty; Gareth, Colin and their team of contributors deserve to be very proud indeed of what they have achieved.

Go to www.vworpvworp.co.uk to order, but be quick - they're selling fast!

My only hope is that at least something of mine gets published in volume two...

How I got Stripped for Action

The Doctor Who: Dalek War DVD box set (recently released in the UK), contains two 1973 Jon Pertwee stories: Frontier in Space and Planet of the Daleks. The set has been eagerly anticipated by fans due to the extraordinarily successful colour restoration of episode three of the latter story which for the past three decades has only existed as a monochrome recording.

The DVD has personal significance as I crop up in the extras. I’m in two separate features, both instalments in the ongoing ‘Stripped for Action’ series which examines the history of Doctor Who in comics. It’s the second time I’ve appeared on a Doctor Who DVD. The first was on Lost in Time some years earlier where I talked about finding a lost episode in an interview that was shot in my living room.

The invitation to appear in the documentaries came about at relatively short notice while I was in the UK last year on a month-long holiday. I had emailed Marcus Hearn, the director of the ‘Stripped for Action’ series, back in April 2008 to let him know that I was writing a book about Doctor Who comic strips and suggested meeting up while I was in London to compare notes since our two projects covered the same ground.

Several weeks passed. Then, on 20 May, midway through my stay in London, I received a reply from Marcus. He had just seen my email having recently returned from a month-long overseas trip. Marcus asked if I was still in London and if so would I like to be interviewed on camera for ‘Stripped for Action’? I replied that I had two weeks left before I had to fly home and if he could arrange something in time I’d be happy to participate.

Marcus pulled out all the stops to arrange contracts and book studio time at short notice to accommodate my limited availability. We met up in a coffee house in Soho to work out what we should cover in the interview and using these notes Marcus came up with sets of questions. I received these a few days in advance of the recording so I that had time to consider my answers. Marcus had already delivered most of the instalments in the Stripped for Action series, two of which had already been released on DVD. There were just three left to complete the series and Marcus wanted to interview me for all of these in a single studio session. Two of the three were The Third Doctor and The Daleks which both appear on Dalek War. The third documentary has yet to be announced, so I won’t disclose the subject of that one. It shouldn’t be hard to guess what it is, though.

My contributions to ‘Stripped for Action’ were recorded at a studio in Wapping, London on Tuesday 3 June 2008. This was just a couple of days before I was due to fly home to New Zealand.

To make good use of the studio booking, Marcus arranged two regular commentators, Jeremy Bentham and Alan Barnes, for the same studio session. Jeremy is a highly-respected ‘elder statesman’ of Doctor Who fandom who had written some influential articles about Doctor Who comics back in the early 1980s. I met up with Jeremy in London earlier in my trip to interview him for my book, and he and his delightful wife Paula treated me to a very nice dinner at an upmarket London restaurant. It was a delight to meet him once more at the studio recording.


The recording session took place in a small concrete-walled studio. I sat on a chair against a green screen backdrop. In the finished documentary, the green has been keyed out and replaced with an assortment of panels from the comic strips. I was advised not to wear anything green as this would interfere with the process. The screen was illuminated by a ring of exceedingly bright green lights placed around the camera lens which I found very distracting at the edge of my vision.

Marcus sat some distance away from the camera and fed me the questions and directions. So that my comments would make sense in the documentary I had to phrase my answers as self-contained statements. For example, when I was asked to describe the style of comic artist Ron Turner, my answer needed to begin something like “Ron Turner’s illustration style was...”

Going into the recording I felt prepared and confident but once it got underway I was surprised to find the experience more of a challenge than I’d expected. I was put off by the intense lights and to my horror I started muddling my words and speaking too fast. Fortunately Marcus is a patient and understanding director, and we did a few retakes of the initial question until I had relaxed into the process. As we began recording I was directed by one of the crew to keep still and to keep my hands out of shot. When I’m speaking, like most people, I tend to move about a bit and gesticulate, so having to sit still and not use my hands felt unnatural and disconcerting. I’m still not entirely sure why I was given this direction. On the documentaries a number of my fellow commentators can be seen waving their hands around which I think in contrast makes me look stiff and uncomfortable.

Following my session I got to sit and watch as Jeremy (who had arrived during my recording) took my place in front of the camera. I could sit and listen to Jeremy talk all day; he knows his subject very well indeed and is also clearly a confident and accomplished speaker. I had kept my answers fairly brief and to the point, whereas Jeremy expounded at great length, impressively covering the answers to a whole range of questions in a single informative and detailed monologue.

Alan Barnes turned up after Jeremy and I had finished our contributions. After a short break Alan went into studio to record his segments and Jeremy and I left to catch the train home. The walk to the station gave me the opportunity to chat some more to Jeremy about my book and he was very supportive of the project and subsequently sent copies of some early articles he’d written about the comics.

I received my complementary copy of the DVD box set from 2|entertain earlier this week, so one and a half years after the recording I've finally seen the finished results for the first time. I'm never comfortable with seeing myself on screen, and this combined with recalling just how uncomfortable I'd felt during the recording itself, meant that it was with some trepidation that I watched these features. Just a handful of my responses have made it on to the documentaries - but I consider that a good thing; my limited appearance makes them slightly easier to watch, and I'm relieved that my discomfort isn't as evident on screen as I'd feared.

Alas, the credit’s not quite right (as seen in the screen shot). I’m billed as the author of The Comics Companion which should be The Comic Strip Companion. I’ve already had people who have seen the documentaries contact me to ask where and when the book’s available. The answer is that it’s not finished yet. I’m hopeful that it will be out sometime next year, and it is being published by Telos.

First Draft Finished!

I've just this hour finished writing the last section of the final chapter of my book, The Comic Strip Companion (Vol 1: 1964-79).

I began writing on 14 April 2007, so it's taken me slightly over two years to get to this point.

As my book takes the form of an episode guide my work has been mapped out for me from the start; I've had to chronicle stories both good and bad and find something uniquely meaningful to write about each and every one of the Doctor's first fifteen years of comic strip adventures.

I've maintained a spreadsheet to keep track of my work, so I can see at a glance that I've scrutinised and documented the contents of 1,993 individual pages of comic strip, as well as a stack of reprints not included in that total. The word count stands at 207,189.

Work on the book is far from complete, however. There's a few short supplementary sections to be added and the whole manuscript's going to need revising from beginning to end.

I'm planning to put the book aside and focus my attention elsewhere; on another, shorter writing commission I have waiting for me. I'm hoping that this will clear my head, so I can come back to the manuscript with a relatively fresh eye. I've edited work by many other writers over the years, so I hope I can be equally efficient with my own material.

Making Progress

I've reached an important milestone in the writing of The Comic Strip Companion.

As of tonight, I’ve finished the last of the chapters dealing with all of the Doctor Who comic strip stories originated in TV Comic, Countdown and TV Action magazines from 1964 to 1979, which is the period covered by this volume. I've so far written 159,311 words. I've written individual entries for 166 different comic strip stories or, to put it another way, 1,601 comic strip pages - and that's not counting all of the various reprints which I've also covered.

Most of the book is now written - but there's still more to be done.

There are other comic strips published during this period that, although they are not considered part of the regular series, it would be remiss of me not to cover them in the book. These include the strips that appeared in: the Doctor Who Annuals; the Dalek Annuals; the three 1960s Dalek books; The Daleks strips from TV Century 21 comic; and the American comic adaptation of the first Dalek movie. This material amounts to an additional 56 stories, which might sound like a lot but many of these stories are significantly shorter than the ones I've already covered. This extra material will form supplementary chapters located at the rear of the book.

I've also got some recently discovered archival material that I need to find places to write about in the chapters I've already written. This previously unseen material casts new light on the origins of the Doctor Who strip and provides additional insight into the development of a number of the early strips. The documents also include three story proposals which were never published. This information has never been published elsewhere and will undoubtedly be of great interest.

I need to devote some time as well to revisiting some of what I’ve already written. I started work on the book nearly two years ago and over that time I've gradually tweaked the format and style as I’ve progressed through the chapters. I need to revisit the earliest sections I wrote and do some revising so that the whole book ends up with a readable, consistent format and style.

Right now though, I feel a sense of achievement in having written all fourteen chapters that form the main body of the book. There’s a way to go before I’m done, but now it feels like the end is on the horizon.

Getting back into the Groove

Today has been a day of shifting gears and getting back on track.

For many months now, I've been writing The Comic Strip Companion, a book about every Doctor Who comic strip created in the 1960s and 1970s (and yes, there are a lot of them).

I had to lay the book to one side to tackle another, quite different writing job. I can't say much about that other piece of writing yet (I'll blog about it when it's been announced), but I will say that this was a hugely different discipline to writing the book, and I found it enormously challenging to get into the right headspace for the duration. That's now done and delivered.

So, after about a month of doing very little on the book, I've just resumed work on it.

Time to take stock. Where am I at with this? A few facts and figures might help. When I left off in mid-August, I'd completed the first drafts of nine chapters, which between them cover 87 comic strip stories. My total word count when I left off was 98,116 words (Believe me, I was sorely tempted to push on to the next chapter to break that psychological 100,000 barrier!).

I've another five chapters to write, plus three appendicies which are each probably going to be long enough to be considered chapters in their own right - so there's still a lot left to do.

Today, rather than launching straight into a new chapter, I decided to get back into the mindset by revising Chapter Six (which covers the comic strips published in 1970). The revisions included adding in a whole new subsection, and trimming down some overly wordy bits.

Having completed this revision, I took the plunge and sent this newly polished chapter out to a test audience for feedback and comments. I held off doing this until now because I didn't want the distraction of replies while I was working on the Other Project. Now it's time to start soliciting and receiving that constructive criticism. I've emailed a group of seven readers, and just hours later, I've already received my first feedback which has already got me thinking about making a few tweaks to the format. I'll hold off doing that though until I see what the others have to say.

TSV 59

In my editorial for TSV 59, published January 2000 I took the occasion of the turning of the decade to bemoan the fact that, notwithstanding the McGann TV movie, fans had gone ten years without newly-produced television Doctor Who. I wrote of the unexpected thrill that myself and a couple of friends had experienced when we first watched the cliffhanger ending of The Curse of Fenric episode three, a thrill that had been missing in the intervening years; and concluded by making a simple yet heartfelt request: "Can we have our series back, please?"

I had to wait a few more years after that editorial appeared but I’m happy to say that my request was granted and I'm now experiencing that cliffhanger thrill again, most recently at the conclusion of The Stolen Earth, which was so astonishingly unexpected it actually had me wondering whether I just seen the Tenth Doctor's swansong. Honestly, I cannot understate this: I adore the new series of Doctor Who and it's brilliant beyond words that it has been such a phenomenally huge success.

TSV 59 however belongs to a time when fans were still clutching at whatever passed for something new about Doctor Who. It seems highly unlikely that a spoof Comic Relief sketch would receive such prominence now, but there’s The Curse of Fatal Death (scripted by current producer-in-waiting himself, Steven Moffat), on the front cover. Actually that’s a rather good piece of artwork by Alistair Hughes which cleverly pastiches Target’s The Five Doctors novelisation cover.

There’s more goodness from Al Hughes inside the issue, in the form of a Lara Croft-inspired picture of Leela. The artwork appeared in black and white in the issue, but in an early example of the TSV website supporting the issue’s content, a link was provided for readers to check out the full colour version online. (Now, of course, the whole issue's on the website.)

Al’s finest work this issue is in the form of an eight page comic strip called Our Final Battlefield which is just stunning. When I first laid eyes on this I emailed Al and told him he should send a copy to Doctor Who Magazine to see if they might be interested in printing it. I’ve no idea if Al did, or if he received a reply, but to my mind it was certainly worthy of consideration.

TSV 59 also has some rather good articles, including an insightful examination of the subtext of The Greatest Show in the Galaxy by Peter Adamson. This caused a bit of a problem when an emailed comment was included that wasn’t intended for publication. Thankfully this genuine misunderstanding was soon smoothed over without the need to do anything as drastic as withdrawing the entire print run (though this was initially requested), but I have of course removed the offending comment for the online edition.

Peter was a prolific contributor to TSV for many years, delivering both quantity and quality with inspiring regularity. His input, if not always his name, infuses at least half of this issue’s content. The Machinery of Survival is one of his articles, a thorough examination (I’m tempted to write dissection) of the rather gory subject of converting humans into Cybermen. Now that’s why I think Cybermen are far scarier than Daleks.

I mentioned in a previous commentary that legendary TV historian Andrew Pixley has something of an aversion to being interviewed, claiming that the process of writing the Doctor Who Magazine Archives was simply too boring to talk about. I disagreed, and after some gentle persuasion on my part he agreed to an email interview. The first half appeared in this issue, and I think makes fascinating reading for anyone like me who regards Andrew’s Archives as the most thorough and reliable reference work ever produced on the behind-the-scenes history of Doctor Who. I just wish that these will someday get reissued as bound book editions, as it would be a lot easier to look things up if I didn't have to shuffle through more than a decade’s worth of magazines.

Even if you're already familiar with Andrew's interview from the print edition, I recommend looking up the online version as it includes a new postscript by Andrew in which he brings his comments up to date. I should add too that Andrew offered to write this for the online edition when he observed that the issue was due for republication, without any prompting from me. That's the kind of generous and thoughtful man he is.

Read the issue here.

Fellow TSV 59 bloggers:
Alden Bates
Jamas Enright

TSV 58

At the moment almost all of my writing is taken up with chronicling Doctor Who comic strips from years gone by. What started out as an interest in the comics as part of a wider focus on all things to do with a certain Time Lord has just within the last couple of years narrowed to a singular obsession as I've developed the manuscript of what will eventually be my first professionally published book.

So it is that looking back at TSV 58, first published back in September 1999, I’m interested above all else in the article it contauins about the making of one of the Doctor Who Magazine comic strips. This item will in time no doubt end up being listed in my book’s bibliography (but not until the second volume).

It’s My Party and I’ll Die if I Want To was an insight into the writing and drawing of DWM’s 1998 anniversary strip, called Happy Deathday. The article was written by Warwick Gray, better known to DWM readers by his professional name Scott Gray. Warwick – or rather Scott as I should call him from here on in – is possibly TSV’s greatest success story. Scott was illustrating and writing for TSV when he was still living in his mother’s basement in suburban Dunedin. The early years of TSV owe a great deal to Warwick's creative input, as I'm sure both long time subscribers and those who've had a thorough look through the online archive will be aware.

I remain very proud of the fact that we published Scott Gray’s earliest Doctor Who comic strips, the very same work that he submitted on spec to Doctor Who Magazine and resulted in work as a comic strip writer and assistant editor on DWM when he moved to the UK in the early 1990s. Scott is now widely regarded as one of the very best things ever to happen to the DWM Doctor Who comic strip, and it's a shame in my opinion that he stepped down as the regular writer when Paul McGann's Doctor was replaced by Christopher Eccleston.

I’ve kept in contact with Scott, and have caught up with him on a few of my UK trips (though circumstances conspired against us meeting up for a drink on my most recent foray to Britain in May this year). Despite his considerable success with his comic strip writing – which is really rather extraordinary good, it has to be said – Scott’s never forgotten TSV, and back in 1999 enthusiastically volunteered this article on the writing of one of his strips for DWM. As this particular story was a team-up with artist Roger Langridge, another ex-pat Kiwi now living in London, it was the ideal strip to write about for TSV.

I think if I recall correctly, the roughs came first. Scott adored Roger’s rough versions of the strip and thought they deserved to be printed. So that’s no doubt what got him thinking of TSV as the ideal place to showcase these. I think Scott wrote his article to give the roughs some context. As it was I didn’t have the page space to print the entire strip, but I did feature many excerpts with comparison panels from the finished version seen in DWM.

With the online publication of this issue I recently took the opportunity to pull out some dusty old box files and locate the original roughs Scott sent me all those years ago, still stored carefully away in a folder, with post-it notes still attached to the pages. There are no page constraints for an electronic issue, so for the first time ever, Roger Langridge’s roughs, plus his preliminary sketches for each of the Doctors, are finally available for all to enjoy.

Still on the subject of comic strips, but elsewhere in the issue, A Locked Room Mystery was significant for finally completing the set of all eight Doctors (as there were back then). TSV had published at least one ‘serious’ comic strip story for each of the Doctors except the first, so finally it was William Hartnell’s turn, in a suitably claustrophobic tale set entirely within the TARDIS.

Around this time of TSV 58 I know I was becoming concerned with the ever-growing number of VHS releases. I was determined to publish a review of each and every story as it was released, but with the frequency of VHS releases increasing as BBC Worldwide set its sights on completing the range within a few years, and the gap widening between TSV issues, inevitably each issue would have quite a few video reviews. So I started to look for ways to diversify these, and hit on the idea of doing a commentary in print. I put the proposal to Peter Adamson and Alistair Hughes, who responded enthusiastically, coming up with the regular Beyond the Sofa feature. These days this feature would be referred to as a ‘fan commentary’; only in print, rather than on DVD.

I can’t really make any claim to originality for the idea. I’d seen it done with SFX magazine’s regular 'Couch Potato' feature, and I think Pete and Al may also have been inspired by this source. Some readers thought TSV might have copied DWM, as their long-running Time Team commentary feature had only just begun at this time. I do know that I’d already put the idea for what became Beyond the Sofa to Pete and Al by the time I first laid eyes on the 'Time Team' feature in DWM 279, as I recall being astonished that we’d come up with a fairly similar approach at pretty much the same time.

Peter also drew the front cover artwork (providing regular cover artist Alistair with what was probably a much-needed break), and Peter’s piece ties in nicely with the focus on Nightmare of Eden for the Beyond the Sofa feature.

I’m fond of the New Adventures novels, so it was a pleasure to publish Jamas Enright’s comprehensively researched piece on All-Consuming Fire. I’d done something similar myself for Happy Endings, another New Adventures novel, back in TSV 49, and if time had permitted, I would like to have had more annotated guides in this vein in TSV.

As it was, by this time I was doing less and less of the writing for TSV myself. This was an incredibly busy and sometimes stressful time for me; a change of job was just around the corner and over the following two years I'd experience a meteoric rise from call centre supervisor to the general manager of the company. But enough about me - go off and read TSV 58!

Read the issue here.

Fellow TSV 58 bloggers
Alden Bates
Jamas Enright

TSV 57

Every issue of TSV that I've edited has had one or two leading features that define that issue's unique identity. Whether it be an interview, an analysis of some aspect of the series, a comic strip story or a particularly in-depth review, this item (or items) is the very heart of the issue. In the case of TSV 57 that core item is The Lion’s Tale, an extensive expose of the rediscovery of the rediscovery of The Crusade episode 1.

While I usually chose to leave the writing of such lead items to others so that I’d have enough time up my sleeve to actually put the issue together, in the case of this article there was no one better positioned to write the piece than myself. The fact that I was effectively doing double duty as both lead writer and editor goes a long way towards explaining why there’s a fairly long delay – half a year in fact - between issues 56 and 57.

The discovery of a lost Doctor Who episode in New Zealand generated a huge amount of interest at the time, and to this day many people I meet (fans and non-fans alike) recall the news of the find and appear genuinely interested in having me talk about my part in the episode’s discovery and return. At the time of writing (in early June 2008) I’ve just returned from a month-long trip to the UK during which I met a few fairly well-known people in Doctor Who circles, and sure enough The Lion continues to come up as a topic of conversation more than nine years later (I even got to visit BBC Television Centre on this trip and met people who were responsible for the episode’s restoration and saw the machine on which the film print was copied). A number of the people I’ve worked and socialised with recall reading or hearing about the episode discovery. It’s not something I usually volunteer myself but when I mention that I am a Doctor Who fan (something that’s rather more socially acceptable to admit to these days, to my delight), a typical response from a non-fan in New Zealand is to observe that an episode was once discovered here. At which point I confess my own involvement in that, and usually end up telling a potted version of what happened.

The full version of The Lion’s Tale appeared in TSV 57, and was subsequently republished online in a slightly altered version. This was one of the earliest items to make the transition from print to the online medium, and perhaps even pre-dates the creation of the TSV Archive. As such it means that the heart of TSV 57 has been available to read on the website for a lot longer than the rest of the issue. The article was revised early last year (2007) with the assistance of Jon Preddle, mainly to incorporate information that has since come to light about why the episode was found in New Zealand despite never actually having been screened on television in this country. The online version still resembles the original printed piece, and the one notable omission is a plot synopsis of the episode, which was borrowed from Andrew Pixley’s archive feature in Doctor Who Magazine. Despite fully intending to do so, I neglected to ask permission from either Andrew or DWM to reprint this section in TSV. Which was rather embarrassing; especially when Andrew told me that he’d prefer that I hadn’t reprinted the excerpt. Fortunately Andrew was very good about the whole thing, and the archive synopsis was left out when the article went online.

If The Lion’s Tale was the heart of TSV 57 then its soul was The Life and Times of Neil Lambess. Neil frequently mentioned to me how much he loved the Jackie Jenkins column in DWM. The Life and Times of Jackie Jenkins was a regular column about events in the life of a female Doctor Who fan. Jackie was a fiction, penned by DWM columnist Vanessa Bishop, but many of the things she wrote about had a truth that resonated with fans. Neil was particularly awed by the fact that in one instalment ‘Jackie’ talked about the return of The Lion, meaning that his key role in discovering the episode had influenced Jackie’s semi-fictional existence. I suggested to Neil that he ought to write up his own experiences surrounding The Lion in the form of a pastiche of Jackie’s column. Neil writes with a great deal of feeling and with his honest emotions very much on show, and I think that is what makes his work so compelling and so suited to this type of confessional piece. Although it was never intended to be anything more than a one-off, I was so taken with Neil’s article that I asked him to continue with a regular column, which in later issues Neil re-named Errant Nonsense.

The other key significant item in the issue was the Pilots of the Deep comic strip. This was a good fit with The Lion content in the sense that this was also about restoring a piece of lost Doctor Who narrative. Pilots of the Deep had for many years been an unfinished work, a loose dangling thread in the history of TSV. The initial two parts of the strip, which featured the Seventh Doctor and Ace encountering the Sea Devils, had appeared in 1989 but it was never completed. A decade later, the strip was reprinted with a newly-created conclusion as a collaboration between Peter Adamson and David Ronayne. It was particularly satisfying for me to see the story finally completed as I’d collaborated with Mark Roach (now a successful Auckland independent music producer) on the second instalment back in 1989. I met up with Mark late last year at a reunion of a group of old friends I hadn’t seen for years and he told me that he’d discovered the TSV website and appreciated getting to see his old Doctor Who writing and artwork again.

Finally, the stunning front cover artwork by the awesomely talented Alistair Hughes cannot pass without mention. The Doctor's face emerging from an old map of Palestine is quite astonishing to behold, and appears almost three-dimensional. Quite brilliant.

Read TSV 57 here

Fellow TSV 57 bloggers:
Alden Bates
Jamas Enright

Taking the Plunge

Today is my first day as a freelance writer.

After a full six and a quarter years working at the head office of Noel Leeming Group, yesterday was my final day as an employee of that company. It was both rather sad and also rather liberating at the same time. I was acutely aware over the course of the day that I was performing for the very last time each of the daily routines I’d done many hundreds of times over. I felt the weight of so much personal history and experience invested in that location, and in those tasks, gradually lifting from my shoulders.

I was very touched by the genuinely unexpected and welcome send-off by many of my friends and colleagues at NLG. I’d been there so long that I don’t think there was a single person at my morning tea send-off who had been working for the company when I joined way back in January 2002. As I said in my farewell speech, it is the people whom I’ll miss most of all. I’m hoping to keep in contact with some of them.

I left under entirely amicable circumstances; my position was dissolved due to some minor restructuring by the company, but this wasn’t unexpected as two and a half years ago I was advised that my job would eventually be reviewed and altered in some fashion. I was offered - and readily accepted - redundancy.

This was rather good timing as for a while now I’ve been considering devoting more time to what up until now has been my 'secondary career' as a writer. Regular, paid employment was too appealing to give up voluntarily and I needed a push to propel me outside of this comfortable stability.

I haven’t mentioned anything on this blog until now about my paid writing commissions because they've yet to be publicly announced by the respective publishers, and it’s bad form to disclose too much beforehand, but I will say that one is a guidebook about Doctor Who comic strips of the 1960s and 1970s that I’ve been working on in my evenings and weekends for most of the last year, and the other (a far more recent commission), I cannot say anything about yet as I’ve been asked to keep this confidential.

Both jobs will undoubtedly keep me busy as a full-time writer for a least the next several months, and there is the prospect of more work to follow, with a second, follow-up volume about the comic strips under commission and possibly also another writing job to follow on from the first one I cannot talk about yet, contingent on how my first piece turns out.

I’m under no illusion that these jobs will earn me enough to keep writing fulltime long-term; I will no doubt need to seek out a new job so that I don’t end up draining all of my savings, but for most of the rest of 2008 it is my intention to live the life of a fulltime, freelance writer. It’s something I’ve dreamed of doing ever since I was a teenager and I’m excited and just a little daunted at the realisation that this day has finally arrived.