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REVIEW: 'The Gate Key Chronicles: The Dark Light' By J.G. Blodgett

Publisher: Gate Key Publishing

Written By: J.G. Blodgett

RRP: £7.17 / $9.99 (Paperback) | £2.16 / $2.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 9th March 2021

For fans of epic fantasy, J.G. Blodgett's 'The Dark Light' (Book 1 in The Gate Key Chronicles) delivers a gripping, well-thought-out saga, that will have kids, teens and adults alike captivated.

It focuses on Jimmy Mankins and Amelia Miller; childhood friends who share a mysterious secret that opens the way to a dark threat from another world.

The book begins with the prologue and a mystery; Jimmy (simply known as 'Boy'), wakes up at the edge of a field with a hazy memory of who and where he is. He quickly discovers Amelia, and with the help of both their Father's, they return to a place of warmth and safety. As the prologue draws to a close, however, questions are left unanswered - tantalising the reader by wanting to know more.

We are then properly introduced to Jimmy and Amelia, and the next few chapters beautifully captures the beginning of their special friendship, as well as, despite some differences, touching on the many parallels between their lives.

There is a wonderful scene in Chapter Three that juxtaposes Jimmy and Amelia's home environment - but, like with most of their relationship, there's something that connects them. Rather perfectly, (and sure this may sound odd), it's reflected in broccoli; Jimmy's dinner is a humble one with sausages, mashed potato (out of a packet) and broccoli - whereas Amelia is tucking into a steak dinner, with broccoli as her accompaniment. It was so poetically written, and I don't think I've ever seen a vegetable used in such a meaningful way!

As the story unfolds, Amelia entrusts her own secret to Jimmy, and we discover how everything is connected and why their world's are fatefully thrown together. The author uses time to dip back and forth in the narrative to fill in some gaps along the way. It acts as a nice break in the story-telling, whilst fleshing out our protagonist's backstories.

There is, of course, a lingering threat throughout The Dark Light (as the title suggest). Something that you know is coming, but not entirely sure of what form it will take. Be it school bullies, dark creatures, or an oncoming storm, you feel protective of our protagonists and want nothing bad to happen to them.

The relatively small cast of characters are incredibly well-rounded and layered. Jimmy's father (Donald), for example, is someone you don't necessarily like, but one simple line a few chapters in: "time in the Vietnam War" - instantly gives you a small sense of sympathy and understanding for him. Amelia also sees Donald's redeemable qualities; "he was capable of being the father he once was".

As a reader, I was unaware of just how much emotion there could be in the story. The rich relationships between the characters, between father and son, father and daughter. The way in which loss is dealt with (or not), and how faith is something that can drive you through even the toughest situations. Yes it's a fantasy, but it's one with a surprisingly grounded heart that makes you simply feel every word on the page.

If there was a comparison, I'd say it was Stranger Things meets The Neverending Story. It's simply screaming out to be made into a Netflix series.! You can almost feel the natural cliffhangers to each episode and with more books to come, there's a lot of mileage, here. 

I am so pleased and feel privileged to have read The Dark Light. It was so much more than I had hoped for (hence the length of this review), and whilst I have no idea what form Book 2 will take, believe me when I say that I will be hounding the author for it's release, as it can't come soon enough!

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REVIEW: 'Tales Of The Starmen: Volume 1' By Nathan Burton

Publisher: Self Published

Written By: Nathan Burton

RRP: £4.00 / $5.25 (Paperback) | £2.00 / $2.51 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 22nd February 2021

From the stunning cover, you'd be forgiven for thinking that Tales Of The Starmen: Volume 1, by Nathan Burton was a graphic novel, but this is in fact a short but punchy space saga.

The story focuses on two brothers; Helion and Eckron, who, despite their disparity, must fulfil their royal duties.

There is a great variety of pacing here; we go from a vicious space fight to a street race in Kingson, Jamaica. Both these scenes act as stark metaphors for the differences between the two brothers. One just wants to win a race (Helion) and the other wants to ascend the Nova Throne (Eckron). That being said, there are more to the characters than their differences - particularly Eckron. Sure, he is unlikeable and power hungry, but, rather geniusly, there's a redeemable side to him that you discover near the end of the book. One particular line we loved from Eckron near the end, was as follows:

‘He said he wanted to be like me. Perhaps I should make some effort to be more like him.’

For a story so short, there's actually some decent character development, and whilst the cast of characters are relatively small, each have purpose and place within the narrative. We also love the diversity; this is very much a black-centric royal family and outside of the likes of Black Panther or Coming To America, its fantastic to have a black royal family represented in literary form for us Science Fiction fans.

It is clear that the author is a SciFi fan - and a well-seasoned one at that. There are hints of Star Wars and even The Fifth Element here, but Burton makes Tales Of The Starmen very much his own.

Whilst this is Volume 1 of a proposed series, it also acts as a satisfying conclusion. For those who hate cliffhangers, you can rest assured of a stress-free ending. Whenever Volume 2 does come out, it will mark a new chapter in this fun, gripping, pleasantly manageable saga.

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REVIEW: 'Mars Madness' By Jodi Bowesox

Publisher: Self Published

Written By: Jodi Bowersox

RRP: £10.13 / $7.14 (Paperback) | £3.05 / $4.26 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 19th February 2021

Mars Madness is book 1 in a 3 book series by author, Jodi Bowersox. It's self-titled as an 'out of this world romantic adventure' and boy does it deliver on that promise! What was left out of that headliner, however, is just how funny it is, too. 

We follow divorced mum of one, Katrina McKenna as she reluctantly buys a lottery ticket (on her daughter's insistence) for a luxury, two-year Mars adventure. The chances of wining are astronomical  to say the least (if you pardon the pun), but chance finds its way to Kat and before she knows it, she finds herself, begrudgingly on her way to Mars.

Thing is... her ex husband, who works for the company sending her to Mars, is also going to Mars, and he will be bringing their daughter along for the ride. All isn't as straightforward as one would think, though, and half of the fun we have is just getting to Mars. Hell, even leaving Earth has its fair share of setbacks with errant robotic maids, stowaway daughters and... an Israeli terrorist?!

We love the dialogue between Kat and her husband Doug; they really do reflect a real life ex-couple - complete with all the fallout (bad and good) that comes with it. Their daughter, Francesca is the magnet that has kept them in each others lives, and whilst you can see why they have gone their separate ways, there's this underlying feeling of wishing they could work things out.

Bowersox is a wizard in the way she sets up the situations our characters find themselves in. They present themselves as quietly comic (and not so quietly in some places) playlets, and whilst there are undoubtedly predictable outcomes that you relish as a reader, the author also takes you in unexpected directions.

It's tricky not to spoil things, but we will say that the ending wasn't at all what we were expecting, and it is absolutely a better story as a result. It sets up book 2 perfectly, and there's even a little sneak peek at the prologue for the sequel (Beware The Eyes Of Mars) at the very end.

There is a wonderful phrase that states; "The fun is in the journey", and nowhere is this more present than in Mars Madness. A fun read that has heart and soul!

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REVIEW: 'Mark Of Odin: The Awakening' By Xavier Marcé

Publisher: Self Published

Written By: Xavier Marcé

RRP: £14.47 / $19.99 (Paperback) | £FREE / $FREE (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 9th February 2021

Modern Warfare meets SciFi in Mark Of Odin: The Awakening - a gripping story from the pen of Xavier Marcé.

The events of the story are set in 2012, where Luis (our main character) is set to graduate in Aerospace Engineering. Everything is going his way until Luis begins to have recurring nightmares from mythical beasts from Norse mythology.

We want to start by drawing particular attention to the prologue (set in Norway, 60,000 years ago), which instantly submerses the reader into the author's fantastic use of descriptive exposition;

"The city resembled a marble ocean in shades of blue and green; it was formed by palaces and large buildings that were dotted all over with the lush greenery of trees and cleaved through by wide stone avenues. The port area thronged with the city’s inhabitants who were heading to the ships with their most prized possessions. One vast building with a dome of titanic proportions stood out above the rest, dominating the centre of the city."

After being introduced to Luis and one of his nightmarish dreams, the story then switches tone, pace and location completely as we are introduced to Lieutenant Colonel Jack Preston of the United States Air Force, who is working on a prototype which ties in with what Luis is working on, half a world away. Soon their worlds collide, and, without giving too much away, their world's are not the only ones to collide...

The tying in of Norse mythology with that of a modern day setting is incredibly well thought out and successfully executed, and the final four chapters will have you gripped as there are flavours of Independence Day with a dash of Thor. That being said, there's no emulation here - Mark Of Odin is very much its own beast and with a conclusion that guarantees more to come, you'll be counting down the weeks, days and minutes until the next instalment.

It's worth mentioning that Mark Of Odin was originally published in the author's native Spanish, and having seen this with other books in the past, it normally comes at a cost in descriptions and sense of character. We were very pleased to say that nothing is lost in translation, and it stands shoulder to shoulder with its native version. The book is steeped in the flavour of Spain; from touching on its society to its history, you really get a rich sense of identity in the novel.

Rather ingeniously, once you are done reading Mark Of Odin, you can continue the reading experience  via an online pass which unlocks a digital edition with bonus chapters and stories. This really boosts your whole experience of the story and also gives you direct access to the author himself, via the online forum. It it because of this exciting way of creating and distributing additional content, that it really does feel bigger than the sum of its parts and, as such, we look forward to delving further into Marcé's world!

+  Mark Of Odin: The Awakening is Out Now!
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REVIEW: 'The Fate Of Magik' By Bella Rayne

Publisher: Outskirts Press Inc.

Written By: Bella Rayne

RRP: £14.95 / $16.43 (Paperback) | £3.19 / $4.35 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 4th February 2021

Bella Rayne's The Fate Of Magick centres around Dabney West; a befreckled, red-headed, self-reliant, loner, and, in her own words, "a force to be reckoned with". Dabney (great, unusual name by the way) is hugely affected by a horrific incident involving her parents, which changes her life forever.

If that wasn't enough, Dabney and her husband have drifted apart, and the company she works for is responsible for dumping toxic waste into her treasured forest. Having been caught taking photos and video of the incident, Dabney is later found out and sacked from her job.

Desperate for a fresh start, she moves to a new city to start her new life. It is in this new life that she begins having vivid dreams with strange messages. There's also a rather shocking predator (the details of which we won't spoil here), but it makes for some uncomfortable reading. That being said, it is this point in the story that you really feel a change in stakes.

With newfound powers and a true sense of empowerment, we see our central character change before our eyes and it is one of the most beautiful yet shocking changes we have ever seen to a character on the page...ever! Speaking of which, Dabney is surrounded by a fantastically diverse set of characters - not all of which she can trust...

We love the way in which Dabney is telling her story to us; at times it feels like a conversation with an old friend, and there are certain moments or subjects she talks about that the reader can totally align with. There's a whole section about Twitter, of which there are some elements many of us can relate to!

There are some racy moments, some downright scary moments, and best of all, moments that will have you punching the air for our heroine, in this darkly beautiful story from Bella Rayne.

One cannot help feeling there may be similarities to our protagonist and the author; Dabney comes across so clearly on the page and the details of her life are so rich and fleshed out that it almost feels like elements of a life that has actually been lived. She is even an author of the paranormal!

The wonderful ending sets things up for a sequel, and promises of adventures new. We will be there for the ride and recommend this book for anyone who loves the fantasy / romance genres.

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REVIEW: 'Future Apocalypse: Beginnings' By Barbara J. Gilbert

Publisher: Self-Published

Written By: Barbara J. Gilbert

RRP: £8.04 / $10.99 (Paperback) | £2.19 / $2.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 2nd February 2021

Future Apocalypse: Beginnings is the first in a thrilling new time travel series from Barbara J. Gilbert.

We follow Paulette Brown, a young woman who, after dealing with a personal tragedy in her hometown of Wilmington, North Carolina, moves with her Mother to Washington.

Due to the events of her life in Wilmington, Paulette cannot shake her wish to change the past, which leads to her eventual elopement of a time pod, with her best friend, Greg.

With a relatively small pool of characters, one feels more intimacy with the plot and in turn, really hones in on Paulette's journey. You know that the people she meets are rich and rounded, and not just thrown in as padding. We particularly liked what the author does with Greg - whilst he supports his best friend, you feel the real-life conflict between them as he doesn't always agree with Paulette.

One of the things that we really loved, which, on paper, may not seem necessarily ground-breaking, was the fact that we follow 10 years of Paulette's life (and half the book) before we get our first taste of any time travel. As a reader you follow Paulette's struggles to get her project to conclusion, and you are chomping at the bit to see her dream realised. Hats off to the author for the slow build as it gives us time to get to know our protagonist, before she's thrust into the action.

Needles to say, time travel has its own rules and pitfalls, and it's not long before Paulette is thrown into a world-changing dilemma that picks up the pace and hurtles the reader in a fantastic, exciting new direction. It's this gear change that almost makes you feel you are reading two different stories - nay, genres. It's a delightful pace breaker and it comes at exactly the right moment.

The ending is far from what you think it will be, with all predictability thrown out the window, and with two more titles in the series now available, we are looking forward to seeing where Paulette's adventure takes her! Highly Recommended!

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REVIEW: The Firestone' By Francesca Tyer

Publisher: Author's Reach

Written By: Francesca Tyer

RRP: £9.19 / $6.96 (Paperback) | £1.99 / $2.72 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 27th January 2021

The Firestone is the debut novel from Francesca Tyer - book 1 in a proposed series.

The story focuses on James; a fourteen year-old boy who, after witnessing a strange event at an airport, finds his way to an old clock shop that helps open the door to a new, exciting world.

One cannot help but feel some kindred similarities with Harry Potter and His Dark Materials, but rather than feeling like emulation, The Firestone very much treads its own path. We only mention this as fans of those books will feel very much at home here.

Terrific pacing sees James and his newfound friends bounding forwards in this wonderful, magical adventure, that has time quite literally at its heart. There is a quest within the story (and what a quest it is!) that will soon make it clear to the reader where the following books in the series may go. Needless to say, it powers you through, and whilst the phrase is horrendously overused in reviews, this really is a page turner, in the truest sense.

The author's use of descriptions are just wonderful; the way she paints misty, night-time London is so evocative and really sets the standard early on. With cavernous cities, fire, ice, wolves and dragons, The Firestone is simply brimming with excitement at every turn and the conclusion will have you both satisfied and desperate for more.

With the promise of a return trip to Arrisel, Francesca Tyer has set up the series perfectly in this first book. To think this is Tyer's first novel is mind-blowing - for this is the work of a seasoned writer whose attention to detail, character development and world building, galvanises her as a most accomplished author.

The Firestone, in our opinion, could very well be the next big thing since Harry Potter and it is simply screaming out to be made into a movie series! Most definitely recommended!

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TARDISMonkey's Torchwood Diary - 3.1 - The One Where It's Day One

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

3.1: Children Of Eath - Day One

Well, where can I begin with this one? What an absolutely jam packed episode. This is something we wholeheartedly expected from the writing talent of Russell T. Davies.

 

We enter day one of the 5 day episodic adventure with a school trip in Scotland. However, this doesn’t appear to be the typical trip to your local landmark. The whole opening of this story is very much an homage to the film “Close Encounters” as the kids are guided by a group of adults as they walk into the mysterious light, never to be seen again.

 

In true Torchwood style, we’re immediately swept to modern day Cardiff, as the Torchwood team (or the remains of them after the passing of Tosh and Owen), are in full action dealing with alien menaces in a hospital. However, their interference doesn’t go unnoticed as a curious Doctor Rupesh Patanjali catches Jack and Ianto in the act as they try and extract an alien artefact from a corpse. He seems very interested in the Torchwood team and after the events of the end of series 2, it feels like the team could do with an extra pair of hands and Gwen agrees.

 

Whilst all this is taking place, the children on Earth appear to have suddenly stopped. Gwen feeling as confused as the rest of us, goes to investigate the issue. It’s quite an ominous scene as the camera lingers on the lifeless eyes of the children. Suddenly, after a minute or so the kids suddenly spring back into life as if nothing has happened.

 

As this is all taking place, we are transported to the Home Office, where we’re introduced to Peter Capaldi - not as the Doctor, but as John Frobisher. Colonel Oduya (Charles Abomeli) tells John all about the incident with the children and how UNIT and Torchwood can contain the story - how wrong he was. We are also introduced to Lois Habiba (Cush Jumbo) who is on her first day and surpassingly is given some highly confidential information on a Post-it-note. To be fair with UNIT’s security sometimes, this doesn’t surprise me.

 

We zip to and from multiple storylines in one episode; we quickly head back to Gwen and Rupesh talking about aliens and how they impacted the world. Suddenly the children start screaming. It’s a horrifying scene as you see parents yelling at their children trying to get them to stop, before they start proclaiming “We are coming” all in unison. If that isn’t strange enough, it isn’t just the children, but a man called Timothy, who we later discover is called Clement McDonald, who was one of the original children in the opening scene, who also shouts into the distance. It's a fabulous establishing episode, gearing up to what feels like the Torchwood team's biggest challenge that they have had to face so far.

 

Not only do we have the main premise, but we also find out Jack has a daughter, who in Torchwood style is older than him. It’s a turn of events we didn’t expect to see, delving into Jack’s past once more, while Ianto has the Torchwood mobile stolen and Gwen finds out she’s pregnant. Also, Jack has a bomb implanted into him that blows up at the end of the episode and yes this all does fit into a one hour episode.

 

The episode is beautifully directed by the wonderful Euros Lyn, who has done many iconic Doctor Who stories during the Russell T. Davies era. It really builds up the whole premise of the grand scale of the situation and how the Torchwood team need to adapt and change to their new way of working. With Captain Jack seemingly gone, what are the team going to do now?


Ellie (TARDISMonkey) 


 

 

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[Source:
DWO]

REVIEW: 'The Witches Of Vegas' By Mark Rosendorf

Publisher: Wild Rose Press

Written By: Mark Rosendorf

RRP: £12.99 / $15.99 (Paperback) | £3.98 / $5.19 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 31st October 2020

Mark Rosendorf's The Witches Of Vegas is a fantastic new YA / Urban Fantasy with a thrilling supernatural twist. Think The Greatest Showman meets Twilight and you get the recipe for this thoroughly entertaining book.

Set against the titular backdrop of Las Vegas, the story follows Isis; a young witch getting to grips with her magical powers. Following a troubled childhood she is saved and subsequently taken in by a coven of witches who give her the family she's always wanted.

And now to the really clever bit... the Witches have a sell-out show at the Sapphire Resort in Vegas -  displaying (unbeknown to the audience) real magic. This is a genius move by the author to create a device where the Witches can hide in plain sight, whilst using their talents, and earn a tidy crust on the side.

As well as Witches we also have a rather nasty Vampire, which compliments the story wonderfully by giving us a worthy, and may we say unexpected adversary. There's also room for a little Romance in The Witches Of Vegas, and whilst we don't want to give anything away, we did enjoy the fresh way in which it unfolds in the story.

There are characters that you will simply love; outside of Isis, Sebastian, Luther, Valeria and Zack were among our favourites and were all layered and delightfully complex.

Not only does Rosendorf bring to life a rich palette of characters, but he also brings Las Vegas to life in the pages of the book. It's clear this is somewhere he has researched, walked the streets and breathed the atmosphere, and it reads very much as a character in its own right.

The conclusion was incredibly satisfying, whilst leaving you wanting for more, and you will love how everything regarding the show itself has a poignant part to play for our beloved coven.

The Witches Of Vegas is simply screaming out to be a movie series. The glamour and sparkle of Vegas juxtaposed with the magic and dark undertones of the story would convert so well on the big screen. One can only hope that Hollywood snaps up this incredibly engrossing adventure.

In a conversation with the author, we were pleased to learn that there will be a sequel, which is just as well, as we felt like we weren't done yet with Isis and her fascinating world. Expect big things from Mark Rosendorf - an author you most definitely have to have in your library!


What first got you into writing?

Writing was something I always knew I wanted to do. As a child, I had a wild imagination, especially when playing with my toys. I used to create worlds which were detailed and followed a story that would continue each time I laid on the floor and played.

I was in the seventh grade when I knew writing was in my future. My social studies teacher gave us an assignment to interview a grandparent and then write up their story. Unfortunately, my grandparents had a 1960s sitcom ability to turn every single topic into an argument…and they both hit below the belt. The fact that they were married for 70 years is perhaps the eighth wonder of the world. I did take a shot at the assignment; I asked my grandfather to tell me about his life growing up during the depression. He told me about the girl from Ohio he wished he’d married instead of the woman he did marry. My grandmother jumped on the line and, of course, they ended up arguing. Even as I hung up the phone, they were still yelling at each other on the line.

I sat down and made up a story about my grandfather. In the story, I explained how, during the depression of the 1920’s, he left home at fourteen years old and survived by carrying bundles of hay for a nickel an hour. I talked about how he managed to save one nickel every other hour, which he used to open a business and become successful. Then he met my grandmother, and it was love at first sight. They settled down and lived happily ever after.

None of that was necessarily true, but my teacher loved the story. He gave it an “A” and asked me if I would bring my grandparents to school so they could talk about their lives and take questions from the class. Picturing what a disaster that would have been, I did some quick damage control and explained that my grandparents wouldn’t be able to make it.

Do you have any literary influences / authors you admire?

There are a lot of books that I loved reading while I was growing up and they were certainly influences towards my own writing. 

Number one on my list would have to be “The Hitchhiker’s Guide to the Galaxy” by Douglas Adams. I found the story clever, funny, and well told. Not to mention, so many of the lines are quotable. The sequel, “Restaurant at the end of the galaxy” was just as good, if not even better. After that, the sequels started to drop in quality, but I’ve reread the first two books many times. (Truth be told, I gone though both books twice before realizing that one of the main character’s name was NOT Ford Perfect). 

My next book is “The Time Machine” by HG Wells. The concept of travelling through time and witnessing the future is every fiction writer’s dream.

Last, and perhaps most important on my list was Stephen Baxter’s “The Time Ships,” which was a direct sequel to “The Time Machine.” It was one of the first non-classics I remember reading. It had short chapters and each one ended with a cliffhanger. The entire book kept my attention, especially since I never liked long chapters. I say “Time Ships” was the most important book I’ve ever read because it was the one that pushed me over the line and inspired me to become a writer. 

We absolutely loved The Witches Of Vegas! With the sequel just around the corner, what can you tell us about it?

Thank you for the compliment, I’m glad you loved “The Witches of Vegas.” I think your audience will too, not just for the fantasy aspect, but for the characters. These are the types of people we all want to be our best friends. 

The sequel, titled “Journey To New Salem,” takes place a year after the events of “The Witches of Vegas.” While “The Witches of Vegas” introduces us to this family of witches and their vampire mentor in Las Vegas and the local magicians around them, the sequel will open up more of the supernatural world. We learn more of their world and their history as the family searches for a fabled village of witches that may or may not exist. Why must our heroes leave their home to seek out this village? Find out in “Journey To New Salem.” 

Are you a fan of Doctor Who, and if so, what was your first memory and do you have a favourite episode?

It’s really hard to choose a favorite episode from a series that’s been around since the sixties and has gone through so many different renditions How can I even begin to compare Doctor Who from 1963, which I had seen as syndication on PBS when I was a young child, to current Doctor Who which I am seeing now on BBCA as an adult. (I will say, however, that one arc I particularly liked was the Brain of Morbius storyline.)

My earliest memory involving Doctor Who is kind of funny. When I was about ten years old, my father would tell me about Doctor Who, which I was interested in watching. If my father liked it, I figured I would like it. After all, he was right about Star Trek. So, I read in the TV guide (which was a thing back then) that an episode of Doctor Who was going to be shown Saturday afternoon on PBS. Saturday afternoon came but I didn’t get to the TV until about fifteen minutes after the time the episode was supposed to start. I sat down in front of my TV and turned on PBS. Apparently, I had the day wrong, because PBS was showing the old 1981 TV movie version of Hitchhiker’s Guide to the Galaxy. Being ten years old, and never seeing Doctor Who before, I thought that was what I was watching…and the guy in the bathrobe WAS Doctor Who.  I remember, even at ten years old, thinking that was a weird way for a timelord to dress…and where was the TARDIS my father told me all about? 

Finally, if you could take a round trip in the TARDIS, anywhere in time and space, where would you go and why?

Wow, what an opportunity, to travel to another planet with human life somewhere across the entire universe. The chance to either find out, in person, what the world looked like during the dinosaur age…or see what humanity would evolve into 200 thousand years from now. 

Hmm…I think in the end I would choose to stay in my own home in current time. Why? Because that’s where all of my stuff is. 

Thank you for the interview and giving me a chance to share The Witches of Vegas with all of my fellow Doctor Who fans. 

+  The Witches Of Vegas is Out Now!
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REVIEW: 'Alchemy Of Glass' By Barbara Barnett

Publisher: Pyr

Written By: Barbara Barnett

RRP: £16.99 / $19.95 (Paperback) | £7.66 / $9.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 16th December 2020

Alchemy Of Glass is the follow-up novel to Barbara Barnett's The Apothecary's Curse; a cross-genre story seated in a historical fiction setting. In it, Burnett continues the story of Gaelen (our central character, who also happens to be an immortal apothecary). That being said, if you haven't read the previous book, you can jump right in here.

This time around we are thrown further into Gaelen's past, present and future whilst dipping in and out of themes such as mythology, science and ancient lore. There's also a rather worrying foreshadowing of things to come, and one cannot help but feel a parallel with certain world events our our own reality...

One of the things we loved most is how past actions from the previous book are accountable in this one, and in particular lead to an interesting plot point in relation to a returning character. 

The story, characters and sheer drive through Alchemy Of Glass is a true testament to Barnett's skill as a writer, but even more than that, it's her almost poetic way in which she describes her world. You don't even have to venture past the very first page for a greater example of this:

"Gaelan Erceldoune strolled along the water’s edge, zigzagging his way through the detritus washed up on the gravel-strewn shore. Stopping, he gazed at the horizon, only now becoming discernable against the black water.

A lone figure, frock coat billowing in the stiff breeze, stood at the distant point of a decaying wooden pier, staring into the dusky lavender of the pre-dawn sky as daylight advanced in slow ascent."

And again at the start of Chapter 16:

"Shadows crept the catacomb walls as Gaelan made his way through the narrow corridor. The last vestiges of lantern light faded and extinguished. And that damnable tinkling again. Where the fuck was it coming from? Burrowing into his head, it had become a discordant concerto, disorienting and setting the darkness isorienting and setting the darkness to relentlessly spin around and through him."

Two completely contrasting settings, but equally described in a rich, almost mesmerising way. Fantastic!

Contrast is a tool that the author uses to great advantage; from the cross-genre settings, the thematic disparate of darkness and light, to the locations of this story - (we begin in Chicago and end in the UK), you're always guessing what's coming next and never sure of what to expect. 

We have no idea if there will be a third story in this series, but we are hopeful. Barnett has crafted a unique masterpiece and if anything, has actually created an even better book than the first!

+  Alchemy Of Glass is Out Now!
+  Buy this book from Amazon.co.uk!
+  Buy this book from Amazon.com!
+  Follow @B_Barnett (Barbara Barnett) on Twitter.

REVIEW: Big Finish: Main Range - 269: Shadow Of The Daleks 1

Manufacturer: Big Finish Productions

Written By: James Kettle, Jonathan Morris, Simon Guerrier & Dan Starkey

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: October 2020

Reviewed by: Nick Mellish for Doctor Who Online


Something is very wrong. The Fifth Doctor is lost in the Time War, heading for an encounter with his oldest and deadliest enemies... the Daleks!

Aimed at the Body by James Kettle

"An encounter with a notorious cricketing legend should be right up the Doctor’s street. But the unexpected appearance of an old enemy is about to send the Doctor on a quest."

Lightspeed by Jonathan Morris

"The trail has led the Doctor to a spaceship in the far future - where he finds himself trapped in the middle of a terrifying revenge plot."

The Bookshop at the End of the World by Simon Guerrier

"It’s very easy to forget yourself and get lost in a bookshop. But in some bookshops more than most..."

Interlude by Dan Starkey

"The play’s the thing! Or is it? The Doctor is roped into a theatrical spectacular - but who is he really performing to?"

WARNING: The following review contains spoilers. You have been warned!

I’m going to level with you: when I first heard the idea behind this story, I groaned a little. “Classic Doctor + the Time War” sounded like the same tired sandbox thinking that has plagued Doctor Who for a long time now on audio, in print, in comics, and thanks to the Series 12 finale, on screen as well. There was a time when a surprise Kroton in a book or a shock Nimon in a play really were surprising and shocking, whereas nowadays it feels all-too-predictable and, bizarrely, dull: less really is more.

How pleased I was, then, when Shadow of the Daleks 1 turned out to be the best Main Range play Big Finish has released for years now.

It starts off on an odd note, mind. Aimed at the Body was released as a freebie to entice listeners in, but I’m not sure half an hour of walking and vague talk about cricketing etiquette was the best way to go. It’s by no means a bad episode, and author James Kettle has proven himself tenfold with the phenomenal Barrister to the Stars earlier this year in the seventh series of The Diary of River Song, but really not all that much happens. It sets up a few threads for later on and all of the cast are great (more on them later) but it’s a bit of a strange opener.

Things really step up a gear with Lightspeed by Jonathan Morris, which combines intrigue, humour and thrills with a practised ease. A hijacked ship, a countdown, and a cheeky but intelligent conclusion? Count me in. It’s here that you really notice just how brilliant the cast are, too. I want to draw special attention to Dervia Kirwan (who was also exceptional in the recent Class box sets, both of which are well worth your time: more Blair Mowat scripts please?) and Anjli Mohindra, who is continually proving herself to be a versatile actor deserving of great acclaim. But it feels remiss of me to then not note how good Glen McCready and Jamie Parker are, too, not to mention Peter Davison and Nicholas Briggs. Everyone is at the very top of their game here.

This is evident in Simon Guerrier’s The Bookshop at the End of the World. It leans heavily on the amnesia gimmick (which is such a Doctor Who cliché now that when the recent Eighth Doctor Time War series used it twice across its four box sets, I hardly batted an eyelid) but uses poetry, effective performances, atmospheric sound design and well-paced writing to generate tension and heartache that has stayed with me in the days since I listened to it. Would that all stories were this good.  Would that all bookshops were this cosy, too.

We wrap things up with Interlude, Dan Starkey’s best script yet. Much like Mohindra, Starkey has proven himself to be a real gem who is flourishing under Big Finish’s eye (not that either of them wilted on screen). The play-within-a-play trope may be familiar but again, the script gets around this by letting the actors have a lot of fun, with some genuinely clever twists in there and winning performances by everyone.

I finished this release excited for what comes next, and that has not happened for a long, long time. The trailer for the next release is sadly the usual mix of noise and unrelated scenes which Big Finish often put out (do they really entice anyone?) but the promise shown here in this release has whet my appetite.

What an impressive finished result this is. Shadow of the Daleks 1 is a fantastic showcase for Big Finish in Lockdown. A limited cast used in an inventive way, solid sound design, and lots of proper, weighty drama. Sure, you can nitpick if you like: Mohindra’s microphone isn’t quite as good as everyone else’s, and there is a line in Aimed at the Body where the Doctor remarks upon the design of the Daleks which sticks out like a sore thumb. Is it just very bad sound mixing to make that line scream out at you as being dropped in later, or perhaps it’s that the Time War angle was only hit upon later on? Hard to tell. These are small niggles though.

Speaking of smalls things, let’s quickly mention the Daleks. Though present, they hardly feature: shadows indeed and all the better for it. The Time War does not really rear its head either, and again this is to the story’s success.  Perhaps it’ll fall apart a little and fully dive into this in the second half, but I hope not, or if it does embrace this angle, I hope it doesn’t falter. Prove me wrong again, just as you’ve proven me wrong here.

Honestly, this is the most energised I’ve been with a release for ages now. How wonderful to have this treat, just as the range nears its end. I cannot recommend it enough.


+ Shadow Of The Daleks 1 is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!


REVIEW: Big Finish: Main Range - 268: The Flying Dutchman / Displaced

Manufacturer: Big Finish Productions

Written By: Gemma Arrowsmith & Katharine Armitage

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: September 2020

Reviewed by: Nick Mellish for Doctor Who Online


The Flying Dutchman by Gemma Arrowsmith

"The Doctor, Ace and Hex find themselves on a seemingly deserted boat in the middle of the ocean. Eventually locating the crew, they discover that the men have been in hiding to avoid the attack of the legendary ghost ship The Flying Dutchman that they’ve recently glimpsed approaching through the fog. But ghosts don’t exist. Do they?"

Displaced by Katharine Armitage

"The Doctor, Ace and Hex arrive inside a mystery. An ordinary house where something extraordinary is happening. There are no occupants, the doors are sealed, and someone - or something - is attempting to communicate. And when the TARDIS locks them out, Ace and Hex suspect the Doctor of his usual tricks.

But the truth is even more disturbing..."

WARNING: The following review contains spoilers. You have been warned!

Perhaps more than anything else, this sudden showing of shorter plays (one 4x4 release and four two-parters in a row, with another two 4x4 releases up next) shows off the schedule disruption which Big Finish have endured thanks to Coronavirus. It's an unexpected upheaval just before the main range is completely changed, but not necessarily a bad one as these shorter, punchier plays sometimes yield good results. What about here though? 

The Flying Dutchman
By Gemma Arrowsmith

We kick things off with The Flying Dutchman, the main range debut for Gemma Arrowsmith whose play for The Paternoster Gang, Spring-Heeled Jack, impressed me. The Doctor, Ace and Hex land on a seemingly abandoned ship but soon discover its crew in hiding, avoiding a ghostly apparition: the Flying Dutchman has been sighted and no-one is safe… or are they?

First up, the regular cast. There's a lovely bit near the start where the Doctor is guessing the century they are in. Hex points out that he only knows because the date is printed elsewhere and the Doctor shuffles off, a bit embarrassed, as Ace tells Hex not to be a killjoy and that the Doctor just enjoys showing off. It's a really nice piece of character work that showcases the regulars well, with McCoy in particular being in good form.

Philip Olivier notes in the extras that Hex doesn't do all that much in this play, and that's certainly true. He's made out to be seasick and you don't get too much else from him, though Olivier puts in a game performance as ever.

This play is really Ace's, with her forming a bond with a cabin boy with a secret (a secret you'll guess fairly quickly, to be honest). It's here that things fall apart though, as you soon discover that this is less an episode of Doctor Who and more an episode of Scooby-Doo, complete with sailors doing their best "Arrrrgh me hearties!", ghosts that are just men with special powder on them, and some extremely simplistic "girls are great!" vibes: a very good message to be made, but made here with little subtlety, if any.

It's all a bit too twee in the end. By the time we had Archie able to hold their own in a sword fight against old sailors despite only being taught swordfighting a few minutes ago, I think I'd given up looking for depth.

That's not necessarily a bad thing, mind. Who is good at dipping into different genres and styles, and if young children's comic book yarn is what was sought, this definitely ticks some of those boxes. I did rather like Ace and Hex desperately looking for an alien or ghostly cause of everything occurring, as if they were aware they're not in a usual Doctor Who adventure and they're trying to rationalise things. Ace seemingly knowing what the Flying Dutchman is one moment and not in the next just to let the Doctor explain it to the audience however smacks of sloppiness.

This is a hard one to grade. On the one hand, it does what it sets out to do very well, so it's unfair really to criticise it for that. On the other, I think its goal has been achieved better elsewhere at times. If you like the simple approach, add another number to the score below. If you don't, then there is at least Sylvester McCoy on top form, rather nice cover art for the release, and the sense that the guest cast, especially Nigel Fairs, are having a lot of fun.

Displaced
By Katharine Armitage

The second and final play here marks the Big Finish debut of Katharine Armitage. On the evidence here, she will surely be back before too long.

The Doctor, Ace and Hex land in an abandoned house which seems to be trapping its occupants inside. With only an automated home help along the lines of Siri and Alexa to aid them, they most solve the mystery of what happened to the family here: something alien? Something human? A bit of both?

Armitage has a really good grasp on all the regulars, writing Hex especially well and using his background as a nurse from 2020, and his relationship with Ace, to full effect, even if a bit with a badge near the start smells strongly of "this will be a plot point in the future", which it is.

Ace and Hex are both a bit fed up with the Doctor and challenge him, something the extras tries to paint as unusual but which feels pretty par for the course nowadays from Big Finish and Who in general. However, it works well here and is used for genuinely sound plot reasons instead of feeling like the done thing. There is a sense of true, solid character and plot work here that sometimes rings hollow elsewhere. Or to put it more simply, Armitage is a better writer than some in the Doctor Who fold.

The ending is grounded and somewhere between downbeat and refreshingly true. I felt perhaps the exposition made it falter a little and run out of steam, but I'd take that over something rushed or out of the blue. The Doctor awkwardly trying to convey how much he values his companions is rather sweet, as is the awkwardness of Hex and Ace avoiding their feelings for one another.

Displaced may not be perfect but it's a cut above a lot of Big Finish’s latter day output and I'm hoping Armitage comes back before too long. Until then, this play is well worth your time.


+ The Flying Dutchman / Displaced is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!


REVIEW: 'Rituals' By Ryan Hastings

Publisher: Bookbaby

Written By: Ryan Hastings

RRP: £7.06 / $10.76 (Paperback) | £6.04 / $7.80 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 16th October 2020

Ryan Hastings' Rituals is a fresh take on the SciFi / Fantasy mash-up genre, and takes no time in throwing the reader straight into the action. In the city of Evermore a treacherous son is about to make a decision that will be the catalyst of a war between good and evil.

Our protagonist's, Galai'el and Yana battle the evil Dom'rel, together with Baalta, whilst saving a princess along the way. All the right ingredients are here for a fantastic adventure and Hastings pulls it off with lustre.

There is some fantastic world-building in Rituals, with the world of Harth and the kingdom of Malene painted in glorious detail - sometimes at the cost of added character depth, but with such a wonderful roster of characters, the author can be forgiven for painting some with lighter brush strokes than others.

All the action (and there's a LOT of action) ticks along at great speed, and as a reader you are constantly being propelled to continue reading - even, at times, when your eyes may need a rest, there's a wonderful propulsion to find out what happens next. 

There's a wonderful morality tale at the heart of Rituals. Sure there is the obvious strands of good vs evil, but there is a religious theme that beats away gently throughout, and you can't help but feel like being a slightly better human at the end of it all. In fact, Hastings' closing paragraph is rather apt and bookends this story perfectly.

We were pleased to learn that there are two sequels to Rituals (Rituals: Storm And Serpent and Rituals: Wars, Worlds And Wards) - both titles we hope to review in due course. We enjoyed the escapism of Harth and cannot wait for our return ticket!

+  Rituals is Out Now!
+  Buy this book from Amazon.co.uk!
+  Follow @DragonFrisky (Ryan Hastings) on Twitter.

REVIEW: 'It Gives You Strength' By Philip Raymond Brown

Publisher: Self Published

Written By: Philip Raymond Brown

RRP: £9.60 / $15.99 (Paperback) | £2.39 / $3.08 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 15th October 2020

It Gives You Strength by Philip Raymond Brown is a SciFi / Fantasy / Historical mash-up, set in New York during the Prohibition in the 1920's.

The story begins in 1918, with a spaceship carrying the royal family of the planet Dagan, in a mid-space standoff in our own solar system. Faced with a shocking ultimatum, the family are forced to send their Daughter (the Princess Halana) to Earth, using an experimental procedure that deposits a person's life-force into the nervous system of another, until it can be retrieved. I love that the time period of 1918 conjures up a post-World War I, non-technological era, yet, in contrast, hovering over the planet is an established, technologically advanced alien civilisation, capable of transferring one's life-force. Just because it's 1918 on Earth, it could be the equivalent of the Year 3000 to others. Brilliant!

We then skip forward 8 years as we're introduced to alien anthropologist, Tashan Zho. Zho is transported to Earth on a mission to recover the princess, before the Dagan's launch all-out war on the Humans as 'revenge' for killing the Daganian Royal Family. Zho himself is deposited into the body of Ryan Costello; a (recently deceased) alcoholic bootlegger. Due to the.. *ahem* state of Costello's body, Zho has trouble accessing his mission files, and only has a nugget of information to go on. And so begins his mission to find the princess and save the planet in the process.

Along the way, Zho encounters a number of real-life historical figures, including Jack "Legs" Diamond, Edith Cavell and Jack Dempsey - something that felt right off the screen of a Doctor Who adventure. It's these moments that add connectivity to what is ultimately an alien recovery story, and it's wonderful having Earth as the touchstone.

As the story progresses, Zho's mission objectives change, which lead to some surprising and unforeseen outcomes for both the character and the reader - expertly executed by Brown, this page turner always has you on the back foot, guessing what could possibly happen next.

If one could draw a comparison, It Gives You Strength is Quantum Leap meets Battlestar Galactica meets Once Upon A Time In America - there are elements from all 3 that are echoed throughout, and it makes for fantastic reading!

Without spoiling the end, it is clear that the author has done his historical homework - especially considering one particular character (albeit with some rather neat dramatic license). We're unsure if there will be a sequel, but as a standalone, this was an incredibly engaging book with some clever tools and devices by its author. Readers will be gripped and nowhere else can you throw boxing, bootlegging and aliens into a story and expect it to stick, but stick it does and it's purely down to Brown's literary craftsmanship.

+  It Gives You Strength is Out Now!
+  Buy this book from Amazon.co.uk!
+  Follow @philipraymondb1 on Twitter.

REVIEW: 'Sombre' By S.B. Norton

Publisher: Grimprint Publishing

Written By: S.B. Norton

RRP: £12.00 / $15.00 (Paperback) | £2.83 / $3.49 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 7th October 2020

By day, Hope Kelley is a bespectacled, dorky, adolescent girl, but by night she enters the dream world of Sombre and becomes Halliday Knight; a kick-ass 'Gatherer' who battles the violent incumbents of this nightmare world. This Clark Kent / Superman type duality works wonderfully in S.B. Norton's spirited yet macabre story.

Just three pages in, you realise this isn't your average fantasy, as horror very much plays a (rather exciting) part in this Gaiman-esque tale. In fact, the horror goes about as far as you may be comfortable with, and just dips its toe on the other side, at times - something that makes you feel uncomfortable in a surprisingly welcoming way.

The many journeys Halliday goes on almost makes us reminisce the Fighting Fantasy books of our youth, with such gruesome details in the creatures (and their inevitable demise). You can almost imagine John Blanche's artwork being accompanied with Norton's monstrous descriptions.

"The devil-imp was a hideous cross of Neanderthal baby-human and shaven mangy street dog. Claw-like hands scratched at the dirt. A wasted, bony body and leathery, oily skin. Prowling on all fours it coughed and spat more blood."

Norton, S.B.. Sombre (p. 5). Grimprint Publishing. Kindle Edition. 

Hope / Halliday is joined by a cast of incredibly likeable, diverse characters who lift off the page; both good and evil. Dave is probably our favourite - an almost foil, to Halliday. 

We mentioned the Fantasy and Horror genres, but one other that fits so perfectly in this world is that of Steampunk. In fact, it's a genre that - quite literally - sits at the beating heart of Sombre. Take Halliday's Machanihorse, for example:

“A mechanical horse,” Dave pondered scratching his stubbly chin. “Does she ever breakdown? What does she eat?” “A Machanihorse, Dave,” Halliday corrected him as she stirred the balance of her drink with a straw, she nodded, “And not a lot, really. Pecks the grasses, drinks from The River occasionally. She is quite chock full of her mechanisms, you know. She needs a tweak from The Menders here and there.”

Norton, S.B.. Sombre (pp. 28-29). Grimprint Publishing. Kindle Edition. 

This is most definitely a fast-paced story that will have you putting off your daily duties, just to get a little further. Rather aptly, you almost feel like Hope; trading your mundane life to pick up the book and enter a vividly more exciting one.

Without spoiling things too much, it's safe to say that a sequel is coming in 2021 and we're rather excited (if a little scared) to re-enter this wonderful world that S.B. Norton has created.

+  Sombre is Out Now!
+  Buy this book from Amazon.co.uk!
+  Follow @SBNorton1 on Twitter.

TARDISMonkey's Torchwood Diary - 2.13 - The One Where Tosh Did Good

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.13: Exit Wounds

So here we go, we have reached the finale of series 2 and oh boy, this one will make you cry.

 

Chris Chibnall has really shone with the writing in this episode as the Torchwood team finally face their biggest adversary, and it’s not Captain John.

 

We start the episode with an end of the world/end of Cardiff style threat as loads of Weevils escape the sewers to attack the police station causing chaos across Cardiff, but what for? Amongst the commotion, John Hart kidnaps Jack and takes him back to Cardiff 27AD. In a shocking little twist, it turns out that John himself is under the control of Jack’s missing brother Gray, who has vowed to seek revenge against Jack after he let go of his brother’s hand as they were escaping an alien invasion. In a horrific turn of events, Jack is buried alive to suffer the equivalent fate that Gray faces himself, always on the verge of death. A slight criticism is when Torchwood finally find Jack again in 1901; he seems remarkably calm about the whole situation and going back to sleep for another 100 years. The whole issue about being buried alive seems like a whole story in itself without the sibling rivalry involved.

 

This episode shows the true skill and determination of the Torchwood team, as Gwen immediately takes command of the situation as Jack is taken away. Her police officer duties really display themselves, as she orders everyone to do their job the best way possible. However it’s also touching to see her vulnerable side, as the whole situation becomes overwhelming and she seeks Rhys for that little bit of security as he always has done. The scenes with Tosh and Ianto are precious, as it’s nice to seem them working together to take down the so called ghosts in the Cardiff server room, which turned out to be people dressed up. 

 

The whole situation seems to be clearing up quite nicely, as the Torchwood team take down the Weevils and try to keep a nuclear power station under control (after a huge explosion rips through Cardiff). Torchwood never fails in slowing down the pace in its 50 minute time slot. However, this wouldn’t be a good old fashioned episode without something going horribly wrong and this is when we’re faced with Tosh getting shot by Gray.

 

The whole episode revolves around the death of Tosh and Owen. Tosh whilst not telling Owen that she is also dying, tries to save his life from being obliterated by radiation. This is why Tosh is such an incredible, bold and down right legendary character. She’s stood by all of her team, even when they’ve treated her like the outsider and she followed her duty to her very last breath. The scene between Owen and Tosh as they both die, is beautifully written by Chris Chinball, as they reminisce about the times they should have taken the opportunity with life. It really gives a true display of their relationship with one another and actually shows that Owen really does care about life. Tosh dying in the arms of Jack, just proves how much Jack wanted to take care of Tosh even after her problems with UNIT, she was family and he wanted to protect her, but Torchwood is just too dangerous.

 

The finale scene of Jack, Gwen and Ianto watching the video of Tosh really gave her character the closure she deserved. It’s a different perspective watching how the audience would have felt during the time, not knowing if the series was going to carry on etc. Torchwood has its' happy and its’ sad times and in a weird sci-fi sense, really reflects the world we’re living in right now. 

 

Finishing this series, with everything that has happened and developed with everyone, what it really comes down to is Tosh. And you know what…


Ellie (TARDISMonkey) 


 

 

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[Source:
DWO]

REVIEW: Big Finish: Main Range - 267: Thin Time / Madquake

Manufacturer: Big Finish Productions

Written By: Dan Abnett & Guy Adams

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: August 2020

Reviewed by: Nick Mellish for Doctor Who Online


Thin Time by Dan Abnett

"Hallowe’en, 1892. Celebrated novelist Charles Crookshap claims to have been receiving time communiqués, promising secrets that could change the world forever. But when the TARDIS interrupts the household’s evening, the Doctor realises he isn’t the only alien interloper in London."

Madquake by Guy Adams

"Abandoned on the planet Callanna, Nyssa, Tegan and Marc take advantage of its therapeutic atmosphere to come to terms with recent events; but others seek to take advantage too. The Slitheen are on their way – and they’re ready to sell this world to the highest bidder!"

WARNING: The following review contains spoilers. You have been warned!

Thin Time
By Dan Abnett

After last month’s 4x4 outing, this month we get one of Big Finish’s occasional dips into shorter stories. Comprising two, two-part tales, we pick up where Conversion (and presumably all of Time Apart) left off with Thin Time by Dan Abnett. It’s been a long time since Abnett was in the fold and on the strength of some of this play, I hope he’s back again before too long.

The Doctor lands in London on Hallowe’en, but much to his surprise he’s been expected. Pretty soon, the household in which he’s arrived is in trouble with a terrible something from outside, which is using visions and visages to tempt people. It’s a ghost story, in some ways, but one told with real flair and tension. Peter Davison sounds energised by the script and he’s supported by a very good supporting cast.

Sadly, it’s not perfect. The opening is fairly clunky with its exposition and scene setting, and the resolution is less drama and more the Doctor explaining what is going on to an attentive audience, which is never especially satisfying. You just wonder why the monster hasn’t eaten someone mid-sentence and instead just stands there patiently.

And then we’ve the final scene where (spoilers) the Fifth Doctor meets up with the Eleventh Doctor. Jacob Dudman is often celebrated in fan circles for his pitch-perfect impressions, but I’ll freely confess that it took me a good 30 seconds to realise it was even meant to be the Eleventh Doctor here. It’s not his finest hour by any stretch, but then again it’s a big ask for him to do an impression for so long and try to sustain it. Much like the Chronicles box sets he’s narrated, it doesn’t land.

Neither does the chronology of it all still. I mentioned before that I just don’t buy the Fifth Doctor swanning off to mope; the idea of him abandoning his companions fails to ring true at all: heck, The Caves of Androzani is about a Doctor who won’t ever do such a thing! Frustratingly, the talk here of the Doctor not wanting to endanger his companions does have a potential spot in established TV continuity which would fit far better: after Tegan has left, disgusted by the violence she has seen. You can buy the Doctor needing time to reflect after that, but not so here. I’m retreading old ground though. Overall, Thin Time isn’t perfect but it has moments that are achingly close.

Madquake
By Guy Adams

And then we have Madquake, a play that in part tackles PTSD and mental illness. But they called it Madquake. Ironic jibe or bad taste? You decide.

The approach to these topics doesn’t feel great at times. The relationship between a therapist and her patient is unlike any I’ve come across (full disclosure, I’ve done therapy many times now) and smells less of authenticity and more of someone wanting to have an excuse to have their characters talk a lot. Dialogue is largely less natural and more ‘we need a bit of exposition or character development here’.

This slightly sub-par feel runs through the script overall, sadly. A few scenes in, we have Marc tell us he’s not sure he’ll ever feel again. But he does it while panicking, before getting angry and then crying. It’s not exactly consistent, though later he clarifies that he fears he will never be happy again. The Cybermen seem to have left him with the ability to soliloquise at length about how bad his life is now, in tones that would make college-level amateur dramatic groups take a second pass at the scripts, but also, handily, they’ve also left him with the ability to detect drama: something bad is about to happen, he intones funerally at one point, a handy spidey-sense to have when you’re part of the TARDIS crew.

It’s frustrating as there are a couple of genuinely brilliant moments: Tegan worrying that all she is is anger, and what will happen if she’s robbed of that is heartbreaking, and Nyssa having a backbone and standing up for herself against Tegan is properly triumphant. I just wish the Guy Adams who wrote those moments was the same Guy Adams who wrote the rest.

As for the Slitheen? Well, they're definitely here. Their appearance would have been a genuine surprise had Big Finish not announced their presence beforehand, and it's a shame that didn't come to pass. I've not much else to say about them though, beyond that their defeat is pretty awful. Riffing on the "go to your room!" cliffhanger resolution of The Doctor Dances, this has neither its wit nor its logic or context.

It's funny. For all I didn't like Madquake all that much, what it represents fascinates me. Not too long ago, the mere idea of mixing New Series monsters with Classic Series Doctors was enough to warrant a fanfare and two box sets.  Contrast also the celebration for the first River Song box set, and how the latest series was announced in a paragraph at the bottom of an entirely unrelated piece of news from Big Finish in the latest issue of Doctor Who Magazine.

I'm not sure what it represents. Complacency and lack of respect for the material? Indication that repetition means things are less special? Or realisation that despite the bells and whistles, this is all one and the same silly old series (whether we like it or not, to quote the series itself)? Maybe the answer lies somewhere in-between.

As for this arc, one suspects that it'll be some time before we have any answers thanks to the pandemic. We end here though with a conclusion to the arc waiting in the wings. I'm sure many are enjoying it, but I'll be glad to see it gone. But I'm interested all the same in seeing what happens next. Perhaps I'm not as burnt out as I suspected.


+ Thin Time / Madquake is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

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VIDEO: The Jungles Of Mechanus - DWO Unboxing & Review!

DWO have just added our unboxing and review video for the brand new, Character Options' The Jungles Of Mechanus set.

Please also welcome Matt Chambers to the DWO team as YouTube channel manager and chief reviewer. You can watch the review in the player, below:

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REVIEW: 'The Beauty In Darkness' By Leah Reise

Publisher: Self Published

Written By: Leah Reise

RRP: £8.33 / $11.00 (Paperback) | £3.20 / $3.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 21st September 2020

This time around we're dipping back into the world of vampires in Leah Reise's 'The Beauty In Darkness: A Vampire Story'; a refreshing take on the supernatural genre.

Edrea, our central character, is dead. That is, she has just died - on her 29th Birthday of all days. It gets worse though, as Edrea has been turned into a Vampire and she's not keen on this new "life". With an opportunity to end her existence once and for all, she's about to go through with it until she hears the scream of a woman in trouble. Suddenly, Edrea is given fresh new purpose and, rather fortunately for us, (spoiler alert) doesn't go through with her initial plan.

This story is also about Edrea's sister, Rena; someone who only knows her sister is missing - and not the grave truth about what actually happened to her and what she has become. The story flip-flops between each sister's perspective, but rather unusually we get a third-person perspective for Rena as opposed to Edrea's first-person. Not a critique - it still works and I guess it focuses us more on Edrea.

I think what makes this book so engaging is the inner turmoil that Edrea is constantly going through. She is fighting against her new instincts and it wonderfully emboldens just how strong she is in doing so. You want a strong, female character here - you got it! I also love her self-titled 'dark heroine' persona that she eventually comes to accept. Taking the supernatural out of it, there are so many parallels to everyday struggles we as humans face, and it's so nice, regardless of gender, to see them reflected in Edrea's own struggles.

At its heart, this is a morality tale, and one that despite the subject matter and some of the macabre tone, will actually give you hope and comfort. No better can this be evidenced than by something Edrea says, herself:

"No one is ever truly alone, because we're all lonely together"

There are some great characters throughout, although some which you wish you knew a little more about and have fleshed out. Finally, I want to commend Reise for her excellent use of pacing; everything starts off with a bang before settling down to the meat of the story with a gradual build to a satisfying conclusion.

The Beauty In Darkness is an easy read, to the point that (at the risk of sounding cliche) you don't want to put it down. When you do reach the end, there's a rather lovely letter from the author with the promise of a sequel - something we are very much looking forward to reading.

+  The Beauty In Darkness is Out Now!
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TARDISMonkey's Torchwood Diary - 2.12 - The One With The Origin Stories

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.12: Fragments

We start this episode again in true Torchwood fashion as they’re on a mission to find a mysterious message originating from an abandoned warehouse. In a twist of events, it turns out the team have been lead straight into a trap and a huge explosion happens as a bomb goes off. Buckle in for this one as all their lives flash before their very eyes.

 

The first person to have the flashback is Jack and references how he ended up becoming a part of Torchwood today. It’s still never clear how Jack managed to get back to Earth, however we see him during the victorian era getting brutally killed again and again by what turns out to be some of the earlier Torchwood agents. After experimenting with Jack and finding out he can never die, they take the opportunity of convincing him to join Torchwood, more for the sake of a stable job and money. In addition, his future is read to him and he finds out he won’t be seeing The Doctor for at least another 100 years, so by joining Torchwood, well what does he have to lose? It does throw a few paradoxes into the works, such as; what did Jack do during the war when he knew he had already encountered The Doctor and Rose? Also how did Jack not meet previous incarnations of The Doctor when UNIT were fighting the Yeti’s, Cybermen and even The Doctor being their scientific advisor? It would have been nice for some explanation as to why he had to meet The Doctor at a specific point otherwise consequences could happen. Moving on, Jack is eventually forced to take charge after his commander commits suicide after killing the entire team in 1999. It was an atrocious way to gain ranks in the team, but explains hugely why Jack is very protective over his Torchwood team now.

 

We then move onto Toshiko’s introduction to Torchwood and what a twist and turn of events takes place here. You could write an entire episode on what Tosh had to go through. Her mum is kidnapped by a criminal organisation, who force Tosh to build an alien weapon -  the sonic inducer - which is then taken down by UNIT themselves!? Tosh goes through absolute hell whilst locked up in the UNIT cells, with all of her basic human rights taken away. No wonder she has such a close bond to Torchwood as a company, as Jack comes in to save the day, with the caveat that she has to use her skills to benefit the Torchwood team. It again does leave a huge question as to why Tosh can’t see her mum after all of this? She had been retconed to save her sanity, so why can’t Tosh keep Torchwood secret just as Gwen did with Rhys?

 

Next, we have Ianto Jones. We all know that Ianto used to work at Torchwood in London. This was before moving to Cardiff to use the facilities to save Lisa as she was partly converted into a Cyberman. However, we get an almost comedic style approach as to how he transferred from London to Cardiff. He bumps into Jack and helps him fight a pterodactyl, brining him coffee sporadically before Jack finally gives him a job. It gives a bit of a reason as to why Ianto didn’t have a more technical role at the beginning, as the only job Jack could think of  for him was making coffee. Unfortunately the style in which it’s done, feels like it undermines the implications of why Ianto wanted to join Cardiff Torchwood, when we all know he was doing it from serious intentions.

 

We then finally get Owen’s backstory. This is the one that shocked me the most, as we find out that Owen was actually going to get married. It was a plot twist I didn’t expect to see. Unfortunately Owen’s fiancé has early onset alzheimer’s, which is heart breaking to see and explains why he was so passionate about becoming a doctor in order to help seek some kind of a cure. However in Torchwood style, it turns out that an alien being inside her head is causing the condition which inevitably kills her before Jack can get there in time. Jack tries to help Owen overcome the situation by making him think his fiancée died in a peaceful way, but the horrors were too great. Jack and Owen have a confrontation in the graveyard before Jack takes Owen under his wing like a father, and takes him away to start his new life in Torchwood. It does reveal why Owen keeps a lot of his emotions bottled up and his relationships have been far from straight forward.

 

So as we reach the end and the Torchwood team escape with minimal damage, which is a little bit unbelievable with the massive explosion that happened, they find out it’s Captain John Hart who was behind the attack. In true Chris Chibnall style, the villain has returned for the last episode to face the final fight. Overall this episode is a great insight into the Torchwood team once again and it gives a sense of impending doom, as we finally know what these characters are all about.


Ellie (TARDISMonkey) 


 

 

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[Source:
DWO]

REVIEW: Big Finish: Main Range - 266: Time Apart

Manufacturer: Big Finish Productions

Written By: Steve Lyons, Jacqueline Rayner, Tommy Donbavand & Kate Thorman

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: July 2020

Reviewed by: Nick Mellish for Doctor Who Online


"Separated from his companions, the Doctor attempts to find solace in the history of his favourite planet – Earth – but instead discovers new threats lying in wait.

Travelling from twentieth-century East Berlin to sixteenth-century Strasbourg, the Doctor encounters creatures from other realities: monsters beneath the waves, and human beings determined to exploit their fellow man.

But how long can he survive without a friend?"

WARNING: The following review contains spoilers. You have been warned!

It’s that time of the year again: Big Finish’s “4x4 release”. Paradoxically, this annual affair arguably shows off the varying beast that is Big Finish best of all. On the one hand, it shows how quick they are to fall back and repeat themselves at the first whiff of success. Circular Time was released to critical acclaim in 2007 and so Big Finish have repeated the trick every year since rather than try anything new. On the other hand, by and large these releases have proven themselves to be some of the best they do all year, and 1001 Nights for the Fifth Doctor was especially strong. I guess sometimes you swing and hit.

Back last year (November 2019 to be precise) I reviewed Conversion, a two-part story for the Fifth Doctor which ended with him leaving his companions for a bit to mull over traumatic events. I commented then that it doesn’t really fit in with TV continuity at all, and while that’s not something that is necessarily an issue (after all, the Fourth Doctor in Big Finish isn’t a thing like the Fourth Doctor on TV, and most of the actors don’t sound like they used to, including David Tennant), it is something that jarred.

Skip forward to 2020 and we follow up the ending to that story. Sort of. We get four stories here with the Fifth Doctor on his own, but quite why he’s riding solo is never addressed. I feel this is probably the best way forward as it makes this release far more of a standalone affair, a welcome thing in the muddy waters of Big Finish internal continuity.

We kick things off with Ghost Station by Steve Lyons. Set in Berlin, it sees the Doctor encounter a lone soldier and try to solve a murder mystery. I can pretty much guarantee you’ll know the ending a few minutes in but it’s well acted and directed with some nice sound design to tie it all together.  Just don’t expect any surprises along the way.

The Bridge Master by Jacqueline Rayner is next, and it’s a lot of fun with a great central premise: the Doctor has his shadow sacrificed to appease evil, but it turns out that perhaps there is more to this than simple ritual and superstition when the Doctor finds himself falling ill after the operation. Rayner writes her supporting cast with a lot of character depth and the sound design again works well. This is all rather lovely. (Oh, and for all I’ve said Conversion last year doesn’t fit in with TV continuity, the references to The Great British Bake-Off here are at once more of a continuity breaker but also far less of an issue as they’re fun lines and not ones which give us incompatible character traits and stories.)

Third up is What Lurks Down Under by Tommy Donbavand, to whom this release is dedicated in a genuinely touching gesture. His story is a strange one: a celebrity historical in which you are never told much about the celebrity or why they’re important. If you don’t know who Mary Wade is, or why she is so important in Australia's history, you’re not going to come away any wiser and instead you’ll be wondering why the story is a companion introductory tale without the new companion staying at the end. Indeed, you’d be very easily forgiven for not knowing she was a real person in the first place (and seeing as Mary Shelley has travelled with the Eighth Doctor, there isn’t really any great reason that Wade couldn’t, too). It’s definitely a different approach and Wade comes across well, but it feels a little empty and lacking finality because of the lack of historical context we are given. Still, if it encourages people to research her story, that’s surely a good thing, and the inclusion of a play by Donbavand is really nice. The interviews included state how he always wanted to write a story for Big Finish, but sadly died before it was made and released. It’s a touching and glowing testimony to the company that we have it here.

We wrap things up with The Dancing Plague by Kate Thorman, which proves to be every bit as good as Rayner’s play: they’re by far the highlights of this release. Set in the midst of the infamous Dancing Plague, a strange historical occurrence where people started dancing for no readily apparent reason and then just… stopped, the Doctor is on hand to try and solve the puzzle, aided by the rather brilliant Margareta. Everything here just works: great choice of historical location, brilliant dialogue, fantastic cast acting their socks off, and a satisfying ending.

And so we come to an end. Some things muddled, some things you’ve heard many times before, and some things utterly brilliant: how very Big Finish overall. With the monthly plays soon changing format entirely, this may be the last time this particular structure has an outing for a while. All told, this is a strong release and a fine farewell to it.


+ Time Apart is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

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REVIEW: 'Sophia Violet And The Fiery Orb' By Evangeline Greene

Publisher: Self Published

Written By: Evangeline Greene

RRP: £12.43 / $14.99 (Paperback) | £3.25 / $3.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 14th September 2020

Sophia Violet And The Fiery Orb revolves around the titular Sophia; a 14-year girl with violet eyes who is about to discover her life isn't quite as it seems...

Right from the first chapter the reader is gripped as we are launched into the moments after Sophia's birth, with her parents scrambling as they give over their precious newborn Daughter to protect her from an, as-yet, unseen threat.

Enter Rayson, a changeling (and one of our main antagonists) who we first see as a giant Panther, pursuing Sophia's parent's as they try to escape the hospital car park. What's rather clever, is Rayson looks at Sarah (Sophia's mother) and thinks that the baby is yet to be born, giving precious time for her adoptive parents to escape the hospital.

Without giving too much more away, we then cut forward to present day, where an adolescent Sophia, now living in New York City, begins a new school. And so begins the adventure as our protagonist discovers the truth that she is a child of two worlds, as well as the important path before her to save them.

Throw in shapeshifting aliens, mysterious orbs and a meaty plot that holds everything together perfectly, this is one young adult fantasy that will keep your attention to the final page. There's also a rather poignant environmental message that courses through the story - one which reflects the current climate change issues in our own, real-world lives. It's also a mark of genius how Greene uses this as a device within the story - again, not trying to give anything away.

As you approach the end, there is a satisfying finish to the story whilst leading directly into a (fingers crossed) sequel. In fact, that whole last page reads almost like a screenplay, and you can just imagine yourself sitting in a movie theatre as it cuts to black after the final description. Marvellous stuff!

Whilst the character and setting descriptions throughout are top-notch, it is the author's grasp at relationships - particularly teenage relationships, that shine through. They are rich and layered and, more importantly, believable. You’re not short of decent character’s, either; there are plenty of strong female characters without the temptation of making them ‘kick-ass’, and the foil between the protagonist and the antagonist is in perfect balance.

There are parallels to Harry Potter and His Dark Materials, but Sophia Violet is still very much its own thing; it's just nice to have the comfort of feeling that this book is holding its own against those cherished genre bedfellows.

A genuine treat to have read, Sophia Violet and the Fiery Orb is the coming-of-age, head-turning fantasy that you've been waiting for!

+  Sophia Violet And The Fiery Orb is Out Now!
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REVIEW: 'The Rite Of Wands' By Mackenzie Flohr

Publisher: BHC Press

Written By: Mackenzie Flohr

RRP: £19.95 / $25.95 (Hardback) | £11.95 / $14.95 (Paperback) | £1.49 / $1.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 5th September 2020

We've been incredibly excited to get stuck into Mackenzie Flohr's The Rite Of Wands - a fantasy saga that will speak to anyone who loves this popular, if crowded genre. Indeed, it takes something special to stand up above the crowd and get noticed; something this book did right from the off with some help from the striking cover artwork by Vern Firestone.

This is a tale of two young warlocks; Mierta McKinnon and Orlynd O'Brien - both wishing for more than their lot and coming to terms with their newfound powers. Both are wonderfully complex characters who share a number of similarities, but each are very much treading their own path. This is helped by the way in which Flohr keeps their stories separate, flip-flopping between chapters.

What we loved most about The Rite Of Wands, was how unpredictable it is. Yes, there's good and evil, but there are so many shades between that Flohr explores - particularly with Mierta. As the book progresses we see a time jump where our main protagonist has changed and you are left not really knowing where he or his intentions are going. This is someone you care about and the frustration you feel as a reader is just fantastic. Talk about gripping! The unpredictabilty is always in the back of your mind; just when you feel like you know a character, Flohr may just throw a curveball to flip the script (and your perception).

There are shocks, surprises and moments that will genuinely have your jaw dropping to the proverbial cobbled floor. We’ve not read a true fantasy adventure so captivating as this is since The Lord Of The Rings, and it's all down to Flohr's masterpiece in world-building. Rooms that characters enter are described in such rich detail that you feel like you're actually there. Characters faces are described in similar detail that you actually see them in your minds eye; Mierta's servant is a prime example: 

"He was a tall young man in his late teens. His long, curly, black hair had been tied back at the base of his neck. A short well-trimmed beard covered his strong jaw line, and his upper lip was covered by a thin moustache under a long beak-like nose. His fiery brown eyes betrayed his weary countenance."

Flohr, Mackenzie. The Rite of Wands (p. 35). BHC Press. Kindle Edition.

We mentioned earlier about a jump in time, and another tool that Flohr uses, rather fantastically, is the ability to go back and forth in time, seemingly effortlessly to fill in the character's backstory, whilst not too obviously distracting from the plot. With a character who can also see into the future, this also makes for an interesting device in the storytelling.

There's a great cliffhanger involving a certain character's fate - one which we will not reveal here because SPOILERS, but it is excellently played out and leaves you desperate to find out what happens next in this enchanting tale.

The Rite Of Wands is a perfect mesh of Doctor Who and Harry Potter, with the added adventure and fantasy of The Lord Of The Rings thrown in for good measure - it's literally all our favourite fandoms in one book!

Book 2 (The Rite Of Abnegation) was released earlier this year and DWO will be covering this title, shortly. Cant wait!

+  The Rite Of Wands is Out Now!
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REVIEW: 'Remeon's Quest' By J.W. Garrett

Publisher: BHC Press

Written By: J.W. Garrett

RRP: £10.95 / $14.95 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 31st August 2020

Following on from our recent review of Remeon's Destiny, we are thrilled to have just finished the sequel (or rather, prequel); Remeon's Quest.

This time around, we find ourselves back in time to 1930, where America is still in the crux of the Great Depression. The story sees our main character, Jack Livingston, dealing with a tragedy at work that takes his best friend Sam from him. Left with a note from Sam, Jack begins to carve out the new future he initially planned with his friend, when life takes another, unsuspecting turn...

I want to begin by commending J.W. Garrett for such a gripping start to this story. From the  gut-wrenching loss Jack deals with, to the journey he goes on with Harry, the reader is pulled along at a fantastic pace that somehow also allows you to breathe in the sights along the way. Such is Garret's attention to detail, from the cold beginning in Utah to Las Vegas and - quite literally - BEYOND, you really feel like you are travelling a first class, evocative ticket with the characters.

Speaking of characters, Remeon's Quest is brimming with a whole host of rich, new characters, as well as some old (or should that be younger?) favourites from the previous chapter in the Realms Of Chaos saga. Of these new characters, Whisterley is definitely our favourite; another strong, female character that helps balance the book, whilst giving our central character some much-needed happiness.

Again, we have a wonderful, expertly crafted blend of Science Fiction and Fantasy, with the added sprinkling of a love story between Jack and Whisterley, that holds central to the book.

As with Remeon's Destiny, you never know what is around the corner; be it a new best friend, an oncoming spaceship or true love, but one thing you can count on is a thrill-ride full of adventure.

This is some genius storytelling, and whilst it's not a movie (gosh what a movie series this would make!), it does reflect a little of the clever use of time travel seen in Back To The Future. Little nods that come back to play out later on - not to mention the time jumps.

There's some real momentum with this series and with book 3 (Remeon's Crusade) having just been released, I cannot wait to see what happens next, chronologically.

+  Remeon's Quest is Out Now!
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REVIEW: 'The Moon's Pull' By Beverly Torres

Publisher: The Wild Rose Press

Written By: Beverly Torres

RRP: £2.27 / $2.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 28th August 2020

At just 93 pages long, Beverly Torres' The Moon's Pull is one of the shortest books we've  reviewed so far, but boy does the author pack a lot into those pages!

Right from the off, we're thrown into the action as our lead character, Sam - a small town detective who seeks her peers' acceptance - arrives at a horrifying and rather mysterious crime scene. Sam is being watched from the nearby foggy hillside, by an equally mysterious character who we come to learn is Quentin Blackstone - our other main protagonist, and who also happens to be a Werewolf...

The story flip-flops between Sam and Quentin's point of view until they are thrown together through their attraction for each other and the common interest in the recent spate of murders.

The change of scenery between the detective work, with that of the exciting, supernatural world of werewolves acts as a fantastic contrast. Whilst you are constantly wanting to get back to anything with Sam and Quentin in it, you realise that the mundane gives necessary balance.

Torres' use of names is inspired, too. Carrick, Quentin and Baylock all sound like they are from an age gone by and fit perfectly within the Werewolf genre. Indeed, it feels like the author has done some incredible research on Werewolf lore as it feels so fleshed out and believable.

As one would hope, there is a poignant and utterly perfect climax to the story. Torres has got everything right here and on paper, for a story so short, it shouldn't work - but it does. This is a lesson in world-building and storytelling that proves you don't have to write an epic saga to pull off a good story.

There are so many well-written moments, and without giving too much away, there was a whole section near the end featuring a werewolf/human ceremony that was so beautifully written that the visuals it conjured are still vibrant in our mind.

The Moon's Pull would make a terrific TV movie; it's like a cross between Torchwood and Twilight, and let's be honest, werewolves are much cooler than vampires. Speaking of which, there are some racy scenes in the middle of the book that will please those wishing for a little bit more than what we got from Bella and Edward's foray in Twilight.

There's no word on a sequel, but we're hoping that Torres may dip back into this world in the future as there's loads of potential for further adventures. Whilst it was undoubtedly short, The Moon's Pull is an incredibly easy and captivating read. 

+  The Moon's Pull is Out Now!
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REVIEW: Big Finish: Main Range - 265: The Lovecraft Invasion

Manufacturer: Big Finish Productions

Written By: Robert Valentine

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: July 2020

Reviewed by: Nick Mellish for Doctor Who Online


"The Doctor, Constance and Flip join forces with 51st-century bounty hunter, Calypso Jonze, to hunt down the Somnifax: a weaponised mind-parasite capable of turning its host's nightmares into physical reality. Chasing it through the time vortex to Providence, Rhode Island in 1937, they arrive too late to stop it from latching onto a local author of weird fiction... Howard Phillips Lovecraft.

With time running out before Lovecraft's monstrous pantheon breaks free and destroys the world, the Doctor must enter Lovecraft's mind to fight the psychic invader from within.

Can he and Flip overcome the eldritch horrors of the Cthulhu Mythos? And will Constance and Calypso survive babysitting the infamously xenophobic Old Gentleman of Providence himself?"

WARNING: The following review contains spoilers. You have been warned!

Boy, is this a difficult one to review. The Lovecraft Invasion was intended to be Big Finish’s monthly audio play for June 2020, but ended up releasing at the end of July 2020. Bizarrely, Big Finish went out of their way to not tell people it had been delayed: think of that scene in The Hitchhiker’s Guide to the Galaxy with the stairless cellar and sign reading ‘Beware of the Leopard’ and you’re close to their approach. Anyhow, now it’s out the question has to be, was it worth the wait?

The answer to that should be a resounding yes… but unfortunately there are huge caveats, which we’ll come to in a bit. Before that though, let’s look at the positives because they really deserve highlighting.

The Lovecraft Invasion is not the range’s first brush with H.P. Lovecraft, having ridden his tailcoats before back in Lurkers at Sunlight’s Edge, a play which was doomed from the off by following the superb A Death in the Family, but which didn’t help itself either by forgetting to be any good. This time around though, rather than pay homage to/parody the author and his creations, we tackle them head on.

We start at the end of another adventure entirely, with Flip, Constance and the Doctor joined by Calypso Jonze, a bounty hunter from the future. In the way these things often go, a terrible something, a mind parasite called the Somnifax, has escaped and travels back through time, with our heroes and Calypso rushing through space and time in the TARDIS to hunt it down. It lands in America, 1937, and latches onto Lovecraft, making his world and creations come to life. The Doctor and Flip journey into Lovecraft’s mindscape to tackle the Somnifax, whilst Constance and Calypso look after their unconscious bodies and help Lovecraft to deal with manifestations of his works in the real world.

First up, the cast: this is the best we have had from Big Finish for ages now. Alan Marriott is fantastic in his duel roles as Lovecraft and Randolph Carter, differentiating the two subtly and with nuance. The real standout though is Robyn Holdaway as Calypso. They are brilliant from start to finish and I’d gladly see Calypso back in a recurring supporting role: not something I say lightly given the overabundance of companions in Big Finish. Their performance and the character are just that good.

Secondly, the story. This one cracks along at a fair lick, with a lot of action well-executed. Little in the way of say-what-you-see clunkiness is on show and the runtime of just under two hours mostly flew by and proves yet again that less is more with episode lengths. This is Robert Valentine’s first story in the monthly range and I dearly hope he has more to give us of this strength on the evidence shown here. You don’t need to know Lovecraft to enjoy it (I’ve never read a word and only really knew Cthulhu was a big squidy god creature), with explanations feeling organic.

A good script, a great guest cast, good action and good pace. What could go wrong? Thus we turn to the elephant in the room. For the most part, the script engages with Lovecraft’s racism really, really well. It doesn’t shy away from his xenophobia but it also doesn’t milk it or make it monotonous, tackling it with maturity and recognising that people are flawed and can hold horrific views, but that in itself does not make them horrific people. It’s the best way they could have dealt with Lovecraft.

But then rewrites have clearly happened and new scenes bolted on: and I mean bolted on. The sound quality in these moments is totally different to the sound quality elsewhere, which only helps to betray their after-the-event nature, and the scenes added are so out of touch with the rest of the play and so ham-fisted that they drag you right out and had me looking for the off switch.  

Calypso punching Lovecraft on the nose in a retread of Thin Ice? Good, and followed up with a superb line about their background and characteristics. The Doctor telling Lovecraft he’s a terrible racist at the end of the play, just in case we haven’t got the point? Bad.

The worst offender, however, comes roughly 22 minutes into the first episode and has the Doctor and Flip discuss problematic authors. In theory this should be fine, but it isn’t. It’s not given the same mature approach as elsewhere. It reduces the subject of “can/should I enjoy the work(s) of ‘problematic’ content creators?” to the Doctor saying no, you can’t. By the time the Doctor is alluding to a children’s author whose work he can’t read because of their personal views (wink wink, see what they did there?), I had to pause the play and go do something else for a while lest I delete the download there and then.

It’s a simplistic answer to an incredibly complex question, reducing it to the most patronising, didactic fluff Doctor Who can possibly give us - worse still, it betrays every point made in the script elsewhere.

Do I understand why Big Finish did this? In part. There is a lot of anger and argument online at the moment around the subject, but much like a lot of Twitter outrage, it’s a far tricker subject than a Tweet or two can deal with and by falling into the trap of trying to appease this, Big Finish drag play to the lowest common denominator, badly at that. There is a healthy and serious discussion to have on the subject of artist vs. work, and everyone will have their own mileage and limits (goodness only knows it’s something I’ve thought about a lot with various authors or musicians whose work I like, or liked, not least including the alluded-to children’s author), but reducing it to “bad viewpoints make people just bad” is as reductive and poor a way of tackling this as you can get. (And to stave off any accusations now, no, I am not far-right-leaning politically or think people are ‘snowflakes’ (god, I hate that term) or ‘virtue signalling’ by wanting to discuss these things. They should be discussed, but with decent writing and scope, which was the case for the play as was, but which was not the case when it comes to these extra scenes.)

I long for the original cut of this play without these additions: it would be a far stronger work for it. They tackled the subject well, then they panicked and tackled the subject terribly. It makes it a difficult one to score. The good largely outweighs the bad, so that in the end influences the score (which would have been higher without these scenes). I just dearly hope that future releases do not settle for simple preaching as has been inserted here. We, all of us, deserve better.


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TARDISMonkey's Torchwood Diary - 2.11 - The One Where The Rift Steals People

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2.11: Adrift

We start off the episode with a young lad walking home, and he’s running a bit late. His mum played by the wonderful Ruth Jones, sees him walking on across the bridge and he appears to be safe. This is until she averts her gaze for a second, and in a flash of light, Jonah disappears, remaining unseen for a period of 7 months. The episode starts with this brilliant build of mystery and we also get to see the wonderful PC Andy played by Andy Davidson, once again. There is a wonderful moment as we get to see what Gwen left behind for Torchwood and this really makes me wish we had some more Gwen and PC Andy adventures, especially during the first series of Torchwood. It really establishes their love/hate relationship as they exchange a bit of banter about Rhys etc, and it demonstrates the tension they share since Gwen left their partnership in the police force.

 

What this episode plays so strongly with, is Gwen being the main protagonist once again after we’ve followed the escapades of Owen for the past couple of stories. It really showcases how far her character has developed and changed as PC Andy confronts Gwen; she dismisses the case as insignificant, whereas if she was still working with the police, she’d be straight on the case. The words appear to resonate with her and the next thing we see is that she heads straight round to the mother’s flat. Gwen’s character has developed so well through the series, confronting the way Torchwood works; the way in which she works as an ex-police officer really demonstrates a good balance, coping with all the otherworldly situations, whilst also maintaining her humanity surrounding the situation. 

 

However, this can also be her downfall. As Gwen takes up the task of finding Jonah, we get a lovely scene of Gwen using her detective skills along with Tosh. It’s a nice moment to see them both working together, as they later discover people are going missing due to negative rift energy spikes - the same case with Jonah. Captain Jack is very quick to dismiss the whole situation, which immediately raises alarm bells with us as an audience and Gwen, however the other members of the Torchwood team stick by Jack as they always have done, to Gwen’s annoyance.

 

With this whole situation overwhelming Gwen, she tries to take comfort in Rhys, who at this point is getting fed up with how Gwen has been treating him. There is a very clunky scene to begin with, that gives a huge amount of exposition as Rhys and Gwen begin talking about babies, Gwen changing her personality, PC Andy still fancying Gwen and it all feels very odd at the start of the episode. It only becomes clear about their argument, as we rejoin them later in the park as Rhys and Gwen both can’t cope with their incredibly different lives coexisting simultaneously.

 

Getting back to Gwen and her sense of justice and humanity, she doesn’t let Jack stop her from investigating  Jonah’s disappearance. Gwen and PC Andy team up and find out that the missing people appear to be living on an island in the middle of nowhere. Gwen tricks Andy and goes on the boat on her own. It’s a moment that appears showing she just wants to save Andy from the horrors she’s witnessed whilst working for Torchwood, and wants to keep him safe. We get to the island to discover that Jack, in a not so shocking twist, knew about the whole situation of the rift taking people. However, it’s what has happened to Jonah that really makes the episode the brilliant thing it is.

 

Jonah has aged 40 years. He is no longer the young lad who disappeared only 7 months ago, as he’s now an older, deformed figure, as if he landed on a burning planet. It’s a harrowing situation to witness, as Gwen has to decide if she tells his mum everything that has happened. Gwen confides in Jack for advice, which he ultimately says is not a good idea, but never explicitly says why. This is why I like Jack and Gwen’s relationship. Jack has lived through these moments before and he can only guide and advise. If people go against his advice, they have to face the consequences and this truly happens when Gwen brings Jonah’s mum to see him.

 

The scene is a very difficult watch, as Jonah’s mum faces what has become of her son. It’s the level of emotions she goes through of denial, hatred, fear and eventually acceptance that really pulls on your heart strings. However, just when you think all is right with the world, the carer suddenly mentions he’s relapsing into a bad moment, as Jonah lets out a primal scream -  they can’t do anything but cover their ears to try and block the noise. It transpires that Jonah had looked into the heart of a dark star, which has driven him completely mad, screaming up to 20 hours everyday.

 

The consequences of every mistake in this episode really hits hard, as Jonah’s mum confesses that whilst he was missing, that one day he would turn up unchanged. However, with Gwen revealing the true situation, all that hope has gone. It’s those kind of moments that Torchwood is so great at addressing and confronting,  something that Doctor Who could never do. 

 

So overall, Adrift is an odd one to me. The whole theme behind this episode, is one of pure Torchwood Sci-Fi genre and themes, so it should be the perfect episode. However, it’s only perfect in the last 10 minutes, making all the themes tie in for the pinnacle moment. The first half seems to be really disjointed and some of the dialogue seems very clunky in what it’s trying to address, however this has been one of the more stand out episodes and I can’t wait to see how series 2 finishes.


Ellie (TARDISMonkey) 


 

 

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TARDISMonkey's Torchwood Diary - 2.10 - The One Where They See A Film About A Circus

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2.10: From Out Of The Rain

From Out Of The Rain feels like a true Torchwood episode once again. This time around, we’ve left behind the very heavily character driven stories which we’ve had recently. It was nice for the series to step into the weird and wonderful themes of horror once again. With this episode written by Peter Hammond who wrote the amazing Small Worlds, it was no surprise that it was very reminiscent to series one.

 

The start of the episode builds up the creepily dramatic flare with the Ghostmaker, a stereotypical showman with his top hat and big moustache, welcoming all people into his circus. It’s a true classic horror in the way it is filmed, feeling as if you’re someone wondering around the circus, as everyone looks towards the camera. The Ghostmaker hands a girl a ticket to the circus when all of a sudden, the whole circus disappears, leaving only the girls mother behind. This story feels like it could be straight out of a Sarah Jane Adventure series.

 

In true Torchwood style, they are already on the case, as Ianto finds some rift disturbance at an old cinema he used to go to as a kid. As they watch the film believed to be old footage of Cardiff, the Ghostmaker mysteriously appears, gesturing to the audience to come up to the screen. The themes of the circus living within the film is a truly horrifying concept, as it suggests the possibility of the circus performers eternal life. In a shocking twist, it turns out that Jack went undercover to find out what these circus performers were up to 80 years ago, when many people went missing when the circus came to town. This would have been an amazing path to take to delve into Jack’s history once more as he tries to cover up who originally sent him. That would have been the moment to develop Jack’s character just a little more, but unfortunately was missed.

 

What’s nice about this story, is it’s very heavily lead by Ianto as he seeks to find out who these people are and why they’re taking the souls and the very essence of their being. It really gives Ianto a leadership side which we haven’t seen previously in stories. If we wanted to go down the more character driven route as with Owen previously, this would have been Ianto’s time to shine.

 

Another missed opportunity was with the Ghostmaker and Pearl. The idea of these two going around capturing life essences from people is great, but the threat of the whole situation seemed incredibly mild in comparison to other events the Torchwood team have endured. What would have been amazing, was if the circus had already re established itself travelling around the country and everyone started to disappear again; it would have created more of a deadly impact for the team to sort out. However, the resolution to this episode is a quick finale as if they were running out of time for the episode. 

 

The Torchwood team quickly work out the only way they can stop the night travellers from taking the life of any more people, is to destroy the film they were living in. It’s a great concept, but it would have been more amazing if the team had to work this out in a last minute escapade. It’s never really explained why the circus people are doing what they are doing - they just seem to appear and not do all that much. What would have been amazing is if they turned out to be some kind of alien water vampire, or was that the plot of “Waters of Mars” I’m thinking about? Instead, we get a very speedy, Jack saves the day again ending, which has become a repetitive problem throughout Torchwood as a series.

 

Overall From Out of the Rain had a great concept that could have been helped with maybe this being a two part story. There are so many opportunities to establish character and plot, however it was all very rushed to fill the 40 minute time frame. There is a great little twist at the end of the episode. Just as Jack is about the put the flask away that captured the souls for the circus performers, a boy and his dad find another film canister with the same logo as the flask has on it. Has Jack really defeated the night travellers?


Ellie (TARDISMonkey) 


 

 

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TARDISMonkey's Torchwood Diary - 2.9 - The One Where Gwen Suddenly Becomes Pregnant

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2.9: Something Borrowed

We start the episode with a flash back scene to Kiss Kiss Bang Bang where Gwen announces her engagement to Rhys. It was about time we finally faced the family of Rhys and Gwen, as keeping their lives and Torchwood separate couldn’t last much longer.

 

The best way I can describe this episode, is a more adult version of “The Wedding of Sara, out to kill Gwen who has been impregnated by a murderous shape-shifting alien - pure Torchwood. It’s a great way to make fun of soap opera style weddings which always end in some kind of disaster but with a sci-fi element to it. Gwen wanting the marriage to take place no matter what, really shows a strength of character and the love between Rhys and Gwen.

 

I do have to mention the issues of Gwen’s relationship with Owen, as again the affair from series 1 is never brought up, even at the key moment when Gwen has to be honest with Rhys about getting married because she loves him. What makes the situation even more awkward is in fact that Owen is there at the wedding with the pair of them. I do feel hugely sorry for Rhys in the series, as his character gives so much love and dedication, even to the point of marrying someone who is pregnant with an alien. He’s given no kind of redemption story arc for everything that has happened without his knowledge. This has been a problematic theme throughout Torchwood, but I’ve come to terms  with the fact that it’s something that will never now be resolved.

 

This episode reinforces the Torchwood cheesy storylines we’ve come to know and love. The shape-shifting alien mum out to kill Gwen, almost feels as if it was toned down in respect of the blood and gore which would fit in well with a “Sarah Jane Adventures” story line. To have the shape-shifting alien hide in between their relatives and even taking the form of Rhys’s mum, does create a somewhat comical effect as in a lot of Scooby-Doo style chase scenes that would work perfectly with the “Doctor Who” episode “Love and Monsters.” Again the problems are very quickly resolved with the Singularity Scalpel as it zaps away the alien baby before the mum can tear open Gwen’s stomach to get to it. The Singularity Scalpel is becoming as common as the sonic screwdriver from “Doctor Who.”

 

A lovely final moment for the relationship between Jack and Gwen is when Jack finally takes out the shape-shifter and he picks her up as a trophy. Realising that Rhys is there, Jack places her on the ground and puts Rhys and Gwen’s hands together saying “The hero always gets the girl.” Again it’s the final resolution that is needed for their relationship now that Gwen is committed to Rhys and loves him, so he should be the man with whom she celebrates her victories.

 

It does start to feel that Torchwood has found a truly good balance between the gore, sex and violence from its previous series. This is very prominent with Phil Ford’s writing, as he creates some fantastic one liners throughout the episode - “That’s what I love about Torchwood. By day, you’re chasing the scum of the universe, come midnight, you’re the wedding fairy.” It’s a wonderful send off, as the Torchwood team retcon the entire wedding so nobody will remember the event thats happened. That will be fun to explain when the wedding photos are finally developed. 

 

We finish the episode with a touching scene of Jack looking through all his past photos, which appear to date back to the late 1800’s. One is of what appears to be a wedding photo, as Jack softly smiles, reminiscing about his past life and why he feels so comfortable letting Gwen marry while she’s working in Torchwood. It’s a nice send off to the episode as the camera pulls back, and the world is right once again. 


Ellie (TARDISMonkey) 


 

 

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TARDISMonkey's Torchwood Diary - 2.8 - The One Where Owen And Maggie Talk On The Rooftop

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.8: A Day In The Death

A Day in the Death is a very solid story about what I’m calling the how Owen is coping with being dead saga. This episode heavily surrounds the character development of Owen, from being the arrogant man we saw in series 1, to a more understanding but still problematic character in the way he now has to come to terms with being dead.

 

The story delves into the world of death and the problems that surround life and how those two should intertwine. The great way in which this story is depicted, is because it’s from the narrative view point of Owen, as he sits next to Maggie, a woman who is about to take her own life. But what’s Owen doing there? Was he there first or was he there to help Maggie? 

 

We experience this story as a historical event, so whatever happens as the story progresses, Owen will always end up on the rooftop. It’s quite worrying to see his character stripped of his Torchwood duties as Jack is worried about Owen’s more fragile personality and physical state. Again in a retaliative response, Owen gives up everything that makes him seem human; his food, booze, aftershave and even the loo roll. He throws it all away as if he’s giving up all his material possessions and facing the harsh reality that he won’t be able to enjoy life the way he does anymore. The music progresses to a repetitive tune as he faces these facts. Owen not taking this very well, lashes out at Tosh yet again, as she pops over with a pizza, just to make sure Owen is ok.

 

Owen finally giving in, heads towards Cardiff Bay, runs and jumps into the bay to try and drown himself. However, he suddenly opens his eyes and pulls himself out as he realises he can’t drown if he can’t breathe. Captain Jack, conveniently in the same area at the time it happened, watches Owen as he pulls himself out of the bay and queries for how long will this keep going? 

 

The whole theme of Owen being dead, heavily impacts the story, as millionaire alien artefact collector Parker (played by the wonderful Richard Briers) has a device that’s going to blow up the whole of Cardiff. Again, we have the typical Torchwood Mcguffin, as this alien device must be stopped. Owen is the only man who can stop Parker using the device, but he has to get through the heat sensors in the house without being detected. Owen and Parker have quite a nice but short bonding session over the themes of death and the resemblances it has with being alive. Being in a dark room, all alone, it all seems to be working well until Parker has his fourth and final heart attack, dying in front of Owen. To Owen’s horror, he can’t give him CPR as he doesn’t breathe and therefore can’t save Parker.

 

So this appears to be why Owen is on top of the roof with Maggie. It also turns out that the alien device is called the Pulse and it isn’t actually a nasty bomb but a message from beyond the stars, from aliens Torchwood haven’t met. Owen uses this symbolic moment to help Maggie, who we later find out is trying to kill herself as her husband died on their wedding day. It’s symbolic of a message of hope for the both of them, to carry on living and reflect on their past, which they’ve both done in this story.

 

What this story does so well, is it finally gives Owen some kind of resolution. He accepts the fact that he is now dead, because to be fair, for how long could the woe is me storyline play out before the audience themselves find the repetitiveness of the themes uninteresting. The major flaw for me, is not a reflection on this specific episode, but  the overall issues of Martha returning. Unfortunately, I feel for the past three episodes she was in, her character was heavily underused as it played under the Owen accepting death story arc. I wish we had one more episode with Martha after this, to establish her relationship with the Torchwood team, as Jack says she can come back at any point.

 

With the Torchwood team back to their usual antics, where will this take the final few episodes of the series? Only time will tell.


Ellie (TARDISMonkey) 


 

 

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