Cat’s Cradle: Time’s Crucible Part 3

Cover for Cat's Cradle: Time's Crucible

In my continuing read through of Doctor Who: The New Adventures: Cat’s Cradle: Time’s Crucible, I hit chapter, which has some significant throwbacks to the early days of Doctor Who.

Chapter 4: Inside Information

Synopsis

The Doctor and Ace are questioned by the police. The police are concerned about the Doctor’s well-being. Is he ill, drunk, having an emotional breakdown? Ace is aware of the surreal landscape morphing around them, and realizes that the police officers cannot see it. The Doctor insists that he just wants to get in his TARDIS, to get in the police box. Unfortunately, neither of the time travelers can enter the ship because the door keeps moving. The TARDIS has gone into self-defense mode as it attempts to keep something dangerous from entering. That includes the Doctor and Ace, unfortunately. Ace tries to get the police to find the door to the TARDIS, but that fails as well. She then tries to get the police to call UNIT to confirm the Doctor’s identity (and thus, sanity), but that fails as well since the police have never heard of UNIT. The Doctor theorizes the only way to find the TARDIS door with this particular defense mechanism is to happen upon it by accident, with no deliberate attempt or thought.

Then the TARDIS phone rings.

The Doctor answers it, confirms his identity, grabs Ace’s arm, and they are yanked into the TARDIS. From inside the TARDIS, they can hear a “scrabbling” sound. Something is just outside the door and it is trying to get in. The TARDIS scanner shows a normal Earth landscape, further reinforcing that the surreal images were put in their heads by the TARDIS as a warning. The fault locator registers everything as normal, which is good.

“Unless there’s a fault in the fault locator,” says the Doctor.

But the next clue they notice is that the door controls are gone, an empty space on the console. All the while, the scraping of claws on the door continues.

The Doctor decides to flush the creature out of the space between the TARDIS door and the dematerialized world. The Doctor searches through a trunk in the console room and pulls out the TARDIS manual. Pages have been consumed. The effects of the TARDIS’s defenses have caused time to echo. Basically, the creature hasn’t yet entered the TARDIS, but at the same time, it already has entered the TARDIS. As a result, the creature is both inside and outside the TARDIS at the same time. The Doctor fears it could be a datavore, a creature that consumes information and knowledge.

Then Ace notices that all the TARDIS coordinates are set for zero. The Doctor checks the console circuitry and sees the fluid links are malfunctioning. All power is being slowly drained away. The Doctor needs to find the secondary control room. Unfortunately, with the TARDIS malfunctioning like it is, the interior dimensions of the ship are uncertain. He gives Ace the TARDIS key and tells her to “trust us. Don’t leave home, Ace.” He then grabs a bicycle and rides off into the dark corridors of the TARDIS.

Commentary

This chapter had a strong vibe of “Edge of Destruction” to it. In that story, the TARDIS was malfunctioning because of a broken spring. The defense mechanism gave surreal clues to the Doctor, Susan, Ian, and Barbara. It even altered their perceptions. At one point the crew theorized that something had entered the ship and was influencing them. Platt seems to have taken that red herring and applied it as the actual threat here. He gives us some throwbacks to the First Doctor’s first season in this chapter: the fault locator, fluid link. Ace even mentions that the Doctor built the TARDIS, which echoes Susan from those early days of Doctor Who. It is a bit of an odd statement considering we know that the TARDIS is a piece of Gallifreyan technology. Does Ace not realize this? Is it a continuity error? Is it a result of the defense mechanism?

So, full confession: I’m not a big fan of “Edge of Destruction.” While David Whitaker is one of my favorite of Doctor Who’s early writers, EoD is probably my least favorite of his stories. Combine that with 1960s art-house surrealism, which I also don’t much care for, and you are left with a story that I am glad is mercifully short (two episodes). I love the ideas in it, I just don’t care for the journey.

And since this chapter draws so heavily from that story, I am just a bit ambivalent to it. Too much attempt to obscure, too slow at revealing things. It is odd that I’m engaging more with the chapters that don’t include the Doctor and Ace.

Cat’s Cradle: Time’s Crucible Part 2

Cover for Cat's Cradle: Time's Crucible

In my continuing read through of Doctor Who: The New Adventures: Cat’s Cradle: Time’s Crucible (that’s a mouthful), I hit chapters 2 and 3, and learn to hate Vael.

Chapter 2: Cat’s Eyes

Synopsis

We are back with Vael, only moments after his encounter with the Pythia and his vision of the TARDIS. He heads out on to the streets, where people are still celebrating the hero Prydonius. He is confronted with Loie, a young woman who insists on trying to be his friend. He rebuffs her. She insists that despite his attitude and scores, the Academy needs him as a temporal physicist for the Time Scaphe project. As Vael tries to get away from her, he meets the gaze of the dead Sphinx and hears a riddle: Who are you?

He insists he wants nothing. He wants to be a nobody. He doesn’t want a future.

He can’t get the visions of the TARDIS, the Sphinx’s eye, and the Pythia’s eye out of his head.

Back in Ealing, reality continues to do its Dali impression. Being a time traveler, Ace is able to see timelines streaming through the streets. People move slowly. She realizes the TARDIS is warning her and the Doctor about something dangerous. She encounters her mother, but since they are currently inhabiting different flows of time, her mother does not notice her. The time streams are yet another obstacle keeping them apart. Not that Ace cares.

The sky cracks, slowly ripping apart. Ace finds the Doctor kneeling beside the TARDIS. He can’t get in; the machine rebuffs him each time he tries. The Doctor tells Ace that something has made its way into the TARDIS. He doesn’t know what it is, when it got there, or where it came from. The TARDIS, in an attempt to protect itself, has removed its door. All the while, the Doctor and Ace hear a scrabbling sound from inside the TARDIS.

Commentary

Psychic advertising! I love this concept, not because I particularly want it to be implemented in our world, but because it seems like a plausible detail about a telepathic society. In this case, it compels people to buy junk food from vendors.

Reading Marc Platt is a bit like reading Grant Morrison. Sometimes I can’t quite make out what is happening. There’s quite a bit of surreal, abstract things going on which I sometimes gloss over. Vael’s characterization works, though, and I am starting to dislike him. I’m pretty sure that is the point. He insists on being nobody, which probably means he won’t get his wish.

Ace encounters her mother, who she continues to hate. This is a character detail that I wish would resolve itself. Honestly, I’m surprised it has come up again. I got the impression that season 26 was about deconstructing then reconstructing Ace. Granted, the show was cancelled and any further development was dropped. Maybe the character change was all in my head, but I liked what I saw, even if it was imaginary.

Chapter 3: Bootstrapping

Synopsis

The Time Scaphe has its Chronaut crew and Pilot. The Pilot is a child who plays with toys as the ship moves through time. The Chronauts propel the ship with their minds. Captain Pekkary holds everything together, but he is extremely concerned because he was assigned a last-minute replacement for his quantum theorist/Pilot guardian. The previous quantum theorist had been killed in a freak accident, and Vael replaced him. Unfortunately, Vael didn’t like the Pilot, and the feeling was mutual. Also irritating was that Vael could shield his thoughts from the rest of the crew. With the sensitivity and danger of the Time Scaphe experiments, Pekkary is uneasy having this unproven addition to his crew, an addition who had not trained and bonded with the rest of the crew.

Vael takes joy in scaring the Pilot, which is extremely dangerous as the stability of the Pilot keeps the ship from going wild in the vortex. Unfortunately, Vael steals one of the Pilot’s toys, and the crew loses concentration.

Commentary

Okay, when you start stealing toys from a child you start signaling that we are supposed to hate you. But the circumstances surrounding your arrival on the ship are quite suspicious. Is it mere coincidence that the previous quantum theorist was killed and Vael reassigned? The Pythia thought Vael was important but also thought he was wasting his life. The Pythia and Rassilon are at odds with one another. A genius who can shield his thoughts from others in a telepathic society would be very dangerous. He would be a perfect spy and saboteur. And here he is, tormenting the Pilot of a time machine and, presumably, knocking them off course.

The concept of a time machine piloted by a child is interesting. The implication is that only children have the imaginative capacity to adapt to the psychological changes that accompany time travel. As such, they are perfect pilots because their minds haven’t been conditioned against such things. Similarly, time travel is technically instantaneous, but artificial passage of time is necessary to keep the mind from stress. In this case, the crew stays in the Scaphe for 90 minutes but will be travelling 90 days into the future. Those 90 minutes are yet another illusion, another alteration of reality. Things are not what they seem, although there is logic to their unreality. This is a challenging book, but it has some great ideas beneath the surface.

Cat’s Cradle: Time’s Crucible Part 1

Cover for Cat's Cradle: Time's Crucible

Series Introduction

I have decided to try something a little different, something I thought about trying with Timewyrm: Genesys, but couldn’t due to time and general mental fogginess. Since I may be working on Cat’s Cradle: Time’s Crucible a bit longer, I am going to experiment with doing a read through. Basically, this means I will summarize a couple chapters at a time and give my thoughts on those chapters. This will enable me to get my thoughts organized and out there quicker (i.e. – more blog posts), and it will also enable readers who do not have the book to follow along or get a more detailed synopsis. If you are like me, you haven’t read very many of the Doctor Who books (NAs, MAs, EDAs, PDAs, and so on). Most of these books are out of print anyway, and while there are many sites out there that do a good job of offering detailed synopses, sometimes it is fun to tackle things in a bite-sized post.

Book Introduction

Cat’s Cradle: Time’s Crucible is the 5th book in the Virgin New Adventures series. It was written by Marc Platt, which marks (heh) the first time a writer for McCoy’s Doctor has penned an original novel for the Seventh Doctor. Essentially this means that the writers for the show are having a hand in the formation of the book series, which is a big deal. Platt, who wrote Ghost Light, wrote this book. Andrew Cartmel, who was script editor for seasons 24 – 26, wrote the next book. So while they may not have been directing the direction of the book line, at least they had a say in things and were able to develop themes and ideas from their approach to Doctor Who.

Prologue

Synopsis

The Doctor frets over some of the TARDIS’s quirks and noises, particularly that a noise he had grown accustomed to has stopped. He casts his mind back to the Time Lords and the frustration he feels for their imbalance of power and potential. He disagrees with their fundamental belief of sitting and observing, not interfering. Lost in thought, the Doctor burns his toast, and then he remembers a nursery rhyme:

For Tweedledum said Tweedledee

Had spoiled his nice new rattle.

Commentary

On the one hand, this prologue seems to exist to introduce the casual reader to a few of the general concepts of Doctor Who: time travel, the Doctor’s disagreements with his people, his headspace—where thoughts take precedence over food—and so on. But on the other hand (since I have read ahead a bit), I know that this prologue also serves as a type of thematic thesis. Platt draws our attention to the TARDIS’s operation and to the Time Lords. In particular is this gem: “The most powerful civilization in the cosmos would have been better off staying in the Dark Time; the time of Chaos and superstition.”

And so we have the introduction of Chaos and superstition as Dark. The implied inverse is, naturally, Order and reason as Light.

The nursery rhyme is an interesting addition for its connection to children and play. Connect to that the book’s title (or the mini-series title), Cat’s Cradle, and there is a type of frivolity and playfulness implied. A cat’s cradle is a type of game which refers to making figures through a complex web of string. A cat’s cradle is the perfect way to describe how this Doctor constructs his adventures. He has been characterized as a chess player, but he may more accurately be described as playing a game which weaves complex webs of events, players, and time. And given the dark ending to the couplet above (spoiled his nice new rattle), I expect something will be broken. (The TARDIS, obviously, but will it only be the TARDIS that is broken?)

Chapter 1: Moussaka and Chips

Synopsis

On ancient Gallifrey, Vael is a special young man who has the ability to become a Young Hero. He studies time theory and generally prefers to be alone, something that was difficult after the Pythia, Gallifrey’s ruling matriarch, proclaimed that his red hair marked him as an Individual.

Vael can block his mind from the thoughts of others, something that is uncommon among Gallifreyans. In general he is a troubled youth. He can see the conflict brewing between Rassilon and the Reason revolution and the Pythia. He doesn’t want to be a Hero like Lord Prydonius, who had recently returned with the head of the Sphinx, but he has no choice as he can see that the future rests on him. His choices and actions will tip the balance one way or another.

And he has visions of a blue police box.

The Doctor and Ace, meanwhile, are eating at a café. The Doctor contemplates baked Alaska: “frozen in the middle, but hot on the outside.” A tom cat enters the café and stares at Ace, unnerving her. The Doctor entertains a young girl by playing spoons. Then the clock drips to the floor. The geometry of the café begins to shift and alter. Another cat appears, this one silver. The Doctor is suddenly racked with pain. He and Ace notice the rapidly disintegrating reality, but the other people in the café do not. The Doctor says they need to get back to the TARDIS.

Commentary

Talk about plunging in to the deep end. Jumping right in to ancient Gallifrey takes some chutzpa. We had been given myths and references to it on the show—stories of Rassilon and Omega, the Death Zone, the Great Vampire—but we have never seen it. In fact, the mystic/science divide is a development of the conflict between the Time Lords and the Sisterhood of Karn (“The Brain of Morbius,” “Night of the Doctor,” “Sisters of the Flame/The Vengeance of Morbius”). On some level Platt isn’t portraying anything too far removed from what has been mentioned on the show. Seeing it, however, is sometimes a different thing altogether. But I’ve listened to enough of Platt’s Big Finish stories to feel safe with him, even if this story preceded those by a few years.

There was an idea in Paul Cornel’s Timewyrm: Revelation about the battle between the Doctor and the Timewyrm being an event that reverberated throughout history, that all stories of ancient evil and ancient good were derived from this battle. A monomyth, essentially, the real event of which all myths are mere shadows. In Cat’s Cradle: Time’s Crucible, Platt gives us epic, Gallifreyan heroes who slay mythical beasts. He is deliberately placing this story in mythic time which may be the real time from which myths are shadows.

Putting Vael, an angry and thoroughly unpleasant character, as the pivot for the future of Gallifrey is horrifying. But then, how often is the future determined by unpleasant people? For better or worse, such is history.

With the Doctor and Ace hanging out in Ealing (and I looked this up, Perivale is a suburb of Ealing), I can’t help but wonder when this story was envisioned in Platt’s mind. Was it to immediately follow “Survival,” or was it always conceived as the follow-up to Timewyrm: Revelation? It isn’t an important question, but there are certain thematic ideas which come up in the next few chapters that make me question when Platt thought this story was placed. Or maybe things were played fast and loose back then. I have no idea.

Doctor Who – Thin Ice (The Lost Stories)

Where Can I Find It?

Big Finish

Written by

Marc Platt

Directed by

Ken Bentley

What’s It About?

Ad copy: Moscow 1967. The Doctor and Ace have arrived behind the Iron Curtain, and the Soviet Union is seeking a new weapon that will give it mastery in the Cold War. What is the secret of the Martian relics? As the legendary War Lord Sezhyr returns to life, the Doctor is faced with some of his oldest and deadliest enemies. The fate of Earth – and the future of Ace – are now intertwined…

cover for Thin Ice

What Might Have Been?

Any amount of research into the history of Doctor Who, specifically into the history of the McCoy era, will eventually lead to the Cartmel Masterplan. This hypothetical document dictated the plan to move Doctor Who from the perceived failures of the Sixth Doctor era and in to a bright, new future. The Doctor would have been made more mysterious, possibly being revealed as a mythical Gallifreyan known as the Other. The overall vision was to put the “who” back in Doctor Who.

Naturally, the problem with the Cartmel Masterplan theory is that the plan probably never existed. I remember listening to an interview with Andrew Cartmel which had been conducted by the Podshock podcast, and Cartmel said this plan didn’t really exist. At best, the plan was spontaneous and organic, evolving out of the scripting at the time, not connected to a long-term, detailed vision for the show. But over the years the hints of a future in the McCoy era, the allure of the cancelled season 27, and the mythology that arose from the New Adventures novels contributed to theory and speculation. The Cartmel Masterplan became a lost, apocryphal golden era for the show.

With Thin Ice we are given, then, a glimpse at what season 27 could have been. But this glimpse may be less effective than anticipated. Based on some accounts, nothing had gone to script for season 27, although ideas had been pitched. If this is the case, then these lost stories are remembered pitches filtered through decades of development. They are an attempt to reproduce a previous era, not a reflection of an abandoned vision. Essentially, Thin Ice was pitched in 1989 but not written until 2011. It is a product of its time, and that time is the present. That time has also mythologized season 27, leaving me to wonder if these stories can even really be termed “what might have been.”

Looking at what we have been given, then, is nonetheless interesting. Thin Ice engages with the idea that Ace was to be inducted into the Time Lord Academy. The Doctor, seeing her potential, submitted an application without her knowledge and the events of Thin Ice become a test to prove her worth. This is somewhat interesting, and yet, despite the themes of change and the development of Ace’s character in season 26, it seems sudden. If becoming a Time Lady has been Ace’s journey, it hasn’t really been set up well. Moving from bitter (toward her mother) and violent to merciful and peaceful doesn’t not inherently entitle one to the knowledge of the inner workings of all time and space. Fittingly, this plot point is dropped when Ace is not accepted into the Academy. Instead, the Doctor allows her to take a greater role in their adventures, moving from the pawn to an active player. This is far more fitting.

So in a way, Thin Ice plays against the Cartmel Masterplan expectation by deflating it. What we are given instead is an adventure rooted more in Cold War spy antics than Time Lord mythologizing. The Ice Warriors lend themselves well to the Cold War (Cold, Ice, Red Planet), which is something we’ve even seen in the current series episode Cold War. I am always interested when Doctor Who portrays its monsters with nuance rather than, well, monsters. The alien races the Doctor encounters can’t always become stand-ins for those traits of society that we dislike. This is why Malcolm Hulke was such a great writer for Doctor Who. The monsters had believable motivations. And we have the same in this story, with an Ice Warrior agent working with humans to recover an ancient Martian artifact from Soviet possession. The artifact is a helmet with the biodata of a legendary Martian warrior who will be reborn into the wearer of the helmet. The Soviets have been experimenting with the technology, but in addition to the problem this technology will create in the timeline, the inevitable rebirth of this legendary warrior into a human would be a bad thing for human history.

In the end, Thin Ice is an entertaining story, made even more so when divorced from the mythologizing season 27 has been subjected to. This so-called lost season is shaped more by an attempt to tell interesting stories than to recapture a long-playing, long-abandoned plot. The Ace as Time Lord concept doesn’t really work as anything other than a sign to the fans that this ideas has been abandoned. Put it out of your mind and approach the stories as they are, not as we thought they were to be.

There really is no “might have been.”

Doctor Who – Ghost Light

Doctor Who story 157 – Ghost Light

The Doctor and Ace are threatened by a hunter.
Mount his head on the wall with all the other action figures in the collection.

I feel like I’m in a bit of an interpretive rut. I’m seeing virtually everything in the McCoy era as a commentary of the past, a refutation of what came before. This seems too similar to how I read the Colin Baker era, full of stories interacting with the past, trying to determine what is successful Doctor Who, and the most successful expression of that was the Saward-penned “Revelation of the Daleks,” a Doctor Who story in which the Doctor and Peri were largely sidelined. Sawardian Doctor Who rejects the Doctor.

But in the McCoy or Cartmel era, the tension is found between burning the house to the ground and constructing a phoenix from the ashes of Doctor Who. Which brings us to Marc Platt’s “Ghost Light,” a story about a supposedly haunted house that Ace burned to the ground in the 1980s. On some level, the story starts out clumsily because the Doctor is bringing Ace to this pivotal location, a place that has horrified her for much of her life. Only we have just heard about it now, in episode one. Granted, based on some small amount of passive research, I believe “Ghost Light” aired out of the originally planned order. “Curse of Fenric” was supposed to set up this story, but “Fenric” was moved to later in the season. Thus, we are unexpectedly thrust into Ace’s nightmare with no warning or set up.

But that aside, “Ghost Light” takes the haunted house trappings which would not be unfamiliar in the Hinchcliff/Holmes era, merges them with elements of Darwinism, and ultimately reveals an alien/mystic force, Light, that collects life-forms. Light was also worshipped by the Neanderthal tribe from which Nimrod the butler originated.

Okay, so these are some strange, disparate elements combined into a strange and slightly-less-than-surreal-than-Warriors-Gate-story. This story has been divisive, people loving it or hating it, and as a self-proclaimed-Marc-Platt-fan, I am determined to like it. Thus, I go to my fallback position that the story is about crafting a new vision of Doctor Who. The gothic haunted house is destroyed in the end (symbolic destruction of the Hinchcliff/Holmes vision of the show) while paying tribute to the show’s origins, which is signposted with discussions of Darwinian evolution (human origins being equated with Doctor Who’s origins) and a Light-worshipping Neanderthal (Tribe of Gum worshipping Orb aka the sun). The Darwinian evolution elements also thematically argue for the evolution of Doctor Who as a constantly changing television show. This evolution is held back by Light, a collector of life-forms, monsters and characters, who desires to preserve things in a static state, the fan who’s impressions of Doctor Who were defined once long ago and left unchanging. Everything in “Ghost Light” screams of change and evolution. In the end, the Doctor and Ace speak of destruction of the house. Burning it down isn’t good enough; it should have been blown up.

And there we have it: the only way to continue Doctor Who is to destroy it. Change requires death of the previous form, which in this case was everything built up by the JNT/Saward version of the show. Interesting that the JNT/Cartmel argument is to destroy it.

Doctor Who – The Beginning (The Companion Chronicles)

Where Can I Find It?

Big Finish

Written by

Marc Platt

Directed by

Lisa Bowerman

What’s It About?

Ad copy: When the First Doctor and his grand-daughter Susan escape through the cloisters of Gallifrey to an old Type 40 Time Travel capsule, little do they realize the adventures that lie ahead… And little do they know, as the TARDIS dematerializes and they leave their home world behind, there is someone else aboard the ship. He is Quadrigger Stoyn, and he is very unhappy…

Cover for The Beginning

I was playing with a chair which should have been housebroken

Marc Platt seems to be Big Finish’s go to writer for major revisitations of classic series stories. He wrote the origin of the Cybermen (Spare Parts), the return of the Mara (The Cradle of the Snake), the origin of Magnus Greel (The Butcher of Brisbane), and with The Beginning he visits a pre-Unearthly Child time period for the second time (the first being Quinnis). And while Big Finish has many excellent writers, Platt is one of my favorites. I enjoy the way he layers concepts in his stories, weaving together ideas that reflect one another. The Beginning is no different as the title is a clever play on words and expectations.

On one level, the most obvious one, The Beginning refers to the Doctor and Susan’s flee from Gallifrey. The audio hits the ground running, with the Doctor, Susan, and a mysterious trunk making their way through the bowels of the Citadel. They arrive at a bank of time capsules and pick one in haste. While I didn’t particularly care for The Name of the Doctor, there is a nice reference to that story, and then the adventure begins in earnest. With the stolen TARDIS, however, comes Quadrigger Stoyn (played by Terry Molloy), a TARDIS mechanic who was doing repairs on the damaged ship. Stoyn has never left Gallifrey, and he is horrified at his predicament. And so, The Beginning refers to where all this started, but graciously leaves certain details—such as the reason for the Doctor and Susan’s escape—in mystery. I appreciate this discretion.

On another level, The Beginning refers to beginnings in a more cosmological sense. The Doctor, Susan, and Stoyn arrive on Earth before the emergence of human life. It is here where Platt’s layering becomes truly fascinating to the Religious Studies side of my interests. At the beginning of human life is the ancient cosmological idea of Order and Chaos. Many ancient near eastern texts have this duality at the core of their worldview. Even passages of the Old Testament are probably best understood as Order and Chaos rather than retro-fitting Platonic or Enlightenment ideas onto the interpretation of texts. And these ancient texts are clear in the view that Order is benevolent and Chaos is malicious. Order is embodied in divine beings who keep the weather clear and the crops growing (order in nature) and society at peace (order in humans). Chaos, on the other hand, is embodied in divine beings who create storms and natural disasters (disorder in nature) and society at war or ridden with crime (disorder in humans). And at the heart of The Beginning is an alien race seeding order into the cosmos, taking the disorder of creation and bringing it into a peaceful alignment. But as this function is somewhat mechanistic (for what is more orderly than pure logic and no emotions), the ordered existence of life has no growth, no struggles and perseverance, no free will.

Into this ordering process steps our chaotic-good-aligned Doctor. The experiment by which the alien race attempts to bring order is interrupted and humanity is created. Disordered life rises on Earth. The aliens decide the experiment has failed and the only option left is to destroy the Earth. The Doctor and Susan intervene. In a way, Marc Platt upends the ancient near east duality by making our hero a god of chaos who, with the best of intentions, introduces chaos into humanity before they emerge. Put another way, he puts an aspect of himself into humanity which subsumes the aspect of Order. By doing so, the Doctor has created, in this moment, every human-involved battle he has ever fought. He has bound himself up with the destiny of humanity. He has created humanity, not in a physical sense, but in a psychological/spiritual sense. The price of free will becomes the ability to choose evil. The price of struggle and perseverance is pain and suffering. The Doctor, then, is god but also Satan. And the great irony of this act of creation is that the First Doctor, at this point in his career, is probably the most selfish, least moral of all his incarnations (until the Sixth).

Quadrigger Stoyn becomes the other villain of this piece. He wants to get home and he realizes the Doctor has no intention of returning him there. Thus, Stoyn is willing to use whatever methods necessary to get control of the TARDIS, to get home. Stoyn is memorably played by Terry Molloy, but I don’t think we get enough of him in this story to really understand his motivations. All we know is that he is a mechanic who is experiencing his first trip off Gallifrey, and that it is against his will. And the other threat Stoyn brings is his willingness to turn the Doctor in to the authorities, to the Fetches. Since this story is also the first in a trilogy involving Stoyn, these details may be fleshed out later.

It is probably good to go in to this story knowing that the reasons the Doctor and Susan left Gallifrey are not revealed. Apart from Stoyn, the Gallifreyan elements are minimal and The Beginning could just be another pre-series adventure. But by tying the beginning of the Doctor’s life to the origin of human life, Marc Platt has given us something we never knew we wanted (or at least I never knew that I wanted): a reason why the Doctor’s life is tied up with humanity.