by Shannon Lush
As promised a very long time ago now (sorry readers, been
awhile since I've been able to sit down and compose a proper blog entry review
for this page, I'll try and be more prolific now that we all are impatiently
waiting for the 50th Anniversary episode), it's time to delve into 'Doctor Who'
comics review. We'll begin with tales from the current rights holder of the
property for comics, IDW Comics, who in addition to publishing an on-going
series featuring the current Matt Smith Doctor (I've been catching up on some
of them, so expect a review soon), also produce special issues such as the
recent 'Star Trek The Next Generation/Doctor Who' crossover story 'Assimilation
Squared' which Steve (rightly) slagged to pieces on 'The Whostorian' podcast.
To add to this creative output, they also print a title, 'Doctor Who Classic
Comics', that exclusively presents material reprinted from 'Doctor Who
Weekly/Monthly/Magazine' ongoing comic strip, and it is an issue of that series
we will be reviewing this time around.
Before we get down to it, let me state that, for better or
for worse, IDW Comics has been impressively prolific when it comes to
presenting material based on 'Doctor Who'. Whether the stories are creative
masterworks or as bad as a Sil bowel movement, whether the artwork is
beautifully rendered or as terrible as it was in 'Assimilation Squared', it is
good to see that 'Doctor Who' comics are being produced regardless, and clearly
IDW are squeezing as much material as they can to justify what must be a massively
expensive licensee fee from BBC Worldwide. Good on them! I will also say that,
from what I have ascertained in what I have personally read, they are dedicated
to adding modern computer colouring and other flourishes to old material. The
pages of 'Classic Comics' no longer contain the printer's dots so indicative of
1980's comics and the lesser paper stock and weak ink. These days, they are
presented in high-quality, computer-aided rendering, and it really shows. So,
again, a pat on the back to IDW for treating 'Doctor Who' material with care
and respect.
..even 'if' some of the stuff they produce is just
creatively terrible.
OK, then. Let's get down to reviewing 'Doctor Who Classic
Comics', issue #2, shall we?
Who wrote it: Grant Morrison, regarded as one of the comic
industry's best and brightest. Morrison's Justice League America story 'Rock Of
Ages' is widely considered the definitive super-team story. His 'Animal Man'
run pushed meta-textual boundaries, while his most recent accomplishment has been
to kill off the latest incarnation of Robin The Boy Wonder, his own creation,
in an un-dramatic, one-panel sequence in DC's least solicited Bat title,
'Batman, Inc'. Fans were not amused.
Who drew it: John Ridgway, a British artist, and no stranger
to 'Doctor Who Magazine'. He is credited with 13 Sixth Doctor stories, many of
them written by Morrison, as well as 10 Seventh Doctor stories, all of them
published in 'Doctor Who Magazine' and reprinted later by IDW. Other comic work
includes Marvel's 'Transformers' series as well as 'Incredible Hulk', while
other science fiction work includes DC's 'Babylon 5' and the iconic British
anti-hero 'Judge Dredd'.
Who published it: The story originally ran in three parts
for 'Doctor Who Magazine', from issues #127 to #129. It is collected together
and reprinted in full as issue #2 of IDW Comic's 'Classic Doctor Who' series,
under the title 'Grant Morrison's Doctor Who', with new covers by Robert Hack.
The story: The Sixth Doctor, with companions Peri and
Frobisher, arrives once again on the acid rain-swept planet of Marinus (as
depicted in the classic series' televised episode 'The Keys Of Marinus'),
responding to a distress call. They encounter a fellow Time Lord, rapidly dying
from the effects of 'sporadic pulses of
accelerated temporal progression'; time itself is moving at a far more rapid
pace here. The unnamed Time Lord, sent by the High Council to investigate this,
dies due to being on his final regeneration, his body glowing and decaying far
faster than normal. Before he dies, he mutters the words 'Planet 14'; The
Doctor cannot remember the details, but is sure he's heard of this before,
while he was the Second Doctor. To gain insight, he decides to locate his
former companion Jamie.
Arriving in 18th century Scotland, the TARDIS crew are taken
aback to discover that Jamie is now a recluse living in a battered old hut,
considered quite mad by the townsfolk, who don't believe his ravings about visiting
other worlds and encountering alien life: The Doctor has 'miscalculated the
arrival point', thus it is 40 years later in Jamie's life, and he is now a
wizened old man. Jamie confirms that 'Planet 14' refers to their battle against
the Cybermen (depicted in the classic televised episode 'The Invasion').
Realizing the Cybermen are involved somehow, The Doctor is determined to get to
the bottom of how the Cyber Controller from that time period could remember him
when at that point he hadn't visited 'Planet 14' yet...along with Jamie, the
TARDIS crew re-visit Marinus. Though they have only been gone a week by the
TARDIS's internal chronometer, the planet's oceans are dried up and great
devastation has occurred. Before they can investigate further, Cybermen-like
creatures advance on them, necessitating a rush back into the TARDIS, this time
accompanied by Maxilla, an intergalactic repairman...of machines called
'WorldShapers'.
As the TARDIS cruises the time vortex, a shaken Maxilla
explains that he had been contracted to fix a series of broken worldshapers,
devices that are designed to localize time distortions and rapidly age
uninhabited worlds to the point they can sustain life.. and Marinus was the
'14th Planet' on the list. When he arrived on Marinus, he discovered that the
native Voords had captured the worldshaper device, and their tampering resulted
in a 'rapid evolve' of the entire Voord race; the planet's oceans suddenly
dried up, and the Voord race were now so advanced they grafted mechanical parts
to themselves, becoming...the Cybermen! Shocked by this development, The Doctor
decides the worldshaper machine, always intended to be used on uninhabited
worlds, is a devastating weapon in the hands of the Cybermen, and sets the
TARDIS to home in on the device's residual energy.
The Doctor emerges from the TARDIS in the catacombs of the
capital city, with just Maxilla and Jamie in tow; he explains to Jamie that in
order to facilitate their earlier adventure in which the Cyber Controller
remembered them from 'Planet 14', it must be this way. Maxilla discovers the
worldshaper machine, apparently unguarded. He hurries to appropriate it, but is
killed instantly when he hits a protective force shield. The Cybermen arrive,
and the Doctor instructs the Cyber Controller to 'remember our auras, we'll be
meeting again'. When the Cyber Controller scoffs, the Doctor and Jamie attack
them, dispatching the small group. Jamie bravely leaps into the force shield,
telling the Doctor he never 'intended to die in bed'; with his dying breath, he
summons the strength to shatter the delicate machinery with a swift slash of
his Clan McCrimmon sword. The resultant burst of time-stream energy begins to
engulf the entire planet, turning it into a desolate waste, while The Doctor runs
back to the safety of the TARDIS.
When the TARDIS crew once again venture outside, the planet
is a dead husk..The Doctor now recognizes this as Mondas, home of the
Cybermen! The Doctor is not surprised to
find a group of Time Lords, flanked by Chancellery Guards, sifting through the
rubble. The Doctor argues that the worldshaper's last gasp of timestream energy
has completed the evolution of the Voord into Cybermen, and he attempts to
rally the Time Lords in preventing their evil from escaping out into the
universe.
Dismissively, the Time Lords rebuff him and simply say 'it
is being dealt with', before threatening to impound the TARDIS and recall The
Doctor to Gallifrey if he doesn't immediately leave. Disgusted, The Doctor
promises that they 'haven't heard the last of this', and as he leaves, two Time
Lords discuss the cyclical nature of evolution and reveal their motivations
behind not involving themselves in stopping the birth of the Cybermen; in the
far-future, millennia from this point, the Cybermen will evolve into the
universe's most peace-loving beings, and become allies and mentors of the Time
Lords....what's a few million years of evil and bloodshed to the inhabitants of
the cosmos, if the end result benefits Gallifrey?
Review: Let's begin with the artwork, which, as any comic
fan is aware, can make or break a story regardless of how well written it may
be. Ridgway's conservative, back-to-basics style lends itself well to depicting
the Whoniverse and all its myriad inhabitants. The use of heavy, charcoal-type
pencils with a heavy touch of appropriate shading and emphasis on natural movement as opposed to
the traditionally North American 'posed' style of comic books is a definite
plus; there is no cartoony exaggerations of movement, no cluttered and
over-worked panels. The artwork is simple, smooth, and pleasing. There is
evidence that Ridgway consulted publicity stills of Nicola Bryant as Peri
(specifically from 'The Mysterious Planet' episode, as Peri is depicted here
with the exact same clothing as there), and Baker's Doctor, who along with Peri
are the two characters given close-up shots. The Sixth Doctor's outlandish
costume, notoriously difficult to accurately depict for artists, appears
perfectly weighted and hangs naturally on The Doctor; there is no Todd
McFarlane-esque flapping cloth or exaggerated length. Outside the regulars, the
guest characters are somewhat of a mixed bag; Ridgway's simple style definitely
tones down the character of Frobisher the shape-changing Wifferdill, nominally
in the form of a penguin in most stories, and normally treated to 'Who Framed
Roger Rabbit'-type, fourth-wall breaking moments by most artists, which
detracts greatly from the stories he appears in. Jamie looks nothing like he
did in the classic series, though due to the dictates of the story itself
that's not saying much; he's a generic old man. Wearing a quilt.
The Voord-Cybermen are impressively designed, as well,
resembling Troughton-era Cybermen with webbed metallic appendages and elongated
heads. The Time Lords are, to quote the Tenth Doctor, 'Time Lords in funny
hats', the traditional depiction of High Council members as seen in numerous
episodes; the Chancellery Guards, with their ‘Buck Rogers'-style ray guns and
domed-shaped helmets, were a nice touch. Finally, the unnamed Time Lord
investigator who sent the distress signal that kicked off the entire story is
himself nothing more than an aged man akin to Jamie, though his TARDIS,
described simply as a 'newer model' by The Doctor, is a visual treat; the
exterior is giant and ominous, pearl black coloured with grooves and spikes,
and the visual drives home that, just perhaps, this is a secretive Celestial
Intervention Agency craft. The interior is large and 'beautiful', to quote
Peri, with silvery shards of stalactite-like material extending from the
ceiling, almost as if it is a Fortress of Solitude.
Now, on to the story...and where to begin? IDW Comics ought to be applauded (or at
least, their sales and marketing department should), for having the foresight
to tap into the average comic fan's knowledge of the name Grant Morrison and
thus subtitling this special reprint series 'Grant Morrison's Doctor Who'. Like
a young Vidaal Sasoon designing the hairstyle that the First Doctor's
grand-daughter Susan wore in the first season of the classic series, James
Acheson providing set designs for several Tom Baker episodes years before he
won numerous Academy Awards for doing so in big-budget films, and writer Alan
Moore penning text stories for 'Doctor Who Magazine' years before he turned the
entire comic book industry on its head with 'Watchmen', the Whoniverse has
always benefitted from the contributions of individuals who later would leave
their mark on the television, film, and graphics industry in big, bad
ways...why not boost sales of reprint collections by branding it as
little-known work by a writer who went on to become a well-respected name in
the comic book industry?
The problem, as it seems to always be with matters
pertaining to The Doctor...is the timing. In 2013, Morrison is at the peak of
his storytelling prowess, a meta-master with a bibliography of hits, from
defining runs on established pop-culture icons like Superman and the X-Men, to
arguably 'the' finest graphic novel presentation of Batman, 'Arkham Asylum'. In
1986-7, however, he was a struggling writer pitching mind-bending ideas to
Marvel UK, and doing fill-in work for 'Doctor Who Magazine' while he awaited
his 'big break'. Though we are concerned solely with the 'Worldshapers' story
in this review alone, the entirety of his 'Doctor Who' work, to borrow River
Song's oft-repeated mantra of 'spoilers'...it's just not very good.
While of course opinions, like the TARDIS, are all
relative..facts are, simply, facts. Morrison's casual approach to canon, on
display in numerous works published by the 'Big Two' of Marvel and DC, may grit
some teeth among comic book fans but the sheer number of other stories written
by other writers featuring the same characters appear to mollify them; if you
don't like his 'Batman is James Bond in a cape' approach, you can simply read
another title written by another writer featuring Batman. But to take a casual
approach to 'Doctor Who' canon? One needs to have balls the size of a Sontaran
War Wheel to think it will escape notice or reproach. In the mid-1980's, in an
era when the series itself was being considered for cancellation...with no
internet, no Big Finish audio plays, no BBC Books text stories (only
sporadically-printed Target novelizations of existing episodes), no other
fictional exploits of The Doctor that fans could choose instead...'Doctor Who
Magazine' was IT for Whovians. Even Marvel Comic's 'Doctor Who' comics were
themselves re-printed from this source material. Thus, the sins of sloppy
stewardship of the comic stories are magnified tenfold given this placement in
time.
The first detrimental element is Morrison's approach to The
Doctor's character. Devoid of mannerisms, bland and wishy-washy, the Sixth
Doctor, a bombastic, arrogant, and spirited meddler in the television series is
reduced here to 'generic Doctor'; for all intents and purposes, this Doctor may
visually be the Sixth, but in action and dialog he may as well be Peter
Cushing's Technicolour incarnation, for all the difference it would make. It's
a shame, too..if ever an incarnation of The Doctor was tailor-made for the type
of out-of-the-box (no pun intended) writing Grant Morrison is capable of, it's
the Sixth Doctor.
Next, the companions; this particular story brings together
two televised companions from different eras...and a penguin. While the Sixth
Doctor has been burdened in other media with what can at best be described as
unfortunate choices for companions (the hyper-active fitness buff Mel in the
television series; Maggie the aged professor who looks and sounds like Robin
William's 'Mrs Doubtfire' in the Big Finish audio plays and 'Real Time'
webcast; Jason the 17th century fop in 'The Ultimate Adventure' stage-play;
Grant the manic-depressive in the 'Missing Adventures' novels), Frobisher the
shape-changing Wifferdill is, without a doubt, the worst of the spin-off
material lot.
Exclusive to the comic strips, and created, presumably, to
fulfill the role of companion as well as serving to provide the strip authors
with dramatic opportunities to place him into situations of dire peril not
permitted by the script-immunity nature of the television series, Frobisher is
nothing more than comic relief at best. Like the better-known Howard The Duck,
Frobisher is an anthropomorphic comedian, offering one-liners in inappropriate
junctures; numerous dramatic cliff-hangers are undercut by either his 'Looney
Tunes'-like wide-eyed reactions, his one-liner zingers, or both. It is
extremely difficult to buy into the shock of, say, a Cybermen race evolved from
the Voord and advancing slowly upon a trapped and helpless Doctor...when the
little penguin is cowering in fear and scampering behind his legs.
Peri herself retains some semblance of her television
character, and it is this fact that further fuels the speculation that 'The
Mysterious Planet' was source material for not only Ridgway, but perhaps
Morrison as well, as in this story she is quietly confident and clearly happy to
be traveling with The Doctor. Though she falls victim to the 'explain the
dangling plot points to me, Doctor' behavior all companions through the series'
history and in every medium, she also has good moments, such as the obvious
pity she feels for old Jamie, murmuring to Frobisher that when last she
encountered him, Jamie was 'much younger then'; this is a moment when Morrison
and Ridgway were in lock-step, as she is shown looking down, her face shadowed
in a moment of empathy. Peri's mere presence is enough to discount Frobisher's
very existence, as her rapport with The Doctor, even as it is given only a few
brief moments to shine and hampered by The Doctor's obtuse nature as written by
Morrison, is still clearly evident; Peri is The Sixth Doctor's natural
companion, and despite the legions of other creations that populate the
spin-off merchandise, she is still the one best suited to him.
Jamie, though he doesn't look a thing like fans remember,
still has the fighting spirit, tenacity, and loyalty to The Doctor that makes
him among the most favourite of all companions. Perhaps the finest portions of
this tale come in the moments where The Doctor collects Jamie from 18th century
Scotland. Upon arrival, they are treated to a gaggle of stereotypical 'Och!
Aye!' Scots, and given Morrison himself is Scottish, one can detect the
deprecating jabs he gives his homeland. Jamie is clearly Morrison's favourite
character within this story, though, and for many reasons. He is given moments
of gravity such as breaking down and crying, ashamed of having The Doctor see
him so old and frail, which leads to a tender moment between the two, and later
The Doctor facilitates a measure of revenge on the villagers who mocked and
belittled Jamie by gathering them to see 'a conjuring trick'; the TARDIS
dematerializing, which not only shocks them, it confirms that 'Mad Jamie' was
speaking the truth all along, and the look of shame on the face of the
ringleader for doubting him was beautifully illustrated. Later, there are
throw-back Second Doctor/Jamie moments, such as attacking the Cybermen to throw
them off guard, then running like hell, that were enjoyable. The denouement of
the story also lends credence to the belief that, whatever else was
accomplished or revealed within it, and whatever Doctor stars in it, this is,
truly, Jamie's story.
Morrison's failure to pay even lip service to established
canon is the true downfall to what, on the surface, could have been an
enjoyable story; while casual fans will thrill to the sight of a TARDIS that
towers, literally, over the characters, established Whovians are left
scratching their heads over bizarre scenes such as The Doctor directly
questioning the unnamed Time Lord's craft itself, and, even more bizarre, it
answering him! While this scene provides crucial plot information, had Morrison
simply had the unnamed Time Lord reveal the same information himself prior to
dying, it wouldn't have been necessary to bend canon to the breaking point. It
has long been established that all TARDISes are sentient to a degree, and this
has been depicted quite often in the current series, most blatantly in 'The
Doctor's Wife' episode, in which the TARDIS literally takes human form
(complete with swapping roundels for cleavage; but we digress). In 1987, however,
it had been well established that, as much as the TARDIS provides non-verbal
clues to its various moods and even can, when required, attempt to save the
lives of its occupants from impending doom ('The Edge Of Destruction' televised
episode is an excellent example), no TARDIS is capable of carrying on full
conversations with anyone! It is a clumsy failure to adhere to basic guidelines
established in the series, and quite unforgivable given the existence of the
unnamed Time Lord who could have provided the exact same exposition.
Before exploring further canon-bending, it is important to
note that, as detailed above and within several other blogs on this site, the
importance of the comic strips to the overall 'Doctor Who' mythos cannot be
taken for granted. More than all other forms of spinoff media, the comic strips
are, essentially, the 'B Grade Canon' of the Whoniverse. Though the Target
novelizations form their own canon, being mostly penned by former classic
series script editor Terrance Dicks (co-creator of The Time Lords themselves),
they are 'after-the-fact' canon; at no point does anything printed within a
Target novel take precedence over what has been already televised, even if the
novels may fill in details that were glossed over or missing altogether from
the episodes.
The comic strips were birthed not long after the very series
they were based upon was, and thus have become by Guinness World Records
consideration the longest-serving science fiction comics based on the
longest-serving science fiction TV series. Though a majority of the early work
is juvenile and obviously not meant to conflict with or add to established TV
canon, by the early 1980's the strips were, indeed, considered to be the proper
forum for 'Doctor Who' professionals, be they former script editors, writers of
episodes, or even producers such as John Nathan-Turner who suggested or
demanded alterations to certain stories, to convey ideas that were not
permitted in the TV series for reasons of budget or time, but nevertheless were
intended to be disseminated to fans.
Let us reiterate that producer Russel T Davies had
instructed the pivotal regeneration from the Eighth Doctor to the Ninth be
depicted in the pages of the comic strip; it was the strip editor who refused,
on the grounds the page count would not do such a monumental moment proper
justice. Clearly, outside the series itself, the modern comic strips are
secondary canon that, from time to time, move up to the forefront and run
neck-and-neck with the real thing in Whovian's eyes. Against this backdrop and
with these salient points in mind, let us resume Grant Morrison's numerous
canon-breaking moments in 'The World-Shapers'.
Though it is not explicitly stated the unnamed Time Lord who
sent the distress signal was a CIA agent, it is heavily implied; after all, as
noted above, his TARDIS is sleek and powerful, and by the conclusion of the
story Marinus/Mondas/'Planet 14' is crawling with Time Lords who make short
work of The Doctor's objections to their handling of affairs, much as they did
numerous times in numerous stories that fall into the fan-generated 'Season 7B'
mold (for more on 'Season 7B', see 'The Whostorian' podcast, we covered it
there). Their interactions with The Doctor harken back to the televised episode
"Genesis Of The Daleks', in the suggestion of altering the origins of a
race of galactic conquerors (while in the episode it is suggested TO The
Doctor, here it is The Doctor who does so), while the suggestion that they
dispatched an agent to investigate unauthorized time disturbances echoes not
only the televised episode 'The Two Doctors' (which also of course features
Jamie), but also 'Carnival Of Monsters', which features a similar plot,
concerning a device that can alter, rearrange, or capture time; in the episode,
it is the Mini-Scope, and here it is the world-shaper...and both have a token
number of Cybermen.
While accidental or intentional, these 'your roots are
showing' moments are pleasures to experience for fans, as it does lend to the
belief that this story fits into the overarching tapestry that is the
Whoniverse, with reoccurring themes, scheming and aloof Time Lords manipulating
events, and the like. Whether the credit can go to Morrison the writer or the
'Doctor Who Magazine' editors who were well-versed in Whovian lore who insisted
he sprinkle this stuff in to spice the story up for the initiated, it's not
known. However, of the positives that one can take, there are negatives...lots
of them.
In addition to the talking TARDIS is the conceit that, for
no reason other than to advance the plot and allow for the insertion of Jamie
into the story, The Doctor simply blanks on the details of past adventures.
Unless it was a subplot at the time of the original run of the comic and was
addressed and resolved elsewhere, there is no underlying reason ever given as
to 'why' he doesn't clearly remember the events of 'The Keys Of Marinus' or
'The Invasion'. 'If' it was a subplot, there is no context given to it, no
indication in later stories that were published, and no 'editor's note'
pointing to previously published stories in the line for any clue: The Doctor
simply does not remember certain events of his past, and therefore must seek
out Jamie in order to figure it out. Uhm...OK, then. Couldn't he have consulted
the TARDIS data banks? His 500 Year Diary? Again, this is done specifically to
justify bringing Jamie into the story, and for no other reason. Yet another
dagger in the fan-boy heart thrown by Grant Morrison. He's not done yet,
though...
The Time Lords captured The Second Doctor, put him on trial,
and forcibly regenerated him, as depicted in 'The War Games' televised episode.
That one episode was a turning point for the series, and events surrounding it
have led to Whovian legend-making for decades, culminating in the 'Season 7B'
belief system. One of the best-remembered moments of the episode is of the Time
Lords wiping clean the memories of Jamie and Zoe from their time with The
Doctor, save their respective first encounters (because you always remember
your first..). Jamie had his mind erased of The Doctor and their travels
together, except for the events of 'The Highlanders', his first encounter with
him...how does he remember all that 'Planet 14' stuff the Cyber Controller was
babbling about in 'The Invasion'? Grant Morrison's answer was: 'cause the Time
Lords are idiots.
Harness the power of a star and suspend it in a perpetual
supernova and turn that energy into time travel capability, thereby conquering
all of time and space and unlocking the power to bodily renew themselves for
thousands of years? Done. Properly wipe clean the memories of a dirty Scottish
teenager from the 17th century? THAT was out of their skill set!
Yes, Jamie patiently explains to Peri, ('cause she was in
her 'I have to ask the question on behalf of the reading audience' phase), the
Time Lords 'thought' they wiped clean his and Zoe's memories...but fortunately,
The Doctor taught them both 'certain mental tricks' to combat the attempt. The
Doctor derisively adds that 'fortunately, the average human brain is more
advanced than the Time Lords believe'.
....Who wants to call 'bullshit' on this? Show of hands?
On the one hand, some elements of this feed into those of
'Season 7B' quite nicely; Jamie is depicted as traveling with the Second Doctor
in 'The Two Doctors' AFTER the point they were supposed to be mind-wiped and
The Doctor exiled and regenerated, after all..they are even on a mission on
behalf of the High Council in much the same way the unnamed Time Lord was when
he arrived on Marinus. But as much as 'Season 7B' is a unique, elaborate (and
far too sensible to ever be given official canon status) fan-generated
explanation for tons of stuff that just doesn't make sense in the Troughton era
and multi-Doctor team-up stories, it's not canon...and neither is Morrison
writing off the 'oldest and most advanced civilization' as being defeated by
The Doctor's Far Eastern mental trick (did we mention Grant Morrison is a big
fan of Tibetan spiritualism?). So they can expand mental energy sufficient to
capture a TARDIS from the time vortex and force it into a space station during
The Doctor's (second) trial...but they can't properly mind-zap two teenage
humans. Sure.
However, the granddaddy of canon-altering is the dramatic
reveal in this story that the Cybermen, that universe-conquering race of
emotionless robotic warriors that consistently come second only to the Daleks
in terms of 'Doctor Who' monsters...are originally Voords. From Marius.
The 'true origins' of the Cybermen have, admittedly, been
shrouded in secrecy; beyond consistently appearing as humanoids, there is not
much to point to as to their origin point (we are specifically referring to the
classic series' version, the so called 'Mondasian Cybermen', not the current
series' overused Cybus Industries models; we know they originated in a parallel
universe Earth). What 'is' known is that, during their first-ever appearance in
the televised episode 'The Tenth Planet', they revealed they once were much
like humans, as emotional and humanoid as those they terrorize in the South
Pole tracking station. They also reveal they originate on 'Earth's twin planet,
Mondas', and of course in their first story, their home world is destroyed by
absorbing too much energy, which weakens them greatly, to the point they are
defeated. Later revelations have slightly amended this weakness, along with
that of radiation, magnetism, freezing cold...basically, all that remains now
to classify as a semi-consistent weakness is gold. But at 'no' point during
their televised appearances, and nowhere that has been found within spinoff
media, have they been revealed or even hinted at originally being Voords.
To begin with, in order for this to be the case, fans would
have to accept that Marinus is Mondas..which means that it was 'Earth's sister
planet, hidden behind the sun'. Further, fans would need to accept that in all
the planet-hopping The Doctor, Ian, and Barbara and Susan do in 'The Keys Of
Marinus', there is not one mention of the technology found there possibly being
adaptable to limb-replacement or skin grafting, which the Cybermen have alluded
to often enough as being the starting point down their path of full conversion.
Further, two schoolteachers with more than a passing
familiarity with astronomy never give a passing thought to the skies, where
stars and planets would reveal they were not far from their home of Earth,
where at this point in time they desperately want to return to if only The
Doctor could get them there...The Doctor himself, a scientist with an IQ off
the charts, also never mentions it. Sure.
Perhaps the above reads as nebbish, nit-picky, and
ridiculously inverse: good, it should. Because in order for Grant Morrison to
weave his canon-altering tale that serves as nothing more than a moment in a
story but would have lasting repercussions on the entirety of the Whoniverse,
then it needs to pass muster and stand up to scrutiny, and, like all the other
casual, dipsy-do 'facts' he trots out in the pursuit of telling this tale, it
sure doesn't.
It is one thing to write a story that adds depth to the
Whoniverse, only to see the story kicked down the ladder of canon later by the
series itself. This occurred in the wonderful comic story 'The Mark Of
Mandragora', which teamed the Seventh Doctor with Sarah Jane-Smith in battle
against a Fourth Doctor adversary. The story was a rollicking, fun, fast-paced
adventure and Sarah-Jane was extremely well-written in it, demonstrating, as if
any further proof were needed, that shewas the definitive 'Doctor Who'
companion character, able to evince a level of camaraderie, love, and
friendship with any and all incarnations of the Doctor.
Over a decade later, the televised episode 'School Reunion'
obliterated it's canon value with one throw-away line of dialog, to the effect
of The Doctor having regenerated several times since last he saw Sarah-Jane,
establishing that 'The Hand Of Fear' televised episode was the last time the
two were together (since she doesn't recall the events of 'The Five Doctors').
To be relegated to non-canon status by the TV series itself is perfectly
acceptable; it happens. To attempt to undercut multiple episodes 'of' the TV
series, multiple other comic strips past and present, and devise an origin
story for the Cybermen when the TV series itself has always seemed reluctant to
do so? It is one thing when David Banks, the actor who played the Cyber Leader
in the 1980's, releases audio cassette tapes of his reading of 'The Origins Of
The Cybermen'; all the 'revelations' are his alone, unsupported by anyone else,
and were released under a production company called Silver Fist, as nothing
more than a vanity project. That and others like it, from fan fiction to Big
Finish Audio, are comfortably slotted to 'tertiary canon'; most Whovians
wouldn't dream of considering these modern examples of spinoff merchandise to
be even approaching canon. As stated above, the comic strips, however, are an
entirely different matter.
Then, of course, there is Jamie. Morrison reveals that he
can survive a Time Lord-induced mind-wipe with no ill effects. He is 40 years
older than he appeared in the 'Two Doctors' episode, which is name-dropped
frequently in this story....though the explanation for this, too, is extremely
weak, and is chalked up to The Doctor 'misjudging the coordinates'; when it
serves the plot, Morrison is happy to dumb-down The Doctor, it seems. Though,
as stated, it leads to the only moments in the strip that conveyed true emotion
mixed with the best characterization all around for the TARDIS crew, the set-up
is ludicrous; why not simply have invented a more logical reason for Jamie's
aging? Perhaps the Time Lord's tampering with his mind also aged his body
prematurely? Perhaps the TARDIS was acting wonky due to the worldshaper's
effects, and itself overshot the mark...anything would have been better than
simply having The Doctor be stupid. Then again, he's a Time Lord. They can't
even manage to wipe a kid's mind, after all.
The death of Jamie is handled with sensitivity and pathos.
As one of the most popular companion characters, the very concept of killing
him off seems repugnant on the surface of it, especially as up to this point it
has not been reflected or referenced within the TV series or other spinoff
media...but in this instance, it has yet to be contradicted specifically,
either. 'If' indeed one chooses to accept the comic strip adventures as at
minimum having the closest ties to the established Whoniverse canon, and as
stated above personages such as Russel T Davies and John Nathan-Turner
supported this belief by their words and actions, and at maximum being the
adventures of The Doctor as important as the series itself, then it is a
pivotal and important moment.
Grant Morrison is no stranger to controversial deaths, as
anyone who follows the current 'Batman' comics series is well aware; in
comparison to the cavalier treatment he afforded his own creation, the Damien
Wayne Robin, having him stabbed in the midst of a battle by an unnamed ninja,
Jamie's death was afforded far greater measure. Dying heroically in a self-sacrificial
way in order to not only save his friend The Doctor, save the planet Marinus
and by effect the universe itself from the destructive time waves crashing over
it, and prevent the Voord-Cybermen from accessing a super powerful weapon of
mass destruction, all by his own choice and in order to preserve his dignity,
leaves fans saddened, shocked...but relieved that the character was given the
proper respect for what he means to Whovians to be given such a death.
The only minor quibble regarding the entire death may not be
Morrison's fault so much as the limited page-count, which also affected Davies'
plans to 'kill' the Eighth Doctor, after all; The Sixth Doctor does not have
proper time to mourn or address the death in the manner that it truly deserved.
Though he gravely barks 'Jamie's dead!' at Peri when in the safety of the
TARDIS, and though here Ridgway's pencils again maintain a respectful and even
tone that only adds to the panel and the scene, the relentless pace of the
story racing to its climax means no further time can be spared dwelling on it.
Like so much to do with this story, it is the quieter moments that define it
far more than the canon-breaking nonsense that encompasses its bulk.
In summation, as a slice of what 'Doctor Who' is like in the
hands of a writer now revered for his bucking-authority style, his wild
disregard for established canon, and his off-the-wall concepts, 'The
WorldShapers' has a few solid moments, all of which involve Jamie. For the
sheer fun of it, from an outrageously shaped TARDIS to a return to Marius to a
gaggle of moustache-twirling evil Time Lords, it has its moments. It doesn't
stand up to scrutiny as a document for change within the Whoniverse, and it
doesn't do any favors to its source material, that's for sure. It operates far
better for the impressive visual work of John Ridgway than for the convoluted
mess Morrison writes himself into a corner over.
The death of Jamie is, truly, the only element that one
could recommend as a reason to read this. Perhaps that's enough....but then
what about the Cybermen with flipper hands..?
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