Jamie Revell
This release sees the Big Finish debut of James Marsters as John Hart, joined by Jack as the other main character. They are joined by an unusually large cast for the releases in this particular series, although most of these guests are present only briefly.
The story begins with John visiting an aged and dying Jack in a present-day prison before revealing, though a series of flashbacks, how such a situation has come about. Initially, it portrays their rivalry in the Time Agency, before we see how John altered history to become the leader of Torchwood shortly after it was founded. From there, we follow his story, and that of Torchwood, through this alternate reality.
A lot of this is clearly meant to be a comedy, and while some of it certainly works in that regard, other parts just come across as implausible. This may be because the nature of Torchwood has always been more serious than that of Doctor Who... but then again, it may just be me. The strongest parts are once we reach the 2000s and see the way that John deals with the various issues that cropped up in the TV series, from Army of Ghosts through to Miracle Day - they're brief vignettes, but they're generally quite fun.
It's not a bad story by any means and, as I say, there are a few good laughs in it, but it didn't quite work for me. A lot may depend on your sense of humour and how far you're willing to take things.
This release sees the Big Finish debut of James Marsters as John Hart, joined by Jack as the other main character. They are joined by an unusually large cast for the releases in this particular series, although most of these guests are present only briefly.
The story begins with John visiting an aged and dying Jack in a present-day prison before revealing, though a series of flashbacks, how such a situation has come about. Initially, it portrays their rivalry in the Time Agency, before we see how John altered history to become the leader of Torchwood shortly after it was founded. From there, we follow his story, and that of Torchwood, through this alternate reality.
A lot of this is clearly meant to be a comedy, and while some of it certainly works in that regard, other parts just come across as implausible. This may be because the nature of Torchwood has always been more serious than that of Doctor Who... but then again, it may just be me. The strongest parts are once we reach the 2000s and see the way that John deals with the various issues that cropped up in the TV series, from Army of Ghosts through to Miracle Day - they're brief vignettes, but they're generally quite fun.
It's not a bad story by any means and, as I say, there are a few good laughs in it, but it didn't quite work for me. A lot may depend on your sense of humour and how far you're willing to take things.
Unlike the first release in the series, this really is what the blurb says it is: three separate hour-long stories. As before, all are set before the Doctor is travelling with Rose and, this time, we have one each for a contemporary, historical, and futuristic setting. But here, the stories are much more like what we got in most of the Ninth Doctor's TV run, rather than something more in the style of Moffat, as the first volume was. Eccleston is great in the role, really getting back into it, and bringing out the character's love of life.
Girl, Deconstructed – The contemporary story (which is to say, it's set around 2005) sees the Doctor responding to a distress call after dozens of teenagers have simultaneously vanished from Dundee. There isn't much mystery as to where they've gone, since that's revealed in the opening teaser, and the Doctor is able to work out the why almost instantly (although it takes him a while to explain it), leaving the story more focused on how to get them back again. Which basically consists of a lot of running about confusing people and building gadgets.
Arguably, not much happens in the story, and there isn't a real sense of threat, either. It's largely conversational, although this does result in a good portrayal of the relationship between a single parent and his teenage daughter – through whose eyes we see the disappearance, although supposedly many others are also involved. The companion surrogate is a police officer whose main role is to be alternately puzzled and exasperated by the Doctor; she's a necessary part of the story from a plot perspective but doesn't bring anything very notable. There are a few callbacks to the classic series, and a foreshadowing of an event in one of Nine's own TV episodes. Unfortunately, though, it's evident from early on where it's going and, the Doctor's chirpy eccentricity aside, not much happens on the way there. 3.5 stars.
Fright Motif – The second story is a more traditional “monster” story, although the monster is based on sound, rather than anything visible, and thus not the sort you're likely to see on TV. It's the historical one of this set, taking place in Paris in 1946, a city just recovering from a long occupation. There isn't a clear companion surrogate in this one, but the three guest characters are all worthwhile and bring out some of the themes of the era. Perhaps most notable is the concierge of the hotel where the story begins, who starts out just being obnoxious but is revealed to have greater depth as the story unfolds.
The result is a good Doctor Who story, with the monster chasing the characters across Paris, and bringing in modern themes as well as a feel for the burgeoning jazz scene of the time. (Some listeners may, however, be put off by the British-actor-doing-an-American accent thing; I'm not in the best position to judge that – although at least nobody's trying to pretend to be French). Like the TV era on which it is modelled, there are some humorous lines here and there, and a good mix of wackiness and seriousness from the Doctor that keeps it effective and enjoyable. 4 stars.
Planet of the End – Once again answering a distress call, the Doctor arrives on an uninhabited world used as a planet-sized graveyard. It's not the first time that particular concept has been used on the show, but here, it's a peaceful place, full of nature, rather than the spookier vibe that such settings normally go for. The story, of course, concerns the nature of the distress call and it's interesting to note that there isn't a monster in this one, with the villains instead being provided by sinister corporate types that appear in the opening teaser, but whose connection to events takes a while to become apparent.
The journey to getting there is, however, enjoyable, partly due to the commentary on it provided by the plant's automated caretaker, who effectively takes the companion role in this story despite initially distrusting the Doctor's motives. The changing scenery and the evolving nature of the threat keep things moving along more swiftly than they might otherwise. True, the villains are rather one-note and prone to expressing everything in corporate-speak, but the clever use of the caretaker offsets that and the story is overall an enjoyable one that manages to balance a sense of peril with the Doctor's positive outlook – without relying quite so much on the craziness. 4.5 stars.
Unlike the first release in the series, this really is what the blurb says it is: three separate hour-long stories. As before, all are set before the Doctor is travelling with Rose and, this time, we have one each for a contemporary, historical, and futuristic setting. But here, the stories are much more like what we got in most of the Ninth Doctor's TV run, rather than something more in the style of Moffat, as the first volume was. Eccleston is great in the role, really getting back into it, and bringing out the character's love of life.
Girl, Deconstructed – The contemporary story (which is to say, it's set around 2005) sees the Doctor responding to a distress call after dozens of teenagers have simultaneously vanished from Dundee. There isn't much mystery as to where they've gone, since that's revealed in the opening teaser, and the Doctor is able to work out the why almost instantly (although it takes him a while to explain it), leaving the story more focused on how to get them back again. Which basically consists of a lot of running about confusing people and building gadgets.
Arguably, not much happens in the story, and there isn't a real sense of threat, either. It's largely conversational, although this does result in a good portrayal of the relationship between a single parent and his teenage daughter – through whose eyes we see the disappearance, although supposedly many others are also involved. The companion surrogate is a police officer whose main role is to be alternately puzzled and exasperated by the Doctor; she's a necessary part of the story from a plot perspective but doesn't bring anything very notable. There are a few callbacks to the classic series, and a foreshadowing of an event in one of Nine's own TV episodes. Unfortunately, though, it's evident from early on where it's going and, the Doctor's chirpy eccentricity aside, not much happens on the way there. 3.5 stars.
Fright Motif – The second story is a more traditional “monster” story, although the monster is based on sound, rather than anything visible, and thus not the sort you're likely to see on TV. It's the historical one of this set, taking place in Paris in 1946, a city just recovering from a long occupation. There isn't a clear companion surrogate in this one, but the three guest characters are all worthwhile and bring out some of the themes of the era. Perhaps most notable is the concierge of the hotel where the story begins, who starts out just being obnoxious but is revealed to have greater depth as the story unfolds.
The result is a good Doctor Who story, with the monster chasing the characters across Paris, and bringing in modern themes as well as a feel for the burgeoning jazz scene of the time. (Some listeners may, however, be put off by the British-actor-doing-an-American accent thing; I'm not in the best position to judge that – although at least nobody's trying to pretend to be French). Like the TV era on which it is modelled, there are some humorous lines here and there, and a good mix of wackiness and seriousness from the Doctor that keeps it effective and enjoyable. 4 stars.
Planet of the End – Once again answering a distress call, the Doctor arrives on an uninhabited world used as a planet-sized graveyard. It's not the first time that particular concept has been used on the show, but here, it's a peaceful place, full of nature, rather than the spookier vibe that such settings normally go for. The story, of course, concerns the nature of the distress call and it's interesting to note that there isn't a monster in this one, with the villains instead being provided by sinister corporate types that appear in the opening teaser, but whose connection to events takes a while to become apparent.
The journey to getting there is, however, enjoyable, partly due to the commentary on it provided by the plant's automated caretaker, who effectively takes the companion role in this story despite initially distrusting the Doctor's motives. The changing scenery and the evolving nature of the threat keep things moving along more swiftly than they might otherwise. True, the villains are rather one-note and prone to expressing everything in corporate-speak, but the clever use of the caretaker offsets that and the story is overall an enjoyable one that manages to balance a sense of peril with the Doctor's positive outlook – without relying quite so much on the craziness. 4.5 stars.
Well, here's a thing I didn't expect to see for a long time, if at all: Christopher Eccleston returning to the role of the Doctor, albeit in an audio. But, nonetheless, here it is and, if it's not the strongest outing ever, it's certainly good enough to bring back some nostalgia for an often-overlooked era of modern Doctor Who. The blurb claims that it's “three new adventures” - but it isn't, it's one 3-hour story broken into three episodes in much the same way that Aliens of London and World War Three are undeniably a single story.
It's also rather complicated, playing about with time in a way that's more reminiscent of the Moffat era than anything in Eccleston's single season. Indeed, the story isn't even linear, with the first episode starting in media res and making extensive use of flashback - something that continues to a lesser extent in the following two episodes. This, on top of the fact that events occur out of order even for the characters and that they visit multiple different time periods and worlds and that, yes, the plot is about yet another threat to the existence of the universe means that Briggs is, arguably, trying a bit too hard with this one.
On the other hand, if you can follow the plot, there are enough positives to make it work. The villain, for instance, is working for more complex motives than at first appears to be the case - even if her reason for not explaining what she's doing earlier on, and saving herself a lot of trouble, is a bit thin. The constant scene changes, although they're filler in the sense that the core plot doesn't absolutely need them, do give a sense of scale and drama that a shorter story might lack, and it never really drags. Which is a considerable plus, given the length.
The story is probably intended to be set before Rose, although one could just as well argue that it's set during the seemingly brief gap between the TARDIS disappearing and then reappearing at the end of that episode (if you assume Nine is newly regenerated at the start of it). Either way, Rose isn't in it, and we have a surrogate companion instead, in the form of an indentured cook working in the canteen of a big corporation. She's one of the stronger points of the story, a worthy companion but one who would rather just find somewhere nice to live than traipse across the galaxy.
But the real joy is hearing Eccleston again, effortlessly slipping back into the character and sounding as if he's never been away. This may be a good, fun, outing, although it isn't a flawless one - but I suspect there's better to come.
Well, here's a thing I didn't expect to see for a long time, if at all: Christopher Eccleston returning to the role of the Doctor, albeit in an audio. But, nonetheless, here it is and, if it's not the strongest outing ever, it's certainly good enough to bring back some nostalgia for an often-overlooked era of modern Doctor Who. The blurb claims that it's “three new adventures” - but it isn't, it's one 3-hour story broken into three episodes in much the same way that Aliens of London and World War Three are undeniably a single story.
It's also rather complicated, playing about with time in a way that's more reminiscent of the Moffat era than anything in Eccleston's single season. Indeed, the story isn't even linear, with the first episode starting in media res and making extensive use of flashback - something that continues to a lesser extent in the following two episodes. This, on top of the fact that events occur out of order even for the characters and that they visit multiple different time periods and worlds and that, yes, the plot is about yet another threat to the existence of the universe means that Briggs is, arguably, trying a bit too hard with this one.
On the other hand, if you can follow the plot, there are enough positives to make it work. The villain, for instance, is working for more complex motives than at first appears to be the case - even if her reason for not explaining what she's doing earlier on, and saving herself a lot of trouble, is a bit thin. The constant scene changes, although they're filler in the sense that the core plot doesn't absolutely need them, do give a sense of scale and drama that a shorter story might lack, and it never really drags. Which is a considerable plus, given the length.
The story is probably intended to be set before Rose, although one could just as well argue that it's set during the seemingly brief gap between the TARDIS disappearing and then reappearing at the end of that episode (if you assume Nine is newly regenerated at the start of it). Either way, Rose isn't in it, and we have a surrogate companion instead, in the form of an indentured cook working in the canteen of a big corporation. She's one of the stronger points of the story, a worthy companion but one who would rather just find somewhere nice to live than traipse across the galaxy.
But the real joy is hearing Eccleston again, effortlessly slipping back into the character and sounding as if he's never been away. This may be a good, fun, outing, although it isn't a flawless one - but I suspect there's better to come.
Unlike the first release in the series, this really is what the blurb says it is: three separate hour-long stories. As before, all are set before the Doctor is travelling with Rose and, this time, we have one each for a contemporary, historical, and futuristic setting. But here, the stories are much more like what we got in most of the Ninth Doctor's TV run, rather than something more in the style of Moffat, as the first volume was. Eccleston is great in the role, really getting back into it, and bringing out the character's love of life.
Girl, Deconstructed – The contemporary story (which is to say, it's set around 2005) sees the Doctor responding to a distress call after dozens of teenagers have simultaneously vanished from Dundee. There isn't much mystery as to where they've gone, since that's revealed in the opening teaser, and the Doctor is able to work out the why almost instantly (although it takes him a while to explain it), leaving the story more focused on how to get them back again. Which basically consists of a lot of running about confusing people and building gadgets.
Arguably, not much happens in the story, and there isn't a real sense of threat, either. It's largely conversational, although this does result in a good portrayal of the relationship between a single parent and his teenage daughter – through whose eyes we see the disappearance, although supposedly many others are also involved. The companion surrogate is a police officer whose main role is to be alternately puzzled and exasperated by the Doctor; she's a necessary part of the story from a plot perspective but doesn't bring anything very notable. There are a few callbacks to the classic series, and a foreshadowing of an event in one of Nine's own TV episodes. Unfortunately, though, it's evident from early on where it's going and, the Doctor's chirpy eccentricity aside, not much happens on the way there. 3.5 stars.
Fright Motif – The second story is a more traditional “monster” story, although the monster is based on sound, rather than anything visible, and thus not the sort you're likely to see on TV. It's the historical one of this set, taking place in Paris in 1946, a city just recovering from a long occupation. There isn't a clear companion surrogate in this one, but the three guest characters are all worthwhile and bring out some of the themes of the era. Perhaps most notable is the concierge of the hotel where the story begins, who starts out just being obnoxious but is revealed to have greater depth as the story unfolds.
The result is a good Doctor Who story, with the monster chasing the characters across Paris, and bringing in modern themes as well as a feel for the burgeoning jazz scene of the time. (Some listeners may, however, be put off by the British-actor-doing-an-American accent thing; I'm not in the best position to judge that – although at least nobody's trying to pretend to be French). Like the TV era on which it is modelled, there are some humorous lines here and there, and a good mix of wackiness and seriousness from the Doctor that keeps it effective and enjoyable. 4 stars.
Planet of the End – Once again answering a distress call, the Doctor arrives on an uninhabited world used as a planet-sized graveyard. It's not the first time that particular concept has been used on the show, but here, it's a peaceful place, full of nature, rather than the spookier vibe that such settings normally go for. The story, of course, concerns the nature of the distress call and it's interesting to note that there isn't a monster in this one, with the villains instead being provided by sinister corporate types that appear in the opening teaser, but whose connection to events takes a while to become apparent.
The journey to getting there is, however, enjoyable, partly due to the commentary on it provided by the plant's automated caretaker, who effectively takes the companion role in this story despite initially distrusting the Doctor's motives. The changing scenery and the evolving nature of the threat keep things moving along more swiftly than they might otherwise. True, the villains are rather one-note and prone to expressing everything in corporate-speak, but the clever use of the caretaker offsets that and the story is overall an enjoyable one that manages to balance a sense of peril with the Doctor's positive outlook – without relying quite so much on the craziness. 4.5 stars.
Unlike the first release in the series, this really is what the blurb says it is: three separate hour-long stories. As before, all are set before the Doctor is travelling with Rose and, this time, we have one each for a contemporary, historical, and futuristic setting. But here, the stories are much more like what we got in most of the Ninth Doctor's TV run, rather than something more in the style of Moffat, as the first volume was. Eccleston is great in the role, really getting back into it, and bringing out the character's love of life.
Girl, Deconstructed – The contemporary story (which is to say, it's set around 2005) sees the Doctor responding to a distress call after dozens of teenagers have simultaneously vanished from Dundee. There isn't much mystery as to where they've gone, since that's revealed in the opening teaser, and the Doctor is able to work out the why almost instantly (although it takes him a while to explain it), leaving the story more focused on how to get them back again. Which basically consists of a lot of running about confusing people and building gadgets.
Arguably, not much happens in the story, and there isn't a real sense of threat, either. It's largely conversational, although this does result in a good portrayal of the relationship between a single parent and his teenage daughter – through whose eyes we see the disappearance, although supposedly many others are also involved. The companion surrogate is a police officer whose main role is to be alternately puzzled and exasperated by the Doctor; she's a necessary part of the story from a plot perspective but doesn't bring anything very notable. There are a few callbacks to the classic series, and a foreshadowing of an event in one of Nine's own TV episodes. Unfortunately, though, it's evident from early on where it's going and, the Doctor's chirpy eccentricity aside, not much happens on the way there. 3.5 stars.
Fright Motif – The second story is a more traditional “monster” story, although the monster is based on sound, rather than anything visible, and thus not the sort you're likely to see on TV. It's the historical one of this set, taking place in Paris in 1946, a city just recovering from a long occupation. There isn't a clear companion surrogate in this one, but the three guest characters are all worthwhile and bring out some of the themes of the era. Perhaps most notable is the concierge of the hotel where the story begins, who starts out just being obnoxious but is revealed to have greater depth as the story unfolds.
The result is a good Doctor Who story, with the monster chasing the characters across Paris, and bringing in modern themes as well as a feel for the burgeoning jazz scene of the time. (Some listeners may, however, be put off by the British-actor-doing-an-American accent thing; I'm not in the best position to judge that – although at least nobody's trying to pretend to be French). Like the TV era on which it is modelled, there are some humorous lines here and there, and a good mix of wackiness and seriousness from the Doctor that keeps it effective and enjoyable. 4 stars.
Planet of the End – Once again answering a distress call, the Doctor arrives on an uninhabited world used as a planet-sized graveyard. It's not the first time that particular concept has been used on the show, but here, it's a peaceful place, full of nature, rather than the spookier vibe that such settings normally go for. The story, of course, concerns the nature of the distress call and it's interesting to note that there isn't a monster in this one, with the villains instead being provided by sinister corporate types that appear in the opening teaser, but whose connection to events takes a while to become apparent.
The journey to getting there is, however, enjoyable, partly due to the commentary on it provided by the plant's automated caretaker, who effectively takes the companion role in this story despite initially distrusting the Doctor's motives. The changing scenery and the evolving nature of the threat keep things moving along more swiftly than they might otherwise. True, the villains are rather one-note and prone to expressing everything in corporate-speak, but the clever use of the caretaker offsets that and the story is overall an enjoyable one that manages to balance a sense of peril with the Doctor's positive outlook – without relying quite so much on the craziness. 4.5 stars.
Well, here's a thing I didn't expect to see for a long time, if at all: Christopher Eccleston returning to the role of the Doctor, albeit in an audio. But, nonetheless, here it is and, if it's not the strongest outing ever, it's certainly good enough to bring back some nostalgia for an often-overlooked era of modern Doctor Who. The blurb claims that it's “three new adventures” - but it isn't, it's one 3-hour story broken into three episodes in much the same way that Aliens of London and World War Three are undeniably a single story.
It's also rather complicated, playing about with time in a way that's more reminiscent of the Moffat era than anything in Eccleston's single season. Indeed, the story isn't even linear, with the first episode starting in media res and making extensive use of flashback - something that continues to a lesser extent in the following two episodes. This, on top of the fact that events occur out of order even for the characters and that they visit multiple different time periods and worlds and that, yes, the plot is about yet another threat to the existence of the universe means that Briggs is, arguably, trying a bit too hard with this one.
On the other hand, if you can follow the plot, there are enough positives to make it work. The villain, for instance, is working for more complex motives than at first appears to be the case - even if her reason for not explaining what she's doing earlier on, and saving herself a lot of trouble, is a bit thin. The constant scene changes, although they're filler in the sense that the core plot doesn't absolutely need them, do give a sense of scale and drama that a shorter story might lack, and it never really drags. Which is a considerable plus, given the length.
The story is probably intended to be set before Rose, although one could just as well argue that it's set during the seemingly brief gap between the TARDIS disappearing and then reappearing at the end of that episode (if you assume Nine is newly regenerated at the start of it). Either way, Rose isn't in it, and we have a surrogate companion instead, in the form of an indentured cook working in the canteen of a big corporation. She's one of the stronger points of the story, a worthy companion but one who would rather just find somewhere nice to live than traipse across the galaxy.
But the real joy is hearing Eccleston again, effortlessly slipping back into the character and sounding as if he's never been away. This may be a good, fun, outing, although it isn't a flawless one - but I suspect there's better to come.
Well, here's a thing I didn't expect to see for a long time, if at all: Christopher Eccleston returning to the role of the Doctor, albeit in an audio. But, nonetheless, here it is and, if it's not the strongest outing ever, it's certainly good enough to bring back some nostalgia for an often-overlooked era of modern Doctor Who. The blurb claims that it's “three new adventures” - but it isn't, it's one 3-hour story broken into three episodes in much the same way that Aliens of London and World War Three are undeniably a single story.
It's also rather complicated, playing about with time in a way that's more reminiscent of the Moffat era than anything in Eccleston's single season. Indeed, the story isn't even linear, with the first episode starting in media res and making extensive use of flashback - something that continues to a lesser extent in the following two episodes. This, on top of the fact that events occur out of order even for the characters and that they visit multiple different time periods and worlds and that, yes, the plot is about yet another threat to the existence of the universe means that Briggs is, arguably, trying a bit too hard with this one.
On the other hand, if you can follow the plot, there are enough positives to make it work. The villain, for instance, is working for more complex motives than at first appears to be the case - even if her reason for not explaining what she's doing earlier on, and saving herself a lot of trouble, is a bit thin. The constant scene changes, although they're filler in the sense that the core plot doesn't absolutely need them, do give a sense of scale and drama that a shorter story might lack, and it never really drags. Which is a considerable plus, given the length.
The story is probably intended to be set before Rose, although one could just as well argue that it's set during the seemingly brief gap between the TARDIS disappearing and then reappearing at the end of that episode (if you assume Nine is newly regenerated at the start of it). Either way, Rose isn't in it, and we have a surrogate companion instead, in the form of an indentured cook working in the canteen of a big corporation. She's one of the stronger points of the story, a worthy companion but one who would rather just find somewhere nice to live than traipse across the galaxy.
But the real joy is hearing Eccleston again, effortlessly slipping back into the character and sounding as if he's never been away. This may be a good, fun, outing, although it isn't a flawless one - but I suspect there's better to come.
How this comes across likely depends a lot on the reader's pre-existing familiarity with Vox Machina and its backstory. Taken on its own merits, it appears to be a straight retelling of a part of the original campaign. This works less effectively than volume 1 did, since there isn't that much of a story here - Grog gets possessed and the party goes on a quest to find the magic ingredients needed to cure him. And fight some monsters along the way and... yeah, that's pretty much it. What works in-game (and I'm sure it did) is less effective in a comic or similar format.
On the other hand, for those who are already fans, it's quite fun. There's some cheeky use of catchphrases, a name-check for a prominent NPC, and so on. The characters feel true to the originals and the artwork is good. The main pull is probably that it's here that Pike and Percy join the party (Tiberius also leaves, presumably not to return in the comic). With Percy, in particular, there are nods to his tragic backstory, although these are really easter eggs that are unlikely to be developed too much in future volumes, since the pay-off comes well after the "origins" period being covered.
And a lot of it's like that. I enjoyed it but, like any prequel, it relies a lot on what you know is coming later. One for the fans, but if you are a fan, it captures the feel of the original and it's fun seeing some of the story being established.
How this comes across likely depends a lot on the reader's pre-existing familiarity with Vox Machina and its backstory. Taken on its own merits, it appears to be a straight retelling of a part of the original campaign. This works less effectively than volume 1 did, since there isn't that much of a story here - Grog gets possessed and the party goes on a quest to find the magic ingredients needed to cure him. And fight some monsters along the way and... yeah, that's pretty much it. What works in-game (and I'm sure it did) is less effective in a comic or similar format.
On the other hand, for those who are already fans, it's quite fun. There's some cheeky use of catchphrases, a name-check for a prominent NPC, and so on. The characters feel true to the originals and the artwork is good. The main pull is probably that it's here that Pike and Percy join the party (Tiberius also leaves, presumably not to return in the comic). With Percy, in particular, there are nods to his tragic backstory, although these are really easter eggs that are unlikely to be developed too much in future volumes, since the pay-off comes well after the "origins" period being covered.
And a lot of it's like that. I enjoyed it but, like any prequel, it relies a lot on what you know is coming later. One for the fans, but if you are a fan, it captures the feel of the original and it's fun seeing some of the story being established.
Sergeant Andy wakes up in 1950s London in this partly-comedic, partly-gritty story. The comedy elements come from the desperate situations in which he and '50s Torchwood agent Norton Fulgate find themselves, including accidental nudity, innuendo, and a bad Italian accent. But contrasting with that we have the fact that the story is set in Soho - then London's primary red-light district and not at all the gentrified place that it mostly is today.
That leads to a tour of sordid venues and a depiction of '50s attitudes to homosexuality at a time when it was still illegal. It should be noted that there are some homophobic slurs in the story as a result, although nothing particularly extreme and, of course, not presented in a positive light. This aspect of the story, at least to me, ends up being more memorable than the humour and the action of the final segment and is at home with Torchwood's examination of LGBT and social issues, showing some of the lengths that gay men had to go to for any kind of encounter. (This might, I suppose, be something of an eye-opener to those of the Millenial generation, but then again, maybe not).
Fulgate is also more serious here than he was in his earlier appearances, with less of the over-the-top campness, and no longer using Polari. (Remember Julian and Sandy from Round the Horne? Again, if you're Millenial, possibly not). And that works, making him a more complex character than before, while still keeping the core of the relationship with Andy, and the fact that we never know whether or not he can really be trusted. Add to that the action elements, featuring London gangsters and a deliberately hokey (but dangerous) alien artefact and this is a surprisingly fun listen, considering the themes.
Sergeant Andy wakes up in 1950s London in this partly-comedic, partly-gritty story. The comedy elements come from the desperate situations in which he and '50s Torchwood agent Norton Fulgate find themselves, including accidental nudity, innuendo, and a bad Italian accent. But contrasting with that we have the fact that the story is set in Soho - then London's primary red-light district and not at all the gentrified place that it mostly is today.
That leads to a tour of sordid venues and a depiction of '50s attitudes to homosexuality at a time when it was still illegal. It should be noted that there are some homophobic slurs in the story as a result, although nothing particularly extreme and, of course, not presented in a positive light. This aspect of the story, at least to me, ends up being more memorable than the humour and the action of the final segment and is at home with Torchwood's examination of LGBT and social issues, showing some of the lengths that gay men had to go to for any kind of encounter. (This might, I suppose, be something of an eye-opener to those of the Millenial generation, but then again, maybe not).
Fulgate is also more serious here than he was in his earlier appearances, with less of the over-the-top campness, and no longer using Polari. (Remember Julian and Sandy from Round the Horne? Again, if you're Millenial, possibly not). And that works, making him a more complex character than before, while still keeping the core of the relationship with Andy, and the fact that we never know whether or not he can really be trusted. Add to that the action elements, featuring London gangsters and a deliberately hokey (but dangerous) alien artefact and this is a surprisingly fun listen, considering the themes.
This is the first of a set of four stories in which various members of Torchwood face off against monsters from the regular Doctor Who series. Here, as is obvious from the title and cover, it's Gwen versus the Fendahl. There isn't much background on that given, so this probably won't make much sense to anyone who hasn't seen Image of the Fendahl. If you have... well, it had some good ideas, but it didn't work all that well for me.
The story concerns the making of a snuff movie at Fetch Priory based around the events of the original TV story some decades before. This means that all of the characters involved, apart from Gwen herself, are deeply unlikeable. That's fair enough, given that misogyny is a central theme of the story, but with Gwen acting strangely and only really coming to the fore in the closing segments, it makes it hard to really care what happens to anyone.
The result is a fairly traditional horror story where the makers of the horror movie are the victims of a real monster. The fact that the Fendahl doesn't directly speak doesn't help much on audio, and at times it's difficult to follow exactly what it's supposed to be doing. Certainly, they were going for a dark and unpleasant vibe here and I'd say that that worked, along with the message about the attitudes of the filmmakers towards women (mostly, although not entirely, shown through their actions rather than explicit dialogue) which partly subverts the genre. A lot may depend on whether you like the sort of supernatural horror film it's emulating - which, in fairness, is something that fits well with the Fendahl as a monster - but I didn't feel this was one of the stronger entries in the series.
This is the first of a set of four stories in which various members of Torchwood face off against monsters from the regular Doctor Who series. Here, as is obvious from the title and cover, it's Gwen versus the Fendahl. There isn't much background on that given, so this probably won't make much sense to anyone who hasn't seen Image of the Fendahl. If you have... well, it had some good ideas, but it didn't work all that well for me.
The story concerns the making of a snuff movie at Fetch Priory based around the events of the original TV story some decades before. This means that all of the characters involved, apart from Gwen herself, are deeply unlikeable. That's fair enough, given that misogyny is a central theme of the story, but with Gwen acting strangely and only really coming to the fore in the closing segments, it makes it hard to really care what happens to anyone.
The result is a fairly traditional horror story where the makers of the horror movie are the victims of a real monster. The fact that the Fendahl doesn't directly speak doesn't help much on audio, and at times it's difficult to follow exactly what it's supposed to be doing. Certainly, they were going for a dark and unpleasant vibe here and I'd say that that worked, along with the message about the attitudes of the filmmakers towards women (mostly, although not entirely, shown through their actions rather than explicit dialogue) which partly subverts the genre. A lot may depend on whether you like the sort of supernatural horror film it's emulating - which, in fairness, is something that fits well with the Fendahl as a monster - but I didn't feel this was one of the stronger entries in the series.
This is, in effect, Torchwood's take on The Stepford Wives although what's going on is entirely different. Jack and Ianto go undercover in the sort of gated community that's far more common in the US than I suspect it is in Cardiff and initially we're treated to the saccharine banality of an over-the-top idyllic suburb. Soon enough, we discover what they're doing there, and needless to say, aliens are involved. It's partly a satire on a desire to preserve a way of life that probably never really existed outside of soap commercials and partly more traditional sci-fi as the protagonists try to get to the bottom of what's going on. The adult elements are relatively minor, with some allusions to sex and the occasional bit of bad language, but nothing explicit. It's very well done, a strong mixture of comedy and alien peril with some great lines and good performances from the leads.
This is, in effect, Torchwood's take on The Stepford Wives although what's going on is entirely different. Jack and Ianto go undercover in the sort of gated community that's far more common in the US than I suspect it is in Cardiff and initially we're treated to the saccharine banality of an over-the-top idyllic suburb. Soon enough, we discover what they're doing there, and needless to say, aliens are involved. It's partly a satire on a desire to preserve a way of life that probably never really existed outside of soap commercials and partly more traditional sci-fi as the protagonists try to get to the bottom of what's going on. The adult elements are relatively minor, with some allusions to sex and the occasional bit of bad language, but nothing explicit. It's very well done, a strong mixture of comedy and alien peril with some great lines and good performances from the leads.
Some of the attempts to doing humour in Torchwood audios have fallen flat for me, but this one works brilliantly, never straying into absurdity and taking strong advantage of the Welsh setting. Ianto and Owen are paired up on a trip to a former mining village in the hills to track down the source of an alien signal, where the constant rain does nothing to improve the latter's mood. (The only time I went to Wales was to Cwm Ystradllyn, much further to the north, but my impression mirrored Owen's here. Which is unfair to Wales as a whole, I'm sure).
The humour comes from the contrast between the gloomy urbanite (and ‘foreign') Owen as a fish-out-of-water and Ianto's cheerful optimism, buoyed up by memories of his childhood in the valleys. It's mostly told from Owen's perspective as he gets into trouble with the locals, and the science fiction elements are relatively minor. When they do pop up, there's a serious tone to them that helps to puts the humour in context, making for a strong story overall.
But it's the chemistry between the two leads that sells this. Owen can be unpleasant but here he's a perfect fit, presenting an outsider's view of rural Wales in a story that's nonetheless very different indeed from the closest TV offering, the grim Countrycide. It probably helps that it's written by Gareth David-Lloyd, who plays Ianto, lending authenticity to the Welsh setting and keeping it grounded despite the alien shenanigans.
Some of the attempts to doing humour in Torchwood audios have fallen flat for me, but this one works brilliantly, never straying into absurdity and taking strong advantage of the Welsh setting. Ianto and Owen are paired up on a trip to a former mining village in the hills to track down the source of an alien signal, where the constant rain does nothing to improve the latter's mood. (The only time I went to Wales was to Cwm Ystradllyn, much further to the north, but my impression mirrored Owen's here. Which is unfair to Wales as a whole, I'm sure).
The humour comes from the contrast between the gloomy urbanite (and ‘foreign') Owen as a fish-out-of-water and Ianto's cheerful optimism, buoyed up by memories of his childhood in the valleys. It's mostly told from Owen's perspective as he gets into trouble with the locals, and the science fiction elements are relatively minor. When they do pop up, there's a serious tone to them that helps to puts the humour in context, making for a strong story overall.
But it's the chemistry between the two leads that sells this. Owen can be unpleasant but here he's a perfect fit, presenting an outsider's view of rural Wales in a story that's nonetheless very different indeed from the closest TV offering, the grim Countrycide. It probably helps that it's written by Gareth David-Lloyd, who plays Ianto, lending authenticity to the Welsh setting and keeping it grounded despite the alien shenanigans.
Following the previous two comedic pieces (one of which worked for me, and the other of which was too over-the-top to gel), we're back with horror again - and it's another superb piece. One of the limitations of this series is that there are rarely more than two actors in it, and that's the case here, too... but in this case, it's very much a strength, not a weakness.
The entire story takes place inside Gwen and Rhys's car as they drive home after a successful mission out in the Welsh countryside. The dialogue is beautifully written, contrasting the mundanity of everyday life with what they do for Torchwood (the story is set at a point when they're the only surviving members). The question implicit in the title is key - will they always be lucky enough to survive, and what toll does their double life take on their relationship?
From there, the horror and mystery build as it's clear that something isn't quite right, and what we're hearing on the soundtrack doesn't quite match with what the characters are aware of. It's worth noting that everything we hear is from a perspective inside the car - they get out at a few points, leading to either stretches of silence or faint sounds in the distance. So this may not be one to listen to somewhere that isn't quiet (while mowing the lawn, say). But it adds to the creepiness, as does the isolation. Taken together with the top-notch characterisation, this is another great edition to the audio series.
Following the previous two comedic pieces (one of which worked for me, and the other of which was too over-the-top to gel), we're back with horror again - and it's another superb piece. One of the limitations of this series is that there are rarely more than two actors in it, and that's the case here, too... but in this case, it's very much a strength, not a weakness.
The entire story takes place inside Gwen and Rhys's car as they drive home after a successful mission out in the Welsh countryside. The dialogue is beautifully written, contrasting the mundanity of everyday life with what they do for Torchwood (the story is set at a point when they're the only surviving members). The question implicit in the title is key - will they always be lucky enough to survive, and what toll does their double life take on their relationship?
From there, the horror and mystery build as it's clear that something isn't quite right, and what we're hearing on the soundtrack doesn't quite match with what the characters are aware of. It's worth noting that everything we hear is from a perspective inside the car - they get out at a few points, leading to either stretches of silence or faint sounds in the distance. So this may not be one to listen to somewhere that isn't quiet (while mowing the lawn, say). But it adds to the creepiness, as does the isolation. Taken together with the top-notch characterisation, this is another great edition to the audio series.
The third release in the “Torchwood versus Monsters” quartet is the only one to deal with a monster unique to the modern series of Doctor Who. The story is set between World War Three and Boom Town, and centres around Suzie Costello meeting Margaret Blaine/Slitheen during the latter's brief stint as mayor of Cardiff.
It's a sort of buddy story with the two forced to work together to save themselves and, while there are moments of peril and action, the focus is really on the interactions between the characters. This is written well, filling in some background for both Suzie and Margaret and how their lives parallel one another more than one might think. Annette Badland is particularly good as Margaret, mostly in her human persona, condescending towards humanity yet not entirely unsympathetic.
Having said that, this is a fun story, rather than anything particularly deep. Nor is it one for those who only like action-filled or complex plots since what's going on is relatively straightforward and largely consists of a trip across the outskirts of Cardiff. But it is entertaining and the acting is great, which raises it up a notch and just gets it into the four-star territory.
The third release in the “Torchwood versus Monsters” quartet is the only one to deal with a monster unique to the modern series of Doctor Who. The story is set between World War Three and Boom Town, and centres around Suzie Costello meeting Margaret Blaine/Slitheen during the latter's brief stint as mayor of Cardiff.
It's a sort of buddy story with the two forced to work together to save themselves and, while there are moments of peril and action, the focus is really on the interactions between the characters. This is written well, filling in some background for both Suzie and Margaret and how their lives parallel one another more than one might think. Annette Badland is particularly good as Margaret, mostly in her human persona, condescending towards humanity yet not entirely unsympathetic.
Having said that, this is a fun story, rather than anything particularly deep. Nor is it one for those who only like action-filled or complex plots since what's going on is relatively straightforward and largely consists of a trip across the outskirts of Cardiff. But it is entertaining and the acting is great, which raises it up a notch and just gets it into the four-star territory.
Tosh investigates a series of mysterious deaths in this rather routine Torchwood offering. We're explicitly told in the pre-title sequence what's going on, so the mystery is around how she's going to stop the killer rather than who he might be or how he's doing it. This makes the story rather more leisurely than it might be, much of it consisting of Tosh trying to befriend the killer and get him to realise what he's doing and the effect it is having. As a result, things only really move forward in the final segment, and the fact that we know what's happening robs it of much of the tension.
Having said this, it's far from a complete loss. It's well performed, and written with sympathy for the characters that Tosh encounters along the way. In part, it's a story about the frustrations of everyday life, and the killer succumbing to the temptations that his ability creates for him. But Tosh doesn't get to do very much, and I got the feeling that she's in this one because the plot wouldn't have worked with the other regulars at all, rather than because she's a particularly good fit.
There's an interesting theme of what a regular person might want to get away with if they could, but it's too slow for the story to be as engaging as it might be.
Tosh investigates a series of mysterious deaths in this rather routine Torchwood offering. We're explicitly told in the pre-title sequence what's going on, so the mystery is around how she's going to stop the killer rather than who he might be or how he's doing it. This makes the story rather more leisurely than it might be, much of it consisting of Tosh trying to befriend the killer and get him to realise what he's doing and the effect it is having. As a result, things only really move forward in the final segment, and the fact that we know what's happening robs it of much of the tension.
Having said this, it's far from a complete loss. It's well performed, and written with sympathy for the characters that Tosh encounters along the way. In part, it's a story about the frustrations of everyday life, and the killer succumbing to the temptations that his ability creates for him. But Tosh doesn't get to do very much, and I got the feeling that she's in this one because the plot wouldn't have worked with the other regulars at all, rather than because she's a particularly good fit.
There's an interesting theme of what a regular person might want to get away with if they could, but it's too slow for the story to be as engaging as it might be.
The last of the ‘Torchwood versus monsters' quartet sees Rhys under threat from autons on a container ship in the mid-Atlantic. This makes it a base-under-siege story more in the style of Doctor Who than Torchwood, although Rhys is very far from being the Doctor, which gives it a distinctly different feel. That's supported by some bad language and a few mild sexual references, although there's nothing particularly extreme beyond regular horror elements. The adult nature of the story and the nature of the lead characters arguably also makes it more effective than Praxeus, which otherwise had some similar themes.
There's a good sense of tension as Rhys and another passenger are trapped on the ship with no obvious means of fighting back. There's also a good use of the autons - never actually named in the story, although it's obvious what they are - building on modern themes of plastic pollution that echo the Doctor's description of them in Rose. It's the sort of mix of science fiction and present-day concerns that Torchwood often did at its best, dressed up as a short horror story with a new twist on these particular ‘monsters'.
The last of the ‘Torchwood versus monsters' quartet sees Rhys under threat from autons on a container ship in the mid-Atlantic. This makes it a base-under-siege story more in the style of Doctor Who than Torchwood, although Rhys is very far from being the Doctor, which gives it a distinctly different feel. That's supported by some bad language and a few mild sexual references, although there's nothing particularly extreme beyond regular horror elements. The adult nature of the story and the nature of the lead characters arguably also makes it more effective than Praxeus, which otherwise had some similar themes.
There's a good sense of tension as Rhys and another passenger are trapped on the ship with no obvious means of fighting back. There's also a good use of the autons - never actually named in the story, although it's obvious what they are - building on modern themes of plastic pollution that echo the Doctor's description of them in Rose. It's the sort of mix of science fiction and present-day concerns that Torchwood often did at its best, dressed up as a short horror story with a new twist on these particular ‘monsters'.
The second of these “Torchwood versus monsters” stories is, rather obviously, a sequel to the Third Doctor story The Green Death. The story starts in media res with Jack accompanying an elderly Jo Grant down the abandoned mine in Llanfairfach where the original story took place. It's never really explained why they are doing this in the way that they are, although Jack at least has reason to be investigating the apparent return of the giant maggots.
The story makes a number of references to the original, beyond the mere presence of the maggots, which have changed subtly over the intervening decades. There's also commentary on how the world has changed since the 1970s, with (among other things) the Nuthutch hippy commune having been superseded by a mainstream corporate business that loosely resembles Quorn or Impossible Foods from the real world.
The main appeal, however, is seeing Jack and Jo interacting, and their very different attitudes to the problem they are facing and the larger world in general. Jo is portrayed here as still ditzy, as she was on TV, but is also noticeably older and more experienced, a plausible extrapolation of the character and one that allows her to drive the plot rather more than she often used to. Overall, though, there's a feeling that this doesn't quite mesh with Torchwood, and the story lacks the strong adult elements that the audio line usually has - its roots as a continuation of a Doctor Who story are rather obvious.
But there's still much to like here, especially for fans of one of the more memorable Third Doctor stories, and I'm giving it 3.5 stars, rounded up.
The second of these “Torchwood versus monsters” stories is, rather obviously, a sequel to the Third Doctor story The Green Death. The story starts in media res with Jack accompanying an elderly Jo Grant down the abandoned mine in Llanfairfach where the original story took place. It's never really explained why they are doing this in the way that they are, although Jack at least has reason to be investigating the apparent return of the giant maggots.
The story makes a number of references to the original, beyond the mere presence of the maggots, which have changed subtly over the intervening decades. There's also commentary on how the world has changed since the 1970s, with (among other things) the Nuthutch hippy commune having been superseded by a mainstream corporate business that loosely resembles Quorn or Impossible Foods from the real world.
The main appeal, however, is seeing Jack and Jo interacting, and their very different attitudes to the problem they are facing and the larger world in general. Jo is portrayed here as still ditzy, as she was on TV, but is also noticeably older and more experienced, a plausible extrapolation of the character and one that allows her to drive the plot rather more than she often used to. Overall, though, there's a feeling that this doesn't quite mesh with Torchwood, and the story lacks the strong adult elements that the audio line usually has - its roots as a continuation of a Doctor Who story are rather obvious.
But there's still much to like here, especially for fans of one of the more memorable Third Doctor stories, and I'm giving it 3.5 stars, rounded up.
To be honest, this story doesn't have much to do with Torchwood. They're mentioned, briefly, just the once and none of the regulars appear. The only reason that this is a Torchwood story is that Bilis Manger is one of the two main characters in it, and it could just as well have been written for somebody else given that we don't really know much about who Manger is from the TV series. (Nor do we learn much in this). If anything, what this reminded me of most was Sapphire and Steel, with its themes of time as an enemy.
But, having said all that, it's a good story, and that's what counts. It features a motorist seeking a room for the night in an isolated hotel outside of Cardiff and then finding things increasingly unnerving. It's spooky and claustrophobic, with Manger as the suave host at the hotel slowly giving out crumbs of information about what's really happening as it becomes more and more obvious that something isn't right - and that there seems no escape. The result is an effective piece of psychological horror, with much of the detail shrouded in mystery, and Manger's real role in it all being left ambiguous until the very end.
To be honest, this story doesn't have much to do with Torchwood. They're mentioned, briefly, just the once and none of the regulars appear. The only reason that this is a Torchwood story is that Bilis Manger is one of the two main characters in it, and it could just as well have been written for somebody else given that we don't really know much about who Manger is from the TV series. (Nor do we learn much in this). If anything, what this reminded me of most was Sapphire and Steel, with its themes of time as an enemy.
But, having said all that, it's a good story, and that's what counts. It features a motorist seeking a room for the night in an isolated hotel outside of Cardiff and then finding things increasingly unnerving. It's spooky and claustrophobic, with Manger as the suave host at the hotel slowly giving out crumbs of information about what's really happening as it becomes more and more obvious that something isn't right - and that there seems no escape. The result is an effective piece of psychological horror, with much of the detail shrouded in mystery, and Manger's real role in it all being left ambiguous until the very end.
This is one of the darker releases in the monthly Torchwood audio series, fully deserving the “adults only” label, and not because of any gore or sex. Instead, it's a psychological horror story that sees Owen and Andy trying to persuade a convicted serial killer to reveal where the bodies of her victims are buried. There are obvious parallels with real-world cases, notably the “Moors murders” of the 1960s, although there are also clear differences in the details so as not to hew too closely to a real tragedy. Either way, it's the sort of thing some people might wish to avoid; the earlier parts of the story are all too realistic.
In fact, it takes a while before anything happens that wouldn't fit in the real world. But, yes, this is eventually an SFF story, albeit not in a straightforward “aliens did it” mould. The SFF elements don't detract from the chilling evil of the killer, brilliantly portrayed by Dame Siân Phillips, or from the gloomy fogbound setting of the Snowdonia moorlands. Few of the characters come out of it entirely positively, yet there's also a good deal of sympathy for their situation. The pairing of Owen's cynicism with Andy's decency makes for an effective combination in a story about sometimes complex emotional relationships.
This is one of the darker releases in the monthly Torchwood audio series, fully deserving the “adults only” label, and not because of any gore or sex. Instead, it's a psychological horror story that sees Owen and Andy trying to persuade a convicted serial killer to reveal where the bodies of her victims are buried. There are obvious parallels with real-world cases, notably the “Moors murders” of the 1960s, although there are also clear differences in the details so as not to hew too closely to a real tragedy. Either way, it's the sort of thing some people might wish to avoid; the earlier parts of the story are all too realistic.
In fact, it takes a while before anything happens that wouldn't fit in the real world. But, yes, this is eventually an SFF story, albeit not in a straightforward “aliens did it” mould. The SFF elements don't detract from the chilling evil of the killer, brilliantly portrayed by Dame Siân Phillips, or from the gloomy fogbound setting of the Snowdonia moorlands. Few of the characters come out of it entirely positively, yet there's also a good deal of sympathy for their situation. The pairing of Owen's cynicism with Andy's decency makes for an effective combination in a story about sometimes complex emotional relationships.
This story is set before the start of the TV series, and is built around the death of a previous member of the team. The main story concerns Tosh taking part in a vigil over his body conducted at his family home and alternates with flashbacks to the runup to his demise. The flashback scenes are unfortunately rather brief, lacking much of the context that might be necessary to work out what is going on or what exactly Torchwood are facing, something that might not matter so much if it didn't feed back into the main story.
The focus, however, isn't so much on the alien threat that killed the former agent, but on his personality and that of his mother, including how she copes with his death. Neither are at all sympathetic characters and the intent seems to be to place Tosh in contrast to them, doing her best as a new recruit to do all the things they keep accusing her of not doing. But the unremitting awfulness of the pair doesn't make for a good story. It's certainly plausible and well-written - there are plenty of people like that - but when you don't care what happens to them and the action elements of the story are largely in the background, you aren't left with much. It's all done well enough to work, and there are some nice atmospheric scenes, but the result is decidedly middling.
This story is set before the start of the TV series, and is built around the death of a previous member of the team. The main story concerns Tosh taking part in a vigil over his body conducted at his family home and alternates with flashbacks to the runup to his demise. The flashback scenes are unfortunately rather brief, lacking much of the context that might be necessary to work out what is going on or what exactly Torchwood are facing, something that might not matter so much if it didn't feed back into the main story.
The focus, however, isn't so much on the alien threat that killed the former agent, but on his personality and that of his mother, including how she copes with his death. Neither are at all sympathetic characters and the intent seems to be to place Tosh in contrast to them, doing her best as a new recruit to do all the things they keep accusing her of not doing. But the unremitting awfulness of the pair doesn't make for a good story. It's certainly plausible and well-written - there are plenty of people like that - but when you don't care what happens to them and the action elements of the story are largely in the background, you aren't left with much. It's all done well enough to work, and there are some nice atmospheric scenes, but the result is decidedly middling.
The basis of this story is that Torchwood discover a human body near an alien crash site and Gwen takes it to UNIT for a post-mortem... but, as so often with these audios, that isn't really what it's about. Instead, the focus is on the interaction between Gwen and Martha, and on what the latter has been up to between Journey's End and The End of Time. The first part, in particular, is a strong character piece that contrasts the two women as well as the organisations that they work for.
This was Freema Agyeman's first appearance for Big Finish (as I write this, she's only done one other since) and it's great to have her back, providing a sane and reasonable counterpoint to Gwen's emotional investment in the mystery. There's some character development, too, filling in some of the blanks of what she's been doing, and doing so with a mix of pathos and humour.
It helps that she and Gwen are the only characters in it (unless you count the corpse) spending almost the entirety of the story inside the confines of the UNIT morgue. Of course, there is the mystery of the body as well, adding the science fiction element, and this is creepy and effective and structured well enough that it's not at all clear to begin with where it's going to go. It's this sort of grounding the weird in the everyday that the audio series does so well, and this would have worked well even without Martha - but with her, it's definitely pulled up a notch.
The basis of this story is that Torchwood discover a human body near an alien crash site and Gwen takes it to UNIT for a post-mortem... but, as so often with these audios, that isn't really what it's about. Instead, the focus is on the interaction between Gwen and Martha, and on what the latter has been up to between Journey's End and The End of Time. The first part, in particular, is a strong character piece that contrasts the two women as well as the organisations that they work for.
This was Freema Agyeman's first appearance for Big Finish (as I write this, she's only done one other since) and it's great to have her back, providing a sane and reasonable counterpoint to Gwen's emotional investment in the mystery. There's some character development, too, filling in some of the blanks of what she's been doing, and doing so with a mix of pathos and humour.
It helps that she and Gwen are the only characters in it (unless you count the corpse) spending almost the entirety of the story inside the confines of the UNIT morgue. Of course, there is the mystery of the body as well, adding the science fiction element, and this is creepy and effective and structured well enough that it's not at all clear to begin with where it's going to go. It's this sort of grounding the weird in the everyday that the audio series does so well, and this would have worked well even without Martha - but with her, it's definitely pulled up a notch.
Big Finish has played with the audio format more than once over the years, and this time does so in the style of a '90s self-help tape providing relaxation and confidence-building to the listener. Michael Palin provides the voice-over, starting out in the soothing style you'd expect, and slowly changing as the plot develops - because there very much is a plot, even if it's one told primarily in second-person present tense.
It's a brilliant conceit, with twists along the way as the increasingly creepy style sucks the listener in. To say anything much about the nature of the plot would be too much of a spoiler, although suffice to say that it fits with what the recording ostensibly is and that there absolutely are some adult elements in it, even aside from what's basically psychological horror. And you really can't beat Michael Palin, whose voice is perfect for this.
Big Finish has played with the audio format more than once over the years, and this time does so in the style of a '90s self-help tape providing relaxation and confidence-building to the listener. Michael Palin provides the voice-over, starting out in the soothing style you'd expect, and slowly changing as the plot develops - because there very much is a plot, even if it's one told primarily in second-person present tense.
It's a brilliant conceit, with twists along the way as the increasingly creepy style sucks the listener in. To say anything much about the nature of the plot would be too much of a spoiler, although suffice to say that it fits with what the recording ostensibly is and that there absolutely are some adult elements in it, even aside from what's basically psychological horror. And you really can't beat Michael Palin, whose voice is perfect for this.
This is essentially a set of three ghost stories linked by the presence of Bilis Manger and by Beethoven's “moonlight sonata”. The framing device sees the narrators of each story waking up together on a stopped train, but it's incidental to the stories themselves. Each features a very different central character, told in the first person with only brief appearances by other actors apart from Melvin (as Manger).
All three are good stories, creepy despite their short length, and they do a good job of complementing one another. I felt that the third was the best, but part of that comes from the contrast with the first two, building suspense in a way that wouldn't work if you hadn't heard those previously. They aren't gory, being more of the ‘spine-tingling' genre of horror, in the style of, say, Tales of the Unexpected although I should note that the result also qualifies as an ‘adult' release because of swearing and drug references. I coincidentally happened to listen to this on Halloween, and it was a good day for it; a nice piece of old-fashioned horror with well-written characters.
This is essentially a set of three ghost stories linked by the presence of Bilis Manger and by Beethoven's “moonlight sonata”. The framing device sees the narrators of each story waking up together on a stopped train, but it's incidental to the stories themselves. Each features a very different central character, told in the first person with only brief appearances by other actors apart from Melvin (as Manger).
All three are good stories, creepy despite their short length, and they do a good job of complementing one another. I felt that the third was the best, but part of that comes from the contrast with the first two, building suspense in a way that wouldn't work if you hadn't heard those previously. They aren't gory, being more of the ‘spine-tingling' genre of horror, in the style of, say, Tales of the Unexpected although I should note that the result also qualifies as an ‘adult' release because of swearing and drug references. I coincidentally happened to listen to this on Halloween, and it was a good day for it; a nice piece of old-fashioned horror with well-written characters.
Set entirely inside the Wales Millennium Centre (the frontage of which tended to feature quite heavily in Torchwood TV stories), this sees Tosh hoping for a night out at the opera, before being informed by Ianto in the opening teaser that the place is infested with aliens. The plot, it has to be said, is fairly thin and is only there as a vehicle to hang the character moments on. There are some pretty gruesome moments in it, too, justifying the usual adult rating of this audio series, along with overuse of the word “cock” as an expletive. Another negative is that Mori isn't very good at acting drunk (compared with, say, Eve Myles in Smashed) although fortunately this only applies for a short segment of the story.
The plus side is that the character moments this is built around are good. It fits neatly into a slot in the TV series where some of the character relationships were still developing, exploring those and reflecting on the power of music in between the alien shenanigans. Discovering the musical preferences of Ianto and Tosh as teenagers is quite amusing, for instance. The slight plot meant that it still didn't quite work for me, but there's enough positive in it to give 3.5 stars.
Set entirely inside the Wales Millennium Centre (the frontage of which tended to feature quite heavily in Torchwood TV stories), this sees Tosh hoping for a night out at the opera, before being informed by Ianto in the opening teaser that the place is infested with aliens. The plot, it has to be said, is fairly thin and is only there as a vehicle to hang the character moments on. There are some pretty gruesome moments in it, too, justifying the usual adult rating of this audio series, along with overuse of the word “cock” as an expletive. Another negative is that Mori isn't very good at acting drunk (compared with, say, Eve Myles in Smashed) although fortunately this only applies for a short segment of the story.
The plus side is that the character moments this is built around are good. It fits neatly into a slot in the TV series where some of the character relationships were still developing, exploring those and reflecting on the power of music in between the alien shenanigans. Discovering the musical preferences of Ianto and Tosh as teenagers is quite amusing, for instance. The slight plot meant that it still didn't quite work for me, but there's enough positive in it to give 3.5 stars.
This is, I think, intended to be a comedy. The main problem with that is that it just isn't funny. The central joke is that Jack is pregnant with an alien baby, and as a result keeps suffering from mood swings and food cravings. With the opening scenes being a sequence of random events that he has to protect the baby from, this wears out whatever welcome it had early on.
The comedy (if that's what it is) is offset by some more serious scenes later on as Jack opens up about his motivations for choosing this particular path, and reflects on some of the bad things that have recently happened in his life. It's for these sections that I give it three stars, not two, although even here the narrative seems to jump around, making it hard to follow what's going on. And offsetting the humorous scenes with the serious ones doesn't work so well when the humorous scenes aren't actually funny.
I think I can see what they were trying to do with this one, but, for me, it doesn't really work.
This is, I think, intended to be a comedy. The main problem with that is that it just isn't funny. The central joke is that Jack is pregnant with an alien baby, and as a result keeps suffering from mood swings and food cravings. With the opening scenes being a sequence of random events that he has to protect the baby from, this wears out whatever welcome it had early on.
The comedy (if that's what it is) is offset by some more serious scenes later on as Jack opens up about his motivations for choosing this particular path, and reflects on some of the bad things that have recently happened in his life. It's for these sections that I give it three stars, not two, although even here the narrative seems to jump around, making it hard to follow what's going on. And offsetting the humorous scenes with the serious ones doesn't work so well when the humorous scenes aren't actually funny.
I think I can see what they were trying to do with this one, but, for me, it doesn't really work.
Gwen travels to a (fictional) Welsh town where unemployment is rife and the residents have been complaining about problems caused by the local frakking industry. The result is grim, with some moments of gore once the true nature of the threat becomes apparent. The twist on the usual theme becomes apparent in the pre-title teaser, when it's revealed that the only defence against the threat is drinking alcohol... and lots of it.
On the one hand, this is partly a satire about communities blighted by post-industrial decline, and the rising rates of alcoholism that can occur when people find themselves with nothing else to do. But it's also in large part a straight-up monster story with Gwen unable to escape the decaying town and its escalating menace. The difference being, of course, that she has to spend much of the story drunk.
I suspect that's something that will make the story unpopular among a lot of people. Not so much because of the alcohol itself (although some will obviously find that an issue) but because of the slurred speech and rambling that we get from Gwen and some of the other characters. It certainly isn't played for laughs and there some unpleasant scenes along the way, even aside from the gore, and it's unlikely to appeal to anyone who has experienced the effects of alcoholism at close hand. It's also not entirely told in sequence, with plenty of brief flashbacks and spells where Gwen blacks out so that the narrative skips - some listeners might find this frustrating.
I found it worked, as a grim tale of urban decay and the debilitating effects of alcohol with an obvious sci-fi/horror twist. But it's one of those ones where I can well understand why others might not.
Gwen travels to a (fictional) Welsh town where unemployment is rife and the residents have been complaining about problems caused by the local frakking industry. The result is grim, with some moments of gore once the true nature of the threat becomes apparent. The twist on the usual theme becomes apparent in the pre-title teaser, when it's revealed that the only defence against the threat is drinking alcohol... and lots of it.
On the one hand, this is partly a satire about communities blighted by post-industrial decline, and the rising rates of alcoholism that can occur when people find themselves with nothing else to do. But it's also in large part a straight-up monster story with Gwen unable to escape the decaying town and its escalating menace. The difference being, of course, that she has to spend much of the story drunk.
I suspect that's something that will make the story unpopular among a lot of people. Not so much because of the alcohol itself (although some will obviously find that an issue) but because of the slurred speech and rambling that we get from Gwen and some of the other characters. It certainly isn't played for laughs and there some unpleasant scenes along the way, even aside from the gore, and it's unlikely to appeal to anyone who has experienced the effects of alcoholism at close hand. It's also not entirely told in sequence, with plenty of brief flashbacks and spells where Gwen blacks out so that the narrative skips - some listeners might find this frustrating.
I found it worked, as a grim tale of urban decay and the debilitating effects of alcohol with an obvious sci-fi/horror twist. But it's one of those ones where I can well understand why others might not.
For no particularly clear reason, Queen Victoria takes a deposed Maharajah to a sea fort in the English Channel. Well, okay, so her reason for taking him there does become apparent by the end of the story, but why she's doing it herself, and in the way that she is, is much less so. Once there, things don't become any clearer, with the lone guardian of the sea fort being slightly mad and weird things happening just because they do. Nor is it easy to work out what's going on in some of the scenes, which lack some of the context that audios often provide for such purposes.
While it's somewhat confused and meandering, it's not entirely without merit, managing to scrape itself the three stars. There's some good material with the Maharajah, and a reflection on the actions of the British Empire in India and how it treated the locals, largely because they weren't white. The colonel at the sea fort also provides some good scenes, and the whole thing is atmospheric and creepy, which at least suits the Torchwood ethos. A decent character piece, perhaps, although not helped by the characters in question not being any of the regulars, but it's hard to make much sense of it.
For no particularly clear reason, Queen Victoria takes a deposed Maharajah to a sea fort in the English Channel. Well, okay, so her reason for taking him there does become apparent by the end of the story, but why she's doing it herself, and in the way that she is, is much less so. Once there, things don't become any clearer, with the lone guardian of the sea fort being slightly mad and weird things happening just because they do. Nor is it easy to work out what's going on in some of the scenes, which lack some of the context that audios often provide for such purposes.
While it's somewhat confused and meandering, it's not entirely without merit, managing to scrape itself the three stars. There's some good material with the Maharajah, and a reflection on the actions of the British Empire in India and how it treated the locals, largely because they weren't white. The colonel at the sea fort also provides some good scenes, and the whole thing is atmospheric and creepy, which at least suits the Torchwood ethos. A decent character piece, perhaps, although not helped by the characters in question not being any of the regulars, but it's hard to make much sense of it.