Settings: Mechanus (The Chase)

The Chase is structured in three two-episode segments. First, there is the section on Aridius, then a couple of largely comedic episodes based on the chase itself, and then a final show-down with the Daleks. Thus, while this post will largely focus on that finale, it will also cover the “spooky” comedy of episode four.

When I started this series, I stated that updates would be very irregular. It hasn’t turned out that way, but the time has now come when my schedule requires me to take a break and concluding with a serial that feels like a season finale (even if it isn’t one) is as good a place as any. I have every intention of returning in the new year and moving on to season three, but the dates are uncertain. 

Where & When

The closing segment of the story is set on the planet Mechanus, close to, or just beyond, the edge of human-inhabited space. There is no indication of the date in the story, and the tie-in media have come up with various interpretations ranging from the 22nd to the 36th century. The more popular assumption, however, seems to be that it’s in the mid-third millennium, somewhere between the settings of The Dalek Invasion of Earth and The Rescue. This is the sort of question that would have to be answered in a game (since we do interact with people from Earth) but here, I’ll just note that various options exist.

Settings: Aridius (The Chase)

Although, at six parts, The Chase is not exceptionally long for its era, it does visit more than the usual number of settings. The third of the Dalek stories, it’s generally not as well regarded as the other two, scoring middling to low with many older fans. But, as so often, there is disagreement here, with many finding it one of the more entertaining Hartnell stories, not least because of its scope – plus, it has to be said, a particularly good final sequence after the Dalek defeat. Either way, the fact that it visits two distinct alien worlds and multiple points in Earth’s history gives plenty to build on. 

As with An Unearthly Child, the differing settings means that my coverage of this story will be split into two posts. This one covers the first three episodes, focussing on the alien world where it all starts off.

Settings: The Space Museum on Xeros

With the next story, we are off to an alien planet again, albeit one inhabited by a race virtually indistinguishable from humans – if, indeed, they’re supposed to be distinct at all. The opening episode, which plays with the concept of time, is reasonably popular, but what follows drags the whole down for most fans. But, as usual, that isn’t a universal opinion. Unlike, say, The Sensorites, very few people seem to really like this, but a significant minority regard it as middling rather than weak. The problem, as so often in this era, is usually cited as being the slow pacing, with some claiming that Vicki only starts the revolution because she’s bored by the plot up to that point. The setting is also, perhaps, less memorable than the likes of Marinus or Vortis… but let’s see what we can do with it.

Where & When

The story is set on the planet Xeros, within the interstellar Morok Empire. No date is given for the story, but it clearly takes place later than The Dalek Invasion of Earth because of the design of the Dalek seen in the museum. Although it’s not obvious that the Moroks are also specifically aware of humans, we can at least say that the story is not set so far ahead that the exhibit has obviously degraded. This probably places it a few centuries into our future and, fitting with this, the tie-in media have tended to select dates towards the end of the third millennium. 

Settings: The Third Crusade

Next, we reach another pure historical episode, and it’s one in the style of the first-season historicals rather than the more light-hearted tone of The Romans. It’s the only story of its season not to wholly survive in its original form, with only the first and third episodes available. Nonetheless, and despite lacking science fiction elements, it’s comparatively well-known for a ‘missing’ story, probably because it’s quite early in the run and it’s at least possible to watch half of it. It’s generally regarded as unremarkable, neither particularly good nor particularly bad. To modern eyes, the use of brownface for most of the Middle Eastern characters is a drawback, but it’s not one that applies if we use it as a game setting.

Where & When

The story is set in 1191 in and around the port city of Jaffa. It is based, albeit loosely, around a real historical event that occurred in autumn of that year. Since the details are changed, and the timeline greatly compressed, it’s difficult to narrow down an exact date, but we’re likely in either October or November. Shorter than the previous historicals, the story takes place over the course of just two days.

Settings: Vortis, the Web Planet

The second-season serial The Web Planet is famous – or perhaps, infamous – for featuring no humanoid characters at all beyond the regular cast. The result, especially given the budget and the special effects technology of the day is, to put it mildly, really quite strange. An overly long, slow, plot doesn’t help matters and while some fans praise it for its sheer audacity, most are negative, and it’s not unusual to see it listed as the weakest of all the Hartnell stories. Yet it is at least memorable and, if we can fix the pacing, a low special effects budget isn’t a problem in a tabletop game.

Where & When

The story is set on the planet Vortis, which is specifically stated to be in a galaxy beyond our own. In the final episode, the Animus talks about humans as if it knows what they are, and where they come from, which implies a far future setting when humanity has at least reached beyond our own galaxy. However, there is no way to be more precise than this, and it’s also possible from the context that it has only recently gained this information from its prisoners (it’s trying to read their minds at the time) so we can’t even be confident of that much. Not that it’s likely to matter in most games.

Settings: First Century Rome

We are overdue for a historical by this point, so it’s no surprise that the fourth story of the second season fits that description. Unlike the previous historicals, however, this one is a comedy and fan reactions tend to depend on whether or not they find that it works as such. In game terms, however, there is enough present that it’s possible to play it mostly straight and try to let the humour follow naturally, rather than forcing it.

Where & When

As with The Reign of Terror, the story includes a real-world historical event, making it possible to date it precisely. The bulk of the story runs from 10th to the 18th July in the year AD 64, although the characters have been in Italy for “four or five weeks” when it starts, and there is a gap of a few days at the end before they leave. Most of the action takes place in Rome, although there are some scenes set in other nearby parts of Italy.

Settings: Dido (The Rescue)

The Rescue is a brief story that functions primarily as the introduction to a new companion and arguably doesn’t do much more when taken in isolation. As a result, it’s generally regarded as a middling episode, neither especially weak nor particularly praised, although some reviewers don’t appreciate the minimal nature of the plot – or, perhaps, the basic joke about classic Doctor Who aliens all looking like men in cheap rubber costumes. On the other hand, it was originally proposed as a story in its own right, and, even if it’s slight, it can still work as a scenario outside of the ‘introduction’ theme.

Where & When

The story is set in the year 2493… or at least, that’s when Vicki says she left Earth, and it’s hard to imagine that more than a few months have passed since. It takes place on the planet Dido, a world that is within the bounds of human space at the time, but that the authorities on Earth have never bothered to explore. 

Settings: Dalek Invasion of Earth

The Dalek Invasion of Earth has a significant place in the ongoing development of the series. It’s the first returning “monster”, the first companion departure, and the first story to feature more than a few moments of outdoor filming. The latter gives it a less claustrophobic feel than many prior serials and gives a potentially large canvas on which to draw for gaming, aided by the fact that it’s also the first story to be set on Earth in the future. It’s almost universally cited as one of the better stories of the Hartnell era, sometimes even the best overall. And, in this instance, the setting also happens to be one that lends itself well to gaming.

Where & When

The exact date is never given in the story, but we do see an old 2164 calendar, so it’s no earlier than that. While there is some wiggle room depending on exactly how old the calendar is, based on a line in a later story, fan consensus generally takes the year as being 2167. The story is initially set in London and later moves to Bedfordshire.

Settings: Planet of Giants

The second season kicks off with a story that takes a different turn than the usual for the show; a science-fiction concept to be sure, but not one that’s standard for Doctor Who. It’s not an especially well-regarded story, in large part due to the murder subplot, but it’s not hated either, tending to score middling or slightly below in most fans’ estimations. Still, it is an undeniably different setting and one that has worked in other shows or films, so the potential is there.

Where & When

The story takes place entirely inside one mid-sized house and its accompanying garden. It’s set in England during the 1960s, but it’s hard to be more precise about the location than that. The date is intended to be “contemporary” but that doesn’t necessarily mean 1964 and fans have suggested possibilities ranging from ’63 (the year for which the Doctor was aiming) to the “near future” of ’69. From our 21st-century perspective, it hardly matters.

Settings: The Reign of Terror

With the stories still alternating in theme, we turn to another pure historical for what became (but was not originally planned to be) the first season finale. While two of the original episodes no longer survive in their original form, animations have been made from the soundtracks and are now widely available, so it’s likely that these are the oldest “missing” episodes that have been widely viewed in some form. Fan opinion is largely consistent in rating the serial as middling to weak despite it being set in a dramatic and significant period in history so it’s worth seeing if other options present themselves.

Where & When

The story takes place in, and just outside, Paris during the eponymous Reign of Terror. For the first time in a historical story, we can place the date exactly because it includes a known event from real-world history. Specifically, it takes place over a six-day period concluding on 28th July 1794.

Settings: The Sense-Sphere

Continuing with the alternating themes of the first season, we are back to an alien planet with The Sensorites, in the first story to show some of Earth’s future. It is one of the less popular stories of the Hartnell era, with many fans feeling that it’s just too long at six episodes or taking issue with some of the themes of the titular aliens. Having said that, this is not a serial that nobody likes, with a significant minority enjoying the relatively subtle ‘60s sci-fi. In either event, these are not the sort of issues that would get in the way of a scenario based on the story.

Where & When

The story takes place on, and in orbit around, a planet somewhat strangely named the Sense-Sphere. This is at least in the same galaxy as Earth, but beyond the area of space governed/inhabited by humans at whatever the date may be. Maitland states that that is the 28th century but doesn’t give any more precise figure. If one has to pick a specific year, 2764, eight centuries after the broadcast date, is as good as any. Since it is the first story to be explicitly set in the future, rather than on an alien planet with no apparent connection to Earth, the date had, at the time, no larger context of future history to be placed in – it might as well be plucked from thin air.

Settings: The Aztecs

The first season of Doctor Who alternated between science fiction stories on alien worlds and ‘pure’ historicals in Earth’s past, with the exception of the one story written at the last minute to fill a gap. This may not have been wholly intentional, but it is the pattern we have and means that serial number six is once again historical. Moreover, it maintains the exotic feel of its predecessor, Marco Polo, by not being set in the European history that we in the West tend to study most in school. It’s a very popular story with old-time fans, often stated to be the best of all the Hartnell serials, but tends to score as only decent-to-middling with younger fans, perhaps because of the over-the-top nature of the villain and the use of white actors as non-white characters. Neither of which are a problem in a game based on the story.

Where & When

The story takes place in Mexico, during the time of the Aztec Empire. While the exact date is impossible to pin down the Empire only lasted a hundred years, which narrows down the possibilities. Since the tomb in the story is dated to the 1430s and its architect’s son is still alive, the mid-15th century seems the most likely timeframe.

Settings: Marinus

It’s not until the fifth serial of the original series that we have the second story to feature aliens other than the Doctor and Susan. It’s also, of course, our second alien planet, although the new series would take even longer to get around to that. The story The Keys of Marinus has a poor reputation among many older fans, scoring badly in rankings on review aggregator websites. Unusually, however, it seems to be almost universally popular among fans of the modern series who dip into the classic one for the first time, perhaps because of the story structure. Despite being first broadcast in 1964, this resembles a video game and, importantly for our purposes, involves visiting different and varied locations as the protagonists collect the items that they need in order to leave.

Where & When

The story is set on the planet Marinus, which has no known connection to Earth. The world is barely even mentioned again, and never in any context that allows us to date this story. The implication would be that it’s a long way from Earth, probably in a different galaxy, but even that is supposition. Different fan theories and a comic story come up with wildly different answers from the distant past to the distant future. Without any connection to Earth, it honestly doesn’t matter.

Settings: Cathay

The fourth serial is arguably the first of the Hartnell ‘pure historicals’; stories set in the then-past that contain no science fiction elements beyond the presence of the time travellers. This, of course, assumes that you don’t consider 100,000 BC separately from the first episode, although, if you want to be really nitpicky, “prehistory” also isn’t quite the same thing as “history”, either. At least as significantly, it’s the first “missing story”, with only the soundtrack surviving in its original form. Fortunately, that’s enough for us to be able to experience it in some limited way, and certainly sufficient for what I’m doing here. 

Where & When

The story is set in 1289, earlier than most modern series historical settings, although not remarkably so. It involves an epic journey, taking the protagonists from the Pamir Mountains, through the Gobi Desert, and across China to eventually reach Beijing. It refers to China by the name that Marco Polo used for it historically and that was standard in Europe at the time – Cathay.

Settings: Inside the Spaceship

Not all of the stories in the Doctor Who TV series will lend themselves to the sort of posts I’m doing in this series, and so it is with the third serial, The Edge of Destruction. A major reason for this is that I’m focussing primarily on the setting, and how it can be expanded upon or used elsewhere and this one… doesn’t have a setting. Or, rather, apart from the teaser for the next serial, the story is set entirely inside the TARDIS with no guest characters, monsters, or anything else external.

This is therefore going to be a much shorter post than usual.

A second reason is that the story, as written, is unlikely to work well as an RPG scenario. There are no NPCs or monsters and, in game terms, what’s basically happened is that the Doctor has fumbled a roll operating the TARDIS and it takes everyone the better part of an hour to figure that out. During which time, they act strangely for no particularly good reason; the story relies on them doing that and not finding the source of the problem early on. That could happen in a game, certainly, but you probably wouldn’t want to rely on it.

Settings: Skaro (The Daleks)

The second serial in the TV show’s history is, of course, the one that ensured its survival and first made it big. In many respects, the story has a different version of the titular aliens than appear in any other. I’ve covered Daleks in game terms previously, but here we’re concerned with the setting and story. Specifically, we’re interested in the version of the planet that we see in this particular serial, largely ignoring what will come later. 

Where & When

The story is set on the planet Skaro. The few stories that have attempted to give any hint as to where this might be in relation to Earth generally place it in a different galaxy but all we can say with certainty is that it’s a long way away.

Since the story, taken on its own terms, has no connection with Earth, the date is equally impossible to determine. As one might expect, multiple different theories have been advanced, some placing it very early in Dalek history, before they developed space flight, others in the far future, when a forgotten and degenerate group have been left behind on their home planet, cut off from their fellows. Most go for somewhere in between, often one or two centuries into our future, but it's probably more accurate to say that we just don’t know.

Settings: 100,000 BC

Although An Unearthly Child is marketed as a single story, and was produced and directed as such, it involves two quite different settings and there’s a notable change in tone between the first episode and the subsequent three. Those three episodes give us our first exotic setting to explore, even if it’s one that we wouldn’t normally associate with a science fiction show. For that reason, I’ll treat it separately from the first episode here, and I’ll likely do something similar for other stories that spend significant time in more than one setting, such as The Chase. 

Where & When

Based solely on internal evidence, there is no way to date the setting of the story much more precisely than ‘the Stone Age’. This is a vast stretch of time, perhaps 99% of the whole of human history, depending on your definition. However, we know that the writer envisaged the date as 100,000 BC and that that was even the title used in some early BBC publicity in the days before the serials had onscreen titles. The geographical location is even vaguer, and, again based solely on the story as televised, we can’t even be confident it’s on Earth, since the DW universe has many alien races physically indistinguishable from humans. However, it’s clear that that’s not the intent, so “somewhere on Earth, approximately, 100,000 BC” it is.

Settings: An Unearthly Child

I’m going to start a new series of posts here – and who knows whether it will prove any more popular than the previous ones. Not exactly a large audience here, although the D&D posts have done well enough, as did the “companions as PCs” posts back in the day. This is going to be similar to the other Doctor Who related things I’ve done looking at things from an RPG perspective, but with a focus on the episodes and, more specifically, on their settings. 

This has, of course, been done before. It’s pretty much the basis of the DWAITAS individual Doctor sourcebooks that I’ve reviewed elsewhere. But I don’t have a constraint on page count here, nor a publishing schedule to keep up with (these are likely to be very irregular) and, hopefully, I can come up with some different angles and try to avoid duplicating what they did too much.

The Companions That Weren't: the '60s

In Doctor Who stories, it's not unusual for there to be a character who takes on a companion-like role, but who does not, in the end, join the TARDIS crew. Granted, this is often at least partly because they've just died, and many wouldn't make great player characters anyway. But there are some exceptions, who can, if nothing else, give us inspiration for character ideas that fit with the setting.

I'm going to start on the Third Doctor's era shortly after the relevant sourcebook comes out, but that leaves me with a slight gap. So today I'm going to look at four characters from the show's first six seasons who either came close to being actual companions, or are particularly suited for it.

First up, and my only choice from the Hartnell era, is Jenny, from The Dalek Invasion of Earth. She's a resistance fighter against the Daleks and their robomen, and, from the dates given on screen, therefore hails from the 2170s, or thereabouts. She appears on my list because the character was seriously considered as an ongoing companion, replacing Susan, who left in that story. In the event, the writers decided they wanted somebody younger, and introduced Vicki in The Rescue, but it could have been otherwise.

She isn't given a surname, nor do we know how, exactly, she joined the resistance. Unlike the menfolk, she doesn't really do any fighting, although it's hard to imagine that she can't if it comes to it. Her main roles in the resistance are organisational, including such things as manning the communications system. But, given that she's been living in a post-apocalyptic world for ten years, it's also a fair assumption that she has good survival and stealth skills.

DW Companions as PCs: Polly Wright

While Steven's former player decides to make his next character, Ben, more down-to-earth, Dodo's has the opposite problem, and decides to make her next character useful at... well, anything, really. The result is Polly Wright.

Polly's surname is never mentioned on-screen, and for a long time there was fan speculation as to what it might be, with a number of suggestions being made. Once it was confirmed, however, that the BBC's audition scripts for the character gave her surname as 'Wright' that became the one that everybody accepted. It's unclear as to whether this ever intended as any more than a place-holder at the time - it's also Barbara's surname, and the two characters are entirely unrelated. Possibly nobody at the BBC took it seriously as a name, but neither did they bother to come up with anything else, so it's what we have.

While her predecessors are mostly sixteen-year old girls, Polly is a grown woman. Assuming she's the same age as Anneke Wills was at the time, she's 24, notably younger than Barbara, and clearly cut from a different mould. She's a secretary from London in 1966, which, at first glance, may not be the most exciting concept ever for a player character. While the ability to brew a nice cup of tea is one that's quite important in British culture, for instance, it's rarely high on most player's wish-lists.