BF238 – Lure of the Nomad

Synopsis

For thousands of years, it has drifted through space, unimpeded, forgotten, seemingly lifeless. Now, finally, it has been discovered.

Responding to a distress call from the mysterious hulk, the Doctor and his companion, space pilot Mathew Sharpe, walk into a desperate situation. The multi-tentacled semibionic Makara were tasked with renovating the abandoned craft, but now they’ve begun murdering their employers.

The Doctor soon realises that the Makara have been programmed to kill, but by whom, and for what reason? Finding out the truth will mean uncovering a secret that threatens the entire Universe.

Review

As a preface, I am not affiliated or partisan in politics to any political group or party. I am perfectly fine with thought-provoking works of fiction that make one think, or commentaries that pose questions without radically defining and pushing a particular politic. I am simply reviewing this piece criticially for what it is and based on my own credentials as someone degreed in diverse areas of writing. I am simply calling out what I noted immediately, which ended up overriding any real story and was obvious by the intent of the writer.

The only mystery here is all the PR (public relations) praise this story has gotten in press by either online reviewers who are not capable of decoding themes, metaphor or symbolism — or in this case obvious simpleton caricature! Or maybe they want their channels to be popular and thus avoid any negativism, or other reasons? Hmm.

Also, I noted some discussion by people online regarding “politics” in Doctor Who. In this context one must define “politics.” There is a gross difference between either social or environmental commentaries or simple injections of dialogue promoting humanitarian factors that are 100% generally UNIVERSAL, such as being against racism (or general pure hate towards people) or environmental catastrophe due to careless negligence of some mega-corporation, and that of pure slander, immature caricature and attack. The latter are signs of pathetic writing and what is encapsulated in Lure of the Nomad, which is an atrocious piece of trash that does not intend to really tell a story but rather paint a subversive portraiture! Plain and simple. Nothing else.

While Lure does not necessarily preach or even push any political concept, it subversively, selfishly and lazily models itself after current public figures, specifically the Trumps (the current US President at the time of release and his son “Eric” specifically). This is not what or why I buy or spend my time listening to Doctor Who for. I just want an immersive, creative and intriguing story in or about “space and time,” NOT political obsessions or attacks on people. Should this belong in Doctor Who? Is this the kind of story you want to hear, or would rather hear a truly clever story as opposed to subversively modelled and framed (double entendre) generic murder mystery? Worse, you can go on social media and see a lot of these writers, totally obsessed with their native countries media brainwash and then you understand why this keeps trickling into their stories, in tandem and aligned with obvious partisan and political media out there.

As a sidenote: It is pretty pathetic that a lot of these British writers obsessed with the US and obviously influenced so much by their affiliated news media corporation or otherwise relative employer. To the point, for example, where Elliott was so consumed as to model and focus so intently on producing (and wasting) a precious moment to have a story recorded with classic Doctor Who actors, only to make a side joke that they can post on their social media (yep, done). Maybe they should find inspiration elsewhere and focus on creating a non-generic story minus uninspiring cliche or otherwise personal vendetta motivated characters. It’s hilarious because there actually is one great character, advertised in promotion, only to be literally evaporated (or diffused) shortly. A ruse? A lure? I suppose so in reality.

Propagandaist writer Matthew J. Elliot attempts to subversively caricature one Donald J. Trump to push his own sad personal politics and personal (or affiliated or both) amusement degrade and ridicule detracting from any really meaningful or engaging story.

Really wise use of an opportunity and privilege to write a Doctor Who story [sarcasm]. I am sure there are quite a few people, who are educated in creative writing and actually capable of producing a proper Doctor Who story, but instead Big Finish loves to keep employing a limited, exclusive stable of writers (you can do background checks on each one to see the common thread) who clearly and obviously get triggered and obssessed with anything but Doctor Who! And it continually leaks right into stories and releases as if telling a Doctor Who story is not really important, it’s about bigoted writers being able to exploit and use the platform to joke, propagandize or ridicule (not a commentary, a caricature aka attack for its own sake). This can also be seen on many other releases, including some box volumes with other Doctor’s who are force fed dialogue that is anything but wise. A real shame and the fault is also squarely on editorial for perhaps knowingly producing stories like this. The funny thing is a the Time itself will expose these stories at “shiny lures” for uneducated people hyping on a bandwagon.

To back up these statements, simply look at the character, the names of certain characters and their background.

This is the last thing I want to hear, and it is so unintelligent and the key to bad writing. If a story is not genuinely written for its own purpose and end, then what you get is a “Lure FOR a nomad” who if smart will just move on to better products written by writers with integrity and ability.

Mission accomplished. Annoying, selfish and pathetic. The last thing I want in my Doctor Who stories is one writer’s misanthropic hate letter and sad contemporary political character assassination piece..

Beware: other clueless or canned reviews praise. Story-wise, there is a suprise in third act that I found a bit wonky as its revelation had little background or “realtime” to manifest and I just don’t think the Doctor would be so naive, similar to any intelligent listener probably wouldn’t be naive to accept writer Elliot’s political motives as innocent.

Time bubble, weak. Willoway character, fanastic, the one character I give this writer great credit for and that could have gone far beyond this story in potential but killed off and too soon.. literally evaporated prematurely.. As far as the enemy, isn’t that a font? Fail on writing and tonally irritating on many levels. Unconvincing and jarring for the wrong reasons.

The only thing this release will go down in history for is a huge piece of globalist propaganda, served by a corporate media gonad, whoops I mean nomad. Edit: I’ll leave that it, a more intriguing caricature…

This was 1/5.

Director: John Ainsworth
Writer: Matthew J Elliott

Cast:
Colin Baker (The Doctor)
George Sear (Mathew Sharpe)
Matthew Holness (Eric Drazen)
Susie Riddell (Esther Brak)
Ruth Sillers (Willoway)
Jonathan Christie (Captain Schumer)
Anna Barry (Juniper Hartigan)
Dan March (Varian)

BF099 – Son of the Dragon

Synopsis

I am Prince Vlad III – son of Vlad the Great, and sovereign and ruler of Ungro-Walachia and the duchies of Amlas and Fagaras.

But since my father’s murder, I have had another name.

I am Dracula.

PREFACE

This is more-or-less a placeholder or more unrefined draft review but I wanted to share some notes. I encourage anyone who listens to Big Finish historicals to take them with buckets of salt.

I have decades of a passion for and education in History, real history, as well as in communication and writing. My history is also based in valid sources, hard documentation, substantiated academic and history, with a knowledge extending to general, cultural and military. There are always facts, theories and lies. Basically here are lies and distortion.

REVIEW

TOTALLY AND FACTUALLY DISTORTED AND INVENTED FALSE, IMPALED HISTORY TO PROMOTE GLOBALIST AGENDA

Multiple events, character references and contexts are grossly and irresponsibly distorted and exploited to to falsely ‘indoctrinate’ and spread misinformation for the sake of a nasty and pathetic globalist political agenda. In many instances there are outright lies that in no way can be substantiated by factual research or adherent to established theory.

The author’s intent is obvious and the writer is plainly a dishonest, amoral writer who has zero integrity and a disgrace to the craft. Irregardless of prior work, Lyons has become the Liar here and a paid off lackey.

I

Lyons also put words into the Doctor’s mouth, dialogue, statements that are false yet purport to be historically and factually true, with the technique of placing them alongside more common myths and legends, first debunking them, and then repeatedly inventing purely fictional events, or otherwise propaganda as real incident.

Nowhere is found the real history of the “impalement” truth, such as (1) Vlad Dracul’s use and invention in dire circumstances of impaling not his own people but rather Ottoman scouts in Wallachian forests sent before invasion. The Sultan’s goal after Vlad escaped his bondage was to invade, destroy and annex Transylvania for the Ottoman empire.

Vlad and his army did kill opponent nobles and factions who conspired against him after re-establishing power (this of course natural to the context of any group or power in medieval history). He, by any frame of informed logic or historical evidence, did not brutually impale or massacre his own common people. He invented fear tactics using impalement of Ottoman scouts or soldiers as a desperate underdog effort to spread fear and fright in their camps to demoralize and hopefully aid in repelling encroaching mass forces.

(2) The other citing of impalement has nothing to do with Vlad’s own people or women and children but that of a particular battle again utilizing and impaling Ottoman soldiers, the extent to which is questionable, if not exaggerated myth itself. You’ll find copy-paste, uncited and re-hashed articles and wikis state that 20,000+ Turks soldiers were impaled at Târgovişte (all unsourced, and gee that would take a long time to fork 20,000 soldiers for Vlad’s smaller forces), yet you’ll definitely likely see the firmer context and reality with smaller scale but often used guerilla style use of impalement towards Ottoman enemies, in the forests and pathways of scouts and more ‘sparing’ use.

Lyons falsely states, out of the Doctor’s mouth, that the referenced impaled 20,000 were women and children, Vlad’s own common people and peasantly. FALSE. LIE.

* Lyons mentions “the forest” as a real historical event that Vlad Dracula led a ridiculous number of innocent women and children in a forest and simply impaled – zero logical reason, no motive otherwise that the woman-beating maniac Vlad (he is a misogynist and woman-beater in play) did this ‘just because’… Seriously unintelligent and moronic.

This event never happened, established by both conventional and military history. IN REALITY, Vlad’s men employed the tactic of capturing or impaling scouts or soldiers of the Ottoman army to utilize similar to scarecrows as a desperate attempt to spread fear among the Ottomans in order to help demoralize and repel invasions. This was a major innovation or use of fear tactics in warfare, at least in Western European history. This is one of the true links to his longstanding infamous nickname, along with the Danubian merchants who exploited this obviously acknowledged and acclaimed tactical use of impalement to DISTORT and spread damaging myth along their extensive trade route to demonize, rally widespread support against and literally make a monster out of Vlad. (Lyons does the same today for not dissimilar globalist purposes)

You may want to study Vlad’s situation, circumstances and the whole background (from a variety of academic sources) before you make assumptions of who the bad guy(s) were. Hardly matters for debate here, you can listen to Son of a Dragon and both the context and use of the impalement, completely wrong and used with malice against Vlad, the “Cross” and greater Europe, at the expense of anywhere near historical truth.

(3) The final impalement myths come from disgruntled Danubian merchants, as I’ll probably note redundantly and expand on later.

He also invented ‘scorched earth’ warfare with little option, which is mentioned with total utter mistruth and distortion (again, not used against his own people): poisoning his own nation’s rivers and wells and burning shelter and earth (food, water, protection sources for invading Ottomans WHICH WORKED) to save his country as an acknowledged last ditch military tactic.

NOTE: In the process, he arguably helped saved Europe from Ottoman/Islamic invasion that would have changed history forever and which there would be no Europe or history as we know it. Invasion and subjugation of Europe would have be a bad thing by any contemporary humanitarian and free society perspective. Can you dispute this? No, you can’t. Unless you are a modern-day globalist janissary, don’t believe in a free world, equal rights and democratic forms of government, freedoms that have taken centuries to evolve and procure against various forms of evil, suppression, violence recorded and existent throughout the world. But this is not how the globalist sees it and the evidence is clear here.

The real questions or problem here besides the historical perverted and incorrect information in the audioplay, is the pure exploitation of the myth. Pure hypocrisy and illusion that is harmful and literally non-partial to a campaign of forming globalist janissaries out of younger Doctor Who fans.

Lyons of course superficially mentions the ‘scorched earth’ tactic of poisoning the wells and rivers minus details, facts, or context. In fact Lyons distorts, once again, to outrageous lie that it was used against his own people. LIE. Any real historian or source, will tell you the opposite, like so many other things in this play.

II

THE HANDSOME IS NOT SO HANDSOME

Nowhere is found the explanation of the true ransom/kidnapping of Vlad and his brother Radu, the latter who was successfully brainwashed/indoctrinated, molested, raped and given the name ‘The Handsome’ by the Sultan for being his favorite pre-teen concubine whore! And later, after earning complete obedience, elevated to a janissary captain with purpose of sending him to kill his own brother! FACT. Again Lyons alludes only to the Sultan, later in play with extreme brevity and in obscure manner, to being the character endowing Radu with the name, but of course avoids any real attempt to paint an accurate picture: Such as Radu being a janissary; the reason or real conflict between brothers; the real facts and story that Radu (and thousands of other children along with Radu) were subject to the Sultan and Ottoman ‘endowment’ of gross mental/sexual abuse, nature and trauma as a young children and turned against their own people in probably the most shocking abuse of children in world history.

It’s a sad but true story avoided to spare any criticism of Ottoman culture, which would betray Lyon’s own secret, closeted motive in writing this piece of deception.

– Lyons repeatedly uses this writing technique to put on emperor’s clothes for ignorant listeners and to be able to state later that ‘he mentioned’ (in a base, superficial manner). Yet he goes on to slander Christianity while praising and putting on a pedestal the “benevolent, tolerant” Sultan and “Ottoman culture.” That is called total bigotry, grounded in a specific agenda.

This is what these writers and media journalists do: they take the offensive or negative actions or traits, apply them to their target, falsely and slanderously, yet in reality these commit and are guilty of using the same tactics and actions they condemn, albeit in modern context with the pen, backstabbing their readership with the poison-laced dagger. No truth, no integrity.

Lyons literally explicitly states and portays the Sultan and Ottoman culture of the time as tolerant (citing non-unique and a contextually distorted sense religious freedoms) and otherwise benign in opposition to Vlad, whose story has absolutely NOTHING to do with religion, at all! Why? A plain and obvious attack on Europe and Christianity – a false argument, distorted context that holds no water.

Beyond all this, nevermind the commonplace MASS slavery and pedophilia in Ottoman society at the time, the brutal laws and campaigns of Mehmed “The Conqueror” – all historical FACT. Not an open interpretation, but fact. Lyons actually contextualizes this towards the fact that The Ottomans did not enforce or impose their state religion of Islam on their “conquered” vassal kingdoms (like Wallachia was at the time of Vlad and Radu’s childhood), and Lyons acts like this was unique and in contrast to Christian Europe, which is not true. Eastern Europe for example for centuries before, which did not seek to conquer and invade other territories outside of its own context and general territory had a highly poly-ethnic and religious society, for a few centuries up to this time and beyond for centuries. In fact, soon after this time the only place on civilized Earth that did protect certain groups, like Jews for a famous example, by actual law, was the Polish-Lithuanian Commonwealth later in the 16th-18th centuries.. Besides Jews coexisting for a millenium in Eastern Europe after expulsion from the Middle East, why else do you think their own identitarian subgroup existed, thrived to prominence in society – full autonomy. Now whose the tolerant society by historical fact? You’ll never hear this from certain Big Finish writers, the mainstream media or even modern political Zionist groups (who really have no relation to the actual groups of people they claim to represent but really exploit for their own self-serving contemporary political purposes). But in this case, it’s all obvious Globalist agenda about revising people’s perceptions about a certain ‘culture’ while slandering an old figure, contextualizing off a very old medieval (how laughable, really) setting and characters. And it starts with implanting crappy, false propaganda media like this to character assassinate a larger character and truth. We, today, can look at real historical events and see the current relationships that have been formed. There is a reason why and starts with true contexts and events of a larger thousand years of plain history.

Lyons has poisoned the waters and created his own false myths, distorted contexts and lies to further his own or his employers tactical agenda. Again, another really bad Big Finish that cannot be erased and will only serve in the longrun as more evidence of propaganda, distortion with intent!

[A similar offense by Big Finish of falsifying by omission and invention, in portraying a famous figure or culture as heroic was employed by Nigel Robinson’s adaptation of Farewell, Great Macedon, which thrust false historical context and imagination on Alexander the Great. This audioplay “adaptation” portrayed and wrote Alexander the Great as some sort of philosophical, altruistic, contemporary-lit heroic figure. I still tentatively rate that play 3/5 stars (although I sold it as I don’t want it in my collection), regardless of its obvious historical inaccuracy, and (at least) more popcorn form political correctness].

III

This play was released in 2007. Do the topics of immigration and Islam/Middle East refugees sound familiar today in 2017-18? It probably does to the majority of people in the Western world. And it should make you think. Hmm. Pretty interesting. There has been a whole carefully contrived campaign of thousands of pieces of media both internet and entertainment media purposefully designed and imposed upon an impressionable millenial youth, similar to the brainwash attempted on Alex in Clockwork Orange. The evidence is staggering in number and extent. Son of the Dragon is just one of these pieces of media. It is not trivial. It has successfully informed, indoctrinated and irresponsibly abused many youth and Doctor Who fans. Look at the writers, look at their clear affiliations and “history.” It will all come out of the closet soon or later.

The attempt to whitewash Islam’s history of slavery or persecution or campaigns against in contrast to Christian Europe is pathetic and untrue. This is part of the ongoing decade old globalist agenda to revise and distort history, that in 2018, any intelligent history or media analyst can see and demonstrate and unravel.

Who is the vampire? The globalists, along with their advocates and defenders (like the zombies trolls against discourse or the facts revealing themselves, thumbing down my reviews immediately) are like that American couple in 2018 that along with two Europeans were indoctrinated by such misinformation and media, that they set out in August 2018 to go biking in Tajikistan, an ISIS recruiting hotbed, Muslim country to prove that there “is no evil in the world” and it’s all an invention. Result there: While biking, a car pulls up with several men, ramming their bikes and then horrifyingly murdering them for no reason. Lyons paints Vlad firmly as the sadistic offender, which is not true and he certainly had a purpose and cause, not unnoble to free himself, his people and land from the Ottomans who forced tariff and kidnapped children only to send them back to murder their relatives and conquer. Truth. Fact. To borrow a misguided quote from one of the Tajikistan tragedy victims, obviously indoctrinated by globalist media relevant and dating back to the time of this audioplay,

“I don’t buy it. Evil is a make-believe concept we’ve invented to deal with the complexities of fellow humans holding values and beliefs and perspectives different than our own—it’s easier to dismiss an opinion as abhorrent than strive to understand it…”

This is exactly Lyons theme and philosophy in Son of the Dragon ultimately (as the conclusion shows)! He distorts and ignores the truth, in this case, well-researched and established historical fact. He invents his own reality, grounded in his own indoctrination or at least his employers/master’s agenda and media message.

But there is also a bit of a difference as Lyons twists the hero and the monster, the roles, facts and perceptions to suit and serve his own agenda: using false myths as facts, to propel and elevate one culture/empire/regime from THAT TIME, burying and hiding the dirty laundry, in some warped attempt to relate to a tolerance factor concerning Turks or Muslims today.

–Eschewing and scapecoating one man, an innocent dead man who has been now, today, once again painted as scathingly with intent and for agenda, not any different than the original Danubian merchants who spread the monstrous myths in the first place.

This is a play exploiting an old pool of myths that actually initially debunks the Dracula myths, but then proceeds forward using the same myths combined with outright lies to tell its own story!

IV

In truth the Ottoman empire and culture at this time employed the shocking and revolting use of Janissaries – zero mention by Lyons of course and crucial to the Vlad/Radu story in any sense.

JANISSARIES. CRUCIAL TO THE VLAD/RADU STORY, ONE THAT CANNOT BE OMITTED TO PROPERLY ILLUSTRATE TRUE HISTORY AND THEIR STORY

Lyons completely omits and rewrites the facts and circumstances of Vlad and Radu’s father and kingdom and that they were ransomed/kidnapped and given under threat of destruction and annexation of all Wallachia by the Ottoman Empire and Sultan’s armies. Their fate was completely subject to the Sultan and court and destined as preteen concubines, indoctrination/brainwash, trophies and ultimately janissaries. Vlad resisted and escaped – a testament to his character and important background to his own accurate story. Radu succumbed to conditioning after years of physical, mental and sexual abuse. TRUTH. FACT.

In a nutshell, this accurately, supported by clear historical evidence and fact briefly describes the fate of tens of thousands upon thousands of Christian European children (a non-tolerant direct assault towards another religion in the 1st degree – contrary to Lyon’s explicit lies as evidence in play dialogue). Common villages, notably in Central/Eastern Europe were raided by this “lovely, tolerant and benign” culture, slaughtering common people and kidnapping their children. These young children were brought back to the Sultan’s court, brainwashed AKA indoctrinated and enslaved as whores, slaves or conditioned as janissaries: girls go to harems condemned to a life as concubine, abuse and pedophila. Young boys, the same. Harems factually included boys (as they do today in parts of the world protected and hidden by globalist media), and to preference of court officials and the Sultan, as exemplified by his favorite lover: the real-life preteen boy Radu “The Handsome” whose ultimate fate was to be trained as an elite warrior and Sultan’s bodyguard called a “Janissary” and finally to be sent to destroy his own brother. Janissaries were an elite, brainwashed warrior class, trained, conditioned and abused since early youth to a final state of absolute loyalty to the Sultan. They served as bodyguards and a special regiment of the Sultan’s army who then were often sent out to massacre their own European people and kidnap more children to receive their same fate. FACT.

NOT ONE MENTION IN THIS WHOLE PLAY SUBVERTING ANY TRUTH, WHICH WOULD DESTROY LYONS STORY AND SINISTER GOAL.

And this is what one Big Finish writer with approval of editor has chosen to go out of their way to hide and promote – insult-to-injury to all these children in history, serving a fate worse than death, and who at least to my sensibility, do not deserve to have Radu and the Ottoman Empire of the time championed and portrayed as fostered by a caring noble, supremely tolerate and morally righteous empire! I mean, Big finish has intentionally put this out, and went way out of their way to hide and spread misinformation! It’s really a shame and assault, if only towards the sake of truth. The proof is in the pudding.

Imagine if your family and village were invaded. You or your family murdered, your small children stolen. Their fate indoctrined/brainwashed using typical techniques of nutrition deprivation, conversion, mental and sexual molestation and repeated rape or confinement to harems. Dreadful thought for both girls and boys. And/or sold as slaves with all the above and worse, life ruined and stolen away. Boys, trained and turned against their own relatives and heritage and finally sent back to pillage, murder and kidnap to freshen the stock.

The author Lyons claims, again through explicit dialogue, that the Sultan and Ottoman were totally tolerant of religion. That is not true, they attacked the infidel through the use of Janissary. Period. They conquered land, but did not settle there. They only wanted regular tribute, tariffs and the children. And this is EXACTLY what happened once day to Vlad, Radu as young boys and their father. The true story. The Sultan demanded under threat of total destruction and annexation, the boys, the King’s own sons as a trophy and tribute of “intolerant” pure obedience. The ultimate intolerance and evil insult. Whose the monster? Who does the writer portray as the monster and who does he promote? The answer is absolutely clear.

Vlad “The Impaler” was not successfully indoctrinated and escaped and returned back to Wallachia to raise a willing home army to take back their country’s land as major underdog from the combined clutches of a more complex mix of those in current power struggle: Transylvanian nobility, the King and Kingdom of Hungary, the invading Ottomans, and even the powerful Germanic Danubian merchant league (the ones who spread the false, distorted myths of a savage monster impaling his own people in retaliation for a real period/incident of blocked trade routes through Vlad’s domain).

PS. Regarding the Germanic Danubian merchants, you will also find a similar tactic employed by globalists and even Big Finish writers in stories and use of media towards the Trump caricature in the media circa 2016-2018. They have found an opponent not aligned, perceptively by them, with their own power structure, goals and commerce and therefore repeatedly attack by powerful means to an largely gullible, media illiterate public through all arenas of their production, media routes and control – persistently seeking to defame and attack, in attempt to destabilize and de-power and rally fanatical anti-support based on media invention to an audience incapable, unable or unwillingly to research facts and sources.. This is purely a simple example of a method of propaganda that has used before, exists today to the extreme, and a demonization of a character via media channels. I say this as a degreed, qualified expert on the media platform that has absolutely zero political or organization alignment or interest.

Radu “The Handsome” on the other hand as the preteen favored child whore of the Sultan Mehmed “The Conqueror” was firmly indoctrinated after years of conditioning, mental and sexual abuse, and eventually set with mass force – against his brother and his small army of of rebels (native people only years before).

But no.. Lyons doesn’t mention any of this, literally writing off “The Handsome” as a title of vanity early in the play, which our female characters mock. The real truth – never mentioned. Radu becomes “The Handsome” and presented to the listeners as a altruistic hero from a tolerant culture against the “evil, hypocritical Christians and Vlad!” One can see the total bigotry and lies throughout this whole play, outlined tenants of a truly evil globalist agenda. Never mind the truth – all very zero integrity and sculpted to indoctrinate and deceive youngDoctor Who listeners.

V

STOKER’S DRACULA was a pure piece of fantasy and gothic horror, whose titular character was modeled on the myths and named after Vlad Dracul, which exploited this myth in proper artful manner (similar to making exploitation films of modern times). One who reads Stoker literately can clearly comprehend the more intelligent theme presented regarding myth and legend, and that is why Dracula the character was overtly an outrageous, clearly fantasty character, not conceivably a real person but a monster, reflecting and even commenting on the myths of old times in an intelligently and probably revolutionary manner. With a sense of integrity: it sought to tell pure horror and fantasy but allude to the truth by its essence. Lyons does the exact opposite!

LYON, actually points out fiction, myth and reality but does the opposite of Stoker and presents the same myths (and worse TOTAL distortion and mistruth of established, accepted history and fact) to an incredible extent as actually being non-fiction and alluding towards truth. Totally wrong. And shockingly so.

Lyons ignores or reverses all, with gross omission designed to lie and distort. And ultimately he falls back concerning the story here and our companions to one of the most famous myths of the Bride of Dracula (not the movie, the myth).

This was 1/5.

Director: Barnaby Edwards
Writer: Steve Lyons

Cast:
Peter Davison (The Doctor)
Nicola Bryant (Peri)
Caroline Morris (Erimem)
James Purefoy (Dracula)
Douglas Hodge (Radu)
Barry McCarthy (John Dobrin)
Clare Calbraith (Maria)
Steven Wickham (Soldiers)
Nicola Lloyd (Ayfer)

BF021 – Dust Breeding

Synopsis

On nineteenth Century Earth artist Edvard Munch hears an infinite scream pass through nature. Centuries later his painting of that Scream hangs in a gallery on the barren dust world Duchamp 331.

Why is there a colony of artists on a planet that is little more than a glorified garage? What is the event that the passengers of the huge, opulent pleasure cruiser ‘Gallery’ are hoping to see? And what is hidden in the crates that litter the cargo hold?

The Doctor’s diary indicates that the painting is about to be destroyed in ‘mysterious circumstances’, and when he and Ace arrive on Duchamp 331, those circumstances are well underway.

Review

MCCOY CLASSIC

Rich sound production, quality and FX evokes and helps establish a deep space dusty, arid and barren planet surface and environment.

One of the first Big Finish that I experienced after discovering while specifically searching for McCoy and Aldred quite awhile back now. The McCoy and Aldred team is a particularly special for me as it harkens back to a real life scene, cemented forever in my photographic memory, to the day I flipped on the tube and realized Doctor Who was cancelled and that I would never then seen the final episode! What a bummer that was. It marked the end of an era in multiple ways for me. But then years later… they were back! Therefore, they have served as a form of major continuity and interest from then until now: the bridge to contemporary material, with McCoy being a Doctor I appreciated and identified with that much more with age. Like Rrrrripe cheese.

Always a favorite team, as comfortable and personal as an old shoe — and I mean this as a compliment. Pre-Big Finish McCoy and Aldred are also an important link with a few greatly favored early strange audios like The Left Hand of Darkness to Only Human and a couple in-between, and then to this fair oddity, Dust Breeding from the earlier Big Finish catalogue. In my opinion they are at their best in strange alien worlds or ones formed by or imbued with the surreal.

Sound arty? Well, jumping forward, we do in fact get Dust Breeding with a literal Art-induced plot that fits the ideal bill.

Listening to this again recently, I am loving the experience and story, which is simply in McCoy and Aldred standard, traditional mode. A perfectly satisfactory mold, just the way that fits fine — plus an intriguing premise, distant space (way out there) on some sparsely populated planet in the middle of nowhere — and sentient space dust.

The acting was great. Aldred and McCoy make Time stand still with their perhaps unparalleled consistency and unbreakability in owning their characters.

After the first disc, my impression is that is a very cool story indeed – spoiler excluded.

After the conclusion and second disc I can say:

Great villain/enemy with zany concept and tone all supported extremely well by all elements of the production. Most importantly: Amusing.

Star-studded cast including Beevers and John. Masterful, high-fidelity sound production. Very amusing and classic in concept/story and performance including some beautiful servings of obligatory well-carved cheese, only true McCoy fans could care to acknowledge.

Hardcore. Awesome.

This was 4/5.

Director: Gary Russell
Writer: Mike Tucker

Cast:
Sylvester McCoy (The Doctor)
Sophie Aldred (Ace)
Geoffrey Beevers (The Master / Seta)
Caroline John (Madame Salvadori)
Louise Faulkner (Bev Tarrant)
Ian Ricketts (Guthrie)
Mark Donovan (Klemp / Ambassador)
Johnson Willis (Damien Pierson)
Gary Russell (Jay Banks)
Alistair Lock (Albert Bootle)
Jez Fielder (Skredsvig)
Jane Goddard (Maggie)
Gareth Jenkins (The Krill)
Jacqueline Rayner (Lift Computer)
Mark Wyman (Museum Announcer)

8DA4.10 – To The Death

Synopsis

‘He can’t be alive…’

After a last, futile fight-back against the Daleks, Lucie, Susan and Alex are heading home to England in the desperate hope of saving the Doctor’s life. But the true, terrible nature of the Daleks’ plan is beginning to emerge and the Monk has blood on his hands.

To defeat the Daleks, it can only be a struggle to the death.

Review

A MUST HEAR, DRAMATIC EPIC
One of Big Finish’s Finest

This second part and finale of the Lucie Miller story considerably amps up the action and drama, building to a tense tragedy and thrilling but grim final act. The Dalek plan reveal also well illustrates the madness of Daleks and is intriguing. Features the Dalek Time Controller. Elevates the story arc to excellence and mandatory in Dalek canon — also an example why some Big Finish plays are both successfully contiguous with classic Doctor Who as well as blazing the best trails in the modern era.

You’ll want the preceding release Lucie Miller. Together, it’s an original Big Finish canon great (just keep your expectations in check, it’s a slow burn to the inferno)

This was 5/5 or at least nearly so.

Director:Nicholas Briggs
Writer: Nicholas Briggs

Cast:
Paul McGann (The Doctor)
Sheridan Smith (Lucie Miller)
Niky Wardley (Tamsin Drew)
Graeme Garden (The Monk)
Carole Ann Ford (Susan Campbell)
Jake McGann (Alex Campbell)
Nicholas Briggs (The Daleks)

8DA4.9 – Lucie Miller

Synopsis

Lucie Miller needs the Doctor’s help. The whole planet Earth needs his help. But he is nowhere to be seen.

While Lucie struggles to survive a terrible sickness, an even greater threat to the human race is about to be unleashed.

And this will be the second Dalek invasion of Earth the Doctor’s grand-daughter has had to endure.

Review

FIRST PART OF STORY ARC – 3/5 STARS

Fairly tepid, but easily digestable with an OK plot and extra dose of recurring characters. Some average elements and dialogue that should probably emote and excite more than does (the major complaint – script issues), but entertaining just enough (and to be generous in truth I feel on point in a middle-of-road rating for its section of story). First part (not standalone by any measure) of a 2-part story arc that should have been bundled with and is required for its finale ‘To the Death.’

Nevertheless, it’s essential as part of the ‘Lucie Miller/To the Death’ story arc.

This was 3/5.

Director: Nicholas Briggs
Writer: Nicholas Briggs

Cast:
Paul McGann (The Doctor)
Sheridan Smith (Lucie Miller)
Niky Wardley (Tamsin Drew)
Graeme Garden (The Monk)
Carole Ann Ford (Susan Campbell)
Jake McGann (Alex Campbell)
John Banks (Seb Andrews) Nicholas Briggs (The Daleks)

8DA3.4 – Wirrn Dawn

Synopsis

This is full scale war. Wirrn and Humankind locked in a deadly struggle for survival. When did that happen?

The Doctor and Lucie land right in the middle of one of the human races bloodiest periods of history. Trying to make a difference here would be like standing up and calling for a cease-fire on the Somme. Certain death

Or Worse.

Survival can be a messy business.

Review

Far future earth, giant insects the Wirrn at conflict with human. Clear simple story with enjoyable but fairly cheesy dialogue/acting. Interesting title and enjoyable. Some the dialogue and concepts like the doctor defending human sacrifice as being part of nature are pretty funny bring this to B-level or ‘so bad its good territory,’ in which any serious criticism is justified. So i deem this cult classic and a guilty pleasure. +1 invisible bonus point. Again, on my preferred 5-star scale and being one of my earlier exposures to Companion Chronicles my first impression was a very solid 3/5. In hindsight after listening to many 8th/Lucie Miller plays, this is by far one of the best or at least most enjoyable, especially if you enjoy good cult/B fare.

This was 3/5.

Director: Nicholas Briggs
Writer: Nicholas Briggs

Cast:
Paul McGann (The Doctor)
Sheridan Smith (Lucie Miller)
Colin Salmon (Trooper Salway)
Daniel Anthony (Delong)
Liz Sutherland (Farroll)
Ian Brooker (Winslet)
Beth Chalmers (Queen)

8DA1.3 – Horror of Glam Rock

Synopsis

The Doctor and Lucie go glam when the TARDIS makes an unexpected landing in 1974. Slade, The Sweet and Suzi Quatro are Top of the Pops – and brother-and-sister duo The Tomorrow Twins will soon be joining them, if starmaking Svengali Arnold Korns has his way. But will their dreams turn to dust at a service station somewhere on the M62, besieged by a pack of alien monsters?

Review

RECOMMENDED

Amusing dark comedy. The 8th and Lucie are a good pairing. The Diner weaves its way into theme and eats itself. Welcome to my Nightmare 1974.

This was 3/5.

Director: Barnaby Edwards
Writer: Paul Magrs

Cast:
Paul McGann (The Doctor)
Sheridan Smith (Lucie Miller)
Bernard Cribbins (Arnold Korns)
Una Stubbs (Flo)
Stephen Gately (Tommy Tomorrow)
Clare Buckfield (Trisha Tomorrow)
Lynsey Hardwick (Pat)
Katarina Olsson (The Headhunter / The Only Ones)

4DA4.8 – Return to Telos

Synopsis

The Doctor reveals to Leela that theyre heading for the planet Telos. And K9 has new masters…

On Telos, in the past, the Second Doctor and Jamie are exploring the tomb of the Cybermen.

Meanwhile, the Cyber-Controller and Cyber-Planner consolidate their plans. Spare parts from Krelos are being used to construct a mighty Cyber army. The Doctor must be captured.

Out of control, the TARDIS tumbles down a chasm and the Doctor and Leela find themselves caught up in full-scale planetary invasion.

Review

KRELOS NEEDS TELOS, TELOS NEEDS KRELOS, WITHOUT EACH OTHER THEY ARE FORSAKEN
LISTENING NEEDS A SHARP STICK, FIRE, AND SOME MARSHMELLOS

Note my wonky rating for individual elements. I’m going off of memory as I firmly consider this release and rate it, truly, in partnership with its precessor or “Part One,” The Fate of Krelos. Regardless of that releases’ extreme brevity, unfinished state, and reliance on this release, for aesthetic reasons and potential or flash-fiction element (in retrospect), I think that it was oddly better ONLY IF in relationship as a introductory chapter or part one.

However Telos is more standalone but gets convoluted and the exact opposite of Krelos – too complex, lacking proper flow and disjointed. From my recollection, the plot itself was the suffering element. The highlights of the whole story between the two releases that do in fact really go full circle (not that story, just in theme, yhuck yhuck) are the introductory chapter of The Fate of Krelos and the conclusion of The Return to Telos. Telos, Krelos, Marshmellos. Furthermore, you’ll want to be a least familiar, or better have watched the Second Doctor TV episode, “Tomb of the Cybermen,” which is not mandatory nor actually oddly that beneficial. “The Tomb” takes place earlier on Telos, and there is mention ofJamie. Thus there is definitely a “Marshmellos Effect” going on here.

Therefore, I am rating both releases together – same “Overall” rating, as one story, which is the manner that they should have been packaged as one regular/standard release. The rating: a solid 3/5. And for a few reasons, old Tom Baker/4th fans will want to pick this up (cheap, or an extravagant, luxurious pampering self-gift, from Briggs with love).

I have listened to a few of the 4th Doctor Adventures and have been very disappointed, almost as if the writers have no clue (BUT this based on only a good handful of releases thus far). I was bitterly disappointed with Volume 2 with Mary Tamm for the larger story arc there (monopolizing Briggs’ personal non-canon material from pre-licensed Doctor Who era) in a poor decision and now sadly bygone opportunity to use Tamm, who sounded and performed well.. The pain is there and shall remain forever.

The Fate of Krelos/Return to Telos STORY is the best I heard so far, for what it is, so there you go. This under all circumstances and thus far, to my own few handfuls of 4th Doctor Big Finish listening, is the release – singular with Krelos – to keep so far for the collection. And from the readings on my temporal scanner pointed admittedly at Toyland, all the cyberbabies agree, if not humans from that pathetic planet Earth..

NOW ON TO MY ORIGINAL REVIEW NOTES IN UNEDITED RAW FORM FOR YOUR PLEASURE:

firstly, the cast, acting, fx and sound design are all top shelf. part 2 of story arc (w/ the fate of krelos). first era cybermen, time travel and fish. this story does not necessarily stink but is humour-bent at times.. it’s all in the particles, which do get a bit confused and scattered by end in both space and time.. i would almost want to call this a whovian adaptation of no country for old men (coen) meets wild strawberries (bergman). bizarre. i like the very end dialogue and performance that ties this philosophical (more than effective adventure) swansong moment and respite oddly together. for longtime who fans and those of the 4th “adventures” and Leela really. Give the guy a break, finally let them eat fish. On this last note, if you fit this bill, worthwhile.

Theme: Swansong

This was 3/5. With The Fate of Krelos (required)

Director: Nicholas Briggs
Writer: Nicholas Briggs

Cast:
Tom Baker (The Doctor)
Louise Jameson (Leela)
John Leeson (K9)
Frazer Hines (Jamie)
Michael Cochrane (Geralk)
Bernard Holley (Peter Haydon)
Veronica Roberts (Relly)
Nicholas Briggs (the Cybermen)

4DA4.7 – The Fate of Krelos

Synopsis

There are dark skies on Krelos and something gigantic is descending.

Meanwhile, the Doctor and Leela set off for some fishing in the mountain pools of Krelos. K9 has interfaced with the TARDIS and has reactivated the architectural configuration from the days of the Doctors second incarnation. In passing, the Doctor notes it could do with a good clean. And theres a familiar piece of material snagged on the console.

Far up the mountain, an aged explorer is in trouble. Will the Doctor and Leela be able to save him and his planet? And what is it that K9 has discovered in the TARDIS?

Review

REQUIRES SECOND PART OF STORY
YET RECOMMENDED WITH MANDATORY RETURN TO TELOS
FOR OLD TOM BAKER/4TH FANS

I grew up with Tom Baker as the first Doctor I watched debut episodes as a very small child, so… my recommendation of the two releases is specifically for those endeared to Tom Baker and will feel some sentimentality for the end revelation.

First part of a story w/ Return to Telos. Not standalone by first impression or experience by any means outside of an aesthetic chapter, but one requiring the end chapter (I believe if remembering correctly) of its follow-up required companion release. The rating for overall arc is a solid 3/5. It might take a couple listens (due to Telos core story) and may actually rise in rating. This review is based on my first listening that was some time ago.

This first part has good world-building, great atmosphere, solid for what’s here albeit in flash fiction mode. Mini-adventure only and lead-in to Telos.

The Doctor starts to go fishing, meets a character, which regarding the latter is all very interesting and curious.. but then the story stops. No frickin fish. Big Finish has for several volumes now been releasing the 4th Doctor Adventures in 1 hour length releases. This is often a poor release and business model, where for the many of the releases, they should absolutely have sold them and packaged them as one (and for the same price as one). Krelos/Telos is the prime example why. It is not cool, like what happened to me, where I purchased this expecting a full story, and then was forced to buy the second.

At first listen, that said, anyone, not even the biggest fan, would be pleased with the brevity and unfinished state. In fact, it probably does more harm than good becaused I imagine one could just walk away and see the whole matter as a cash grab.

But I must mention paired with the following Telos release, I love having these two. There is a very special release [yet only with mandatory Telos disc], one that serves as a lead-in to what evolves into a story arc that is philosophical and a nice homage to Tom Baker’s Doctor and in fact a lot of these older actors who put there heart and interest into their releases – the big reason I continue with Big Finish. Briggs was OK here and the commentary (imbued with his production relationship) actually means something that *reveals* itself in the Telos conclusion, yet is part of this Krelos release as well. Yet, Briggs the producer also does the disservice of packaging and selling seperate! What is he thinking besides $ in the slyest way possible. C’mon dude.

Worse, first listening of Telos, the whole matter messed with my expectation in the worst way possible, where I began criticizing the story while listening. However, by its conclusion I was happy. I mention all this because it matters and The Fate of Krelos literally depends on a Return to Telos.

At the end of the day, I am glad I added this to my collection WITH Telos, as the world-building is excellent and the overriding story, alluded to, is so very very cool.

At least here in Krelos (sounds like cereal from Ogrilla) for all its brevity, imagine the Colorado Rockies on a dark little path with the Doctor going fishing (you may remember a scene in a classic episode, I thought of that mutated little fish) looking for some hidden little streams, dusk approaches, and a sinister bodysnatcher sort-of invasion is on the horizon. Love it, honestly I myself could have written a completely mindblowingly brilliant 2 hour release based on this concept and the larger story, but Big Finish keeps it all in the family for worse :p Nothing is perfect, right.

Telos at first seems convulated in plot quite a bit but finally settles back to the charm of Krelos… yep, you’ll now have to see my review for the next release.

This was 3/5. With Return to Telos (required)

Director: Nicholas Briggs
Writer: Nicholas Briggs

Cast
Tom Baker (The Doctor)
Louise Jameson (Leela)
John Leeson (K9)
Michael Cochrane (Geralk)
Veronica Roberts (Relly/Krelos Mayor)

4DA2.4 – The Justice of Jalxar

Synopsis

They call him The Pugilist.

It is the dawn of a new century and a vigilante is on the loose. The scourge of the criminal underclass. The saviour of the virtuous and the protector of the weak. The police are baffled, the public enamoured but Professor George Litefoot and Henry Gordon Jago are on the case. Or at least they will be when they’ve finished their beer.

What is the source of The Pugilist’s spectacular supernatural powers? Is he alone in his noble quest? And what is his connection to the spate of corpses discovered around London?

As they descend further into a nefarious netherworld, the infernal investigators may be out of their depth. They’re going to need help if they’re to get out of this alive. The help of an old friend and his new assistant. The help of the Doctor and Romana.

Review

Apparently many people like this. I have no idea why. Posting this review from notes after a brief preface/recollection.

I guess Weng-Chiang is out, Jago and Litefoot in. This was my first exposure non-TV episode to Jago & Litefoot, not impressed – dialogue and utilization really annoying. I assume this would have been better used as a Jago & Litefoot series release with Tamm/Baker guesting.

Sorry to say Talons Weng-Chiang was a childhood favorite and after this exposure, it will be sometime before I feel inspired to take a dip and pickup a Jago release due to this. I understand this reaction would be silly as this was probably just a singular failure in my opinion of trying to reunite too many elements and then slap-on some sort of vigilante robot/social justice coating.

The overwhelming factor for my disgust was digging in hopes of getting a good Mary Tamm / Baker release. Not here in my opinion. Old fan of Talons of Weng-Chiang. Check. Big fan of Mary Tamm and Baker. Check. These were characters who I grew up on. And for reasons I’ll briefly touch on below, very disappointing. Looking back at my 1/5 rating, it seems extreme, but it’s really not. I have often found many releases on Big Finish Doctor Who either hard hit-or-miss. I think this is due to the very limited writing staff or failure of much criticism towards the writing, which then stagnates into genericism or post-modern mediocrity. Take these “fancy” words as you will. The generic, post-modern quality (and style used in other dramatic media in recent times as well) to this release really was a turn-off and one I am still feeling after quite some time. It is purely unimaginative or intelligent despite sounding “cool” in conceptualization. In an hour, there is a limited time and dialogue and storytelling with impact is crucial. In my perspective the worst thing you can do is just rehash a cliche type hero dressed in emperor’s clothes.

I for one did not like this and have multiple criticisms regarding dialogue, use of actors, post-modern characters, the outdated theme, and really an idea that sounded OK on paper but had to many problems in an hour’s time.

Tamm, to no fault of hers was either writing this performance in or equally annoyed as I with Jago (was it?) trying to put the mack on and flirt with Romanadvoratrelundar. So annoying. I listened to this hoping for a good Tamm showing as they are very, very limited sadly due to her untimely passing, and after the dreadful other Briggs releases in this volume, which I also have (even more) scathing reviews. (PS. At a loss I have been saving Phantoms and Auntie on reserve to not fall into a deep depression for the wasted opportunities with Tamm).

Maybe I should listen to this again and perhaps give this another chance. But I doubt it will matter much, beyond another point raise (it could only up a notch of forgiveness).

My main problem is two major reasons (a) an obvious overshadowing and passive use of Tamm who should have been a priority to record and get some good stories down that feature her in a good context. (b) The story and totally cliche or weak unimaginative post-modern characters/story/setting.

The theme is not new or inspired and I am guessing Dorney thought it was “progressive,” which is was not. I won’t analyze the theme and intent here, that would be a whole other can of conjecture and worms. So let sentence lie strictly in the rest..

OK, point is- nothing is very inspired or original here for those who have read hundreds of comic books, consumed a lot of a/v media and film. And the fact IS that Tamm was literally a total footnote with little dialogue or at least heavily eclipsed with little running time. We can write down the dialogue and running time can’t we? At least the cover art is true to advertisement more-or-less but I am not going to issue a point for it.

HERE ARE MY RAW REVIEW NOTES (from back when I listened to it)

alien steampunk robot that evokes a sort of cousinly rastan warrior, yet in union ripper jack victorian times and with an earthly twist. this makes for interesting villiany, yet with mixed effect and result for me. The lowlife characters and pimply plot as well as jago and litefoot overriding Romana (who was the sane easy highlight and much too secondary and limited) was subjectively off-putting and a tad annoying. i found the whole affair anti-climatic, tepid and even exasperating—interestingly so did Romana. to repeat the repeated words of the jalxar robot, “the sentence is death.” for the poor choices here i have to be harsh. tardis take me away now.

This was 1/5.

Director: Ken Bentley
Writer: John Dorney

Cast:
Tom Baker (The Doctor)
Mary Tamm (Romana)
Trevor Baxter (Professor George Litefoot)
Christopher Benjamin (Henry Gordon Jago)
Mark Goldthorp (Bobby Stamford)
Rosanna Miles (Mary Brown)
Ben Bishop (Stone)
Adrian Lukis (Harvey Marsh)