Movement Point

Doctor Who Project: The Awakening

November 2, 2023 by Chris Baer

It’s a living history.

Of all the many changes producer John Nathan-Turner brought to Doctor Who, the regular appearance of the two-episode story structure stands as one of the most successful. Forced by necessity to strip down the story to its basics, the writers for the two-part tales have consistently turned in taut, if not always coherent, narratives, and Eric Pringle’s “The Awakening” (Story Production Code 6M) stands as no exception. From the very start of the story, with a contemporary figure being menaced by Cavaliers on horseback, Pringle plays with the notions of temporal fluidity that are at the heart of Doctor Who—if the Time Lords can travel through time, so can other beings and forces, a plot device used frequently in the early days of the series but seldom evoked by the time Peter Davison dons the Fifth Doctor’s mantle.

The local magistrate, Sir George Hutchinson (Denis Lill) explains to the flustered schoolteacher, Jane Hampden (Polly James), that he and his fellows are merely re-enacting the events of the English Civil War, and that it’s all simply a bit of fun that the entire village has decided to participate in, except for her. Once they have simulated the final epic battle fought in village of Little Hodcombe between the Cavaliers and the Roundheads in 1643, all will go back to normal. It’s an interesting twist, as the viewer has been conditioned by the very nature of Doctor Who to accept, and indeed expect, the very real possibility that the figures had somehow appeared in 1984 from out of the past.

By virtue of lovely narrative happenstance, Tegan’s grandfather, the historian Andrew Verney (Frederick Hall), lives in Little Hodcombe, and the Fifth Doctor brings the TARDIS to town for a visit at the very same time as Sir George’s men are rounding up Roundhead stragglers. But instead of materializing normally, an unexpected energy field forces the blue box into the crumbling crypt of the long-abandoned local church. While heading to the village, the Doctor, Tegan, and Turlough find themselves waylaid by the wanna-be Cavaliers, who forcibly escort them to Hutchinson. The magistrate’s demeanor turns from conciliatory to vindictive once Tegan mentions her grandfather, with Sir George ordering them to be held under guard.

Jane Hampden, along with the viewer, realizes not all is quite as it seems; the participants in the wargames, with the exception of Ben Wolsey (Glyn Houston), take proceedings with an earnestness that borders on the maniacal, treating the fighting as real. Once our time travellers inevitably escape, they split up, the better for Tegan and Turlough to get caught before the end of the first episode. The Doctor, having returned to the church, finds himself buffeted by phantom sounds of combat, then sees a roughly-clothed young man tear through a weak brick wall. Named Will Chandler (Keith Jayne), the lad is trying to escape the battle raging outside the church—in 1643. Some further narrow escapes, this time with Jane, now also on the run from Sir George, sees the three confronted, in proper end-of-episode fashion, by the source of all this confusion, the giant face of the Malus…

Ohiofest: ASL Action Pack #18 (MMP) Released

October 14, 2023 by Chris Baer

To most people, Oktoberfest conjures up notions of Bavaria, beer halls, and bratwurst, and all fine contributions to human culture they are. To aficionados of Advanced Squad Leader, however, Oktoberfest means a week-long celebration of wargaming in some nondescript hotel in and around Cleveland, Ohio, the longest running (and arguably finest) ASL tournament going. In celebration of this carnival of camaraderie and competition, Multi-Man Publishing, stewards of ASL, just released their fifth scenario-and-map Action Pack in conjunction with ASL Oktoberfest.

ASL Action Pack #18: Oktoberfest XXXVII features two geomorphic mapboards (91 and 92) in the now-standard “Starter Kit” style of thick cardstock plus fourteen ASL scenarios, AP191-204, all on traditional cardstock, sandwiched between front and end sheets on glossy stock with cover art depicting a Crocodile blazing away by Nicolas Eskubi. In keeping with the general “tournament” nature of this Action Pack, the scenarios tend towards the compact, with only two clocking in at seven or more turns and three at a mere four-and-a-half turns. Unit density likewise reflects an emphasis on the manageable, and all should be playable within a six hour span, assuming reasonably punctual players.

The new maps, 91 and 92, hail from the talented Charlie Kibler. Board 91 is a riot of greens, with woods and brush everywhere and a long Level -1 Valley that runs the length of the map. It’s a striking board, one of the strongest in recent years. Board 92 depicts a more normal crossroads village, though curiously dominated by stone row houses more often seen in purely urban settings. Two roadside hills offer intriguing defensive opportunities.

All fourteen scenarios were designed Pete Shelling and the late Bill Sisler, both hailing from the Buckeye State, making this an all-Ohio affair. The Germans appear on quite a few of the cards, against American, Russian, Partisan, and British opposition, with a single scenario set in the Pacific and, pleasingly, four actions taking place during the Korean War with the North Koreans facing American troops from the 1st Cavalry. The latter quartet might be considered a continuation of sorts from Action Pack #17, the entirety of which covered the actions of the First Team in World War II and the Korean War. It’s good to see MMP continuing to support the Korean War module with additional scenarios. That conflict represents the furthest extent the ASL system can really cover, chronologically, being so close to World War II as it was in terms of weapons and tactics. Hopefully more gamers will give those scenarios a try.

My personal picks from the scenarios include AP191 East Wind by Bill Sisler, with its rarely seen Extreme Winter conditions making life miserable for Russian and German alike; Pete Shelling’s AP194 Not Fade Away, pitting a German defense on the two new boards against American infantry backed up by some Shermans; and AP204 Southside Seesaw, also by Shelling, with a thin force of North Korean defenders holding against a mass of US 1st Cavalry infantry lugging a recoilless rifle up Alpine Hills on Deluxe maps, not something you see every day. Honorable mention goes to Sisler’s AP197 Killer Cats & Easy Eights, an all-AFV affair in the snow that gives 11th Armored’s CCB a total of sixteen up-gunned Sherman variants against half as many German tanks and tank destroyers.

As ever, to play it all you need to own it all when it comes to Advanced Squad Leader, and Action Pack #18 proves no exception. For the player with everything, though, or at least close enough thereunto, Action Pack #18 is yet another automatic purchase. The two new maps, particularly 91, give scenario designers even more options, and the scenarios avoid being big, tedious slugfests, the time, space, and force constraints that are inherent to “tournament” scenarios forcing players to use what they have to the best of their abilities, while still having room for a beer and another scenario right afterwards—which, if we’re honest, is the whole point of a tournament anyway…

Doctor Who Project: Warriors of the Deep

November 2, 2023October 2, 2023 by Chris Baer

You must decide, Doctor.

As Season Twenty-One dawns—and with Peter Davison entering his final stories as the Fifth Doctor—producer John Nathan-Turner and script editor Eric Saward continue their policy of serving up deep cuts from Doctor Who‘s history, enlisting Johnny Byrne to dredge up the “Warriors of the Deep” (Story Production Code 6L), catching in the narrative net not one but two long dormant foes: the Silurians and their aquatic kin, the Sea Devils. Last seen during the Third Doctor’s run, these prehistoric reptilian rulers of Earth occupy a delicate space in the Doctor’s past; far from being mindless monsters or craven conquerers, they hold legitimate claim to co-existence with the “ape primitives” whose descendants came to rule the planet. Twice, in “Doctor Who and the Silurians” and “The Sea Devils,” the Doctor has attempted to bring about a truce between the humans and Silurian-kind, and twice he has presided instead over their destruction. Of his many regrets, the case can be made that these are the Doctor’s most keenly felt failings.

But Doctor Who has changed appreciably since, with the kind of moral nuance seen during Jon Pertwee’s turn as the Third Doctor giving way to a breezier, more rollicking and less ambiguous style by the time Tom Baker’s Fourth Doctor steps from the stage. The overarching question for “Warriors of the Deep” is whether Byrne’s four-episode script can honor the duty owed to the Silurians by the Doctor while fitting Nathan-Turner’s requirements for contemporary Doctor Who, particularly given that both prior stories unfolded leisurely over six episodes, the better to balance action and adventure with diplomacy and discussion.

There’s no mystery as to the putative antagonists of “Warriors of the Deep,” with the Silurians revealed within the first ninety seconds after the title sequence fades from the screen. Their well-realized underwater battlecruiser plays cat and mouse with the scanners of Sea Base 4, crewed by a vaguely British military force whose uniforms and general base aesthetic owe a substantive stylistic debt to Space: 1999, with stark white techno-cool walls and color block attire. Set in 2084, exactly a hundred years from story’s first broadcast date, these soldiers represent one of two dominant political blocs on the planet, each ready to annihilate the other with “proton” missiles launched from underwater bases.

The Silurians’ motivation, however, remains initially unclear, as they first focus intently on reviving their Sea Devil brethren, entombed for “hundreds of years” after their hibernation process went awry. At this point, though, it becomes clear that a scrupulous adherence to the previously established, “canonical” Silurian/Sea Devil timeline will take a second place to the narrative needs of Byrne’s story. If the Sea Devils’ travails link directly to the Third Doctor having destroyed their underwater lair circa 1975—UNIT story dating being its own minefield—when his attempts to parley with them fail, caused equally by the Master’s conniving and the humans’ fear-based attack on their base, then scarcely a hundred years have passed, at odds with the stated passage of time. A minor quibble, to be sure, and one quickly forgiven by any devoted viewers who might notice, given that Silurians and Sea Devils finally appear on screen together for the first time…

Taking a Gander: TCS Goose Green (MMP) Released

September 24, 2023September 23, 2023 by Chris Baer

Though best known for their prodigious output as the current benevolent custodians of Advanced Squad Leader, Multi-Man Publishing also shepherds various other wargame series, including the Tactical Combat Series (TCS) pioneered by Dean Essig (and previously released under the aegis of The Gamers, now folded into MMP). The most recent TCS title is Goose Green, designed by Carl Fung, focusing on the initial ground combat between British and Argentinian forces in and around Goose Green and Darwin on the Falkland Islands in May 1982.

As with the last TCS entry, Ariete, Goose Green comes as a ziplocked, rather than boxed, presentation, with a single standard 22″ x 34″ map on glossy paper; half a countersheet of die cut 1/2″ counters; series and special rules on glossy paper; some charts on relatively thin, glossy stock; and thick front and back cover sheets. It’s a tidy package at an agreeable price. TCS has never seemed to be as big a seller for MMP (or The Gamers previously) as the other series in their stables, so it’s good to see the series continuing in a format that gets the games out to players at a price that is as close to “impulse buy” as wargames tend to get.

Goodness knows I’ve bounced off of TCS more than once in the past, having owned (and sold and owned and sold) several titles in the series over the past two decades. What has thrown me off—and others, I would wager—is the innovation at the heart of TCS: written orders. Like ASL, TCS focuses on tactical battles, highlighting small unit engagements, typically at the platoon level as opposed to ASL’s focus on the squad. TCS, however, requires written instructions for units to act, orders that must pass through the chain of command. No telepathic, instantaneous communication between units here—orders are orders, and just because the player wants to react to an opportunity (or mishap) in one area, the written orders take precedence until new orders can be cut.

For gamers used to pushing counters at will, it’s a difficult, or at the very least different, mindset to adopt, particularly at the tactical level, and while most TCS series games have small scenarios, the thought of orchestrating a major offensive in writing can be daunting. The relatively small focus of Goose Green feels like an ideal setting to try to come to grips with TCS; even the full campaign for Goose Green should be within the realm of the possible, given that there are a grand total of 140 counters in the game, fewer than half of which are actual units. The game contains a total of five scenarios, ranging from five to forty turns, each turn representing between twenty minutes to an hour duration, depending on light conditions.

Too, with the fortieth anniversary of the conflict in the Falklands just past, Goose Green feels a somewhat timely addition to the relatively thin conflict simulation corpus surrounding that clash in the South Atlantic. Designer Carl Fung goes to significant lengths via the special rules and scenarios to portray the difficulties facing the British as they attempt to conduct a rapid assault against numerically superior Argentine defenders, themselves well dug-in but on the receiving end of an advanced combined arms fusillade. Both sides need to make tough decisions about when to press and when to yield, decisions compounded and complicated by the TCS orders process. Besides, any game with counters for that lovely homegrown Argentinian close air support aircraft, the Pucara, deserves a place in my collection.

The components themselves are up to the usual handsome MMP standards, the maps hewing broadly to the standard Gamers style, with graphics work by Nicolas Eskubi. Love them or (more likely) hate them, the trademark Gamers’ “every five hexes” printed map coordinate system rears its head here, as does TCS’ legendarily finicky line-of-sight process, but those are small quibbles to bear for a fairly unique take on one of the most important, and overlooked, land battles of the late 20th century. Goose Green promises to be worth the effort involved in finally coming to terms with TCS, in order to examine this signal moment in military history.

Doctor Who Project: The Five Doctors

October 2, 2023September 2, 2023 by Chris Baer

Splendid fellows, all of you.

For a series about time travel, Doctor Who focuses on its own past almost as much as the historical past. From Season Eighteen on, under producer John Nathan-Turner and script editor Eric Saward, continuity references, those canonical recollections of various events and dramatis personae, have come to predominate, sometimes to the detriment of the storylines and befuddling more casual viewers who can’t tell an Omega from an Ogron. When faced with a marquee event such as the twentieth anniversary of Doctor Who, then, the danger is that the self-referential aspects will predominate, overwhelming the plot with a long string of cameos and call-backs. Thankfully, veteran Doctor Who hand Terrance Dicks provides “The Five Doctors” (Story Production Code 6K) with a script that neatly balances reverential appreciation of the series’ long tenure with a genuinely well-paced story that creates just as many memorable moments as it summons up from the show’s history.

Airing as a single ninety-minute episode on November 25, 1983, two days past the actual twentieth anniversary of the initial episode of “An Unearthly Child” first appearing on screens throughout the UK, “The Five Doctors” brings all five of the Doctor’s incarnations together in a story that plays to their individual strengths while still respecting the primacy of the current inhabitant of the role, Peter Davison. Well, sort of all five, with Richard Hundall standing in as the First Doctor for William Hartnell, who died some eight years earlier in 1975, and Tom Baker being represented solely through clips from “Shada,” which remained uncompleted and unaired due to industrial action at the end of Season Seventeen. Baker withdrew from active participation after originally agreeing to appear, but as much as it would have been nice to see that curly mop of hair back in action as the Fourth Doctor, his absence gives more room for Hundall, Patrick Troughton, and Jon Pertwee to strut their stuff upon the crowded stage.

Dicks’ story breaks very little new ground, being ultimately a rehash of “Arc of Infinity,” with its focus on Gallifreyan politics, and, curiously, the much maligned “Time-Flight” and “Death to the Daleks” in the exploration of an ancient—and lethally guarded—sanctum by the Doctor(s) and companions. His structuring of the story, though, contrives to keep the first three Doctors separate, each having been kidnapped, along with a companion, by a “time scoop” and deposited into a different part of the subtly-named Death Zone on Gallifrey, home of the long-abandoned Game of Rassilon that saw “lesser” beings forced to fight to the death. The Fourth Doctor and Romana (Lalla Ward), meanwhile, are plucked from punting the River Cam and trapped in the Vortex by a failed time scoop, the better to sideline them for the entirety of the story.

The Fifth Doctor painfully suffers the loss of each of his prior selves as they are removed from the time stream, and as he slips in and out of consciousness, he sets the TARDIS to find them. The blue box takes him, Tegan (Janet Fielding), and Turlough (Mark Strickson) to “nowhere, in no time,” in the latter’s words, a fine description of the Death Zone, which itself is a foggy plain of rocks, dominated by the Dark Tower, host to the Tomb of Rassilon. The scene, replete with the Third Doctor’s beloved Bessie driving down dusty slate-lined roads, very much calls to mind the antimatter world from the tenth anniversary story, “The Three Doctors,” and in truth, could any celebration of twenty years of Doctor Who fail to feature a quarry?…

Doctor Who Project: The King’s Demons

September 2, 2023August 2, 2023 by Chris Baer

Arise, Sir Doctor.

The TARDIS, according to the founding mythology of Doctor Who, was to be a vehicle with which to teach history; the Doctor, two schoolteachers, and a precocious teenage student were to travel in time to various historical settings, educating and exciting viewers in equal measure. The Daleks aside, the first several seasons bear out that emphasis, but eventually the “historical” became a rarely used device, as monsters and mayhem came to predominate. Why have mad Nero fiddling when you can have the Dalek emperor exploding? Under producer John Nathan-Turner, the historical begins to make something of a comeback during Peter Davison’s run as the Fifth Doctor, exemplified by Terence Dudley’s “The King’s Demons” (Story Production Code 6J) a two-episode story that serves as an A-level refresher course in British history, focusing as it does on a day in the life of King John (Gerald Flood).

Materializing suddenly during a joust between King John’s champion, Sir Gilles, and Hugh (Christopher Villiers) the impetuous son of Ranulf Fitzwilliam (Frank Windsor), the TARDIS causes horses to rear and peasants to fear, but the King greets this “blue engine” with surprising equanimity, welcoming the Doctor, Tegan, and Turlough as his “demons” and providing them seats beside him to witness the resumption of the trial by combat. The French knight with the dodgy accent and even more dodgy facial makeup vanquishes his young foe, and only the Doctor’s pleas to the king spare Hugh’s life, after which everyone returns to Ranulf’s castle for a feast in honor of his highness.

Director Tony Virgo and the production staff raid the BBC’s costume and props stocks, creating an effective medieval atmosphere, with lingering shots of feasting tables piled high with roast beast, extended lute jam sessions, and panoramas of castle walls and crenelations. With only two episodes to work with, though, this scene-setting takes time perhaps better served by plot development—except that, to a real extent, the setting is the narrative, to a degree not seen since, well, “The Crusade” some eighteen years prior. The date of the story plays a significant role: March 4, 1215, the day King John took the Crusader’s oath and three months before he agreed to Magna Carta.

The Doctor, then, knows that King John should be in London on this day, not antagonizing a rural lord’s household for more money and men for the Crusades. Tegan doesn’t seem moved, even though she knows the basic story of King John’s life, but her seeming indifference points out just how beholden this story is on a thorough understanding of King John, specifically his reputation as something of a villain, who, along with his brothers, Henry II and Richard I, was scurrilously claimed to have been beholden to devils and demons. Contemporary viewers were expected to fill in the gaps in the narrative here and realize the significance of King John offering a seat at his table to those he himself calls “demons,” though Dudley, ostensibly with the aid of script editor Eric Saward, make sure to sketch in a few details for those not steeped in Angevin lore.

Quite quickly, given the short runtime of this story, the Doctor figures out that this king seems off somehow, with the arrival of Ranulf’s cousin, Geoffrey (Michael J. Jackson) from London where he just took the Crusader’s oath with King John confirming that an impostor stalks Fitzwilliam castle. After a duel of honor with Sir Gilles, in which the Doctor displays quite effective swordsmanship, the French knight is revealed to be, yes, Anthony Ainley in thick makeup, to absolutely no one’s surprise. The Master’s real revelation comes later, when the Doctor discovers the truth behind bad King John…