Chris Baer

Doctor Who Project: The Face of Evil

April 11, 2020March 9, 2020 by Chris Baer

On the other hand, I could be wrong about that.

While many stories feature the Doctor visiting a planet or people he has prior, off-screen knowledge of, far rarer are stories focusing on the Doctor returning to witness the aftermath of his interventions. The First Doctor story “The Ark” shows the direct cause-and-effect of his presence by taking the Doctor into the future of a setting he has just visited (and disrupted); while the Third Doctor visits Peladon over the course of two disconnected stories, the latter relying heavily for its plot twist on the events of the former. But Chris Boucher’s debut script, “The Face of Evil” (Story Production Code 4Q), posits an entire adventure for the Fourth Doctor that viewers have not seen, the outcome of which drives the events of the story on offer.

The strength of “The Face of Evil”—and indeed, it is the strongest story of Tom Baker’s reign to date—comes from the careful parcelling out of this “hidden” story about the mistake the Doctor made at some point in the past, a catastrophic error that resulted in generations of strife between the Tribe of Tesh and the Tribe of the Sevateem on this nameless planet. More interestingly, the Doctor himself doesn’t realize his past role in the proceedings until partway through the story, such that the sudden appearance of his face carved into a cliffside comes as a shock to him as well as to the viewer. This cliffhanger, shrouded as it is in genuine mystery, creates more tension than any end-of-episode monster revelation ever could.

Though Boucher slowly unveils the Doctor’s past mistake while simultaneously establishing two different factions in the Tesh and the Sevateem, he and director Pennant Roberts keep the story, rife as it is with exposition, moving quickly, a task aided by Louise Jameson’s introduction as Leela, the new companion. The first non-contemporary companion since Jamie and Zoe were returned to their worlds at the end of “The War Games,” Leela brings a much-needed spark to the series, representing as she does a different moral and ethical system. Very little conceptual daylight exists between the Third and Fourth Doctors and Liz, Jo, and Sarah Jane; they, and the audience, broadly see the world the same way as the Doctor(s), and any arguments between them hinge on philosophical nuances. By contrast, the Doctor here has to warn Leela to stop killing people as a matter of course.

As with the Second Doctor and Jamie, Leela’s non-technical background as a member of a hunter/gatherer tribe allows for more seamless exposition, giving the Doctor (and writers) a reason to avoid too much technobabble. But where Jamie at times seemed bored with the futuristically fantastical and eager to get on with the action, Leela comes across as curious, open-minded, and fearless; the story opens with her rejecting the orthodoxy of the Tribe of the Sevateem, denying the divinity of Xoanon and being banished as a result. Given the sartorial choices of the shaman who speaks for Xoanon, though, it’s not hard to understand her doubts…

Doctor Who Project: The Deadly Assassin

April 29, 2022February 8, 2020 by Chris Baer

Cash and carry, Constantinople.

From their first mention in “The War Games,” the Time Lords represent a vague, ominous, near-omniscient force in Doctor Who, operating behind the scenes, pulling cosmic strings while feigning a non-interventionist approach to time and space. Writer and script editor Robert Holmes burnishes away that infallible patina with his definitive Time Lord story, “The Deadly Assassin” (Story Production Code 4P), making wholesale changes to our understanding of these powerful beings—and, for better and for worse, to the future of the series as a whole.

When Patrick Troughton’s Second Doctor encounters the Time Lords, they sit in judgement of him for his interference in the affairs of the universe; solemnly robed, they effect a sombre, passive demeanor, one the Second Doctor rails against. They seem timeless, devoid as they are of ornamentation or emotion. Jon Pertwee’s involvement with the Time Lords takes on a more whimsical tone, with a nattily dressed member of the Tribunal that exiled him appearing out of nowhere with warnings of the Master in “Terror of the Autons.” By the time the two of them, plus William Hartnell’s First Doctor, meet the Time Lords again in “The Three Doctors,” cracks begin to show in the Gallifreyan facade, with the terrible secret of Omega’s eternal banishment revealed.

Robert Holmes effectively reboots the Time Lords in “The Deadly Assassin,” keeping but the barest outlines of established Time Lord history. The ornate trappings of the Time Lords start here, with chapters such as the Prydonians and Arcalians gaining their colors and high collared robes. Too, Holmes posits the Time Lords as an elite ruling class on Gallifrey, above ordinary citizens who, presumably, lack regenerative powers, given the number of Gallifreyans who wind up quite dead in this story. Far from standing as exemplars of rectitude, the Time Lord hierarchy engages in petty political power plays, concerned more with appearance than substance, to the extent that they have forgotten the truth of their own origins.

The plot of “The Deadly Assassin” centers around a significant change Holmes wreaks, that of a limit on regenerations: twelve. The Master (played in decomposed form by Peter Pratt) has reached his limit and is slowly dying in his final regeneration. Only the Sash of Rassilon and the Great Key, traditional trappings of the Time Lord Presidency, hold the solution to gaining additional regenerations, leading to the Master’s convoluted plan to obtain these items. As a plot contrivance, it’s a fine MacGuffin, conceptual in nature and neatly playing off of the series’ most unique conceit, that of regeneration. And in providing a means to escape the otherwise hard limit of regenerations, by allowing the Master to gain another one (or dozen?) at the end, Holmes and producer Philip Hinchcliffe seek to have their narrative cake whilst eating it. That cake, alas, could have used a bit more time in the plot oven…

Winter Offensive 2020 After Action Report

July 20, 2023January 20, 2020 by Chris Baer

The essence of Winter Offensive, the premier Advanced Squad Leader tournament on the East Coast, resides in the well-worn flip chart at the entrance to the convention rooms. A similar giant pad of paper has welcomed attendees for as long as I can remember. The sign is both casual and matter of fact, just like the tourney itself. There’s no pretension on display at this annual assemblage of wargamers in Bowie, Maryland; if you show up, you’re welcome, part of the gang, a member of the club. Fancy printed banners and elaborate registration procedures have no place here. There’s not an attendance lanyard or wrist band in sight, unlike just about every other gaming convention around these days. You’re on your honor to pay the registration fee, as hosts Multi-Man Publishing would rather be gaming themselves than babysitting would-be scofflaws.

Attendance came in at 214, a record number by far, though the room didn’t seem quite so crowded on Saturday this year as last year, when table space was at an all-time premium. The threat of inclement weather on Saturday might have driven away some of those who attended on Thursday and Friday. Having all four sections of the big convention hall open from the get-go helped greatly in spreading people out, leaving the atmosphere cozy but not cramped.

Two ASL products made their debuts this year, the Deluxe ASL Module and the new edition of Croix de Guerre, the French extension to the game system that now includes dedicated counters for Vichy and Free French troops and Dan Dolan’s long-awaited Dinant Campaign Game. The large-format Deluxe ASL maps were much in evidence this weekend, as the new module reprints all existing DASL maps in the “new” thin-format style and includes revised editions of practically every official DASL scenario ever published.

Croix de Guerre, by contrast, didn’t seem to garner much table space, at least on my peregrinations through the room, though they were flying past the cash register. Perhaps this can be chalked up to the fact that CdG comes with eleven countersheets, all needing to be punched, corner-rounded (for those with discriminating tastes), and integrated into existing counter storage systems. It’s a monumental task, one that I, personally, decided would be better tackled at a later date. The package looks superb, with a bevy of updated scenarios, a crisp look for the French, and a meaty campaign game in the large box. There’s lot of play in that box.

My own game tally for the weekend came in at six plays: two Advanced Squad Leader scenarios and one playing each of Greenland, Pax Porfiriana, Pax Pamir (2e), and Brass: Birmingham.

Staring the festivities, I squared off against one of my oldest gaming buddies (in terms of years known, though none of us are getting any younger!), John Slotwinski. Continuing our Korean War theme from the last WO, we trotted out 210 This Is Where We Stand from Forgotten War, pitting forty-five (seriously) Chinese squads against a mere sixteen USMC squads, at night, in extreme winter, with steep hills. My troops needed to completely clear the hills of John’s Marines, and while I pushed him back a bit, he and his copious firepower outlasted my onslaught for the win. The rules overhead involved ranks as perhaps my most daunting Advanced Squad Leader experience in at least a decade, with ordinary actions, like simply schlepping from one hex to another, taking on new dimensions because of the weather, the darkness, and the special traits for Chinese infantry movement. An exhausting, but thoroughly enjoyable, scenario against a one-time Winter Offensive winner.

Long time gaming buddy Doug Bush and I then tried out a scenario from Bounding Fire’s Blood and Jungle pack, BFP 35 Mai Phu, set in Tonkin in 1940, with Japanese troops supported by six tanks assaulting the French forces holding a garrison in French Indochina. Though not a huge scenario, we spent some time with this one, as many tactical puzzles presented themselves. Doug’s IJA troops ground steadily forward, attempting to take buildings, and one banzai assault in particular resulted in a massive counter stack, topped, as though by a cherry, with a large residual counter that almost never leaves the Plano.

This scenario came down to the final die rolls, with Doug needing to win four Hand-to-Hand Close Combats to secure the victory. I managed to hold two of them for a very narrow escape. Of eleven total vehicles in the game, only one was still standing at the end, pretty much par for the course in our playings. Lots of interesting moments in this one; games against Doug are never dull!

Doctor Who Project: The Hand of Fear

February 8, 2020January 10, 2020 by Chris Baer

Yes, just like Andy Pandy!

The Doctor has certainly been wrong before, but seldom does a story actively use the Doctor’s curiosity and comity against him—and against the audience—like Bob Baker and Dave Martin’s “The Hand of Fear” (Story Production Code 4N). Right from the start, the viewer sees Eldrad, owner of the eponymous appendage, sentenced to obliteration by a people desperate to see him gone, but subsequent events in the story go to great lengths to convince the Doctor, and us, that Eldrad just might be misunderstood.

That it doesn’t quite work that way, at least for the viewer, has much to do with the general tenor of the Fourth Doctor’s stories to date; only once, in “Planet of Evil,” has the trope of “humans are the real monsters” been tried with Tom Baker at the helm, and there the nominal monster was a force of nature rather than an individual. Here, Eldrad’s ability to control the minds of humans who interact with his ring signals to the viewer that he is an evil force, responsible for two deaths by the story’s halfway point. One could see the Third Doctor being moved by Eldrad’s later protestations that he was overthrown and betrayed, but for the action-prone Fourth Doctor to so readily accept this possibility comes across oddly, a discordance that feels more plot driven than organic to the story. The viewer often knows more than the Doctor on Doctor Who, but rarely does the viewer know better.

The story itself spends an inordinate amount of time in the first of four episodes setting the stage, with the Doctor and Sarah Jane inadvertently arriving in a British quarry—which is finally just a quarry—right as a huge explosion takes place, burying Sarah Jane and unearthing a disembodied stone hand in the process. The Doctor and another scientist, Carter (Rex Robinson), discover the hand to be based on a silicon life-form matrix that regenerates in the presence of radiation. Meanwhile, Sarah Jane wakes up in hospital with a ring clutched in her hand that causes her to think, over and over, “Eldrad must live.” A few quick blue blasts from the ring later, Sarah Jane has knocked out Carter, stolen the hand, and overpowered the woeful security at a top secret nuclear research facility located conveniently nearby.

Once she has broken in, Sarah Jane takes the plastic container with the hand to the nuclear power core, locks herself in, and then waits in her red-and-white striped overalls for something to happen. She’s not the only one waiting; in place of the traditional monster revelation at the end of the first episode, we have part of a monster instead, as the hand (of fear!) comes to life—in Tupperware…

Beer Notebook: 2SP’s Wawa Winter Reserve Coffee Stout

December 29, 2019 by Chris Baer

In terms of true confessions, this one doesn’t have much significance beyond the Philadelphia area: I’ve never had a Wawa coffee.

Oh, sure, I’ve been in many a Wawa, which is still the source for some of the freshest TastyKake products around, but it’s not an integral part of my life here, if only because parking at or near any Wawa in the city proper, any time of day, is as rare as a sports championship in this town. Still, my neophyte Wawa ways aside, I couldn’t help picking up a four pack of Winter Reserve Coffee Stout, a collaboration between nearby Delaware County brewers 2SP Brewing and Wawa, utilizing Wawa’s signature seasonal coffee bean blend.

Though technically an oatmeal stout, this deep mahogany beer feels more like a porter in terms of viscosity, with a strong initial foam head that dissipates quickly and with little lace. The taste arrives as aggressively coffee forward, reminiscent of a pot of morning coffee steeped to just this side of bitter, with a hint of chocolate thrown into the mix. It’s an easily drinkable beer, hiding its modest 6.5% ABV behind a dense flavor and a slightly sweet aftertaste. Winter Reserve Coffee Stout is a coffee lover’s beer, no mistake, and it’s easy to forget you’re actually drinking a beer rather than a coffee beverage of some sort.

It’s a shame this is a season-limited beer that probably won’t get wide distribution, because it’s a refreshing take on that old standby, the oatmeal stout. The collaboration between 2SP and Wawa also opened my eyes to the rest of 2SP’s beer lineup; given the huge number of choices on the shelf of the local beer distributor, it’s hard for an independent brewer to get noticed, but 2SP has managed to stand out with this beer. I’ll definitely be on the lookout for their products the next time I’m beer shopping.

Doctor Who Project: The Masque of Mandragora

January 10, 2020December 17, 2019 by Chris Baer

The stars will not be mocked!

Typically, the Doctor arrives in media res, the disaster at hand already set into motion. Louis Marks’ “The Masque of Mandragora” (Story Production Code 4M) instead posits the Doctor as the proximate, though unwitting, cause of all the story’s problems. The series to date has rarely employed this technique, and seldom with such drastic consequences; one must go back to the First Doctor and “The Ark” for an analogous example of the Doctor being so directly responsible for so much death and destruction.

While the Doctor gives Sarah Jane a belated tour of the TARDIS, complete with stop in a Victorian-inspired secondary control room, a mysterious force pulls the wayward police box into the Mandragora Helix, a vortex of conscious, malevolent energy. When the TARDIS finally thuds to a stop against a pitch black backdrop, the Doctor and Sarah step out to explore, allowing a mote of Mandragora to sneak aboard unseen. That bit of Helix energy then directs the TARDIS to the pseudo-historical city-state of San Martino on the Italian peninsula in the fifteenth century.

The Doctor dismisses the detour as an interesting side effect of their stop in the Helix, occupied as he is by the fact that robed cultists kidnap Sarah and knock him unconscious scant minutes after landing. It’s not until the Doctor sees a peasant roasted by a glowing red orb that he realizes that he has brought sentient Mandragora energy to Earth. He’s rather aghast at the prospect.

If the kidnappy cultists and the scarlet orb of doom weren’t enough, the Doctor must also contend with courtly intrigue. Giuliano, the young heir apparent, struggles against his uncle, Count Frederico, for control of San Martino in the wake of the Giuliano’s father’s death, which had been foretold (and caused) by the court astrologer, Hieronymus. The first of four episodes, having established all these forces, ends with a double cliffhanger, Sarah about to be sacrificed by the cultists and the Doctor captured and facing beheading on orders of Frederico. No pacing problems in this story, as season fourteen starts with drive (and doublets).