Doctor Who Project: The Underwater Menace

Just one small question. Why do you want to blow up the world?

Thus far in its four seasons, Doctor Who has had its share of evil villains bent on controlling the universe and dastardly foes driven by petty greed and egotism, but not until Geoffrey Orme’s “The Underwater Menace” (Story Production Code GG) do we get a truly mad scientist for the Doctor face off against. And oh, boy, is Zaroff mad.

Zaroff the Mad

In some ways, using a monomaniacal scientist determined to prove his genius by accomplishing that which no other scientist ever has—to wit, blowing up the planet—turns Zaroff (Joseph Fürst) into the kind of monster that the show’s original “no monsters” remit tried to avoid; first season shows in particular featured opponents who were driven by complex and internally consistent, though perhaps misguided, desires, like Tlotoxl and Autloc in “The Aztecs” or the eponymous Sensorites. Zaroff just wants to blow up the planet like some human Dalek, and as such, he provides no real challenge for the Doctor and his trio of companions, wasting the elaborate stage production of “The Underwater Menace” in the process.

With new companion Jamie aboard, the TARDIS shows up on volcanic specks of rock in the Mediterranean, the only above-water vestiges of the Lost Continent of Atlantis. Polly finds a medallion from the 1968 Mexico City Olympics near a cave mouth, to help place the story sometime in the late 1960s or early 1970s; it must have been dropped by a shipwreck survivor who was, like the Doctor and friends, captured by the Atlanteans, who use such people as sacrifices to their deity or as labor in their mines or sea farms.

Those sea farms, producing plankton and tended by slaves who have been implanted with plastic gills, cause the Doctor to dive into his Five Hundred Year Diary and come up with a name that saves them from becoming shark food as an offering to Amdo, the Atlantean god. He remembers that a Professor Zaroff, thought to have died in the 1950s, devoted his efforts to feeding the world through plankton, and by brandishing this name, he secures an audience with Zaroff, sparing his companions in the process. As he does so well, the Second Doctor plays to Zaroff’s ego in order to learn all he can, and it transpires that Zaroff has promised to raise Atlantis back above the sea. He just intends to lower the oceans by dumping them into the Earth’s molten core rather than lifting Atlantis itself, though, with the slight side effect of causing the planet to explode. When the Doctor notes this outcome, Zaroff readily acknowledges this result as a feature, rather than a fault, of his plan. Where are the rational Daleks when you need them?

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Game Preview: Next War: India-Pakistan (GMT Games)

Over the past several months, I’ve had the opportunity to help playtest the forthcoming third entry in GMT Games’ Next War series, Next War: India-Pakistan, an operational level wargame covering a hypothetical conflict between the two South Asian neighbors. The testing has been done mostly online via VASSAL, but no matter how convenient computer-mediated wargames can be, nothing replaces pushing physical counters on a map. So recently, I sat down with the game’s research designer, Doug Bush, over a paper playtest copy of Next War: India-Pakistan at Labyrinth Games in Washington, DC.

Playtest images from Next War: India-Pakistan; not final graphics

Please note that all components are playtest versions; the final components will be spiffed up to GMT’s usual stellar standards, not that these don’t look fairly sharp in their current iteration. Pakistani forces are in light khaki, while Indian forces are in dark brown.

The game, a one-mapper, plays rather quickly in person, as the counter densities are very manageable. Even with potential superpower intervention—there are rules, and counters, for bringing Russian, Chinese, and U.S. forces into play, including some great aircraft counters—one never loses the map in a sea of counters. Consequently, solid fronts don’t develop, forcing both players to watch flanks with a wary eye. Feints and counter-thrusts become the order of the day. The mostly open terrain is criss-crossed with major rivers and canals, slowing movement and making bridges very important to hold (or to destroy). Marshes dominate the center of the map near major population centers, posing a barrier to armored units, and the mountainous region of Kashmir is also modeled, complete with rules for mountain troops.

Doug and the NW:IP team have done a very nice job differentiating between the relatively balanced forces of India and Pakistan, and Doug has posted some detailed design notes on ConsimWorld on the decisions behind various unit strengths. The air matchup provides a wonderful cornucopia of planes, with indigenous Indian Tejas fighters squaring off against the U.S. supplied F-16s of Pakistan. (Don’t mind the air display from an earlier game in the series, used for playtest purposes only.)

Playtest images from Next War: India-Pakistan; not final graphics

Various scenarios in the game posit both Indian and Pakistani offensives, including some smaller scenarios that only use portions of the map. Next War: India-Pakistan promises to be a definitive treatment of any possible conflict between these two proud and strong nations. The game is currently on GMT’s P500 pre-order list, hopefully to be published in 2015. I’m looking forward to having the finished product on my shelf.

Doctor Who Project: The Highlanders

You should have paid more attention to your history books, Ben!

With the regeneration and the obligatory Dalek story out of the way, the Second Doctor has the opportunity to stand on his own in his sophomore outing, “The Highlanders,” (Story Production Code FF), written by Elwyn Jones and Gerry Davis. Set in the waning moments of the Jacobite rebellion in 1746 Scotland, the story feels like a change of pace from the Doctor’s last two outings, both of which featured futuristic settings, but in truth, it’s not much different in tone from “The Smugglers” some three stories back, complete with shipboard scenes and a change of heart by an English officer. Only this time, Polly is the action hero, not Ben.

“The Highlanders” is widely regarded as the last of the proper “historical” stories on Doctor Who, with actual historical settings and personages with whom the Doctor interacts, a fitting change to go along with the new Doctor and the series’ new, more youthful approach. The show’s original educational remit has been abandoned (along with the prohibition on monsters and such), but for a final outing in the past, “The Highlanders” manages to convey what made the historicals some of the best stories of the show’s run, mostly by ignoring their rules.

Image via https://www.bbc.co.uk/doctorwho/classic/photonovels/highlanders/

History imposes certain limitations on the Doctor. He lives under a self-imposed restriction against changing history—or, at least, Earth history that has happened prior to the 1960s—often causing him to witness rather than engage. In stories such as “The Massacre of St. Bartholomew’s Eve,” this stay on action works to strong dramatic effect; conversely, as in “The Romans,” the Doctor finds that on occasion he inadvertently brings about the history he is at pains to preserve, in this case inspiring Nero’s burning of Rome. In any event, non-intervention is the watchword in the historicals; what will be, will be, until we get to “The Highlanders,” where the Doctor intervenes quite a bit without one whit of concern for the sanctity of history.

The story centers around the flight to France of the followers of Bonnie Prince Charles, the Stuart Pretender to the English throne, and where in prior historicals the Doctor and his companions would be engaged on the periphery of this historical crux, in “The Highlanders,” they conceive of and implement the plot which enables the flight to take place. Absent the Doctor’s direct intervention, this bit of history does not happen. The story manages to be engaging and action-packed, with pistols going off and sword-fights galore, but, one must say, the First Doctor would have had none of it. The series has changed along with the Doctor. Indeed, could one have imagined William Hartnell’s Doctor in a dress?

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The G-Man Revisited: Mangialardo & Sons

Back in early 2011, I reviewed the iconic G-Man sub from revered Washington, DC, sandwich shop Mangialardo & Sons on Capitol Hill. My experience wasn’t the greatest, but I have a respect for sandwich places that have managed to survive for decades with essentially the same menu the whole time, so I vowed to go back.

It took me a few years, but I’ve recently been twice more, getting the G-Man each time. This time around, I was in gustatory revels. Where the initial sandwich in 2011 was indifferently constructed, these recent subs were crafted with care, down to the tight wrapping in butcher’s paper, a dying art form in its own right.

The G-Man from Mangialardo & Sons

At $6.50, this sub was loaded with salami, ham, mortadella, and mozzarella, all of high quality. The roll was decent, though not spectacular, and the toppings were fine and applied judiciously. I’m almost pleased that it’s a thirty-five minute round trip walk to the store from my place, as I could see making this place a habit.

My boon companion speaks highly of both the tuna salad and the meatball subs, so they’re not just a cold cut establishment. The menu isn’t extensive, but they focus on what they do best—putting meat in a roll.

Besides, you have to love a sub shop whose scanned paper take out menu (.pdf) appears to have grease stains on it.

Blue Line to Venus: The Subway Map in Destiny

If you ever find yourself in the Ishtar Collective on the planet Venus sometime in the far future, you can rest easy that you have several mass transit options available, at least according to Bungie‘s new console game, Destiny.

Destiny Subway Map

A hybrid first-person shooter/role playing game with a shared online game space set in the future, Destiny visits several close-in planets during its twenty-odd mission story campaign, including a terraformed Venus where subway stations apparently don’t need to have names. Computer games, particularly shooters, often use subway maps as set dressing in order to suggest a deeper, wider world, creating an illusion of depth and breadth beyond the narrowly confined channels the developers want you to walk down. A subway map drives home the point that, though now gone, people lived and worked here.

Rather than feeling a sense of a wider world, though, seeing the map just confirms how small and lifeless the game’s world really is. The map serves as a metaphor for the game itself. There’s no subway station nearby to explore, no tunnel network to search through. (A later game level, set on Mars, does have a constrained transit station.) There are hints of more to come in Destiny, of detail under the surface, but it’s just not there. The game simply provides a series of set piece locales with a varied—and quite often beautiful—mise en scène in which to fight aliens and other players. An odd complaint, perhaps, to make of a game billed primarily as a first-person shooter, but it speaks to my slight disappointment with the game, as I wanted it to be a more engrossing and detailed exploration experience than it turned out to be. I was hoping for a faster-paced Fallout 3 rather than a Halo re-skin with random loot drops.

Fallout 3 Subway Map

Fallout 3 provides both a subway map (loosely based on the real Washington, DC, Metrorail map) and the ability to travel to quite a few of the stations via the subway tunnels themselves, but then it is a role playing game with shooter components rather than the reverse. Fallout’s structure encourages such exploration, whereas Destiny herds you from objective to objective. I can’t fault Destiny for not being the game I wanted it to be; I just hoped that the creators of the Marathon series could find a way to combine a cutting-edge first-person shooter with a captivating world that rewards exploration via something to find rather than new things to shoot. Marathon and its sequels, though purely first-person shooters, told a story to those willing to look for it in way Destiny, twenty years later, does not.

Still, I’m enjoying my time with Destiny, even if I can’t get hopelessly lost in the imaginary tunnels of the Venusian Green Line.

Doctor Who Project: The Power of the Daleks

So he gets himself a new one?

The Doctor might be new, but the foe is not. To usher in Patrick Troughton as the Second Doctor, David Whitaker’s “The Power of the Daleks” (Story Production Code EE) relies on the everyone’s favorite aliens to ease the fledgling Time Lord (and the audience) into the new era. Viewers uncertain about William Hartnell’s replacement could still be expected to tune in for the Daleks, last seen some ten months prior. But, as is standard with Dalek stories, we do not see one until the end of the very first episode, leaving room for Ben and Polly to ask questions of this interloper, whose entire appearance and demeanor have changed.

Care is taken to reassure the viewer that there is a strong continuity between manifestations, particularly with a shot of Hartnell’s visage when Troughton looks into a mirror. The Doctor rummages through a chest and pulls out objects from past adventures, such as a dagger from Saladin and, ominously, a chunk of metal that causes him to mutter, “Extermination!” Oddly, though, he does not refer to himself as the Doctor once in the entire story, even referring to the Doctor in the third person during the first episode when asking if the Doctor kept a diary.

Image via https://www.bbc.co.uk/doctorwho/classic/photonovels/power/

Viewership figures (as reported in Wood and Miles, About Time 2), come in at nearly eight million per episode for the six-part story, far stronger than those for recent stories like “The Smugglers” (less than five million per) and even “The Tenth Planet” (starting at five and a half million and peaking at seven and a half million as Hartnell exits). The audience, clearly, accepted Patrick Troughton, but do Ben and Polly accept the Second Doctor as the Doctor?

Polly does, almost immediately; her concern is whether this Doctor is so different that he will not want them along. Ben takes somewhat longer to warm to the idea. Clearly, this new figure knows his way around the TARDIS, flicking open the door switch without looking, but Ben calls him out for not checking the monitors to ascertain if it’s safe to leave. The Doctor drilled that notion into all his companions’ heads; if this strange figure doesn’t even bother, how could he be the Doctor? But the reply puts Ben rather in his place:

Oxygen density 172. Radiation nil. Temperature 86. Strong suggestion of mercury deposits. Satisfied, Ben? Now are you two coming or are you not?

The regeneration (a phrase not used in this story) is explained, broadly, as a function of the TARDIS. The exact phrasing—”I’ve been renewed. It’s part of the TARDIS. Without it, I couldn’t survive.”—leaves open the possibility that the Doctor’s life force is connected to the TARDIS not just for regeneration but for his very existence itself, bringing a hint of mystery to the ship that we haven’t seen since “Inside the Spaceship” back in the first season.

Image via https://www.bbc.co.uk/doctorwho/classic/photonovels/power/

If “The Power of the Daleks” is known for anything, though, it should not be for the difficult task of selling the first regeneration as much as for making the Daleks scary again. An empire of Daleks can be (and has been) played for laughs; one Dalek is frankly terrifying.

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