Chris Baer

Doctor Who Project: Mawdryn Undead

July 2, 2023May 2, 2023 by Chris Baer

Why am I still on Earth?

By the time Peter Grimwade’s “Mawdryn Undead” (Story Production Code 6F) airs in early 1983, Doctor Who has become fully serialized, in terms of viewer experience if not strictly such in a narrative sense. Aside from appearing twice a week, the show, under producer John Nathan-Turner and script editor Eric Saward, takes pains to link every story to past events, creating a continuity that appeals to consistent viewers while accepting that more casual observers may become a bit befuddled. It’s all one long tale at this point, punctuated, certainly, by formal story divisions but relying heavily on its history for much of its emotional and narrative weight. One consequence of this shift is the frequent presence of multiple plot lines, more than an individual story can reasonably sustain; taking the stories as isolated constructs, the screen feels crowded and the narrative threads remain underdeveloped, but looked at as a whole, much as in a soap opera, the fullness of the overarching story takes shape.

Such is the case here, with three separate strands running through this clever tale of time travel gone awry. Indeed, “Mawdryn Undead” stands as one of the few stories in Doctor Who to feature time travel as an integral complication to the narrative. For a show about time travel, there’s surprisingly little of it on display, usually employed to set the scene for the story on offer. One has to go back to “City of Death” for the last time various temporal states played a significant narrative role, and before that arguably all the way back to “Day of the Daleks.” It’s a shame, then, that the overcrowding of the story, in order to establish a three story mini-arc dredging up yet another moldy villain from the past, the Black Guardian (Valentine Dyall), gets in the way of the far more welcome return of another familiar figure, Brigadier Lethbridge-Stewart (Nicholas Courtney).

More precisely, there are two Brigadiers in “Mawdryn Undead,” one from 1977 shortly after his retirement from UNIT (that dating completely upending prior UNIT story chronologies) and one from 1983, bereft of a mustache as well as all memory of the Doctor. The loving care with which Grimwade, Nathan-Turner, Saward, and director Peter Moffat—a potent Doctor Who production team to be sure—delicately intertwine the story between the two time frames and finally unite the temporally bifurcated Brigadiers, explosively, forms the beating heart of this tale and stands as a real accomplishment, proving that callbacks to Doctor Who‘s history can work, when treated with respect and a deft touch.

When the TARDIS is yanked out of its trajectory by a spaceship on an infinitely fixed orbit in time and space, the Fifth Doctor makes an emergency materialization inside the interloping vessel, where he, Nyssa, and Tegan discover an empty docking port for another series staple, a transmat capsule, locked onto coordinates on Earth that just happen to be right up the hill from the boarding school where the Brigadier teaches (in both 1977 and the “present” day of 1983). Also at the boarding school is a mysterious orphan, Turlough (Mark Strickson), who has never quite fit in. An ill-advised joyride in the Brigadier’s prized car (in 1983) sees him thrown from the vehicle, near death, saved only by an offer from a mysterious stranger…

Doctor Who Project: Snakedance

March 24, 2024April 2, 2023 by Chris Baer

Tell me about the legend.

Surely a papier-mâché serpent would top the list of least-likely villains to return to Doctor Who, but after Omega’s less-than-star return in the prior story, one is hard pressed to be nonplussed at the return of the Mara in Christopher Bailey’s “Snakedance” (Story Production Code 6D), a direct sequel to the psychological slitherer’s first appearance in “Kinda” last season. If producer John Nathan-Turner and script editor Eric Saward are willing to scrounge around in the archives to find a long-lost character with no connection to the current regeneration, why not draw from the Fifth Doctor’s own, more recent past? The real shock comes in seeing how well Bailey and director Fiona Cumming, last entrusted with “Castrovalva,” handle this reptilian reprise.

Unlike other “blasts from the past” in the Fifth Doctor’s run to date, this conclusion to the Mara story stands well on its own, the prior events on the Kinda homeworld that saw Tegan posessed by this malevolent entity being efficiently alluded to without requiring either cryptic asides or elaborate explanations. In short order, the TARDIS lands on Manussa, guided there unwittingly by Tegan, who has been having nightmares about a serpent-mouthed cave entrance. Some quick exposition reveals that very cave to be the site where, precisely five hundred years earlier, the nascent Manussan Federation defeated (sort of) the Mara, under whose thrall the highly-advanced Sumaran Empire fell into degeneracy and decay. The original Federator put paid to the beast by means of the cobalt blue Great Crystal, and his descendants continue to rule Manussa to the present day, with the title soon to fall to the layabout Lon (Martin Clunes), who considers the Mara myth to be a bunch of discredited superstition that is interrupting his nap.

Aware that the Mara is both quite real and very much not destroyed, despite the best efforts of the ancient Federation—and his own swing-and-a-miss with the help of the Kinda—the Doctor whips up a device not unlike an early portable transistor radio to block out external sensations, theoretically allowing Tegan the mental concentration needed to keep control against the remnant of the creature that still lurks in her subconscious mind. But when he drags her and Nyssa out to find the cave, the resulting disorientation causes Tegan to flee. A friendly fortune teller helps her and removes the device in order to converse with her, allowing the Mara to emerge, its presence announced in a crystal ball…

Doctor Who Project: Arc of Infinity

April 2, 2023March 2, 2023 by Chris Baer

Not the most welcoming return.

Recurring foes have been a staple of Doctor Who since the Daleks first returned to invade Earth. Typically, though, the Doctor’s repeat nemeses share a certain simplicity of purpose—conquest, domination, revenge—that makes sense even to viewers who have never seen an Ogron or a Sontaran before, their power coming from their present menace as much as their past misdeeds. Not so with Johnny Byrne’s Season Twenty opener, “Arc of Infinity” (Story Production Code 6E), which digs deep into the archives to resurface a complicated villain who took not one but three different Doctors, at the same time, to defeat: Omega.

Curiously, Byrne, producer John Nathan-Turner, and script editor Eric Saward never bother to clue viewers in to Omega’s backstory as the most tragic figure in Time Lord history, the ancient solar engineer who became trapped in an anti-matter dimension after triggering the supernova that powers all Gallifreyan time travel. His plans to wreak vengeance upon the Time Lords for abandoning him for millennia required the services of the First, Second, and Third Doctor to defeat, an effort that, supposedly, resulted in his final destruction in a second supernova (with which the Time Lords refilled their time travel tanks for another several thousand years). Without such knowledge, from “The Three Doctors,” which aired some ten years earlier in late 1972 and early 1973—albeit with a rare repeat in late 1981—much of the story of “Arc of Infinity” lacks significance or importance, rendering Omega (Ian Collier) just another in a long line of megalomaniacal madmen in an ill-fitting latex costume and with a litany of ill-defined greivances.

Lacking this understanding of Omega’s role in the annals of the Time Lords, it becomes difficult to comprehend why Councillor Hedin (Michael Gough), a member of the High Council of the Time Lords and an old friend of the Doctor, would offer up the Doctor’s “bio-data extract” to Omega, knowing full well that the following chain of events would put the Doctor in great danger. Though Hedin, who wears the orange of the Doctor’s own Prydonian Chapter of Time Lords, exclaims to Omega, “What we are, we owe to you,” such reverence offers thin justification for the acts of treachery he carries out in order to help Omega transfer his being from a state of anti-matter to matter, even if one recalls the minutia of “The Three Doctors.”

Byrne never fleshes out this motivation on Hedin’s part, but he does find time to intercut this taut, tense tale of Time Lord treason with the drawn-out travails of two hitchhikers, Robin Stuart (Andrew Boxer) and Colin Frazer (Alastair Cumming) who decide to sleep rough in an Amsterdam crypt…

Desert Delights: Le Franc Tireur 15 (LFT) Released

March 2, 2023February 28, 2023 by Chris Baer

Advanced Squad Leader’s greatest strength lies in its extensibility, but it’s safe to say that Don Greenwood, John Hill, and the rest of the ludic luminaries present at its creation couldn’t have anticipated just how varied and wide-ranging the additions to their game system would become. Case in point, the brand new offering from Le Franc Tireur, the self-titled Le Franc Tireur 15. While technically a “magazine,” LFT 15, much like MMP‘s ASL Journal, is a multi-media affair, featuring twenty-two scenarios printed separately from the eighty-two page magazine and, most impressively, a whopping eight new maps in the traditional single-fold, thick cardstock style of the official boards.

The magazine itself, in A4 format with a thick cardstock cover, comes with a ton of articles covering a little bit of everything concerning ASL, from tournament overviews, product reviews, and designer interviews through to rules primers (in this case, for the surrender rules, desert rules, and the interactions between night and desert), historical articles, and new rules for the included map terrain and for scenarios set in Russian Civil War-era Manchuria and Mongolia. It’s all in color and profusely illustrated; there’s even a two page comic on speeding up play.

As pleasant and varied as the articles may be, however, the real attraction of LFT 15 has to be the eight new arid/desert maps, printed for the most part in standard DTO colors and adding some much needed variety and spice to the existing collection of AH/MMP desert and arid boards. There’s actual terrain here, with canyons, villages, depressions, and hills dotting the otherwise open expanses. As Steve Swann notes in his overview of the maps, which he designed along with Tom Repetti, there’s something to fight over instead of just something to drive over. The new arid terrain types mostly tweak existing terrain, like Thick Grain (with +2 hindrance and 2MF infantry entry instead of the +1 and 1.5MF values of regular grain) and combination terrain (crag-brush, crag-hammada), but desert and arid villages receive new details and features as well.

Physically, the maps come excruciatingly close to being perfect matches with the existing “Starter Kit” style maps that are the current standard in ASL. They share a similar sturdiness and thickness—I don’t own the calipers required to tell if there’s a difference, but to my untrained eye they’re the same. In terms of dimensions, the LFT maps seem a scant millimeter longer and less than a millimeter wider, measuring against the newest MMP boards (89 and 90), just barely sufficient to throw off precise hex alignment over a long stretch but, frankly, not enough to worry about in actual play. They’re the nicest third party maps I’ve seen to date (and I’ve seen a few).

The twenty-two scenarios included with LFT 15 are printed in color and come on glossy A4 paper of reasonable thickness; though not cardstock, they should hold up well regardless. Many of the scenarios make use of the new maps, taking the ASL system to some out-of-the-way places indeed. Most striking are the scenarios set before the 1930s; one, FT274 Bear Valley by Steve Swann, takes place in 1918 Arizona during the American Indian Wars, pitting warriors from the Yaqui tribe against mounted soldiers from the US 10th Cavalry. Another, FT276 Genghis Khan Lives! by Robert Hammond, occurs in 1921 Mongolia using the new Russian Civil War rules, with Chinese troops defending against a White Russian mass cavalry assault. I’m not really sure the ASL system works effectively to depict conflicts that far back—not that ASL is renowned for its verisimilitude—but it’s interesting to see the attempt nonetheless.

The other scenarios range a wide gamut of forces and actions, with several in North Africa and the Levant to take advantage of the arid maps and an interesting emphasis, throughout, on horses, a rules section of ASL that has long been underutilized. You’ll learn how to conduct a cavalry charge for sure with these scenarios.

Le Franc Tireur 15 is, unquestionably, a specialist product, focusing as it does on some quite obscure corners of the Advanced Squad Leader game system. Newer players might not be well served by picking it up. For those who appreciate something a bit out of the ordinary in their ASL, though, it’s a gem of a publication, taking some chances and stretching the bounds of what the game can become. Besides, you can never have too many maps…

Doctor Who Project: Time-Flight

March 2, 2023February 2, 2023 by Chris Baer

I’ve never heard such an extravagant explanation.

Never let it be said that Doctor Who skimps on season ending stories. For “Time-Flight” (Story Production Code 6C), Peter Grimwade’s Season Nineteen finale, the BBC combines the best of British science fiction with the best of British (fine, Anglo-French) engineering by filming in and around the Concorde. John Nathan-Turner even manages to get permission for Grimwade to put British Airways’ very expensive and prestigious airplane in jeopardy, with not one but two separate supersonic transports disappearing on approach to Heathrow. Try getting a major carrier to allow its livery in even the most benign piece of fiction nowadays.

In keeping with producer Nathan-Turner and script editor Eric Saward’s devotion to continuity, we find the Doctor, Tegan, and Nyssa still in shock over Adric’s demise, with the Doctor adamant that he cannot revisit his own history to undo the young Alzarian’s death. As a peace offering, the Doctor offers to cheer everyone up with a quick visit to the Crystal Palace in 1851 for the Great Exhibition, as one does, only to find the TARDIS on a collision course with another object in time and space. After an emergency materialzation, the TARDIS appears over a runway at Heathrow in the present day (so, roughly 1982) before the Doctor “parks” the blue box in an observation overlook in Terminal One, which of course attracts some slight attention. The Doctor pops out to get a paper to check the cricket scores before being confronted by the authorities as a crestfallen Nyssa and Tegan look on.

Unlike the Doctor’s last impromptu visit to an airport, “The Faceless Ones,” the Fifth Doctor now has bureaucratic contacts of his own to call upon, and he shamelessly name drops UNIT and Brigadier Lethbridge-Stewart, a pleasant call-back to a once-important feature of the series and and also a very convenient means of involving the Doctor in the disappearance of Concorde. Indeed, absent Whitehall’s imprimatur, Grimwade would have needed to put the Doctor through a convoluted series of hoops—well, more convoluted, at any rate—in order to have him, Nyssa, Tegan, and the TARDIS as passengers on another Concorde flying the same descent approach as the missing plane into Heathrow, just to test a theory.

Which is not to say that Grimwade and director Ron Jones don’t take their sweet time making anything actually happen in this four episode story. Having gained access to Heathrow and Concorde, the BBC take full advantage. Several scenes occur in the cramped cockpit, with the flight crew of the second jet (Richard Easton as Captain Stapley, Keith Drinkel as Flight Engineer Scobie, and Michael Cashman as First Officer Bilton) occupying nearly as much screen time as the Doctor and companions, calling out checklists and repeating radio instructions, while the plane itself, on a side tarmac on a snowy London day, features in plenty of glamour shots as our time travellers climb the long stairs to the entry.

Sure enough, the second Concorde disappears off the radar scope just like the first one, confirming the Doctor’s suspicion that a “time warp” exists over the approach path to Heathrow. But despite the TARDIS registering a temporal displacement some one hundred and forty million years into the past, Stapley lands the Concorde right back at Heathrow, parking where they started. (British Airways wasn’t going to actually move the plane for Doctor Who.) Or so it seems.

The Doctor feels something is wrong, and once everyone disembarks down a ladder that miraculously appears next to the airplane, Nyssa pierces the illusory veil. All around, nothing but rocks, as befits the Earth over a hundred million years prior, and, curiously, a wrecked spaceship and a lone stone building, quite out of place indeed. They have been tricked by a hallucination powerful enough to have momentarily affected even the Doctor, caused by a most unlikely foe…

Hedgerows and Heifers: Drop Zone Sainte-Mère-Église (MMP) Released

January 29, 2023 by Chris Baer

After a soft launch at Winter Offensive 2023, Multi-Man Publishing‘s latest Historical Module for Advanced Squad Leader, Drop Zone: Sainte-Mère-Église, has begun making its way to eager pre-order customers.

Focusing on the 82nd Airborne Division’s efforts to secure a vital crossroads town to facilitate the breakout from Utah Beach after D-Day, Drop Zone: Sainte-Mère-Église, by designer Ken Dunn, takes gamers deep into the hedgerows of Normandy as the Americans confront the ramshackle defenses of the various German forces available to stem the inevitable tide. Coming in a thin 1.5″ deep box with cover art by Ken Smith, DZ: SME packs one countersheet, three 22″ x 30.5″ maps on nice semi-gloss paper (with combined dimensions of 22″ x 91.5″), eleven scenarios on cardstock, two chapter dividers on thick stock, and twenty-eight pages covering special rules and three campaign games.

A long paved road commands all three maps, tying them together north to south. The road pushes straight down the middle of all three maps lengthwise, cutting through open spaces lined with bocage and various small villages. With art by the inestimable Charlie Kibler and input from Sharon Boyd, the maps just scream, “Normandy,” giving a very clear example of the endless hedgerow-enclosed fields stacked one upon the next, each a potential strongpoint to be overcome. Should the map dimensions also seem too much to overcome, only one of the campaign games uses all three maps at once; another CG uses two maps, and one CG and one of the eleven scenarios pulls most of two maps into play. The remaining ten scenarios require only portions of a single map—though, at first glance, most of those defy easy map folding, so consider a 22″ x 30.5″ play area the minimum needed for use of DZ: SME.

A cursory glance through the scenarios and campaigns suggests that only the ASL Rulebook, Beyond Valor, and Yanks! are required to play all of the scenarios and campaigns in DZ:SME, but one will still need to confront that most confounding of foes: bocage. Not quite a wall, more than a hedge, and as tall as a building, this fearsome terrain type that takes up over two pages in the ASLRB dominates proceedings here.

Suffice it to say that the Ken Dunn scenarios on offer in DZ: SME make it worth your while to untangle the rules thicket and finally learn how to play bocage. Though notionally all fairly simple actions depicting elite American infantry, predominantly from the 505th Parachute Infantry Regiment of the 82nd, against mostly second-line (and lower) German defenders with a handful of guns and tanks, the special scenario rules elevate these scenario cards to rather intriguing affairs, including the option for “grenade barrages” in one and command confusion rules in another, to say nothing of the obligatory glider landing scenario. And, of course, the cows.

It’s likely that DZ: SME will become known as the “cow module” because of the included rules for nudging Normande as moving cover and, alas, as minefield clearance tools, the latter use not in play in the sole scenario here that utilzes them, but included for the same reason that the panji rules in Chapter G are four pages long, for completeness sake. The rules feature my new favorite sentence in ASL, “A MMC possessing a Cow receives an additional +1 Ambush drm (A11.4).” Three cow counters are on the included countersheet, and one can imagine the cow rules will feature in many future scenarios, given, as Ken points out in his designer’s notes, that animal casualties are a frequent, regrettable, and often overlooked, component of war.

The major new addition to the ASL countermix in DZ: SME is a new German squad type, a boxed second line unit with smoke grenade capability, both spray and assault fire underscores, and a short range, provided in squad and half-squad form representing well-trained but brittle late-war troops. Extra squads and vehicles for both sides pad out the existing counter supply for purposes of the Campaign Games, while Waco gliders adorned with black-and-white invasion stripes receive bespoke counters as well, a nice bit of visual chrome. Custom 82nd Airborne and German division control markers and a counter for the new “dual roadblock” round out the single countersheet. My copy shows razor sharp color registration and no bleed whatsoever, as has been typical of MMP products for a very long time now.

My tastes in ASL tend towards the esoteric, and I’d probably be happy playing nothing but Chinese vs. Japanese or Italian vs. Greek scenarios for the remainder of my gaming life, but there’s an undeniable appeal to Drop Zone: Sainte-Mère-Église. Ken Dunn has provided a focused look at a very specific moment of the invasion of Normandy, adding his usual, and quite welcome, flair, all put together with the standard Multi-Man Publishing polish and high quality Charlie Kibler maps. It is a worthwhile purchase and a solid addition to the ranks of Historical ASL modules. It’s easy to feel a bit sated and to take a publication like this for granted, given the amount of high quality Advanced Squad Leader content coming out these days, but had Drop Zone: Sainte-Mère-Église been published in the Avalon Hill days, it’s all gamers would have been talking about for a very long time.

(Cover detail artwork above by Ken Smith.)