Is There a Doctor in the Deck? Doctor Who: The Card Game Classic Doctors Edition (Cubicle 7)

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Sometimes, it’s like they make games especially with me in mind. Doctor Who mixed with Martin Wallace? I’m intrigued.

Doctor Who Card Game Classic Doctors Edition

Doctor Who: The Card Game Classic Doctors Edition (Cubicle 7, 2016) should, on paper, be my most favorite game ever, combining my love of all things Who with an appreciation for the designs Wallace comes up with. And yet, I can’t help but feel that the theme here is pasted onto a fairly simple filler game.

Now, there’s nothing wrong with a filler game to take up the time between plays of more elaborate games, but this license deserves something grander than reducing the Doctor (all of them from the First through the Eighth) to a numerical value to be played against enemies (Daleks, Cybermen, and other old-school baddies like the Macra (!) and the Sensorites) who are likewise just numbers.

Doctor Who Card Game Classic Doctors Edition

Some of the companions and other cards do have special abilities that attempt to bring some of the show’s unique flavor to bear, but on the whole, the game would not be changed if the cards were patterned after Babylon 5 or Space: 1999. The experience just doesn’t make for very compelling gameplay once the novelty of pairing up Nyssa and the Third Doctor against the Primords at the Temple of Yetaxa wears off. It’s a fine game, but not much more.

Perhaps I’m splitting hairs, as any focus on the original run of Doctor Who makes me happy (even as I cringe at thinking of it as “classic Who“). The components are up to standards, with nice quality playing cards and a handful of decently thick counters. I’ll certainly throw it in the bag for a filler, and if even one person is intrigued by the original series, then the game has succeeded in that regard.

One can only wish, though, for a Doctor Who game on the scale and complexity of Wallace’s A Study in Emerald. Now that would be a thing of beauty.

Doctor Who Project: Spearhead from Space

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Doctor Who Project: Spearhead from Space

My dear fellow, how nice to see you again.

Absence, they say, makes the heart grow fonder. Or hearts, perhaps, in the case of Doctor Who.

Six months elapsed from the end of Season Six to the beginning of Season Seven, making Jon Pertwee’s debut story as the Third Doctor, “Spearhead from Space” (Story Production Code AAA) by series regular Robert Holmes, a long awaited reunion for viewers indeed. And what a change they found when they tuned in. A new Doctor and the use of color footage, to be sure, plus a new companion in Caroline John’s Liz Shaw, but also a vigorous sense of confidence in the storytelling that manifests itself in a four episode story filled with fast pacing and dynamic directing by Derek Martinus. Never did the camera zoom in on people in various stages of horror quite so often as in this story. Shame the Doctor spends the first two episodes in bed, though.

Sleeping on the job

And the cause of this extreme terror? A plastics factory run by aliens has been turning out plastic automatons, none of which are quite as terrifying as their usual line of work, plastic dolls. The establishing scenes in the factory, with conveyor belts lines with disembodied plastic baby heads, must surely count as some of the most disturbing in the series’ history.

Abandon hope

The intended monsters in the story, the Autons, derive their menace from their nearness to human beings, humanoid without quite being human due to the slight angularity of facial features and the overall blankness in the visage. The effect harkens to the original, Mondasian Cybermen, whose obvious similarity to human beings causes a degree of ontological dread that the later versions simply lack. The Autons function quite similarly to Cybermen as well, lacking any affect or individuality and obeying the orders of a centralized hierarchy. And wouldn’t you know it, they want to conquer the Earth, too, only while wearing blue coveralls and cravats.

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Dutch Treats: Rijsttafel

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Say what you will about a buffet, there’s no denying the glee that stems from having an assortment of dishes from which to fill up a plate. A little of this, a dab of that, a heaping spoon of the third. And when the buffet sits right upon your table, precariously balanced in small containers perched atop warming trays, well, that’s an experience worth seeking out.

Purnama rijsttafel at Indrapura

On a recent trip to Amsterdam, I finally had the opportunity to sample the legendary Indonesian Rijstafel, the “rice table” so beloved by the Dutch and Indonesians alike. Our search for a casual yet high quality purveyor of this meal led us to Indrapura, right off Rembrandtplein and mere blocks from our accommodations. Arriving early on a Friday, we had the place to ourselves to begin, and the waiter provided nice attention, offering an Indonesian Bintang beer to accompany the “Purnama” rijsttafel.

After an appetizer of minced lamb in a fried pastry wrapper, the table began in earnest, with the waiter depositing a good score of small containers arrayed with some flair and a brief description. I could hardly keep track of what he was placing before us, but it all looked brilliant. The dominant tastes were of peanut sauce, coconut milk, and very mild spice, carried by a variety of pork, chicken, beef, and vegetables. Two bowls of rice, one plain white and one fried, accompanied the meal.

Purnama rijsttafel at Indrapura

I must confess to being underwhelmed by the spice levels. I had hoped for, and indeed expected, for heat to suffuse the meal, but on the whole, the tastes were subtle and the heat nearly nonexistent. I’ve had this problem in the Netherlands before, where theoretically spicy dishes came out with a “tourist” level of spice. Perhaps I should have let the waiter know that our spice tolerance sits on the high side of the scale.

Still, the total experience left us happy to have sampled such a wide variety of Indonesian dishes in a welcoming environment. A pleasant way to begin a Friday night, indeed, and a quintessential Indo-Dutch treat.

Beer Notebook: A Dutch Trio

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A recent trip to the Netherlands allowed me the opportunity to, well, buy Brooklyn Brewery products on the shelf of a local Amsterdam grocery store. But I didn’t do that. Whenever possible on trips, I try to quaff the local suds, three of which, all India Pale Ales, are presented here.

Jopen's Mooie Nel IPA

Jopen’s Mooie Nel IPA, sitting at an agreeable 6.5% ABV, surprised me with a decent level of hops bitterness (70 IBU) and a very long, and pleasant, finish on the palate. There were hints of floral and citrus flavor, but only hints, and that was just fine.

I like my beer hoppy, and any more citrus would have overwhelmed the beer. The head kept its shape for a while, and on the whole, I enjoyed this beer quite a bit, particularly with the fine Indian food we brought to the hotel room from our Amsterdam stand-by, Koh-i-Noor. Any future trips to the Netherlands will see this beer take a spot in the fridge.

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The Line of Our Times: Richard Thompson

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Franz Kafka by Richard ThompsonThe Washington Post‘s Comic Riffs blog is reporting the passing of Richard Thompson, illustrator and cartoonist, from complications of Parkinson’s Disease.

I’ve been a fan of his work since I saw his caricature of Franz Kafka trying to figure out the key concept of “The Metamorphosis” to illustrate a column in the March 5, 1993, edition of the Post.

The linework looks easy but belies a keen understanding of the human figure, with an economy that focuses the eye on the important details. I saved a clipping of that illustration, and thereafter, I began to see his work popping up everywhere, from the New Yorker to National Geographic and beyond. When he began “Richard’s Poor Almanac” for the Post and then the syndicated “Cul de Sac,” well, it was like a holiday every time I opened the paper.

You could do worse than spend twenty minutes watching a short documentary on his life and work, and collections of his illustrations and cartoons are available via his site.

My condolences to his family and friends.

Doctor Who Project: Patrick Troughton Retrospective

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Doctor Who Project: Patrick Troughton Retrospective

In many ways, Patrick Troughton is both the “missing” Doctor and the most important Doctor of them all.

A bemused Second Doctor

When Patrick Troughton took over the role from William Hartnell in the famous dissolve shot at the end of “The Tenth Planet,” he proved that Doctor Who as a concept could last beyond the tenure of a single Doctor. A failure of the audience to embrace this change in actors—indeed, this change in the very nature of the character itself, from wizened curmudgeon to puckish raconteur—would have ended the series for all time. It is to Troughton’s credit that he succeeded quite resoundingly, becoming the Second Doctor, not the Final Doctor.

And yet, he’s nearly unknown to modern viewers of Doctor Who, perhaps remembered for his pipe flute and iconic showdown with the Cybermen on Telos but not recognized as the Doctor who fully advocated aggressive intervention when necessary to fight evil in all its guises, who allowed people to underestimate him (to their own chagrin and, often, peril), who managed to combine slapstick with seriousness. He’s merely that “other” black-and-white era Doctor, the one without the scarf or the car or the celery stick. It’s a status worth changing.

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