Movement Point

Doctor Who Project: The Tomb of the Cybermen

July 28, 2023April 6, 2015 by Chris Baer

Well, now I know you’re mad. I just wanted to make sure.

Though only two months separate the end of Doctor Who‘s fourth season and the start of its fifth, the difference between “The Evil of the Daleks” and Kit Pedler and Gerry Davis’ “The Tomb of the Cybermen” (Story Production Code MM) could scarcely be more striking. Where David Whitaker’s Dalek magnum opus plodded along several episodes too long and jumped from location to location, Pedler and Davis bring the Cybermen back in a taut, crisp, and focused four episode story that feels unlike any Doctor Who we’ve seen before—mostly because it feels exactly like what we think Doctor Who is supposed to feel like. This story is the ur-Who.

After a brief introductory scene bringing new companion Victoria into the TARDIS, a scene serving mostly to give a refresher about what Doctor Who is all about to new and returning viewers after the summer hiatus, action shifts immediately to a crew of space archaeologists on the planet Telos. It’s actually a quarry, of course, but the setting works inherently because these archaeologists are blasting their way into the buried Tomb of the Cybermen. You can tell because there are Cybermen on the walls next to the (electrified) doors.

We’re given no excuse or reason for the TARDIS appearing here, unlike the elaborate explanations of a wonky control console or stuck fast return switch of prior seasons. The TARDIS simply lands and the Doctor and his companions just walk out to have a look around. Further, the archeological team only cursorily question the Doctor about his sudden presence and then the matter is effectively dropped, the show’s internal logic reigning supreme. In this instance, the Doctor is taken to be a rival archaeologist, also seeking the secrets of the long-dead Cybermen, and he goes with it, silencing his young companions when they threaten to blow his conveniently bestowed cover. There’s a story to be told here, so on with it.

The Doctor volunteers to help the expedition get into the tomb, and once there, he vacillates between helping and hindering. Something seems not quite right, with two members of the expedition, Klieg and Kaftan, curiously insistent upon getting in, despite the death of a expedition member by the electrified tomb doors. The Doctor knows the danger of the Cybermen, but he also wants to know just what Klieg and Kaftan are up to with the Cybermen. The story establishes (somewhat ham-fistedly) that they’re up to no good, and by the end of the first episode, there’s a sense of menace without a Cyberman in sight. One does show up right at the end of the episode, but it’s a dummy, albeit a deadly one. We do, however, meet someone new. A cute, cuddly, metallic Cybermat…

SuperSpaceDungeonDelve: StarCrawlers Early Access

July 28, 2023March 19, 2015 by Chris Baer

I’ve more or less kicked (slight pun intended) my crowdfunding habit, particularly when it comes to computer games. The eager excitement of the campaign leads to ennui as update after update tells a sad story of delays and curtailed features, and by and large, you wind up paying more (and far earlier) for the finished product than the person who buys it when it releases. Sure, you’re supporting projects you ostensibly believe in, but the economics don’t always make sense.

So I’m pleased when games I backed, back in the day, come to fruition more or less on time and more or less feature complete. Take, for instance, StarCrawlers, by Juggernaut Games, a first-person, party-based space dungeon crawl game that just entered the Early Access phase on Steam. Some features are missing, the story is barely there, and there are balance issues, but I have to say it looks quite promising for an Early Access game.

Robots stand between you and loot.

You control a party of up to four space scavengers, chosen from a wide array of classes, all of whom level up and gear up through missions. You maneuver in first person, with a real-time interactive environment, but once foes are encountered (and there are a lot of them), you switch to a turn-based combat system not unlike the computer role playing games of yore. There’s no positioning to speak of; combatants take turns attacking, with each action costing an amount of time that places the combatant in a turn order. One powerful action could see your combatant placed at the far end of the turn order, with combatants who take faster actions attacking several times in the interim. The classes all have different passive and active abilities, and finding synergies between the classes plays an important role. The Solider, for instance, can taunt enemies, taking blows that would otherwise affect characters who can dish out the damage but can’t take it.

More robots stand between you and more loot. There are a lot of robots in this game.

The gameplay isn’t absurdly deep, being mostly a move/fight/loot loop, but it’s fulfilling in short bursts and ticks off the appropriately addictive loot acquisition and character development boxes. Too, it’s rare to see the dungeon crawl model applied to a futuristic setting, making StarCrawlers all the more appealing. Once Juggernaut Games fills out the storyline—for the most part, the missions seem to be procedurally generated—and adds a bit more polish, the game is going to be a keeper. For what I paid (and it wasn’t much), StarCrawlers gleams as a gem in the sea of crowdfunded dross.

Doctor Who Project: The Evil of the Daleks

July 29, 2023March 7, 2015 by Chris Baer

Dizzy, dizzy, dizzy Daleks!

Now that’s how you end a season. Doctor Who‘s Fourth Season comes to a close with David Whitaker’s “The Evil of the Daleks,” (Story Production Code LL) a seven-episode story that finds the Doctor on familiar ground: Skaro, home planet of the Daleks. But he gets there through a Dalek time travel device in a London antique shop in 1966 that deposits him in a cabinet of electrified mirrors in a Victorian laboratory, which somewhat explains why it takes seven episodes to tell the tale. Much like the prior story, “The Faceless Ones,” Whitaker’s story feels an episode too long yet still delivers an engaging, if slightly overwrought, plot. Indeed, it’s best not to dwell too much on the absurd fussiness of the Daleks’ machinations here; the real story takes place between the Doctor, Jamie, and, yes, the Daleks as they come to terms with just who the Doctor is, and what it is he truly believes.

For “The Evil of the Daleks” very much serves as a re-statement of the show’s theme and purpose, a summing up of four seasons of Doctor Who, tidily wrapped with a neat Dalek bow. The Doctor and Jamie have two extended conversations—fights, really—about the lengths the Doctor will go to for his aims and what he cares about, dialogue that serves less the immediate narrative purpose than the ends of the show as an ongoing cultural entity. In short, Whitaker puts the needs of continuity ahead of the needs of story, or rather, he recognizes that the Doctor’s story is ongoing and not a mere series of semi-linked sequential adventures. His story embraces what has come before like no other story to date has, and though it’s riddled with what we might term continuity errors, he’s grasped the larger continuity, that of the Doctor’s beliefs, his purpose.

So the story picks up immediately from the end of “The Faceless Ones,” with the TARDIS being hauled away from Gatwick on a lorry. The Doctor and Jamie are lured to an antique shop through a series of elaborately laid (and patently obvious) clues about the location of the blue box, all designed with a knowledge of the Doctor’s curious nature. Much of the first two episodes focuses on the trap being laid for the Doctor; the narrative tension comes not from wondering what traps the Doctor will face but instead from how he will unravel them. And just when they’ve found the odd technology (and a dead body) in the back of a shop filled with brand new yet authentic Victorian artifacts, they’re gassed unconscious and wake up in a Victorian drawing room with massive headaches and a helpful servant named Mollie. And there are still five episodes to go.

Doctor Who Project: The Faceless Ones

July 29, 2023February 9, 2015 by Chris Baer

Perhaps you’d kindly explain why you have no passports?

Though it starts out as a bit of a farce, with the TARDIS materializing on an active runway at Gatwick Airport and our time travellers scattering to avoid the police, David Ellis and Malcolm Hulke’s “The Faceless Ones” (Story Production Code KK) turns into an oddly satisfying story of body-snatching aliens offering cut-rate tours for teens. But along the way to the good stuff in this six episode story, there’s a fair bit of filler to slog through.

Credit should be given to the writers for attempting to show the difficulties the Doctor and his companions would have trying to enter an international airport from the tarmac (back in pre-jetway days) without passports or other identity papers—such appearances have, in the past, been glossed over with nary a mention—but where some simple trick on the Doctor’s part to get into the terminal would have sufficed, instead we are treated to overly-long sequences with immigration agents and officious bureaucrats who are less concerned with a dead body than with a missing passport. Still, there’s some humor about the affair, and when they escape, an inspector wryly notes that it shouldn’t be hard to find a rumpled man in a frock coat and a young lad in a kilt.

Note the emphasis, however, on two individuals, rather than the current TARDIS complement of four. Ben and Polly make no appearance after episode two, save for a filmed inset of their departure in episode six. They’ve been written out of the show, and though their leaving is treated with substantially more dignity than Dodo’s abrupt rest cure in “The War Machines,” they could easily have played substantive roles in the events of the story. Instead, they are captured by the aliens and serve as spurs to action for the Doctor.

Events start quickly enough, with Polly witnessing a murder in the hangar occupied by the aliens’ tour company, Chameleon Tours, a name that sits a bit too much on point. Polly reports the murder to the Doctor, who is intrigued and determined to investigate. Though the story returns to the scene of the crime far too many times, a sense of mystery does surround the evil goings-on, with the aliens (who, chameleon-like, look like humans) not tipping their hands via narration or action. The viewer has no idea that aliens are even at work here, with the shady motives of Chameleon Tours completely opaque, beyond the fact that they killed a man for seeing the postcards. Sinister secret society? Corrupt corporate creeps? Dastardly devious deltiologists? The first episode ends with a monster teaser that, while very much in the show’s tradition, nevertheless feels fresh. There’s actual mystery here!

And then, in the second episode, everyone talks at length about how they figured out all the clues from the first episode (including the unsent Spanish stamp!), dispelling (almost) all the mystery.

Blue Box in Bricks: Official Doctor Who Lego Set Announced

July 29, 2023February 5, 2015 by Chris Baer

Not even the Celestial Toymaker could have captured the Doctor like this! LEGO has announced the production of an official Doctor Who set, via their fan-created LEGO Ideas brand.

The existing Character Building Doctor Who range is rather nice—several of their Doctor figures and their TARDIS stand guard at the base of my monitor—and I hope they will continue to be produced as well, but there’s something about LEGO that speaks quite directly to the nostalgic part of the brain. These will sell quite well, I imagine (and indeed, a glance at the prior LEGO Ideas productions shows almost all of them to be sold out).

From the look of the fan-created concept art above, the focus seems (as ever these days) to be on new-Who with a cursory nod to Tom Baker’s Fourth Doctor. I will, of course, gleefully snap up whatever set Doctor Who sets LEGO produces, but I hope that demand for earlier Doctors and companions is sufficiently strong that we eventually get the entire cast.

LEGO William Hartnell and LEGO Maureen O’Brien, anyone?

(Image via LEGO Ideas)

Winter Offensive 2015 After Action Report

July 29, 2023January 19, 2015 by Chris Baer

How many wargamers can you fit in 4,500 square feet of conference space, assuming you factor in room for tables, chairs, dice towers, and a keg? At least 165 if you were at Winter Offensive 2015 in Bowie, Maryland, the latest installation of the East Coast’s premier Advanced Squad Leader tournament, held annually over Martin Luther King, Jr. Day weekend.

A Sea of Gamers

This year’s event saw the most attendees ever, nearly twenty more than last year’s record crowd. By noon on Saturday, all available table space seemed to have filled up, though most people were happy to share space. Attendance was likely boosted by the debut of the long-awaited “final” core module for ASL, Hakkaa Päälle, which (re)introduces the Finns to the tactical gaming system.

The printing on the new Finnish counters came out quite nicely, and the light grey color chosen works well in the system, as long as you don’t have them fighting the Italians, who share the same counter palette. The counter material also rounded quite nicely, as I brought my handy-dandy deluxe counter corner rounder with me to the tournament for the express purpose of clipping the Finns. Quite a few people stopped by and asked about the labor-saving wonder device, which gently rounds off the otherwise nubby edges to produce an aesthetically pleasing and easily manipulable counter. I dare say I converted at least a few people to the church of Oregon Laminations (just in case there’s a rounder referral rewards program I don’t know about…).

Fear the Finns!

I had the privilege of taking the fresh Finns out for a spin against regular gaming chum and all-around good guy Mike Vogt, who had the Soviets on defense in 172 “The Last Attack,” a scenario chosen almost entirely because one of the Finnish leaders enters the game on a bicycle. He didn’t last long, but the match went almost to the end. Mike set up a canny defense (and employed some absurd fire discipline) and was able to slow my progress enough to hold one of the required victory conditions for a well-deserved win. We had a series of interminable melees that I kept pouring units into, only to see them ground up. Probably not the best strategy, but a greater principle was at stake. I was not going to lose those melees. I did, of course, but that’s beside the point. A pleasure as always playing against Mike.

Long-time opponent Doug Bush provided the other major gaming event of the tournament for me, our traditional all-day non-ASL match. Following on last year’s playing of SPI’s BAOR, we switched to a tighter scale with SPI’s Berlin ’85, covering a hypothetical attempt by the Warsaw Pact to overrun the NATO West Berlin garrison at the start of WW III. The map, a Simonsen classic, took some getting used to, with its welter of colors and symbols depicting the various types of city terrain and transportation routes, but after a point, they became comprehensible and showed well under the counters. I have a real fondness for the SPI counters from this era, with their crisp lettering and glorious colors.

Berlin 85

The combat system reflects the game’s early ’80s pedigree, with locking Zones of Control, mandatory attacks, and a heavy reliance on retreat results. I still managed to lose quite a few Soviet mechanized battalions to ill-advised attacks against West Berlin police units holed up in heavy urban terrain, and while my East Germans managed a sweeping thrust from Potsdam into the American Sector that threatened to unhinge the NATO defense, Doug managed to hold off my attacks long enough to edge out a Marginal Victory once NATO succumbed to a surrender roll. Both Doug and I agreed that the game deserves another playing, as the system contains a few subtleties that, once grasped, allow for a different tactical approach. A real gem against a great opponent, and a game I’m happy to have added to the played list.

As ever, I managed to get in some side gaming as well, more this year than ever before. Group favorite Pax Porfiriana made the table three times (and, it must be said, I somehow won all three, leading to a prohibition against my playing it anymore). Mike introduced everyone to Panamax, a game about shipping through the Panama Canal. That game, a cross between worker placement style action choices and 18XX financial manipulation, hit the table to rave reviews and got played a good three times. A Study in Emerald came out on Friday night, with the Restorationists solidly thumping the Loyalists, who made their move about a turn too late. I had the honor in that one of putting a stake through the heart of Vampire Sherlock Holmes.

And, of course, the annual playing of Battlestar Galactica on Saturday night ended with, as always, a Cylon victory. The humans were done in by the cagey play of John Slotwinski, who held the Admiral card and concealed his robotic nature long enough to jump the human fleet into the middle of nowhere for the win. We used the Pegasus expansion, adding another Battlestar and Cylon Leaders to the game. The new rules didn’t add much complexity and worked well with six players, but with our standard five player games, I’d opt to use the base rules alone.

My thanks to the team at Multi-Man Publishing for another fine Winter Offensive, and to all my opponents for three days of amazing, and exhausting, gaming.