Read Ebook {PDF EPUB} Storm Warning by Alan Barnes Doctor Who: Storm Warning by Alan Barnes. THIS STORY TAKES. PLACE BETWEEN THE BIG. PRODUCTION CODE. ALAN BARNES. DIRECTED BY. . RECOMMENDED. BIG FINISH CD#16. (ISBN 1-903654-24-6) RELEASED IN JANUARY. THE R101 SETS OFF ON. HER MAIDEN VOYAGE. TO THE FARTHEST-FLUNG. REACHES OF THE BRITISH. EMPIRE, CARRYING THE. HOPES AND DREAMS OF. A BREATHLESS NATION. NOT TO MENTION A SPY. WITH A SECRET MISSION, AN ALIEN PASSENGER IN. CABIN 53, A WOULD-BE ADVENTURESS DESTINED. FOR THE SINGAPORE. HILTON. AND A TIME. LORD FROM THE PLANET. A STORM IS COMING. WITH WINGS CRAWLING. ACROSS THE STERN. THOUSANDS OF FEET. HIGH IN THE SKY, THE. CREW OF THE R101. BREAKS, THEIR LIVES. WON'T BE ALL THAT'S. AT STAKE - THE FUTURE. OF THE GALAXY WILL BE. HANGING BY A THREAD. After having survived five years in the world of literature and comics, Storm Warning sees the eighth Doctor brought to life in the altogether more vibrant medium of audio drama, and brought to life by the man himself, Paul McGann. Aided and abetted by David Arnold�s new, haunting rendition of the series� theme and an engaging script from former editor Alan Barnes, McGann acquits himself commendably here. This story�s traditional four-part structure affords him the time needed to truly establish himself in the role, which sadly the fact-paced and concise TV Movie simply couldn�t do. That said, when I first listened to Storm Warning , it had been a long time since I�d watched the TV Movie and my view of the incarnation had been sullied. by some gloomy adventures in print - I�d completely forgotten just how much zeal McGann injects into the part. At times here there are even flashes of Tom Baker in his performance, though they are quite controlled and coherent. Furthermore, India Fisher � s Charlotte. Pollard (�Charley� to her friends) is. an intriguing new character with an. attractive background, and it�s going. to be very interesting to see how she. develops, particularly as the pseudo- cliffhanger ending to this story�s final. episode suggests that the Doctor�s. saving her from certain death aboard. the doomed R101 might not have. been a good idea after all. There is one glorious moment right at the death where you can see the cogs turning in the Doctor�s head � he is seriously considering taking Charley back to the flaming wreck of the airship and leaving her to die. It�s thoroughly absorbing stuff, and potentially rather inflammatory. The main thrust of Barnes� plot is a little less ambitious, but it is still thoroughly entertaining nonetheless. The R101 airship is a fantastic setting for an audio play as it has a very tense, claustrophobic feel; a feel that is of course buoyed by the listener�s (and, within the fiction, the Doctor � s) knowledge that its maiden voyage is destined for disaster. Even the relatively corny idea of the mysterious alien passenger in Cabin 53 plays out well, though the aliens� means of destruction is, quite frankly, farcical. Indeed, Storm Warning is abounding with clich�s, and whilst a couple of the characters (like the imposingly bombastic Lord Tamworth) do eventually turn out to be more than just mere stereotypes, by and large this story�s supporting characters are written rather playfully. That�s certainly no bad thing though, particularly when taking the inexorably grim d�nouement into account. Being able to listen to Tamworth play fisticuffs with an alien is worth the purchase price alone in my view. However, perhaps the most arresting aspect of Storm Warning is the superlative standard of the production - Alistair Lock�s sound design is absolutely sublime. To use a clich� myself, this play really does sound like a big-budget movie with the picture missing. The newsreels, for example, are a real touch of class; they just sound so authentic, and better still, they allow the writer to convey a lot of information in a very simple and effective fashion � a fashion that feels far less contrived than having the Doctor talk to himself for the duration, which for a dark moment at the beginning I thought he was going to� And so from listening to Storm Warning , I get the strong feeling that this McGann �season� of audio plays is going to be something really special. The Doctor feels clean and dynamic, and his new, self-styled �Edwardian Adventuress� companion, Charley, looks like she might just be his ideal foil. They�ve even got a pet Vortisaur � what more could you want for your money? Copyright � E.G. Wolverson 2006. E.G. Wolverson has asserted his right under the Copyright, Designs and Patents Act, 1988 to be identified as the author of this work. As established in the later audio drama Terror Firma, immediately prior to this story the Doctor spent an indeterminate period travelling with brother and sister team Samson and Gemma Griffin. Their unchartered adventures took them to the planets Porteus and Murgatroyd, the Ice Caves of Shabadabadon, the court of Queen Elizabeth I, prehistoric Earth, and Studio 54. However, these travels were brought to an abrupt end. (and the Doctor � s memories of them temporarily blocked) aboard a Nekkistani time cruiser shortly before. the events of Storm Warning � s opening scene. Unless otherwise stated, all images on this site are copyrighted to the BBC and are used solely for promotional purposes. Storm Warning - Reviews. I loved Storm Warning! I don't mind admitting that I had my reservations at first. I've always been a fan of McGann (even before he played the Doctor) but I was worried that recording four stories so suddenly, and in such quick succession, might lead to a poor quality result. However, my fears were groundless. McGann handles the role brilliantly - especially his little speech about Charley at the end, and his confrontation with Rathbone. It just cracks me up every time I hear that "Old Bean!" line. India Fisher and Gareth Thomas also deserve a big thumbs up. Great stuff. Simon Curtis. Storm Warning is absolutely superb! After four and a half years, this was a great return for the Eighth Doctor and Paul McGann is so comfortable in this role. Gareth Thomas was excellent as Lord Tamworth, and the new theme tune by David Arnold had me jumping around my room in delight when it burst in after McGann's opening soliloquy. J.E. Butterworth. It was a truly fantastic feeling to be hearing the first really new Doctor Who in almost five years. This was a remarkable story, and Paul McGann is turning out to be an amazing Doctor. Charlie seems to be a very good companion. I very much liked the idea of the pet Vortisaur, Ramsey as well. Anthony Naisbitt. Storm Warning is first class. Paul McGann is a fabulous Doctor. He brings enthusiasm, curiosity and new life to the role. Lines such as 'shall we explore?' sent a tingle down my spine - this is what quality Doctor Who is all about; first rate script, dialogue, characters and action. I would recommend it without a moment's hesitation. Peter Wilcock. In this, his return to centre stage as the Eighth Doctor, McGann shows us all what an excellent choice he was with a beautiful performance. This eighth persona has lived on in books and comics but whilst these are still relevant, hearing him breathe life back into the part is the icing on the cake. I will always maintain that if a TV series had been developed, McGann and Daphne Ashbrook would EASILY have eclipsed Mulder and Scully in regard to screen chemistry. However, we now have India Fisher as Charley - who comes close to upstaging even Paul McGann with her infectious performance. The character looks promising too, with hints of a dramatic sub plot to their new adventures. The rest of the cast is also top notch. I deplore Blake's 7 - but I must say Gareth Thomas was very good as Lord Tamworth. The all-important script was first rate and the incidental music was very atmospheric: The R101 theme at the start helped visualise its awesome presence in the sky. Finally the David Arnold version of the theme tune captures the essence of the original, deepening the mystery that the tune is supposed to invoke. It is a stunning piece of work, just like the rest of the 110 minutes! Mark Williams. This story really is excellent, well worth the wait! All the performances are spectacular - particularly the chemistry between the Doctor and Charley. I was a little apprehensive about Charley, simply because the trailers for the Eighth Doctor range made her sound awful. They don't do her any justice, however, and she really is a wonderful companion. India Fisher plays her brilliantly. Alistair Lock's music perfectly complements this excellent story. He has managed to create an soundscape that evokes the epic scale of the TV. Colin John Francis. I loved the first three episodes, then episode four just lost it. The Triskele threat was defeated too easily and the last ten minutes with the Triskele gun and Rathbone just seemed to be an add-on story. However, I couldn't fault the performances and overall polish. Mike Johnstone. Episodes 1 and 2 were great, and episode 4 was not bad, but what the flap-doodle-dandy was episode 3 about? Half an hour of silly-voiced people standing on a giant revolving triangle does not a great episode make. A straight historical story would have been a braver and better opener to the season. Johnny Barker. India Fisher makes a self-assured debut, and thankfully she is a new companion who isn't a carbon copy of Ace. The interplay between her and McGann is great - he is the best Doctor since Tom Baker without a doubt. The sound quality and effects are so good it really does feel like you are in the cathedral-spanning interior of a spaceship in part 3, despite the script's excruciatingly dull, comic strip style. Mike Carlin. I know I'll get shot for saying this, but I didn't actually enjoy Paul McGann in this. He was great in the TV Movie but here I felt he was just reading his lines, and continually shouting: a more bombastic Eighth Doctor than I remember. I find it unsettling when I hear fans say he is the best Doctor since Tom Baker after just one TV story and one Audio performance. He's certainly the best Doctor since. well, since the last one. Andrew Pixley. Storm Warning was the business! It was thoroughly enjoyable and well made from start to finish. All of the things that slipped through Matthew Jacobs' and Geoffrey Sax's fingers have been got right by Alan Barnes and Gary Russell. How can you not love a Doctor who can quote Tony Hancock? Ken Moss. Storm Warning is wonderful, until we get to part 3 and the science fiction kicks in. Some stories don't need that element and this is one of them. I was expecting the Who version of Titanic but we're reduced to Independence Day. It's great to see McGann back, and there are some marvellous set pieces and characterisation but I'm disappointed with the way things are going. There is no excuse for Rathbone's awful South African accent or the Doctor's poor delivery of the Tony Hancock line. Andie J.P. Frankham. McGann is great, and even India Fisher comes off okay, but McGann should have had a better debut on audio. Alan Barnes may know what to do when it comes to editing Doctor Who Magazine, or even when it comes to writing comic strips. But when it comes to real dramas? Err, no. However, I cheer David Arnold for his new version of the theme - the more I hear it the more I like it. It is deep, moody, and sets up the darkest of "Doctor Who" tales; which, alas, Storm Warning was not. Tir Coranoch. Am I the only one who thinks the new theme tune is flat and really rather flabby? For an 'action' Doctor like Mr. McGann I was expecting it to really rock. The story was OK, but I was completely held by McGann's voice. Mesmerising stuff. Gesa. Did Mr McGann really wait four years between doing the movie and Storm Warning? One certainly could not tell. This wonderful adventure could have been recorded weeks after the movie. Well done. Rossa McPhillips. Storm Warning is a fantastic return to the pseudo-historical story. It is a story of complete historical imagination and is thrilling to listen to. The plot was a complete surprise and the ending a fitting one. The best of the McGann series so far. Just like 100,000 BC [An Unearthly Child] in 1963, Dr Who always gets off to a good start with historicals. Doctor Who: Storm Warning by Alan Barnes. Released January 2001. ‘Storm Warning’ marks Paul McGann’s debut for Big Finish, reprising his role of the Eighth Doctor after his all-too-brief stint in the 1996 TV Movie. As the ‘current’ Doctor at the time of release, McGann is able to boldly delve into uncharted territory with his Doctor, and it’s apparent from the start that he relishes the opportunity to further explore his character while addressing some of the complaints of his character and sole TV outing being overly Americanized. ‘Storm Warning’ ends up being a very enjoyable adventure but, unfortunately, it gets off to a rocky start as it falls victim to extended and clunky expository scenes, a common complaint of these early Big Finish audios. McGann gives his all in these scenes, but nobody can be expected to talk to himself (and the TARDIS) as he describes everything he sees and smells for such lengthy amounts of time and not falter in delivering plausibility at least a bit. It’s quite telling that by the time he meets his new companion Charley for the first time, she tells him that he must stop talking to himself. Fortunately, as the Doctor finally starts interacting with others, the pacing and quality pick up immensely. The arrival of a flying saucer as the R101 climbs to unprecedented heights heralds the introduction of the Triskele, a simultaneously interesting and disappointing tripartite race. The inherent division is fascinating and lends to some great drama, both with themselves and with the humans and Time Lord; however, the fact that the Uncreators can essentially be defeated through intimidation because of their inexperience- while interesting in concept and a nice subversion on expectations- strains credibility quite a bit and lessens their overall effectiveness. Despite using one of history’s worst aviation disasters in the R101 as the setting, writer Alan Barnes wisely decides not to focus too overtly on the human loss component. Barnes puts his focus onto four of the crew in particular and, even though it initially seems as though everyone is going to be a walking cliché, each is given time to quite fully develop except for Frayling who ends up being so flat and inconsequential that little else needs to be said about the character. However, Gareth Thomas as Lord Tamworth is superb throughout, and proves to be quite the force in handling the Triskele situation. He is quite bombastic in nature, but he’s also very moral and intelligent, willing to accept blame and to attempt to help fix the resulting issues. Barnaby Jones as the villainous Rathbone is also very effective. Undoubtedly ruthless, his loyalty to the Empire rather than just to himself gives his motivations some added context, and even though it is his attempt to capture the Triskele ship that unleashes the Uncreators in the first place and contributes so greatly to the downfall of the R101 , he is given enough intriguing traits to keep him interesting throughout. This then leads to Charley, a self-proclaimed Edwardian Adventuress who has an unquenchable desire to experience the world and its many joys and dangers. She certainly seems as though she has all of the components that make a successful companion but, by the time she gives up her young boy disguise she used to get aboard the ship, she doesn’t have too much time as herself to leave too many impressions one way or another. India Fisher is certainly not holding back, though, pouring emotion into every scene. What her presence and time-changing escape from the R101 does allow for at the very least, though, is the setup of a story arc that will surely have substantial ramifications down the road. Of course, though, the highlight is the Eighth Doctor himself. The script is a very favourable one for him as it allows him to be very proactive, intelligent, and sometimes menacing. There are multiple instances when he expresses concern for and even gives fervent pleas about the web of time. He knows the ultimate fate of the R101 , and while he’s not about to change history, he’s not above threatening to destroy the ship early on to prevent a greater disaster. Ultimately, though it is the Doctor who is able to work around Rathbone and secure some sort of future for the Triskele race. Perhaps one of the most telling scenes, though, is at the end when the Vortisaur within the TARDIS becomes frightened of Charley, prompting the Doctor to consider the fact that he may have gone too far in changing history by saving her life and that he should return her to the R101 in order to meet her original fate. ‘Storm Warning’ is far from a perfect story, then, but it still offers an intriguing twist on a historical disaster and does a great job in reintroducing the enigma that is the Eighth Doctor as well as a brand new companion that is clearly ready to join the adventure. Doctor Who: Storm Warning by Alan Barnes. What’s it about? October, 1930. His Majesty's Airship, the R1010, sets off on her maiden voyage to the farthest-flung reaches of the British Empire, carrying the brightest lights of the Imperial fleet. Carrying the hopes and dreams of a breathless nation. Not to mention a ruthless spy with a top-secret mission, a mysterious passenger who appears nowhere on the crew list, a would-be adventuress destined for the Singapore Hilton. and a Time Lord from the planet . There's a storm coming. There's something unspeakable, something with wings, crawling across the stern. Thousands of feet high in the blackening sky, the crew of the R101 brace themselves. When the storm breaks, their lives won't be all that's at stake. Breathless Romantic: Verbose, optimistic and full of boundless energy, this is a superb re-introduction of the eighth Doctor which conveniently forgets all that amnesia nonsense from the TV Movie and ploughs straight ahead into a reasonably traditional adventure as though nothing had changed since Survival. It is odd how much he talks to himself but then if I had a voice as silky and gorgeous as Paul McGann I would talk to myself all the time as well! He is annoyed at the loss of the TARDIS but is practical enough to realise he will get it back no matter how bad it looks. Just to remind us this is our Doctor he name drops the Hyperion and Storm Mine Four. He immediately shows several differences from his predecessor by carelessly spilling out secrets of the future, he might harp on about the web of time later in this story but he blatantly disregards the rules of time travel here. It seems perfect to me that Paul McGann’s romantic Doctor should be the one Vortisaur hunting. He seems to get off on danger, luring the time beast in by slashing his arm and allowing it drink and armful of blood. Vortisaurs can smell the time vortex in his blood. He describes himself as a Doctor of most things and some more besides. A long haired stowaway! He successfully convinces Tamworth that he is a spy. He loves the thrill and the fear and the joy of stepping into the unknown. He enthuses about the Triskeli ship and enjoys learning about the castes of a new alien species. I loved it when he coaxed Frayling into letting out a defiant roar of anger. Punching is not really his sort of thing but when needs must he packs a smack that sends Rathbone flying. This is a superb opening story for the 8th Doctor giving him centre stage throughout and letting Paul McGann show incredible range, from his opening monologue through to his chemistry with India Fisher, his anger at Rathbone’s tinkering with history and his misgivings about saving Charley’s life. To say this new audio Doctor shows promise is an understatement. Edwardian Adventuress: Well here’s a first - introducing a Doctor and a new companion in the same story, an unenviable task that Alan Barnes pulls of with incredible verve. What really works is how instantly perfect companion material Charley is without actually feeling as though she had been constructed for that purpose. Rather than meeting Charley at the Pollard household dreaming of escaping her dreary life and seeing the world, Charley has gotten an airman drunk, stolen his uniform and is posing as steward Merchford on the R-101. You are already going to love a character like that. I understand that some people find India Fisher’s eagerness and enthusiasm in the part a chore but I am not one of those people. Fisher injects a great deal of energy and emotion into the character and whilst she does over emphasise the thrill of travelling her reactions throughout the story often feel very real. Together with McGann they make quite a joyful combination. Her slipping accent is hilarious (‘Strike a light is that the time!’). Her first meeting with the Doctor is delightful, he is utterly eccentric and beguiling and you can see instantly why she is attracted to him and him to her. She doesn’t take any nonsense either, standing up to Rathbone and giving him a good hiding when he tries it on with her. Charley does not find the creature ugly like the others, she finds it beautiful and it makes her cry when it opens its eyes. It is like the wonder of the universe is opening before her and she can see her reflection of wonderment reflected in its eyes. She was on her way to the Singapore Hilton to meet a boy, one who laughed at her when she said she could make it there on her own. At the end of the story she invites herself aboard the TARDIS – with lots of giddy talking of mixing with Martians and dancing with Venetians. Great Ideas: A stowaway adventuress who was supposed to die in the R-101 crash – surely that is one of the best companion specs ever. Vortisaurs picking over time ship debris in the vortex and following the TARDIS to the R-101 and attacking. It is a 5 dimensional predator and it leaves 5 dimensional wounds, if it bites your arm it will age it 30 years. The true purpose of the maiden voyage of the R-101 was to return the alien visitor home and steal an alien aircraft. Rathbone wants to take it back to the British Empire so they can rule the Earth forever. He steals the Triskellion which makes the Doctor realise why the ship has to crash land – if he successfully gets alien technology back to Earth in the 1920’s it will change the timeline in catastrophic ways. Rathbone is ultimately responsible for the crash by attacking the Doctor he causes damage to the gas bags. The ship descends for 30 seconds before raking across the French countryside and bursting into flames. The Doctor and Charley escape aloft Ramsey as the flames lick at the sky. Charley is now an anomaly, she was supposed to die and the Doctor ponders on whether he will have to put her back one day. A subject of some controversy in this story is the third episode which are pretty much all exposition surrounding Barnes’ new alien race, the Triskeli. I did not object to this episode at all simply because I found the ideas quite refreshingly different and well presented. Their symbol is the Triskellion – the sign of the three and their race is divided into three castes. The Engineers are the rational thinkers, the brains behind the operation. The Uncreators are the dark heart of the Triskeli, the urge to destroy. The Lawgiver is the free will of the Triskeli. They used to be destructive individuals with all three of these elements combined but they divided themselves so they could control themselves. It is a benevolent autocracy; nobody can do anything unless the Lawgiver gives his permission. They walk without touching the ground and the decks of their vessel move around the people. The Lawgiver is dying and the engineers sent the Engineer Prime to Earth to find an earth man to be the new Lawgiver. The cliffhanger to episode 3 sees the Lawgiver shot dead by Rathbone and the monstrous and deformed Uncreators now have free will. Brilliantly it is not bullets that hold them back but a good roar. As they have never been threatened by a new species for so long they don’t know how to react to such aggression. Standout Performance: Beyond the two regulars who do sterling work it is Gareth Thomas who shines here, shamelessly stealing any scene he is in as Tamworth, the upper class Brit with a flowery turn of phrase. He is ambitious, driven and doesn’t suffer fools gladly. He sends the R-101 up to meet the Triskeli under no illusions that he will walk away with one of their magnificent aircraft. His character makes the most interesting journey as he soon realises that the Triskeli do not deserve to be dragged into human affairs and elects to stay behind as their new Lawgiver. It is a superb performance by Thomas and it is just a shame that his decision at the conclusion rather prevents any re-appearances. Sparkling Dialogue: ‘Why is it I’m reminded of Jonah in the belly of the whale? It’s like a giant ribcage stuffed with obscene pulsating organs as far as the eye can see!’ ‘The R-101 airship took to its skies for her maiden voyage to India early in October 1930 and crashed in flames in France during a storm in the early hours of the next morning killing everyone aboard.’ ‘A million planets circling a million suns Charley where the starlight makes colours the human eyes have never seen.’ ‘Can you imagine the glory of descending from the clouds with a prize like this? Imagine what mastery of science behind a craft like this would mean to the world? To her security! No more wars. No more dissent.’ ‘Keep it up Rathbone, you’re making history.’ ‘You know nothing about time. Do you know about the web of time? Hmm? Do you know history can’t be changed? You take an alien energy weapon back to England now in 1930 and then what? You strip it down, you study its design and master ion beam emission in a few short years. By 1940 you have spitfires mounted with laser canons. Fight the Battle of Britain that way. The British Empire is supposed to be falling apart, her colonies gaining independence. With weapons like these nobody would dare oppose her. You’ve learnt nothing today.’ Audio Landscape: The opening is just lovely as we fly through the vortex with the TARDIS before moving inside to reveal the unearthly heartbeat hum of the McGann interior. The time ship crashes over and over again with the Vortisaurs circling and screaming. There is a fabulous popping and crackling radio broadcast that introduces us to the R-101 which merges seamlessly on board the craft itself sailing through strong winds. The TARDIS materialises in the windy hold and the Doctor steps in lots of puddles. Doors squeak in true 1930’s fashion. Lightning cracks and a Vortisaur smashes through a window letting in the storm with it. The Engineer Prime’s high pitched voice is creepy and sweet at the same time. The descending flying saucer is very dramatic. Army boots march across Triskeli space as Rathbone prepares to attack. The gas bags creaking is very ominous, the beginning of the end of the R-101. Musical Cues: This is a truly filmic musical score for an epic adventure in the skies. The music captures the scale and the wonder of the story. I love the piece where they finally reach 5000ft – bold and dramatic with a military drumbeat. The story gets a second wind when the R-101 departs Triskeli space and the music reflects that, it is wonderfully upbeat and exciting. Isn’t that Odd: I’m still not sure about that version of the theme tune. It still sounds like someone farting the Doctor Who theme to me. Rathbone’s accent is astonishing but I’m not certain in a good way. Alan Barnes. Alan Barnes (born 17 March 1970 [1] ) is a British writer. He began at Doctor Who Magazine as a comic writer, then edited the magazine for a number of years. He wrote the first half of the Eighth Doctor comic strip stories before becoming assistant editor under Gary Gillatt (the magazine's editor at the time). [2] In issue 237, released on 14 March 1996, Alan Barnes was credited as "Assistant Editor". He continued to hold this position until issue 271 in November 1998. The following issue he began to share the position of editor with Gary Gillat. By July 2000, with issue 293, Barnes had assumed full duties as sole editor (and was credited as such in the magazine's credits). Barnes was also editor of the Magazine from 2001 to 2005. Barnes created, or more precisely, "fleshed out" the character of Charley Pollard, who was introduced in Storm Warning . He was given the brief for Storm Warning and in it was the instruction that he had to introduce a companion called "Charley". [2] , a audio drama, was cowritten with . However, Barnes has said that he "wrote the script from Nick's very detailed scene breakdown. Which was a fascinating experience – like painting, or something. A storyline is a fairly cold, mechanical blueprint of a thing; writing the script is about adding colour, finding ways to bring it to life." [3] In addition to his audio and comic strip credits, Barnes has also written one television story, The Infinite Quest , originally a thirteen-episode animated story made up of three-and-a-half-minute episodes broadcast as part of Totally Doctor Who .