B00DPX9ST8 EBOK Read Free Page B

book excludes DWM strips that are clearly parodies that aren’t meant to be considered within the continuity of the strip. The same logic applies to spoofs like Dimensions in Time and The Curse of Fatal Death . For the record, the affected strips are “Follow that TARDIS!”, “The Last Word” and “TV Action”.
    DWM has reprinted a number of strips from other publications over the years. We have tended to include these. The main beneficiary of this is The Daleks strip from the sixties comic TV Century 21 (and DWM ’s sequel to it from issues #249-254).
    It’s certainly arguable that the DWM strip exists in a separate continuity, with its own companions, internal continuity, vision of Gallifrey and even an ethos that made it feel quite unlike the TV eras of its Doctors. This certainly seemed to be the case early on. However, this distinction has broken down over the years - the comic strip companion Frobisher appeared in a book ( Mission: Impractical ) and two audios ( The Holy Terror , The Maltese Penguin ); the village of Stockbridge (from the fifth Doctor DWM comics) has featured in various audios starting with Circular Time ; the audio The Company of Friends incorporated characters from different book and comic ranges; and for a number of years the strip and the New Adventures novels were quite elaborately linked. In the new TV series, we’ve met someone serving kronkburgers (in The Long Game , first mentioned in “The Iron Legion”) and the Doctor even quoted Abslom Daak in Bad Wolf .
    The strip tends to “track” the ongoing story (the television series in the seventies and eighties, the New Adventures in the early nineties) - so the Doctor regenerates, without explanation within the strip and on occasion during a story arc. Companions from the television series and books come and go. Costume changes and similar details (like the design of the console room) do the same. It’s broadly possible to work out when the strip is set in the Doctor’s own life. So, the first Doctor Who Weekly strips with the fourth Doctor mention he’s dropped off Romana, and he changes from his Season 17 to Season 18 costume - so it slots in neatly between the two seasons. There are places where this process throws up some anomalies, which have been noted.
    Also included are the Doctor Who comics produced by IDW for the American market; the Radio Times comics featuring the eighth Doctor; the comics that first appeared in Torchwood: The Official Magazine ; and the Torchwood and The Sarah Jane Adventures webcomics.
    4) Spin-off series featuring characters that originally appeared in Doctor Who (whatever the format), and were used elsewhere with permission by their respective rights holders.
    This needs some explaining... Doctor Who is a very unusual property in that, generally speaking, the BBC retained ownership of anything created by salaried employees, but freelance scriptwriters working on the TV show in the 60s, 70s and 80s (and the novelists working on the books in the 90s) typically wound up owning the rights to any characters they created. Infamously, this has meant that writer Terry Nation (and his estate) kept ownership of the name “Dalek” and the conceptual property therein, but the BBC retained the rights to the likeness of the Daleks, which were created by staff designer Raymond Cusick.
    This is very counter-intuitive to how other series work - a world where Star Trek is so divided (say, with one person owning the Klingons, another owning the Horta and another owning Spock, while Paramount continues to retain ownership of Captain Kirk and the Enterprise ) would be unthinkable. Nonetheless, over the years, the rights holders to iconic Doctor Who characters and monsters have licensed them for use elsewhere, and - unless given reason to think otherwise - their use in a non- Doctor Who story seems as valid as any BBC-sanctioned story.
    The spin-offs included in this volume are:
    • The Bernice Summerfield novels,