Thursday, 2 August 2012

The Post-Susan Gap Period

Before I leave this section of the marathon, I want to carry on with the chronological issue raised in the aftermath of The Revenants. I originally wrote this before I got a chance to read Set in Stone, so I've had to do some editing; please excuse any archaeological remnants of the first draft.

A Confused Chronology, part 7: Mind the Gap Redux
I'd like to try and fit everything I can from the gap into a coherent order. Be warned: this section contains spoilers for the stories I've reviewed...

Let's start with the easy ones:

1. Venusian Lullaby
2. The Book of Shadows

The first really has to follow straight on from Flashpoint, in the same way that The Time Travellers has to follow on from Crisis; and at the end of the book the Doctor both states his intention of going to the setting of The Book of Shadows and has the information to do so. The events of that story mess about with the timestream, though, so it makes sense that things go somewhat awry after that...

3. The Nine-Day Queen

...coupled with the creature that invades the TARDIS, necessitating an emergency landing.

4. The True and Indisputable Facts in the Matter of the Ram's Skull
5. Set in Stone

I've put these two in this order just because it means that the Doctor is getting them nearer to 1963. There is also the issue of Iananbarbara being comfortable in the TARDIS at the end of this; but it seems reasonable to say that although they are content, they would still prefer to get home!

6. The Revenants

This is fairly explicitly set up to be the last adventure before The Powerful Enemy (see Ian Potter's blog entry); I've bent the rules of my marathon now to rewatch the first TARDIS scene, and think that the writer's done a good job (if you accept the existence of any of these stories, that is).

My current, best avoidance of the problem with repeating the "nearly home" discussion is based on the fact that this is a story told by Ian. He's using dramatic license: the debate this time around would have been perfunctory and go something like, "We've talked about this before - changed your mind?" "Nah." "Me neither." But it wouldn't have worked for Jeannie, and by that point in the conversation he's learned his lesson after nearly getting sidetracked into talking about The Aztecs, so he just includes the fuller version from a previous adventure.

I am also happy to accept that the TARDIS is now so far from primeval Venus, and so battered by temporal events, that the Doctor has to give up on using the Venusian formula. Which leads to my next suggestion:

7. A Long Night

The second production run seems to me to have Iananbarbara less worried about getting home. I see now that part of this comes from the events of Set in Stone, and this probably helped when the Doctor admitted he really couldn't make the Venusian formula work straight after The Wissfornjarl. I reckon that the TARDIS crew could all have got some sleep then, and that the events of A Long Night probably reassured Barbara as well as Joan - though more talk of telepathy and family would have done nothing to ease the Doctor's renewed sense of loss, so it's not surprising that when he next woke he had Susan on his mind.

So, what of the subjects of my other two reviews? The only way Fast Return could be made to fit, occupying as it does the same space as Venusian Lullaby, would be to insert it in chapter one after Iananbarbara's dinner date and before the bit about the neutronium counter. I'd rather not, because it makes one of the things Barbara says particularly crass, but if you insist. Similarly, the Give-a-Show slides could be put in anywhere between The Nine-Day Queen and The Revenants; but it really belongs in a different continuity.

That really should be it, and I should be moving straight on to tackle Vicki's arrival; but I'm going to put it off a little longer. As mentioned last time I have a couple of stories to review out-of-order, and I also want to finish Susan's Tale.

Next Time:
The Mother Road, or the penultimate part of Susan's Tale...

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