Officially titled, like its TV predecessor, simply as Doctor Who, this is one of a very few DW novelisations that was never published under the Target banner. This was the first Doctor Who novel to actually be published directly by the BBC, before even Virgin's licence had run out and the New Adventures were winding down. It was the first novel to star the eighth Doctor, and indeed, his first major appearance in the UK, being released shortly before the movie was aired by the BBC. Oddly enough, however, it was never officially published outside of Britain. It seems that with the recent revival of the Target imprint it would be a perfect opportunity to reprint the novelisation, but there are apparently rights issues preventing this (the TV Movie being something of a copyright minefield).Despite my fondness for the movie, this is the first time I have read the novelisation. I did listen to Paul McGann's reading of it (on audio cassette!), but that was heavily abridged and reworked by the author to bring it more in line with the broadcast programme. As Russell points out in his opening to the book, this was adapted from an early draft of the script and based on limited visual information, and so in places differs wildly from the actual film. When he wrote the novel, Russell was still quite early on in his Doctor Who career, which is still going strong, and he is one of the stalwart writers of tie-in books material. I've always found his prose unchallenging but entertaining, exactly the sort of style that suits a novelisation. I get the feel that it was knocked out in something of a hurry, though; there are a few glaring typos, including one amusing moment when the Doctor is described as having "long back hair."
The differences between the novel and the film are, as with the best of Target's novelisations, a huge part of the appeal of the book. While the story is still breathless and strange, it actually hangs together rather better than what we got on screen, with some of the more howling plotholes filled in. There's also a lot more insight into the characters' lives than in the film, which really only found time to examine Grace and the Doctor. In particular, we learn a great deal more about Chang Lee's harsh childhood, giving us an understanding for why he would side with the Master (aside from the villain's obvious hypnotic abilities). He even gets a proper redemption, rather than simply being killed as soon as he turns on the Master.
The Master is far more like his old self here. While inhabiting the body of Bruce the paramedic, he still sounds much more like the verbose, eloquent Master of the Ainley and Delgado incarnations. He is also visibly decaying throughout, as was ostensibly the plan in the film before production difficulties reduced it so much it was scarcely noticible. By the time he captures the Doctor, his body is falling apart. The climax is especially different, with the Master almost managing to create a new body from the Doctor's life force, leaving him in a half-formed state, rather like the Watcher from Logopolis.
The relationship between the Doctor and Grace is more one-sided here, with the Doctor more overwhelmed with excitement when he kisses Grace rather than any real romantic interest. There's also a continual reminder of the Doctor's past in the form of his straw hat, mysteriously still in the Doctor's possession throughout and providing a link to his previous incarnation. Russell also peppers the story with little nods back to the New Adventures, making it feel rather more like part of that series than the BBC Books EDAs that were to follow.
The novelisation is a strong Doctor Who adventure, perhaps rather better a story than the film it's based on, and a good introduction to the eighth Doctor in prose that would slot in nicely between Lungbarrow and The Dying Days.
Data:
First published by BBC Books in 1996
Based on Doctor Who, first broadcast in 1996
Audiobook read by Paul McGann
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