Concluding my series of mini-reviews on the short stories to be found in the charity War Doctor anthology, Seasons of War, edited by Declan May and published by Chinbeard Books.
We’ll wrap up our coverage of the Seasons of War charity anthology with a look at the promotional short film that was released in January 2015. The film serves as a promotional trailer of sorts for the anthology. As such, it is less a coherent story of its own, and more a collection of scenes pertinent to the stories in the anthology (and one in particular, as we’ll see). Still, there is a narrative, though not a lengthy one, and we’ll follow it. Let’s get started!
The majority of the film takes place on Warisia, which was last mentioned in an early story, Corsair. It’s the site of the Battle of Infinite Regress, the repeating conflict which the Warrior and the Corsair set out in the Battered Bride TARDIS to stop, or else prevent. The events of this film happen in and around that battle, although it’s not immediately obvious; the main perspective is that of a Warisian girl, who wouldn’t be time-sensitive, and therefore wouldn’t be aware of the repetitions the way the Time Lords are. She provides a narrating voiceover, which I won’t reproduce exactly (as I’m going to provide a link to the film at the end), but will summarize as we go.
The young War Doctor strides up the beach toward a Warisian village, stopping only to use his Dalek-eyestalk telescope for reconnaissance. Our narrator tells us that he is the greatest of all warriors, and has been fighting forever. He is a renegade to his own, but a hero and a protector to the Warisians, as to so many others. She speaks of the never-ending War as her family binds their wounds and works in silence; the Corsair joins them, but brings no help as yet. At night, the narrator—still a child at this time—sets an intruder alarm in her beloved teddy bear before going to bed. Even at this age, she knows that for the Warrior to win, to defeat his enemies, will require terrible things of him. In the morning, he comes through her village as her people cheer; she stops him long enough to place a gift, a homemade bracelet, on his wrist. She is confident that he will never stop—but will always be alone.
We see a montage of scenes of the War—the TARDIS, a world-ending explosion, the Daleks, a sonic screwdriver.
The narrator explains how the War made the Warrior old, and stripped away so much from him. Later, the war at last moves on from her world, leaving peace in its wake, but a broken people. The narrator, now older and now become an accomplished young artist, sits at a table, sketching the man who led their liberation. At that moment, after so long, he returns. Now old and battle-weary, he is no longer the man he was; and his actions have made him ashamed. With empty eyes, he returns her long-ago gift.
She knows not to ask his name; instead, she asks what he once was, before the War. There’s horror in his answer:
“I was a kind of healer once…but no more. No More.”
The anthology returns to the film for its final entry, The Director’s Tale, by film director Andy Robinson. Several months prior to the release of the film, he was approached by Simon Brett, whose work—both literary and artistic—we have seen several times throughout the anthology. The initial request was for a thirty-second artistic piece to promote the book; the end result is seven times that length, at just over three minutes and thirty seconds. (I’m counting only the actual production there; the full running time is 5:38, but that includes two minutes of credits and promotional information.) It’s safe to say Andy Robinson may be a bit of an overachiever.
He defends his decision, though, in true fan fashion. Andy Robinson has wanted to direct an episode of Doctor Who for years; that chance may or may not ever come, but the desire has given him plenty of energy and passion to pour into projects like this. He attributes that desire to the same origin story so many fans have had over the years: hiding behind the sofa as a child when Doctor Who came on (he attributes his childhood fear not to the monsters, but to the theme music, to which I heartily say “me too!”—that music scared me to death as a child. Listen to it and pretend it’s for the first time, you’ll see what I mean; it’s quite creepy). As an adult, he, also like me, has come full circle, and now watches with his own child.
He describes his vision of the War Doctor here as a western, and it shows; he comes off in a very “lone gunslinger” way. It’s a characterization that would no doubt make the War Doctor himself sputter and shout, but it’s accurate; after all, what else is he? He’s the man who wanders into town, takes out the bad guys, and moves on, never telling those he saves about the burdens he himself carries. The television series may have spoofed the genre (I’m looking at you, A Town Called Mercy, which I have to say is quite good, spoof or not), but this film plays it straight—or as much so as a show about a time-travelling alien can do.
For those who are fans of the Corsair, there is a brief appearance here; he doesn’t do anything, really—his actions are addressed a little more in his story in the anthology—but you at least get a view of what he looks like in this incarnation, complete with—if you’re quick—his snake tattoo (see above!). The character is played by Tom Hutchings. The War Doctor, meanwhile, is played by Tom Menary; the full-body shots we get of him are of the younger War Doctor, while the old War Doctor is only present from a point of view that won’t show his face, and is played in hand shots by Simon Tytherleigh. The tribute at the beginning of the book states that Sir John Hurt was approached about the entire project in advance; though he gave his blessing, he was not able to appear in the film, either visually or for voiceover work. The Narrator is played in her childhood appearances by Daisy Batchelor, and in her adult appearances by Becky Rich. The full credits can be seen at the end of the film; there is an abbreviated version included at the end of The Director’s Tale, but everything in it is also included in the film credits, so I won’t reproduce it here. It’s interesting to note that all of the major actors also served in production roles of various types.
And, as they say, that’s that! We’ve reached the end of the Seasons of War anthology. The series continues, however; look for Seasons of War: The Horde of Travesties and A History of the Time War in December 2017, followed by War Crimes: Dispatches & Testimonies from the Dark Side of the Time War; Seasons of War: Gallifrey; Seasons of War: Corsair; and Seasons of War: Regenerations, all in 2018. I’ll be putting this project on hiatus (and returning, albeit erratically, to my other review series) until December, when we’ll return for the next novel. See you then! Thanks for reading.
You can view the Seasons of War short film here. (For those who have the book, unfortunately, the website listed at the end of The Director’s Tale is no longer a valid source for the video, but YouTube has you covered at the link above.)
Seasons of War: Tales from a Time War is now out of print, but more information can be obtained here, here, and here. To follow the series as it develops, please consider following the Seasons of War Facebook page, here.
Next (See us again in December!)
New to Seasons of War? Want to catch up before The Horde of Travesties and History of the Time War launches in December? Click here for the first post in this series! You can follow the “Next links on each post to continue.