Addenda (1964-1979)

The following additional items have come to light since the book was originally published in 2012.

Page 186:
Hik Weller’s last name is spelled ‘Wellar’ in the second episode and again in the fourth.

Page 211:
The helicopter with the registration ‘G-AWFL’ is also seen in episode two of the television serial ‘The Ambassadors of Death’, broadcast 28 March 1970.

Page 401 (after THE FIRE FEEDERS):
In March 1977, TARDIS (vol.2 no.3), the Doctor Who Appreciation Society fanzine, reported the news that Polystyle Publications were about to move the strip from TV Comic to a new title called TV Adventure. This new comic was planned as a revival of the former  Countdown and TV Action, with TV Comic to be aimed at a younger readership. The report indicated that the Doctor Who strip would be printed in full colour and that Gerry Haylock would be invited back to provide the artwork. TV Adventure never eventuated and the strip remained in the pages of TV Comic. However in April 1978 (shortly before making the decision to terminate their licence for the Doctor Who strip), Polystyle did launch a new action-themed comic, Target. This new title might have been what was originally planned as TV Adventure. Target lasted for 19 weekly issues before merging with TV Comic in August 1978.

Page 455:
‘The Vampire Plants’ borrows liberally from an early 1950s comic strip story called ‘Rockingham’s Tree’, published in Spaceman: Comic of the Future, a British science fiction comic that premiered around March 1953 and lasted for 15 issues. ‘Rockingham’s Tree’ was an eight-page, black and white comic strip, and was one of a series featuring the exploits of Bill Merrill and his colleagues from the Scientific Investigation Bureau. In the strip, Professor Rockingham discovers a Mercurian Tree and puts it on public display in his botanical gardens in England. The nightwatchman is killed and the tree goes missing. Merrill and Velma, a fellow member of the Scientific Investigation Bureau, are called in to investigate the mystery. Colonel Butterworth is attacked by the tree in the countryside and pushed over a cliff. The tree is located in Epping Forest but it has grown to an enormous size. Merrill, Velma and Rockingham are trapped in its branches. They set fire to the grass and escape from the tree’s clutches as it is engulfed in flames. The plot has some strong parallels with ‘The Vampire Plants’ but it is the similarity of the artwork removes any doubt that the Bill Merrill story was the source of the Doctor Who strip. A number of panels are close reproductions, including illustrations of the botanical gardens, the sequence with Dr. Vane’s assistant Regan (substituting Colonel Butterworth from the original), the Doctor and Jamie (replacing Bill Merrill, Velma and Rockingham) discovering the enormous plant / tree, and lastly most of the final page, with the arrangement of the panels and the artwork closely copied. Only the first and last panels on the last page are completely different. It is unclear whether ‘The Vampire Plants’ was plagiarism or was developed with the permission or involvement of the creator/s of the original story. The writer and artist responsible for ‘Rockingham’s Tree’ has not been identified. The Bill Merrill series was created by British comic strip illustrator Ron Embleton early in his career, but ‘Rockingham’s Tree’ might have been the work of a different artist.

Page 477:
Artist Brian Bolland includes in his book, The Art of Brian Bolland (2006, Image Comics), a strip page that is clearly based on ‘Emsone’s Castle’. Bolland’s page begins with the Doctor recovering after being struck on the head by Gurk, and ends with the Doctor suffering a mental assault as he walks along a passageway in the castle. This sequence spans just over two pages in the original version. In addition to the different illustrations the captions and dialogue are also reworded. Krass appears fully restored in Bolland’s version and accompanies the Doctor to the castle. There is also no mention of Leela. The sample page was apparently produced between late 1978 and February 1979 for, in Bolland’s words, ‘some people called Lyncross’. Nothing else is known about this but it appears to have been a proposal for a new Doctor Who strip that never progressed any further. By late 1978 Polystyle had given notice of their intention to cease publishing a Doctor Who strip in TV Comic, so it is possible that ‘Lyncross’ planned to acquire the soon-to-be-available licence from BBC Enterprises. In 1979 the licence went to Marvel UK’s Doctor Who Weekly, for which curiously enough, Brian Bolland was initially considered as the artist on the comic strip.

Page 484:
Reprinted: … Doctor Who 50 Years – The Daleks (16 May 2013).

Page 515:
Reprinted: … Doctor Who 50 Years – The Daleks (16 May 2013).

Page 538:
The Dalek Painting Book, published in June 1965 by Souvenir Press and Panther Books, featured a three-page abridged version of ‘Monsters of Gurnian’. Panels from the original strip were redrawn with simplified line work. The strip retained its original title. The adaptation copied most of the panels and wording from the first two and a half pages or the strip before abruptly concluding with an illustration of the Daleks surrounding Andy and Mary’s spaceship based on one from the penultimate page of the original strip. In addition, The Dalek Painting Book featured illustrations based on panels from other strips in The Dalek Book, including ‘Invasion of the Daleks’, ‘The Humanoids’ and ‘Battle for the Moon’.

Page 545:
The Dalek Action Paint ‘n Puzzle Book, published in March 1966 by Souvenir Press and Panther Books, featured a four-page abridged version of ‘The Orbitus’. Panels from the the original strip were redrawn with simplified line work. The strip retained its original title and the wording of some of the captions and dialogue. The adaptation covered material from the first three pages of the original strip, but omitting the bank robbers (who in the original are observing Roger at his school and later wait at the gates to abduct him as he heads home). In addition, The Dalek Action Paint ‘n Puzzle Book featured illustrations based on panels from other strips in The Dalek World, including ‘The Mechanical Planet’, ‘The Invisible Invaders’, ‘The World that Waits’ and ‘Masters of the World’.

Page 582:
GENESIS OF EVIL [TV Century 21 #1-3]
Doctor Who 50 Years – The Daleks (16 May 2013) p68-70 col

Page 585:
THE TERRORKON HARVEST [TV Century 21 #70-75]
Doctor Who 50 Years – The Daleks (16 May 2013) p95-100 col

Page 589:
‘Genesis of Evil’ and ‘The Terrorkon Harvest’ were reprinted in Doctor Who 50 Years – The Daleks, a ‘bookazine’ edited by Marcus Hearn and published by Panini Magazines on 16 May 2013. The bookazine’s format proved to be a good fit for the proportions of the strip pages. The two stories were simply titled The Daleks.
Chris Bentley, who was involved in preparing the strips for the bookazine, noted in an article introducing the strip that the pages were reproduced from the original artwork. The original artboards for many of the pages from the strip were available, but Hearn selected these two because he wanted to feature the first story and a complete Ron Turner story. “I thought this would give us a representative selection of the most important / best-looking material,” Hearn says.
The colouring of the strips in the bookazine is noticeably different to that of the original TV Century 21 printings. Hearn explains this variance: “Our reproduction offers an accurate reflection of what the original art looks like. Every one of our pages came from the original artboards – the first time these stories were reproduced from the original art since they appeared in TV Century 21. If the colours look different on the original printing then that’s down to the processes they used. Today’s techniques are obviously a lot more sophisticated.”
The clean-up and repair work on the artwork was performed by Peri Godbold, but the original colour was strictly preserved. Bentley believes that the bookazine reprints are “the first time that the true colours of the artwork have been accurately reproduced in print … The vibrancy of the colours on the original art boards is staggering in comparison to the reproduction in TV Century 21. This is not just the case with The Daleks strip, but with all of the colour strips in the original comics.” Bentley attributes this to “the printing techniques employed in the 1960s and the way the paper absorbed the ink”, noting that “There were even extreme examples where the colour had actually changed from, say, a pure yellow to a lime green, from a bright orange to a tan brown, or from a light purple to grey.”
The original artboards are missing all of the typesetting seen on the printed strip, such as the Stop Press boxes and recap captions. Bentley believes that the typesetting would have been overlaid on a transparent sheet, which has since been lost or destroyed. The boxes were restored as Hearn and Bentley felt that it would have looked odd if these areas were left blank. Bentley was of the opinion that to use scanned text from TV Century 21 would have resulted in “a detectable blurriness to the lettering which would have jarred with the sharpness of the artwork.” Instead the text was remade, accurately recreating the exact same wording and appearance of the originals.
The same approach was taken with the typeset recap captions, which were remade to match the originals, however in this case some of the text was omitted. The captions are absent on the final episode of ‘Genesis of Evil’, and all but the first and last parts of ‘The Terrorkon Harvest’. Hearn explains the reasoning behind these omissions: “Given that our pages appeared side-by-side, as opposed to at weekly intervals, we decided that readers would have preferred an uncluttered view of the original art underneath.”
The typeset captions on the first page of each story were retained as these provided necessary story information, and the two other instances were the text is restored, on the second part of ‘Genesis of Evil’ and the last part of ‘The Terrorkon Harvest’, were because there were colour blocks for these captions that appeared as part of the artwork.
The ‘Hyper-Space News Agency’ headline was left off all pages of ‘The Terrorkon Harvest’. Hearn says that this was because he didn’t consider this relevant. “We weren’t trying to recreate a page from TV Century 21, but rather to present the Daleks strip in the best quality possible.”

Page 598:
The Doctor Ooh strip was later reprinted in the American science fiction magazine Fantasy Empire #4, published in 1982. The strip was promoted on the cover as ‘A MAD Look at Dr. Who’. The reprint was accompanied by a black and white reproduction of the original issue cover.

This Addenda page will be updated as and when further additions are discovered. If you have noticed something that isn’t covered here or in the book, I would be delighted to hear from you. Please contact me: scoonespaul (at)

With thanks to: Chris Bentley, David Brunt, Paul Castle, William Duffy, Marcus Hearn, Matthew Kilburn, Lee Moone, Ian Snell and Shaqui Le Vesconte.