The Invention of Death from Volume 2 of The First Doctor Adventures written by one John Dorney. Dorney is one of my all-time favourite Doctor Who writers, one of Big Finish’s lead writers and a regular for the Eighth Doctor box sets while occasionally dipping into other Doctor audios, by and large in box sets he tends to steal the show. I can’t even quite put my finger on it, he’s just such a gifted writer teeming with brilliant ideas and concepts, if Russell T. Davies ever brought him over to the show it would be a huge positive acquisition.

This series has close ties to the 50-year celebration of Doctor Who all the way back in 2013 where on top of the 50th anniversary special we also had An Adventure in Space and Time, a biographical television film depicting the origins of Doctor Who and William Hartnell’s time as the First Doctor. The role of William Hartnell was played to perfection by David Bradley who later would morph that role into the First Doctor himself after having appeared in Peter Capaldi’s swansong in 2017. At the same time in December of that year, Big Finish launched a new audio series called The First Doctor Adventures featuring the cast from An Adventure in Space and Time taking on the roles of the original TARDIS crew with the Doctor’s granddaughter Susan and schoolteachers Ian and Barbara.

The Doctor attempts a new theory to try and return Ian and Barbara home only for it to go wrong, as expected. They find themselves on a planet very similar to Earth only inhabited by peaceful creatures that appear to have no fear of anything or anyone, for the simple reason that they can never die. All seems to be going well for the time travellers at first until they make a horrifying discovery that something they’ve brought to this world will change the future of the Ashtalans forever.

This was the first story of The First Doctor Adventures I’d ever listened to and while Jamie Glover’s voice as Ian threw me off quite a bit and it was a little tricky at first to tell Claudia Grant and Jemma Powell’s voices apart, upon further relistens I have grown accustomed to the new cast and feel they do a superb job of giving their own takes on the original TARDIS crew with David Bradley effortlessly embodying the spirit of William Hartnell. But what makes this story stand out as one of my favourites from the First Doctor is its approach to the theme of death (so, cheerful story if you couldn’t tell), not just for what it means in terms of dying but how it can have a positive impact on a society, a motivator to do more and achieve when you know your life is limited rather than just living idly.

This is further enhanced by the involvement of the Ashtalans who are one of the best and most unique aliens I’ve come across in Doctor Who. Beings that do not understand so many terms and words used by our main characters that are second nature to them, which leads to attempts to explain such terms but with great difficulty because they’re terms that aren’t easily defined, they’re just known. This story is probably the most accurate depiction of the possibility of encountering life from other worlds, two species that have very few similarities and struggle to understand one another which is what the first half mostly consists of.

It then leads into the second half where the Ashtalans begin to die, but they don’t know how to react to it because death has never happened on their world. The main characters are faced with the horrible possibility that they’re in some way responsible for this sudden wave of deaths and must act quickly to save the Ashtalans. The reveal of what the cause is and even who’s causing the deaths is a great spin on what would ordinarily be the typical villain of the story. But in this case, it’s not really a villain or someone acting out of evil intentions but rather someone behaving carelessly in the name of science and progress which is understandable but still a terrible act. This all leads to a brilliant ending for the “villain” who comes to understand what death truly means and delivers a beautiful speech.

This one may be a bit of a slow burner for those not used to a Doctor Who story that steps away from the more traditional storytelling but once it gets going it’s an incredible experience and I love it to death (no pun intended).

Thworping through time and space, one adventure at a time!

“The Invention of Death: A Philosophical Journey Through Alien Emotion”

John Dorney’s The Invention of Death, the opening story of the second volume of The First Doctor Adventures, takes listeners on a deeply philosophical journey. The story masterfully balances a richly detailed alien world with mature explorations of human emotions and mortality, creating a compelling blend of classic Doctor Who storytelling and thought-provoking drama.

The TARDIS Team in Their Element

By this point, the new cast of The First Doctor Adventures has fully settled into their roles. David Bradley's portrayal of the First Doctor is appropriately protective and stern, especially in his interactions with Susan, who is wonderfully quick-witted and curious. Ian and Barbara continue to provide a grounding human perspective, and their bond is explored subtly but meaningfully—especially when an alien society inadvertently reveals Ian’s feelings for Barbara.

The opening TARDIS scene is a highlight, establishing the team dynamic with warmth and humour. The singing scene in Part Two—a rare moment of pure levity—offers a delightful respite and encapsulates the charm of this audio series.

The Ashtallahn Society: A Triumph of World-Building

The planet Ashtallah and its inhabitants are among the most fascinating creations in Big Finish’s history. The Ashtallahns, an alien species unfamiliar with concepts like love, fear, and death, provide a mirror through which the story examines fundamental aspects of humanity. Their unique perspective allows for poignant discussions between the TARDIS crew and the Ashtallahns, touching on topics such as heartbreak and mortality.

The alien world is vividly brought to life through the dialogue and sound design, creating an atmosphere reminiscent of the ambitious surrealism of The Web Planet but with greater narrative focus and clarity.

From Philosophy to Mystery

The story takes a darker turn in Part Two, as the Ashtallahn society begins to unravel when human emotions and fears spread like a virus. The first murder on Ashtallah raises the stakes, and the narrative shifts into a gripping mystery. The investigation is as much about uncovering the truth as it is about grappling with the unintended consequences of human influence on an alien culture.

Themes of Love, Fear, and Mortality

Dorney’s script excels at weaving philosophical debate into the narrative without sacrificing momentum. The Ashtallahns’ innocent yet profound questions about love and death allow the TARDIS crew to reflect on what it means to be human. These moments of introspection feel authentic to the Hartnell era, with its penchant for exploring big ideas through intimate character moments.

📝87/100

The Invention of Death is a top-tier adventure that pairs its richly imagined alien setting with a deeply human story. By blending thoughtful debate, emotional resonance, and a compelling mystery, it captures the spirit of the First Doctor’s era while offering something entirely new.

This is THE episode people need to listen too

A masterpiece of storytelling. It does everything this era does best and cranks it up to 100.

It takes the concept of the Sensorites, where a non-hostile species takes center stage, but adds a moral conundrum by making this species immortal and unkillable.

This opens up so many venues and questions, and they all get asked throughout.  What does a lack of pain mean? Can love exist without loss? Is pain the price for progress?

As the party interacts with the species, they learn. However, they are careless with what they teach, which leads the species to wrong, but understandable conclusions. They have created their own enemy, but even that title might be too rough for a species that does not even have a concept for evil.

It just takes what we take for granted, and makes you consider on a base level if those assumptions are truly natural. The contrast the classic party brings to the table works wonders here. They don’t act differently from any other stories, but they just have such a low margin of comparison that it spirals out of control.

It is a masterwork. It leaves its ending a bit open, like usually happens, but that only plays to its strength. We don’t know what will happen, and we might not even be able to conceive it. All we can do is hope, and take a long hard look in the mirror.