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"...This is my ship. Welcome to the TARDIS,” said the Doctor, typing on a keypad below a monitor screen.

“It’s like a mad scientist’s lab.”

“Thanks! You can stay.”

I'm listening my way through The Ninth Doctor Adventures and Monsters in Metropolis is my favourite so far.

The use of a Cyberman in the iconic role within Metropolis makes for a new twist on their race (a similar fresh take also happened in the, more recently released, Sins of the Flesh within the Everywhere and Anywhere boxset).  It's a level of creativity I'd love to see used more often with the Daleks.

The Ninth Doctor's first response to seeing the Cyberman is evocative of the TV episode Dalek, bringing a real sense of danger as Eccleston did in 2005.  And, similar to Dalek, we get to develop a sense of sadness and even empathy for the Cyberman as an increased level of awareness and free-will is exhibited.

A comparison between the ethos of the Cyber-race and the Nazi's creed (with our knowledge that World War Two is on the horizon) brings a sci-fi mirror up to human behaviour; adding the comfort-blanket of distance to allow us the freedom to reflect on what this might mean for us and events around the world - all the more relevant (from an international perspective) at the time of writing this review than at the time of the story's release.

Using the location of the film set of Metropolis adds a sense of occasion and grandeur to the story, and the timing and setting provides a chilling, powerful final message as it draws to a close.

Both a fast-paced and a thoughtful piece, Monsters in Metropolis doesn't hold its punches and, within this range, provides Christopher Eccleston with arguably the best material to sink his acting teeth into yet.

Despite being targeted at younger viewers, there's a lot here for everyone and much more depth than initially meets the eyes.

Considering when this was written and filmed, the thinking about the show at the BBC back then, and the meagre funding; the finished product is amazing.  A set with multiple levels and a cleaner robot that travels smoother than K9 ever has.

There is a wealth of ideas in the script, even 'gang language' that makes you cringe but, then again, the expressions we used to say when I was young do the same.  They add a depth to this world.

Elizabeth Spriggs shines in particular.

I love the idea of a scared hero (subverting the stereotype and opposite to the Doctor).  Weirdly I found the bullying more unpleasant than the cannibalism!

The story isn't perfect:

• why doesn't anyone simply leave?
• I appreciate why the women in the gangs are women and not the children I imagine they were in the script, but it would work far better with teenagers and I struggled to suspend my belief about this,
• The Great Architect in the basement is underwhelming, and
• Richard Briars choice of character/s is... curious

but the story is a fun ride at a good pace.

This is a lost story that delivers; possibly better on audio than it would have on screen.  Sadly, there are no werewolves; but an entertaining adventure based around the war which didn't suffer at its six episode length.

Whilst some "alternative players" brought in by Big Finish are less strong than others, Michael Troughton excels as the second Doctor.