Written By: Bernd Perplies & Christian Humberg

Read by Alec Newman

Released by Big Finish July 2018

Continuity is a tricky mistress.  On the one hand, I am a fan of sprawling continuities with lots of nooks and crannies to explore, and it is fun when those dots connect in fun and creative ways.  My fandom of both Doctor Who and Star Trek of evidence of this.  On the other hand, when writers get bogged down in the continuity of a franchise, it can become tedious really quick.  And there lies the major flaw of Star Trek Prometheus. 

The first half of this book is nothing but nods to continuity, what little plot there is in the first half is essentially the same bits of information being repeated over and over.  There was an attack, members of one race seem to be taking credit for the act, but they don't have the tech to pull it off.  It could be some other group but there is no evidence to suggest that so far.  I think that cycle of information repeated itself for about 4 chapters.  Just the same info being regurgitated to a different character. 

But in those early chapters that isn't what is important.  What is important is references!  We get a ton in the first half, and it becomes tiresome pretty quick. The novel isn't particularly interested in introducing us to the cast of characters on the Prometheus, and even when they do we have a Chief Engineer named Kirk.  And she is Captain Kirk's Grand Niece.  Give me a break.  But don't worry, he comes Alexander Rhozhenko! Miles O’Brien and Nog! And Spock for no real reason!  And Ezri Dax is a Captain.  Why does Trek's spinoff material require that all main cast members eventually be promoted to Captain or Admiral or beyond?  Ezri Dax was a Counselor with no real ambition for command.  And since they make mention that the fleet is depleted because of multiple recent wars and conflicts...why would all these characters end up being Captains?  There can't be enough ships!

While Deep Space 9 is quite probably my favorite Trek series, I do wish that Trek didn't keep resorting to War arcs in all of it's media.  Exploring a longterm arc about War is what set DS9 apart.  But now it just seems like all anyone is interested in doing with Trek.  It seems that the books have been doing that for some time, and even the latest Trek TV series, Discovery, took a crack at it.  I miss sci-fi concepts and exploration in Trek!

At any rate, there is actually an interesting story hidden underneath all the continuity porn.  There was a terrorist attack, and the book works a bit like a mystery about unravelling who was behind it all. Unfortunately, the book doesn’t actually solve it.  The novel itself ends abruptly, then leads into an epilogue which only serves as set up for the second book.  It is wholly unsatisfying, and it left me rather annoyed, especially as the book had turned a corner for me and stopped being so full of itself about celebrating the minutiae of the continuity, but actually about something deeper.  And then the book just ends with "buy another one to find out how this ends!"

I do wonder what the endgame is for Big Finish.  Do they plan to continue making more Trek stuff?  Is this a dry run to prove they can successfully handle the franchise?  As the Prometheus books were originally published in Germany, and were original to a specific company...did they only get the rights to do these three novels and that is it? As it is this isn't a particularly launching point for them.  It has little crossover appeal, and only really can satisfy mega-Trekkies who love continuity and references. And not just a ton of references to the old shows and movies, but this requires a ton of homework of the novel universe as well. It is not an easy jump on point for newcomers, and if Big Finish has any plans to continue with Trek, using this to show they can sell the property has a major roadblock.  And while their Doctor Who knowledge is top notch...as a fan there were nerdy nit-picky things that were mispronounced here and there, and it took down there Trek-cred, making one wonder if they should really take on this property.  I think they really could do some cool stuff, but nothing on par with Doctor Who.  They just couldn't wrangle the casts in the same way. 

This is a hard one to recommend.  Once it gets past the references to all sorts of Trek lore, it has the makings of a decent mystery story that is contemporary and intriguing...but it doesn't have an ending, and it doesn't stand on it's own in any way.  It requires tons of homework just to fully grasp what has been going in the Federation since Deep Space 9 and Voyager went off the air...and you clearly need the follow-up books to even get the full picture of what the Prometheus is about. 

Written by: James Mitchell, Lewis Davidson, Richard Harris, and Eric Paice
Adapted by: John Dorney and Justin Richards
Directed by: Ken Bentley
Starring:
Anthony Howell (Dr Keel), Julian Wadham (John Steed), Lucy Briggs-Owen (Carol Wilson), Dan Starkey (One-Ten), Adrian Lukis (Major Harrington), Elizabeth Morton (Stella Preston),  Karina Fernandez (Margarita)
Producer David Richardson
Executive Producers Jason Haigh-Ellery and Nicholas Briggs
Music: Toby Hrycek-Robinson
Cover Art: Anthony Lamb
Duration: 4hrs
Originally Released June 2015 

This fourth volume of Steed and Keel’s adventures paddles more in the dark crime drama end of The Avengers pool before suddenly veering into wild fantasy towards the end.

Kill the King

In many ways a re-tread of last time’s The Yellow Needle, we again have a foreign leader (this time from an oil rich far eastern country rather than a newly independent former colony in Africa) being subject to repeated assassination attempts. Again it creates headaches for his security detail that he doesn’t care much about his own safety, and again there’s a tight deadline for an important treaty some forces in his own country don’t want signed. And unfortunaely again there’s a slight non-ending where we never even find out if the treaty is signed.

Where it distinguishes itself is in the tone set by original scriptwriter James Mitchell, who went on to create Callan, itself subject to a Big Finish revival these days. As indicated his later work, Mitchell has a much more cynical view of spy work than the average Avengers writer. Here that shows through in plot elements like Steed not genuinely giving a damn about King Tenuphon’s life or the oil he controls, but simply fearing demotion or worse if he fails in this high profile assignment. Tenuphon himself is a mean, arrogant man that Steed disdains, while the old boys network within British Intelligence coming in for the same scorn that Callan brimmed over with.

Mitchell also presents a rather more rounded and human version of Steed and Keel. He’s one of the few Avengers writers to remember Keel’s murdered fiancé too. Though it’s in what amounts to little more than a cameo for the good doctor (Ian Hendry clearly being on holiday the week this was originally filmed). Even Steed comes as close as he can to speaking of concern and caring for Keel, and pondering if working with Steed is what’s best for Keel, even if it’s to Steed’s advantage.

A Change of Bait

A Change of Bait is the first of these adaptations where I’m not entirely sure the originally intended tone has been captured. The combination of the story description of minor villain Potts having a very bad day, and the surviving telesnaps of the panicked performance of John Bailey (who’d later go on to play Victoria’s father in Evil of the Daleks) as Potts, makes it sound like the TV episode was a format busting comedy episode.  Instead the audio is very much a standard crime drama and while all the plot beats remain the same little is done to play up the more fanciful elements.

After all, this is a plot in which Carol’s landlord (given to having fainting fits in response to bad news) slightly accidentally ends up the owner of an entire cargo ship of bananas and the race to get them offloaded and up the length of England before they turn black. And it involves Steed doing his best impression of Peter Sellars in I’m Alright Jack and bamboozling dock workers with a bunch of pseudo-union jargon. It just feels like it’s meant to be played more ironically than it is here, where it all seems as serious as their cases about prostitution rings and heroin dealers.

It does get a huge thumbs up, however, for featuring an actual ending – rather than simply a punch up or Steed more or less shrugging that the details of wrapping up the case will be handled later. In fact, it’s a rather elegant bit of confidence trickery from Steed that winds things up in a nice sting ending.

Hunt the Man Down

Hunt the Man Down, meanwhile, is another rare case in terms of the challenges in adapting it. The original TV episode is lost. Very lost. Totally lost. In a case that should make Doctor Who fans consider just how lucky they are, there is no video, audio, or even script surviving from this instalment of The Avengers. You could argue that this gave Justin Richards, coming aboard The Avengers’ Big Finish team with this release, more freedom. But the Behind the Scenes extras give a window into just how hard he worked to make the script he worked up from the surviving single page synopsis as loyal as possible to the original TV show. Right down to calculating how much location filming they could have afforded and restricting the number of outdoors scenes accordingly. Similarly, Richards takes care that the length of any given scene kept to those typical of the time.

It’s to Richards’ credit then that this sounds so thoroughly authentic and doesn’t stick out at all on this boxset. It’s a nice little tale of cross, double cross and triple cross, with Steed, Keel and Carol trying to insert a little quadruple cross of their own. All in pursuit of a hidden stash of stolen money. It plays with the trope of the decent career criminal in conflict with out of control maniacs – but never losing sight of the fact a criminal is still a criminal.

Dead of Winter

It wouldn’t be quite accurate to say that this is The Avengers’ take on They Saved Hitler’s Brain, but it’s not that much of an exaggeration either. When the frozen corpse of an escaped Nazi turns up hidden inside a beef carcass being shipped from South America, it creates a bewildering mystery for Steed. It also gives Dr. Keel the opportunity to show off his German as he infiltrates a group of former Nazis plotting the rise of the Fourth Reich. (As usual, when in doubt The Avengers gives Keel some previously unrevealed skill to justify Steed’s need for him).

It’s only the conviction with which is everything is played that stops this from being an episode that would fit in perfectly in the colour era. With (distinctly half formed) plans to wipe out all life on Earth in a nuclear apocalypse while the Nazis wait out the radiation in a fridge. It’s all delightfully daft and also shows off Steed’s more comedic side. This most Bondian of stories start in typical Bondian style, Steed having to console his newest conquest, a Contessa no less, that he has to go as his country needs him. While later he also has to negotiate, for the second time in this set, with union workers at the docks for their help. It’s a world away from the grim civil servant fed up with the seediness of his assignment in Kill the King.

These Lost Episodes releases have always had a bit of a split personality. There’s little here for those that like their Avengers light and witty, but the one story that does fit that mould is so bizarre it might be irresistible.

Written By: Andrew Smith, Ian Potter, Christopher Hatherall, Guy AdamsDirected By: Helen Goldwyn

Cast

David Calder (Nathan Spring / Box), Trevor Cooper (Colin Devis), Linda Newton (Pal Kenzy), Rakhee Thakrar (Priya Basu), Philip Olivier (Paul Bailey), Andrew Secombe (Brian Lincoln), Ewan Bailey (Martin Collyer), Nimmy March (Shayla Moss), Delroy Atkinson (Charles Hardin), Zora Bishop (Armina Hamid), Mandi Symonds (Caroline / Mother Earth), Tim Scragg (Ashton / Hughes), Amerjit Deu (Rez Varughese / Gish), Gabrielle Glaister (Joanne Stack / Janine), George Asprey (Alby Royle / Steven Moore), Andy Snowball (Danny Neal / Pan-Pacific President), Sophie-Louise Dann (Simone Babin). Other parts played by members of the cast.

Purchase from Amazon UK

Like a majority of more recent Big Finish releases, Star Cops starts with a bombastic theme tune, a far cry from the cheesy 80’s pop song that accompanied it during it’s original television run. One of the benefits Big Finish has with this release however is that probably very few people can remember the original series. Only managing one season, this reviewer must confess to having little-to-no prior knowledge and binge watching a few classic episodes to get the feel for what BF were going for. Having seen that and now heard this, it makes one wonder if BF’s intent was to try and do an ‘Omega Factor’, taking a short lived TV property and trying to fill a gap in the genres their audios currently cover. So instead of horror with a sci-fi twist, in this case its crime but with a sci-fi twist. Whereas the original series felt more like episodes of The Bill in space, this feels far more contemporary with the four stories linked by a growing threat from a terrorist organisation. Several members of the original cast are back but joined by new characters, giving a fresh angle for new listeners.

One of our Cops is Missing- Andrew Smith

This opening story puts a lot of the main plot pieces for the rest of the ‘series arc’ in place, as well as re-introducing old characters and introducing new ones. Not an easy thing to do. So it’s not really a surprise that what results is rather less than perfect. The problem is an awful lot is going on, too much in fact. The character of Paul Bailey, played by the always excellent Phillip Olivier, is incognito until the end sequence, which gives him a darker edge shamefully ignored in other stories. Considering this is his introductory story it’s an odd choice, particularly when another character who’s only in this story is given a lot more air time. The cast is all superb, with David Calder and Trevor Cooper slipping effortlessly back into character and new comers Rakhee Thakrar and the aforementioned Olivier, giving likeable, if not at this stage fully rounded characters. Ultimately though it’s something of a let-down and one really one wonders if perhaps the larger ongoing plot should have been left until later.

Tranquillity and other illusions- Ian Potter

Easily a highlight of the set, this one gives a lot of focus to the always wonderful Trevor Cooper. What results is an interesting (if admittedly obvious) mystery, with a lot of laugh out loud comic moments. Unlike the first story, Mother Earth’s presence here doesn’t seem superfluous to events and their threat begins to become palpable. The one negative is that a lot of the characters relationships are tested here, making decisions which as a listener we are informed are not the best idea, only for them to go nowhere or have no consequences.

Lockdown- Christopher Hatherhall

The only earthbound story sees a riff on such classic films as The Towering Inferno and Die Hard. Unfortunately the story is nowhere near as action packed as those two films and at points the obvious ‘riffing’ gets a little too closer (in one sequence a line from Die Hard is uttered in almost the exact same circumstances). Whilst the lack of action is disappointing, the mystery is somewhat interesting and at least Hatherhall is trying to play with his villains motivations and not making Mother Earth the obvious culprit.

The Thousand Ton Bomb- Guy Adams

Wow- well at least the set goes out with a bang (pun intended). Adams presents us with a gritty, menacing and genuinely intense finale that blows all the previous stories out the water. Phillip Olivier is given some really fabulous dialogue and he doesn’t disappoint, finally rounding his character out just that little bit more. There’s a genuine undertone of grittiness to this one that works wonders and it’s a shame that the other stories could not be up to this standard.

Admittedly I feel I’ve been a little unfairly negative towards ‘Star Cops’. On the whole I did enjoy listening to it and it’s certainly an interesting addition to the Big Finish cannon. Unfortunately just a lot of the stories felt half-baked and needed something more to round them out. Recommended for fans of the original series, but it will be interesting to see where Big Finish take this next.

Written by: John Whitney, Geoffrey Bellman, Patrick Campbell, Gerald Verner, Bill Strutton
Adapted by: John Dorney
Directed by: Ken Bentley
Cast
Anthony Howell (Dr Keel), Julian Wadham (John Steed), Lucy Briggs-Owen (Carol Wilson), Dan Starkey (One-Ten), Miranda Raison, Sarah Lark, Geff Francis
Producer: David Richardson
Executive Producers: Jason Haigh-Ellery, Nicholas Briggs
Cover by: Anthony Lamb
Originally Released January 2015

At times, The Avengers feels almost like the work of two separate writing teams, working to very different series guidelines. Earlier boxsets in this Big Finish range included contributions from Brian Clemens himself, who’d go on to be the architect of the more whimsical and witty Avengers of later seasons, and the likes of Donald Tosh, known to Doctor Who fans as of that show’s more humourous writers. But this third set is by a completely different group, one who wholly embrace the original conception of the show as a dark, almost sordid series. It also moves Keel firmly back to centre stage. So much so, in fact, that Steed spends fully half his time running around on Keel’s behalf rather than the other way around.

The Springers

Our first story pulls the narrative trick of dropping us straight into an adventure already in progress. Keel is in prison, using his status as a disgraced former doctor to win over the members of a criminal gang. It’s only at visiting time we learn the real situation – Keel’s genuine medical knowledge has left him perfectly placed to work for Steed as a replacement for a jailbird medic Steed has temporarily gotten out of the way. That criminal is suspected to be next in line for an escape route that has mystified the authorities and Keel’s undercover work is designed to expose it.

Despite the novel setup, this is really one of the lesser Avengers episodes, with the secret of the escape route run out of a nearby finishing school for young ladies being rather pedestrian and not really deserving of Steed and Keel’s skills. It tries its best to make up for its slight plot by dialling Steed’s flirtatiousness with every woman to come within twenty feet of him but it fails to lift it out of the ordinary.

The Yellow Needle

If Steed’s giant libido can make for innuendo and seductive banter that would likely be seen more as sexual harassment this century, The Yellow Needle is possibly the first Avengers episode that feels like it would be entirely impossible to get made today. But for entirely different reasons.

Continuing the trend of new elements of Keel’s history and skillset randomly popping up out of nowhere, we now learn that he spent a year working in a poorly funded hospital in a desperately poor African country. And, for good measure, became best friends with his mentor – the then doctor and current Prime Minister Sir Wilburforce. Now in the midst of negotiating the nation’s exit from the British Empire he’s the target of assassination attempts and while Keel watches his back in London, Steed sets off to stereotypical Darkest Africa to try and root out the leaders of the conspiracy. It’s Steed’s side of the story that’s the real issue, with witch doctors, death cults, torture and tribal leaders distrustful of democracy.

It’s against a problematic backdrop too, with the divide between ‘good’ Africans who want to maintain close ties with the British Commonwealth and ‘bad’ Africans who want nothing to do with the British anymore. Added to this is a remarkably abrupt ending. I had to re-listen to three times to confirm that, yes, it really ends with Keel in mid-fight to save a victim’s life without ever telling us if he lives or dies or what the conclusion of the independence talks actually were. All in all, it adds up to the first genuinely poor episode Big Finish have yet adapted.

Double Danger

One of those episodes which inverts the typical formula of Steed recruiting Keel to a mission, here it’s Keel that finds himself up to his neck in trouble but with the good fortune to know a dashing bowler hatted secret agent who owes him a favour or three. At this stage though, Keel being recruited a gunpoint by a criminal gang to treat a dying man’s wounds feels like a bit of a cliché though we do get the neat moment of Keel sending one gangster off with a list of medicine to retrieve from Carol which includes the mysterious drug “Phonus Equus.” Though that’s mainly because, when Steed does answer Carol’s call we get to hear him dryly note what a terribly clumsy clue it is.

Perhaps never before have we seen the two halves of The Avengers’ personality as a show bump against each other so obviously – as Keel sweats it out in his tense and dramatic situation, and Steed wittily and humourously tracks him down. A scene in which Steed has to interview an old man who’s deaf as a post is terrific fun, and sounds like they had almost as much fun recording it. And Whadham sparkles in those scenes were, as in the previous boxset’s Dance with Death, Steed seems to be treating dealing with ‘ordinary’ criminals as a nice day off. He’s entirely inappropriately delighted, for instance, when a cornered gangster’s moll prepares herself for a visit to the station to stonewall the police and he gets to tell her he was actually thinking of perhaps entombing with some rats for company until she talked.

As is a recurring weakness in these episodes, the secret of this week’s McGuffin (stolen diamonds this time) is too easy to guess and requires the bad guys to be really quite thick, and the conclusion is little more than a fight scene followed by the end title music. But, as usual, it’s hard to care when the journey there is as nice as this.

Toy Trap

Probably the darkest story so far in The Avengers, Toy Trap deals with a prostitution ring scooping up teenage girls straight off the bus to London. Seduced first with attention and gifts the young girls joining the toy department of a major store are one by one inducted into the ring. Because after the initial seduction comes a suggestion to have sex for money, just once or twice to help set themselves up in London, then the incriminating photographs, and the blackmail threats to tell their families back home, and finally the iron fist of the pimp in charge of the gang and virtual slavery.

When Keel is tasked by an old friend with keeping a fatherly eye on the friend’s daughter while she establishes herself in London he quickly becomes alarmed by goings on among her circle of friends at the hostel for girls where she’s staying. So once again he calls on Steed for help in an area where Steed really has no official mandate or motive beyond doing a favour to keep one of his best assets sweet.

But the result creates conflict between them unlike anything since Keel was first investigating his fiance’s murder. Steed pursues it as just another case (and one he’s somewhat ambivalent about and wants dealt with quickly rather than neatly) and Keel sees it as a battle to save his surrogate daughter figure from rape. In a range where the resolutions are perhaps the biggest weakness, this leads to one of their best endings, as the two come to actual blows and the Keel/Steed partnership almost ends forever. Indeed, since Big Finish have shown a willingness to fiddle a little with the running order of these episodes, it’s almost a shame Toy Trap wasn’t moved to being the series finale. With only a small bit of tinkering it would have created a dramatic and effective exit for Keel.

Written by Una McCormack, Trevor Baxendale,
Christopher Cooper and Steve Lyons
Produced and directed by John Ainsworth
Big Finish Productions, 2018

Stars: Paul Darrow (Avon), Michael Keating (Vila),
Jan Chappell (Cally), Steven Pacey (Tarrant),
Yasmin Bannerman (Dayna), Alistair Lock (Zen/Orac),
Jacqueline Pearce (Servalan), Hugh Fraser (The President),
John Green (Mordekain), Rebecca Crankshaw (Zeera Vos),
Dan March (Verner), Susie Riddell (Bowkan),
Bruce Alexander (Galon), Malcolm James (Dev),
Charlotte Strevens (Reeva), Peter Aubrey (Kimar),
Steven Pacey (Kervon).

"How badly do you want this civil war to end, Avon?"
"An excellent question! How much are we prepared to risk for peace?"
Zeera Vos and Avon, B7: Crossfire - Death of Empire
 

The first two volumes in the Blake's 7 - Crossfire ​saga have put Kerr Avon (Paul Darrow) and the Liberator crew in the middle of a Federation civil war. Avon has been content to run disruption against the factions of President Servalan (Jacqueline Pearce) and her predecessor (Hugh Fraser) whom she usurped during the events of the TV episode Star One.
Nor have the two presidents been interested in recruiting the Liberator to their respective sides. Indeed, in the finale to Volume 4.2, the President and his cybernetically-augmented second-in-command, Space General Mordekain (John Green), framed the Liberator crew for a terrorist attack on a Federation colony - to boost a propaganda campaign that portrayed Servalan as weak on security.
However, as the war escalates and civilian casualties mount, the Liberator crew, with the advice of seemingly omniscient supercomputer Orac (Alistair Lock), realise that if they are going to intervene in the war to hasten its conclusion, they must choose a side - and it's a decision that threatens the fragile stability of the rebel crew ...
The first of the four plays in this set is Una McCormack's Ministry of Truth. This tale continues the propaganda theme from the concluding tale of Vol 4.2 (The Scapegoat), although this time it focuses on the "infotainment" wing of Servalan's regime, whose purpose, to quote dramatist Chella Bowken (Susie Riddell), is to "keep the masses entertained, undereducated and misinformed".
Part of that "infotainment" is the drama series Space Command, chronicling the adventures of a Space Commander (Rebecca Crankshaw) hunting down a terrorist group led by the notorious renegade Kervon (Steven Pacey, hilariously channelling his inner "Gareth Thomas" as the fictional hybrid of Blake/Avon!). As McCormack herself describes Space Command in the CD extras, it's B7 within B7!
A critique by a show of itself implies that Ministry of Truth is satirical. However, while Space Command is indeed a parody, it is secondary to a plot which is quite hard-edged and traditional for a B7 tale. Ministry of Truth is more a "base under siege" instalment than high farce, reminiscent of the Vol 4.1 episode Fearless, which introduced the smuggler Zeera Vos (Crankshaw again). The difference is Vos is acting as an official envoy for Servalan, as she investigates whom aboard the infotainment station has leaked valuable wartime intel to the President's forces. Coincidentally, Avon, Cally (Jan Chappell) and Tarrant (Pacey) teleport aboard the station, in a bid to deal Servalan's Federation a blow in the war.
The series regulars and Crankshaw do a superb job of holding the audience's attention, especially as this story marks the first confrontation between Avon and Vos. Crankshaw is cool and collected as Vos in her dealings with the outlaw leader, while Darrow brings out his inner "bastard" as Avon.
It's difficult to tell if it's McCormack's portrayal of the lead or Darrow's penchant for overactIng (or both!) which make Avon seem more ruthless and paranoid in this serial than he is in the remainder of the boxset. His portrayal is more akin to his series 4 persona than the first three TV seasons, exemplified by his prescient exchange with Cally in the closing moments of the story:

"It's not easy to forgive betrayal, is it, Avon?"
"I'd say it's the unforgivable crime!"

As in Fearless, the twist of the tale isn't as astounding as it could be, with the identity of the traitor confined to two suspects: Bowken and infotainment producer Verner (Dan March). The characters are a great contrast; March's calculating, pragmatic and egocentric producer versus Riddell's naïve, idealistic and sympathetic apprentice. Their scenes are the highlight of McCormack's play, and like the character of Zheanne in the previous play The Scapegoat, they provide some insight into how much Federation citizens are frustrated insiders caught in internecine politics.
In many respects, Verner is as much a "survivor" as Avon prides himself. As he says to Bowken:

"You know my philosophy - keep your head down, do your job, don't worry too much about who's in charge! These generals and presidents and space commanders - they don't care a jot for people like us! [On] the plus side, as long as we keep below the radar, they generally don't bother us! I intend to survive this war - and the best way to do that is to go unnoticed!"

Cally has been described as the moral compass of the Liberator crew, and while there are flashes of her scruples in Ministry of Truth, it is best demonstrated in Chappell's passionate portrayal in the second serial Refuge. Having lost her home world to Servalan's machinations (in the TV episode Children of Auron), Cally is not about to abandon war victims when the Liberator encounters a people-smuggling ring orchestrated by Gev Galon (Bruce Alexander), a Federation officer-turned-smuggler and a contemporary of Vila (Michael Keating). Of course, the refugees turn out to be pawns in another scheme, again involving Vos (and by extension Servalan).
While Refuge isn't groundbreaking, Trevor Baxendale's script effectively portrays the war's impact on the so-called "little people" and creates two quandaries for the Liberator crew - whom to back in the conflict and what to do about its humanitarian problem. There are no easy solutions to either problem, and Baxendale writes some great scenes and exchanges between the regulars as the Liberator crew debate the ethics and implications of throwing their lot behind a specific side.
Dayna (Yasmin Bannerman), for example, is loath to provide any support for Servalan, the woman she has vowed to kill for murdering her father. Tarrant is also hardly enamoured with the idea of supporting the former President, his past employer.  Further, Tarrant accuses Avon of having a subconscious "connection" with Servalan that precludes him from taking her out! Tarrant also has another valid point at the serial's end - that as rebels opposed to despotic regimes, it shouldn't be their job to clean up after the warring factions!
Pacey has a great turn as Tarrant in Christopher Cooper's Kith and Kin. Having determined in Refuge that it is time to take a side in the war, the Liberator crew shows little hurry to intervene! Or more accurately, Avon permits Tarrant to follow up a lead by his late brother Deeta (whom Pacey played in the TV episode Death-Watch) on Corrolos, a "retirement village" planet supposedly beyond the Federation sphere of influence.
While Corrolos is largely immune from the events of the civil war, it is clear an earlier conflict - the intergalactic war that bridged series 2 and 3 of B7 - has had an impact on that world's oblivious citizens. One of the inhabitants is Kimar Laratesh (Peter Aubrey) whose wife ended up being sucked into the depths of space while playing a golf tournament!
In the absence of Vila in this tale, Kimar is the light relief, and while Peter Aubrey plays the part well (especially in conveying Kimar's confusion at Tarrant and Cally's news that the colony's administrators haven't been telling the truth), you still get the impression that a potentially great character has been criminally underdeveloped.
For example, Kimar tells the story that his wife called him "Penny" - as in bad penny, or bad luck! It ought to be a nice touch, to help the listener relate better to him. Yet after Kimar tells the story, neither Tarrant nor Cally refer him to by his nickname (making the listener question the purpose of the anecdote!). Nor is any effort made at the conclusion to focus on how Kimar feels when the whole of Corrolos comes crashing down around him - he's presumably meant to process it all by himself after he's bundled off the Liberator onto a long-distance shuttle by an intolerant Avon. It's already taken the poor man 18 months to finally accept that he shouldn't feel so guilty for his wife's demise!
Of course, the fate of Corrolos apparently pales in comparison to the traumas and tribulations of "House Tarrant". While the TV series occasionally focused on the family links of some of the main characters, it's interesting that Big Finish has over the years sought to develop the characters in the audio plays by providing them with (in some instances) contrived backstories that were never even hinted at in the TV series (eg Vila's father is a former Federation governor and high councillor, Avon and his elder brother were members of a neo-fascist, evangelical cult, and Dayna's mother, thought killed in Hal Mellanby's rebellion, is still alive). The Tarrant family history proves to be just as convoluted, as - in what smacks of fanwank - we are introduced to Del Tarrant's other brother who, it is inferred, we've met before - in fact, as early as The Way Back, the very first episode of B7.
Indeed, the connection (by the Tarrant name, which was a cliché of series creator Terry Nation in his B7 and Doctor Who scripts) is tenuous and ambiguous. There's no denying the antagonist is Del Tarrant's brother - it's a more a question of whether the listener accepts the inference that it's the same character that essentially kickstarted Roj Blake's journey and B7 in the first place. Cooper and producer John Ainsworth insist in the CD extras it is - but fans are equally entitled to treat the notion with some hefty spoonfuls of salt!
It is a credit to performer Malcolm James that he provides a three-dimensional backbone to an otherwise two-dimensional character (that was originated on TV by the late Jeremy Wilkin). However, to make Tarrant's brother that character takes artistic licence a little too far and merely attempts to "plug" a continuity "hole" that didn't exist in the first place! It also detracts from the quality of what is (in dramatic terms) a decent tragedy.
Fortunately, Vol 4.3's finale Death of Empire, from a continuity perspective, is a bit more palatable. The story also applies artistic licence to a "gap" in B7 continuity (as referenced in the TV episodes Traitor and Sand) but Steve Lyons, who hinted at the Crossfire story arc as early as his excellent episode Devil's Advocate (Vol 2.5), delivers a cracking and logical conclusion to the saga as the President's forces, tipped off by an informant, close in on Servalan, who is holed up in her palace on the jungle world of Geddon ...
The story - and the outcome of the conflict - plays out as I predicted in my review of Vol 4.2 - although it's never feels like a fait accompli. This chapter is compelling, balancing drama and action with lighter moments, courtesy of humour from Vila and even Zeera in some of her scenes with Servalan (eg "I did not build my imperial palace only to cower beneath it!" Servalan proclaims, to which Zeera counters: "Do you mind if I do?"). All of the protagonists and antagonists are well served by Lyons' script, and as a result, the cast deliver outstanding performances - eg Servalan's larger than life proclamations as "Supreme Empress" (being presidential apparently isn't enough!), the President's sophisticated charm and composure, Avon's dour and sceptical attitude, and Vila's terror of "monster" snakes!
Lyons also revisits the rivalry between Tarrant and Mordekain as they attempt to outwit each other in a game of strategy aboard their respective starships, the Liberator and the Lethal Shadow. John Green clearly relishes his part as the General while Pacey infuses Tarrant with extra obstinacy and anguish in the aftermath of events in Kith and Kin.
In the wash-up (and in true B7 fashion), the Liberator crew find that as much as they want to influence events for the better, they are still very much bystanders in the war - and in internecine Federation politics. Their intervention on Geddon does little to change the outcome, the seeds of which were sewn as far back as the concluding moments of Vol 4.2. Even the identity of Servalan's informant isn't entirely surprising, as it fits within the character's modus operandi to hedge bets both ways.
And so the three-volume, 12-part Crossfire saga comes to a satisfactory conclusion, with this micro-series (much like all four seasons of the TV series that inspired it) ending on a cliffhanger. Overall, the saga has been an ambitious and entertaining run from Big Finish, with some excellent episodes and consistently high auditory experiences throughout.
There have been a few misfires - the terrible Cally one-hander True Believers, the Paul Darrow-scripted Erebus and this volume's Kith and Kin - but for the most part, the episodes have been well written, with a few very clever ideas thrown in for good measure (eg Vila's "devil may care" persona in Fearless, his impersonator in The Scapegoat, the reprogrammed soldiers in Shock Troops and the brilliant blind-siding of both presidents in Funeral on Kalion). The only other criticism one could make (which was itself also true of the TV series) is that the civil war story arc and the characterisations of the regulars are sometimes disjointed. You would expect Dayna to have been psychologically scarred by her experiences in Shock Troops and even Vila to be confused after his turn in Fearless.
As for what BF's next B7 saga holds ... well, it's no doubt all in the name - Restoration (at time of writing, BF has only announced the title, it hasn't nominated a release date or confirmed the cast). With the Federation recovering from intergalactic and civil wars, the Liberator crew will no doubt be a target now that the Federation has been reunified under one leader. As Avon says: "The new regime - the same as the old regime!"
BF may also be raising the stakes a little higher - the "restoration" may well allude to an even greater threat (hinted at in Vol 4.1 episode Resurgence). If so, it may not be long before the revamped Federation begrudgingly calls on the assistance of "the galaxy's most notorious outlaws" once again ...

Written By: Phil Mulryne, Roy Gill, Louise Jameson, Matt FittonDirected By: Ken Bentley

Cast

Louise Jameson (Dr Anne Reynolds), John Dorney (Adam Dean), Natasha Gerson (Morag), Camilla Power (Dr Jane Wyatt), Alex Tregear (Kate), Alan Cox (James Doyle), Richenda Carey (Sarah Maitland), Gunnar Cauthery (Edward Milton), Hugh Fraser (Anthony Archer), Alan Francis (Alasdair Reiver), Ben Fox (Graham Stocker). Other roles performed by the cast.

Producer David RichardsonScript Editor Matt Fitton

Executive Producers Jason Haigh-Ellery and Nicholas Briggs

At the end of my review of the Omega Factor series 1, I made something of a bold statement. I remarked that out of Big Finish’s entire output, the Omega Factor was my favourite release of all time. Now there’s two things to bear in mind here. One is that I haven’t managed to listen to EVERY Big Finish release, though I do feel I’ve listened to enough to make a judgement on the high quality of their products. The second is that I’m admittedly something of a horror aficionado and particularly of tales done in the ‘Jamesian’ mode, namely subtle menacing tales of the supernatural. However, those two factors, the sheer genius on display in OF series 1 was awe inspiring. Not only that but the level of care taken in ‘rebooting’ the series, shows appreciation for the original merged with a strong desire to push it into new and terrifying dimensions. Series 2 then had a lot to live up to and it can’t have been an easy task following on from a series that achieved such critical acclaim. Matt Finton and his team of writers, however, have clearly thought incredibly hard about how to continue. Firstly, they involve an element from the original series that was conspicuously missing in series 1- the organisation Omega itself. However. rather than just have them pop up randomly for the finale, they seamlessly weave them throughout the four tales and even link them to unanswered questions in series 1. Their brief mentions in the prior series already established them as a powerful and dangerous threat, even to listeners unfamiliar with the original series. To help this several reoccurring characters are brought in, Edward Milton (Gunnur Cauthery) and Dr Banks (Richenda Carey). Both actors play their respective roles wonderfully and are given ample time to shine. In line with this new element the series also has more of a ‘thriller feel’, involving political elements and embracing the conspiratory nature of Omega.

Somnum Sempiternum by Phil Mulryne

The first story by Phil Mulryne demonstrates this, as Department 7 are called in by Doyle to investigate a series of political assassinations. Jameson and Dorney slip effortlessly back into their roles cementing far they’ve grown together as a double act. Alan Cox, as Doyle is given a lot more to do and we get to see him soften a little towards the department, a theme which grows throughout the series. Dr Jane Wyatt who was a villain in the previous series, The Old Gods, returns again played by Camilla Power, who plays the role with the same chilling lack of empathy that made her such a success in the previous set. Sadly she doesn’t really have much to do in the episode bar standard villain actions, ala reporting to her mysterious overlords and having a VERY brief confrontation without heroes. It would have been great to see her have more of a standoff with Jameson and Dorney, but that aside it’s an extremely strong opener.

The Changeling- Roy Gill

‘The Changeling’ is by far the stand out story of the set. This episode sees Adam go undercover in a maximum security prison to investigate a series of mysterious deaths surrounding a particularly disturbed inmate, Alistair Reever (Alan Francis). This episode is structured primarily as a mystery, with Dean attempting to work out exactly why Reever committed murder and what forces may be behind it. Due to that fact the less said about this story the better and I urge readers to avoid spoilers as much as possible. However it should be said that the final revelation is utterly devastating and beautifully tragic, Gill having teased the reality slowly but presented enough red herrings so that when the truth hits it hits hard. The Changeling finishes with an element of ambiguity but rather than leave it here this is followed up in later instalments. Whereas one might expect this to damage the stories individual merit, on the contrary it benefits it. These later revelations allow the very personal tragedy on display here to be part of something larger and more sinister, in particular the nature of those events only makes it all the more poignant. A beautiful, haunting masterpiece.

Let the Angel Tell Thee- Louise Jameson

Our third tale begins to escalate the events surrounding Omegas plans, despite our heroes still being somewhat oblivious to the danger around them. Most notably this is written by Louise Jameson who once again proves to be one of Big Finish’s strongest assets. Listening to her in interviews one is given the distinct impression that she has a real soft spot for The Omega Factor and her character of Dr Ann Reynolds. In particular, she applauds the decision to set the series thirty years later (which I also commended in my review of the first series) and it’s a decision she utilises to the full her, exploring Ann as an older woman. Jameson’s strong sense of character is so rich that even brief passing moments of dialogue allow a glimpse into aspects of Ann’s life that we haven’t seen before. The story itself may seem like an old cliché, with Omega attempting to dispose of Ann by getting to her through her love life but like the best of this series, that’s merely an excuse for in-depth character exploration. All of the other regulars are great as is the guest cast, (Hugh Fraser) but on the whole, this is a showcase for the supreme talents of Louise Jameson and what a wonderful showcase it is.

Awakening- Matt Finton

The final tale in the set brings together all the developing plot threads and also includes a surprise (though not entirely unexpected by this point in the series) Villain. Admittedly as a stand-alone story it does suffer somewhat from having an entire set riding on its back, but how it transforms the two sets into one complete story is what makes it great. For example whilst the reveal of what Omega and our extra-Villain are each up to respectively is certainly interesting but not exactly new or groundbreaking. What does make it stand out is the incredibly clever way in which they tie several episodes across the two series together, transforming simple standalone stories into important aspects of a grand master plan. Whilst the setting of the hospital does at points endanger a small scale feeling to what is essentially a grandiose season finale, the emotional links (primarily Adams previously unseen but much spoken of family being involved) work to make the stakes high. All in all the Awakening delivers what its promised and provides a tense and satisfying conclusion, whilst giving a tantalising hint of what’s to come…

With the quality of series 1 so incredibly high, the OF team really had their work cut out in trying to equal it. This work must have been made all the harder by then having to resurrect the previously untouched Omega organisation. The result is not only every bit the equal of the original but a wonderful continuation of an excellent audio series. I made the bold statement in my last review that just after having heard series 1, the OF was my favourite Big Finish series, I stand by it here. A towering achievement that continues to impress.