In 1995, System Shock by Justin Richards was published. Written for the Virgin Missing Adventures range, it was a Fourth Doctor thriller in the vein of Robot or The Seeds of Dooms for the mid-1990s age of the technothriller. It was also a splendid read for those who are fans of such things (as this reviewer happens to be and their review of that novel will attest). It’s no surprise then that a few years and a change of publishers later, when a hole needed to be filled in the schedule in a mere three weeks, Richards would create a sequel with a whole new “shock” for Tom Baker’s Doctor to face. And all in time for the turn of the millennium.
But does it hold up nearly a quarter-century after Y2K turned out not to be the end of the world as we know it?
As a writer and now novelist myself, I’ll start by tipping my hat towards Richards for writing this in three weeks because when it works, it works. Like with System Shock before it, Millennium Shock works best when it’s in thriller and action mode. This is an Earthbound tale in familiar (British) settings, including a climax set around a single location in the country. In being so, it also captures their spirit with sizable action sequences and set pieces that help to give the novel an international flavor as action shifts to post-Cold War Russia for a few brief sequences. The influence of then recently revived James Bond films with Pierce Brosnan is apparent as well, from break-ins into high-tech facilities calling to mind 1997’s Tomorrow Never Dies. Yet the biggest Bond influence comes as the Doctor takes a cue from the iconic sequence of 1995’s Goldeneye, commandeering a tank and driving it through the cold streets of London (and not St. Petersburg in 007’s case). It’s something that helps to make the novel a page-turner in its best moments, which is all the more remarkable given the speed at which it was written.
Like with its predecessor, Richards leans heavily into recreating the characters and chemistry from the TV series. The Fourth Doctor and Harry Sullivan are the stars of the novel, which adds to that “boys own adventure” atmosphere of the thriller plot. Both the Doctor and Harry are present and correct, albeit with the Doctor in Season 14 mode and Harry very much his older but recognizable self working for MI5. The Doctor has more of a sense of wit than he did in System Shock, in keeping with where the Doctor was going on television. Harry, meanwhile, is the wry late middle-aged man of action with a touch of sarcasm. Older, a little wiser, less of an imbecile, but still recognizably Harry. Indeed, having just come off recently listening to an older Harry in Big Finish’s Two’s Company episode from the Once and Future anniversary audios not long before embarking upon my read of the novel, the two visions of an older Harry written two decades apart matched up quite well. Add in a brief but welcome cameo from Sarah Jane Smith (partly recreating the final scene of System Shock) and you get a natural continuation of these characters from who they were to who they’ve become in the then-present.
Which is a way of saying that the novel has its pros, but also that it has its cons. While it’s surprising that Millennium Shock is as good of a thriller as it is given the speed at which it was written, it’s by no means as solid as System Shock was. Something owed to the plot which alternately involves a new group of Voracians attempting to resurrect the digital creature from System Shock, the decaying former Soviet military establishment (how topical that feels now with how the War in Ukraine has gone!), and shenanigans involving the British military and Prime Minister. Any of which, or a combination of one or two, would have sufficed. Here, however, the sheer amount of moving parts in it, from subplots to supporting characters, gets to feeling a bit much at times. Not necessarily because of how much there is but how Richards attempts to connect them together. “Attempts” because the end result, when the big reveals occur in the closing third or so, comes across as rather convoluted in places. To the point that the plot feels like a mildly revised first draft, the one place where the speed at which it was written shows all too well.
So, too, does the novel’s tie into that greatest “threat” at the turn of the Millennium: Y2K, the Millennium Bug. Given when the novel was written and published, one can’t fault Richards for penning a Doctor Who take on what at least some thought was likely to happen as 1999 turned to 2000. Indeed, the series in the early Wilderness Era had a minor obsession with the turn of the Millennium from it being central to the plot of the 1996 TV Movie to the novel Millennial Rites and even some comic stories. The problem, of course, is nothing dates worse than visions of the future. While Richards was depicting a (very) near future that felt plausible to readers in 1999, it’s even more dated than System Shock was in its reliance on the technology and fears of the moment. Whereas System Shock (and any number of non-Doctor Who thrillers) can create tension out of moments in history (or thereabouts) that have passed, Millennium Shock instead feels like a rather alarmist time capsule of fears on the edge of 2000. One that, because of just how much it ties into them, is undermined by them with the passage of time.
The result? Dated, convoluted, but a fun read all the same. Especially if you’re a fan of the subgenre of the Doctor Who technothriller.
And where else will get Tom Baker’s Doctor driving a tank through London?