Digitally restored from the DWM originals, and printed on glossy paper. Creators given at the issue level are responsible for the book as a whole.
This volume contains an unusually high proportion of extra features for this series. While all Doctor Who Graphic Novels contain some amount of extras, The Flood goes so far as to have additional story content, as well a series of other features. Included are: Newly-extended conclusions to "Sins of the Fathers" and "The Flood"; previously unpublished sketches from the artists; the original illustrated pitch document by Scott Gray outlining Destrii's future as the Doctor's new companions; a piece about about the regeneration that never was in an eye-opening 8-page feature by Clayton Hickman on the new TV series' effect on the comic strip along with the alternative, unused script for Part Eight of "The Flood".
Synopsis: Ostensibly mourning the recent departure of Izzy, the Doctor stops into a bar on an unspecified alien world. He's drowning his sorrows in something suitably non-alcoholic when the bartender, Bish, approaches to try to cheer him up.
The Doctor explains how he thinks his life has been sliding out of control, using the rough metaphor of "his job" to obliquely refer to the events that have recently happened in the pages of Doctor Who Magazine.
He tells Bish that he's considering quitting his job altogether, when out of nowhere a female robot, Zalda, comes into the joint prepared to detonate a suicide bomb because of her jealousy over her lover, Renaldo, who's one of Bish's waiters. In his present state, the Doctor deeply empathizes with her desire to have things stay the same, and therefore manages to talk her down. Saying that the only constant in the universe is change, he disarms the bomb and gets her off to a local robot clinic for some emotional adjustment.
Returning to the bar, the Doctor is hailed as a hero before continuing his conversation with Bith. He's been cheered up a bit by solving Zalda's crisis, and talking further with Bith convinces the Doctor that retirement is unnecessary. He concludes as he bids Bith farewell that he needs a nice, long holiday instead.
After the Doctor leaves, the apparent manager of the bar, Carella, tells Bith how much she hates his body. So Bith obliges her by shape-changing into a penguin. Pleased, Carella embraces him as "her little Frobisher" and the two close up the bar and leave, realizing that they never actually got the name of the guy who just saved their lives.
Notes: This story is possibly the only instance in all of Doctor Who fiction where the Doctor meets an ex-companion and neither recognizes the other. Since Frobisher's comings and goings during the Sixth and Seventh Doctor's eras were pretty unexplained, it also usefully puts a definite end time on Frobisher's travels, positively limiting him to having never travelled with the Eighth Doctor.
This story is also significant for beginning a cycle of stories in which the Eighth Doctor travels alone. It was, in fact, the first time since "Endgame" (published almost seven years before) that he was without Izzy.
Synopsis: Dr. Who, John and Gillian land on the planet Darbodia to discover its inhabitants are all drab and devoid of inspiration. Painters can't think of anything to paint, conversation has all but stopped, and even the pallor of the inhabitants' skin is grey and lifeless. Trying to spark the planets' imagination, Dr. Who pulls some fireworks from his medical doctor's bag and literally injects some color into the proceedings.
The inhabitants respond to this sudden infusion of excitement.
Deep in the city's bowels, a mysterious figure recognizes that the citizens' imaginations are returning to them. He sends his killer robots out to quash the mental "rebellion". Gillian is captured by one and spirited away.
Dr. Who, John, and their new friend Pobla stave off the remaining robots, then begin their search for GIllian. The hunt eventually brings them to the lair of Wargonn, the evil mastermind who's been holding the planet's collective imagination hostage by enslaving creatures known as Figments.
Figments, it turns out, are literal representations of the populace's creativity—actual creatures who are, in Pobala's words, "friendly creatures of imagination (who) are made out of thought and give all Darbodians their dreams".
The scientist Wargonn has been hiding them in order to preserve peace in society. He believes that ideas are dangerous in the hands of anyone but the most intelligent members of society. In a misguided effort to prevent society from becoming chaotic, he has thus imprisoned all the Figments.
While talking to Dr. Who about the situation, Wargonn becomes curious about the medical bag. He asks to see what's inside. As he's peering over the lip of the bag, John sneaks up behind him and pushes him inside. The bag can accommodate Wargon because, like the TARDIS, it's "bigger on the inside".
Now trapped like the Figments, Dr. Who makes a deal with Wargonn. He says that Wargonn can either stay inside forever or release the figments. Wargonn hastily agrees, returning live on Darbodia to normal.
Dr. Who, John and Gillian then depart the newly creative world. Perhaps exhausted from the adventure, Dr. Who goes to sleep in a big chair in the TARDIS control room.
The Eighth Doctor, meanwhile, awakens on the "real" TARDIS. Unlike Dr. Who, the Doctor is quite alone. He muses over how simply the problem in his dream was solved, and knows that the world his "grandchildren" exist in can never fully be emulated in the "real" universe. Melancholic over the distinction between fantasy and reality, he scans the lonely TARDIS interior to see his doctor's bag on the floor in front of the TARDIS console. He half-smiles to himself as he realizes that his life, largely, is about trying to make sure, like Dr. Who, that all crises come to a happy ending.
Notes: Roach and Salmon are specifically credited for their work on the last page only. This story is comprised of two very different artistic styles. The bulk of the work is reminiscent of, and specifically dedicated to, the work of Neville Main, one of the principle TV Comic illustrators. In the last page, where the Doctor awakens from a dream, the art is in the then-typical Doctor Who Magazine style.
This story is notable for at least two significant continuity reasons. First, it suggests a period of time post-Izzy where the Eighth Doctor is clearly travelling alone. Second, and more importantly, it directly implies that the TV Comic era in Doctor Who comics history was, as far as the Doctor Who Magazine run was concerned, a dream. John and Gillian's familial relationship with the Doctor, always something of a continuity problem, was thus rendered "imaginary".This story marks a brief return to the in-narrative use of the name "Dr. Who", which had been common in the 1960s and early 1970s, but had long since passed out of fashion in comics. Thus, during the main part of the narrative the central character is "Dr. Who", but after the perspective switches back out of the dream state, the main protagonist is "the Doctor". This story reuses some elements from the Fourth Doctor story, "City of the Damned".
Notes: The version in this volume has new and extended ending versus its original printing. Also included is an unused script for Part Eight.Though she only actually appears in one panel. Izzy is the narrator of this story. The Eighth Doctor's color comics era thus ended just as it had begun: with the Doctor caught between Izzy and Destrii.