This post contains spoilers for Lance Parkin’s novel Father Time and the comic Miranda.
How might the adventures of a Time Lady differ from the Doctor’s? One answer to this question is offered by Miranda (2003), a comic devoted to the Doctor’s daughter.
My previous three posts focused on companions in Doctor Who Magazine. Miranda is a very different kettle of fish. The publication was launched independently, marketed at Buffy fans, and unlike the long-running DWM, expired before its fourth issue. (The reasons remain unclear, but this statement from publisher David Whittam suggests the cause may have been lack of funds). So the following critique comes with caveats. Miranda is an unfinished story, and can’t be judged in its entirety. Still, its relationship to Doctor Who raises some interesting questions from a feminist perspective.
The character Miranda was originally developed for Lance Parkin’s book Father Time (2001). I want to devote some attention to Father Time for contextual reasons. This well-written, unsettling, novel describes the Eighth Doctor adopting Miranda—a little girl with two hearts—and raising her on Earth. Although she is brought up to believe she is human, the Doctor knows that her birth father was a tyrannical Time Lord who was murdered in an uprising while she was still a baby. There are hints, never confirmed, that the tyrant may be a future regeneration of the Doctor. Until Miranda’s teens, she is unaware that she is both heiress to the universe and an assassination target for her father’s former slaves. In the mean time the Doctor does his utmost to keep her in material comfort, primarily by becoming a millionaire entrepreneur. He also articulates a depth of feeling for her that we rarely see expressed towards companions. Parkin describes the inspiration for the book as follows:
The Doctor can do all these fantastical things, but he’s not quite a full human being, he’s not quite emotionally literate. As I’ve said before, when I’m writing a Doctor Who book, I think of the most absurd non-Who like idea that I can, and try to get it to work. And the idea here was an image of the Doctor hugging a young girl, and saying ‘you’re my daughter, and I’ll always love you.’ It’s just not the sort of thing he does. So how did he get there? I was really worried about Miranda stealing the limelight, but in the end she’s a wonderful mirror for the Doctor – she really helps define him.
Parkin overstates the incongruity of the Doctor as paternal figure; after all, the First Doctor was introduced as a grandfather. However I agree that a Doctor who commits to “always loving” his daughter feels unfamiliar, for reasons nicely explored by Tansy in her posts on domesticity. The scenario suggests a permanent bond, or a personal tie placed before his public, itinerent, adventurer role. That’s quite a far cry from the mentor-like, but temporary relationships he often forms with young companions.
As Parkin claims, Miranda is a “mirror” for the Doctor; she possesses the same abilities, the same mannerisms… and the same class privileges. The domestic setting gives a new emphasis to the Doctor’s economic independence. His ability to cosset Miranda derives from material riches that are unavailable to other people in the book. Many of Miranda’s reported thoughts express a sense of superiority over her friends. This self-regard is focused on her extraterrestrial levels of intelligence and physical strength, but there is a clear class dimension to a young rich girl feeling innately superior. It is interesting to note that, unlike many companions, Miranda is not offered as a point of identification for readers–even though much of the story is related from her point of view. Instead she comes very close to functioning as a female equivalent to the Doctor. And while his love for her is moving, as a pair they regularly feel alienating and exclusionary. It is intriguing that the Doctor becomes harder to like as he ostensibly becomes more human by putting Miranda first.
If Miranda ceases to be a “mirror” for the Doctor, it is in the treatment of her sexuality. As a teenager she veers between feeling asexual and attempting to fit in with her peers by mimicking their sexual behaviour. Her asexuality is not maintained into adulthood. Rather, her indifference to sex is presented as a temporary adolescent confusion. Worryingly, her first genuine desire is for her would-be alien assassin, Ferran. The attraction partly derives from recognising him as an equal with powers comparable to her own (powers which her human boyfriend does not possess). That might be all well and good without the threat of murder. It troubles me that Miranda’s lust for a man who can match her becomes entwined with lust for a man who wants to kill her. By contrast, the Doctor pursues a quasi-romantic relationship with at least one human woman, seemingly at ease with the inequalities in his favour. There is little challenge to the idea that men should dominate women within the context of heterosexual relationships.
In the comic, also written by Parkin, much of the story’s peril derives from threats of (implicitly sexual) violence to Miranda, which include Ferran’s attempt to coerce their marriage. This is curious as the comic, in theory, has a female-friendly goal. Unlike Father Time, where Miranda is included to illuminate our understanding of the Doctor, the comic makes Miranda the protagonist and doesn’t refer to the Doctor at all. Parkin stated in 2002 that the strip aimed to provide “stories with aliens and robots and fast-paced action, but with a strong female central character” .
Yet the comic’s artwork, combined with certain narrative choices, make Miranda seem much more vulnerable here than in Father Time. She enters the story as a newcomer to space, ignorant of her ancestry; this tried and tested trope for getting readers up to speed with an alien world removes many of the privileges she possessed on Earth. Her physical strength no longer seems exceptional, and she knows less than everybody else. A more vulnerable Miranda would be fine, but isn’t really explored in terms of her feelings or reactions—a feature I’m willing to give a pass because we only have three issues to assess here. We can’t know how her character would have developed.
Miranda’s visual presentation is more problematic. All three issues of the comic are attractively drawn with dynamic panel layouts, but Miranda’s posture sometimes borders on the Escher-like contortions that have become so familiar to comics readers over the past decade. More generally, she’s drawn for the implied male reader’s titillation. In issue two, for instance, Ferran attempts to spy on her in the bath, resulting in illustrations like these (click to enlarge the picture):
Her dialogue regularly opens an ironic gap between her thoughts and the image, but that just strikes me as an attempt to have your cake and eat it. See, for instance, her comments on an attractive male acquaintance, while the focus of the panel is clearly on her own body:
So to come back to the question I asked at the start of this post: how might the adventures of a Time Lady differ from the Doctor’s? On the basis of Miranda, the likelihood of being sexually objectified is a lot greater. How depressing. The comic has so much potential that isn’t realised, partly because of its untimely end. I can heartily recommend Father Time, though.