Plot
The Doctor's arch-nemesis the Master has taken control of the planet Siralos, which is made of "pure psychic energy". With this planet's power, he plans to mould the universe into his will. To begin, he takes the first seven incarnations of the Doctor out of time and space and puts them in the Determinant, a domain he has created from the conquered will of Siralos. He plans to eradicate any trace of the Doctor from time and space, so he may be free to rebuild the cosmos as he pleases. However, the player's character, the Graak (a psychic being created by the Doctor), pledges to stop the Master's insidious plans, and the game begins.
It is a matter of debate as to where in continuity this game fits. There are onscreen references to the "seven complete incarnations of the Doctor". Confusing matters is the fact that no reference is made to either the Eighth Doctor or the regeneration of the Seventh Doctor, despite the game being released some time after the TV movie.
The Graak is an intelligent, psychic and seemingly altruistic organism that was apparently created by the Doctor. It is turquoise in colour and resembles a jellyfish. It floats about four feet from the ground, and has no visible organs (nor any recognizable features). The Master states that the Graak is protoplasmic.
Although it has no limbs, it is dexterous enough to be able to handle items such as a sonic screwdriver and a radio transmitter. It only speaks when it asks the Doctor questions as part of a challenge, but when it does speak, it talks with a high voice, varying in tone and inflection (implying that speaking is a strain to the creature). When the Master calls the Graak "a good little doggie", it is heard to bark.
Read more about this topic: Doctor Who: Destiny Of The Doctors
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“Ends in themselves, my letters plot no change;
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Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
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—Geoffrey Chaucer (1340?–1400)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)