Monday, 17 March 2008

Cybermen fact file

The Cybermen are a fictional race of cyborgs who are amongst the most persistent enemies of the Doctor in the British science fiction television series, Doctor Who. Cybermen were originally a wholly organic species of humanoids originating on Earth's twin planet Mondas that began to implant more and more artificial parts into their bodies. This led to the race becoming coldly logical and calculating, with emotions usually only shown when naked aggression was called for.

They were created by Dr. Kit Pedler (the unofficial scientific advisor to the programme) and Gerry Davis in 1966, first appearing in the serial, The Tenth Planet, the last to feature William Hartnell as the First Doctor. They have since made numerous reappearances in their extreme attempts to survive through conquest.

A parallel universe version of the Cybermen appeared in the 2006 series' two-part story, "Rise of the Cybermen" and "The Age of Steel". These Cybermen also appeared in the two-part 2006 season finale, "Army of Ghosts" and "Doomsday". This then carried through to the spin-off Torchwood in the episode "Cyberwoman".


[edit] Physical characteristics

An original Cyberman from The Tenth Planet
An original Cyberman from The Tenth Planet

While the Doctor's other old enemies the Daleks were on the whole unchanged during the original series' twenty-six season run, the Cybermen were seen to change with almost every encounter. The Cybermen are humanoid, but have been cybernetically augmented to the point where they have few remaining organic parts. In their first appearance in the series, the only portions of their bodies that still seemed human were their hands, but by their next appearance in The Moonbase (1967), their bodies were entirely covered up in their metallic suits. As they are relatively few in number, the Cybermen tend towards covert activity, scheming from hiding and using human pawns or robots to act in their place until they need to appear. They also seek to increase their numbers by converting others into Cybermen (a process known as "cyber-conversion").

It is presumed (and often implied) that beneath their suits still exist organic components and that they are not true robots: in The Tenth Planet, a Cyberman tells a group of humans that "our brains are just like yours", although by the time of Attack of the Cybermen this seemed to have been replaced with electronics. In Earthshock (1982), the actors' chins were vaguely visible through a clear perspex area on the helmet to suggest some kind of organic matter. In The Tomb of the Cybermen (1967), veins were visible through the domed head of the Cyberman Controller and similarly, in Attack of the Cybermen (1985) and "The Age of Steel" (2006), the Cyber-Controller's brain is visible through the dome. The first is a Mondas Cyber Controller, while the second involves alternative Earth's John Lumic. However, in Revenge of the Cybermen (1975), the Doctor says they are "total machine creatures".

The audio play Real Time implies that the converted victim's face remains beneath the Cyberman faceplate, although the audio plays, like all non-televised spin-off media, are of uncertain canonicity with regards to the television series. The Virgin New Adventures novel Iceberg by David Banks states that some Cybermen experience rare flashes of emotional memory from the time before they were converted, which are then usually suppressed. The parallel Earth Cybermen in the 2006 series are usually constructed from human brains bonded to a Cyberman exoskeletal shell with an artificially grown nervous system threaded throughout ("The Age of Steel"), although direct grafting of cyber-components is another method of conversion ("Cyberwoman").

Although the Cybermen often claim that they have done away with human emotion, they have exhibited emotions ranging from anger to smug satisfaction in their confrontations with the Doctor (although this is only clearly present during their appearances in the 1980s). Some Cybermen in the early stories were even given individual names such as "Krang". Some parallel Earth Cybermen did retain some memories of their pre-conversion lives, although their emotional response varied. In "Cyberwoman", the partial conversion led to a degree of insanity in Lisa Hallett, which was retained even after she transferred her brain into a human body. In "Doomsday", Yvonne Hartman is able to retain at least some elements of her personality in order to prevent the advance of a group of other Cybermen, and is last seen weeping what appears to be either an oil-like substance or blood. In the same episode, the Cyber-Leader expresses clear frustration at the humans' refusing to surrender, although in a later scene he criticizes the Doctor for showing emotion. In "The Age of Steel", the Doctor is able to defeat the Cybermen by shutting down their emotional inhibitors, enabling them to "see" what had become of them. Their realization of what they had become led them to either simply shut down out of sheer horror, or partially explode. Lastly, when the first Cyber Leader is killed, his head explodes with some white liquid leaking down his body; there are references in that episode to a patented Cybus Industries mixture of chemicals used to preserve the brain.

The Virgin Missing Adventures novel Killing Ground by Steve Lyons suggests that some Cybermen imitate emotions to intimidate and unnerve their victims. The Big Finish Productions audio play Spare Parts (set on Mondas in the early days of cyber-conversion) suggests that the Cybermen deliberately remove their emotions as part of the conversion process to stifle the physical and emotional trauma of becoming a Cyberman. The conversion process in the parallel Earth is termed "upgrading".

This motive behind the removal of emotions is made more explicit in "The Age of Steel" where it is done by means of an emotional inhibitor. In that episode, the deactivation of their emotional inhibitors drives the converted Cybermen insane when they realise what they have become, killing them. This motive may also be applicable to Mondas Cybermen, given their forcible conversion of other lifeforms to Cybermen to maintain their numbers, despite the fact the Mondasians appear to have originally willingly converted themselves as a survival mechanism.[citation needed]

Cybermen have a number of major weaknesses, of which the most notable is the element gold. Initially, it was explained that, due to its non-corrodible nature, gold essentially chokes their respiratory systems. For example, the glittergun, a weapon used during the Cyber-Wars in the future, fired gold dust at its targets. However, in later serials, gold appeared to affect them rather like silver affects werewolves, with gold coins or gold-tipped bullets fired at them having the same effect. Cybermen are also rather efficiently killed when shot with their own guns. Other weaknesses from early stories include solvents, gravity based technology, and excessive levels of radiation.

Their weakness to gold was not mentioned during the 2006 series. [1]. In "The Age of Steel" an EMP grenade is shown to disable a Cyberman and shut down its emotional inhibitor. Their aversion to gold was not mentioned until their attempt to destroy the planetoid Voga (the so-called "Planet of Gold") in Revenge of the Cybermen (1975).

Some Cybermen are given titles, being credited as "Cyber Leader" (or variants thereof), "Cyber Lieutenant", "Cyber Scout" or the "Cyber Controller". The Cyber Controller in particular has appeared in multiple forms, both humanoid and as an immobile computer, and has also been referred to as the "Cyber Planner" or "Cyber Director", although these may not be the same being. The Controller seen (and destroyed) in various serials also may or may not be the same consciousness in different bodies; it appears to recognize and remember the Doctor from previous encounters. In Iceberg, the first Cyber Controller is created by implanting a Cyber Director into the skull of a recently converted Cyberman.

The Cyber-Controller in "The Age of Steel" used the brain of John Lumic, the creator of the Cybermen in that parallel reality. In "Doomsday", a Cyber-Leader appears, and when he is destroyed, mention is made of downloading his data files into another Cyberman unit, which is then upgraded to Cyber-Leader.

[edit] Costume details

The design of the Cybermen acted almost as a guide to prevailing fashion at the time of transmission. Nearly all were silver in colour and included items and material such as cloth, rubber diving suits, PVC, chest units, tubing, practice golf balls, cricketers' gloves, and Doc Martens boots, painted silver.[2] A BBC Cyberman costume from the black & white era of TV has recently been discovered.[3]

The 1980s design used converted flight suits painted silver. Unlike the Doctor's other foes, the Cybermen have changed substantially in appearance over the years, looking more and more modern, although retaining certain commonalities of design, the most iconic being the "handle bars" attached to Cybermen heads, that were supposed to aid with their hearing, their round eyeholes and their chest units. Completely black-coloured Cybermen were seen briefly in Attack of the Cybermen.

A Cyberman head originally from the 1975 serial Revenge of the Cybermen but later seen in "Dalek" (2005).
A Cyberman head originally from the 1975 serial Revenge of the Cybermen but later seen in "Dalek" (2005).

Aside from these changes, variations in design between rank-and-file Cybermen and their leaders have been seen. In The Wheel in Space and The Invasion (both 1968), the Cyber Director was depicted as an immobile mechanism. In The Tomb of the Cybermen and Attack of the Cybermen, the Cyber Controller was a larger Cyberman with a high domed head instead of the "handle bar" helmet design. In Revenge of the Cybermen, the Cyber Leader had a completely black helmet except for his face. From Earthshock (1982) onwards he could be distinguished from his troops by the black handle bars on his helmet. The Cyber-Leader in "Army of Ghosts" also had black handles.

Because the Doctor is a time traveller, he meets the Cybermen at various points in their history out of sequence from the order the serials were made. This can be confusing since Cybermen from serials set in "earlier" periods of history can sometimes look more sophisticated than those from "later" periods. Lawrence Miles suggests in his reference work About Time 5 that the anachronistically designed Cybermen of Earthshock and Silver Nemesis are time travellers, like those in Attack of the Cybermen.

A Cyberman head was seen in Episode 6 of Series 1, "Dalek". The text on the info card below the head states that the head was found in a sewer, suggesting that the head was from The Invasion. However, the enlarged Cyber-Handles suggest that the head is from Revenge of the Cybermen. The info card states the head was found in 1975, the year in which The Invasion was set & was also the year in which Revenge Of The Cybermen was broadcast.

The Cybermen returned in episodes 5 and 6 of the 2006 season of the new series, in a two-part story set on an alternate Earth. The new Cybermen were designed by production designer Edward Thomas's team and Neill Gorton at Millennium FX. The new Cyberman design is physically imposing, being about 6 feet 7 inches (2.0 m) tall, in a style reminiscent of Art Deco, with their Cybus Corporation logo on their chests and made to look like burnished steel instead of silver. The other distinct Cyberman design is that of the Cyber-Controller, which had glowing eyes, a transparent forehead revealing the brain, and sockets on its chest-plate providing connectors to other systems.

The Torchwood episode "Cyberwoman" features a partially cyber-converted woman who lacks the outer plating of a fully converted Cyberman. Her body is encased in metal structures but much of her flesh, including her face, is visible. She also has clearly visible metallic breasts, though it is not clear how much of her own flesh has been replaced and how much is merely covered. Another character speculates she could be 40-45% human, and 55-60% Cyberman.

[edit] Voice

Early Cybermen had an unsettling, sing-song voice, constructed by placing the inflections of words on the wrong syllables. In their first appearance, the effect of this was augmented by the special effect of having a Cyberman abruptly open his mouth wide and keep it open, without moving his tongue or lips, while the separately recorded voice would be playing, and then shut it quickly when the line was finished. Although the cloth-like masks of the first Cybermen were soon replaced by a full helmet, a similar physical effect involving the mouth "hatch" opening and then shutting when the line was finished was used until The Wheel in Space (1968).

Later, the production team used special effects from its Radiophonic Workshop by adding first a mechanical larynx, then a vocoder, to modify speech to make it sound more alien and computer-like. In later stories of the original series and in the audio plays, two copies of the voice track were sampled and pitch-shifted downwards by differing amounts and layered to produce the effect, sometimes with the addition of a small amount of flanging. From Revenge of the Cybermen to Silver Nemesis (1988) the actors provided the voices themselves, using microphones and transmitters in the chest units.

The voices for the 2006 return of the Cybermen are similar to the buzzing electronic monotone voices of the Cybermen used in The Tomb of the Cybermen. They were provided by Nicholas Briggs (who performed the voices for the Cybermen in Big Finish audio stories as well as the Daleks in both the new series and the audio stories). Unusually, in "The Age of Steel", the Cyber-Controller (John Lumic) retains his voice after being upgraded, but it is still electronic. In "Doomsday", a Cyberman which contains the brain of Torchwood Institute director Yvonne Hartman retains a female-sounding though still electronic voice, as does the partially converted Lisa Hallett in "Cyberwoman" when her Cyberman personality is dominant. The reason for this is that their minds are taking control of the suit into which their brain has been placed, thus allowing the Cyber-suit's design to be exploited through sheer mental power. In an effect reminiscent of the earliest Cybermen's mouths snapping open while speaking, the new Cybermen have a blue light in their "mouths" which blinks in synchronisation with their speech.

[edit] Technology

[edit] Weapons

Over the years Cybermen have been shown with various forms of weaponry. When originally seen in The Tenth Planet they had large energy weapons that attached to their chests. In The Moonbase, the Cybermen had two types of weaponry: an electrical discharge from their hands, which stunned the target, and a type of gun. They also made use of a large laser cannon with which they attempted to attack the base itself.

The hand discharge was also present in The Tomb of the Cybermen, which featured a smaller, hand-held cyber-weapon shaped like a pistol that was described as an X-ray laser. In The Wheel in Space the Cybermen could use the discharge to also operate machinery, and had death rays built into their chest units. They displayed the same units in The Invasion as well as carrying large rifles for medium distance combat. In Revenge of the Cybermen and Real Time their weapons were built into their helmets. Killing Ground indicates that this type of Cybermen also have more powerful hand weapons. Subsequent appearances have shown them armed almost exclusively with hand-held cyberguns.

The Cybermen have access to weapons of mass destruction, cobalt bombs, which are sometimes known as Cyber-bombs, which were banned by the galactic Armageddon Convention (Revenge of the Cybermen). A "Cyber-megatron bomb" was mentioned in The Invasion, supposedly powerful enough to destroy all life on Earth. In Earthshock, the Cybermen also used androids as part of their plans to invade Earth.

The parallel Earth Cybermen electrocute their victims by touching them and at first carried no other weaponry. In "Army of Ghosts" and "Doomsday", the Cybermen are equipped with retractable energy weapons housed within their forearms (these were actually first shown in "The Age of Steel", but only very briefly and were not used during that episode), but also use modified human weapons to battle the Daleks. However, in "The Age of Steel" after the conversion sequence, the newly created Cybermen can be seen to have the retractable weapons in place after exiting the conversion chambers. In the Torchwood episode "Cyberwoman" the partially converted Lisa Hallett used her electrical touch against the Torchwood team, as well as an energy beam fired from her arm which could only stun the part of the body it was aimed at.

[edit] Cybermats

Later version cybermat from Revenge of the Cybermen
Later version cybermat from Revenge of the Cybermen

The Cybermen also use smaller, cybernetic creatures called "cybermats" as weapons of attack. In their first appearance in The Tomb of the Cybermen, they resembled oversized metallic silverfish and had segmented bodies with hair-like tactile sensor probes along the base of their heads, which were topped with crystalline eyes. The Second Doctor described them as a "form of metallic life," implying that they may be semi-organic like the Cybermen, and that they attacked by feeding off brain waves.

The second model of cybermat seen in The Wheel in Space was used for sabotage, able to tune in on human brainwaves. They were carried to the "Wheel" in small but high-density sacs that sank through the hull of the space station, causing drops in air pressure. These cybermats had solid photoreceptors for eyes instead of crystals. The Second Doctor used an audio frequency to jam them, causing them to spin, crash and disintegrate.

The third model, seen in Revenge of the Cybermen, was a much larger, snake-like cybermat that could be remotely controlled and could inject poison into its victims. It had no visible eyes or other features, and was as vulnerable to gold dust as the Cybermen were.

In Spare Parts, "mats" are cybernetically augmented creatures, sometimes kept as pets. Cybermats of a different design are used for surveillance by Mondas' Central Committee. The creatures occasionally go wild, chewing on power sources, and must be rounded up by a "mat-catcher." In the Past Doctor Adventures novel Illegal Alien by Mike Tucker and Robert Perry, set in the 1940s, the Cybermen create cybermats by cyber-converting local animals like cats or birds, possibly because of lack of technological resources.

In the Bernice Summerfield audio adventure The Crystal of Cantus, a Cyberman reveals that the organs of children who are too small to be fully cyber-converted are used in the creation of cybermats.

[edit] History

[edit] Conceptual history

The name "Cyberman" comes from cybernetics, a term coined in Norbert Wiener's book Cybernetics or Control and Communication in the Animal and the Machine (MIT Press, 1948). Wiener used the term in reference to the control of complex systems in the animal world and in mechanical networks, in particular self-regulating control systems. By 1960, doctors were performing research into surgically or mechanically augmenting humans or animals to operate machinery in space, leading to the coining of the term "cyborg", for "cybernetic organism".

In the 1960s, "spare-part" surgery was starting out, with the first, gigantic heart-lung machines being developed. There were also serious suggestions of wiring the nerve endings of amputees directly into machines for quicker response.[4] In 1963, Kit Pedler had a conversation with his wife (who was also a doctor) about what would happen if a person had so many prostheses that they could no longer distinguish themselves between man and machine. He got the opportunity to develop this idea when, in 1966, after an appearance on the BBC science programmes Tomorrow's World and Horizon, the BBC hired him to help on the Doctor Who serial The War Machines. That eventually led to him writing, with Gerry Davis's help, The Tenth Planet for Doctor Who.

Pedler, influenced by the logic-driven Treens from the Dan Dare comic strip, originally envisaged the Cybermen as "space monks", but was persuaded by Davis to concentrate on his fears about the direction of spare-part surgery. The original Cybermen were imagined as human, but with plastic and metal prostheses. The Cybermen of The Tenth Planet still have human hands, and their facial structures are visible beneath the masks they wear. However, over time, they evolved into metallic, more robot-like designs.

The Cybermen attracted controversy when parents complained after a scene in The Tomb of the Cybermen in which a dying Cyberman spurted white foam from its innards. Another incident was initiated by Pedler himself, who took a man in a Cyberman costume into a busy shopping area of St. Pancras. The reaction of the public was predictable, and the crowd almost blocked the street and the police were called in. Pedler said that he "wanted to know how people would react to something quite unusual," but also admitted that he "wanted to be a nuisance."[5] Pedler wrote his last Cyberman story, The Invasion, in 1968, and left Doctor Who with Gerry Davis to develop the scientific thriller series Doomwatch.

[edit] History within the show

[edit] Origins

Millennia ago, during prehistoric times, Mondas was knocked out of solar orbit and drifted into deep space. The Mondasians, already far in advance of Earth's technology and fearful for their race's survival, sent out spacecraft to colonise other worlds, including Telos, where they pushed the native Cryons aside and used the planet to house vast tombs where they could take refuge in suspended animation when necessary.

On Mondas, the Mondasians were dying out, and therefore, in order to survive and continue the race, they replaced most of their bodies with Cybernetic parts. Having eventually removed all emotion from their brains, to maintain their sanity, the natives installed a drive propulsion system so they could pilot the planet itself through space. As the original race was limited in numbers and were continually being depleted, the Mondasians — now Cybermen — became a race of conquerors who reproduced by taking other organic beings and forcibly changing them into Cybermen. The origins of the Cybermen were further elaborated upon in Spare Parts.

The move to "cybernise" Mondasians must have commenced on Mondas before they conquered Telos. Otherwise, there must have been some ongoing contact between Mondas and Telos after it was conquered, or the move to develop into Cybermen must have been paralleled after that point.

[edit] The Earth invasions

The Cybermen's first attempt at invading Earth, around 1970, was chronicled in The Invasion. A group of Cybermen from "Planet 14" had allied themselves with industrialist Tobias Vaughn, who installed mind control circuits in electrical appliances manufactured by his International Electromatics company, paving the way for a ground invasion. This was uncovered by the newly formed United Nations Intelligence Taskforce, who repelled the invasion with the help of the Second Doctor.

In The Tenth Planet, the First Doctor met an advance force of Cybermen that landed near an Antarctic space tracking station in the year 1986. This advance force was to prepare for the return of Mondas to the solar system. As Mondas approached, it began to drain Earth's energy for the Cybermen's use, but in the process absorbed too much energy and disintegrated. The Cybermen on Earth also fell apart as their homeworld was destroyed.

In 1988 a fleet of Cyber warships was assembled to convert Earth into a New Mondas. A scouting party was sent to Earth in search of the legendary Nemesis statue, a Time Lord artifact of immense power, made of the "living metal" validium. Due to the machinations of the Seventh Doctor, however, the Nemesis destroyed the entire Cyber-fleet instead. (Silver Nemesis).

In 2006, five million Cybermen from a parallel Earth streamed through a breach between universes to invade Earth ("Army of Ghosts" and "Doomsday") and fought a war with the Daleks. They were eventually pulled back into the Void, the nothingness between universes.

In 2012, the inert head of a Cyberman was part of the Vault, a collection of alien artefacts belonging to American billionaire Henry van Statten ("Dalek", 2005). According to its label, it was recovered from the London sewers in 1975[6] and presumably came from the 1970 invasion attempt, although it is of a design only seen in Revenge of the Cybermen, which took place in the late 29th century. (In a metafictional sense, the label is accurate, as Revenge was broadcast in 1975.)

By the mid-21st century, mankind had reached beyond its planet and set up space stations in deep space. One of these, Space Station W3, known as "The Wheel," was the site of a takeover by Cybermen who wanted to use it as a staging point for yet another invasion of Earth. The Second Doctor and his companions prevented this in The Wheel in Space.

The Cybermen returned in The Moonbase. By the year 2070, Earth's weather was being controlled by the Gravitron installation on the Moon. The Cybermen planned to use the Gravitron to disrupt the planet's weather patterns and destroy all life on it, eliminating a threat to their survival. This attempt was also stopped by the Second Doctor.

[edit] The Cyber-Wars

Five centuries after the destruction of Mondas, the Cybermen had all but passed into legend when an archeological expedition to the planet Telos uncovered their resting place in The Tomb of the Cybermen. However, those Cybermen were not dead but merely in hibernation, and were briefly revived before the Second Doctor returned them to their eternal sleep.

This was short-lived, however. By the beginning of the 26th century, the Cybermen were back in force, and the galactic situation was grave enough that Earth hosted a conference in 2526 that would unite the forces of several planets in a war against the Cybermen. A force of Cybermen tried to disrupt this conference, first by trying to infiltrate Earth in a freighter and when that was discovered by the Fifth Doctor, to crash the freighter into Earth and cause an ecological disaster. Although the attempt failed, the freighter was catapulted back in time to become the asteroid that wiped out the dinosaurs (Earthshock).

The Cybermen faced complete defeat now that humanity was united against them in the Cyber-Wars. The glittergun had been developed as a weapon against them, and the native Cryons of the planet Telos had also risen up and sabotaged their hibernation tombs. Using a captured time travel machine, a group of Cybermen travelled back to Earth in 1985 to try to prevent the destruction of Mondas, but were stopped by the Sixth Doctor and his companion Peri (Attack of the Cybermen). The Cryons also finally succeeded in taking back Telos.

By the late 29th century, the Cybermen had been reduced to small remnant groups wandering around the galaxy. One group tried to take revenge by making a desperate attempt to blow up the remnants of the planet Voga, a planetoid of pure gold that had wandered into the solar system and become a moon of Jupiter. They hoped that this would disrupt their enemy's supply of the metal, but were stopped by the Fourth Doctor. This was their last chronological appearance to date, with the Cybermen seemingly vanishing from history after this point (Revenge of the Cybermen).

A Cyberman (of the type seen in The Invasion) also appeared in the Miniscope exhibit in Carnival of Monsters (1973). A squad of Cybermen of the Earthshock variety, led by a Cyber-Leader, appeared in The Five Doctors (1983) in a slightly larger role.

[edit] Parallel Earth and the Battle of Canary Wharf

In the "Rise of the Cybermen"/"The Age of Steel" two-part story, the Tenth Doctor crashes down into a parallel universe where the Cybermen are being created on modern-day Earth. These alternate Cybermen were created as an "upgrade" to humanity and the ultimate move into cyberspace, allowing the brain to survive in an ageless steel body. These Cybermen also referred to themselves as "Human Point 2 (Human.2)" and "deleted" all those deemed incompatible with the upgrade. They could fatally electrocute humans with a touch.

These Cybermen were created by John Lumic, a terminally ill and insane genius whose company, Cybus Industries, had advanced humanity considerably. To find a way to survive, he perfected a method to sustain the human brain indefinitely in a cradle of chemicals, bonding the synaptic impulses to a metal exoskeleton. The Cybermen "handle bars" were part of a high-tech communications device called an EarPod. Also created by Lumic, the EarPods were used extensively in the place of MP3 players and mobile phones, allowing information to be directly downloaded into people's heads.

Lumic began to abduct homeless people and convert them into Cybermen, and assassinated the President of Great Britain after the President rejected his plans. Using the EarPods, Lumic took mental control of London, marching thousands to be cyber-converted. He was betrayed by an old friend who damaged his wheelchair's life-support systems. He had told the Cybermen that he would upgrade 'only with my last breath' and since that moment was at hand he was involuntarily upgraded into the Cyber-Controller, a superior model of Cyberman. However, the Tenth Doctor and his companions, having accidentally landed on the parallel Earth, managed to foil his plans. They freed London from mental control and disabled the Cybermen's emotional inhibitors, causing them to go insane and in some cases explode. Lumic himself fell to his apparent death into the burning remains of his factory. A human resistance group, the Preachers, then set about to clean up the remainder of Lumic's factories around the world.

These Cybermen reappeared in the 2006 season finale "Army of Ghosts" and "Doomsday". It is to be noted that these Cybermen also use energy weapons built into their right arms. However, in "The Age of Steel" after the conversion sequence, the newly created Cybermen can be seen to have the retractable weapons in place after exiting the conversion chambers. Having infiltrated that world's version of the Torchwood Institute and discovering a breach between universes caused by the passage of an interdimensional void ship, the Cybermen used it to invade the Doctor's universe. However, the void ship's users, the Daleks also revealed themselves, leading to all-out war across London with mankind caught in the crossfire. Eventually, the Doctor re-opened the breach, causing the Cybermen and Daleks (who had been saturated with background radiation from the Void) to be sucked back into it. The breach then sealed itself, leaving the Cybermen and Daleks (except one who teleported away) seemingly trapped in the Void forever.

[edit] Other appearances

[edit] Spin-offs

The Cybermen have appeared in various spin-off media, the canonicity of which is unclear.

The BBV audios Cyber-Hunt and Cybergeddon and the BBV video Cyberon feature the Cyberons, which are a race of cyborgs not dissimilar to the Cybermen; Cyber-Hunt was quite blatantly using the Cybermen and the Cyber Wars under another name, with the plot based around the Cyberon/Cybermen being converted humans.

The Cybermen were also featured in the novel Iceberg by actor David Banks, who played the Cyber Leader in the television series from Earthshock to Silver Nemesis. Banks had previously written, in 1988, Cybermen, a fictional history of the Cybermen which included a "future" design for them. In passing, the Virgin Missing Adventures novel The Crystal Bucephalus, by Craig Hinton mentioned the Cyberlord Hegemony, a peaceful future version of the Cybermen who have an empire in the Milky Way; their description was modelled after Banks's designs.

The Past Doctor Adventures novel Illegal Alien featured Cybermen and Cybermats in London during the Blitz. Cyber-technology left over from that adventure was subsequently misused in Loving the Alien, written by the same authors. The Fifth Doctor story Warmonger by Terrance Dicks has the Cybermen join the Doctor's alliance against Morbius. The First Doctor story The Time Travellers by Simon Guerrier, set in an alternate reality, has the Cybermen (who are never named) living at the South Pole and trading advanced technology to South Africa. The Eighth Doctor Adventures novel Hope by Mark Clapham features the Silverati, a group of cybernetically enhanced humans heavily reminiscent of the Cybermen.

The Cybermen have appeared in several Big Finish audio plays battling the Doctor, the first of which was Sword of Orion (released on CD in 2001 and broadcast on BBC 7 in 2005). The 2002 play Spare Parts explored aspects of the Cybermen's origin. They were the villains in the company's BBCi webcast Real Time in 2002 and appeared in a linked trilogy of plays entitled The Harvest (2004), The Reaping (2006) and The Gathering (2006). They most recently appeared in Human Resources, which Big Finish produced for radio BBC 7 and will subsequently release on CD.

The first instalment of a four-CD series titled Cyberman, which does not feature the Doctor, was released in September 2005. Sword of Orion and the Cyberman series are set around the "Great Orion Cyber-Wars" of the 26th century, when androids rebelled against humanity in the Orion System and both human and android turned to the Cybermen to gain a military advantage. In Sword Of Orion, the Cybermen are still entombed on Telos and are mostly forgotten, setting it before Earthshock; by the time of Cyberman, Telos has been destroyed by an asteroid collision, placing that series after Attack of the Cybermen. The Bernice Summerfield play The Crystal of Cantus features a former human colony turned into Cybermen, with Irving Braxiatel planning to use them as a private army. A Cyberman tomb also appeared in the Bernice Summerfield play Silver Lining, which came free with Doctor Who Magazine #351.

They have also appeared in the various Doctor Who comic strips, beginning with The Coming of the Cybermen in TV Comic #824-#827. TV Comic cashed in on their frequent presence in the TV series in the late 1960s by featuring them regularly, and they appeared in Flower Power (TVC #832-#835), Cyber-Mole (TVC #842-#845), The Cyber Empire (TVC #850-#853), Eskimo Joe (TVC #903-#906), Masquerade (TVC Holiday Special 1968), The Time Museum (TVC Annual 1969), The Champion (TVC Holiday Special 1969) and Test-Flight (TVC Annual 1970). Their absence from the TV show for most of the 1970s was reflected in a lack of appearances in the strip: they eventually returned in the early 1980s in the Doctor Who Monthly strip Junk-Yard Demon (DWM #58-#59). They made further appearances after the publication was re-titled Doctor Who Magazine: Exodus/Revelation/Genesis (DWM #108-#110), The World Shapers (DWM #127-#129, written by Grant Morrison, which revealed that the Voord were the race that evolved into the Cybermen and that Mondas was previously the planet Marinus), The Good Soldier (DWM #175-#178) and The Flood (DWM #346-#353). In addition, a Cyberman named Kroton, who originally appeared in a couple of Doctor Who Weekly back-up strips called Throwback: The Soul of a Cyberman (DWW #5-#7) and Ship of Fools (DWW #23-#24), was reintroduced in Unnatural Born Killers (DWM #277) and was briefly a companion of the Eighth Doctor in The Company of Thieves (DWM #284-#286) and The Glorious Dead (DWM #287-#296). The Cybermen had their own one-page strip in DWM from issues #215-#238, written by Alan Barnes and drawn by Adrian Salmon.

In 1996, the Radio Times published a Doctor Who comic strip. The first story, entitled Dreadnought, featured the Cybermen attacking a human starship in 2220 and introduced the strip companion Stacy Townsend. It may viewed in its entirety online here.

[edit] Cardiff Torchwood incident

Lisa the "Cyberwoman"
Lisa the "Cyberwoman"

In "Cyberwoman" it was revealed that at the height of the "Battle of Canary Wharf" the Cybermen had begun to directly convert whole bodies using regular Earth technology, rather than transplant their brains into parallel earth Cyberman shells. One of their victims, a woman called Lisa Hallett, was only partially converted when the power was shut off and she was rescued by her boyfriend, Ianto Jones.

Jones took her to Torchwood Three in Cardiff along with a cyber-conversion unit which he made into a life support system for her under her directions. He tried to find a cure for her condition, calling on cybernetics expert Dr Tanizaki. Unfortunately Hallett's Cyberman personality asserted itself, leading to her killing Tanizaki and trying to take over Torchwood Three as a staging area for a new Cyberman army. She eventually transplanted her own brain into the body of a pizza delivery girl whom she let into the base, and was shot to death by the other members of the Torchwood team.


Sunday, 16 March 2008

Dalek fact file

A Dalek (pronunciation "DAH-leck", IPA: /ˈdɑːlək/) is a member of a fictional extraterrestrial race of mutants from the British science fiction television series Doctor Who. Daleks are grotesque mutated organisms from the planet Skaro, integrated within a tank-like mechanical casing. The resulting creatures are a powerful race bent on universal conquest and domination, utterly without pity, compassion or remorse (as all of their emotions were removed except hate).[1] They are also, collectively, the greatest alien adversaries of the Time Lord known as the Doctor. Their most famous catchphrase is "EX-TER-MI-NATE!", with each syllable individually screeched in a frantic electronic voice (play sample ).

The Daleks were created by writer Terry Nation and BBC designer Raymond Cusick and were introduced in December 1963 in the second Doctor Who serial.[2] They became an immediate hit with viewers, featuring in many subsequent serials and two 1960s motion pictures. They have become synonymous with Doctor Who, and their behaviour and catchphrases are part of British popular culture. "Hiding behind the sofa whenever the Daleks appear" has even been cited as an essential element of British cultural identity.[3]

The word "Dalek" has entered the Oxford English Dictionary[4] and other major dictionaries; the Collins Dictionary defines it rather broadly as "any of a set of fictional robot-like creations that are aggressive, mobile, and produce rasping staccato speech".[5] It is also a trademark, having first been registered by the BBC in 1964 to protect its lucrative range of Dalek merchandise.

The term is sometimes used metaphorically to describe people, usually figures of authority, who act like robots unable to break from their programming. John Birt, the Director-General of the BBC from 1992 to 2000, was publicly called a "croak-voiced Dalek" by playwright Dennis Potter in the MacTaggart Lecture at the 1993 Edinburgh Television Festival.[6] The Daleks appeared on a postage stamp celebrating British popular culture in 1999, photographed by Lord Snowdon.[7]

Externally, Daleks resemble human-sized salt or pepper shakers around five to six feet (152 to 183 cm) tall, with a single mechanical eyestalk mounted on a rotating dome, a gunstalk containing an energy weapon (or "death ray"), which can also be fitted with a projectile weapon, and a telescoping robot manipulator arm. In most cases, the manipulator resembles a sink plunger, but Daleks have been shown with arms that end in a tray, a mechanical claw, or other specialised equipment like flamethrowers and cutting torches. Daleks have used their plunger-like manipulator arms to interface with technology,[1] crush a man's skull,[1] measure the intelligence of a subject,[8] and extract the brainwaves from a man's head (also fatal).[9] Dalek casings are made of a bonded polycarbide material dubbed "dalekanium" by a human in The Dalek Invasion of Earth.[10][11] The Daleks also use this term for the material.[8]

The lower half of a Dalek's shell is covered with protrusions — "Dalek bumps" — which are spheres embedded in the casing.[1][8] These are described as "sense globes" or sensors in The Doctor Who Technical Manual by Mark Harris (which is of uncertain canonicity).[12] However, in the 2005 series episode "Dalek", they are also part of a self-destruct system.[1] The casings are vulnerable to "bastic"-headed bullets, and when breached tend to explode. This is not to say that Daleks wear explosive armour, but it implies that a lot of destructive power is needed to destroy Daleks.[13] The armour has a forcefield that evaporates most bullets and absorbs most types of energy weapons, though normally ineffective firepower can be concentrated on the eyestalk to blind the Daleks.[14] It appears that the Dalekanium panels which constitute the 'skirt' can also be detached without damaging the shell or affecting the Dalek's performance. Leading on from this, three Dalekanium panels removed from a Dalek formed the basis for an energy conductor atop the Empire State Building to channel the energy of 'The Greatest Solar Flare for a Thousand Years'. Despite looking somewhat blackened and melted at the edges, the panels appeared unharmed.[8][15]

The creature inside the mechanical casing is depicted as soft and repulsive in appearance and vicious even without its mechanical armour. The first-ever glimpse of a Dalek mutant, in The Daleks, was a claw peeking out from under a coat after it had been removed from its casing.[16] The actual appearance of mutants has varied, but in most cases they are octopoid, multi-tentacled creatures. The Doctor described the Daleks as "little green blobs in bonded polycarbide armour" in Remembrance of the Daleks, in which a Dalek mutant was seen to have a bionically augmented claw.[17] In Resurrection of the Daleks a Dalek creature, separated from its casing, attacks and severely injures a human soldier.[18] The revived series has generally depicted mutants as having one eye and an exposed brain, however the mutants depicted in "The Parting of the Ways" also had a second, smaller eye. The same episode states that these mutants were built from human materials. In "Daleks in Manhattan", a mutant (Dalek Sec) demonstrates the ability to engulf a human with a large, sack-like membrane.[8]

However, as the creature inside is rarely seen on screen, the misconception exists that Daleks are wholly mechanical robots.[19] (Albeit one squad of Daleks locked in a war with the Movellans did appear to have become fully robotic.[20]) The interdependence of biological and mechanical components makes the Daleks a type of cyborg. The Ninth Doctor, in "Dalek", described the Dalek as a genius: it could run through an electronic lock's billion combinations in seconds and download all of the information on the internet into its memory, showing the union of the biological and mechanical components. [1]

The voice of a Dalek is electronic; the Dalek creature is apparently unable to make much more than squeaking sounds when out of its casing.[18] Once the mutant is removed, the casing itself can be entered and operated by humanoids, as seen in The Daleks,[16] The Space Museum[21] and Planet of the Daleks.[22] In The Daleks, Ian Chesterton disguises himself by hiding in a Dalek shell but initially speaks with his own voice until his friends remind him to talk like a Dalek.[16] Daleks also have a radio communicator built into their shells, and emit an alarm to summon other nearby Daleks if the casing is opened from outside. The Dalek's eyepiece is its most vulnerable spot, and impairing its vision often leads to a blind firing of its weapon. On one occasion they were shown to be susceptible to extreme cold (Planet of the Daleks).[23]

A Dalek flies up a flight of stairs (from Remembrance of the Daleks)
A Dalek flies up a flight of stairs (from Remembrance of the Daleks)

For many years, it was thought that due to their gliding motion Daleks were unable to tackle stairs. A cartoon from Punch pictured a group of Daleks at the foot of a flight of stairs with the caption, "Well, this certainly buggers our plan to conquer the Universe".[24] In a scene from the serial Destiny of the Daleks, the Doctor and companions escape from Dalek pursuers by climbing into a ceiling duct. The Fourth Doctor calls down, "If you're supposed to be the superior race of the universe, why don't you try climbing after us? Bye bye!"[25] The Daleks generally make up for their lack of mobility with overwhelming firepower. A joke among Doctor Who fans goes, "Real Daleks don't climb stairs; they level the building."[26][27] Dalek mobility has improved over time. In their first appearance, The Daleks, they were capable of movement only on the conductive metal floor of their city. In The Dalek Invasion of Earth a Dalek emerges from the waters of the River Thames, indicating that they not only had become freely mobile, but are amphibious to a degree.[28] Planet of the Daleks showed that they could ascend a vertical shaft by means of an external antigravity mat placed on the floor. Remembrance of the Daleks showed that they can hover using a built-in limited antigravity capability[29] — first implied in earlier serials such as The Chase (1965) and Revelation of the Daleks — but their awkward forms still limit their mobility in tight quarters. Despite this, journalists covering the series frequently refer to the Daleks' supposed inability to climb stairs; characters escaping up a flight of stairs in the episode "Dalek" made the same joke, and were shocked when the Dalek began to hover up the stairs.[1] The various appearances of the Daleks in the new series have featured Daleks hovering and flying using an energy thruster, with "The Parting of the Ways" showing them flying through the vacuum of space.[14] In the "Dalek" episode, the Dalek said "Elevate" before elevating, in the same way it would say "Exterminate" before exterminating.[1]

[edit] Costume details

The non-humanoid shape of the Dalek did much to enhance the creatures' sense of menace. A lack of familiar reference points differentiated them from the traditional "bug-eyed monster" of science fiction, which Doctor Who creator Sydney Newman had wanted the show to avoid.[30] The unsettling form of the Daleks, coupled with their alien voices, made many believe that the props were wholly mechanical and operated by remote control.[31]

The Daleks were actually controlled from inside by short operators[32] who had to manipulate their eyestalks, domes and arms, as well as flashing the lights on their heads in sync with the actors supplying their voices. The Dalek cases were built in two pieces; an operator would step into the lower section, and then the top would be secured. The operators looked out between the circular louvres just beneath the dome that were lined with mesh to conceal their faces.[32]

In addition to being hot and cramped, the Dalek casings also muffled external sounds, making it difficult for the operators to hear the director's commands or studio dialogue. The top sections were also too heavy to lift from the inside, which meant that the operators could be trapped inside if the stagehands forgot to release them. John Scott Martin, a Dalek operator from the original series, said that Dalek operation was a challenge: "You had to have about six hands: one to do the eyestalk, one to do the lights, one for the gun, another for the smoke canister underneath, yet another for the sink plunger. If you were related to an octopus then it helped."[33]

The Dalek cases created for Doctor Who's 21st-century revival do not differ significantly from the original series' Daleks, except for an expanded base, a glowing eyepiece (though in early serials including The Daleks and The Dalek Invasion of Earth, the Daleks were shown with the black and white television equivalent), an all-over metallic brass finish, a housing for the eyestalk gear, and significantly larger ear-bulbs. The new prop made its on-screen debut in the 2005 episode "Dalek".

[edit] Movement

Early versions of the Daleks were rolled around on nylon castors or propelled by wheels connected to hand cranks by bicycle chains. Although castors were adequate for the Daleks' debut serial, which was shot entirely at the BBC's Lime Grove Studios, for The Dalek Invasion of Earth, Terry Nation wanted the Daleks to take to the streets of London for location filming. To enable the Daleks to travel smoothly on location, designer Spencer Chapman built the new Dalek shells around miniature tricycles with sturdier wheels; to hide the wheels, the base of the costume was deepened with enlarged fenders.[34] The bumpy flagstones of Central London caused the Daleks to rattle as they moved and it was not possible to remove this noise from the final soundtrack. A small radar dish was added to the rear of the prop's casing to explain why these Daleks, unlike the ones in their first serial, were not dependent on static electricity drawn from the floors of the Dalek city for their motive power.[33](These dishes were not, however, seen in any subsequent serial.)

Later versions of the prop had more efficient wheels and were simply propelled by the operators' feet, but they remained so heavy that when going up ramps they often had to be pushed by stagehands out of camera shot. The difficulty of operating all the prop's parts at once contributed to the occasionally jerky movements of the Dalek.[33] The latest model of the costume still has a human operator within, but the movement of the dome and eyestalk is now remotely controlled so that the operator can concentrate on the smooth movement of the Dalek and its arms.[35]

[edit] Voices

The staccato delivery and harsh tone of the Dalek voice were initially developed by voice actors Peter Hawkins and David Graham, who would vary the pitch and speed of the lines according to the emotion needed. Their voices were further processed electronically by Brian Hodgson at the BBC Radiophonic Workshop. Although the exact sound-processing devices used have varied, the original 1963 effect used EQ to boost the mid-range of the actor's voice, then subjected it to ring modulation with a 30 Hz sine wave. The distinctive harsh grating vocal timbre this produced has remained the pattern for all Dalek voices since. Another notable voice actor for the Daleks was Roy Skelton who first voiced the Daleks in the 1967 story Evil of the Daleks. Also voicing the Daleks in small parts were Michael Wisher, who performed in Frontier in Space, Planet of the Daleks and Death to the Daleks, and Royce Mills, who is mainly remembered for his Dalek voice in Resurrection of the Daleks. Also, in a one off episode, Oliver Glibert and Peter Messalaine played the Dalek voices in Day of the Daleks.[36]

Since 2005, the Dalek voice in the television series has been provided by Nicholas Briggs, speaking into a microphone connected to a voice modulator.[37] Briggs previously had done Dalek and other alien voices for Big Finish Productions audio plays. In a 2006 BBC Radio interview, Briggs said that when the BBC asked him to do the voice for the new television series, they instructed him to bring his own analogue ring modulator that he had used in the audio plays; the BBC's sound department had gone digital and could not adequately create the distinctive Dalek sound with their modern equipment. He has used his modulator also for voicing the Cybermen in the 2006 series.

[edit] Construction

Manufacturing the props was expensive. In scenes where many Daleks had to appear, some of them would be represented by wooden replicas (Destiny of the Daleks[38]) or, in the early black and white episodes, life-size photographic enlargements (The Dalek Invasion of Earth[39][10] and The Power of the Daleks[40][41]). In stories involving armies of Daleks, the BBC effects team even turned to using commercially available toy Daleks, manufactured by Louis Marx & Co. A typical example of such use can be observed in Planet of the Daleks.[23] Judicious editing techniques also made it look like there were more Dalek props than were actually available, and continue to be used to the present day, such as using split screen in "The Parting of the Ways".[14]

Four fully functioning props were commissioned for the first serial "The Daleks" in 1963, and were constructed from BBC plans by Shawcraft Models;[42] these became known in fan circles as "Mk I Daleks". Shawcraft were also commissioned to construct approximately twenty Daleks for the two Dalek movies in 1965 and 1966 (see below). Some of these props from the movies filtered back to the BBC and were seen in the televised serials, notably in The Chase, which was aired before the first movie's debut.[43] The remaining props not bought by the BBC were either donated to charity or given away as prizes in competitions.[44]

The BBC's own Dalek props were reused many times, with components of the original Shawcraft "Mk I Daleks" surviving right through to the Daleks' final appearance in the classic series.[45] However, years of storage and repainting took their toll. By the time of the Sixth Doctor's Revelation of the Daleks, new props were being manufactured out of fibreglass, and were lighter and more affordable to construct than their predecessors.[46] These Daleks were slightly bulkier in appearance around the mid-shoulder section, and also had a slightly redesigned base which was more vertical at the back. Minor changes were made to the design due to these new methods of construction, including alterations to the lower skirting as well as the mid-shoulder section incorporating the arm boxes, which were now one single unit, with the vertical bands encircling the casing also included in the fibreglass mould.[46] These were repainted in grey for the Seventh Doctor serial Remembrance of the Daleks and designated as "Renegade Daleks"; another redesign, painted in white and gold, became the "Imperial Dalek" faction.[47]

[edit] History

[edit] Conceptual history

A page from the TV 21 comic strip, featuring the creation of the Emperor Dalek
A page from the TV 21 comic strip, featuring the creation of the Emperor Dalek

Wishing to create an alien creature that did not look like a "man in a suit", Terry Nation stated in his script for the first Dalek serial that the Dalek should have no legs.[48] He was also inspired by a performance by the Georgian State Ballet, in which dancers in long skirts appeared to glide across the stage.[48] For many of the shows, the Daleks were "played" by retired ballet dancers wearing black socks while sitting inside the Dalek.[31] Raymond Cusick became designer of the Daleks when Ridley Scott, then a designer for the BBC, proved unavailable after having been assigned to their debut serial.[49] An account in Jeremy Bentham's Doctor Who — The Early Years (1986) says that after Nation wrote the script, Cusick was given only an hour to come up with the design for the Daleks, and was inspired in his initial sketches by a pepper shaker on a table.[50] However, Cusick himself states that he based it on a man seated in a chair, and only used the pepper shaker to demonstrate how it might move.[51]

In 1964, Nation told a Daily Mirror reporter that the name came from a volume of a dictionary or encyclopedia, the spine of which read "Dal - Lek".[52] He later admitted that he had made this up as a reply to a question by a journalist and that anyone who checked out his story would have found him out.[52] The name had in reality simply rolled off his typewriter.[53] Later, Nation was pleasantly surprised to discover that in Serbo-Croatian the word "dalek" means "far", or "distant".[54] Other Slavonic languages have similar words for "far", such as the Russian далеко (daleko), or the Czech "Dalekohledy" which means "distant viewing" (i.e. telescopes and binoculars). Incidentally, the similar words "dålig" in Swedish and "dårlig" in Norwegian mean "bad".

Nation grew up during World War II, and remembered the fear caused by German bombings. He consciously based the Daleks on the Nazis, conceiving the species as faceless, authoritarian figures dedicated to conquest and complete conformity.[55] The allusion is most obvious in the Dalek stories penned by Nation, in particular The Dalek Invasion of Earth (1964) and Genesis of the Daleks (1975).[56][57][58]

Prior to writing the first Dalek serial, Nation was chief scriptwriter for comedian Tony Hancock. The two fell out and Nation either resigned or was fired.[48][52][59] When Hancock left the BBC, he worked on several series proposals, one of which was called From Plip to Plop, a comedic history of the world which would have ended with a nuclear apocalypse, the survivors being reduced to living in dustbin-like robot casings and eating radiation to stay alive. According to biographer Cliff Goodwin, when Hancock saw the Daleks he allegedly shouted at the screen, "That bloody Nation — he's stolen my robots!"[60]

The first Dalek serial is called, variously, The Survivors (the pre-production title), The Mutants (its official title at the time of production and broadcast, later taken by a second, unrelated Doctor Who story), Beyond the Sun, The Dead Planet, or simply The Daleks. (The naming of early Doctor Who stories is complex and sometimes controversial.)[61]

The instant appeal of the Daleks caught the BBC off guard,[52] and transformed Doctor Who from a Saturday tea-time children's educational programme to a must-watch national phenomenon. Children were alternately frightened and fascinated by the alien look of the monsters, and the Doctor Who production office was inundated by letters and calls asking about the creatures. Newspaper articles focused attention on the series and the Daleks, further enhancing their popularity.[31]

Nation jointly owned the intellectual property rights to the Daleks with the BBC, and the money-making concept proved nearly impossible to sell to anyone else; he was dependent on the BBC wanting to produce stories featuring the creatures.[62] Despite fans' adoration, the Daleks were clearly associated with Doctor Who and several attempts to market the Daleks outside of the series were unsuccessful.[63][64] Since Nation's death in 1997, his share of the rights now belong to his estate and are administered by his former agent, Tim Hancock.[65]

Early plans for what eventually became the 1996 Doctor Who television movie included radically redesigned Daleks whose cases unfolded like spiders' legs.[66] The concept for these "Spider Daleks" was abandoned, but picked up again in several Doctor Who spin-offs.

When the new series was announced, many fans hoped the Daleks would return once more to the programme.[67][68] After much negotiation between the BBC and the Nation estate (which at one point appeared to break down completely), an agreement was reached. According to media reports, the initial disagreement was due to the Nation estate demanding levels of creative control over the Daleks' appearances and scripts that were unacceptable to the BBC.[69] Talks between Tim Hancock and the BBC progressed more productively than had been expected, and in August 2004 an agreement was reached for the Daleks' appearance in the 2005 series.[65]

[edit] History within the show

Main article: History of the Daleks
Davros, creator of the Daleks
Davros, creator of the Daleks

Dalek in-universe history has seen many retroactive changes, which have caused continuity problems.[70] When the Daleks first appeared in The Daleks, they were presented as the descendants of the Dals, mutated after a brief nuclear war between the Dal and Thal races.[71] However, in 1975, Terry Nation revised the Daleks' origins in Genesis of the Daleks, where the Dals were now called Kaleds (of which Daleks is an anagram), and the Dalek design was attributed to one man, the crippled Kaled chief scientist and evil genius, Davros.[72]

Instead of a short nuclear exchange, the Kaled-Thal war was portrayed as a thousand-year-long war of attrition, fought with nuclear, biological and chemical weapons causing widespread mutations among the Kaled race. Davros experimented on living Kaled cells to find the ultimate mutated form of the Kaled species and placed the subjects in tank-like "travel machines" whose design was based on his own life-support chair.

Genesis of the Daleks marked a new era for the depiction of the species, with most of their previous history either forgotten or barely referred to again.[73] Future stories in the original Doctor Who series, which followed a rough story arc,[74] would also focus more on Davros, much to the dissatisfaction of some fans who felt that the Daleks should take centre stage,[53] rather than merely becoming minions of their creator. Davros made his last televised appearance in Remembrance of the Daleks. This serial also marked the last on-screen appearance of the Daleks until 2005, save for charity specials like Doctor Who and the Curse of Fatal Death and the use of Dalek voices in the 1996 television movie.

A single Dalek appeared in "Dalek", written by Robert Shearman, which was broadcast on BBC One on 30 April 2005. This Dalek appeared to be the sole Dalek survivor of a Time War that had destroyed both the Daleks and the Time Lords.[1] Some other Daleks did survive, however. The Dalek Emperor returned at the end of the 2005 series, having rebuilt the Dalek race with human subjects; it saw itself as a god, and the new Daleks were shown worshipping it. These Daleks and their fleet were reduced to subatomic particles in "The Parting of the Ways".[14]

Dalek Sec as a Dalek-Human hybrid, from "Daleks in Manhattan"
Dalek Sec as a Dalek-Human hybrid, from "Daleks in Manhattan"

The 2006 series finale saw another squad of Dalek survivors from the old Empire, known as the Cult of Skaro, led by a black-enameled Dalek named "Dalek Sec", that had survived the Time War by escaping into the Void between dimensions. They emerged, along with a Time Lord prison containing millions of Daleks, at Canary Wharf due to the actions of the Torchwood Institute and Cybermen from a parallel world, leading to a Cyberman-Dalek clash in London. Eventually, the Tenth Doctor caused both factions to be sucked back into the Void, but the Cult members (Sec, Caan, Jast, and Thay; it is unusual for a Dalek to have a name) survived by "temporal shifting" away. The two-part story "Daleks in Manhattan"/"Evolution of the Daleks" revealed they had escaped to 1930 New York, setting up base in the Empire State Building. Experiments led by Sec are attempting to force a Dalek evolution by crossing their DNA with humans, and he is the first of the new "Human Daleks". However the three remaining Daleks rebelled and destroyed him.[8] The Cult also attempted to create a Human/Dalek hybrid (fully human in appearance but with Dalek minds). This attempt failed after the Doctor interfered, and the hybrids were destroyed by Caan after they killed Jast and Thay; Caan escaped via another temporal shift. Caan is believed to be the last remaining Dalek in existence (although considering the popularity of the Daleks with fans & the profitability of Dalek merchandise, it is unlikely that this will remain so for long).[15]


[edit] Dalek culture

Daleks have little to no individual personality,[9] ostensibly no emotions other than hatred and fear,[1] and a strict command structure, conditioned to obey superior orders.[75] Dalek speech is characterised by repeated phrases, and by orders given to themselves and to others. Dalek vocal inflection suggests perpetual anger, sometimes verging on hysteria.

The fundamental feature of Dalek culture and psychology is an unquestioned belief in the superiority of the Dalek race[75] and their default directive is to destroy all non-Dalek lifeforms.[1] Other species are either to be exterminated immediately, or enslaved and then exterminated later once they are no longer necessary.[76] When the "Human" Dalek Sec began to doubt the Dalek race's supremacy, the other Daleks in the Cult of Skaro no longer thought of him as a Dalek and turned against him.[15]

The Dalek obsession with their own superiority is illustrated by the schism between the Renegade and Imperial Daleks seen in Remembrance of the Daleks: the two factions consider the other to be a perversion despite the relatively minor differences between them.[77] This intolerance of any "contamination" within themselves is also shown in "Dalek",[1] The Evil of the Daleks[75] and in the Big Finish Productions audio play The Mutant Phase.[78] This superiority complex is the basis of Dalek ruthlessness and lack of compassion.[75][1] It is nearly impossible to negotiate or reason with a Dalek, a single-mindedness that makes them dangerous and not to be underestimated.[1] However, their reliance on logic and machinery is also a weakness that they recognise;[38][77] the Daleks use non-Dalek species as agents to compensate for these shortcomings.[75][76][77] Daleks have occasionally made alliances with other species, but have no compunction about betraying their allies when they are no longer useful to the Dalek cause.[79]

In "The Parting of the Ways", the Daleks that were resurrected through the manipulation and mutation of human genetic material by the Dalek Emperor were religious fanatics that worshipped their Emperor as their god. The Doctor theorised that these Daleks were also insane due to self-loathing, as they had been created from human genetic material. He also noted that, prior to this encounter, no Dalek had a conception of blasphemy, as they had no religion or tolerance for it.[14] The secret order of Daleks, above and beyond the Emperor, known as "The Cult of Skaro" who were created by the Emperor to imagine new ways of surviving appeared in the "Doomsday" episode (it is unclear if the Emperor Dalek that ordered their creation is the same as appeared in "The Parting of the Ways" or another Emperor Dalek); they included Dalek Jast, Dalek Caan, Dalek Thay, and their leader, the black Dalek, Dalek Sec. The Tenth Doctor noted that these Daleks were unique in their culture, granted the right to bear names and imaginations that set them apart from the other Daleks.[9] These Daleks even express sorrow for the loss of their planet, break their normal obsession with hierarchy and are willing to sacrifice their own sense of "purity" for their kind.[8]

The Daleks face their bogeyman, the Doctor. From the comic strip Metamorphosis, art by Lee Sullivan
The Daleks face their bogeyman, the Doctor. From the comic strip Metamorphosis, art by Lee Sullivan

Although the Daleks are well known for their disregard of due process, there have been two enemies that they have taken back to Skaro for a "trial", rather than immediately killed; the first was their creator, Davros, in Revelation of the Daleks,[80] and the second was the renegade Time Lord known as the Master in the 1996 television movie.[81] Neither trial occurred on-screen, so it is not clear what was involved. The reasons for the Master's trial, and why the Doctor would be asked to retrieve the Master's remains, have never been explained on screen; the Doctor Who Annual 2006 implies that the trial may have been due to a treaty signed between the Time Lords and the Daleks.[82] The framing device for the I, Davros audio plays, is a Dalek trial to determine if Davros should be the Daleks' leader once more.[83]

The spin-off novels contain several tongue-in-cheek mentions of Dalek poetry (and an anecdote about an opera based upon it, which was lost to posterity when the entire cast was exterminated on opening night). Two stanzas are given in the novel The Also People by Ben Aaronovitch.[84] In an alternative timeline portrayed in Big Finish Productions audio adventure The Time of the Daleks, the Daleks show a fondness for the works of Shakespeare.[85]

Because the Doctor has defeated the Daleks so often, he has become their arch-enemy and they have standing orders to capture or exterminate him on sight. They are occasionally able to identify him despite his regenerations. In the comic strips and novels the Daleks know the Doctor as the "Ka Faraq Gatri": the "Bringer of Darkness" or "Destroyer of Worlds" (this was first established in the novelisation of Remembrance of the Daleks by Ben Aaronovitch).[86] In "The Parting of the Ways", the Doctor says that the Daleks call him "The Oncoming Storm"[14] — this name was used by the Draconians (whose word for it is "Karshtakavaar") to refer to the Doctor in the Virgin New Adventures novel Love and War by Paul Cornell.[87]

The modern Doctor has come to view the Daleks as completely evil and unworthy of trust or compassion. This contrasts with some of the Doctor's earlier dealings with the Daleks: the Second Doctor attempted to instil a "human factor" in Daleks in The Evil of the Daleks[75] and the Fourth Doctor hesitated when presented with the opportunity to destroy the Daleks at the point of their creation in Genesis of the Daleks.[72] The Ninth Doctor made a venomous outburst, due to the destruction of Gallifrey, in "Dalek", leading the lone mutant in that episode to observe that the Doctor "would make a good Dalek", but, when forced to destroy the Dalek race and Earth along with it, noted he'd rather be a "coward, any day."[1] The Tenth Doctor, whilst initially suspicious and dismissing the Cult of Skaro's genetic dabblings as having achieved nothing, showed compassion to the Dalek/Human hybrid Dalek Sec's plan to create a more benign Dalek race on another planet, and was even willing to transport them there via the TARDIS.[8]