#it's like that douglas adams quote about space but with dead people in it

[nostalgia-tblr]

Re: Hunting for Sport Poll though, I do want to add (separately) that you don't have to feel bad about not knowing the history of every place on Earth, even the famous bits. The world is very large and history is very long and there is no way you'll ever know even a basic outline of everyone's national histories unless you spend all day every day doing nothing else. Think of how much time you spent in school in a history class and it's no longer quite so shocking that you don't know even quite major things from the history of wherever you live.

So, like. Don't beat yourself up over things you didn't know because nobody ever taught them to you. And hey, you know now!

[talonabraxas]

Nature Spirit

The inhabitants of the Elemental Kingdoms

Many people who are not clairvoyant wonder what fairies look like. The occultist and writer Bulwer-Lytton provides the answer in his famous novel Zanoni (reviewed in our books section of the website.) in which he says:

"Now, in space there are millions of beings not literally spiritual, for they have all, like the animalculae unseen by the naked eye, certain forms of matter, though matter so delicate, air-drawn, and subtle, that it is, as it were, but a film, a gossamer that clothes the spirit. Hence the Rosicrucian's lovely phantoms of sylph and gnome. Yet, in truth, these races and tribes differ more widely, each from each, than the Calmuc from the Greek,—differ in attributes and powers. In the drop of water you see how the animalculae vary, how vast and terrible are some of those monster mites as compared with others. Equally so with the inhabitants of the atmosphere: some of surpassing wisdom, some of horrible malignity; some hostile as fiends to men, others gentle as messengers between earth and heaven."

As ever, this peer among mystics sums up the whole matter in a few lines. The elemental beings who direct the invisible hidden forces that drive the great storms that rage across our planet may well be regarded as 'hostile as fiends to men'. Their work seems utterly destructive and cruel, often leaving thousands dead, injured and homeless from the devastation wrought by tsunamis and hurricanes. But such elementals are not 'evil'. They have no consciousness of self as we understand it, and therefore no concept of 'right' or 'wrong.' They are simply the unconscious or semi-conscious agents of the universal laws they serve. The occultist and seer, Geoffrey Hodson, three of whose books we review in the books section of our website, gives a very vivid and true description of such air elementals in his book Fairies at work and at play. We quote his description in full in our afterword to this article at right, together with other clairvoyant observations from his books.

What about those nature spirits which are 'gentle as messengers between earth and heaven' which Bulwer-Lytton also mentions? You can read about these heavenly messengers of beauty and joy in Geoffrey Hodson's lively descriptions in our extracts from his books in our afterword at right.

From the foregoing and the examples we give in our afterword, it will be clear that a comprehensive description of the inhabitants of the elemental kingdoms is an utter impossibility. One might as well try to count and classify human beings from a physical, emotional, mental and spiritual perspective, and then distil this down to a single statement. You may object that the writer Douglas Adams did just that when he described humanity as "mostly harmless" in his book The Hitchhiker's Guide to the Galaxy, but amusing as this statement may be, it does not really tell us very much about mankind. Were we to say that nature spirits are 'mostly good' you would probably very quickly stop reading this article and look for a more complete answer, and serve us right for our levity!

Those nature spirits in charge of the waters, the woods, the hills, the mountains are mostly entirely benevolent and loving in nature. There are, further, the cloud and wind Devas, who paint those magnificent pictures in the sky at sunrise and sunset which enthral all sensitive minds. Nature spirits are only one of the ranks or orders of spirits who compose the Hierarchy which rules the Universe under God. There are vast numbers of them and they are divided into three main classes: the Bodiless; the Form Devas; and the Passion Devas. The Bodiless ones belong to the highest realms of light, completely inaccessible to all but the greatest seers, and are composed of what we may call mental elemental Essence. Form Devas are of a lower grade of evolution, and while their bodies are composed also of the same Essence, they have no direct connection with mankind. The Passion Devas dwell in the Astral World, and their bodies are composed of Astral Elemental Essence, and these are the beings most commonly seen by clairvoyants.

[corkcitylibraries]

Book Review: Catherynne M. Valente’s Space Opera

by Catherine Creedon

The more technologically advanced we become, the more serious consideration is given to what kinds of sentient life we may encounter in the wider universe. This is not that book. Rather, it is the book about what kind of people we will be when we meet other life forms. If, indeed, they consider us to be people. Galactically funny, this grand, kitsch extravaganza takes a look at the best and worst of humanity, with added lipstick, glitter and strobing lights. 

Whilst the beings on a small, watery, excitable planet called Earth were going about their business in blissful ignorance, a massive intergalactic civil war, called the Sentience Wars, raged across space and time. In the aftermath, it was decided that a marginally less destructive way was needed to determine which species made the cut in the ultimate question: Which of us are people and which of us are meat? Thus was created the Metagalactic Grand Prix. For slightly higher stakes than a mere douze points, all viable species gather together to compete in the ultimate musical performance; and now that humanity has come to the attention of everyone else, they too have to prove that they are capable of playing nicely in the sandbox of interstellar life. 

Once humanity is brought up to speed, we are given a list of potential contestants by the friendly intermediary Esca; unfortunately, all but one are dead or incapacitated. Enter Decibel Jones and the Absolute Zeros, a washed-up glam rock band that is our last, forlorn hope. The Zeros are the archetype of rock 'n' roll, every garage-playing wannabe teenager who, in the face of all common sense and good taste, actually managed to achieve brief stardom. Of course all the usual music industry tropes befall them, amidst the success, there is excess and tragedy, and they end up, like many the band before them, in either suburban obscurity or facedown in puddles of their own regret. Nevertheless, the band, in the good old tradition, must get back together again and, if not win the contest, then at least try not to come last. 

This is the Eurovision set in space, so over-the-top it is almost exhausting, filled with outrageous images of different aliens and debatable dress sense, but it also manages to discuss what it means to be human, the importance of art, and the nature of life itself . And Valente does it all with the funniest, best-written prose since Jerome K. Jerome. She acknowledges herself that it is an homage to Douglas Adams but, in my opinion, she far outstrips The Hitchhikers Guide. Admittedly, she may be tad light on plot and character development, but there really isn't room, with the richness and depth of her comic segues. The difficulty for the reviewer is in picking quotes because, honestly, nearly every sentence is a jewel, and every reader will have their own favourites. It is possibly too rich for the tastes of some, but if you like your comic prose with incredible depth and perfect juxtaposition, then you will repeatedly return to Space Opera, to savour and to treasure a magnificent addition to the very small cannon of truly classic humorous writing.

 Available from Cork City Libraries

[atmilliways]

M, A for Stuck on the Outside Failing to Look In (Just Like in Real Life), K, E for that one fic your wrote on LJ where Toki and Skwis both wind up in the hospital after hooking up too much because *I* want it, C, H, A again for All is Calm, All is Dark, R, L, E for Nobody Puts Baby in the Corner, S, N, N again, A again for A Murder of Two, T, H, A again DEALER'S CHOICE, N a third time, K, I, and two S's.

“Make Charles n Nathan kiss.” 

Have done, can do, will do! And kudos for making me go back to LiveJournal for a fic I hadn’t even planed on moving over to Ao3 because I was worried it was too dramatic. 

(Fanfic Ask Meme) 

M: Got any premises on the back burner that you’d care to share?

Hm, what have I not already blabbed about… Oh, you’ll like this. I’ve semi started working on a preklok fic where Nathan and Skwisgaar share an apartment and it’s an absolute sty, so Nathan gets some homeless kid to clean it in exchange for food and use of their shower. Enter Toki. Cue eventual threesome. 

Eventually once Magnus is kicked out of the band they’re going to conspire to “hold auditions” for the rhythm guitar part but have Toki show up late and blow everyone else out of the water while they pretend to be surprised.

A: How did you come up with the title to Stuck on the Outside Failing to Look In (Just Like in Real Life)?

A lot of the Skwistok I write tends to feature both of them being idiots who aren’t good at communication. Like in that fixed you wanted me to pull a slide your house where they both end up in the hospital for stupidity related. Stuck on the Outside is the most reflective of that, title-wise. 

K: What’s the angstiest idea you’ve ever come up with?

In terms of drawn out angst? Take Me To Church. Nine chapters plus a prologue and epilogue of Charles scrambling to figure out what is even happening, and the learning curve is not kind to him. 

E: If you wrote a sequel to that one fic your wrote on LJ where Toki and Skwis both wind up in the hospital after hooking up too much because I want it, what would it be about? 

After they’re both released from the hospital, they continue to Not Talk About It until cornered by the rest of the band. When asked why they were gone for so long Skwisgaar has an aneurism-like idea and just blurts out “Guitars!!” So they haphazardly cobble together an excuse about how they’ve been doing a lot of “extra practice sessions” to get Toki up to speed on some of his trickier parts.

Basically, they hash out an agreement for their “extra practice session” relationship with Nathan, Pickles, and Murderface not only listening, but chiming in with helpful shit like “Yeah Skwisgaar you make sure he gets all the extra practice he needs!!” 

C: What character do you identify with the most?

Nathan. I guess because he’s kind of the most “omfg can we just get shit done” of the group while also being such a perfectionist to the point of “nope, not good enough, start all over again from scratch and get it right motherfucker.” I can relate to both of those things. And he strikes me as such a Taurus (stubborn as hell, bull in a china shop, etc), which I also am, so there’s that too. 

H: How would you describe your style?

I wouldn’t, because it’s hard. 

A: How did you come up with the title to All is Calm, All is Dark? 

Don’t quote me on this, I’m only the author or whatever, but I think I wrote it or titled it or something over the holidays one year as a fluff present for a friend. The title is based on a line from Silent Night, but I changed “bright” to “dark” because Charles needs a dim, quiet space to relax and recharge. 

R: Are there any writers (fanfic or otherwise) you consider an influence?

Douglas Adams, Terry Pratchett, Neil Gaiman, Robin McKinley, and… a lot more. I’m basically a sponge. In high school, while we were reading Grapes of Wrath in lit class, I wrote a story in my creative writing class that was kind of fantasy, kind of magical realism, but depressingly paced like that one chapter where the fucking turtle crosses the fucking road, thank you John fucking Steinbeck. 

Also a million billion fanfic writers across five or six different fandoms. 

L: What’s the weirdest AU you’ve ever come up with?

Personally, I consider coming up with a headcanon for a Metalocalypse Fraiser AU pretty weird on the grounds that it’s obscure, and I’m still amazed that enough people both knew what I was talking about and felt moved to make “oh my god you did it” comments. 

E: If you wrote a sequel to Nobody Puts Baby in the Corner, what would it be about? 

Hm. Well, because I originally intended for it to be a Nathan/Charles story and it just sort of, uh, veered off on a different course there… So the sequel would probably be something like Nathan, Skwisgaar, and Toki still casually hooking up occasionally, but outside of those threesomes it’s basically just Skwistok. After a while of this, Skwisgaar starts teasing Nathan that Charles has a crush on him, and then Toki joins in, and then they start asking Charles “subtle” questions to try and suss out if it’s true, and it is. Meanwhile, Nathan’s still going through his “huh, I guess I’m bi then, okay… huh” thing and convinced that this crush rumor is bullshit. 

Eventually the conspiring Scandinavians get those two crazy kids together, and make Charles a badly spelled Welcome To Our Threesome banner that absolutely does not leave the room intact. 

S: Any fandom tropes you can’t resist?

I love doing missing scene/behind the scenes stuff. Like, you know, basically all of Take Me To Church. It’s such a challenge to on one hand know in my heart that Charles and Nathan are meant to be, but on the other not actually deviate from any established canon. 

N: Is there a fic you wish someone else would write (or finish) for you?

Yeah, somebody write that sequel I described for Nobody Puts Baby In A Corner. You have my blessing. Title it, I Carried A Watermelon Named Nathan. 

N: Is there a fic you wish someone else would write (or finish) for you?

Someone write B.A.N.D.M.A.T.E.S for me. I mean, I’m gonna, but I have stuff going on at the moment and I want to read it now. 

A: How did you come up with the title to A Murder of Two?

A murder is a group of crows. There’s a Counting Crows song called A Murder of One, which is also where I got the idea for my murderofonerose screen name. (Rose is my middle name and it was back when I was still being dramatic about being single.) 

So considering the rest of the band was killed by black birds, crows seemed fitting. And the whole “he’ll always have Charles” thing. They’ll stick together, their own little murder of two. 

T: Any fandom tropes you can’t stand?

Rapefic. I’ll just casually refrain from reading that, nbd. 

H: How would you describe your style?

Okay, whatever, I’ll do it, fine. 

Very character driven. Always has been, even before I discovered fanfiction, because creating and/or developing characters is my favorite part. Buuuut it means I’m sometimes lacking in setting and plot… It’s a constant struggle. I’ve also always had kind of a thing for unreliable narrators — or not unreliable exactly, it’s not like they’re intentionally lying to do, but just you get most things filtered through their personal biases. That’s why I want Take Me To Church to have a companion story from Nathan’s point of view, so I can beat y’all with the dead horse that is everything that has flown over Charles’ head due to low emotional intelligence. 

A: How did you come up with the title to DEALER’S CHOICE?

I know this is payback, but is anyone else starting to think that Dealer’s Choice would make a great fic title? And then the answer to this question would be, “Well this one time I was being an absolute madwoman/maniac and spammed a couple people’s inbox with lettered ask memes that doubled as a secret message because I’m a smartass. Blame my family for being awful at actual conversations and emotional support but superb at puns and one-liners. Anyway, one thing lead to another and they got me back, but I continued to be a smartass and used this as a title so I could continue to tell this story about singlehandedly revolutionizing the ask meme industry.“ 

N: Is there a fic you wish someone else would write (or finish) for you?

Yeah, there is, a sequel to Stay Alive. *mic drop* 

K: What’s the angstiest idea you’ve ever come up with?

In terms of “oh, that’s… not good…” feels? I think it’s He Came Back (Wrong). Nathan definitely has feelings for Charles, confused and complicated as they are, but if he’s not quite the same person anymore then how is anything ever going to get resolved? 

I: Do you have a guilty pleasure in fic (reading or writing)?

Mainlining ridiculously long fics from start to finish, but they have to be complete and they have to really grab me. I have done this a few times since college and it’s simultaneously always worth it and always a Bad Idea. 

S: Any fandom tropes you can’t resist?

Confessions of Feelings while drunk and/or high. 

S: Any fandom tropes you can’t resist?

Fuck or Die. I mean, constructing the situation alone is impressive, because how often does that sort of thing even crop up.

[david-watts]

another tag from @salty-mccoy - thanks again!!

answer 21 questions and tag people you’d like to get to know

nickname: redboots is like. my official nickname. other ones are just variants on my name like geo or keith. even geography has been used I’ve seen 

sign: libra sun aries moon 

what I’m wearing: school uniform but like. mentally I’m wearing a black velvet jacket 

dream job: like. dream dream job is an astrophysicist and I know for a fact that isn’t happening because since I decided I wanted to be one I’ve gotten very unsmart. second dream job is a musician or something 

favourite quotes: ‘we piss anywhere, man’ (in my defense this is really fucken funny) ‘we tried to be rebellious’ (harry vanda), literally anything from doctor who 

favourite food: sushi, mainly because it’s one of the few foods I can eat and not feel sick immediately after. also like. chips  

favourite movie: don’t ask me this!! I spend my time watching the same television shows over and over again!! but the titfield thunderbolt and a hard days night, I guess

favourite sport: I play hockey. don’t particularly care about it though 

dream trip: the sixties europe and the uk... also japan 

languages: english, the remnants of japanese I learnt in high school, I can understand some german but don’t ask me to say anything I can just about grasp what I overhear from people I know who actually speak it, also three phrases in french (one of which is rude) and I really want to learn dutch but can I keep up with that now? not likely 

favourite song: hhhHHH NEVER ASK ME THIS!!! I don’t have a favourite favourite song!!! top five are down among the dead men by flash and the pan, turn! turn! turn! by the byrds, rock n roll fantasy by the kinks, mr soul by buffalo springfield and jumpin jack flash by the rolling stones. bonus mentions to shangri-la by the kinks the beginning of that song always makes me feel things, to st louis by the easybeats, and to route 66 by the pretty things live in 1973. that one’s a complete rocker 

favourite book: hitchhiker’s trilogy of five by douglas adams, the invasion of the moon 1969, and laura jackson’s biography of brian jones. they’re the only things I’ve actually read recently because reading is too hard for me nowadays 

what do I hate: are we talkin deep hatreds with moral issues because I can go very deep and this would literally turn from an ask game to a therapy session (but my tumblr’s like that anyway) but really I hate Bad Textures™ which my fellow autistics would understand. on the deeper side of things I hate bigots. though that should go without saying at this point 

random fact: the first one I thought of is like. unconfirmed. I can’t go around claiming that for it to turn out untrue. second fact is I didn’t know how to cross my eyes until I was thirteen 

describe yourself as aesthetic things: old hardcover books, vinyl records, black-and-white psychedelic artwork, art nouveau, space age graphic design and smoke 

do I get asks: used to, now I don’t wouldn’t mind a few 

other blogs: this’ll be ones I actually use and want to advertise as existing - @redbootsthetimetraveller which is my art blog. please follow and reblog my stuff it’d be very appreciated. self art plug over I also have @some-other-number which is Hell™

hogwarts house: ravenclaw!! got sorted in sydney, 2012. also saw harry vanda’s guitar and picasso’s artworks that day and I think that’s the excitement I felt in order from most to least over those things 

patronus: weasel. does this mean I’m a weasley now 

favourite characters: ford prefect, the doctor, jamie mccrimmon, bill potts, and anyone else I’ve either had a questionable attraction to or has attracted my attention 

any updates on a new fic: been trying to work on the rolling stones/doctor who crossover but I have schoolwork to do. also let me know if you would want to read a crossover between hitchhiker’s guide to the galaxy and doctor who because I have four thousand words of that. I want to know if I should continue it. so I like crossovers now huh. weird turn 

tagging: @nezclaw @dandylion1966 @piecesofmybackpages @raedioh @l0w-budget and @gimmeeshelter (and of course you don’t have to if you don’t want to) 

[commodorecliche]

Gimme all the book recs Please :D

yaaaaaaaaaaaas okay great. i love sharing books i love.  

1. The Thief of Always - Clive BarkerGenre: Dark FantasyBig personal favorite of mine. My father read this to me when I was a kid, and it literally has stuck with me since then. Every now and then I go back and reread it just for fun. It’s a wonderfully spooky little story, accompanied by some really lovely and somewhat off-kilter illustrations. Much like Coraline, it’s a novel that is a fable for children, and a tale of terror for adults.

After a mysterious stranger promises to end his boredom with a trip to the magical Holiday House, ten-year-old Harvey learns that his fun has a high price.

2. House of Leaves - Mark Z. DanielewskiGenre: Postmodernism, horrorHands down an absolute favorite. This is a book I literally recommend to everyone. This is a book that made me viscerally uncomfortable, at times I didn’t even sleep in the same room as it. I made it sleep in the living room. There is nothing overtly terrifying about the book, but its format and its unsettlingly immersive nature will lead you down a road unlike any other. 

In 1997, Johnny Truant has stumbled upon a chest full of scrap papers that had once belonged to a man named Zampono. The papers aren’t just scraps though, they’re a chaotic but detailed transcription of a series called the Navidson Record. The Navidson Record is a series of videos made by a family who has discovered that their new house appears to change dimensions almost daily, it has hallways that shouldn’t exist, doors that should lead outside but instead lead into nothingness. Johnny attempts to re-order and reconstruct Zampono’s papers, and along the way begins to lose himself as well. 

3. The Postmortal - Drew MagaryGenre: Science Fiction, Postmodern DystopiaReally funny, really dark, and full of a surprising amount of morality and humanity in a pre-apocalyptic world. 

Imagine a near future where a cure for aging is discovered and-after much political and moral debate-made available to people worldwide. Immortality, however, comes with its own unique problems-including evil green people, government euthanasia programs, a disturbing new religious cult, and other horrors.    

4. Horrorstor - Grady HendrixGenre: Comedy, HorrorHonestly this book is just balls to the wall fun. It’s a horror novel that’s laid out like the world’s most messed up IKEA catalog. Spooky at times, ridiculous and funny, at times moving, while also offering great social commentary on consumerism and the the current status of retail workers. 

Something strange is happening at the Orsk furniture superstore in Cleveland, Ohio. Every morning, employees arrive to find broken Kjerring bookshelves, shattered Glans water goblets, and smashed Liripip wardrobes. Sales are down, security cameras reveal nothing, and store managers are panicking. To unravel the mystery, three employees volunteer to work a nine-hour dusk-till-dawn shift. In the dead of the night, they’ll patrol the empty showroom floor, investigate strange sights and sounds, and encounter horrors that defy the imagination. 

5. Rant - Chuck PalahniukGenre: Science Fiction, Horror, SatireThis is a book I read several years ago and that I still think about from time to time. I haven’t had time to sit down and reread it, but parts of it still resonate with me today. This is a very peculiar story and it is told in a rather peculiar fashion (it is an oral history, and as such is told in a very conversational way by a number of different characters with a wide variety of thoughts and opinions on the titular Rant. It’s hard to properly describe this book, but let’s just say it’s been in my reread list for a while now. 

Buster “Rant” Casey just may be the most efficient serial killer of our time. A high school rebel, Rant Casey escapes from his small town home for the big city where he becomes the leader of an urban demolition derby called Party Crashing. Rant Casey will die a spectacular highway death, after which his friends gather the testimony needed to build an oral history of his short, violent life. 

6. John Dies at the End - David WongGenre: Comedy, Horror, Dark FantasyHoly god what do I even say about this book? It is just hilariously and marvelously insane. A perfect mix of cosmic fantasy, horror, comedy, and lunacy, and I loved every minute of reading it. I still have the rest of the series lined up to read, too!

The drug is called Soy Sauce and it gives users a window into another dimension. John and I never had the chance to say no. You still do. I’m sorry to have involved you in this, I really am. But as you read about these terrible events and the very dark epoch the world is about to enter as a result, it is crucial you keep one thing in mind: None of this was my fault. 

7. Sphere - Michael CrichtonGenre: Science Fiction, Deep Sea HorrorThis is one I actually JUST finished, and I absolutely adored it. I had a couple small complaints about it, but overall, it was a wonderful read and very engrossing. Plus, I’m always a sucker for deep sea horror. 

A group of American scientists are rushed to a huge vessel that has been discovered resting on the ocean floor in the middle of the South Pacific. What they find defies their imaginations and mocks their attempts at logical explanation. It is a spaceship of phenomenal dimensions, apparently, undamaged by its fall from the sky. And, most startling, it appears to be at least three hundred years old…. 

8. I, Lucifer - Glen DuncanGenre: Religious Fantasy, Occult FictionThis book is incredibly well researched, thought out, and characterized, as well as funny and extremely thought-provoking. I’d never expected to see a story that would give me a realistic and modern look into the Devil’s side of the story. I especially never expected to see a story that would make the Devil learn what it is to be human, either. All in all just an A+, fantastical read. 

The Prince of Darkness has been given one last shot at redemption, provided he can live out a reasonably blameless life on earth. Highly sceptical, naturally, the Old Dealmaker negotiates a trial period - a summer holiday in a human body, with all the delights of the flesh. The body, however, turns out to be that of Declan Gunn, a depressed writer living in Clerkenwell, interrupted in his bath mid-suicide. Ever the opportunist, and with his main scheme bubbling in the background, Luce takes the chance to tap out a few thoughts - to straighten the biblical record, to celebrate his favourite achievements, to let us know just what it’s like being him. Neither living nor explaining turns out to be as easy as it looks. Beset by distractions, miscalculations and all the natural shocks that flesh is heir to, the Father of Lies slowly begins to learn what it’s like being us. 

9. The Wasp Factory - Iain BanksGenre: Psychological HorrorLook, I want to say this right off the bat. This book is… not for everyone. Trust me when I say this is an extremely dark book with a lot of dark content. I would say that if you have any potential triggers, you may want to message me first and I will give you a better rundown of what all this book entails. This is a true piece of horror fiction. But it’s also incredible. I ate this book up in about two days and it is one of my favorite pieces of dark fiction to date. So yeah, chat with me if you have any concerns, but if you enjoy truly dark fiction, then this is up your alley. 

Two years after I killed Blyth I murdered my young brother Paul, for quite different and more fundamental reasons than I’d disposed of Blyth, and then a year after that I did for my young cousin Esmerelda, more or less on a whim. That’s my score to date. Three. I haven’t killed anybody for years, and don’t intend to ever again. It was just a stage I was going through. 

10. The Hitchhiker’s Guide to the Galaxy - Douglas Adams (the whole series, trust me)Genre: Comedy, Science Fiction, Cosmic FantasyJust trust me when I say this is a series that literally everyone should read at least once in their life. They are unflabbably hilarious in a way that only Douglas Adams could be, and they are just truly unique. This series is (rightfully) a classic and shouldn’t be missed. 

Seconds before the Earth is demolished to make way for a galactic freeway, Arthur Dent is plucked off the planet by his friend Ford Prefect, a researcher for the revised edition of The Hitchhiker’s Guide to the Galaxy who, for the last fifteen years, has been posing as an out-of-work actor. Together this dynamic pair begin a journey through space aided by quotes from The Hitchhiker’s Guide (“A towel is about the most massively useful thing an interstellar hitchhiker can have”).

11. World War Z: An Oral History of the Zombie War - Max Brooks Genre: Zombie horror, Faux HistoryI beg you - do not judge this book by the very terrible movie that was made about it. It is an entirely different animal than that mess of a movie, I promise. World War Z is a masterfully crafted book that details the zombie apocalypse in ways never before done in fiction. The Battle of Yonkers scenes and the testimony of Tomonaga Ijiro still stick in my head to this day. This book is a triumph of horror, ‘history’, and humanity, all balled into a distinctly unique experience. 

The Zombie War came unthinkably close to eradicating humanity. Max Brooks, driven by the urgency of preserving the acid-etched first-hand experiences of the survivors from those apocalyptic years, traveled across the United States of America and throughout the world, from decimated cities that once teemed with upwards of thirty million souls to the most remote and inhospitable areas of the planet. He recorded the testimony of men, women, and sometimes children who came face-to-face with the living, or at least the undead, hell of that dreadful time. World War Z is the result. Never before have we had access to a document that so powerfully conveys the depth of fear and horror, and also the ineradicable spirit of resistance, that gripped human society through the plague years. 

12. The Raw Shark Texts - Steven HallGenre: Fantasy/Realism, Meta-fiction, MysteryThis is a tough one to put into words. I read this many years ago, and I remember it more as a series of emotional experiences rather than just as a singular plot. Which I think really speaks to its character as a book. This is a book that deals with dissociation, memory loss, our sense of self, how easily we can lose that sense, and our struggle to hold onto or to rediscover the world we know and the people we believe ourselves to be. This book is just… an experience, much like House of Leaves. It’s immersive, and at times quite unsettling. 

Eric Sanderson wakes up in a house he doesn’t recognize, unable to remember anything of his life. All he has left are his diary entries recalling Clio, a perfect love who died under mysterious circumstances, and a house that may contain the secrets to Eric’s prior life. But there may be more to this story, or it may be a different story altogether. With the help of allies found on the fringes of society, Eric embarks on an edge-of-your-seat journey to uncover the truth about himself and to escape the predatory forces that threaten to consume him. 

I think 12 should be good for now! I certainly have more though, if you want them!! 

Bonus, Currently Reading: The Library at Mount Char - Scott HawkinsGenre: Contemporary Fantasy, Horror, Dark FantasyI don’t have a whole lot to say about this yet since I’m not very far into it, but so far it’s been extremely intriguing, and Hawkins’ writing is truly beautiful. 

A missing God. A library with the secrets to the universe. A woman too busy to notice her heart slipping away. Carolyn’s not so different from the other people around her. She likes guacamole and cigarettes and steak. She knows how to use a phone. Clothes are a bit tricky, but everyone says nice things about her outfit with the Christmas sweater over the gold bicycle shorts. After all, she was a normal American herself once. That was a long time ago, of course. Before her parents died. Before she and the others were taken in by the man they called Father. 

Bonus 2, Up Next to Read: Dark Matter: A Ghost Story - Michelle PaverGenre: Horror

January 1937. Clouds of war are gathering over a fogbound London. Twenty-eight year old Jack is poor, lonely, and desperate to change his life, so when he’s offered the chance to join an Arctic expedition, he jumps at it. Spirits are high as the ship leaves Norway: five men and eight huskies, crossing the Barents Sea by the light of the midnight sun. At last they reach the remote, uninhabited bay where they will camp for the next year, Gruhuken, but the Arctic summer is brief. As night returns to claim the land, Jack feels a creeping unease. One by one, his companions are forced to leave. He faces a stark choice: stay or go. Soon he will see the last of the sun, as the polar night engulfs the camp in months of darkness. Soon he will reach the point of no return–when the sea will freeze, making escape impossible. Gruhuken is not uninhabited. Jack is not alone. Something walks there in the dark… 

(also if any of y’all have read these, i’d love to hear YOUR thoughts on them too)

[aion-rsa]

Doctor Who: Ranking the Dalek Stories – Which is the Best?

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“… hideous, machine-like creatures. They are legless, moving on a round base. They have no human features. A lens on a flexible shaft acts as an eye, arms with mechanical grips for hands.” Terry Nation’s script for ‘The Survivors’ (aka ‘The Daleks’ Part Two)

The Daleks, along with Judge Dredd, are fictional fascists beloved by a wide audience. At their heart is a combination of terrifying concept – Nazis who always return (imagine) – with a triumph of design. The greatest Dalek stories tap into this uneasy alliance.

A quick summary of the thinking behind this article:

A. We thought people would enjoy it.

B. If a story features the Daleks in a small cameo role, I’ve not included it (for example, ‘Frontier in Space’, ‘The Wedding of River Song’, ‘The Pilot’). I’ve removed ‘The Day of the Doctor’ and ‘The Time of the Doctor’: it seems silly to rate them based on their Dalek content.

The rankings are not based purely on how entertaining I find the stories, but also on how the Daleks are used and developed, the Doctor’s response to them and what that says (within both the larger context of the show’s history and the stories surrounding it). As this only covers television stories, I should mention that I think the best Dalek story of all time is the Big Finish audioplay ‘Jubilee’ by Rob Shearman, which you should know as little as possible about before listening to.

25. Planet of the Daleks

Having not seen this until its DVD release, I don’t have any residual affection for this story from childhood (unlike other stories on this list; I thought ‘Resurrection of the Daleks’ was great when I was nine).

‘Planet’comes across as lazy now. To be fair to Terry Nation, no one could rewatch episodes in 1972, and so his first script for the show since 1965 drew heavily on his old stories. The result is a rote traipse through the familiar.

It’s not without positives: The Doctor’s grief and rage when he thinks Jo is dead is very well acted, although the oft quoted “Courage isn’t just a matter of not being frightened” line works better in isolation than in the actual scene, which feels like HR has invited Jon Pertwee in to do a motivational seminar.

24. Destiny of the Daleks

Terry Nation’s final script for Doctor Who clashed with Script Editor Douglas Adams. Adams tried to zest up what he regarded as tired Nation standards (including radiation poisoning, overambitious monsters, a rare mineral, a quest, things named after their primary characteristic, invisible monsters, jungle planets, aggressive vegetation, flaky Daleks, unfortunate comedy episodes and plagues). The lack of budget is obvious, with knackered Dalek props and an ill-fitting Davros mask (actor David Gooderson also cannot lift Davros’ generic villain dialogue).

Some jokes land (‘Ooh look! Rocks!’) as does some of the Mild Peril (Episode 3’s cliff-hanger especially), but the story about inertia reflects its subject. K9 doesn’t appear because Nation didn’t want him to distract from the Daleks, then reduces them to impotent robots in thrall to their creator anyway.

23. Daleks in Manhattan/ Evolution of the Daleks

It’s not that this re-treads ideas from ‘Evil of the Daleks’, or that the science strains credulity even by Doctor Who standards, it’s that this story feels strangely perfunctory despite its ambitions. This is a shame because there are some great moments in the first episode where the Daleks plot, skulk and lament. It feels salvageable, but Russell T. Davies was ill and unable to perform his usual rewrites on the scripts, and the result feels like ticking off items on a Tenth Doctor Bingo card.

We do get the mental image of the Cult of Skaro sneaking around 1920s New York trying to kidnap a pig though, so you can’t say that it’s all bad.

22. The Chase

‘The Chase’ starts off well and cosy. Terry Nation sets the initial action on a desert planet called Aridius where some aliens from RADA are menaced by a giant ballbag. The regulars are all enjoying themselves. Then we getawkward comedy skits, a poorly judged trip to the Marie Celeste, and a sequence in a haunted house where everyone is stupid for some reason. The momentum never fully recovers from this.

Giving the Daleks time travel to pursue the TARDIS is an important development, and it’s a fantastic set for the interior, but the middle of this story lets it down.

21. Resurrection of the Daleks

From this point on, using the Daleks required approval by Terry Nation or his estate. Nation had been unsatisfied by other writers’ version of the Daleks, which is quite the take, and refused to allow another writer to tackle them until a convention appearance changed his mind. Nation’s feedback on an Eric Saward script meant that the story was revised and became overfull to satisfy both writers’ visions.

A delay in production gave time for streamlining, but nonetheless ‘Resurrection’ is messy and ultimately doesn’t seem very interested in the Daleks (focussing again on Davros and Saward’s mercenary characters). Indeed, the Daleks here seem even weaker than in ‘Destiny’, relying on mercenaries to take over Davros’ prison ship and being insecure enough to give them little Dalek decorations on their helmets.

In its defence, Matthew Robinson directs it with gusto, somewhere in there is a critique of its own violence, and Tegan’s departure is excellent.

20. Revolution of the Daleks

This is not a story that uses the Daleks on more than one level, and yet also possibly the nearest thing its era gets to political satire. We have someone using the remains of a Dalek to build security drones, associating a representation of fascism with law enforcement and connecting it to government, but the story moves away from this idea into cloned Dalek mutants hijack the drones and kill people, and then the original Daleks turn up to kill them because they’re not genetically pure. The Doctor’s solution to the remaining Daleks is good, but while this one doesn’t do anything outrageously wrong, it doesn’t do anything especially right either.

19. Resolution

Likewise, this story is just sort of there, like Shed Seven or thrush. The Daleks have a new form of controlling people, with the mutant wearing them like the title creatures from ‘Planet of the Spiders’ (as strong an image as it was in 1975) and the DIY Dalek shell mirrors the Doctor’s rebuilding of the sonic screwdriver.

The Dalek also demonstrates its firepower quite impressively, but contrasting this with ‘Dalek’ shows what’s missing: this doesn’t have anything like the personal stakes of that story, and so we have some pulpy and familiar thrills but little depth.

18. Into the Dalek

The main job of ‘Into the Dalek’ isn’t getting under the skin of the Daleks, but setting up the Series 8 arcs. We have a good Dalek, which turns out to have a damaged inhibitor allowing it to feel compassion, and a Fantastic Voyage-style journey through its interior. This lacks existential dread (in contrast to Clara being trapped inside a Dalek during ‘The Witch’s Familiar’), but Ben Wheatley directs the Daleks in combat extremely well.

It’s very busy, ambitious and patchy: the gag where the Doctor keeps finding Clara unattractive gets old quickly, the dialogue is of variable quality, and everyone has to be stupid for the plot to happen. There’s an interesting story to be had about a broken Dalek and the Doctor’s response to it, but this isn’t it.

17. Victory of the Daleks

Another riff on a Troughton-era story, in this case ‘Power of the Daleks’, this is easier to criticise now separate from the outcry over the New Paradigm design.

And it is… okay. The twist that the Doctor’s hatred of Daleks is what progresses their plan is a better use of this than the usual abyss-gazing. The Daleks win, but this doesn’t land with sufficient weight as the meat of the ending is given over to the ongoing series arc.

It’s a hybrid of Dalek event story and Companion Proves Themselves (with all the iconography of Churchill, World War Two and the Daleks) and is so by necessity somewhat pat in its resolution. Also, by Printing the Legend of Churchill a more interesting story is compressed into the line “If Hitler invaded hell I would give a favourable reference to the Devil”.

Putting aside the Dalek designs, which didn’t work for most people, this story fulfils a function and attempts to disguise this amiably enough.

16. Death to the Daleks

This is a story that, thanks to it being four parts rather than six, we could afford on video. I can’t say for sure how much this impacts my preferring it to ‘Planet of the Daleks’, but I do think it stands out slightlyfrom other Terry Nation stories despite the familiar elements (rare minerals, quests, a first episode featuring just the regulars). 

Carey Blyton’s score, along with Arnold Yarrow’s performance as Bellal, has an endearing quirkiness. There are little flourishes like the Daleks using a model TARDIS for target practice, and the Doctor’s melancholy at the destruction of the city. Its oddness occasionally overcomes the quaintness of Nation’s approach to Doctor Who, which doesn’t seem to have changed since 1965.

15. Eve of the Daleks

While the romcom parts of this episode rely on conventions that allow a really creepy guy to be a legitimate love interest, the Dalek parts are pretty strong. I feel that this story started with an attempt to solve the problem ‘Why don’t the Daleks just shoot the Doctor?’

The obvious answer is ‘because then the show would be over’, but this means the most deadly race in the universe have to be regularly defeated and have reasons contrived as to why they don’t just shoot Doctor Who in the face (for example: Steven Moffat has Davros describe the build-up to a Dalek exterminating someone, suggesting they wait to fire in order to build tension). Here, Chris Chibnall comes up with a temporary solution: the Daleks do shoot the Doctor – a lot – but like a computer game she gets to try again until she runs out of goes. It’s largely effective, and the small cast with established relationships mean the exterminations have impact (there’s genuine shock and horror from Sarah and Nick at their initial deaths). There’s also a genuine sense of tension at the midpoint as to how this will be resolved.

The eventual resolution is perhaps a wee bit of a fudge (the Daleks, having effortlessly predicted the Doctor’s whereabouts and increased their number, are effectively beaten by Jodie Whittaker shouting ‘Look over there!’ and running the other way) but one it’s easy to forgive.

The Daleks’ dialogue is initially quite strong here too until the variations on ‘Daleks do not ___’ become monotonous. However, because the format of Doctor Who means that the Daleks cannot ultimately kill the Doctor, we have that rarest of things in the Chibnall era: an ending with a sense of catharsis and victory.

14. Army of Ghosts/ Doomsday

Having successfully brought the Daleks back, Russell T. Davies held off on using them again until the Series 2 finale. We have the Daleks versus the Doctor and – for the first time – the Cybermen. The Dalek threat is resolved fairly swiftly as a mechanism to separate the Doctor and Rose, but what we do get is the Cult of Skaro (the return of the Black Dalek! Daleks with names! I don’t know why these are exciting but they are!) and the joy of subverting the two biggest monsters finally meeting by – instead of a huge space battle – having four of them read each other in a corridor with sassy putdowns.

13. Revelation of the Daleks

Eric Saward’s second Dalek story features Davros turning humans into a new race of Daleks leading to the stirrings of a civil war with the originals.

There are always garish edges to Saward’s writing, but the sequence where a character discovers her father’s body inside a glass Dalek – and he alternates between ranting about genetic purity and begging him to kill her – is at its core such a terrifying idea that it succeeds where the horrors of ‘Resurrection’ seem shallow. It does share that story’s lack of interest in the Daleks for the most part though, but this scene makes them scary for the first time since ‘Genesis’.

This also features Alexei Sayle fighting Daleks with a ray gun that fires rock’n’roll. If you don’t like that then we’re probably not going to agree on much about Doctor Who.

Read more

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12. Day of the Daleks

This is an example of the Daleks’ importance to Doctor Who. After talking to Huw Weldon, who had been responsible for the length of ‘The Dalek Master Plan’, producer Barry Letts decided to bring the Daleks back for the Season 9 finale, with Terry Nation’s permission, only to decide that the show instead needed a hook for the opening story of Season 10. As a result, the Daleks were inserted into the story planned for that slot. This is a common feature of Dalek stories: it’s hard to write something original that they’re intrinsic to.

The production suffers from the small number of Dalek props available, and director Paul Bernard not using the ring modulator effect for their voices. This is a good story (though maybe not a good Dalek Story) with a then novel time paradox plot and Aubrey Woods’ Controller is a really strong performance. Viewing figures broke the 10 million mark for the first time since ‘The Dalek Master Plan’, so the decision to bring the Daleks back was absolutely vindicated.

11. Mission to the Unknown/The Daleks’ Master Plan

Essentially a longer and darker version of ‘The Chase’ with higher stakes – it’s not simply that the Daleks want to kill the Doctor, it’s that the Doctor stole part of their superweapon – with a subpar comedy episode and lots of hostile planets (deadly plants, invisible monsters, a rare mineral: such familiarity!). Extended to twelve episodes, it loses its way but commits to its scale with an incredibly downbeat ending that uses jungle planet cliché for contrast: Kembel is reduced to sand and dust.

A highlight of this story is the alliance of Outer Galaxy emissaries who join with the Daleks, a group of Doctor Who villains who inevitably bicker and betray each other. This, rather than the Space Security Service, is what Terry Nation should have focussed on for his spin-offs.

10. Asylum of the Daleks

Steven Moffat’s first proper Dalek story was part of Series 7A, an attempt at weekly blockbusters driven by high concepts. Here, then was the promise of a Dalek asylum with old and replica props, while also attempting to unify both the New Paradigm designsand the lack of emotional fallout to Amy and Rory Pond’s baby being kidnapped. Moffat also threw in a surprise new companion appearance and it’s this, combined with a nano cloud weapon that turns people into Daleks.

It’s not that the others don’t get resolved, but it’s done swiftly in another busy story. While the Daleks have previously controlled people, the idea of actually being turned into Daleks is both macabre and slightly jarring. It feels like, considering their last story involved a plotline about genetic purity, this isn’t the right fit. What does work better is the concept that the Daleks have a concept of beauty, and it’s based around hatred. While this episode does fulfil its blockbuster ambitions it also feels like it needs more room to breathe in order to do justice to all its concepts.

9. The Stolen Earth/Journey’s End

This is the logical conclusion of the Daleks’ return to the show: invading present-day Earth with a huge fleet (complete with Davros backseat driving). Also here, on top of the scale and sheer pace of the storytelling, is the logical conclusion of the Daleks: they attempt to destroy all other life in the universe in one go.

However, there’s also a sense of their ‘Day of the Daleks’role. They’re the Big Guns, so out they come for Doctor Who’s version of Infinity War. They’re developed here by virtue of Davies giving some of them distinct characters (Hello Dalek Caan, hello another stellar Nick Briggs performance). The Daleks here are aggressive and powerful (until Donna finds the off-switch in their basement), but the Doctor’s storyline is more tied up with the companions’ fates than the Daleks.

Davros is also here, trying to suggest to the Doctor that his friends trying to kill Daleks – the most evil race in the universe who are currently trying to obliterate all other sentient life – is bad (this idea worked once in a specific context and no one else has managed it before or since). On the other hand, Davros recognising Sarah Jane again is a thrilling way to bind Doctor Who to its past.

8. The Daleks

On the one hand, I find this story drags towards the end after a strong and uneasy start, but on the other Doctor Who doesn’t exist as we know it without ‘The Daleks’.

It’s hard to imagine the impact of this story on a 1963 audience, especially as we’re so familiar with what the Daleks and Doctor Who were to become. Consider, then, a story with the fear of the bomb writ large (broadcast a year after the Cuban Missile Crisis) and the Daleks in that context. That’s the existential fear angle for the adults covered, which meant they were happy to watch along, but more important was the response from children: love.

Many people contributed to the story and to the Daleks. Nation’s desire to avoid a Man-In-A-Suit monster is important, but key is the work of designer Raymond Cusick, voice actor Peter Hawkins and the Radiophonic Workshop’s Brian Hodgson. What the initially sceptical BBC found was that by the third episode, children who had watched the show were impersonating the Daleks.

There’s a lot to be written about the ageing geek audience who take their childhood toys with them into adulthood, and this article is written by a 35-year-old man who grew up when Doctor Who was off-air. However it’s worth stressing: next time you complain about the show reaching out to primary school aged children, remember that without kids in the playground, Doctor Who would simply not have survived.

7. The Evil of the Daleks

This is an excellent four-part story. Unfortunately it’s seven episodes long.

After a ludicrously convoluted scheme to get the Doctor into the actual plot, amid subplots that go nowhere, there are great parts of David Whittaker’s tale: The Daleks have kidnapped the Doctor and Jamie in order to isolate the Human Factor – the quality humans possess that enables them to regularly defeat the Daleks – to enable them to finally overcome humanity.

Firstly, if Russell T. Davies had written this the forums would never stop complaining about its scientific accuracy. Secondly, what this concept does is allow Whittaker to put the Doctor and Jamie into conflict, with the Doctor’s trickery leading to the unnerving scene of Daleks acting like children and then ultimately a Dalek civil war. We also see the first appearance of the Dalek Emperor, with a huge prop built for the story. When ‘Evil of the Daleks’ is good, it’s electric. You can see this in the surviving episode when the Doctor realises just before they appear that the Daleks are involved.

It’s a shame that the superfluous padding significantly detracts from the rest.

6. The Magician’s Apprentice / The Witch’s Familiar

A story which is primarily about the relationship between the Doctor, Davros, Missy and Clara, but which also casually drops in several new concepts which get under the skin of the Daleks more successfully than anything since ‘Dalek’. The focus is on Davros, but as the Doctor observes ‘Everything you are, they are.’

Firstly, there’s an elegant piece of writing from Steve Moffat where Davros narrates the moments before a Dalek fires, explaining they are waiting for Clara to run. Not only does this explain the Daleks not immediately shooting people, it offers a glimpse into their sadism and malice (as exemplified by Davros). Similarly, the idea that the creature inside the Dalek clings on outside of their life-support system, as they cling onto their home planet, ties into what we’ve seen on screen before.

Finally, anything in a Dalek casing trying to express individuality will have those words and thoughts twisted into the opposite meaning. This returns to the idea that original voice artist Peter Hawkins had for the Daleks – that the creatures inside were trapped. It’s an insidiously nasty idea, perhaps explaining behaviour such as the Dalek that commits suicide in ‘Death to the Daleks’when it sees its prisoners have escaped.

5. The Dalek Invasion of Earth

This and ‘Genesis’ confirm that Terry Nation’s strengths were in war stories rather than the pulp science-fiction adventure story he relied on. ‘Dalek Invasion of Earth’ is a thriller full of post-war fears that forever intertwined the Daleks and The Doctor.The production team pull out all the stops to show a conquered Earth with harrowing matter-of-factness, but the Doctor takes delight in opposing them (Hartnell is great here, taking the edge off with a twinkle but playing Susan’s leaving scene with great pathos too). The last episode is little rushed but overall this is well balanced.

The Daleks here are more mobile and powerful, their regime oppressive, their plans for turning the Earth into a spaceship bizarre and ineffable. As Nation puts it ‘They dare to tamper with the forces of creation’, the sort of boldness that would seep out of his own storytelling in future stories.

4. Genesis of the Daleks

‘Genesis of the Daleks’is another war story realised extremely well. The production does not pull many punches, and is atypically grim for Doctor Who: The Doctor loses but clings on to the slim hope that he hasn’t.

This is clearly Terry Nation’s best script, and is still clearly a Terry Nation script: radiation poisoning, over-ambitious creature requests – I don’t think Doctor Who could ever do a giant clam well, even now – and the endearingly-crap naming conventions (the mutants in the wastelands are called ‘Mutos’ and their dialogue could slot effortlessly into The Mighty Boosh).

Outgoing producer Barry Letts called Nation on his bullshit when he attempted to hand in a similar script for the second time, and suggested an origin story. From here Nation developed the war of attrition, Nazi parallels and the character of Davros (created to have a Dalek-like character who could be given interesting dialogue). Nation commits to making the origins of the Daleks plausibly horrifying. Contrast the halfway stage of ‘The Chase’ – with its misplaced comedy episodes that sap the momentum of the story – with the halfway point here: Davros willingly destroys his entire race to ensure the survival of the Daleks.

Where it feels lesser in comparison is that it is neither connected to an everyday, material reality (unlike ‘Spare Parts’, the story exploring the Cybermen’s origins) and its famous scene where the Doctor asks if he has the right to commit genocide, which looms large in later stories.

And yet, this scene only works in isolation. In context it’s jarring. In surrounding stories, the Doctor kills a sentient robot, a Sontaran, and some Zygons; he will later poison someone with cyanide, all without any qualms. Here, though, he compares destroying Dalek mutants – which are already attacking people – to killing Hitler as a baby. The Doctor worries he’d be as bad as the Daleks if he wipes them out. A few scenes later he has changed his mind, trying and failing to kill them. If it was linked to Davros’ aspirations of godhood, fine, but it’s neither written nor played that way.

It’s not as if the Doctor hasn’t already instigated attacks that seem to wipe the Daleks out, but there other people did the dirty work. It’s this, going forward, that becomes the key aspect of the scene for future writers.

3. Remembrance of the Daleks

‘Remembrance’takes the brewing civil war situation of ‘Revelation’ and connects it simultaneously to Doctor Who and British history. The Doctor is trying to trick the Daleks into using a superweapon hidden in 1963 London, knowing it could result in people dying. The Doctor’s trap feels like a response to ‘Have I the right?’ – clearly he feels he has but doesn’t want to directly press the trigger. It’s both a significant change and logical development in the series and the character, with Sylvester McCoy wanting to play both the weight of the character’s years and actions.

The Daleks are here because it’s an anniversary series but also because if you want a demonstration of power then potentially defeating the Daleks is a clear statement. Writer Ben Aaronovitch doesn’t just involve Daleks with a view to blowing them up, but addresses the reasons for their civil war: the hatred for the unlike that has defined the Daleks but also been part of British culture the entire time Doctor Who has been on screen and beyond, explicitly linked to the most evil creatures in the universe. Not only that, he places that hatred in the supporting cast: the ostensible good guys, the UNIT precursor, the family home.

This has scale, depth and feels important on different levels. This is Doctor Who back to its playground-influencing best.

2. The Power of the Daleks

As Terry Nation was unavailable, David Whitaker wrote the initial scripts before Dennis Spooner’s uncredited rewrites. The Daleks are in this story to bring viewers back on board after the first regeneration, and they also legitimise the new Doctor in contrast to the Daleks. The Mercury swamps that bookend the story also evoke Terry Nation in terms of putting the characters into a hostile alien environment.

The action takes places on a human colony, Vulcan. The Daleks are introduced as a potential solution to their problems, with an insurrectionist faction interested in using them as weapons and the scientist restoring them obsessed with his discoveries. The Doctor’s lone voice of dissent comes across as lunatic ravings, but the audience know the Daleks are manipulating everyone else.

Daleks obviously have the power to kill, but ubiquity had already removed their uncanniness until this story. The suggestion of deeper thought and intelligence builds, and this story gives the lie to the notion that you can’t give the Daleks good dialogue: “Why do human beings kill other human beings?” is full of chilling curiosity, “Yes, you gave us life” a future echo of their capacity for destroying father figures, the almost mocking repetition of “I am your servant”, and the cacophony of “Daleks conquer and destroy” that becomes a disorientating swirl of hatred.

This culminates in a final episode of mass slaughter. The release of tension is colossal. The very end suggests this is not over. The Daleks will never be more unnerving.

1. Dalek/Bad Wolf/The Parting of the Ways

This isn’t a three-parter in the usual sense, but these episodes are inextricably linked, with Russell T. Davies using a series arc to delay and distract the audience from their connection.

What’s key to all three episodes is Christopher Eccleston. He sells the threat of the Daleks better than any other Doctor, elevating the already strong scripts. These are the best performances against the Daleks there will ever be.

If you’re reading this website there’s a strong chance you know that the Daleks were seen going upstairs in the 1980s, but for most viewers ‘Dalek’ was the one that took all the jokes and weaponised them (Indeed Rob Shearman asked his partner what she thought was silly about the Daleks before writing his script): they not only go upstairs but crack skulls with their sucker arm, with added revolving weaponry and force field.

The carnage is well-realised, with director Joe Ahearne letting the Dalek take its time to build the tension, Shearman’s script taps into Russell T. Davies’ new Time War mythology and companion dynamic to allow the Dalek more intelligence in terms of dialogue and emotional manipulation. This Dalek has the threat of those in ‘Genesis’and the intelligence of the ones in ‘Power of the Daleks’.

Their redesign is a microcosm of why ‘Dalek’ works so well: it doesn’t change much, rather it takes what already works and improves upon it. I can’t imagine the return of the Daleks being handled better, while stealthily setting up the stakes of the previously unimaginable series finale.

Over this article I’ve talked about different aspects of the Daleks’ appeal. Children love them and fear them. They tap into adult fears of death, fascism and the uncanny (exemplified by the cacophonic chanting of ‘Exterminate’). That they can appear comical can be weaponised, as can the fact their hatred is not unique to them. Their reach extends into the mundane.

The reasons these episodes work so well is partly because they tap into these strengths, but also that they tell more than anything tell the story of the Ninth Doctor. He’s already committed a double-genocide, as far as he’s concerned, and is barely keeping it together without the prospect of having to commit another one. This is contrasted with the fact of one Dalek being demonstrably dangerous, and now there are hundreds of them. We know what they can, what they will do, and the only way to stop it is for the Doctor to kill Daleks and humans alike. It’s a much more effectively constructed and persuasive dilemma than the one the Doctor proposes in ‘Genesis’.

This story also puts in work with the supporting characters, and rather than being soldiers the staff of the satellite are office workers put into a desperate situation, or people who just wanted to be on telly. While ‘Bad Wolf’isn’t as Dalek-heavy, its satire is subtly devastating. If you look back at clips of The Weakest Link now you can see casual and sadistic cruelty meted out, so connecting this to the Daleks is a stroke of genius (especially with celebrity voices unwittingly joining in their own condemnation), bringing their evil to the everyday.

The Doctor’s closest friends here are merely the people who die last; he knows they’re going to die, and he hears it happen. It becomes increasingly personal, while also satiating that morbid fannish desire to see the Daleks kill someone. Here they seem sadistic, devious, and unstoppable. The need to stop them is obvious, as is the cost.

So rather than an unearned moment of moralising here we have a situation where the Doctor’s decision makes sense, is not abstract to him. This also, in the first series back, makes an important statement: Doctor Who can be dark, and nice people can die horribly, but it is not a series where the grimness becomes overwhelming. Here the Doctor’s decision not to kill is one he knows will also cost him his life, and then his ideals inspire his salvation: it is Rose, not Davros or the Doctor, who is set up among the gods, and her instinct is not – to paraphrase another franchise – to destroy what she hates.

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The reason I love this one is because it delivers on so many fronts: these stories define this Doctor. The story is epic but steeped in the everyday. The Daleks are terrified and terrifying, silent and shrieking, devious and brutal. They feel unstoppable here in a way they simply haven’t since. For a story to do this many things is impressive, but to do them all well is astonishing.

The post Doctor Who: Ranking the Dalek Stories – Which is the Best? appeared first on Den of Geek.

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2019 What’s the Weekly Challenge Rankings Week 1 Weekly Challenge What Is It IDP Flex Weekly Challenge? Rankings

What’s up YouTubers it’s the Will + Dyl show back at it again with another set of power rankings. And by Will + Dyl back at it again I mean Dylan back at it again while I incoherently ramble nonsensical garbage next to him. We’re off to a great start. Per usual, Dylan will provide his EXPERT level statistical analysis of players and teams, and I’ll pick some stupid meme to run with. This week we’re going with Super Smash Bros because Banjo Kazooie just dropped and it’s the only light in my life outside of Ace and Dairy Delight. Anyway, take it away Dylan.

__________________________________________________

Howdy folks! It’s been a while. I’ve wanted to get back into writing Power Rankings, but it seemed like a bad idea. I haven’t followed football late in the 2017-2018 season, and honestly, I have no idea what’s going on. But Will has convinced me that it doesn’t matter, and that I can do these anyway. So without further ado, here are my power rankings, based on what I understand about the league from almost two years ago. 

11. Cleveland Browns

The Browns have been the worst organization in football for about 15 years. Last I checked, this team was losing every single game, finishing the season 0-16. And now it seems that Josh Gordon DeShone Kizer aren’t even there anymore? This team has no shot. I don’t know who this Daniel Jones fellow is, but hopefully he can help; otherwise, this team is primed for a lot of losses. 

Super Smash Bros character: Pichu. If you’ve played Smash Bros, you know that Pichu has nearly the same moveset (if not the same exact moves, sue me Evan I don’t use Pichu) as Pikachu. The only difference is, anytime Pichu attacks, it also hurts itself. Just like me, every time I look at this stupid gimmick team I decided to go with instead of actually trying to win free money.

10. Honedge Heroes

Antonio Brown AND Le’Veon Bell? I’m not a fan of taking the two Steelers, who will steal touches from each other. Brandin Cooks is great, and I like Derrick Henry, but I’ve never even heard of half of this team. This team should suspend any hope they had of being a contender. 

Smash Bro: R.O.B. Rob is a robot, so is Dylan.  I am reminded about a thing I read today on Reddit about a robot. It was written by Douglas Adams. Please hold while I find the quote:

A robot was programmed to believe that it liked herring sandwiches. This was actually the most difficult part of the whole experiment. Once the robot had been programmed to believe that it liked herring sandwiches, a herring sandwich was placed in front of it. Where upon the robot thought to itself, Ah! A herring sandwich! I like herring sandwiches. It would then bend over and scoop up the herring sandwich in its herring sandwich scoop, and then straighten up again. Unfortunately for the robot, it was fashioned in such a way that the action of straightening up caused the herring sandwich to slip straight back off its herring sandwich scoop and fall on to the floor in front of the robot. Whereupon the robot thought to itself, Ah! A herring sandwich...etc., and repeated the same action over and over again. The only thing that prevented the herring sandwich from getting bored with the whole damn business and crawling off in search of other ways of passing the time was that the herring sandwich, being just a bit of dead fish between a couple of slices of bread, was marginally less alert to what was going on than was the robot.

^ This is Dylan, and the herring sandwich is the New York Mets.

9. Cursed Will

It’s tough to rank the team with the best player in football (Aaron Rodgers) this low. But Jordy Nelson is getting up there in years, so I’m not sure how good Rodgers receivers will be. 

Super Mash Potato: King K. Rool.  Dylan had a pretty fire one for this, so I’ll let him take it away:

IT’S NICE THAT AFTER YEARS OF FREELOADING IN SMASH GAMES AS A TROPHY AND A STICKER, KING K. ROOL FINALLY DECIDED TO CONTRIBUTE AND BE PART OF THE SMASH ROSTER. THIS DOESN’T HELP ALL OF THE PEOPLE WHO SPENT YEARS WITH THE EARLIER SMASH GAMES, BUT I’M SO FUCKING HAPPY THAT NOW THAT HE’S OLD AND IRRELEVANT, HE FINALLY DECIDED TO BE USEFUL.

For those who don’t know, Evan now pays rent. For those who also don’t know, Evan and King K. Rool are both thousands of years old, have leathery skin, and eat Taco Bell every other day. Also, check out this screenshot of K Rool from when Banjo was announced, it’s literally the most Evan photo on the internet.

8. Float Like a… Whine Like AB

I’m not sure why they have Alex Smith’s backup at QB. Davante Adams and Michael Thomas are great, but Mark Ingram seems to be their only competent RB. Maybe they’ll get Alex Smith and find a way to contend. Otherwise, I’m not really sure what this team is doing. 

Smush - Donkey Kong. For those of you who don't know, Donkey Kong got his name because Nintendo wanted to convey that the ape was stubborn, so they picked the most stubborn animal they could think of. Or at least that’s how the story goes. That alone would be fitting enough for Jason, but really he gets DK because of DK’s affinity to charge up a punch and wiff on it, only to CHARGE UP AGAIN LATER.

7. tbt to K88 being platonic

I’m glad to see Larry Fitzgerald is still around, and they have Andrew Luck’s long-time favorite target Eugene Hilton. Ben Roethlisberger could have a huge year with the talent on that Pittsburgh offense, and Alvin Kamara is great. Still, I’d expect Devonta Freeman to split carries again, and the Bills’ defense can’t be very good. 

Super Dunk - Young Link.  Young Link has been out of the Smash Brothers games for over a decade which is almost as long as Harnsowl has been out of America.  Also, YL can drink a seemingly endless amount of Lon Lon Milk, just like Harnsowl with alcohol. 

6. Spicy Meatballs

From what I’ve been told, James White should be the best RB in football by now. I’ll take Phil’s word for this. And Drew Brees is awesome. But I’m not sure about the rest of the team. JuJu Smith-Schuster will have trouble getting touches over the Killer B’s, and all I know about Anthony Miller is that he was a mediocre NBA player in the 90’s who had a brief cameo in Space Jam. Tough to see this team doing well if they can’t improve on that depth. 

Super Meesh Pepe - Samus. Another soulless human robot thingamabob whose only purpose is to watch the New York Mets. Dark Samus for when the Mets lose. So I guess always Dark Samus?

5. No Content

I don’t know if Kyler Murray is actually good, but I’m expecting a big year out of Eric Decker. And the Colts QB has always loved throwing to TE’s, so Eric Ebron should have a huge year. A definite sleeper who might take the league by storm.

Supper Dinner Brother - Lil Mac.  Dylan beat me to it again:

I respect the effort that they put into making Little Mac a better character. They improved his aerial gameplay and his recovery, and made a bunch of other improvements. It must have taken them, like, 12 weeks of work! But, despite all that effort, he’s still in a low tier and can’t compete with the stronger characters.

Honestly, the biggest difference here is that Lil Mac definitely never skips leg day (see photo)

But apparently Kyle has been for the past 84 days.

4. Shit Outta Luck

For some reason, their team page says that they dropped Andrew Luck, but I’m going to assume that there’s some kind of issue in the database that will be resolved shortly. I’m assuming some team that already had a franchise QB took Saquon Barkley at a completely reasonable pick in the draft, and he’s doing great there. And Mike Evans is a star. Once Andrew Luck is re-added to the roster, this team can be a real contender.

Smash Bros Character - N/A. Dylan, Who’s fuckin team is this?

3. I’m Still Here Bitches

A shockingly strong showing for Team Arielle. David Johnson, from what I recall, is the best RB in football. Julio Jones is awesome. Dak Prescott is pretty good, although honestly, I still think Tony Romo is better. Damien Williams might not get a ton of carries in KC, but I still think this team could go a long way.

Daisy. Daisy doesn’t belong in Smash (yeah, I said it Andy), and Arielle doesn’t belong in the league

2. Team Mar

The squad from the 845 is looking very strong. Two superstar WR’s in Alshon Jeffrey and Keenan Allen, a perennial MVP candidate in Matt Ryan, and two top 5 caliber RB’s in Leonard Fournette and Christian McCaffrey? I have no idea how this roster is even possible.

Mashed Potato: Joker.  I honestly know nothing about you, just like I know nothing about this anime (?) character who is in Super Smash Brothers. His name is Joker but he’s clearly not from Gotham and your instagram handle is Marisa845 and you’re clearly not from the 845 otherwise Bowers would’ve remembered seeing you at South. He knows everyone who went to South.

1. Venice Beach Hulkamaniacks 

Now here’s a team of people I recognize. A.J. Green? Trey Burton? Melvin Gordon? Shady McCoy? DION LEWIS? I honestly don’t see how things could possibly go wrong with that kind of talent. This team shouldn’t lose a single game. And there you have it. Hopefully by next week, I will have learned a little bit about the modern NFL and can take a better stab at these, but hopefully this helps get you excited for another great season of the NATIONAL! FOOTBALL! LEAGUE! Back to you Boom.

Smash Boo: King Dedede. The people’s champ. The Penguin with the Hammer.  Just like Kirby, King Dedede can suck in opponents.  Just like Bowers, if those opponents taste like carbs, he will not swallow them. King Dedede has an unrelenting hammer akin to Bowers’ unrelenting trade offers for LeShady McCoy, and had this other game where he got swol af just like Bowers is gonna be at the end of his journey. At least his 12 week journey has seen results. 

Also, I’m genuinely unsure if Bowers wrote this song: https://www.youtube.com/watch?v=jibCSdZ8xG0 

73. Andy Brown

A late addition that we had to shoehorn in here even though they don’t belong in the Power Rankings.

[readygamerone]

Chapter 6: The chapter people keep quoting

Immediately after Wade leaves his World History class and sits his virtual ass down in the Latin lecture hall, he launches into an agonizing screed to reemphasize that he's a totally serious 80s fan who knows his shit for real. 

Entire paragraphs are formed using just the lists of directors, movies, and TV shows he took in to absorb everything Supreme Leader Halliday deemed important. Several of these paragraphs end with a little quote to wink at the audience and demonstrate his knowledge to us; after Wade tells us he's watching all the Star Trek shows, he states "Phasers locked on target." Any Trekkie remembers and loves that famous phrase. And everyone knows no self-respecting nerd alive can even think about GI Joe without blurting out "Because knowing is half the battle". 

Except it was "AND knowing is half the battle", you dork.

Somehow, the reader is spared from wading through pages upon pages of video game scrawls but Wade does want to make sure that you remember that he's a god gamer. It was only a few pages ago when he beat a world-renowned competitive player consistently but he also has to emphasize that all games are child's play to him, no cheat codes or walkthroughs necessary.

After this exhausting section, the rest of the chapter is all about this set of verses that Halliday had recited in the video that had kicked off this asinine gunting crusade. In it, the three keys necessary for unlocking the trials that lead to the lost fortune are described. Wade's natural curiosity and deductive prowess had of course allowed him to discover a clue hidden within Anorak's Alamanac, the Bible for Halliday devotees, and find a message describing the location of the first of these keys. 

We're clearly supposed to be impressed by this but then immediately we're told a bunch of other people figured it out too, including the first asshole who went public with it and got famous as a result. 

Wade still maintains his air of superiority though, as he's convinced it has something to do with Halliday's lifelong love for Dungeons & Dragons. This story being what it is, I can only assume he'll be correct and the secret will be revealed soon. For this book's sake, I hope so. 

Going by the page count, this thing is like 20% done and the plot hasn't actually started yet.

Pop Culture references: 98  (14 per page)

Video Games Akalabeth I Zaxxon I Defender I

Television The Greatest American Hero I Airwolf I The A-Team I Knight Rider I Misfits of Science I The Muppet Show I The Simpsons II Star Trek IIIII II Gobots I Transformers I Land of the Lost I Thundarr the Barbarian I He-Man I Schoolhouse Rock I GI Joe II HR Pufnstuf II Star Blazers I The Space Giants I G-Force I Speed Racer I Jeoprady! I

Movies WarGames I Ghostbusters I Real Genius I Better Off Dead I Revenge of the Nerds I Star Wars I Mad Max I Back to the Future I Indiana Jones II James Cameron I Terry Gilliam I David Fincher I Stanley Kubrick I George Lucas I Steven Spielberg I Guillermo del Toro I Quentin Tarantino I Kevin Smith I John Hughes II Monty Python II Godzilla I Gamera I

Music The Police I Journey I REM I The Clash I They Might Be Giants I Devo I Van Halen I Bon Jovi I Def Leppard I Pink Floyd I Midnight Oil I

Comedy Bill Hicks I

Books Douglas Adams I Kurt Vonnegut I Neal Stephenson I Richard K Morgan I Stephen King I Orson Scott Card I Terry Pratchett I Terry Brooks I Alfred Bester I Ray Bradbury I Joe Haldeman I Robert Heinlein I JRR Tolkien I Jack Vance I William Gibson I Neil Gaiman I SM Sterling I Michael Moorcock I John Scalzi I Roger Zelazny I

General Nerding Youtube I Dungeons & Dragons III GURPS I Champions I Car Wars I Rolemaster I

[always-blogging]

Now You Know Me Tag

FUN

@oh-my-dead-vicious-wizard-duck tagged me so LET’S DO IT

1. Coke or pepsi? Neither, I actually don’t like fizzy drinks

2. Disney or Dreamworks? Dreamworks (but this was hard!)

3. Coffee or tea? TEA

4. Books or movies? BOOKS

5. Windows or Mac? Windows

6. DC or Marvel? Marvel

7. X-Box or Playstation? Neither, we only own a nintendo wii :$

8. Dragon Age or Mass Effect? Neither

9. Night owl or early riser? Night owl for sure. I feel alive at three a.m. tbh

10. Cards or chess? Cards

11. Chocolate or vanilla? VANILLAAAAA

12. Vans or Converse? Neither

13.  Lavellan, Trevelyan, Cadash or Adaar? ????

14. Fluff or angst? Fluff, or angst with a happy ending obv

15. Beach or forest? Forest

16. Dogs or cats? Dogs! But cats are great too (I ain’t picky)

17. Clear skies or rain? Rain

18. Cooking or eating out? Eating out, I cannot cook. Cooking terrifies me.

19. Spicy food or mild food? Mild

20. Halloween/Samhain or Solstice/Yule/Christmas? HALLOWEEEEEEN

21. A little too cold or a little too hot? Freeze me, I hate melting and sweating

22. Choose a superpower! Shapeshifting is the ultimate superpower y’all. You can fly, breathe underwater, be invisible, be super strong, ALL.

23. Animation or live action? That’s tough. I think animation? But I’m not sure

24. Paragon or renegade? ????

25. Baths or showers? Showers

26. Team Cap or Team Iron man? Team Cap no doubt.

27. Fantasy or sci-fi? Fantasy, but I’m a sucker for space so once again, tough

28. Three favourite quotes: 1)  “Books have to be heavy because the whole world's inside them.” or  “Books loved anyone who opened them, they gave you secruity and friendship and didn't ask for anything in return; they never went away, never, not even when you treated them badly.” - Inkheart by Cornelia Funke  2) “I have always imagined that paradise will be a kind of library” - Jorge Luis Borges, 3) “The story so far: In the beginning the Universe was created. This has made a lot of people very angry and been widely regarded as a bad move.” - The Restaurant at the End of the Universe by Douglas Adams But honestly there are so many great quotes that three is very limiting and I don’t like it. Because now I can’t mention “With great power... comes great need to take a nap” from the Heroes of Olympus books, or "You will answer Seraphina's questions nicely. If you make any threatening move, I will pull out your eyeball, climb into the hole, and eat your brains" from Seraphina, and a whole bunch of other wonderful things. 

29. YouTube or Netflix? Youtube

30. Harry Potter or Percy Jackson? Shiiiiiit Harry Potter probably :$

31. When do I feel accomplished: Do I ever? Maybe when a drawing turns out the way I want it too

32. Star Wars or Star Trek? I haven’t seen Star Trek yet so I’m not gonna answer this. Also a friend of mine will stomp down the front door and demand a movie marathon if I say that I didn’t like Star Wars that much. He’s really passionate about Star Wars

33. Paperback or hardbinders? Hardcover, but dustcovers are my greatest enemy

34. Horror or rom-com? Neither

35. TV shows or movies? Movies, I have a severe lack of time to watch tv-shows even though they are actually better most of the time.

36. Favourite animal: Oh no. Oh no you can’t ask me this. Pls no. I don’t want to say horse but if I really have to answer, horse.

37. Favourite genre of music: Pop music and soundtracks/musicals. Also whatever Panic! At The Disco is

38. Least favourite book: @oh-my-dead-vicious-wizard-duck i cannot believe you didn’t like the Little Prince. It was pretty cute imo! Anyways, I think De donkere kamer van Damokles, which I had to read for Dutch Literature in high school. It sucked so much

39. Favourite season: Winter

40. Song that’s currently stuck in your head: Don’t really have one stuck in my head atm, but the last song I listened to was Que Tienes Tu by Dvicio

41. What kind of pajamas do you wear? An oversized shirt

42. How many existential crises do you have on an average day? I study philosophy. I don’t really count anymore.

43. Song you want to have played at your funeral: Another Set of Wings by A Rocket to the Moon. And/or All the Little Lights by Passenger.

44. Favourite theme song to a TV show? Probably Kim Possible, let’s be honest

45. Harry Potter movies or books? Booksss

46. You can make your OTP canon. But you’ll forget that Tumblr exists. Will you do it? Rude. I have too many OTP’s to choose and I think I value tumblr more than that.

47. What are your favourite flowers? Idk, I don’t think I have one. I like cacti though

48. A language you really want to learn: One of Tolkien’s elven languages probably. That’d be cool

THIS WAS FUN! I tag whoever wants to do it :)

[amylanchester]

PitchWars #PimpMyBio

Hi, I’m Amy.

This is my first ever PitchWars, and I’m hyped af.

About My Manuscript

Title: More Fierce Than Fire (title comes from here)

Genre: YA Contemporary Fantasy

Word Count: 75,000

Comps: The Young Elites by Marie Lu, The Story of Owen by E. K. Johnston

Sixteen-year-old Abigail Hunter, the best healer in Grady Hospital’s Magical Trauma Ward, has a secret. Ten years ago, Abby wished her mother dead on the worst possible day—the day dragons awoke and brought magical powers to everyone in the world. Abby's angry wish became the powerful spell that ended her mother's life. 

Abby has devoted her life to healing magic to atone for the sins of her past. Though she’s still afraid of losing control, she has become increasingly aware of the threat the dragons pose and frustrated that she is helpless to do anything about it. Hoping to develop the skills required to protect others, she joins a new United Nations-sponsored program which promises to give her the chance to work directly with the dragons and their victims. Training with some of the best young mages in the world, she prepares for the war to come.

And the war is coming. When a group of unregistered mages leads the dragons in a deadly attack on American cities, Abby must decide if she’s ready to join the fight against them, or if she’ll be stuck reliving the mistakes of her past forever. 

A Note About Diversity

Diversity is extremely important to me in my writing. Most of the characters in my book other than my MC are POC and/or LGBTQ. I did not feel that I had the skill or experience to write a first-person perspective for a POC/LGBTQ character, so I didn’t. However, I have been fortunate to grow up in an extremely diverse place, so I’ve included a number of POC/LGBTQ characters (loosely) based on real people. I feel that authentic, thoughtful representation is important in all forms of media and am hoping to find a mentor who feels the same.

MS Pinterest Board

Novel Aesthetic (Quotes & More on My Instagram)

About Me

Let’s start this the way you did back in pre-school. My name is Amy Lanchester, and I’m twenty-eight years old. My favorite color is pink (and has been since long before millennial pink became a thing #ILikedItBeforeItWasCool). More Fierce Than Fire is my first novel. 

I’m “from Atlanta” in the way that most people who say they are “from Atlanta” are “from Atlanta,” in that I actually grew up about thirty minutes away and only moved to the city as an adult. I set my book here because I feel that entirely too many books are set in NYC, London, or Chicago.

I’ve been funemployed for the past year.

I started my first “real job” before I’d even finished my master’s degree, and after working there for three years, I decided I wanted to do a few things before I’m too old/settled. So I’ve traveled Europe:

ALL

OVER

EUROPE

and the western United States:

ALL

OVER

THE 

WILD

WEST

and I finally achieved a life goal in writing this book. I highly recommend taking a “gap year” to anyone who is able.

I live with my boyfriend and our beautiful asshole of a cat, Bret. We found him about two years ago at a local McDonald’s hanging out near the drive-thru. We went back the next day and lured him out with bits of hamburger, and he’s been our lovable jerk of a pet ever since. 

Why You Should Mentor Me

- I am really, really serious about this. I’ve devoted an insane amount of time, energy, and research on this project in the past year and fully intend to see it through all the way. I love and believe in my work. 

- I am crazy meticulous. I come from a STEM background, and I use the tools I learned there in my work. I’m a firm believer in spreadsheets, outlines, automation, and using technology to the fullest. I am a grammar nut who googles everything she isn’t sure about and spends hours nerding out reading style guides and grammar blogs.

- I take criticism well. I’m a fairly self-critical person who is realistic about her flaws and shortcomings. Though I love my work, I know it is far from perfect, and I am greatly looking forward to receiving a thoughtful critique. You won’t hurt my feelings. I want my work to be the best it can be, and I know that takes knowledge and experience I don’t have.

Writing History

I had the idea for my MS in May 2016. It was inspired by this tumblr post which made its way to reddit (a site I love and hate and spend entirely too much time on):

I decided I could write that book, and so I did. I wrote a prologue that I cut and part of the first chapter on a train from Warsaw to Berlin in September. I made an outline when I got back home in October, and I wrote the rest of the book during NaNoWriMo 2016. I did finish my 50,000 words in November, but the book wasn’t done. I had a completed (terrible) first draft of about 55,000 words by the first week of December. 

My first draft was mostly just dialogue and action. I discovered that I hate writing description as much as I hate reading it. So my next several drafts mostly involved adding description to scenes, and it took forever. I cut several scenes and characters entirely during this process and added a few more scenes and characters, bringing my final word count to 75,000 words. My current draft contains very little from the original NaNoWriMo draft, and believe me, that’s for the best.

Writing Style

I am definitely a planner. I would have gotten nowhere without my outline or character spreadsheet. However, most of my character’s personalities came out through writing their dialogue. I used dialogue (that I went back and cut because it was boring and redundant) to solve plot problems and work out motivations in scenes. If I ever got stuck, I just started writing a conversation between my characters, and it solved basically all of my problems. 

How I Write 

I started writing in Scrivener, a program I’d gotten for free when I worked at the Apple Store back in 2010. It helped me a lot with organizing scenes and research. I transitioned to Google Docs after a save file got corrupted and I spent an evening panicking that I’d lost everything (I hadn’t, thank God). Google Docs sucks for long documents, but it saves to the cloud every few seconds, so I suffered through it.

I write at night almost exclusively. My best creative work comes after midnight, and usually once I’m already in bed.

I dread having to get back on a normal schedule because the night owl life is best for my writing.

Favorite Writing Resources

- Excel/Google Sheets

- Grammar Girl

- Chicago Manual of Style (I’m too poor to actually own this, but I use their FAQs and this hyphenation table all the time.)

- Hemingway Editor

- Grammarly

- ProWritingAid

Upcoming Projects Preview

I have so many ideas. I think of new project ideas every day, and I constantly struggle not to get distracted by my newest, shiniest concept. Here are a couple of things I’ve started planning:

- Shakespeare’s plays retold in a combined setting like into the Woods or Marissa Meyer’s The Lunar Chronicles. A central, overarching series plot with individual volumes devoted to some of the plots of the original plays. I’ll be combining side characters from one show with main characters from another.

- A space opera/sci-fi series centered on a girl who rescues an alien from a hostile species at war with Earth’s space empires. The aliens have superior technology and are annihilating the space colonies, but we can’t communicate with them. My MC and her android nanny devise a method for rudimentary communication and are captured by government forces who have ulterior motives.

Stuff I Like

Books

- Harry Potter, obviously. Prisoner of Azkaban is my favorite. I spent years convincing myself I was a Gryffindor like Hermione, my hero, but I’m really a Ravenclaw.

- The Young Elites by Marie Lu

- Exit, Pursued by a Bear by E. K. Johnston

- A Song of Ice and Fire by George R. R. Martin

- Hitchhiker’s Guide to the Galaxy by Douglas Adams

- Lolita by Vladimir Nabokov

- 1984 by George Orwell

- Flowers for Algernon by Daniel Keyes

TV Shows

I freaking love TV. 

I’m convinced that if Ray Bradbury had lived in the Golden Age of Television that we’re living through, he would never have written Fahrenheit 451.

A short list of shows I love: Futurama, Buffy the Vampire Slayer, Parks and Recreation, BoJack Horseman, Game of Thrones, The Handmaid’s Tale, Breaking Bad, The Wire, Jessica Jones, Broadchurch, Steven Universe, Stranger Things, You’re the Worst, Crazy Ex-Girlfriend

Musicals 

I love Broadway so much. 

I’ve been in (school productions of) Once on This Island, Les Miserables, Into the Woods, and Dreamgirls. Other shows I love include Hamilton, The Book of Mormon, The Last Five Years, Aida, Phantom of the Opera, Evita, The Sound of Music, Fiddler on the Roof, and West Side Story.

Cosplay 

I picked up cosplay a few years back. I didn’t own a sewing machine, didn’t know how to sew, and had limited crafting experience. I taught myself using books, online tutorials, and YouTube videos. Some of my projects:

Daenerys Targaryen from Game of Thrones

Chell from Portal

Luna Lovegood from Harry Potter

Elsa from Frozen

Joy from Inside Out

Eleven from Stranger Things

That was entirely too long, and I’m sorry.

If you read this far, you’re probably my soulmate. Please send me a message on Twitter and let me know. :)

[kpopdancings]

STEPHEN HAWKING & THE HYPOTHESIS 'GOD DID NOT CREATE THE UNIVERSE! '

New Post has been published on http://www.whatsupkpop.com/stephen-hawking-the-hypothesis-god-did-not-create-the-universe/

STEPHEN HAWKING & THE HYPOTHESIS 'GOD DID NOT CREATE THE UNIVERSE! '

STEPHEN HAWKING & THE HYPOTHESIS ‘GOD DID NOT CREATE THE UNIVERSE! ‘

Link Video:

  “Without God. Nobody created the universe and no one decided our destiny ”- the late physical genius Stephen Hawking once wrote.

It is a quote from the book “Brief Answers to the Big Questions”, the last publication of Stephen Hawking published by John Murray.

  In life, Hawking was a vocal champion of the Big Bang theory. The idea that the universe began by exploding suddenly out of a singularity that is extremely smaller than an atom. From this speck emerged all the matter, energy and empty space that the universe would ever contain, and all that raw material evolved into the cosmos we perceive today by following a strict set of scientific laws. To Hawking and many like-minded scientists, the combined laws of gravity, relativity, quantum physics and a few other rules could explain everything that ever happened or ever will happen in our known universe.

“For centuries, it was believed that disabled people like me were living under a curse that was inflicted by God. Well, I suppose it’s possible that I’ve upset someone up there, but I prefer to think that everything can be explained another way, by the laws of nature. If you believe in science, like I do, you believe that there are certain laws that are always obeyed. If you like, you can say the laws are the work of God, but that is more a definition of God than a proof of his existence,” Hawking wrote.

  With the universe running on a scientifically guided autopilot, the only role for an all-powerful deity might be setting the initial conditions of the universe. So that those laws could take shape a divine creator who caused the Big Bang to bang, then stepped back to behold “His work”.

“Did God create the quantum laws that allowed the Big Bang to occur?” Hawking wrote. “I have no desire to offend anyone of faith, but I think science has a more compelling explanation than a divine creator.”

  In his book written in 1988, A Brief History of Time, Hawking had seemed to accept the role of God in the creation of the universe. But in the new text, co-written with American physicist Leonard Mlodinow, he said new theories showed a creator is “not necessary”.

  In the past, Hawking almost never spoke directly about his religious views. However, he always said that humans are the pinnacle of evolution and needs to be perfected with the help of scientific and technical means such as automation, gene therapy …. In his books, Hawking often uses the word “god” to clarify what he presents.

But in the new text, co-writing with the American physicist Leonard Mlodinow, he said: “Due to the obvious existence of physical laws, such as gravity, the universe can and will continue to self-destruct. create it out of nothing. The spontaneous formation of the universe is the reason why the universe and people exist. It is therefore unnecessary to include God in the creation of the universe. ” Hawking wrote in the book.

  Hawking’s explanation begins with quantum mechanics, which explains how subatomic particles behave. In quantum studies, it’s common to see subatomic particles like protons and electrons seemingly appear out of nowhere, stick around for a while and then disappear again to a completely different location. Because the universe was once the size of a subatomic particle itself, it’s plausible that it behaved similarly during the Big Bang, Hawking wrote.

  That still doesn’t explain away the possibility that God created that proton-size singularity, then flipped the quantum- mechanical switch that allowed it to pop. But Hawking says science has an explanation here, too. To illustrate, he points to the physics of black holes — collapsed stars that are so dense, nothing, including light, can escape their pull.

Black holes, like the universe before the Big Bang, condense into a singularity. In this ultra-packed point of mass, gravity is so strong that it distorts time as well as light and space. Simply put, in the depths of a black hole, time does not exist.

Because the universe also began as a singularity, time itself could not have existed before the Big Bang. Hawking’s answer, then, to what happened before the Big Bang is, “there was no time before the Big Bang.”

“We have finally found something that doesn’t have a cause, because there was no time for a cause to exist in,” Hawking wrote. “For me this means that there is no possibility of a creator, because there is no time for a creator to have existed in.”

  Hawking says the first blow to Newton’s belief that the universe could not have arisen from chaos was the observation in 1992 of a planet orbiting a star other than our Sun. “That makes the coincidences of our planetary conditions – the single sun, the lucky combination of Earth-sun distance and solar mass – far less remarkable, and far less compelling as evidence that the Earth was carefully designed just to please us human beings,” he writes.

  Hawking explained that, since the universe has an infinite number of galaxies and each galaxy has an infinite number of planets, it is very likely that the earth is not the only place where life is present. Even our universe exists with many other universes. The other universes have the same laws of physics as ours, that is, they are also created out of nothing, not by the hand of God.

If God is human-oriented, wouldn’t you expect him to create a universe in which humans feature prominently? You’d expect humans to occupy most of the universe, existing across time. Yet that isn’t the kind of universe we live in. Humans are very small, and space, as Douglas Adams once put it, “is big, really really big”.

  Scientists estimate that the observable universe, the part of it we can see, is around 93 billion light years across. The whole universe is at least 250 times as large as the observable universe.

Our own planet is 150m kilometres away from the sun. Earth’s nearest stars, the Alpha Centauri system, are four light years away (that’s around 40 trillion kilometres). Our galaxy, the Milky Way, contains anywhere from 100 to 400 billion stars. The observable universe contains around 300 sextillion stars. Humans occupy the tiniest fraction of it. The landmass of planet Earth is a drop in this ocean of space.

Like Adams Centauri , the universe is really too old. Probably more than 13 billion years old. Earth is about 4 billion years old, and humans have evolved about 200,000 years ago. Temporarily speaking, man existed in the blink of an eye.

  In 2011, in the scientific film Curiosity for the Discovery channel, Hawking asked: “Did God create the universe?”. He affirmed that, in order to create the universe God “had no time,” since before the Big Bang happened, time did not exist …

  At Google’s Zeitgeist Conference in 2011, Hawking also said that “philosophy is dead.” Philosophy, he believes, “has not kept pace with the modern development of science”, and that scientists have become the leading torch bearers of the quest to discover knowledge. Hawking believes that philosophical problems can be answered by science, especially new scientific theories that will lead us to a very different new picture of the universe and our place in it …

  At the end of his lecture at the California Institute of Industry, the genius cosmologist made a point about saving humanity: “We need to continue to explore space for the future of humanity. I don’t think we will live a thousand years if we don’t finally run out of this fragile planet.

Hawking’s lecture in Caliphornia was very popular with the public. Although the subject of it was purely scientific, the people who wanted to listen to it were still very large and they lined up for a mile and a half. 

This argument will do little to persuade theistic believers, but that was never Hawking’s intent. As a scientist with a near-religious devotion to understanding the cosmos, Hawking sought to “know the mind of God” by learning everything he could about the self-sufficient universe around us. While his view of the universe might render a divine creator and the laws of nature incompatible, it still leaves ample space for faith, hope, wonder and, especially, gratitude.

  Stephen Hawking has been considered the king of theoretical physics of the world for many decades. He is famous for his studies on black holes in the universe. Hawking also pursued his goal of finding a “unifying theory” to resolve the contradictions between Albert Einstein’s theory of relativity and quantum theory. Hawking used to hold the position of Lucasian professor of mathematics at Cambridge University, England. This is also the title that Newton held.

  The book “A Brief History” is the most famous publication written by Professor Hawking in his lifetime, and has sold more than 13 million copies worldwide. At the age of 20, Hawking was diagnosed with motor neuron disease (MND), predicted only 2 years to live.As the years passed, he did not die, but his mobility and communication became increasingly limited, and he ended up living in a wheelchair and talking on a voice synthesizer.When he died at the age of 76, the scientist became the longest-lived MND patient ever.His war against illness was told vividly in the movie “Theory of Things” (2014) starring British actor Eddie Redmayne. Hawking’s role also brought the Oscar for Redmayne in 2015.

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Doctor Who: Ranking the Dalek Stories – Which is the Best?

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“… hideous, machine-like creatures. They are legless, moving on a round base. They have no human features. A lens on a flexible shaft acts as an eye, arms with mechanical grips for hands.” Terry Nation’s script for ‘The Survivors’ (aka ‘The Daleks’ Part Two)

The Daleks, along with Judge Dredd, are fictional fascists beloved by a wide audience. At their heart is a combination of terrifying concept – Nazis who always return (imagine) – with a triumph of design. The greatest Dalek stories tap into this uneasy alliance.

A quick summary of the thinking behind this article:

A. We thought people would enjoy it.

B. If a story features the Daleks in a small cameo role, I’ve not included it (for example, ‘Frontier in Space’, ‘The Wedding of River Song’, ‘The Pilot’). I’ve removed ‘The Day of the Doctor’ and ‘The Time of the Doctor’: it seems silly to rate them based on their Dalek content.

The rankings are not based purely on how entertaining I find the stories, but also on how the Daleks are used and developed, the Doctor’s response to them and what that says (within both the larger context of the show’s history and the stories surrounding it). As this only covers television stories, I should mention that I think the best Dalek story of all time is the Big Finish audioplay ‘Jubilee’ by Rob Shearman, which you should know as little as possible about before listening to.

24. Planet of the Daleks

Having not seen this until its DVD release, I don’t have any residual affection for this story from childhood (unlike other stories on this list; I thought ‘Resurrection of the Daleks’ was great when I was nine).

‘Planet’comes across as lazy now. To be fair to Terry Nation, no one could rewatch episodes in 1972, and so his first script for the show since 1965 drew heavily on his old stories. The result is a rote traipse through the familiar.

It’s not without positives: The Doctor’s grief and rage when he thinks Jo is dead is very well acted, although the oft quoted “Courage isn’t just a matter of not being frightened” line works better in isolation than in the actual scene, which feels like HR has invited Jon Pertwee in to do a motivational seminar.

23. Destiny of the Daleks

Terry Nation’s final script for Doctor Who clashed with Script Editor Douglas Adams. Adams tried to zest up what he regarded as tired Nation standards (including radiation poisoning, overambitious monsters, a rare mineral, a quest, things named after their primary characteristic, invisible monsters, jungle planets, aggressive vegetation, flaky Daleks, unfortunate comedy episodes and plagues). The lack of budget is obvious, with knackered Dalek props and an ill-fitting Davros mask (actor David Gooderson also cannot lift Davros’ generic villain dialogue).

Some jokes land (‘Ooh look! Rocks!’) as does some of the Mild Peril (Episode 3’s cliff-hanger especially), but the story about inertia reflects its subject. K9 doesn’t appear because Nation didn’t want him to distract from the Daleks, then reduces them to impotent robots in thrall to their creator anyway.

22. Daleks in Manhattan/ Evolution of the Daleks

It’s not that this re-treads ideas from ‘Evil of the Daleks’, or that the science strains credulity even by Doctor Who standards, it’s that this story feels strangely perfunctory despite its ambitions. This is a shame because there are some great moments in the first episode where the Daleks plot, skulk and lament. It feels salvageable, but Russell T. Davies was ill and unable to perform his usual rewrites on the scripts, and the result feels like ticking off items on a Tenth Doctor Bingo card.

We do get the mental image of the Cult of Skaro sneaking around 1920s New York trying to kidnap a pig though, so you can’t say that it’s all bad.

21. The Chase

‘The Chase’ starts off well and cosy. Terry Nation sets the initial action on a desert planet called Aridius where some aliens from RADA are menaced by a giant ballbag. The regulars are all enjoying themselves. Then we getawkward comedy skits, a poorly judged trip to the Marie Celeste, and a sequence in a haunted house where everyone is stupid for some reason. The momentum never fully recovers from this.

Giving the Daleks time travel to pursue the TARDIS is an important development, and it’s a fantastic set for the interior, but the middle of this story lets it down.

20. Resurrection of the Daleks

From this point on, using the Daleks required approval by Terry Nation or his estate. Nation had been unsatisfied by other writers’ version of the Daleks, which is quite the take, and refused to allow another writer to tackle them until a convention appearance changed his mind. Nation’s feedback on an Eric Saward script meant that the story was revised and became overfull to satisfy both writers’ visions.

A delay in production gave time for streamlining, but nonetheless ‘Resurrection’ is messy and ultimately doesn’t seem very interested in the Daleks (focussing again on Davros and Saward’s mercenary characters). Indeed, the Daleks here seem even weaker than in ‘Destiny’, relying on mercenaries to take over Davros’ prison ship and being insecure enough to give them little Dalek decorations on their helmets.

In its defence, Matthew Robinson directs it with gusto, somewhere in there is a critique of its own violence, and Tegan’s departure is excellent.

19. Revolution of the Daleks

This is not a story that uses the Daleks on more than one level, and yet also possibly the nearest thing its era gets to political satire. We have someone using the remains of a Dalek to build security drones, associating a representation of fascism with law enforcement and connecting it to government, but the story moves away from this idea into cloned Dalek mutants hijack the drones and kill people, and then the original Daleks turn up to kill them because they’re not genetically pure. The Doctor’s solution to the remaining Daleks is good, but while this one doesn’t do anything outrageously wrong, it doesn’t do anything especially right either.

18. Resolution

Likewise, this story is just sort of there, like Shed Seven or thrush. The Daleks have a new form of controlling people, with the mutant wearing them like the title creatures from ‘Planet of the Spiders’ (as strong an image as it was in 1975) and the DIY Dalek shell mirrors the Doctor’s rebuilding of the sonic screwdriver.

The Dalek also demonstrates its firepower quite impressively, but contrasting this with ‘Dalek’ shows what’s missing: this doesn’t have anything like the personal stakes of that story, and so we have some pulpy and familiar thrills but little depth.

17. Into the Dalek

The main job of ‘Into the Dalek’ isn’t getting under the skin of the Daleks, but setting up the Series 8 arcs. We have a good Dalek, which turns out to have a damaged inhibitor allowing it to feel compassion, and a Fantastic Voyage-style journey through its interior. This lacks existential dread (in contrast to Clara being trapped inside a Dalek during ‘The Witch’s Familiar’), but Ben Wheatley directs the Daleks in combat extremely well.

It’s very busy, ambitious and patchy: the gag where the Doctor keeps finding Clara unattractive gets old quickly, the dialogue is of variable quality, and everyone has to be stupid for the plot to happen. There’s an interesting story to be had about a broken Dalek and the Doctor’s response to it, but this isn’t it.

16. Victory of the Daleks

Another riff on a Troughton-era story, in this case ‘Power of the Daleks’, this is easier to criticise now separate from the outcry over the New Paradigm design.

And it is… okay. The twist that the Doctor’s hatred of Daleks is what progresses their plan is a better use of this than the usual abyss-gazing. The Daleks win, but this doesn’t land with sufficient weight as the meat of the ending is given over to the ongoing series arc.

It’s a hybrid of Dalek event story and Companion Proves Themselves (with all the iconography of Churchill, World War Two and the Daleks) and is so by necessity somewhat pat in its resolution. Also, by Printing the Legend of Churchill a more interesting story is compressed into the line “If Hitler invaded hell I would give a favourable reference to the Devil”.

Putting aside the Dalek designs, which didn’t work for most people, this story fulfils a function and attempts to disguise this amiably enough.

15. Death to the Daleks

This is a story that, thanks to it being four parts rather than six, we could afford on video. I can’t say for sure how much this impacts my preferring it to ‘Planet of the Daleks’, but I do think it stands out slightlyfrom other Terry Nation stories despite the familiar elements (rare minerals, quests, a first episode featuring just the regulars). 

Carey Blyton’s score, along with Arnold Yarrow’s performance as Bellal, has an endearing quirkiness. There are little flourishes like the Daleks using a model TARDIS for target practice, and the Doctor’s melancholy at the destruction of the city. Its oddness occasionally overcomes the quaintness of Nation’s approach to Doctor Who, which doesn’t seem to have changed since 1965.

14. Army of Ghosts/ Doomsday

Having successfully brought the Daleks back, Russell T. Davies held off on using them again until the Series 2 finale. We have the Daleks versus the Doctor and – for the first time – the Cybermen. The Dalek threat is resolved fairly swiftly as a mechanism to separate the Doctor and Rose, but what we do get is the Cult of Skaro (the return of the Black Dalek! Daleks with names! I don’t know why these are exciting but they are!) and the joy of subverting the two biggest monsters finally meeting by – instead of a huge space battle – having four of them read each other in a corridor with sassy putdowns.

13. Revelation of the Daleks

Eric Saward’s second Dalek story features Davros turning humans into a new race of Daleks leading to the stirrings of a civil war with the originals.

There are always garish edges to Saward’s writing, but the sequence where a character discovers her father’s body inside a glass Dalek – and he alternates between ranting about genetic purity and begging him to kill her – is at its core such a terrifying idea that it succeeds where the horrors of ‘Resurrection’ seem shallow. It does share that story’s lack of interest in the Daleks for the most part though, but this scene makes them scary for the first time since ‘Genesis’.

This also features Alexei Sayle fighting Daleks with a ray gun that fires rock’n’roll. If you don’t like that then we’re probably not going to agree on much about Doctor Who.

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12. Day of the Daleks

This is an example of the Daleks’ importance to Doctor Who. After talking to Huw Weldon, who had been responsible for the length of ‘The Dalek Master Plan’, producer Barry Letts decided to bring the Daleks back for the Season 9 finale, with Terry Nation’s permission, only to decide that the show instead needed a hook for the opening story of Season 10. As a result, the Daleks were inserted into the story planned for that slot. This is a common feature of Dalek stories: it’s hard to write something original that they’re intrinsic to.

The production suffers from the small number of Dalek props available, and director Paul Bernard not using the ring modulator effect for their voices. This is a good story (though maybe not a good Dalek Story) with a then novel time paradox plot and Aubrey Woods’ Controller is a really strong performance. Viewing figures broke the 10 million mark for the first time since ‘The Dalek Master Plan’, so the decision to bring the Daleks back was absolutely vindicated.

11. Mission to the Unknown/The Daleks’ Master Plan

Essentially a longer and darker version of ‘The Chase’ with higher stakes – it’s not simply that the Daleks want to kill the Doctor, it’s that the Doctor stole part of their superweapon – with a subpar comedy episode and lots of hostile planets (deadly plants, invisible monsters, a rare mineral: such familiarity!). Extended to twelve episodes, it loses its way but commits to its scale with an incredibly downbeat ending that uses jungle planet cliché for contrast: Kembel is reduced to sand and dust.

A highlight of this story is the alliance of Outer Galaxy emissaries who join with the Daleks, a group of Doctor Who villains who inevitably bicker and betray each other. This, rather than the Space Security Service, is what Terry Nation should have focussed on for his spin-offs.

10. Asylum of the Daleks

Steven Moffat’s first proper Dalek story was part of Series 7A, an attempt at weekly blockbusters driven by high concepts. Here, then was the promise of a Dalek asylum with old and replica props, while also attempting to unify both the New Paradigm designsand the lack of emotional fallout to Amy and Rory Pond’s baby being kidnapped. Moffat also threw in a surprise new companion appearance and it’s this, combined with a nano cloud weapon that turns people into Daleks.

It’s not that the others don’t get resolved, but it’s done swiftly in another busy story. While the Daleks have previously controlled people, the idea of actually being turned into Daleks is both macabre and slightly jarring. It feels like, considering their last story involved a plotline about genetic purity, this isn’t the right fit. What does work better is the concept that the Daleks have a concept of beauty, and it’s based around hatred. While this episode does fulfil its blockbuster ambitions it also feels like it needs more room to breathe in order to do justice to all its concepts.

9. The Stolen Earth/Journey’s End

This is the logical conclusion of the Daleks’ return to the show: invading present-day Earth with a huge fleet (complete with Davros backseat driving). Also here, on top of the scale and sheer pace of the storytelling, is the logical conclusion of the Daleks: they attempt to destroy all other life in the universe in one go.

However, there’s also a sense of their ‘Day of the Daleks’role. They’re the Big Guns, so out they come for Doctor Who’s version of Infinity War. They’re developed here by virtue of Davies giving some of them distinct characters (Hello Dalek Caan, hello another stellar Nick Briggs performance). The Daleks here are aggressive and powerful (until Donna finds the off-switch in their basement), but the Doctor’s storyline is more tied up with the companions’ fates than the Daleks.

Davros is also here, trying to suggest to the Doctor that his friends trying to kill Daleks – the most evil race in the universe who are currently trying to obliterate all other sentient life – is bad (this idea worked once in a specific context and no one else has managed it before or since). On the other hand, Davros recognising Sarah Jane again is a thrilling way to bind Doctor Who to its past.

8. The Daleks

On the one hand, I find this story drags towards the end after a strong and uneasy start, but on the other Doctor Who doesn’t exist as we know it without ‘The Daleks’.

It’s hard to imagine the impact of this story on a 1963 audience, especially as we’re so familiar with what the Daleks and Doctor Who were to become. Consider, then, a story with the fear of the bomb writ large (broadcast a year after the Cuban Missile Crisis) and the Daleks in that context. That’s the existential fear angle for the adults covered, which meant they were happy to watch along, but more important was the response from children: love.

Many people contributed to the story and to the Daleks. Nation’s desire to avoid a Man-In-A-Suit monster is important, but key is the work of designer Raymond Cusick, voice actor Peter Hawkins and the Radiophonic Workshop’s Brian Hodgson. What the initially sceptical BBC found was that by the third episode, children who had watched the show were impersonating the Daleks.

There’s a lot to be written about the ageing geek audience who take their childhood toys with them into adulthood, and this article is written by a 35-year-old man who grew up when Doctor Who was off-air. However it’s worth stressing: next time you complain about the show reaching out to primary school aged children, remember that without kids in the playground, Doctor Who would simply not have survived.

7. The Evil of the Daleks

This is an excellent four-part story. Unfortunately it’s seven episodes long.

After a ludicrously convoluted scheme to get the Doctor into the actual plot, amid subplots that go nowhere, there are great parts of David Whittaker’s tale: The Daleks have kidnapped the Doctor and Jamie in order to isolate the Human Factor – the quality humans possess that enables them to regularly defeat the Daleks – to enable them to finally overcome humanity.

Firstly, if Russell T. Davies had written this the forums would never stop complaining about its scientific accuracy. Secondly, what this concept does is allow Whittaker to put the Doctor and Jamie into conflict, with the Doctor’s trickery leading to the unnerving scene of Daleks acting like children and then ultimately a Dalek civil war. We also see the first appearance of the Dalek Emperor, with a huge prop built for the story. When ‘Evil of the Daleks’ is good, it’s electric. You can see this in the surviving episode when the Doctor realises just before they appear that the Daleks are involved.

It’s a shame that the superfluous padding significantly detracts from the rest.

6. The Magician’s Apprentice / The Witch’s Familiar

A story which is primarily about the relationship between the Doctor, Davros, Missy and Clara, but which also casually drops in several new concepts which get under the skin of the Daleks more successfully than anything since ‘Dalek’. The focus is on Davros, but as the Doctor observes ‘Everything you are, they are.’

Firstly, there’s an elegant piece of writing from Steve Moffat where Davros narrates the moments before a Dalek fires, explaining they are waiting for Clara to run. Not only does this explain the Daleks not immediately shooting people, it offers a glimpse into their sadism and malice (as exemplified by Davros). Similarly, the idea that the creature inside the Dalek clings on outside of their life-support system, as they cling onto their home planet, ties into what we’ve seen on screen before.

Finally, anything in a Dalek casing trying to express individuality will have those words and thoughts twisted into the opposite meaning. This returns to the idea that original voice artist Peter Hawkins had for the Daleks – that the creatures inside were trapped. It’s an insidiously nasty idea, perhaps explaining behaviour such as the Dalek that commits suicide in ‘Death to the Daleks’when it sees its prisoners have escaped.

5. The Dalek Invasion of Earth

This and ‘Genesis’ confirm that Terry Nation’s strengths were in war stories rather than the pulp science-fiction adventure story he relied on. ‘Dalek Invasion of Earth’ is a thriller full of post-war fears that forever intertwined the Daleks and The Doctor.The production team pull out all the stops to show a conquered Earth with harrowing matter-of-factness, but the Doctor takes delight in opposing them (Hartnell is great here, taking the edge off with a twinkle but playing Susan’s leaving scene with great pathos too). The last episode is little rushed but overall this is well balanced.

The Daleks here are more mobile and powerful, their regime oppressive, their plans for turning the Earth into a spaceship bizarre and ineffable. As Nation puts it ‘They dare to tamper with the forces of creation’, the sort of boldness that would seep out of his own storytelling in future stories.

4. Genesis of the Daleks

‘Genesis of the Daleks’is another war story realised extremely well. The production does not pull many punches, and is atypically grim for Doctor Who: The Doctor loses but clings on to the slim hope that he hasn’t.

This is clearly Terry Nation’s best script, and is still clearly a Terry Nation script: radiation poisoning, over-ambitious creature requests – I don’t think Doctor Who could ever do a giant clam well, even now – and the endearingly-crap naming conventions (the mutants in the wastelands are called ‘Mutos’ and their dialogue could slot effortlessly into The Mighty Boosh).

Outgoing producer Barry Letts called Nation on his bullshit when he attempted to hand in a similar script for the second time, and suggested an origin story. From here Nation developed the war of attrition, Nazi parallels and the character of Davros (created to have a Dalek-like character who could be given interesting dialogue). Nation commits to making the origins of the Daleks plausibly horrifying. Contrast the halfway stage of ‘The Chase’ – with its misplaced comedy episodes that sap the momentum of the story – with the halfway point here: Davros willingly destroys his entire race to ensure the survival of the Daleks.

Where it feels lesser in comparison is that it is neither connected to an everyday, material reality (unlike ‘Spare Parts’, the story exploring the Cybermen’s origins) and its famous scene where the Doctor asks if he has the right to commit genocide, which looms large in later stories.

And yet, this scene only works in isolation. In context it’s jarring. In surrounding stories, the Doctor kills a sentient robot, a Sontaran, and some Zygons; he will later poison someone with cyanide, all without any qualms. Here, though, he compares destroying Dalek mutants – which are already attacking people – to killing Hitler as a baby. The Doctor worries he’d be as bad as the Daleks if he wipes them out. A few scenes later he has changed his mind, trying and failing to kill them. If it was linked to Davros’ aspirations of godhood, fine, but it’s neither written nor played that way.

It’s not as if the Doctor hasn’t already instigated attacks that seem to wipe the Daleks out, but there other people did the dirty work. It’s this, going forward, that becomes the key aspect of the scene for future writers.

3. Remembrance of the Daleks

‘Remembrance’takes the brewing civil war situation of ‘Revelation’ and connects it simultaneously to Doctor Who and British history. The Doctor is trying to trick the Daleks into using a superweapon hidden in 1963 London, knowing it could result in people dying. The Doctor’s trap feels like a response to ‘Have I the right?’ – clearly he feels he has but doesn’t want to directly press the trigger. It’s both a significant change and logical development in the series and the character, with Sylvester McCoy wanting to play both the weight of the character’s years and actions.

The Daleks are here because it’s an anniversary series but also because if you want a demonstration of power then potentially defeating the Daleks is a clear statement. Writer Ben Aaronovitch doesn’t just involve Daleks with a view to blowing them up, but addresses the reasons for their civil war: the hatred for the unlike that has defined the Daleks but also been part of British culture the entire time Doctor Who has been on screen and beyond, explicitly linked to the most evil creatures in the universe. Not only that, he places that hatred in the supporting cast: the ostensible good guys, the UNIT precursor, the family home.

This has scale, depth and feels important on different levels. This is Doctor Who back to its playground-influencing best.

2. The Power of the Daleks

As Terry Nation was unavailable, David Whitaker wrote the initial scripts before Dennis Spooner’s uncredited rewrites. The Daleks are in this story to bring viewers back on board after the first regeneration, and they also legitimise the new Doctor in contrast to the Daleks. The Mercury swamps that bookend the story also evoke Terry Nation in terms of putting the characters into a hostile alien environment.

The action takes places on a human colony, Vulcan. The Daleks are introduced as a potential solution to their problems, with an insurrectionist faction interested in using them as weapons and the scientist restoring them obsessed with his discoveries. The Doctor’s lone voice of dissent comes across as lunatic ravings, but the audience know the Daleks are manipulating everyone else.

Daleks obviously have the power to kill, but ubiquity had already removed their uncanniness until this story. The suggestion of deeper thought and intelligence builds, and this story gives the lie to the notion that you can’t give the Daleks good dialogue: “Why do human beings kill other human beings?” is full of chilling curiosity, “Yes, you gave us life” a future echo of their capacity for destroying father figures, the almost mocking repetition of “I am your servant”, and the cacophony of “Daleks conquer and destroy” that becomes a disorientating swirl of hatred.

This culminates in a final episode of mass slaughter. The release of tension is colossal. The very end suggests this is not over. The Daleks will never be more unnerving.

1. Dalek/Bad Wolf/The Parting of the Ways

This isn’t a three-parter in the usual sense, but these episodes are inextricably linked, with Russell T. Davies using a series arc to delay and distract the audience from their connection.

What’s key to all three episodes is Christopher Eccleston. He sells the threat of the Daleks better than any other Doctor, elevating the already strong scripts. These are the best performances against the Daleks there will ever be.

If you’re reading this website there’s a strong chance you know that the Daleks were seen going upstairs in the 1980s, but for most viewers ‘Dalek’ was the one that took all the jokes and weaponised them (Indeed Rob Shearman asked his partner what she thought was silly about the Daleks before writing his script): they not only go upstairs but crack skulls with their sucker arm, with added revolving weaponry and force field.

The carnage is well-realised, with director Joe Ahearne letting the Dalek take its time to build the tension, Shearman’s script taps into Russell T. Davies’ new Time War mythology and companion dynamic to allow the Dalek more intelligence in terms of dialogue and emotional manipulation. This Dalek has the threat of those in ‘Genesis’and the intelligence of the ones in ‘Power of the Daleks’.

Their redesign is a microcosm of why ‘Dalek’ works so well: it doesn’t change much, rather it takes what already works and improves upon it. I can’t imagine the return of the Daleks being handled better, while stealthily setting up the stakes of the previously unimaginable series finale.

Over this article I’ve talked about different aspects of the Daleks’ appeal. Children love them and fear them. They tap into adult fears of death, fascism and the uncanny (exemplified by the cacophonic chanting of ‘Exterminate’). That they can appear comical can be weaponised, as can the fact their hatred is not unique to them. Their reach extends into the mundane.

The reasons these episodes work so well is partly because they tap into these strengths, but also that they tell more than anything tell the story of the Ninth Doctor. He’s already committed a double-genocide, as far as he’s concerned, and is barely keeping it together without the prospect of having to commit another one. This is contrasted with the fact of one Dalek being demonstrably dangerous, and now there are hundreds of them. We know what they can, what they will do, and the only way to stop it is for the Doctor to kill Daleks and humans alike. It’s a much more effectively constructed and persuasive dilemma than the one the Doctor proposes in ‘Genesis’.

This story also puts in work with the supporting characters, and rather than being soldiers the staff of the satellite are office workers put into a desperate situation, or people who just wanted to be on telly. While ‘Bad Wolf’isn’t as Dalek-heavy, its satire is subtly devastating. If you look back at clips of The Weakest Link now you can see casual and sadistic cruelty meted out, so connecting this to the Daleks is a stroke of genius (especially with celebrity voices unwittingly joining in their own condemnation), bringing their evil to the everyday.

The Doctor’s closest friends here are merely the people who die last; he knows they’re going to die, and he hears it happen. It becomes increasingly personal, while also satiating that morbid fannish desire to see the Daleks kill someone. Here they seem sadistic, devious, and unstoppable. The need to stop them is obvious, as is the cost.

So rather than an unearned moment of moralising here we have a situation where the Doctor’s decision makes sense, is not abstract to him. This also, in the first series back, makes an important statement: Doctor Who can be dark, and nice people can die horribly, but it is not a series where the grimness becomes overwhelming. Here the Doctor’s decision not to kill is one he knows will also cost him his life, and then his ideals inspire his salvation: it is Rose, not Davros or the Doctor, who is set up among the gods, and her instinct is not – to paraphrase another franchise – to destroy what she hates.

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The reason I love this one is because it delivers on so many fronts: these stories define this Doctor. The story is epic but steeped in the everyday. The Daleks are terrified and terrifying, silent and shrieking, devious and brutal. They feel unstoppable here in a way they simply haven’t since. For a story to do this many things is impressive, but to do them all well is astonishing.

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