Genesis of the daleks ending relationship

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genesis of the daleks ending relationship

Don't want to spoil the end for those who haven't experienced Genesis of the .. same episode a Dalek completes the connection and destroys the room with. Tickets for the “Doctor Who: Genesis of the Daleks” can be purchased . The company manages joint venture relationships with AMC Networks. The Doctor's very first meeting with the Daleks is at the original end of their history Genesis Of The Daleks introduced Davros for the first time and gave the Doctor . This one is more overtly about the Doctor's relationship to the squawking.

Once outside, Ian decides to go back and warn the Thals of their danger whilst the others run to safety. As the Thals take the food, the elder, Temmosusdecides to plea with the Daleks for a longer-lasting truce where in return he offers to work with the Daleks to create food and a stable environment. Unbeknownst to the Thals, they are being surrounded by Daleks. Ian, watching this all unfold, shouts to the Thals that it's a trap, and many escape.

However, Temmosus is exterminated. A young Thal named Dyoni provides a history of the planet Skaro from a Thal perspective for the Doctor. It seems that the Daleks were once known as Dalshumanoids similar to Thals. They mutated into their current forms following the neutronic war.

The Thals have reacted to their history by adopting pacifism as a creed even though their history reveals them as warriors. Ian attempts to convince the Thals they'll need to fight the Daleks to survive, but the Doctor suggests they leave. To everyone's horror, they discover they can't. The fluid link held by Ian was taken from him when Daleks searched him.

The fluid link is in the city, and the four are trapped on Skaro. The Expedition 5 Edit The Daleks make plans. After trying to convince the Thals that they should be more aggressive towards the Daleks, Ian spurs Alydon to display aggression by threatening to take Dyoni to the Daleks as a trade for the fluid link. The new Thal leader hits him.

One group will accompany Ian and Barbara as they cross the swamp to the rear of the city situated near a radioactive lake filled with mutants. They can enter the city unseen through a back entrance. The other group, led by the Doctor and Susan, will act as a decoy, entering through the front door. While the Daleks seem to have rudimentary abilities to film what is going on in the jungle, they cannot hear the gang hatching their plan.

They are soon distracted. The Daleks' use of the anti-radiation medication left by the travellers has a bad effect on them. Two-fifths of the Daleks fall ill. The Daleks deduce they have become immune to radiation and in fact, thrive on it. They decide to increase the levels of radiation on Skaro by deploying another neutronic bomb.

Whilst this would sustain the Dalek race, it would be impossible for the Thals to survive. The attack party heading for the Lake of Mutations makes good progress on their lengthy journey.

Ganatus and Antodus are brothers and have been to the lake before with fatal consequences to two of their party. The lake contains many mutated beings from the fallout of the neutronic war. Ian soon spots a multi-tentacled creature in the water.

The next morning Ian discovers a series of pipes that suck the water from the lake into the city. They prepare for their journey and Elyon goes to the lake to fill the water bags. However, a whirlpool begins to form and Elyon screams for help. The others at the camp run to investigate Elyon is dead, but even though the Thals are upset, especially Antodus, the party must continue with their journey and climb the mountain to complete their end of the plan.

At the front of the city, the Doctor's party block the Daleks' video and radio communication masks by beaming light at the top of the masts to scramble the images they get.

They use this radio silence to sneak into the city. Whilst this plan is being put into action, the Dalek leaders receive the news that it would take twenty-three days to create a neutronic bomb powerful enough to sustain radiation to ensure the Daleks' survival. As the Daleks absorb this news, the Doctor and Susan sabotage a static electricity control box. The Doctor asks Susan to hand over her TARDIS key and drops it into a wall panel to draw power away from the system, promising her he can always make a new key if necessary.

Susan points out a second panel, which the Doctor rewires to short-circuit. It destroys some of the Daleks' computer terminals. Unfortunately, their activity alerts the Daleks, who soon surround them.

They are taken to the city's control centre and are told of the Dalek plan to irradiate the entire planet. Instead of dropping a neutronic bomb, the Daleks will blow up their nuclear reactors to create the radiation. Meanwhile, Ian's party has found a tunnel that should lead to the Dalek city. They drop into a crevasse that heads directly to the city. Antodus tries to persuade his fellow Thals that they should turn back, saying even if they survive the journey, the Daleks will kill them. As an aside, it's remarkable that the word "nuclear" never appears in the script of Genesis.

Despite previous clear statements that the Daleks are the product of a nuclear war, all the effects one would assume due to nuclear radiation the mutations, the lethal effects of the Thals' explosive are ascribed to chemical toxicity. One can only imagine there was some kind of pressure from upper levels of the Beeb. Why, therefore, do I have the mixed feelings I discussed at the beginning?

I feel that many of the people who most praise Genesis are confusing execution with concept. Yes, Genesis is marvellous. Yes, it features heavy continuity, relatively graphic violence, a relentlessly grim atmosphere, a staggeringly high body count, and a morally ambiguous Doctor.

However, one must stress that Genesis' merit is due to having a fine script, excellent direction, and some towering performances. It is not great because it has heavy continuity, graphic violence, grimness, etc etc etc. I fear that it is the reverence given to Genesis that intitiated the tendency for subsequent Doctor Who, on TV and to an even greater extent on paper, becoming dominated by oppressive continuity references to twenty-year old stories, and a curious belief that adulthood equates to unrelieved gloom and pessimism not so much an adult position as an adolescent onewith deleterious effects on its ability to retain an audience.

Sure, this stuff is great fun for fans, but the average New Adventure, Virgin or BBC, has zero chance of attracting anyone who doesn't own a well-thumbed copy of The Time-Traveller's Guide. And, while most of my American College Student brethren are off getting drunk and shaking booty in sub-tropical climates, I'm stuck in New England with a hyperactive collie dog and a stack of Doctor Who videos.

Forseeing very little to do this week, I headed over to a friend of my Dad's house to rifle through their Doctor Who vids. While I was there, scanning the faded red titles on video labels, I chatted with their 10 year old son Ian, and he said something pretty cool that I think is pretty apropos of Doctor Who and Genesis of the Daleks specifically. The whole good vs. To them, they're the good guys.

There are kids at my college who couldn't wrap their minds around that concept with masking tape. So, with that in mind, and a stack of VHS tapes in my car, I drove home to watch Genesis, which I had seen once when I was around Ian's age and didn't remember too well.

The first thing we see behind the fog, after the opening titles, is a gasmasked face. I remembered how much of an effect that had on me when I watched The War Games for the first time and one of the early shockers was a quick cut to an inhuman looking gasmask.

And, yeah, the gasmask can save lives, for sure, but it is a creepy, almost monster-like thing. This image has the double effect of telling us, right off, that we are in the middle of a war, and adding resonance to the Kaled's eventual fate -- their evolution into inhuman creatures the Daleks to facilitate their very survival.

The Kaleds have been compared to Nazis, and you can see bits and pieces of this at the beginning of the story; talk of master race, severe uniforms, credos being shouted by black-outfitted "boy soldiers" who you almost expect to swoon into a chorus of "Tomorrow Belongs To Me. Perhaps you've heard of them. They show up from time to time, especially in the last episode we'll get to that laterbut the story is really about accountability and conscience, what is evil and what is not.

Think about this -- if Jean-Luc Picard had been given the option to prevent the Borg from ever being created, he'd probably do it in a heartbeat. Yet here we have the Doctor, in the definitive moment of Tom Baker's term as the Doctor, doubting whether or not he has the right to prevent the Daleks from their right to life.

After all, wouldn't that make him as bad as they were? And are the Daleks really evil, anyway, or is the only evil thing the blind ambition of a mad scientist who believed that conscience and morality would only weaken his creation?

Genesis of the Daleks only works as a treatise on the evils of Fascism if you pretend that Dr. Mengele ended World War II by killing off all the top Nazis and putting Hitler's brain inside a jar and giving it legs -- in the end, it's all about that final frontier rarely explored in TV science fiction -- the grey area between right and wrong. And, I'm glad the Daleks aren't in it until the very end. Terry Nation could have taken the easy path to keeping the kiddies happy and loaded his story with lots of Daleks running everywhere and shooting people, but thankfully he didn't.

What we got was an exploration of the nasty conditions that led to their dominance. It still almost feels like you're witnessing history when Davros is training the very first Dalek in that gloomy cave. And when Davros gets his comeuppance at the end, yes, it IS the first and only time the Daleks were really scary There are so many right things about this episode.

Am I ranking it at the top, or the bottom, or at all? No, and yet it is one of the best Doctor Who stories ever made, there's no denying that. It holds you in its grip for six whole episodes and makes you think the whole time. Great TV, that one The Borg assault on Earth will probably win most polls of that shows' fandom.

How about Babylon 5? Well, let's face it, it's very likely to be naother big space battle. One of the Anderson shows?

Director’s cut of ‘Doctor Who: Genesis of the Daleks’ premieres in NEPA theaters on June 11

Inevitably a special effects sequence. So how wonderful it is that one of the greatest moments in the history of our show takes place in a drab studio-set corridor with the regulars staring at a couple of bits of wire. I don't normally read the reviews of a particular story on this site when I'm about to post one of my own, but in view of Genesis' special status voted best story ever, most shown story on terrestrial UK TVI just took a look.

Most of them broadly agree with this consensus the gentleman describing it as 'boring and stupid' in a review of Ark in Space sadly hasn't expounded on his reasons for this conclusion ; I'm about to do the same. There's some weird alchemy at work in this story that transforms it as it goes along - the first episode is ominously similar to much other Terry Nation material, but by its' midpoint it's clearly something exceptional.

And although the reasons why it's exceptional are obvious nary a bad performance from a big cast, and two exceptional portraits of evil from Wisher and Miles, serious, committed production designs, music, and direction there's nothing to explain why this particular script should turn out so well.

Because it really shouldn't. There are inserted cliffhangers that don't advance the story the prison break in episode twothere's a big plot dog-leg near the end the anachronistic tapebut even these become compelling viewing - the chase up the rocket silo is very well staged.

I can only put it down to Nation's enthusiasm at the chance to tell a really strong, grim tale with very few purely heroic characters in it, and a shockingly complex morality. Barry Letts commissioned Genesis, and in many ways this is the zenith of the series' achievements in handling moral issues - his great gift to the show. I really don't think, even back inthat anyone really thought the Doctor would actually succeed in obliterating the Daleks from history.

And indeed his mission is a near-total failure, and he is literally reduced to the status of onlooker by the time of the climax. But what's most challenging about this story to me is that it seems to argue that evil is often stronger than good.

The Doctor prevaricates outside the incubator and loses his chance to destroy the Daleks quite how isn't made clear. Gharman and the rebels don't decisively eliminate Davros when they get the chance, and their faith in democracy leads to their mass extermination.

The Kaled leaders underestimate Davros' true ruthlessness and megalomania and their civilisation is utterly destroyed as a result.

genesis of the daleks ending relationship

Throughout the story it is the pragmatic, ruthless and decisive factions that triumph - leading up to the timeless moment when the Daleks as we know them finally appear, in the closing moments of the story. Possibly the best Dalek scene ever, and all the better for coming at the end of a story that is always about them, but quite rarely features them. It's almost a truism to say that Davros' returns in later stories diminshed the character and were a mistake.

But bringing back the Daleks after this was also probably gratuitous. This story may be about their beginnings, but it's very nearly the final word on the evil they will always represent. The one I watched with my boyfriend Scared of looking stupid? He thinks it's cheap, tacky rubbish. He likes Star Trek Voyager for god's sakes! But one day I was watching my shiny new Rememberance of the Daleks disc and he cast an odd glance at the screen, Doctor Who with flashy effects It's the Daleks, he loves them, so I decided to take him back to the story where they first created It opened on the foggy rock bound location and guys in uniform were gunned down in slow motion.

I watched him with baited interest to see his reaction. He was enjoying it Simon loves war stories. By the end of the first episode he was hooked, laughing at Sarah's stumbles and in awe as Davros first appeared. We went to bed after episode one, it was late but what did I find in the morning? He had put the second episode on at about 6. He was gob smacked as Davros betrayed both sides in the war just to continue his experiments, none of his Voyager villains were half as deadly.

He didn't even notice that the Daleks had hardly appeared. He spent the next day quoting Davros lines, much to my amusement. We reached episode four that day and he was quite shocked at the amount of violence on display. Sarah hanging from the top of the rocket, the casual death of Ronson He couldn't wait to reach the end, he knew they were saving the best for last and he was quite literally blown away when Davros was destroyed by his own creations.

He wouldn't stop talking about it. This was proper storytelling he was saying! This was real drama! I guess what i'm trying to say is that no matter how against Doctor Who you are there is always a show that can wow you. It is another reminder of the timeless magic the show has in wrapping you up in it's imagination and finesse and leaving you stunned.

Who needs 'temporal anomolies' when you can have a script that sticks in your head for weeks? I found out how rewarding it was to watch Doctor Who with a non-fan that week. It was a great experience. He loved it so much we watched Resurrection of the Daleks and Revelation of the Daleks in the two weeks after. Anyone can be converted! Why let continuity get in the way?

It seems incredible that such an obvious idea took twelve years to finally reach the television screens but here we get to see their roots. Okay so there's a major violation of continuity with this version of the Daleks' origins going against the details given way back in the first Dalek story and it's difficult to reconcile the Skaro seen here with that seen way back in The Mutants and The Evil of the Daleks but why let continuity get in the way of these things?

Wisely most of the film sequences in this story are used at the start of Part One. The images are highly evocative of the Great War even though much of the imagery elsewhere in the story comes from the Second World War. This bizarre mixing underlines the story's core theme about the dangers of tampering with nature in order to survive. The story is a highly bleak tale, with numerous on-screen deaths and an indecisive ending in which the Doctor doesn't win outright.

But right from the start it is not clear just what winning truly means and this makes the ending something of a letdown. The opening scene of the Doctor talking with the Time Lord is a little too close to narration for my liking, since it gives away too much and makes the traditional first appearance of the Daleks at the end of the first episode even more redundant than usual in this tale.

The idea of the Doctor being given a time ring to take him away from Skaro once he has completed his mission is certainly a novel one but towards the end of the story it shows how out of place the story is in finding a way for the Doctor to be unable to just leave, whereas in most other stories it is the urgency of the situation itself that keeps the Doctor there, regardless of how easy it is to just slip into the TARDIS and leave.

The story follows a straightforward plot with many memorable characters. Watching it from a modern perspective it is difficult to see Guy Siner Ravon and not be reminded of his subsequent role in 'Allo 'Allo a BBC sitcom set in wartime Occupied France but this does not detract from his sadistic portrayal of the General. Many of the other cast make good contributions, with Dennis Chinnery Gharman and Stephen Yardley Sevrin deserving special mention, but the two actors who really steal the show are Peter Miles Nyder and Michael Wisher Davros.

Both appear in extremely strong roles in other stories but it is in Genesis of the Daleks that they make perhaps their most memorable contribution to the series.

But it is Davros who dominates the story. At times he comes across as a mere crippled Kaled but when he descends into insanity and his voice becomes ever more Dalek like it is truly chilling. It is a strong reminder of how the Daleks were originally intended to be a chilling vision of a potential future of humanity. Production wise David Maloney gives strong direction and manages to avoid exposing too clearly some of the weaknesses in the design, such as the rather artificial clams inhabiting the caves around the Bunker.

The Daleks revert to their gun metal colour but manage to remain looking new and impressive. There are a number of minor continuity errors, such as the Doctor's appearing and disappearing overcoat, but these can be overlooked given the movement of the story. Terry Nation's script is one of his best, delivering many memorable moments of which the scene of the Doctor and Davros discussing the potential of the Daleks or the Doctor debating the rights and wrongs of destroying the embryo room are just two.

It is a shame that in the latter case the Doctor makes it out to be a move that could easily wipe out all the Daleks and yet later on in the same episode a Dalek completes the connection and destroys the room with little clearly discernible effect. Although Genesis of the Daleks contains much good material, it is a little long at times and there are some sequences which could easily have been cut altogether; most obviously the escape attempt at the end of Part Two which is so quickly quashed.

Whilst the first encounter between a new Doctor and the Daleks and the Daleks' origin tale are both arguments for making the tale a six parter it is hard to escape the view that it would have been even stronger at only four parts.

With that length and a clearer ending the story would be even better than it is. All the subsequent Dalek stories reference it, and made the principal antagonist, Davros, an integral part of their serials. But is it any good?

Does it hold up as an all time classic? I'll get back to that. There's an odd mix of Terry Nation traditional plotting and Robert Holmes depth of character and location. I'm willing to wager large amounts of ducats that Nyder is very much Holmes's creation. He's very much a precursor to Sholakh in The Ribos Operation. Some of the more interesting -- and terrifying -- aspects of Davros seem also to come from Holmes's pen. I think it would have been so easy just to have Davros be just a screaming nutter.

But, we see he's that, and so much more. He's a true believer in his creations and their goal to be the supreme rulers of the universe that he'll do anything -- kill off his own race, eliminate the Thals, wreak havoc with the future -- to achieve his goal.

Like a scientist, he observes the environment, be it purely physical or political, then creates the most effective strategy to affect the situation to his maximum advantage. Moreso than the Master ever was, Davros is always one step ahead of everyone, even Nyder, his most trusted lieutenant. The Daleks themselves benefit from being put into the background for the main plot, but also have their moments to burst out. The brief moments of the slaughter of the Thals in the Thal dome shows their monstrosity better than millions of cries of "Exterminate" ever could.

By the time they break away from Davros's control, we've witnessed the birth of the most evil race in the universe. In an interesting touch, the only sympathetic Thal we meet is Bettan, who has an edge and is determined to win the battle against the Daleks no matter the cost.

The other Thals that grace our screen are typical sadistic guards or political advantagists. In contrast, most of the Kaleds are sympathetic and honorable, save Davros and Nyder.

genesis of the daleks ending relationship

When Davros betrays his own people to help the Thals, it's a shocking and cruel moment, moreso when the Kaled dome is destroyed. The story itself is a mix of standard Terry Nation capture-escape-capture mixed in with one of the better moral debates in the shows history. Presented as an argument, instead of one side ranting, the moral view shifts from one of absolutist to a more gray and complicated look. The two debates, between The Doctor and Davros, then the Doctor and Sarah raise as many questions as both sides of the argument answer.

Of course, we side with the Doctor in both cases, but by having Davros and Sarah argue the extremes, we see how complex the issue could be.

In the end, the Doctor fails in his mission for the Time Lords by not committing genocide, but we know why he doesn't do it, and how close he did come to pulling the trigger.

While Michael Wisher is brilliant as Davros, giving this villain loads of menace and some raw insanity, Peter Miles nearly steals the show as the ruthless and loyal Nyder. The Dalek's presence is magnified by being kept in the background for most of the story.

Back to my original question: Is Genesis of the Daleks an all time classic? It is the best of the color Dalek stories, by far the best Davros story, and one of the best in DW history, full stop. It's the first great revisionist story in the programme's then 12 year history, contradicting some "facts" presented before and creating an alternate version of events. It's fortunate that for such a landmark story, it's also pretty darn good.

In fact, it's brilliant. And it's brilliant on a number of levels. It's incredibly thought provoking, and filled with lots of lasting images. The opening sequence is one of the show's best - and one of the most grim and bleak.

In washed out colour, a group of gas-masked soldiers make their way over a scarred, mist shrouded landscape, to the accompaniment of a dramatic military theme. They are mowed down by gunfire, every last man falling in slow motion. Then we have the Doctor suddenly appear out of the fog, to be confronted by a black caped Time Lord - an image that's a none too subtle nod to Ingmar Bergman.

A few minutes later the Doctor, Sarah and Harry are subjected to a barrage of shells in an uncomfortably realistic scene - with loud bangs, close-ups and a snappily edited array of shots. David Maloney likes this sort of thing - the shelling sequence is identical to the one in The War Gamesalso directed by him. It's good that Maloney is at the helm - he's one of the programme's best directors, and for such a story, only he or Douglas Camfield could have done it.

The location photography is excellent - the usual English quarry is utilised to the best possible effect; the camera angles and editing are snazzy and stylish, especially all the scenes with the Daleks. Ironically, for a story with such marvellous editing, there's a monumental shocker in the form of a bad jump at the end of episode three the Thal guard reaching for the switch to electrify the gantry.

Maloney's trademark freeze frame cliffhanger is used for the first time in episode two - although the resolution cheats, significantly nullifying the impact. But the music is terrific - I've referred to that used at the beginning, but special mention must also go the theme that accompanies the Daleks. Nation delivers his best ever Doctor Who script here. While not as complex as the surprisingly for him well-plotted Death to the Daleksit's more involving.

It develops gradually, with a simple premise - the Doctor's mission to destroy, or alter the evolution of his old enemies. But a good balance of drama and action justifies the six-episode length. The use of the Time Ring - and its inevitable loss, also adds a wonderful tension, with the Doctor himself, in episode four, prioritising its recovery over their mission.

The tape the Doctor is forced to record, and the necessity of destroying it, is another burden for our heroes to worry about, and it makes a great sub-plot. Genesis is also one of Doctor Who's most morally thought provoking stories.

Just out of the Barry Letts years, which dealt with worthy issues but in an overbearingly preachy way, this adventure thankfully manages to avoid this Trek-style failing. There are two such scenes: This, and the latter's response, make for one of the most spine-tingling and gripping moments in the show's history. The other incident is the equally remarkable self-doubt the Doctor expresses at the start of part six.

He has the existence of the Daleks in his hands, quite literally, and his agonising moral dilemma, a variation on the old ethical question of murdering a baby Hitler, is stirring television. His desperate "Do I have the right? It's Tom Baker at his most serious, and Doctor Who at its most intelligent. You could be mistaken for thinking he's been playing the Doctor for years, not just a few stories.

The seriousness of the situation is reflected in his delivery, which is utterly convincing, as is the Doctor's grief when he believes Sarah and Harry to be dead after the destruction of the Kaled city.

However, there's also the fourth Doctor we're used to: However, when talking of performances, it's Michael Wisher as Davros who is the showstopper. His portrayal of the Kaled leader has long been lauded as one of the best ever in the programme, and I'm not going to break ranks. Wisher is astounding, carrying across the obsession and unhinged fanaticism of his character with startling believability. Davros is the ultimate megalomaniac, determined to perpetuate his species - and his place in history - whatever the cost.

He alternates between calm and calculating - note the moments he quietly taps his finger on his bench, slowly biding his time - to all out rage. Given the physical restrictions placed on Wisher for the role, thus the need for him to convey almost everything through his voice, the performance is even more astonishing. Peter Miles is also excellent as Nyder. He's totally devoted to Davros - as much a fascist, dedicated to order and racial purity.

In theory, he does have limits. He expresses surprise at Davros's plan to wipe out the Kaleds: The whole of the Kaled people? You would go that far?

genesis of the daleks ending relationship

Did you ever doubt it? Nyder's not telling the whole truth.

He is startled at his leader's plan - but he does nothing about it, and goes ahead making preparations for the Kaleds' demise. What little conscience Nyder could have proved to have is totally invalidated. He's no better than Davros, and the two of them make for a frightening combination.

The rest of the acting is mostly of a high calibre. And, in my opinion, it's Ian Marter's best outing as Harry Sullivan - and the best use of this companion. He's not the bumbling Harry of other adventures, nor does he feel like an awkwardly placed third companion. Under Davros's guidance the Scientific Elite Corp makes numerous scientific breakthroughs. Using Skaroine electroscopes Davros determines that it is impossible for intelligent life to exist in the surrounding seven Galaxies.

Davros begins experimenting with augmenting the intelligence and altering the behavior of various types of aquatic creatures.

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Davros beings experimenting with ruby based laser technology. Davros meets with the Elite Scientist named Shan. Shan has written a paper titled The Dalek Solution. This paper reveals that Shan has discovered that the mutations induced in the Kaled people by the radiation wasn't entirely random. She predicts that within years the Kaled people will have reached a new genetically stable form.

These Kaled Mutants would be small clawed creatures which would in fact be dependent on the harsh radiation that poisoned all of Skaro to survive. Shan believes that the only way that the Kaled people will be able to survive on Skaro in the coming years is if they recreate their race in the form that they Skarosian species will eventually evolve into.

Shan names this theoretical lifeform the Daleks an anagram of Kaleds. He claims that these were his own discoveries. Davros tells himself that she was going to betray him to ensure her place in Kaled History as justification. The spy alerts the Kaleds to the location of the research center and the Thals bomb it with a nuclear shell. The shell impacts during one of Davros' experiments causing an explosion that irradiates more than 50 of the Kaled's finest scientists.

Davros loses his eyes, left arm, and both legs. He suffers severe damge to his chest and skull. Thanks to Davros' breakthroughs in fields of cybernetics Davros and five other scientists survive. When Davros awakens he views his shattered body for some time before deciding that his physical body is unimportant next to the brilliance of his mind. Secretly Davros decides that the Kaled government was directly or indirectly responsible for for his injuries.

He decides that the Kaled race must be reborn in the Dalek form. He promises the Kaled Leadership victory over the Thals if they give him the scientific resources he needs.

This Mobility Unit is connected to his mind allowing him to control many of its functions by thought alone. With a special security force assigned to him Davros returns to his scientific studies. Davros begins studying the effects of radiation and mutations on living beings.

He charts the genetic drift for several mutated animals and begins collecting mutated Kaleds to perform experiments on. The Mark II Machine was powered by static electricity that was drawn from charged metal floors. The Daleks never would have been developed without the Quatch technology. Davros uses mutated embryos to create several Dalek mutants. He then uses chemical agents and micro-surgery to change the mutant's genetic makeup by introducing chromosomal variations.

This prevents them from experiencing compassion, and love unknown to Davros these changes also prevent the Daleks from experiancing pity and mercy. The sense of morality and conscience was removed. He programed them to have total loyalty to the Dalek Species, and to view all other species including the humanoid Skarosians as inferior. They have a strong instinct to destroy all alien lifeforms.

They have been conditioned to survive at all costs and programmed to believe that survival can best be achieved by becoming the dominant species in the Universe. They are designed to be the Supreme Victor in the "universal war.

If the Daleks defeat the Time Lords then they will destroy all other sentient life forms in the Universe.

GENESIS OF THE DALEKS – Adventures with the Wife in Space

The first 20 Daleks become fully operational. Because of the Doctor's interferance the Dalek brain modifications that Davros planned are never completed. Instead these Daleks are controled by an on board computer program. The First of these 20 has a minor mutation that allows it to realize that with the current programming that Daleks will exterminate all other life in the universe.

They will also be incapable of choosing a leader because all Daleks will be viewed as equal. The First Dalek alters the programing in the embryos that are still developing to ensure that they will view him as their leader. He also programs them with a desire to enslave rather then exterminate lesser lifeforms.

Davros betrays his people and the Kaled people are exterminated by a huge Distronic explosion.