Friday, November 14, 2014

"Eve of the Eternal" Commentary, Part 2: The White Guardian, Rose in Captivity

The White Guardian

The scene in Chapter Two when the White Guardian appears inside the Tardis was a unique moment which set up the course of both Eve of the Eternal and the story arc encompassing the whole series of The Perennials. Much of what goes on in this scene reflects everything I feel that Doctor Who overlooked, and much of what I think should be said concerning the Time Lords, the Time War, and what happens next. Much of the discussion here began as conversations I had with my brothers and my mother after we saw the last few episodes of Series 4. I think I've mentioned before that I wasn't very happy with the conclusion of Series 4, the reasons for which I may discuss in a later post.

The White Guardian was a character who first appeared in The Ribos Operation, a Fourth Doctor episode which aired in 1978. In that episode, the Guardian sent the Doctor on a long and dangerous mission to retrieve the segments of the legendary Key to Time; the Doctor was of course successful, but in order to prevent it from falling into the hands of the evil Black Guardian, he disassembled the Key and scattered its remnants. The nature of the Guardians of Time isn't ever fully explained in Doctor Who, nor have they appeared in the new series, but they are connected to the Eternals, and wield an almost god-like power. It is implied that the Time Lords, or at least the Doctor, had heard of the Guardians before the Doctor encountered the White Guardian, but aside from the different roles of different such Guardians, their role in the Universe was never made completely clear, except that they will remain in those roles until the Universe no longer needs them.

In The Perennials, the White Guardian appears to herald the coming of a new era in the history of the Universe, a post-Gallifrey era, which he cryptically calls the "Age of the Perennials." Here the Guardian also links his first meeting with the Doctor to his survival of the Time War, and that for a reason yet unexplained, he has again chosen the Doctor for a special mission, a bigger one than the previous quest for the Key of Time: a designated protector and champion of the Universe in this new age. The Doctor's role as a protector was always unofficial and hit-and-miss before; now there's something bigger going on which the Guardian doesn't clarify. All the Guardian tells the Doctor is that he will not be alone in this mission: there will be two others with the same role, who the Doctor has already met.

The identities of these other protectors are not disclosed in the chapter, but are heavily implied. One is stranded on Earth for the time being, the other is trapped outside space-time. It's obvious enough.

I also thought the scene was important because of the Guardian's words concerning the Time War, especially his remark that there was only one significant difference between humans and Time Lords: that humans understand that they are mortal. It is a sharp rebuke to the Time Lords as a whole, including the Doctor, for their previous arrogance and presumptions concerning time itself and their role with regards to time. The Time War was the fault of the Time Lords; but another important point is the revelation that the Doctor was not actually the only survivor. This is elaborated on in a later story, but nonetheless, even if more Time Lords survived, the civilization they built is destroyed and will never rise again. They have lost their powers and their privileges.

When I began the revision of Eve of the Eternal, I considered cutting this scene; but in the end I decided against it because there was too much of import.


Rose in Captivity

"Bloody, self-repairing ships!"
-- The Doctor, Eve of the Eternal

Imagine waking up to learn that you've been living in a dreamscape for literally thousands of years; and that you were in that state because a computer had hijacked your mind and was using your own subconscious to subdue you. Still better, that computer's purpose is to run the operations of a ship that is drifting outside of space-time. And finally, said computer, in an effort to keep you alive and permanently enslaved in this manner, had rewritten your DNA to make sure you would never age. 

This is Rose Tyler, also and henceforth known as Amaranthine. This is what the Doctor, Donna, Martha, and Jack find in the Void Ship Eternal. 

As explained in the previous post, Rose shouldn't have survived her fall into the Void at all, and everyone rightly thought she didn't. Even she knows she should have died, and it was only through a fluke that she survived. In fact, were it not for the timely actions of her rescuers, Rose wouldn't have survived. The lack of oxygen in the Void in of itself was fatal, but what ultimately destroyed her wasn't suffocation, but the effect of both concrete and abstract nothingness upon her conscious mind. Her rescuers immediately put her on life support in an effort to repair her, both in body and in mind. And that's how this all started. 

The reason for her enslavement is similar to the plot of The Girl in the Fireplace.  The Void Ship she is trapped on was severely damaged when the Daleks trapped in the Void attacked it in a desperate effort to escape the nothingness of their prison. When the mainframe's primary memory base was destroyed in the attack, only four operations remained intact: the self-defense, which successfully destroyed the Dalek invaders, though nearly was itself destroyed in the process; the life-support systems, which enabled the ship to maintain a livable environment despite the damage; the backup data; and finally the self-repair systems. These four operations survived because they were independent systems of the mainframe. When the Dalek threat was eliminated, the self-repair system came on, but just as was the case in The Girl in the Fireplace, it had to find some replacement of the primary memory base, so it could restore the backup, and they found it: the damaged but reparable brain of Rose Tyler. 

The difference between this and the scenario in The Girl in the Fireplace is that, with regard the latter, the self-repair did not need to physically remove her brain from her body (thank heavens). Her captivity is of a cybernetic nature, but she is not a bionic zombie like a Cyberman; her situation is more like her possession by Cassandra O'Brien in New Earth. The mainframe of the Eternal took over Rose's mind, and Rose herself, her consciousness, was tucked away into her subconscious, where she'd remain asleep and unaware of what had happened to her. 

The irony of this is that her cybernetic imprisonment originated as a life-support system, coupled with a neural repair system similar in nature to nanogenes. In the above picture, the implants you see on Rose's face and neck weren't originally instruments to force her into a dream state; they were designed to keep her alive after her fall into the Void.

Dreamscape
The mainframe, designated Eve, subdues Rose by keeping her in her subconscious mind, an easy feat, since her subconscious was the only part of her mind that survived exposure to the Void undamaged. Eve has no control over Rose's subconscious, which is completely subject to her rules, her mode of thinking. But Rose's consciousness, already in a very inert, comatose state because of those few seconds in the Void, is easily transferred to her subconscious without her being aware of there ever being a transfer. Thus, as Eve slowly repairs her neurons, and Rose's consciousness begins to build up again, it is like she was reborn in a dreamscape, and she knows nothing else; she doesn't even consciously remember who she is. But while her conscious memory was severely damaged along with the rest of her conscious mind, as she lives in the dreamscape, her old memories buried in her subconscious start bleeding through in different dream constructions; familiar images to her, starting with the most fundamental, those she has known the longest, that formed who she was, such images as her mother and father and Mickey, or the Powell Estate; then over time they start building up to more recent images just as significant, like the Doctor and the Tardis. Some images are more subtle, like the wolf. Others are more overt, like Cybermen or Daleks. But the point is, though her memories aren't conscious, they aren't nonexistent. 

In the captivity of her subconscious, Rose can't quite connect the happenings of time, and so she is only vaguely aware of time passing. She lives in a haze, with the subconscious sometimes reminding her of reality, but her conscious mind, for a very long time, was too heavily damaged to think beyond that. But Eve, in the process of repairing Rose's neurons, slowly rebuilds the possibility of a conscious mind, and over time Rose begins to remember who she is; but just as in the film Inception, the dreams feel real to her while she's living in the dreamscape, even though some elements of those dreams don't quite follow the rules of the real world. For the first stage of her captivity, Eve doesn't even need to attempt to control Rose's subconscious; her subconscious mind, with the lack of a conscious mind, has already subdued her. 

Ethrae
When Rose begins to become aware again, Eve constructs the world of Ethrae, which Rose finds herself in during intervals in which she slips from the dreamscape. Ethrae, heavily based on a real alien world, is meant to fill Rose with a feeling of quiet and comfort. Rose is still mostly in a state of sleep throughout all this, and she remains asleep for a very long time, but when she starts to awaken, she finds herself in Ethrae, and over time she starts to accept this as the real world, but don't forget that she's still only half conscious during these intervals. 

Thus Rose's captivity is set to a perfect system, so flawless that for a very long time Rose isn't consciously aware that she's even in captivity; then the disruption starts. Something external starts to occur within the Void that starts shaking Rose from her incredibly long sleep. The source of the disruption will be revealed in a later story, but it opens a second breach in the Void, one strong enough to pull a dysfunctional Void Ship into reality; this doesn't immediately happen, but it's a heavy enough disruption that even Eve cannot hide the real world any longer. For the first time in a very long time, Rose Tyler awakens. She comes into full consciousness, remembering who she is, where she is, and how she came to be there. Ethrae is revealed to be an elaborate illusion which was planted in Rose's head to distract her from reality. It is a consciousness Eve cannot tuck away anymore; it's embedded in both the conscious and subconscious mind. Rose, for the first time, is aware of her situation, and she knows how to fight back. 

The Void Ship
Rose survived the Void because of a fluke: she was rescued seconds after her fall by a second Void Ship, a very different one from the sphere she and the Doctor encountered at Canary Wharf. The existence of the spherical Void Ship was a surprise to the Doctor, who had always thought Void travel to be purely theoretical, but somehow the Daleks had built one; yet it always puzzled me that the Daleks, devoid of imagination as a general rule, had managed to build something that the Time Lords hadn't thought possible. The explanation given in Eve of the Eternal isn't that the Cult of Skaro invented the technology; they stole it and used it to create a crude imitation of a masterpiece of space-time manipulation: an existential vessel.

Such ships are the invention of the Helials, an alien race/empire almost as ancient as the Time Lords and just as powerful; the Helials were never a problem for the Doctor before because they and the Time Lords were locked in a sort of cold war for many thousands of years, each avoiding the other because of their fear of the other. The only thing the Time Lords had, which the Helials did not, was an intrinsic connection with the Time Vortex; so while the Time Lords mastered time travel and time manipulation, Helial science took a totally different direction. The Helials became largely interdimensional by nature. They had a stronger connection with the Void than with the Time Vortex. This is why the Helials perfected a technology the Time Lords thought impossible. 

The Doctor generally kept away from the Helials' empire, as did most Time Lords; but during the Time War they tried to forge an alliance with the Helials, only to find that they'd vanished. This disappearance was a great mystery to the TIme Lords; while they were not the only civilization to vanish during the Time War, the odd thing about the Helials' disappearance was that only the race and some of its technolgoy was gone; but their cities and colonies remained. The species vanished, not the civilization. Furthermore, the Time Lords never found out what happened exactly, not until the events of Eve of the Eternal. Without the knowledge of such a technology as Void travel, the Time Lords didn't realize that the Helials hadn't vanished from existence; they had vanished from the universe. They had hidden their entire race inside the Void, and they witnessed Rose's entry into the Void. They rescued her, not out of altruism, but to find out why a human, of all things, had been pulled into their hiding place.

There are a number of important differences between the Daleks' Void Ship and the Helials' Void Ship, the most obvious being its shape. The Daleks chose a simple spherical shape; the Helials a more complex polyhedric shape, the truncated icosahedron. A Helial Void Ship is bigger on the inside, like a Tardis; but the Daleks do not possess the intellect or imagination to build such a structure. The Dalek Void Ship had no navigation; but Helials have no difficulty controlling when or where they emerge from the Void. A Dalek Void Ship cannot enter the Void without breaching the walls of the universe; but a fully functional Helial Void Ship can easily slide through those walls without causing significant damage. And most strikingly, a Dalek Void Ship is just a ship; but a Helial Void Ship, because its inside is a different dimension from the outside, can externally transform into a singularity, a black hole, without causing damage to its inside. Of course, this ability ideally is used in outer space, because like all black holes, anything that crosses the event horizon will be pulled in and destroyed. If a Void Ship went into singularity mode on the surface of a planet, it would probably destroy or severely damage that planet. 

Of course, the Helials hiding in the Void implies that they could come back out. But that's a story for later. 




Saturday, November 8, 2014

"Eve of the Eternal" Commentary, Part 1: The Void, Prologue

The Void:


"There's all sorts of realities around us, different dimensions, billions of parallel universes all stacked up against each other. The Void is the space in between, containing absolutely nothing. Can you imagine that? Nothing. No light, no dark, no up, no down, no life, no time, without end. My people called it the Void, the Eternals call it the Howling. But some people call it Hell."
--The Doctor, Doctor Who, 2nd Season, "Army of Ghosts."



There's a lot of intriguing concepts in Doctor Who, but the concept of the Void absolutely fascinated me. The fact that Rose nearly fell into such a place fascinated me even more, and if I were talking to Russell T. Davies, my initial reaction to "Army of Ghosts/Doomsday" would have been to ask him what would have happened to Rose if she did fall into it.

The obvious answer is that she would have died. But what if she somehow survived?


To address that question, I had to consider the nature of the Void, and what exactly nothingness is. When the Doctor described it, one thing that caught my attention was that the Void doesn't even have such things as up and down, which, of course, aren't objects but purely directional prepositional terms. And that gave me an idea, which was to make the Void almost a realm of pure abstract, relying on linguistic constructions to consider the possibility of pure nothingness.

Think of it in the terms of The NeverEnding Story. In that film the characters describe a similar concept, simply called "The Nothing," which is destroying their world. Consider the following conversation:



Rock-Biter: "There used to be a beautiful lake, but then it was gone."
Teeny Weeny: "Did the lake dry up?"
Rock-Biter: "No. It just wasn't there anymore. Nothing was there anymore, not even a dried-up lake."
Teeny Weeny: "A hole?"
Rock-Biter: "A hole would be something. Nah, it was nothing."

It's a very deconstructionist type of approach. What is nothingness, in the purest sense of the word? Only we can't describe "nothing" without describing what is absent, like trying to describe what salt tastes like without describing what it doesn't taste like. It's not easy to describe something this abstract in concrete terms. In other words, this is beyond human comprehension.


This is distinct from cosmic voids, discussed in astronomy, which are the empty spaces between galaxy filaments and contain few, if any, galaxies. These voids are empty space. But concerning this more existential concept of nothingness, we have to think outside of terms of emptiness. The way I think of it, the entire plane of existence (for want of a better word) is divided almost into a dualism between Reality and the Void; Reality looks chaotic from a narrow, Earth-grounded perspective, but in the larger picture it is actually very orderly. Using the fundamental ideas behind chaos theory, Reality is a mesh of ontological patterns that may look chaotic but aren’t. There’s order amidst the chaos. But the Void is actual chaos. In this realm, the most fundamental rules that govern Reality do not exist.

Since the Void isn't considered to be a universe itself, I like to think of its nature as completely the opposite of a universe. A universe is a physical realm, with physical law and existence. The Void, by contrast, is a realm of raw abstract, a sort of limbo. Because by its nature it is nonexistence, anything from a universe that falls in eventually gets destroyed, vanishing into nonexistence. 


The key characteristic of the Void, in understanding this, is that opposites do not exist; importantly, the distinction between concrete and abstract does not exist; and this is why it appears to be a plane of pure nihilism. It is nothing and everything at the same time. The Void follows totally different laws from a concrete universe, including physical laws (think of the abstract in the subconscious, or dreams: dream worlds do not bend to physical law, but to your rules.) 


Since Rose is from the physical world, her body would be destroyed by a physical need. Cold doesn't exist in the Void (which my brother suggested as the factor which destroys her), but neither does oxygen. Void or no Void, Rose needs oxygen to survive, and so even before the abstract destroyed her, she would have died from suffocation. 


The raw nothingness would have eaten away at her physical existence, since nothing can exist there. Because the Void is a world of raw abstract, however, one thing in Rose isn’t harmed by it: her subconscious. Thus, even if her conscious mind is destroyed, Rose's soul survives because she takes refuge in her unconscious mind.

BUT... she manages to survive physically as well as mentally, which is the entire plot of Eve of the Eternal: how she survives, why, and what lasting effects the Void and her subsequent ordeal leaves upon her. 



The Prologue: On this Wednesday


I think I noted on whofic.com that the prologue (which isn't in the original version on fanfiction.net) is inspired by the short story "An diesem Dienstag" (On this Tuesday) by Wolfgang Borchert, who was a German author writing about his experiences in the Wehrmacht in World War II. "An diesem Dienstag" is mainly about the Russian front. Some excerpts (roughly translated from the original German) include:



The week has a Tuesday.The year half a hundred.The war has many Tuesdays. 
On this Tuesday The girls practiced big letters in school. The teacher wore glasses with thick lenses. They had no brim. They were so thick, that her eyes looked very soft. Forty-two girls sat in front of the blackboard and wrote with big letters: 'OLD FRITZ HAD A GOBLET MADE OF TIN. BIG BERTHA COULD SHOOT ALL THE WAY TO PARIS. IN WAR ALL FATHERS ARE SOLDIERS.'

On this Tuesday Mrs. Hesse rang her neighbor's doorbell. When the door opened, she showed off a letter. 'He has become captain! Captain and company commander, he writes. And it is forty below here. It took nine days for the letter to arrive. And he addressed it to Mrs. Captain Hesse!
She held the letter high. But the neighbor didn't look at it. 'Forty below,' she said. 'The poor boys. Forty below.'

On this Tuesday [The doctor] walked so bent over, as if he were carrying all of Russia through the hall. 
'Should I give him something?' asked the nurse. 'No,' the Doctor replied. He spoke so softly, as if he were ashamed. Then they carried out Captain Hesse. There was a bumping noise outside. 'They always bang around like that. Why can't they lay the dead body softly?'
And his neighbor sang softly, 'Ziche, zacke, juppheidi, Dashing is the infantry.'

On this Tuesday Ulla sat in the evening and wrote in her exercise book in capital letters: IN WAR ALL FATHERS ARE SOLDIERS. IN WAR ALL FATHERS ARE SOLDIERS. 
She wrote this ten times. In capital letters. 



In the prologue for Eve of the Eternal, I took the similar motif "on this Wednesday" and applied it to the Battle of Canary Wahrf in the Doctor Who episode "Doomsday," using it to show the perspectives of several different characters, including Yvonne Hartman, Adeola Oshodi, and Jack Harkness, and to convey the shock and horror that the brief war between the Daleks and the Cybermen left upon London. These two excerpts show how I followed this motif:


Wednesday is a central point in a cycle of human time-telling, named after Odin, the Norse god of victory and of death. Each week has a Wednesday, the year fifty-two, and wars an indefinite quantity. But this war had only one day, and that was Wednesday.  


...
On this Wednesday, On this sunny, summer day, On this bright, summer day, it was silent in London for the briefest moment, when smoke slowly rose into the air, carrying with it the ashes and blood of the dead, before the cries of terror and grief penetrated the shock of battle. 


On this Wednesday, August 8th, 2007, Five million Cybermen invaded Earth. Twenty-million Daleks escaped the Time War. Three hundred thousand humans died across the world, and On this Wednesday, Rose Tyler fell into the Void. 


The second half of the prologue shows the Doctor in the immediate aftermath of Rose's fall, wandering through Torchwood Tower in numb shock, barely registering what's going on around him until he steps into the Tardis, and hears his ship softly crying. This makes the unbearable truth real for him, that Rose is dead, that she fell to her death right in front of him, and he breaks down as well.

I intended this segment of the story to not just be a prologue for Eve of the Eternal, but for the entire series. This is, after all, the starting point, and Rose's fate changes everything that would have happened in Doctor Who. I mentioned chaos theory earlier, and once again we're playing with the idea that time can take any direction following the smallest changes, which is one of the ideas put forth by chaos theory. Even once Rose comes back alive, the story doesn't become a sort of "Series 4 with Rose" or "Series 5 with Rose" that often appears in fan fiction, because of the idea that time is not linear, but, to quote the Doctor, "a big ball of wibbly-wobbly timey-wimey stuff." None of the same stories that occurred in Doctor Who following the episode "Midnight" happen in The Perennials, and some characters fates take a completely different turn from what they would have. For instance, River Song's story and origins are completely different in The Perennials, and they are completely different because Rose fell into the Void instead of getting trapped in a parallel world.


On "The Perennials"

Hello, anyone who clicked a link to this! If you did, you're probably reading from my accounts on fanfiction.net or on whofic.com, in the which case, here's what this is about:

"The Perennials" is, of course, a series of fanfiction stories for Doctor Who, which I work on in my free time, but quite a bit goes into it, including concept art, some of which I'd like to put on whofic or fanfiction.net, but obviously neither web site allows for this, except for a link on my profiles.

But today, I'll start by talking a little bit about this series of stories.

I came up with The Perennials several years ago, and started writing it in late 2010. I don't quite remember how I came up with the idea, but I think it was in reaction to the finale of Doctor Who Series 4, because there was a lot about the whole Stolen Earth/Journey's End story which I disliked, and since I like writing and telling stories, my impulse was to think of how I would have ended the series. At some point I came up with the idea of writing a story which changed something early in the first four seasons of the show, and that led to the question, "What if Rose Tyler actually fell into the Void?" Then that led to a question of how she might survive that, which eventually led to me making her ageless, but due to the machinations of a thoroughly utilitarian and self-interested artificial intelligence. From there it started turning into a story about immortality and what that would do to a person.

There are so far nine planned stories, the first two of which have completed drafts found on fanfiction.net (found under the pen name "Ancalagar the Dragon Lord."): Eve of the Eternal, Cypnov, Retribution, Quantum Locked, The Chasm, The Arbiters of Nadravon, Amaranthine, Vortex, and Event Horizon. Following these I plan to write at least five others, but which are currently unplanned. I also have a tag attached found on whofic.com, called Junctions, which links the "Perennials" saga with Doctor Who through the 50th anniversary.


The first in the series, Eve of the Eternal, is a complicated story which takes place after the Doctor Who episode "Midnight." Following the fall of Rose Tyler into the Void, there are a few implied minor changes to dialogue and plot in Series 3 and 4, but the real change happens here. Read the story to find out.

A lot of the ideas in Eve of the Eternal are inspired from the film Inception and from the Star Trek episode The Best of Both Worlds. There is also a lot of influence from the writers Wolfgang Borchert and T.S. Eliot.

I am currently uploading a revised version of this story on whofic.com under the pen name "Ancalagar." In that version I've made several small changes to the plot and some significant changes to the wording. Eventually I intend to replace the original draft on fanfiction.net with the newer version.

Further commentary to follow. For now, I'm tired and it's 1:00 in the morning.