title: Gray whale

text: The current western gray whale population summers in the Sea of Okhotsk, mainly off Piltun Bay region at the northeastern coast of Sakhalin Island (Russian Federation). There are also occasional sightings off the eastern coast of Kamchatka (Russian Federation) and in other coastal waters of the northern Okhotsk Sea. Its migration routes and wintering grounds are poorly known, the only recent information being from occasional records on both the eastern and western coasts of Japan and along the Chinese coast. Gray whale had not been observed on Commander Islands until 2016. The northwestern pacific population consists of approximately 300 individuals, based on photo identification collected off of Sakhalin Island and Kamchatka.


title: Gray whale

text: The Sea of Japan was once thought not to have been a migration route, until several entanglements were recorded. Any records of the species had not been confirmed since after 1921 on Kyushu. However, there were numerous records of whales along the Genkai Sea off Yamaguchi Prefecture, in Ine Bay in the Gulf of Wakasa, and in Tsushima. Gray whales, along with other species such as right whales and Baird's beaked whales, were common features off the north eastern coast of Hokkaido near Teshio, Ishikari Bay near Otaru, the Shakotan Peninsula, and islands in the La Pérouse Strait such as Rebun Island and Rishiri Island. These areas may also have included feeding grounds. There are shallow, muddy areas favorable for feeding whales off Shiretoko, such as at Shibetsu, the Notsuke Peninsula, Cape Ochiishi on Nemuro Peninsula, Mutsu Bay, along the Tottori Sand Dunes, in the Suou-nada Sea, and Ōmura Bay.


title: Gray whale

text: The historical calving grounds were unknown but might have been along southern Chinese coasts from Zhejiang and Fujian Province to Guangdong, especially south of Hailing Island and to near Hong Kong. Possibilities include Daya Bay, Wailou Harbour on Leizhou Peninsula, and possibly as far south as Hainan Province and Guangxi, particularly around Hainan Island. These areas are at the southwestern end of the known range. It is unknown whether the whales' normal range once reached further south, to the Gulf of Tonkin. In addition, the existence of historical calving ground on Taiwan and Penghu Islands (with some fossil records and captures), and any presence in other areas outside of the known ranges off Babuyan Islands in Philippines and coastal Vietnamese waters in Gulf of Tonkin are unknown. There is only one confirmed record of accidentally killing of the species in Vietnam, at Ngoc Vung Island off Ha Long Bay in 1994 and the skeleton is on exhibition at the Quang Ninh Provincial Historical Museum. Gray whales are known to occur in Taiwan Strait even in recent years.


title: Gray whale

text: It is also unknown whether any winter breeding grounds ever existed beyond Chinese coasts. For example, it is not known if the whales visited the southern coasts of the Korean Peninsula, adjacent to the Island of Jeju), Haiyang Island, the Gulf of Shanghai, or the Zhoushan Archipelago. There is no evidence of historical presence in Japan south of Ōsumi Peninsula; only one skeleton has been discovered in Miyazaki Prefecture. once considered the Seto Inland Sea to be a historical breeding ground, but only a handful of capture records support this idea, although migrations into the sea have been confirmed. Recent studies using genetics and acoustics, suggest that there are several wintering sites for western gray whales such as Mexico and the East China sea. However, their wintering ground habits in the western North Pacific are still poorly understood and additional research is needed.


title: Gray whale

text: Even though South Korea put the most effort into conservation of the species among the Asian nations, there are no confirmed sightings along the Korean Peninsula or even in the Sea of Japan in recent years.


title: Gray whale

text: The last confirmed record in Korean waters was the sighting of a pair off Bangeojin, Ulsan in 1977. Prior to this, the last was of catches of 5 animals off Ulsan in 1966. There was a possible sighting of a whale within the port of Samcheok in 2015.


title: Gray whale

text: There had been 24 records along Chinese coasts including sighting, stranding, intended hunts, and bycatches since 1933. The last report of occurrence of the species in Chinese waters was of a stranded semi adult female in the Bohai Sea in 1996, and the only record in Chinese waters in the 21st century was of a fully-grown female being killed by entanglement in Pingtan, China in November, 2007. DNA studies indicated that this individual might have originated from the eastern population rather than the western.


title: Gray whale

text: Most notable observations of living whales after the 1980s were of 17 or 18 whales along Primorsky Krai in late October, 1989 (prior to this, a pair was reported swimming in the area in 1987), followed by the record of 14 whales in La Pérouse Strait on 13th, June in 1982 (in this strait, there was another sighting of a pair in October, 1987). In 2011, presences of gray whales were acoustically detected among pelagic waters in East China Sea between Chinese and Japanese waters.


title: Gray whale

text: Since the mid 1990s, almost all the confirmed records of living animals in Asian waters were from Japanese coasts. There have been eight to fifteen sightings and stray records including unconfirmed sightings and re-sightings of the same individual, and one later killed by net-entanglement. The most notable of these observations are listed below:


title: Gray whale

text: Humans and orcas are the adult gray whale's only predators, although orcas are the more prominent predator. Aboriginal hunters, including those on Vancouver Island and the Makah in Washington, have hunted gray whales.


title: Gray whale

text: Commercial whaling by Europeans of the species in the North Pacific began in the winter of 1845–46, when two United States ships, the "Hibernia" and the "United States", under Captains Smith and Stevens, caught 32 in Magdalena Bay. More ships followed in the two following winters, after which gray whaling in the bay was nearly abandoned because "of the inferior quality and low price of the dark-colored gray whale oil, the low quality and quantity of whalebone from the gray, and the dangers of lagoon whaling."


title: Gray whale

text: Gray whaling in Magdalena Bay was revived in the winter of 1855–56 by several vessels, mainly from San Francisco, including the ship "Leonore", under Captain Charles Melville Scammon. This was the first of 11 winters from 1855 through 1865 known as the "bonanza period", during which gray whaling along the coast of Baja California reached its peak. Not only were the whales taken in Magdalena Bay, but also by ships anchored along the coast from San Diego south to Cabo San Lucas and from whaling stations from Crescent City in northern California south to San Ignacio Lagoon. During the same period, vessels targeting right and bowhead whales in the Gulf of Alaska, Sea of Okhotsk, and the Western Arctic would take the odd gray whale if neither of the more desirable two species were in sight.


title: Gray whale

text: In December 1857, Charles Scammon, in the brig "Boston", along with his schooner-tender "Marin", entered Laguna Ojo de Liebre (Jack-Rabbit Spring Lagoon) or later known as Scammon's Lagoon (by 1860) and found one of the gray's last refuges. He caught 20 whales. He returned the following winter (1858–59) with the bark "Ocean Bird" and schooner tenders "A.M. Simpson" and "Kate". In three months, he caught 47 cows, yielding of oil. In the winter of 1859–60, Scammon, again in the bark "Ocean Bird", along with several other vessels, entered San Ignacio Lagoon to the south where he discovered the last breeding lagoon. Within only a couple of seasons, the lagoon was nearly devoid of whales.


title: Gray whale

text: Between 1846 and 1874, an estimated 8,000 gray whales were killed by American and European whalemen, with over half having been killed in the Magdalena Bay complex (Estero Santo Domingo, Magdalena Bay itself, and Almejas Bay) and by shore whalemen in California and Baja California.


title: Gray whale

text: A second, shorter, and less intensive hunt occurred for gray whales in the eastern North Pacific. Only a few were caught from two whaling stations on the coast of California from 1919 to 1926, and a single station in Washington (1911–21) accounted for the capture of another. For the entire west coast of North America for the years 1919 to 1929, 234 gray whales were caught. Only a dozen or so were taken by British Columbian stations, nearly all of them in 1953 at Coal Harbour. A whaling station in Richmond, California, caught 311 gray whales for "scientific purposes" between 1964 and 1969. From 1961 to 1972, the Soviet Union caught 138 gray whales (they originally reported not having taken any). The only other significant catch was made in two seasons by the steam-schooner "California" off Malibu, California. In the winters of 1934–35 and 1935–36, the "California" anchored off Point Dume in Paradise Cove, processing gray whales. In 1936, gray whales became protected in the United States.


title: Gray whale

text: The Japanese began to catch gray whales beginning in the 1570s. At Kawajiri, Nagato, 169 gray whales were caught between 1698 and 1889. At Tsuro, Shikoku, 201 were taken between 1849 and 1896. Several hundred more were probably caught by American and European whalemen in the Sea of Okhotsk from the 1840s to the early 20th century. Whalemen caught 44 with nets in Japan during the 1890s. The real damage was done between 1911 and 1933, when Japanese whalemen killed 1,449 after Japanese companies established several whaling stations on Korean Peninsula and on Chinese coast such as near the Daya bay and on Hainan Island. By 1934, the western gray whale was near extinction. From 1891 to 1966, an estimated 1,800–2,000 gray whales were caught, with peak catches of between 100 and 200 annually occurring in the 1910s.


title: Gray whale

text: As of 2001, the Californian gray whale population had grown to about 26,000. As of 2016, the population of western Pacific (seas near Korea, Japan, and Kamchatka) gray whales was an estimated 200.


title: Gray whale

text: The North Atlantic population may have been hunted to extinction in the 18th century. Circumstantial evidence indicates whaling could have contributed to this population's decline, as the increase in whaling activity in the 17th and 18th centuries coincided with the population's disappearance. A. B. Van Deinse points out the "scrag whale", described by P. Dudley in 1725, as one target of early New England whalers, was almost certainly the gray whale. In his 1835 history of Nantucket Island, Obed Macy wrote that in the early pre-1672 colony, a whale of the kind called "scragg" entered the harbor and was pursued and killed by the settlers. Gray whales (Icelandic "sandlægja") were described in Iceland in the early 17th century. Formations of commercial whaling among the Mediterranean basin(s) have been considered to be feasible as well.


title: Gray whale

text: Gray whales have been granted protection from commercial hunting by the International Whaling Commission (IWC) since 1949, and are no longer hunted on a large scale.


title: Gray whale

text: Limited hunting of gray whales has continued since that time, however, primarily in the Chukotka region of northeastern Russia, where large numbers of gray whales spend the summer months. This hunt has been allowed under an "aboriginal/subsistence whaling" exception to the commercial-hunting ban. Anti-whaling groups have protested the hunt, saying the meat from the whales is not for traditional native consumption, but is used instead to feed animals in government-run fur farms; they cite annual catch numbers that rose dramatically during the 1940s, at the time when state-run fur farms were being established in the region. Although the Soviet government denied these charges as recently as 1987, in recent years the Russian government has acknowledged the practice. The Russian IWC delegation has said that the hunt is justified under the aboriginal/subsistence exemption, since the fur farms provide a necessary economic base for the region's native population.


title: Gray whale

text: Currently, the annual quota for the gray whale catch in the region is 140 per year. Pursuant to an agreement between the United States and Russia, the Makah tribe of Washington claimed four whales from the IWC quota established at the 1997 meeting. With the exception of a single gray whale killed in 1999, the Makah people have been prevented from hunting by a series of legal challenges, culminating in a United States federal appeals court decision in December 2002 that required the National Marine Fisheries Service to prepare an Environmental Impact Statement. On September 8, 2007, five members of the Makah tribe shot a gray whale using high-powered rifles in spite of the decision. The whale died within 12 hours, sinking while heading out to sea.


title: Gray whale

text: As of 2018, the IUCN regards the gray whale as being of "least concern" from a conservation perspective. However, the specific subpopulation in the northwest Pacific is regarded as being "critically endangered". The northwest Pacific population is also listed as endangered by the U.S. government's National Marine Fisheries Service under the U.S. Endangered Species Act. The IWC Bowhead, Right and Gray Whale subcommittee in 2011 reiterated the conservation risk to western gray whales is large because of the small size of the population and the potential anthropogenic impacts.


title: Gray whale

text: Gray whale migrations off of the Pacific Coast were observed, initially, by Marineland of the Pacific in Palos Verdes, California. The Gray Whale Census, an official gray whale migration census that has been recording data on the migration of the Pacific gray whale has been keeping track of the population of the Pacific gray whale since 1985. This census is the longest running census of the Pacific gray whale. Census keepers volunteer from December 1 through May, from sun up to sun down, seven days a week, keeping track of the amount of gray whales migrating through the area off of Los Angeles. Information from this census is listed through the American Cetacean Society of Los Angeles (ACSLA).


title: Gray whale

text: South Korea and China list gray whales as protected species of high concern. In South Korea, the was registered as the 126th national monument in 1962, although illegal hunts have taken place thereafter, and there have been no recent sightings of the species in Korean waters.


title: Gray whale

text: In 2005, two conservation biologists proposed a plan to airlift 50 gray whales from the Pacific Ocean to the Atlantic Ocean. They reasoned that, as Californian gray whales had replenished to a suitable population, surplus whales could be transported to repopulate the extinct British population. this plan has not been undertaken.


title: Gray whale

text: According to the Government of Canada's Management Plan for gray whales, threats to the eastern North Pacific population of gray whales include: increased human activities in their breeding lagoons in Mexico, climate change, acute noise, toxic spills, aboriginal whaling, entanglement with fishing gear, boat collisions, and possible impacts from fossil fuel exploration and extraction.


title: Gray whale

text: Western gray whales are facing, the large-scale offshore oil and gas development programs near their summer feeding ground, as well as fatal net entrapments off Japan during migration, which pose significant threats to the future survival of the population. The substantial nearshore industrialization and shipping congestion throughout the migratory corridors of the western gray whale population represent potential threats by increasing the likelihood of exposure to ship strikes, chemical pollution, and general disturbance.


title: Gray whale

text: Offshore gas and oil development in the Okhotsk Sea within of the primary feeding ground off northeast Sakhalin Island is of particular concern. Activities related to oil and gas exploration, including geophysical seismic surveying, pipelaying and drilling operations, increased vessel traffic, and oil spills, all pose potential threats to western gray whales. Disturbance from underwater industrial noise may displace whales from critical feeding habitat. Physical habitat damage from drilling and dredging operations, combined with possible impacts of oil and chemical spills on benthic prey communities also warrants concern. The western gray whale population is considered to be endangered according to IUCN standards.


title: Gray whale

text: Along Japanese coasts, four females including a cow-calf pair were trapped and killed in nets in the 2000s. There had been a record of dead whale thought to be harpooned by dolphin-hunters found on Hokkaido in the 1990s. Meats for sale were also discovered in Japanese markets as well.


title: Gray whale

text: 2019 has had a record number of gray whale strandings and deaths, with their being 122 strandings in United States waters and 214 in Canadian waters. The cause of death in some specimens appears to be related to poor nutritional condition. It is hypothesized that some of these strandings are related to changes in prey abundance or quality in the Arctic feeding grounds, resulting in poor feeding. Some scientists suggest that the lack of sea ice has been preventing the fertilization of amphipods, a main source of food for gray whales, so that they have been hunting krill instead, which is far less nutritious. More research needs to be conducted to understand this issue.


title: Gray whale

text: A recent study provides some evidence that solar activity is correlated to gray whale strandings. When there was a high prevalence of sunspots, gray whales were five times more likely to strand. A possible explanation for this phenomenon is that solar storms release a large amount of electromagnetic radiation, which disrupts earth's magnetic field and/or the whale's ability to analyze it. This may apply to the other species of cetaceans, such as sperm whales. However, there is not enough evidence to suggest that whales navigate through the use of magnetoreception (an organisms' ability to sense a magnetic field).


title: Gray whale

text: Orcas are "a prime predator of gray whale calves." Typically three to four orcas ram a calf from beneath in order to separate it from its mother, who defends it. Humpback whales have been observed defending gray whale calves from orcas. Orcas will often arrive in Monterey Bay to intercept gray whales during their northbound migration, targeting females migrating with newborn calves. They will separate the calf from the mother and hold the calf under water to drown it. The tactic of holding whales under water to drown them is certainly used by orcas on adult gray whales as well. It is roughly estimated that 33% of the gray whales born in a given year might be killed by predation.


title: Gray whale

text: Because of their size and need to migrate, gray whales have rarely been held in captivity, and then only for brief periods of time. The first captive gray whale, who was captured in Scammon's Lagoon, Baja California in 1965, was named Gigi and died two months later from an infection. The second gray whale, who was captured in 1972 from the same lagoon, was named Gigi II and was released a year later after becoming too large for the facilities. The third gray whale, J.J., first beached herself in Marina del Rey, California where she was rushed to SeaWorld San Diego. After 14 months, she was released because she also grew too large to be cared for in the existing facilities. At and when she was released, J.J. was the largest marine mammal ever to be kept in captivity.


title: Doctor Who (series 5)

text: The fifth series of the British science-fiction television programme "Doctor Who" was originally broadcast on BBC One in 2010. The series began on 3 April 2010 with "The Eleventh Hour", and ended with "The Big Bang" on 26 June 2010. It was produced by head writer and executive producer Steven Moffat, who took over when Russell T Davies ended his involvement in the show after "The End of Time". The series has 13 episodes, six of which were written by Moffat. Piers Wenger and Beth Willis were co-executive producers, and Tracie Simpson and Peter Bennett were producers. Although it is the fifth series since the show's revival in 2005 (and the thirty-first since it began in 1963), the series' production code numbers were reset.


title: Doctor Who (series 5)

text: It was the first series to feature Matt Smith as the eleventh incarnation of the Doctor, an alien Time Lord who travels through time and space in his TARDIS (a spacecraft whose exterior resembles a British police box). Karen Gillan is introduced as the Doctor's new companion, Amy Pond. Her fiancé, Rory Williams (Arthur Darvill), appears in seven episodes, travels with the Doctor and Amy, and is a regular character in the next series. Alex Kingston returns as River Song, a mysterious woman from the Doctor's future who summons him twice in this series. The main story arc, covering several episodes, concerns a pattern of cracks in the universe which are sometimes unnoticed by the characters. It is discovered that the cracks can erase things from existence; this happens to Rory, and Amy forgets him. It is revealed in the series finale that the cracks were caused by the TARDIS exploding, and the Doctor is forced to reboot the universe to its state before the cracks appeared.


title: Doctor Who (series 5)

text: In addition to the six episodes written by Moffat, Mark Gatiss, Toby Whithouse, Simon Nye, Richard Curtis, and Gareth Roberts wrote one episode each; Chris Chibnall wrote a two-episode story. The series was meant to be fantastical to stand out from other science-fiction and fantasy shows, and the production team strove for a fairy-tale quality because Moffat believed that media aimed at children were some of the most popular among adults. The episodes were directed by directors who were new to "Doctor Who". Filming began in late July 2009, lasting about nine months. The series was filmed primarily in Wales, except for "The Vampires of Venice" and "Vincent and the Doctor" (which had scenes filmed in Trogir, Croatia). Design changes from the previous series included a new logo, title sequence, variant of the Doctor's sonic screwdriver, interior and exterior of the TARDIS, and a change in the theme music.


title: Doctor Who (series 5)

text: The series premiere was watched by 10.085 million viewers (the most-watched premiere since "Rose" of the first series), and set records on BBC America in the United States and the BBC's online iPlayer. Although overnight ratings declined compared to other series, one writer calculated that viewership had not changed significantly when time-shifted ratings were taken into account. The series received positive reviews, with praise for Moffat's story arc and the performances of Smith, Gillan, and Darvill. However, reviewers noted Amy's lack of character development and the series' diminished emotional appeal. It received a number of awards and nominations; "Vincent and the Doctor" and the two-part finale were nominated for the Hugo Award for Best Dramatic Presentation (Short Form), with the award going to the finale. Smith was the first actor playing the Doctor to be nominated for a BAFTA award. The series was accompanied by a and tie-in books and video games; four of the latter were released on the BBC website and advertised as additional episodes of the series.


title: Doctor Who (series 5)

text: Two scenes were filmed for the "Complete Fifth Series" box set, revealing what happened between pairs of regular episodes. The first scene is set between "The Eleventh Hour" and "The Beast Below", and the second is set between "Flesh and Stone" and "The Vampires of Venice".


title: Doctor Who (series 5)

text: The series introduced the Eleventh Doctor, played by Matt Smith. This followed the departure of David Tennant as the Tenth Doctor, who left the show to help ease the transition from Davies to Moffat. Smith's agent called him, suggesting that he audition for the role. Moffat wanted to cast a middle-aged actor, "young enough to run but old enough to look wise". When Smith was the third person to audition the production team knew "[they] had their man", although he was 26 years old. The producers were cautious about casting Smith because they felt that a 26-year-old actor could not play the Doctor; although BBC Head of Drama and executive producer Piers Wenger agreed, he said that Smith was capable enough to play the part. According to Moffat, Smith did not appear youthful. Smith's casting was announced during an episode of the "Doctor Who" companion show "Doctor Who Confidential", when he described the role as "a wonderful privilege and challenge that I hope I will thrive on".


title: Doctor Who (series 5)

text: Karen Gillan was cast as Amy Pond, the Doctor's companion. Casting director Andy Pryor suggested Gillan to Moffat after her performance in the fourth series episode "The Fires of Pompeii" (when she played a soothsayer), but Moffat originally considered her "short and dumpy". He later called her "exactly right for the role", although she played the character differently from the way it was originally written. Gillan auditioned for the role in her (natural) Scottish accent and an English one, and after she was cast it was decided that Amy would be Scottish. Gillan felt that the Scottish accent better suited her character. A young version of Amy (Amelia) was played by Gillan's 10-year-old cousin, Caitlin Blackwood, in the first and last episodes. The actresses had not met until the show but, although Blackwood had to audition, Gillan recommended her for the role. Blackwood and Gillan appeared together in "The Big Bang", which Gillan initially found "weird" (although the actresses quickly got used to it).


title: Doctor Who (series 5)

text: Alex Kingston, who played River Song in the Series 4 episodes "Silence in the Library" and "Forest of the Dead", reprised her role in the two-part stories "The Time of Angels" and "Flesh and Stone" and "The Pandorica Opens" and "The Big Bang". Although Kingston did not expect to return, Moffat always intended for River to return to the series. Arthur Darvill appeared in seven episodes as Rory Williams, Amy's fiancé, and was a companion in six of the episodes. Darvill had worked with Smith on a play, "Swimming with Sharks". He received two scenes from the first episode and one from the sixth for his audition, but (except for Rory being Amy's boyfriend) he was not informed of the character's details. Moffat noted "just how funny" Darvill was during his audition. The actor felt "privileged" to be part of the show, and was pleased with Rory's storyline. Guest stars in the series included Olivia Colman, James Corden, Annette Crosbie, Tony Curran, Iain Glen, Daisy Haggard, Terrence Hardiman, Toby Jones, Helen McCrory, Neve McIntosh, Ian McNeice, Stephen Moore, Lucian Msamati, Bill Nighy, Sophie Okonedo, Bill Paterson, Alex Price, Robert Pugh, Nia Roberts, Meera Syal and Nina Wadia.


title: Doctor Who (series 5)

text: "Doctor Who" was renewed for a fifth series in September 2007. Russell T Davies was succeeded by Steven Moffat as executive producer and head writer and Julie Gardner was replaced as executive producer by Piers Wenger, who had replaced Gardner as BBC Wales head of drama. Beth Willis was an executive producer, and the series was produced by Tracie Simpson and Peter Bennett. Murray Gold remained as composer.


title: Doctor Who (series 5)

text: The 2005 "Doctor Who" revival was marketed as series 1, although it had been broadcast on BBC Television for 26 years (from 1963 to 1989). When the series was confirmed by the BBC in September 2007, it was called "series 5" and followed 2008's series 4. In August 2009, "Doctor Who Magazine" reported that the series would be produced and marketed as "Series One". The January 2010 issue contained an interview with Moffat in which he called Series One "exciting", Series Thirty-One "awe-inspiring", and Series Five "boring and a lie". He jokingly referred to the season as "series Fnarg", which became a running joke in later issues of the magazine. The March issue, which called it Series Thirty-One, listed production code numbers from 1.1 to 1.13. However, BBC Programme listings, the BBC iPlayer and DVDs refer to it as "Series 5".


title: Doctor Who (series 5)

text: Despite changes to the show, Moffat wanted to reassure the audience that "nothing has really been lost"; it was the same show, and the Doctor was the same character. The story arc of cracks in the universe was inspired by a crack in the wall of Moffat's son's bedroom. Moffat wanted to ensure that the show appealed to young children; if they could not follow the plot, there would be "big pictures" to entertain them. He believed that although "Doctor Who" is fundamentally a children's show, it has a universal appeal comparable to "Star Wars" and "Toy Story". Moffat considered a children's story the "most popular form of entertainment". About the series, he said that they "pushed the fairytale side of it"; "Doctor Who" "now has to be the most fantastical of the fantasy shows" to be more vibrant and "bonkers" than any other fantasy show.


title: Doctor Who (series 5)

text: In a 2013 interview, Moffat said that he had worked out a rough idea for how his first series as showrunner would work if David Tennant had decided to remain as the Tenth Doctor. Its premise would have been similar to the beginning of "The Eleventh Hour" as broadcast:


title: Doctor Who (series 5)

text: Moffat wrote six episodes for the series; the rest were written by others, since he believed that "Doctor Who" benefited from different voices. According to Moffat, he primarily supplied the other episode concepts and had a "pretty good idea" of what would happen in each episode. He knew the guest writers "to some degree", and called his meetings with them "quite joyous". Matthew Graham, co-creator of "Life on Mars" and writer of the second series episode "Fear Her", did not write his planned episode because he did not believe he would have enough time. Moffat later contacted him and asked him to write a two-part episode for the next series ("The Rebel Flesh" and "The Almost People").


title: Doctor Who (series 5)

text: In the first episode, Moffat intended to introduce the Eleventh Doctor and establish his new identity; the second was intended to demonstrate the Doctor's need for a companion and Amy's importance to him. For the third episode, he asked Mark Gatiss to write an episode about "Churchill versus the Daleks". Moffat wanted to incorporate the popular Daleks into the new series, and considered redesigning them. Gatiss, Moffat and the production team worked together to create large, more-colourful Daleks, similar to those in the 1960s films.


title: Doctor Who (series 5)

text: For the fourth and fifth episodes, Moffat planned a two-part sequel to his 2007 "Blink" with the Weeping Angels. The episodes, "The Time of Angels" and "Flesh and Stone", were intended to be more action-oriented than "Blink" and demonstrate that the Angels had a plan other than scavenging. He decided to flesh out the Angels as villains and show more of what they could do. "Flesh and Stone" ends with Amy attempting to seduce the Doctor, which Moffat believed was consistent with her character development.


title: Doctor Who (series 5)

text: Toby Whithouse originally planned to write a different episode, but Moffat and Wenger considered it too similar to other episodes in the series. Whithouse wrote "The Vampires of Venice" instead, and his original episode was moved back to the next series. He was asked to write "a big bold romantic episode" which would be a "good jumping off point" for new viewers of "Doctor Who". Moffat thought that in the middle of the series, a viewer could "start watching it again" and it should be "something romantic and funny". For the next episode, Moffat asked comedy writer Simon Nye to write a story which challenged the relationship between Amy and the Doctor. The episode, "Amy's Choice", was intended to have the character choose between excitement with the Doctor or life with Rory. The scene in which Rory dies in the false reality was intended to reveal Amy's feelings for him. Nye wanted to stress that Amy really loved Rory, and he was not "just a cypher boyfriend or fiancé".


title: Doctor Who (series 5)

text: Moffat contacted Chris Chibnall to write a two-part episode involving the Silurians, villains who had not appeared on the show for over 25 years. Since the Silurians were not as well known as other monsters, he instructed Chibnall to reintroduce them. These Silurians were intended to be a different branch than the original ones; their design was different, with facial prosthetics and no third eye. Richard Curtis, who had worked with Moffat on the 1999 Comic Relief special "Doctor Who and the Curse of Fatal Death", was contacted by Moffat to return the favour and write an episode ("Vincent and the Doctor"). Curtis had an idea for an episode about van Gogh for "a long while", and was intrigued that van Gogh never knew he was famous. Gillan noted that there was a different approach and style to the episode, and it was more character-driven.


title: Doctor Who (series 5)

text: Although Neil Gaiman had written "The Doctor's Wife", it was moved to the next series due to budgetary constraints and replaced with "The Lodger". "The Lodger" was adapted from a comic strip of the same name by Gareth Roberts for "Doctor Who Magazine", although he said that most of it was begun "from scratch". The story was inspired by the desire to see the Doctor in normal, every-day human circumstances and Roberts' enjoyment of stories set on Earth, rather than in space. Roberts was interested in doing a television version of the story, but had not mentioned it; Moffat enjoyed the comic story, and asked to adapt it into an episode when he became showrunner. In a 2021 interview, Robert Shearman revealed he had been involved in development for Series 5, but later departed. Moffat extended an open invitation to return, but Shearman declined, citing changes in his career and the higher profile of screenwriters attracted to the show. Jack Thorne was also in contention to write an episode, but amicably parted ways.


title: Doctor Who (series 5)

text: Aspects of the finale occurred to Moffat as he planned the series' story arc, although he left room to improvise as the story developed. "The Big Bang" ends with Amy and Rory's wedding; Moffat said that he had intended for them to get married "from the off". The finale left questions (which would be answered in the next series) about River Song's identity and "the Silence", which apparently caused the TARDIS to explode.


title: Doctor Who (series 5)

text: Although the Eleventh Doctor still wears his previous incarnation's costume in the first episode, costume designer Ray Holman said that the costume was broken-down and distressed. During the first episode, he would find his own identity and pick out his unique costume. Smith tried on a variety of things to find a look he would feel comfortable and confident in and which would identify his Doctor. He brought in braces and a tweed jacket; Holman thought the tweed jacket was "a bit old for him", but it indicated that he was a "professor and student at the same time" and gave him "that quality that the Doctor's still learning, but also has some authority". Smith suggested a bow tie; Holman and others did not approve, but when he put it on they decided that they had his costume. According to the actor, he was influenced by the Second Doctor's costume in "The Tomb of the Cybermen". Other inspirations were the "element of a professor" and "big, dusty boots like Indiana Jones". The men's clothing store Topman reported that their bow-tie sales increased by 94 percent in April 2010, when the series began airing.


title: Doctor Who (series 5)

text: Gillan had substantial input into Amy's costume, hairstyle and make-up. Holman said that Amy's identity was unclear in the first episode, but she later wore her own clothes. According to the actress, Amy had the inner confidence to wear clothes which showed "a bit of skin from time to time". Although she tried on a number of costumes, when it came to short skirts she "just thought it was right" and indicated that Amy was "comfortable and confident about her look". Gillan believed that the skirts reflected what young women typically wear at her age. Executive producer Piers Wenger noted that Amy's 1970s flying jacket (which she wore "quite a lot") reflected Gillan as a "born adventurer", and Amy developed a love of travel and adventure.


title: Doctor Who (series 5)

text: The series introduced a new logo, which was announced in October 2009. According to the BBC, it was the eleventh version of the show's logo. According to Moffat, the "DW" insignia in the shape of the TARDIS was "something really new". The logo was incorporated in a new title sequence, which was not revealed to an audience outside the BBC until the first transmission of "The Eleventh Hour"; previous press screenings and previews had used a variant of the previous sequence. Moffat wanted a new version of the theme music, and composer Murray Gold wanted it to "sound a bit reckless". The new version, composed by Gold, incorporated an electronic-trumpet melody and a faster tempo. Some fans disliked the new theme, and the BBC had received 70 complaints by 18 April 2010. A "Doctor Who" spokesman responded, "The arranger has made alterations to the music four times since 2005, so change is nothing new. It is important for the regeneration of the show to keep revisiting the score while always retaining the haunting and ground-breaking essence of the original".


title: Doctor Who (series 5)

text: A new TARDIS prop was used, with the St John Ambulance logo which had been used in the early days of the show and the mid-1960s Peter Cushing films (of which Moffat was a fan). Moffat said that it was something he "really wanted to do", was for "no other reason than that [he] thought it was prettier", and he wanted the St John Ambulance sticker on the front. It is a brighter shade of blue, like Cushing's TARDIS.


title: Doctor Who (series 5)

text: A new set of the TARDIS interior was designed, which Moffat estimated was three times larger than the previous set. Although he did not decide to create the new interior specifically for the new Doctor, the set designer was briefed to create a design which would suit Smith's Doctor. Moffat liked the old set, but thought it was time for a new one to "surprise people" and believed that the spirit of a new era was to change everything. Piers Wenger said that it took "quite a long time to get the design right", and they were careful not to make it too futuristic-looking since "futuristic" meant nothing to the Doctor. The set was designed by Edward Thomas. The previous TARDIS interior was shown at the beginning of "The Eleventh Hour"; the Time Rotor on the console had to be rebuilt, due to the explosive special effects used in "The End of Time". The sonic screwdriver is destroyed in "The Eleventh Hour" and a new version, with a green light and metal claws, was created. Smith liked to keep the prop with him, "twirling it around and flicking it", and broke four of them. The noise made by the screwdriver was added in post-production with a synthesizer. Moffat described the changes as starting with a "clean slate", which made sense after the previous cast and crew had left.


title: Doctor Who (series 5)

text: All the series' directors were new to "Doctor Who"; Moffat said that he wanted to "shake things up", and it was "never too early to get rid of the safety net." Adam Smith directed the first, fourth and fifth episodes, and Andrew Gunn, Ashley Way, Jonny Campbell, Toby Haynes and Catherine Morshead directed two episodes apiece.


title: Doctor Who (series 5)

text: Rehearsing episodes four and five (the first episodes produced), director Adam Smith suggested that Smith and Gillan "have an adventure" in which they could experience something exciting, laugh and scream; he took them on a "real white knuckle ride" on a boat in Cardiff Bay. Filming began on 20 July 2009 on the Southerndown beach in the Vale of Glamorgan for "The Time of Angels" and "Flesh and Stone". Moffat wrote that in a typical television production the first day of filming "will probably be something fairly inconsequential and involve a minor character getting shot, or a close up of a hand or something", rather than the "iconic" scene with the Doctor, Amy, River Song and the TARDIS. Forest scenes in "Flesh and Stone" were filmed at Puzzlewood in the Forest of Dean over nine nights in July 2009.


title: Doctor Who (series 5)

text: Episodes two and three made up the second production block. Scenes for "The Beast Below" were filmed in an orangery at Margam Country Park in Port Talbot during a night shoot on 22 September 2009. Half a scene for "The Pandorica Opens", with Liz 10 (Sophie Okonedo) from "The Beast Below", was also filmed there. Scenes for Amy and Rory's town of Leadworth in the first episode, "The Eleventh Hour", were filmed in the village of Llandaff in Cardiff over a number of days in the autumn of 2009: 29 September, 5–7 October, and 20 November.


title: Doctor Who (series 5)

text: The fourth production block, consisting of "The Hungry Earth" and "Cold Blood", was filmed in October and November 2009; location filming was done in Llanwynno, Wales. Scenes for "Cold Blood" were also filmed at the Plantasia botanical garden in Swansea on 13 November 2009, and in Cardiff's Temple of Peace and other locations and unusual sets for the Silurian city. "The Vampires of Venice" and "Vincent and the Doctor" were filmed primarily in Trogir, Croatia, which stood in for Venice and Paris respectively. Although a small crew went to Venice for wide shots of coastal buildings, the episode was not filmed there because it would take too long to cover up the modern shops in the present-day city. Scenes for "The Vampires of Venice" were also filmed at Atlantic College, Caerphilly Castle, Castell Coch, Trogir's town hall, and Llancaich Fawr Manor.


title: Doctor Who (series 5)

text: The grounds of the Margam Country Park estate were used for the placement of "Foamhenge", a lightweight replica of Stonehenge for "The Pandorica Opens". Several other scenes for "The Pandorica Opens" and "The Big Bang" were also filmed there during the first few days of February 2010. The Pandorica chamber was filmed in Upper Boat Studios, on the largest set ever built there. Additional scenes for "The Big Bang" were filmed in Brangwyn Hall and Miskin Manor. "Amy's Choice" was partially filmed in Skenfrith, Wales, as Upper Leadworth.


title: Doctor Who (series 5)

text: The first trailer of the series was shown on television and released online shortly after the broadcast of the second part of "The End of Time" on 1 January 2010. On 17 February, a new promotional image was released. A second trailer was released on 20 February, and a 3D version was shown in cinemas with "Alice in Wonderland". Moffat confirmed the series' 3 April start date on the 19 March "BBC Breakfast". That day, a trailer shown at the press screening of episode one was released online. BBC America, which would air the series in the United States, released an extended trailer on 21 March. Promotional touring for the series began on 29 March and ended two days later, with Smith and Gillan presenting the first episode in Belfast, Inverness, Sunderland, Salford and Northampton. The first episode was screened in New York's Paley Center for Media and the Village East Movie Theatre on 14 April.


title: Doctor Who (series 5)

text: The fifth series of "Doctor Who" debuted on BBC One on 3 April 2010 with "The Eleventh Hour", an extended 65-minute episode. It concluded with "The Big Bang" on 26 June. The sixth episode ("The Vampires of Venice") was broadcast at 6:00 p.m. BST, the earliest start time for an episode of "Doctor Who" since its 2005 return.


title: Doctor Who (series 5)

text: The series was shown in Australia on the ABC's iview service, launching at midnight on 16 April 2010 before airing on ABC1 two days later. It began airing in the United States on 17 April 2010 on BBC America and in Canada that day on Space. This was the first initial airing of a full series of "Doctor Who" on BBC America; the first four series premiered on the Sci-Fi Channel, rerunning on BBC America. The gap between the UK and US airings lessened considerably. In New Zealand, the series began airing on Prime on 2 May 2010.


title: Doctor Who (series 5)

text: On 7 June 2010, the first volume of Series 5 was released on DVD and Blu-ray in Region 2 with "The Eleventh Hour", "The Beast Below" and "Victory of the Daleks". The second volume was released on 5 July on DVD and Blu-ray, with "The Time of Angels", "Flesh and Stone" and "The Vampires of Venice". "Amy's Choice", "The Hungry Earth", and "Cold Blood" followed in the third volume, which was released on DVD and Blu-ray on 2 August 2010. The fourth and final volume, with "Vincent and the Doctor", "The Lodger", "The Pandorica Opens" and "The Big Bang", was released on DVD and Blu-ray on 6 September.


title: Doctor Who (series 5)

text: A collection of the series' episodes was released on DVD and Blu-ray in Region 2 on 8 November 2010 and in Region 1 the following day. In Region 4, the box set was released on 2 December 2010. It contained the two "Meanwhile, in the TARDIS" additional scenes, profiles of enemies in "The Monster Files", abridged versions of "Doctor Who Confidential", out-takes, in-vision commentaries, video diaries, and trailers and promos for the series. The commentaries were a departure from previous releases, with six instead of a full thirteen.


title: Doctor Who (series 5)

text: In the BBC Books "Doctor Who" New Series Adventures line (a series of spin-off novels which began in 2005 with the Ninth Doctor and the revival of the television series), six novels were published corresponding to the series. On 22 April 2010, the first three ("Apollo 23" by Justin Richards, "Night of the Humans" by David Llewellyn, and "The Forgotten Army" by Brian Minchin) were published with the Eleventh Doctor and Amy. On 8 July 2010, three more novels were published: "Nuclear Time" by Oli Smith, "The Glamour Chase" by Gary Russell and "The King's Dragon" by Una McCormack, with the Doctor, Amy and Rory.


title: Doctor Who (series 5)

text: Science-fiction writer Michael Moorcock, who had watched "Doctor Who" since the beginning, also wrote a novel. The 345-page "The Coming of the Terraphiles" was published on 14 October 2010. On 16 September 2010, BBC Books published their first "Doctor Who" graphic novel: "The Only Good Dalek", with the Doctor and Amy. BBC Books also published "The Brilliant Book of Doctor Who 2011", a guide to the series with behind-the-scenes content, in the UK on 30 September 2010.


title: Doctor Who (series 5)

text: In March 2010, it was reported that Nintendo had signed a £10 million contract for "Doctor Who" games for Wii and DS. The games were marketed to Nintendo because the brand was known as family-oriented and the Wii, in particular, was something that families played together. The BBC was certain to monitor the games and make sure they did not contain excessive violence. "" was released for the DS and featured the Daleks, and "" featured the Cybermen and was released for the Wii. Both games featured the Eleventh Doctor and Amy Pond, voiced by Smith and Gillan. "Evacuation Earth" was released on 12 November 2010, with "Return to Earth" following on 19 November. Wii remotes and DS styluses modeled after the sonic screwdriver were released to accompany the games.


title: Doctor Who (series 5)

text: In April 2010 the BBC announced "", four interactive episodes available free-to-download on the BBC "Doctor Who" website with the Doctor and Amy voiced by Smith and Gillan. Piers Wenger referred to them as four extra episodes in the series, with all content part of the "Doctor Who" universe. The games, developed by Charles Cecil and Sheffield-based game company Sumo, were written by Phil Ford and James Moran and overseen by Moffat and the show's producers. Cecil was contacted by BBC Wales interactive editor Iain Tweedale, who asked him about developing a "Doctor Who" game. Smith and Gillan's movements were captured by rotoscoping.


title: Doctor Who (series 5)

text: Since the Doctor is a pacifist and does not use the guns commonly found in video games, "The Adventure Games" utilised a more strategy- and puzzle-based gameplay; much of the first game was based on stealth, exploration, and puzzle-solving. The Doctor was equipped with his sonic screwdriver but, since it was often used as a skeleton key in the show, the game employs puzzle-solving to advance instead of simply using the screwdriver.


title: Doctor Who (series 5)

text: The first installment, "", was originally scheduled for release on 5 June 2010, but was made available two days earlier. The BBC explained the early release as a testing procedure, and final tweaks were expected to be made before its official release. In its first twelve days of availability the game was downloaded over 500,000 times, and traffic on the website had increased. The second game, "", was released on 26 June after the series finale aired. It was followed by the third game ("") on 27 August, and "" on 22 December.


title: Doctor Who (series 5)

text: A mobile game app was also developed by Tag Games for BBC Worldwide. Entitled "", it allowed play as the Doctor and Amy and involved time travel, defeating enemies, and solving problems. The game had over 100 puzzles, seven locations to travel to, music from the show, and the Daleks, Cybermen and Silurians as enemies. The app was released for Apple IOS devices on 16 December 2010, and for Android on 17 August 2011.


title: Doctor Who (series 5)

text: Final consolidated viewing figures showed that the premiere, "The Eleventh Hour", was seen by 10.085 million viewers—the most-watched premiere since "Rose", and the eighth-highest figure for an episode of "Doctor Who" since its 2005 revival. In the US, the first episode set a record for BBC America with an average of 1.2 million viewers and 0.9 million in the adult 25–54 demographic. Within a week of its broadcast, "The Eleventh Hour" received 1.27 million hits on BBC's online iPlayer service—a record for the most requests in a week. It was the most-requested episode of 2010 (with 2.2 million views), and "Doctor Who" was also the most-watched programme of the year on the service.


title: Doctor Who (series 5)

text: "The Hungry Earth" received the lowest overnight ratings since the series' 2005 return, with 4.4 million viewers; in final consolidated ratings, "The Lodger" was the series' low point. Its episodes received an Appreciation Index, a measure of how much the audience enjoyed the programme. The BBC considers a score 85 or above "excellent"; "Victory of the Daleks" and "Amy's Choice" were the only episodes to score less (84). "The Time of Angels" and "The Lodger" scored an 87, and "The Pandorica Opens" scored an 88. The finale ("The Big Bang") scored an 89, a series high and the highest of the BBC's four main channels on the day it was broadcast.


title: Doctor Who (series 5)

text: Based on overnight ratings, the series averaged six million viewers (a drop of 1.2 million from the previous series). BBC managers said that overall viewing numbers had not declined, since more people watched it online or recorded it. Stephen Bray of Den of Geek decided to "put things straight"; with final ratings taken into account of the first eleven episodes of the series (the last two ratings not released when the article was published), the series averaged 7.8 million viewers. This exceeded the average of the second series (7.5 million), the third series (7.7 million), and the first eleven episodes of the fourth series (7.7 million).


title: Doctor Who (series 5)

text: Series 5 received highly positive reviews from critics following its broadcast. The series garnered a 100% approval from 13 critics—an average rating of 8.96/10 on the review aggregation website Rotten Tomatoes, which said, ""Doctor Who" morphs once again into an enchanting odyssey in its fifth season, spearheaded by Matt Smith's endlessly endearing incarnation of the Time Lord." Matt Wales of IGN gave the series a "great" rating of 8.5 out of 10, saying that it "mightn't have been perfect" but rebooted the show "with a burst of creative energy" and "got bold, exciting, witty, smart, home-grown event television back on the small screen". He praised Smith for "[dazzling] with a performance that painted the Doctor as thoroughly alien" and the Doctor's "effortless" character development, but was critical of the Amy Pond character. Although he considered her "thoroughly watchable" (particularly her chemistry with Smith), he criticised the character as "frequently painted in largely two-dimensional strokes that made for a brash, sometimes irritating turn" and the series as a whole for lacking "heart to ground the elaborate sci-fi trimmings". Wales praised Moffat's "beautifully conceived" story arc and the narrative's complexities.


title: Doctor Who (series 5)

text: Zap2it's Sam McPherson gave the series an "A", considering it the show's strongest series since its 2005 revival. McPherson praised Smith and Gillan (noting that Amy did not have much character development), and thought that Darvill "might just be one of the best actors on television currently". Noting that most of the episodes were set on Earth or on spaceships, he wanted to see the Doctor, Amy and Rory "branch out more in the future". Dave Golder of "SFX" gave the series four out of five stars; it looked "very promising", although "there was a tentative, slightly awkward feel to the series" similar to the first series. He called Smith "magnificent" and Gillan "lovely, although so far Amy's character has been so dictated by the requirements of the arc plot that it's difficult to feel that we've really got to know her yet".


title: Doctor Who (series 5)

text: In a review of the first six episodes, Dan Martin of "The Guardian" thought that they were strong and "generally funnier [and] appears to have rewritten the rule that said "Doctor Who" had to out-epic itself every year". However, he criticised the lack of emotion which had previously inhibited the show and did not yet empathise with Amy. Martin noted that the series had a high expectation (due to the quality of Moffat's previous "Doctor Who" episodes) which may have disappointed those who expected "dark, adult versions of "Who" every week" as Moffat took more of a fairy-tale approach; his dialogue was "less soapy and more spiky" than Davies'. Revisiting previous issues, he noted that there was less emotion; however, "when someone did die ... it ploughed heavy into the heart". Amy was "a revelation", although she sometimes "felt a little one-note".


title: Doctor Who (series 5)

text: Gem Wheeler of Den of Geek gave the series five out of five stars, praising Smith's Doctor. Wheeler noted that Amy "seemed a little underwritten at first, but the series finale helped to fill in the apparent gaps in her personality"; Wheeler also praised Darvill. Slice of SciFi reviewer Michael Hickerson praised Moffat's "fascinating" story arc, which made the series more consistent; it gave the audience answers as it went along, and explored its impact on the characters. Hickerson called it "the best season of the new series", although "there has yet to be a perfect season of the show. This one just comes closer than a lot of others". Gavin Fuller of "The Daily Telegraph", optimistic that it would "go from strength to strength next year", called the series "something of a curate's egg, and perhaps not quite as strong as previous years overall". "Radio Times" Patrick Mulkern praised Moffat for "[rebooting] the series with an ambitious game-plan, a delightful fairy-tale vibe adults can enjoy too, and [finding] stars in Matt Smith, Karen Gillan and Arthur Darvill". Although he praised Moffat's other episodes, he considered "The Beast Below" a "turkey".


title: Doctor Who (series 5)

text: The A.V. Club ranked "Doctor Who" the 25th best show of 2010, saying that it "lacked a truly weak episode" and highlighting "The Time of Angels"/"Flesh and Stone", "Vincent and the Doctor", and "The Lodger" as its best episodes. Digital Spy ranked the programme the third-best of 2010, saying that it "gave us some terrific episodes — the beautifully tragic 'Vincent and the Doctor', the wonderfully-paced opener and the well-imagined finale ... but also the multi-colored monstrosity 'Victory of the Daleks'. Overall, a decent enough start for the new team, but with such a strong pedigree, we couldn't help but feel a little underwhelmed."


title: Doctor Who (series 5)

text: After the broadcast of "The Eleventh Hour" (which introduced Amy as a kissogram, in a skimpy policewoman outfit, who watched the Doctor change into his new costume), it was reported that several viewers criticised the character and her occupation online as "not fitting for a family show". Wenger defended the character: "The whole kissogram thing played into Steven's desire for the companion to be feisty and outspoken and a bit of a number. Amy is probably the wildest companion that the Doctor has travelled with, but she isn't promiscuous." Gillan defended her character, saying that girls Amy's age often wore short skirts; Amy was a "strong female" and a "normal girl with normal impulses".


title: Doctor Who (series 5)

text: A two-disc soundtrack with 63 tracks of the score from this series (from "The Eleventh Hour" to "The Big Bang"), composed by Murray Gold, was released on 8 November 2010 on Silva Screen Records. It was the second double album after the ; Gold said that the previous double album was popular, and Silva Screen allowed another one. The tracks are presented in episode order, which Gold said "should give a sense of roaming through this gigantic scope".


title: Legacy of Kain: Soul Reaver

text: Legacy of Kain: Soul Reaver is an action-adventure video game developed by Crystal Dynamics and published by Eidos Interactive. It was released for the PlayStation and Microsoft Windows in 1999 and for the Dreamcast in 2000. As the second game in the "Legacy of Kain" series, "Soul Reaver" is the sequel to "". "Soul Reaver" was followed by three games, one of which, "Soul Reaver 2", is a direct sequel.


title: Legacy of Kain: Soul Reaver

text: Taking place 1500 years after the events of "Blood Omen", "Soul Reaver" chronicles the journey of the vampire-turned-wraith Raziel, lieutenant to the vampire lord Kain. Raziel is killed by Kain, but is revived by The Elder God to become his "soul reaver" and to exact revenge. Raziel shares this title with Kain's sword, the Soul Reaver, which he acquires during the game.


title: Legacy of Kain: Soul Reaver

text: Crystal Dynamics began development of the game in 1997, but a deteriorating relationship with Silicon Knights, who had developed "Blood Omen", created legal problems. This and other delays forced material originally planned for "Soul Reaver" to be instead released with later games of the series. "Soul Reaver" was generally well received by critics and praised for its intriguing gothic story and high-quality graphics. However, the game was criticized for simple and repetitive gameplay and an unsatisfying climax. By 2001, the game sold 1.5 million copies worldwide.


title: Legacy of Kain: Soul Reaver

text: The player controls Raziel, a disfigured and ghostly vampire. The game is normally shown from a third-person perspective behind Raziel, but players can rotate the viewpoint around him. Gameplay relies largely on shifting between the material and spectral planes of existence to progress through areas. Although interaction with objects is limited in the spectral realm, this can be advantageous, because Raziel can phase through otherwise impassable gates there, and water is insubstantial, allowing him to walk on lakebeds; however, blocks, doors, and switches can be manipulated only in the physical realm. Many puzzles are based on the differences between the two realms; for example, platforms and environment features in one realm may change form to open new paths in the other. Block puzzles are also common and require the rotation, flipping, and moving of large blocks to progress, often with a time limit and while avoiding enemies.


title: Legacy of Kain: Soul Reaver

text: Combat in "Soul Reaver" is a hack and slash system, involving the use of combinations of various different attacks before a finishing move. Raziel's enemies are grouped into humans, spectral creatures, and most commonly, vampires. Human enemies include peasants, vampire hunters and vampire worshippers. In the spectral realm, players fight minor enemies called Sluagh and the souls of dead vampires who have become wraiths. Each brood of vampire enemies has unique powers reminiscent of their clan leader. Human and spectral enemies can be killed with Raziel's claws or any weapon, but vampires must be bludgeoned into a stunned state and then destroyed by impaling them, setting them on fire, or tossing them into a hazard such as sunlight or water. When killed, enemies leave behind souls that replenish Raziel's health, which automatically decreases in the material realm and increases in the spectral. Possession of the Soul Reaver sword stops automatic degeneration of health in the physical realm, but Raziel loses the sword instantly if he sustains damage and can regain it only by restoring his health to full.


title: Legacy of Kain: Soul Reaver

text: At first, Raziel can jump, glide using his torn wings, move blocks, and pick up and throw objects and enemies. Initially unarmed, he fights using his claws, but can alternatively use weapons such as rocks, torches, spears and staffs, and the Soul Reaver. Raziel can freely shift to the spectral realm, but can return to the material realm only through special portals when at full health. Raziel automatically shifts to the spectral realm if he runs out of health. As the game progresses, Raziel gains the powers of his clan brothers after defeating them and becomes able to phase through gates in the spectral realm and climb walls in the material realm. Initially vulnerable to water, he overcomes this weakness and learns to swim.


title: Legacy of Kain: Soul Reaver

text: He also gains the ability to constrict objects and enemies with a band of energy, although this feature was one of the few abilities not to feature in future games. Players can find an ancient relic that gives Raziel the power to fire bolts of telekinetic energy, which cause little damage by themselves but can knock enemies into hazards and push objects from a distance. Baptism in holy flame can transform the Soul Reaver into the Fire Reaver, which can set enemies aflame and adds fire to Raziel's telekinetic bolts. Players can also find magical glyphs that allow Raziel to expend magical energy to attack groups of enemies simultaneously. These glyphs typically involve vampire weaknesses such as sunlight, fire, water, or sound, as well as additions such as telekinetic force (available well before the normal telekinesis becomes available) and the causing of earthquakes to temporarily stun enemies. Glyphs are acquired through finding glyph altars, specific locations in Nosgoth where the skills can be learned, and solving a puzzle before being granted the magical ability. However, Raziel begins the game with access to the 'Shift' glyph, granting the ability to shift between the material and spectral planes, with no glyph altar necessary.


title: Legacy of Kain: Soul Reaver

text: "Soul Reaver" takes place within the fictional world of Nosgoth, where the health of the land is tied to the nine Pillars of Nosgoth, and each pillar in turn is represented by a guardian. Before the events of "Soul Reaver", the guardians became corrupt, and, after Kain killed eight of them, he discovered he was the final one. Refusing to sacrifice himself to restore the Pillars, he doomed Nosgoth to eternal decay and proceeded to raise his vampire lieutenants, including Raziel, to besiege the land. By the time of "Soul Reaver"s introduction, the vampires are now the land's dominant species and apex predators, the humans have been decimated, and the vampire tribes have each claimed a region of Nosgoth and turned their attention to internal matters. Unknown to the vampires, beneath Nosgoth lurks The Elder God, an ancient and powerful entity. The Elder God controls the Wheel of Fate, a cycle of reincarnation of souls that circle the Wheel in a loop of predestination; however, because vampires are immortal, their souls do not spin with the Wheel, causing the land to decay as the Wheel stalls. By the time that Raziel is revived centuries after the game's opening cinematic, Nosgoth is on the brink of collapse, little more than a wasteland wracked with cataclysms and earthquakes.


title: Legacy of Kain: Soul Reaver

text: The protagonist of "Soul Reaver" is the vampire-turned-wraith Raziel, whom Kain casts to death at the beginning of the game. Although Kain is the protagonist of the previous game, "", he is the primary antagonist and final boss of "Soul Reaver". The Elder God resurrects and assists Raziel, explains the game's controls, and describes previous events in the story. Ariel, who preceded Kain as the guardian of the Pillar of Balance, appears as a spirit and offers Raziel advice on occasion. During his quest, Raziel meets his brothers - Melchiah, Zephon, Rahab and Dumah - who serve as the game's bosses. Each has developed different powers that Raziel partially gains by killing them and devouring their souls. A fifth brother, Turel, was omitted due to time constraints on development.


title: Legacy of Kain: Soul Reaver

text: Raziel approaches Kain's throne and extends newly grown wings. In an act of seeming jealousy, Kain tears the bones from Raziel's wings and has him thrown into the Lake of the Dead, a large natural whirlpool; however, Raziel is resurrected as a wraith by The Elder God to become his "soul reaver" and kill Kain, thus restoring Nosgoth. With The Elder God's guidance, Raziel adapts to his new form and returns to Nosgoth. Infiltrating a Necropolis inhabited by the Melchahim vampires, Raziel finds his brother Melchiah, who has devolved into a beast unable to sustain his own flesh. After Raziel kills Melchiah and absorbs his soul, he confronts Kain among the ruined Pillars of Nosgoth in the Sanctuary of the Clans. Kain does not appear surprised to see Raziel, apparently having even been expecting him, and implies that he has destroyed Raziel's vampire clan, which only enrages Raziel even further. When Raziel begins to criticize him, Kain simply launches a tirade against him before noting what has become of the empire and engaging him in combat. Kain quickly overpowers Raziel and attempts to strike him down with the Soul Reaver, a powerful sword that absorbs its victims' souls, but the Reaver shatters when it strikes Raziel, and Kain escapes, strangely satisfied. Raziel enters the spectral realm to find the blade's soul-devouring spectral form, which binds itself to him. After this, Raziel meets Ariel, who restores his strength, and learns of Zephon's location from The Elder God.


title: Legacy of Kain: Soul Reaver

text: Raziel ventures into a large cathedral once inhabited by the humans and finds the Zephonim clan. After ascending into the cathedral's spires, he finds that Zephon is now a large insect like creature whose body has merged into the cathedral spire in which he dwells. Raziel kills Zephon and uses the gained power to infiltrate an ancient crypt. There, Raziel discovers coffins for members of the Sarafan, a fanatical order of vampire hunters killed centuries before Kain's rule. To Raziel's horror, he finds the crypt was designated for him and his brothers; as cruel irony, Kain revived the Sarafan to serve him as his vampire sons. Raziel ventures through a secret passage under the crypt and finds a flooded abbey inhabited by the Rahabim clan, whose members have mutated into amphibians; its leader, Rahab, has become a merman. Raziel tells Rahab what he has learned about their human pasts, but Rahab is unmoved, claiming that Kain "saved" them, and attacks. Raziel defeats Rahab and absorbs his soul, then crosses the Lake of the Dead to the abandoned fortress of his brother Dumah. The Elder God explains that the Dumahim vampires were scattered following an invasion of human hunters. Raziel eventually finds Dumah shackled to his throne with his heart pierced. Raziel revives Dumah and leads him into a giant furnace, burning him alive and absorbing his soul.


title: Legacy of Kain: Soul Reaver

text: Afterward, Raziel discovers the Oracle's Cave, where Moebius the Time Streamer once hid the Chronoplast, a magical time machine. Raziel traverses the caves and finds Kain in the Chronoplast's control room. Raziel is angered over what he has learned, and Kain says his actions are justified due to his being subject to destiny, before proceeding to inform Raziel that the Sarafan were far from the noble crusaders that Raziel believes them to be when the latter demands to know why he created him, which Raziel refuses to listen to. Raziel attacks Kain while the latter continues to adjust the Chronoplast's controls. Although Raziel eventually gains an advantage, the Chronoplast activates, and Kain escapes through a time portal, beckoning Raziel to follow. Raziel complies, ignoring warnings from The Elder God. At the end of the game, Raziel emerges from the timeslip and is greeted by Moebius.


title: Legacy of Kain: Soul Reaver

text: "Legacy of Kain: Soul Reaver" ends on a cliffhanger by showing a postscript, a verse where Moebius comments on the nature of time and his ability to "plunge the fate of planets into chaos", leading directly into the events of "Soul Reaver 2".


title: Legacy of Kain: Soul Reaver

text: "Soul Reaver" entered development alongside "Blood Omen 2" in 1997 and focused on puzzle solving instead of "Blood Omen 2"s action. During design, the development team created larger areas that could be explored more thoroughly as Raziel acquired new powers, avoiding the "shallow[ness]" of "Blood Omen"s layout. Crystal Dynamics based "Soul Reaver" on Silicon Knights' research of vampire mythology for "Blood Omen". Other aspects of the game, such as the idea of a fallen vampire who devoured souls, were inspired by the epic poem "Paradise Lost". According to senior designer Richard Lermarchand the "look and feel" of the game was inspired by "stylish vampire flicks...like "Blade", "Interview with the Vampire" and "Bram Stoker's Dracula"", as well as "the more arty renderings of the old black and white "Nosferatu" and a great film for the 80s called "Near Dark"". Character and level designs were influenced by anime and manga, including "Vampire Hunter D" and the films of Hayao Miyazaki.


title: Legacy of Kain: Soul Reaver

text: The staff aimed to develop gameplay similar to "Tomb Raider" and used an upgraded version of "Gex 3"s game engine to generate the three-dimensional game world. According to Lemarchand, they also aimed to combine gameplay with storytelling in a similar manner to "". Amy Hennig, the game's director, likened the technological advance from "Blood Omen" to "Soul Reaver" to the evolution of "The Legend of Zelda" series from the Super Nintendo to the Nintendo 64—bringing the franchise into 3D while maintaining a similar style.


title: Legacy of Kain: Soul Reaver

text: Before "Soul Reaver"s release, the relationship between Silicon Knights and Crystal Dynamics dissolved. Because their research was used, Silicon Knights filed an injunction to stop further promotion of the game. Other delays pushed the release date from October 1998 to August 1999.


title: Legacy of Kain: Soul Reaver

text: These delays forced Crystal Dynamics to cut significant game material, including additional powers for Raziel, a third battle with Kain, and an expanded Glyph system which would have given elemental powers to the Soul Reaver. In an interview, series director Amy Hennig stated that the development team split the original, much larger plans in two after realizing that they had "over-designed the game", given the constraints on time and data. This decision explains "Soul Reaver"s cliffhanger ending and the appearance of originally planned material in later games. Despite the split, Hennig explained that the team left unused components - such as extra power-ups and enemies - in "Soul Reaver"s game engine to avoid unforeseen glitches that might have arisen from their removal.


title: Legacy of Kain: Soul Reaver

text: Kurt Harland composed most of the music for "Soul Reaver"; Jim Hedges handled the remaining audio. Harland remarked that, under Amy Hennig's direction, he programmed music to change based on the current gameplay situation - for example, combat or swimming. This variation was accomplished through a custom Musical Instrument Digital Interface (MIDI) driver, which altered music based on signals from the game engine. Each vampire tribe had corresponding music; one tribe of vampires was associated with a slow, thumping theme to convey a sense of working machinery. To further fit the music to the environment, the sound team consulted level designers regarding layout and appearance. Music from both "Soul Reaver" and "Soul Reaver 2" was released on a promotional soundtrack in 2001.


title: Legacy of Kain: Soul Reaver

text: For the game's voice acting, Raziel was voiced by Michael Bell, and Tony Jay, who had provided the voice of Mortanius and other characters in "Blood Omen", voiced The Elder God. Anna Gunn, Simon Templeman and Richard Doyle reprised their roles from "Blood Omen" as Ariel, Kain and Moebius. Bell, Templeman and Jay also provided the voices of Melchiah, Dumah and Zephon, respectively, and Neil Ross, who voiced Malek the Paladin and King Ottmar in "Blood Omen", voiced Rahab.


title: Legacy of Kain: Soul Reaver

text: "Soul Reaver" was showcased at the 1998 E3, where attendees were given free demo discs. Over time, further demo disks were released, including one bundled with "Official PlayStation Magazine". "Soul Reaver" was released for the PC and Sony PlayStation in 1999 and for the Dreamcast version in 2000. The Dreamcast version used a much higher frame rate than did the PlayStation or PC version, and the Dreamcast port had further graphical enhancements. A Japanese release for the game was planned, but canceled. In 2000, "Soul Reaver" was added to Sony's "Greatest Hits" list, and the combined, global sales of its PlayStation, Dreamcast and computer versions surpassed 1.4 million units by late 2001. Sony later re-released the game for digital download on the PlayStation Network in 2009.


title: Legacy of Kain: Soul Reaver

text: Eidos Interactive, the game's publisher, spent US$4,000,000 on a pre-release advertising campaign, which included magazine articles, television ads, and a tie-in comic book published by Top Cow Productions. Because such films like "Stir of Echoes", "The Sixth Sense", "The Blair Witch Project" and "The Mummy" had premiered earlier in 1999, "Soul Reaver"s release was considered "ideally timed" for a horror-oriented game. The lack of load times was a key marketing point praised by several reviewers. After release, Eidos and BBI partnered to release action figures of Raziel and Kain.


title: Legacy of Kain: Soul Reaver

text: The PlayStation version of the game initially received a Teen rating from the ESRB, but this version's rating was increased to Mature when it was released as a Greatest Hits title, which is also retained with its PSN reissue. The Dreamcast port of the game had always been rated Mature.


title: Legacy of Kain: Soul Reaver

text: Daniel Erickson reviewed the PlayStation version of the game for "Next Generation", rating it four stars out of five, and stated that "Difficult puzzles and the omission of a map make this stylized game for hardcore adventure-gamers only."


title: Legacy of Kain: Soul Reaver

text: "Soul Reaver"s dark and gothic atmosphere was generally well-received, and several publications praised the game's cut scenes. IGN's reviewer called it "such an ambitious game – and one that achieves nearly everything it sets out to do – that few games come close to it", and praised the soundtrack for blending with the atmosphere unobtrusively. The Dreamcast port was cited as "perhaps one of the best looking console games ever made". "Next Generation Magazine" echoed this, stating that, "even if you own the PlayStation version, you may want to rent this anyway", but expressed disappointment that no new features were added to the Dreamcast port. AllGame's reviewer called the cut scenes "seamless", and their frequency neither too high nor too low. The game's storyline was praised by "Game Informer" as being "grim and interesting". "Soul Reaver"s voice acting was also highly praised; GameSpot ranked this aspect of the game in its list of top ten "Best Voice Acting in Games". GameSpot also considered the atmosphere as rich as that of "Blood Omen", yet less dramatically overstated, and considered the graphics "among the best that have ever been on the PlayStation."


title: Legacy of Kain: Soul Reaver

text: "GamePro" praised the aspect of shifting between realms, particularly the visual effects involved. Similarly, "Edge" described the transition between realms as a "complex and inspired piece of design", noting that it makes players think on different levels and consider "each room as two rooms, the answer to a puzzle possibly existing in either." However, the magazine criticized the save system for occasionally forcing players to replay large sections of the game to get to new areas. IGN stated that acquiring and learning the powers of Raziel's brothers constituted part of the fun, and that Raziel's moves were well animated and articulated. Finding minimal difficulty in using camera controls, GameSpot likened them to those of "Banjo-Kazooie" and stated that players would want to adjust the camera deliberately to watch Raziel's movements. Presenting differences between Soul Reaver and the "Tomb Raider" series, AllGame stated that the game's puzzles would challenge "all but the most experienced gamers", while "Game Informer" considered the puzzles "difficult-to-the-point-of-insanity". "Computer Gaming World" enjoyed the devouring of souls.


title: Legacy of Kain: Soul Reaver

text: Website reviewers deemed "Soul Reaver"s gameplay too non-linear and its objectives too unclear. GameSpot criticized the warp system for using confusing symbols that did little or nothing to indicate the warp's destination, and weighed the fun of impaling vampires with the Soul Reaver against the lack of challenge presented by bosses and most enemies. "Next Generation Magazine" considered the game challenging due to "difficult puzzles and lack of a map", requiring the player to backtrack. "The Tampa Tribune" also criticized the camera controls, though noted that the "auto-facing" feature made the difficulties negligible. "PC Zone" criticized the PC port of the game for "chunky" graphics and bad camera controls, stating "it feels too much like a PlayStation release ported hurriedly on to the PC". "Computer Gaming World" similarly felt that the limitations of the PlayStation carried over in the PC port, rendering the latter's visuals "mind-numbingly boring". The publication praised the Lucifer-based story for engaging players, but was disappointed that "it peters out in an unsatisfying climax". "Game Informer" stated, "Even after years in development, "Soul Reaver" doesn't feel finished. It feels rushed." 1UP.com ranked "Soul Reaver" second on its "Top 5 Games That Ended Halfway Through", stating "it's pretty clear that the plot would have been a lot different if the money hadn't inconveniently run out." GamesRadar placed "Soul Reaver" at #4 on a 2007 list of the top seven video game apocalypses, regarding the post-apocalyptic Nosgoth as "one of the most fascinating wastelands we've ever explored".


title: 40 (number)

text: Though the word is related to "four" (4), the spelling "forty" replaced "fourty" in the course of the 17th century and is now the standard form.


title: 40 (number)

text: The number 40 is found in many traditions without any universal explanation for its use. In Jewish, Christian, Islamic, and other Middle Eastern traditions it is taken to represent a large, approximate number, similar to "umpteen".


title: 40 (number)

text: A large number of myths about Enki have been collected from many sites, stretching from Southern Iraq to the Levantine coast. He figures in the earliest extant cuneiform inscriptions throughout the region and was prominent from the third millennium down to Hellenistic times.


title: 40 (number)

text: The exact meaning of his name is uncertain: the common translation is "Lord of the Earth": the Sumerian en is translated as a title equivalent to "lord"; it was originally a title given to the High Priest; ki means "earth"; but there are theories that ki in this name has another origin, possibly kig of unknown meaning, or kur meaning "mound". The name Ea is allegedly Hurrian in origin while others claim that it is possibly of Semitic origin and may be a derivation from the West-Semitic root *hyy meaning "life" in this case used for "spring", "running water". In Sumerian E-A means "the house of water", and it has been suggested that this was originally the name for the shrine to the God at Eridu.


title: 40 (number)

text: In the Hindu system some of the popular fasting periods consist 40 days and is called the period One 'Mandala Kalam' Kalam means a period and Mandala Kalam means a period of 40 days. For example, the devotees (male and female) of Swami Ayyappa, the name of a Hindu god very popular in Kerala, India (Sabarimala Swami Ayyappan) strictly observed forty days fasting and visit (since female devotees of a certain biological age group wouldn't be able to perform the continuous 40-day-austerities, they wouldn't enter into the god's temple until September 2018) with their holy submission or offerings on 41st or a convenient day after a minimum 40 days practice of fasting. The offering is called "Kaanikka".


title: Colonial Brazil

text: Colonial Brazil () comprises the period from 1500, with the arrival of the Portuguese, until 1815, when Brazil was elevated to a kingdom in union with Portugal as the United Kingdom of Portugal, Brazil and the Algarves. During the early 300 years of Brazilian colonial history, the economic exploitation of the territory was based first on brazilwood ("pau brazil") extraction (16th century), which gave the territory its name; sugar production (16th–18th centuries); and finally on gold and diamond mining (18th century). Slaves, especially those brought from Africa, provided most of the work force of the Brazilian export economy after a brief period of Indian slavery to cut brazilwood.


title: Colonial Brazil

text: In contrast to the neighboring Spanish possessions, which had several viceroyalties with jurisdiction initially over New Spain (Mexico) and Peru, and in the eighteenth century expanded to viceroyalties of the Río de la Plata and New Granada, the Portuguese colony of Brazil was settled mainly in the coastal area by the Portuguese and a large black slave population working sugar plantations and mines. The boom and bust economic cycles were linked to export products. Brazil's sugar age, with the development of plantation slavery, merchants serving as middle men between production sites, Brazilian ports, and Europe was undermined by the growth of the sugar industry in the Caribbean on islands that European powers seized from Spain. Gold and diamonds were discovered and mined in southern Brazil through the end of the colonial era. Brazilian cities were largely port cities and the colonial administrative capital was moved two times in response to the rise and fall of export products' importance.


title: Colonial Brazil

text: Unlike Spanish America, which fragmented into many republics upon independence, Brazil remained a single administrative unit under a monarch as the Empire of Brazil, giving rise to the largest country in Latin America. Just as European Spanish and Roman Catholicism were a core source of cohesion among Spain's vast and multi-ethnic territories, Brazilian society was united by the Portuguese language and Roman Catholic faith. As the only Lusophone polity in the Americas, the Portuguese language was particularly important to Brazilian identity.


title: Colonial Brazil

text: Portugal pioneered the European charting of sea routes that were the first and only channels of interaction between all of the world's continents, thus beginning the process of globalization. In addition to the imperial and economic undertaking of discovery and colonization of lands distant from Europe, these years were filled with pronounced advancements in cartography, shipbuilding and navigational instruments, of which the Portuguese explorers took advantage.


title: Colonial Brazil

text: In 1494, the two kingdoms of the Iberian Peninsula divided the New World between them in the Treaty of Tordesillas, and in 1500 navigator Pedro Álvares Cabral landed in what is now Brazil and laid claim to it in the name of King Manuel I of Portugal. The Portuguese identified brazilwood as a valuable red dye source and an exploitable product, and attempted to force indigenous groups in Brazil to cut the trees.


title: Colonial Brazil

text: Portuguese seafarers in the early fifteenth century, as an extension of the Portuguese Reconquista, began to expand from a small area of the Iberian Peninsula, to seizing the Muslim fortress of Ceuta in North Africa. Its maritime exploration then proceeded down the coast of West Africa and across the Indian Ocean to the south Asian subcontinent, as well as the Atlantic islands off the coast of Africa on the way. They sought sources of gold, ivory, and African slaves, high value goods in the African trade. The Portuguese set up fortified trading "feitorias" (factories), whereby permanent, fairly small commercial settlements anchored trade in a region. The initial costs of setting up these commercial posts was borne by private investors, who in turn received hereditary titles and commercial advantages. From the Portuguese Crown's point of view, its realm was expanded with relatively little cost to itself. On the Atlantic islands of the Azores, Madeira, and São Tomé, the Portuguese began plantation production of sugarcane using forced labor, a precedent for Brazil's sugar production in the sixteenth and seventeenth centuries. The forced laborers were indigenous peoples.


title: Colonial Brazil

text: The Portuguese "discovery" of Brazil was preceded by a series of treaties between the kings of Portugal and Castile, following Portuguese sailings down the coast of Africa to India and the voyages to the Caribbean of the Genoese mariner sailing for Castile, Christopher Columbus. The most decisive of these treaties was the Treaty of Tordesillas, signed in 1494, which created the Tordesillas Meridian, dividing the world between the two kingdoms. All land discovered or to be discovered east of that meridian was to be the property of Portugal, and everything to the west of it went to Spain.


title: Colonial Brazil

text: The Tordesillas Meridian divided South America into two parts, leaving a large chunk of land to be exploited by the Spaniards. The Treaty of Tordesillas has been called the earliest document in Brazilian history, since it determined that part of South America would be settled by Portugal instead of Spain. The Treaty of Tordesillas was an item of dispute for more than two and a half centuries but clearly established the Portuguese in America. It was replaced by the Treaty of Madrid, in 1750 and both reflect the present extent of Brazil's coastline.


title: Colonial Brazil

text: On 22 April 1500, during the reign of king Manuel I, a fleet led by navigator Pedro Álvares Cabral landed in Brazil and took possession of the land in the name of the king. Although it is debated whether previous Portuguese explorers had already been in Brazil, this date is widely and politically accepted as the day of the discovery of Brazil by Europeans. The place where Álvares Cabral arrived is now known as Porto Seguro ("safe harbor"), in northeastern Brazil. Cabral was leading a large fleet of 13 ships and more than 1,000 men following Vasco da Gama's way to India, around Africa. Cabral was able to safely enter and leave Brazil in ten days, despite having no means of communication with the indigenous people there, due to the experience Portuguese explorers, such as da Gama, had been amassing over the past few decades in interacting with foreign peoples.


title: Colonial Brazil

text: The Portuguese colonization, around 80 years earlier, of islands off West Africa such as São Tomé and Príncipe, were the first examples of the Portuguese monarchy beginning to move from a crusading and looting-centric attitude, to a trade-centric attitude when approaching new lands. The latter attitude required communication and cooperation with indigenous people, thus, interpreters. This informed Cabral's actions in Brazil.


title: Colonial Brazil

text: As Cabral realized that no one in his convoy spoke the language of the indigenous people in Brazil, he took every effort to avoid violence and conflict and used music and humor as forms of communication. Just a few months before Cabral landed, Vicente Yáñez Pinzón came to the northeastern coast of Brazil and deployed many armed men ashore with no means of communicating with the indigenous people. One of his ships and captains was captured by indigenous people and eight of his men were killed. Cabral no doubt learned from this to treat communication with the utmost priority. Cabral left two "degredados" (criminal exiles) in Brazil to learn the native languages and to serve as interpreters in the future. The practice of leaving "degredados" in new lands to serve as interpreters in the future came straight from the colonization of the islands off of the West African coast 80 years before Cabral landed in Brazil.


title: Colonial Brazil

text: After the voyage of Álvares Cabral, the Portuguese concentrated their efforts on the lucrative possessions in Africa and India and showed little interest in Brazil. Between 1500 and 1530, relatively few Portuguese expeditions came to the new land to chart the coast and to obtain brazilwood. In Europe, this wood was used to produce a valuable red dye to give color to luxury textiles. To extract brazilwood from the tropical rainforest, the Portuguese and other Europeans relied on the work of the natives, who initially worked in exchange for European goods like mirrors, scissors, knives and axes.


title: Colonial Brazil

text: In this early stage of the colonization of Brazil, and also later, the Portuguese frequently relied on the help of Europeans who lived together with the indigenous people and knew their languages and culture. The most famous of these were the Portuguese João Ramalho, who lived among the Guaianaz tribe near today's São Paulo, and Diogo Álvares Correia, who acquired the name Caramuru, who lived among the Tupinambá natives near today's Salvador.


title: Colonial Brazil

text: Over time, the Portuguese realized that some European countries, especially France, were also sending excursions to the land to extract brazilwood. Worried about foreign incursions and hoping to find mineral riches, the Portuguese crown decided to send large missions to take possession of the land and fight the French. In 1530, an expedition led by Martim Afonso de Sousa arrived in Brazil to patrol the entire coast, expel the French, and create the first colonial villages like São Vicente on the coast.


title: Colonial Brazil

text: Because Brazil was not home to complex civilizations like the Aztec and the Inca in Mexico and Peru, the Portuguese could not place themselves on an established social structure. This, coupled with the fact that tangible material wealth was not found until the 18th century, made the relationship between the Portuguese and the Brazilian colony very different from the relationship of the Spanish to their land in the Americas. For example, the Brazilian colony was at first thought of as a commercial asset that would facilitate trade between the Portuguese and India and not a place to be settled to develop a society. The social model of conquest in Brazil was one geared toward commerce and entrepreneurial ideals rather than conquest as was the case in the Spanish realm. As time progressed, the Portuguese crown found that having the colony serve as a trading post was not ideal for regulating land claims in the Americas, so they decided that the best way to keep control of their land was to settle it. Thus, the land was divided into fifteen private, hereditary captaincies, the most successful of which being Pernambuco and São Vicente. Pernambuco succeeded by growing sugarcane. São Vicente prospered by dealing in indigenous slaves. The other thirteen captaincies failed, leading the king to make colonization a royal effort rather than a private one. In 1549, Tomé de Sousa sailed to Brazil to establish a central government. He brought along Jesuit priests, who set up missions, saved many natives from slavery, studied native languages, and converted many natives to Roman Catholicism. The Jesuits' work to pacify a hostile tribe helped the Portuguese expel the French from a colony they had established at present-day Rio de Janeiro.


title: Colonial Brazil

text: The first attempt to colonize Brazil followed the system of hereditary captaincies ("Capitanias Hereditárias"), which had previously been used successfully in the colonization of Madeira Island. These captaincies were granted by royal decree to private hands, namely to merchants, soldiers, sailors, and petty nobility, saving the Portuguese crown from the high costs of colonization. The captaincies granted control over areas of land and all that resided upon it. Furthermore, the splitting of land highlights the economic importance a large amount of land would have for red-dye producing trees and sugar plantations. Thus, between 1534 and 1536 king John III divided the land into 15 captaincy colonies, which were given to those who wanted and had the means to administer and explore them. The captains were granted ample powers to administer and profit from their possessions.


title: Colonial Brazil

text: From the 15 original captaincies, only two, Pernambuco and São Vicente, prospered. The failure of most captaincies was related to the resistance of the indigenous people, shipwrecks and internal disputes between the colonizers.. Failure can also be attributed to the Crown not having a strong administrative hold due to Brazil's reliance on its exportation economy. Pernambuco, the most successful captaincy, belonged to Duarte Coelho, who founded the city of Olinda in 1536. His captaincy prospered with, engenhos, sugarcane mills, installed after 1542 producing sugar. Sugar was a very valuable good in Europe, and its production became the main Brazilian colonial product for the next 150 years. The captaincy of São Vicente, owned by Martim Afonso de Sousa, also produced sugar but its main economic activity was the traffic of indigenous slaves.


title: Colonial Brazil

text: With the failure of most captaincies and the menacing presence of French ships along the Brazilian coast, the government of king John III decided to turn the colonization of Brazil back into a royal enterprise. In 1549, a large fleet led by Tomé de Sousa set sail to Brazil to establish a central government in the colony. Tomé de Sousa, the first Governor-General of Brazil, brought detailed instructions, prepared by the king's aides, about how to administer and foster the development of the colony. His first act was the foundation of the capital city, Salvador, in northeastern Brazil, in today's state of Bahia. The city was built on a slope by a bay (All Saints Bay) and was divided into an upper administrative area and a lower commercial area with a harbour. Tomé de Sousa also visited the captaincies to repair the villages and reorganise their economies. In 1551, the Diocese of São Salvador da Bahia was established in the colony, with its seat in Salvador.


title: Colonial Brazil

text: The second Governor General, Duarte da Costa (1553–1557), faced conflicts with the indigenous people and severe disputes with other colonizers and the bishop. Wars against the natives around Salvador consumed much of his government. The fact that the first bishop of Brazil, Pero Fernandes Sardinha, was killed and eaten by the Caeté natives after a shipwreck in 1556 illustrates how strained the situation was between the Portuguese and many indigenous tribes.


title: Colonial Brazil

text: The third Governor-General of Brazil was Mem de Sá (1557–1573). He was an efficient administrator who managed to defeat the indigenous people and, with the help of the Jesuits, expel the French (Huguenots and some previous Catholic settlers) from their colony of France Antarctique. As part of this process, his nephew, Estácio de Sá, founded the city of Rio de Janeiro there in 1565.


title: Colonial Brazil

text: The huge size of Brazil led to the colony being divided in two after 1621 when king Philip II created the states of "Brasil", with Salvador as capital, and "Maranhão", with its capital in São Luís. The state of Maranhão was still further divided in 1737 into the "Maranhão e Piauí" and "Grão-Pará e Rio Negro", with its capital in Belém do Pará. Each state had its own Governor.


title: Colonial Brazil

text: After 1640, the governors of Brazil coming from the high nobility started to use the title of "Vice-rei" (Viceroy). In 1763 the capital of the State of Brazil was transferred from Salvador to Rio de Janeiro. In 1775 all Brazilian States (Brasil, Maranhão and Grão-Pará) were unified into the Viceroyalty of Brazil, with Rio de Janeiro as capital, and the title of the king's representative was officially changed to that of Viceroy of Brazil.


title: Colonial Brazil

text: As in Portugal, each colonial village and city had a city council ("câmara municipal"), whose members were prominent figures of colonial society (land owners, merchants, slave traders). Colonial city councils were responsible for regulating commerce, public infrastructure, professional artisans, prisons etc.