The Genocide Machine is a landmark in Big Finish history as their very first Dalek story and, for the most part, it knows it. The first half is packed with atmosphere and tension, from the jungle planet setting of Kar-Charrat to the creeping threat of the Daleks as they close in on a vast library of knowledge. Mike Tucker’s script draws on classic Who beats, particularly the Pertwee era, and delivers an excellent midpoint cliffhanger. The Daleks are used with impressive restraint at first, and when they do show up, the moment lands with all the impact you’d hope for.

Unfortunately, the second half doesn’t quite live up to the promise. The story starts piling on ideas—data ghosts, sentient water-dwellers, a rogue Dalek, even a philosophical epiphany—and the result is a resolution that feels rushed and a little too convenient. The Doctor becomes oddly passive, andseveral plot elements appear just in time to undo the Daleks’ carefully built threat. It’s not that these ideas are bad individually, but they don’t gel into a satisfying climax, especially after such a strong start.

Still, there’s plenty to admire, including the inspired (if underused) concept ofa Dalek-duplicated Ace, and a genuine sense of scale. It’s not a classic, but it is a bold swing—and a significant moment in Big Finish history. For fans of the Seventh Doctor and Ace, it’s a must-hear, even if it doesn’t quite fire on all available cylinders. As a debut Dalek tale for the audio range, The Genocide Machine doesn’t hit perfection, but it absolutely hits potential.