id
stringlengths 2
6
| url
stringclasses 1
value | title
stringlengths 1
155
| text
stringlengths 13
335k
|
|---|---|---|---|
3527
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Volga
|
The USS Volga was a 24th century Federation runabout operated by Starfleet. This ship was assigned to Deep Space 9.
In 2372, the Volga was used in a botanical survey of Torad V in the Gamma Quadrant. Major Kira and a pregnant Keiko O'Brien were injured when the Volga was struck by an asteroid and one of their fuel pods exploded. Keiko's injuries necessitated the transfer of her unborn baby into Kira's body. ()
It was also to be used in response to an anticipated Dominion invasion in 2373. ()
External link
de:USS Volga
es:USS Volga
nl:USS Volga
Volga, USS
|
3528
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Yangtzee Kiang
|
The USS Yangtzee Kiang was a 24th century Federation runabout operated by Starfleet. This ship was assigned to Deep Space 9.
One of the first three runabouts assigned to Deep Space 9, the Yangtzee Kiang was delivered to the station by the shortly before stardate 46388. Following the disappearance of the into what would later be known as the Bajoran wormhole, the Yangtzee Kiang, commanded by Kira Nerys, pursued a Cardassian cruiser under the command of Gul Dukat, who was attempting to open the phenomenon. The Yangtzee Kiang was unsuccessful, and was witness to the wormhole's temporary sealing shortly after. ()
Not long after, the Yangtzee Kiang was used by Bajoran terrorist Tahna Los in an attempt to destroy the wormhole using a bilitrium-based explosive device. After rendezvousing with a Klingon Bird-of-Prey, his attempt was thwarted by Major Kira. ()
Major Kira later took the Yangtzee Kiang to Bajor where she contacted and then kidnapped Surmak Ren from the Ilvian Medical Complex in the planet's Northeastern District, and brought him back to Deep Space 9 (docking in Landing Pad 7) in order to find the cure for the aphasia virus. ()
Later that year, the Yangtzee Kiang took Kai Opaka through the wormhole to visit the Gamma Quadrant, where it crashed on a penal moon 0.35 light years from the Idran system terminus. The Yangtzee Kiang had received a mysterious subspace signal from an artificial satellite orbiting the moon and was fired upon in orbit. The vessel was unrecoverable. ()
By the following year, the Yangtzee Kiang was replaced at Deep Space 9 by the . ()
Appendices
Background information
According to the , this ship's registry was NCC-72453. The Yangtzee Kiang was named after Earth's in eastern China.
The crashed Yangtzee Kiang set that appeared in "Battle Lines" incorrectly depicted with a Type 6 shuttlecraft nacelle.
Apocrypha
In the mission "Armistice" in Star Trek Online, the Yangtzee Kiang appears on the prison moon, but is heavily torn down and used by the prisoners as scrap.
External link
de:USS Yangtzee Kiang
es:USS Yangtzee Kiang
fr:USS Yangtzee Kiang
nl:USS Yangtzee Kiang
Yangtzee Kiang
|
3529
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Yukon
|
The USS Yukon was a 24th century Federation runabout operated by Starfleet. This runabout was assigned to Deep Space 9.
In 2372, Miles O'Brien and Major Kira Nerys were returning to DS9 aboard the Yukon when they witnessed the detonation of a cloaked Klingon mine. ()
A year later, the Yukon was stolen by a Changeling impersonating . The Changeling killed the runabout's crew and modified it to withstand the heat of the Bajoran sun. The Changeling also equipped the runabout with trilithium, tekasite, and protomatter, ingredients which would destroy the entire Bajoran system. The Yukon was being tractored away by the from the sun when the bomb exploded, destroying the ship. ()
Appendices
Background information
The assigned this runabout the registry NCC-74602. The reference work (4th ed., vol. 2, p. 511) noted that it was "named after the river in Northwest Canada and central Alaska, flowing 1,979 miles to the Bering Sea."
External link
de:USS Yukon
es:USS Yukon
nl:USS Yukon
Yukon
|
3530
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Tecumseh
|
The USS Tecumseh (NCC-14934) was a 24th century Federation starship operated by Starfleet. During the early 2370s, the Tecumseh was commanded by Captain Raymond.
The Tecumseh fought in the Federation-Cardassian War and the , where it and the led the Starfleet counterattack into the Archanis sector in 2373. At that time, the ship's science officer was Dr. Kalandra's husband. ()
The Tecumseh later fought in the Dominion War. In 2374, the starship reported numerous casualties to Starfleet Command. The name of the reporting ship and its registry and the casualties were named on the "Personnel Status Update" chart in the Deep Space 9 wardroom. ( okudagram)
List of casualties
Ens. Beverly C. Kurts (KIA)
Lt. Jay T. Laprade (MIA)
Ens. Paul F. Lawrence (MIA)
Lcmdr. Kathy S. Leprich (WIA)
External link
de:USS Tecumseh
es:USS Tecumseh
ja:USSテカムセ
nl:USS Tecumseh
Tecumseh
|
3531
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Ulysses
|
The USS Ulysses was a 24th century Federation starship operated by Starfleet. In 2371, the Ulysses was under the command of Captain Entebe.
In that year, the Ulysses conducted a mission to study protoplanetary masses in the Helaspont Nebula.
Shortly after stardate 48962, Captain Sisko suggested contacting the Ulysses to support the respond to a faked distress call from the Federation colony on Barisa Prime.
At the time, the Ulysses was the closest starship in the sector and was twenty hours away, at maximum warp. However, due to sabotage to the communications system by a changeling , the Defiant was unable to request assistance. ()
Appendices
Background information
In the , the Ulysses was mentioned to be a starship, with the registry NCC-66808.
The Ulysses was named after the Roman word for , a hero of the Trojan War in Homer's and the main character of Homer's .
Apocrypha
The game Star Trek: Deep Space Nine - The Fallen featured a starship with the same name, in service in the 2360s. William Ross served on the ship as first officer. That ship was attacked by the Cardassians and crashed on an uninhabited planet, while investigating an Orb of the Pah-wraith.
External link
de:USS Ulysses
es:USS Ulysses
ja:USSユリシーズ
nl:USS Ulysses
Ulysses
|
3532
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Yosemite
|
The USS Yosemite (NCC-19002) was a 24th century Federation starship operated by Starfleet. It had a total crew complement of only five science officers.
In 2369, the Yosemite was dispatched to the Igo sector to study a plasma streamer between two stars. During this mission, a plasma sample exploded in main engineering and the ship drifted off-course.
Subsequently, the was sent to determine the Yosemites fate. However, an away team found the vessel empty, save for the body of the chief engineer, Lieutenant Joshua Kelly, who died from exposure to high energy plasma. After Lt. Reginald Barclay, who was part of the Enterprise away team, claimed to see alien lifeforms while beaming between the two ships, it was found that he had been infected by quasi-energy microbes from the plasma streamer, which had also caused the explosion on the Yosemite. The remaining four Yosemite crewmembers were later discovered suspended in the transporter, and were rescued with the aid of Lt. Barclay. ()
Later that year, while under the mind control of interrogators on the planet Tilonus IV, Commander William T. Riker believed that he met a woman named "Commander ," who was first officer of the Yorktown, at the Tilonus Institute for Mental Disorders. She told him that the Tilonians had captured a crewman from the Yosemite named . According to her, the doctors had done something to his mind. The commander believed that the doctors were removing neurochemicals from their brains, and she believed this was what happened to Sanders. ()
In 2370, the captain of this ship was J. Swift. After departing from New Brooklyn IX, the starship arrived at Deep Space 9 on stardate 47552.9. The Yosemite was listed on the space station's arrival roster. (, production art)
Yosemite personnel
Appendices
Background information
The Yosemite was named for the Yosemite National Park in North America according to the .
Yosemites registry number could not be made out on-screen in the episode, but was featured on the cover of 's Cinefantastique magazine, which was devoted to . Her registry number could be gleaned from that cover. The cover artist, David Voight, had an actual behind-the-scenes photograph of the studio model, dressed as the Yosemite, at his disposal as reference. The registry was confirmed one year later in the first edition of the .
External link
de:USS Yosemite
es:USS Yosemite
ja:USSヨセミテ
nl:USS Yosemite
Yosemite
|
3533
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Lalo
|
The USS Lalo was a 24th century Federation starship operated by Starfleet.
Together with the farming colony on Coltar IV, this freighter reported experiencing the Manheim Effect in 2364. The captain of the ship described the time distortion as a "hiccup." ()
In 2366, the USS Lalo was on a freight run from Zeta Alpha II to Sentinel Minor IV. A distress signal was received from the Lalo at Starbase 157 at 2212 hours, in which the ship reported being under attack from a vessel, described as "cube-shaped." The signal ended abruptly, and it was believed that the ship had been destroyed by a Borg cube. ()
External link
de:USS Lalo
es:USS Lalo
fr:USS Lalo
ja:USSラロ
nl:USS Lalo
Lalo
|
3535
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Whale Probe
|
The Whale Probe was the designation for a probe of unknown origin which visited Earth in 2286. It was given this designation due to the fact that it apparently came to Earth in order to contact members of the humpback whale species.
Specifications
Dwarfing the Federation starship and even the Earth Spacedock, the Whale Probe was cylindrical in shape, and carried a small deployable sphere, normally stowed internally, at the front. This sphere was physically detached from the Probe while in use, but connected to it by an energy beam. The sphere's purpose was that of a communications device.
It apparently served to broadcast the message of the Probe, but had the side effect of causing virtually any device that used energy to function to lose its power. It was also capable of ionizing planetary atmospheres, seemingly as another unintended side effect. ()
History
First contact with the Probe by a Federation starship was made by the while patrolling the Neutral Zone. The Saratoga was disabled by the probe's powerful communication, as were at least seven other vessels along the probe's route to Earth, including the starships and and two Klingon vessels. The ships did not recover from their neutralized states even after the Probe had continued on, beyond their ranges.
After disabling both and the , the Probe settled over the planet and directed its transmissions towards its oceans. The sheer amount of energy contained in the broadcast began to vaporize Earth's oceans and ionize the atmosphere, creating a catastrophically thick cloud layer over the entire planet, disabling power and communications over many of Earth's largest cities. One report to the Federation President gave the planetary cloud cover at 73% and rising.
As all planetary power sources began to fail, the Federation President was forced to send out a planetary distress signal, which was picked up by Admiral Kirk, aboard the "", a captured Klingon Bird-of-Prey. In the signal, the President gravely advised any unaffected space craft to avoid Earth at all costs. Spock, also aboard, noted that the transmission appeared to have been intentionally directed at Earth's oceans, and theorized that the message may have been intended for some aquatic creature.
After listening to what the Probe's transmission sounded like underwater, it was discovered to be identical to the sounds produced by an extinct cetacean species called the humpback whale. Spock theorized that the Probe had been sent by some unknown intelligence that had once been in contact with whales, who had sent the Probe after the whales went extinct to find out why contact had been lost.
Destroying the probe appeared to be out of the question, as any vessel that went anywhere near it immediately lost power. As such, it was determined that the only way to save Earth was to respond to the Probe and hope that it would leave once it had made contact with its intended recipient. However, with no whales left on Earth, there was no way to accurately respond to the Probe, as simply replicating the sounds made by humpback whales would have been useless without knowledge of the language involved.
Kirk determined that the only way to stop the probe was to find some humpbacks who could answer it. Consequently, the Bounty was taken into the past via the slingshot effect, and successfully retrieved two of the species from 1986. Returning to the time shortly after the probe's arrival in 2286, the two whales were able to respond to the probe's call, and it departed for an unknown destination, restoring power to the vessels it disabled along the way. ()
Appendices
Background information
A cylindrical space probe was already envisioned in the reference book Star Trek Spaceflight Chronology (p. 121) of as "first evidence of extra-galactic civilizations". In the book, it was described as a small probe of unknown origin, measuring 2.0×0.375 meters. Nevertheless, it is highly unlikely to have been the original inspiration for the eventual "Whale Probe".
Studio models
Described in the script of as "a simple cylinder, non-threatening but huge in size, with odd, eye-like antennae" , no specifics of the Whale Probe were ever given on screen. Yet, Effects Director of Photography Don Dow stated that, as far as in-universe dimensions were concerned, "it was to be five miles long and a mile-and-a-half wide." The Whale Probe was designed by Nilo Rodis, incorporating ideas he had received from in Los Angeles, that translated into an apparently simple, vaguely whale-like cylinder, transferred onto pre-production storyboards. (Cinefex, issue 29, p. 5)
Deceptively simple as it might have seemed, Industrial Light & Magic did encounter problems while trying to realistically bring the concept of the probe onto the big screen. Model Shop Supervisor Jeff Mann recalled, "There were some difficulties early on with the probe. Trying to get that to have some scale was difficult because it was big and shiny. It had blue-spill problems. Early on, we did a bunch of tests to try to figure out what kind of texture or what we could do to give it that kind of scale that the starships had." ("From Outer Space to the Ocean", Star Trek IV: The Voyage Home (Special Edition) DVD special features) Don Dow elaborated, "I think the probe was the most difficult thing we had to work with on this show, simply because there was nothing to it. Our original instructions from L.A. were to make it 'menacing, military and massive' and it was supposed to be about five miles long and a mile-and-a-half wide. To really do that, we would have had to build a model that was as big as a building. And because it was so devoid of detail, I was afraid it was just going to look like a giant water heater in space." (Cinefex, issue 29, p. 5)
Though the fourth Star Trek film was supposed to be light on ILM where starship studio models were concerned, no less than three models of the Whale Probe were constructed in the end. Jeff Mann recalled, "Since Nilo's concept was that the probe looked similar to a whale, we built a prototype that was a cylinder shape with barnacles and whale-like coloring – but still basically just a tube. We capped the ends of a piece of irrigation pipe and installed a mechanism to turn the ball-like antenna that jutted out from the bottom." (Cinefex, issue 29, p. 5)
Eventually, the bullet was bitten and a model was constructed, about which Jeff Mann stated, "Basically, it's a cylinder that started off to look like a section of a whale. We used a barnacle type of texture for it, and it was originally painted with a crusty-textured white on a blue background. It was sort of organic looking, and that was the design we originally settled on. We built several versions of this monolithic probe that threatens the Earth. The main model we used was an eight foot long cylinder about two feet in diameter, and it had a hole at one end through which an antenna ball emerges on a shaft of light and sort of searches around." (American Cinematographer, ed., p. 68) Also constructed were a "smaller version to scale for the distance shots, and then we built a large section of the ship – just a third of the side of it – and it was tapered for a shot where the ship is heading towards camera and then flies overhead. Like a takeoff on that first shot in Star Wars. We also built some large antennas for close-ups," as reported by Mann. (American Cinematographer, October 1982 ed., p. 68) More to the point, Mann stated, "Our primary probe was eight feet long, but we also made a small one for the long-distance shots and another big section that was a forced perspective model – about twenty feet long and really wide at one end and the tapered back at the other." (Cinefex, issue 29, p. 5)
In order to save as much financially as post-production opticals were concerned, Jeff Mann decided to have his new Whale Probe models, as much as possible, have self-illuminating capabilities. Mann elaborated, "The Probe had a hole on the bottom that the ball jutted out from. Inside it, we put six halogen bulbs that emitted a general glow down onto the ball and out the hole. Then, down the center we had a tube of plexiglass that was about two inches in diameter that attached to the ball. Inside of that was a long tube lamp – like a refrigerator lamp – which was just screwed into a 110 socket. So the stage crew could do several light passes on the probe." (Cinefex, issue 29, p. 5)
The whale-colored probe did not quite work out on screen, and after several shoots, a decision was made to alter the color scheme of the model as was recalled by Don Dow; "We had to give it some texture. After brainstorming it for a while, Ken Ralston came up with the idea of painting it shiny black and then backlighting it so there would be reflections coming off of it. We also ended up pock-marking the surface a little so that the backlighting would pick up some hills and valleys. Then we shot it with fog filters which helped to give it an awesome, mysterious quality." (Cinefex, issue 29, p. 6) Jeff Mann gave an additional reason from a different point of view; "We worked for quite a while on these models with a specific color and texture on mind, but then we reached a point where they just didn't look right. It wasn't exciting, because it was blue, like a whale. Also, the antenna originally didn't move and it didn't have a light source in it, so we made the antenna move and added an interior light to the ball. For the antenna's beam of light, we added a hot shaft of light in the center and put a much milder glow around that. I think it was Ken Ralston who came up with the idea to paint the probe black and eliminate all the color from it so we could use light and reflections on it to create interest and mystery." (American Cinematographer, October 1982 ed., p. 68)
No matter what the original intent was, lighting the ball-shaped antenna presented its own set of additional problems, as ILM's Optical Supervisor Ralph Gordon recalled; "The spherical antenna underneath the probe was originally shot so that it was orange, which unfortunately made it look very much like a spinning basketball. So we pulled mattes off of that that one element to drop it out – the ball itself had been shot separately from the probe – and then we made high-con elements that allowed us to expose blue light over that same area. We threw in all sorts of diffusion and filters on it to break up the image and give it a glow that looked like it was coming from the inside. That took a lot of finagling. We put diffusions on both the main projector head of our optical printer and on the aerial head, the back projector. We'd find a diffusion that worked somewhere, lock that off and then move the back head around trying to figure out where the best placement of the diffusion was. Like always, it was just a matter of trial and error." (Cinefex, issue 29, p. 6)
Apocrypha
The ization of refers to the Whale Probe as "The Traveler" (not to be confused with the humanoid from Tau Alpha C also referred to as The Traveler).
A sequel novel to Star Trek IV, , accounted another run-in with the Probe during proposed peace talks/joint archeology-survey with the Romulans. Kirk and his crew later discover that the Probe was created by beings that resembled Earth cetaceans, and that it was damaged thousands of years earlier by what it described as "mites" in cube-shaped vessels, which implies that it encountered the Borg at some point before coming to Earth.
In the Myriad Universes novels, in an alternate timeline with both Kirk and Spock dead, the Probe did indeed decimate Earth, leading Doctor Carol Marcus to attempt to use the Genesis Device to fix it.
External link
strekapol7979 whale probe analysis - detailed look at every aspect of the probe and its appearance
de:Walsonde
fr:Sonde cétacée
ja:クジラ探査機
Probes
Memory Alpha articles named from supplementary resources
|
3536
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
SS Tsiolkovsky
|
The SS Tsiolkovsky (NCC-53911), also known as К. Э. Циолковский, (Romanized from Cyrillic: K. E. Tsiolkovsky) was a 24th century Federation starship operated by Starfleet. The Tsiolkovsky was built at the Baikonur Cosmodrome, USSR and commissioned on stardate 40291.7.
History
Eight months prior to stardate 41209, in 2363, the Tsiolkovsky was assigned to observe the collapse of a red supergiant star. During that mission the crew fell victim to a form of polywater intoxication. After losing contact, Starfleet ordered the to investigate the fate of the vessel and its eighty crewmembers.
The Tsiolkovsky was discovered adrift in space, its bridge open to space due to an open emergency hatch, with all hands lost. When the Enterprise-D crew became infected with the same virus, and was in danger from a stellar core fragment, they bounced a repulsor beam off the Tsiolkovsky, which pushed the Enterprise-D away from the fragment, providing the necessary time needed to restore to the engines and warp away. While the Enterprise-D survived, the Tsiolkovsky was destroyed. ()
Appendices
See also
SS Tsiolkovsky dedication plaque
SS Tsiolkovsky personnel
Background information
The Tsiolkovsky was "named for Earth scientist , whose work formed much of the theoretical basis for his world's early exploration of space." () In previous editions of the Star Trek Encyclopedia (3rd ed., p. 527), Tsiolkovsky was identified as a Russian space pioneer.
Dedication plaque
While the ship was called the S.S. Tsiolkovsky or the Tsiolkovsky in the script and in dialogue, the dedication plaque listed the name of the ship in Cyrillic as К. Э. Циолковский, or K. E. Tsiolkovskii transliterated with , albeit with some characters misrendered – the plaque actually reads "К. З. ЦИОПКОВСКИЙ", or "K.Z. TSIOPKOVSKII" after Romanization.
A copy of the plaque was sent to the which is located in Tsiolkovsky's home town, , Russia. ()
The Star Trek Encyclopedia listed this ship as the USS Tsiolkovsky. The SS prefix was used in the dialogue. The dedication plaque suggests that the name prefix was not part of the official name of the ship. While this is unusual, there are other examples such as the Raging Queen. The ship was listed as a Starfleet registered vessel with an NCC number in the plaque and there was a corpse wearing a Starfleet uniform on board.
Registry
The registry number on the studio model was originally not discernible on-screen in the standard definition version of the episode. When the high definition copy of the footage was rendered for the remastered version of the episode, it was discovered that the model had the registry "NCC-640", carried over from its previous use as the in .
Michael Okuda remarked years later in this respect, "I seem to recall that Grissom may have been relabeled to serve as another ship (the Copernicus?) in Star Trek III or IV. I didn't try to relabel the model for 'The Naked Now,' partly because we realized that the existing registry would not be legible in standard-def video, but also because we were all so insanely busy at the time that no one could take on an additional project that wasn't likely to be seen on the screen."
The number was digitally changed to its correct one from the dedication plaque in the first full side view establishing shot. Unfortunately, the digital artist overlooked the previous scenes and the later scene when the stellar core fragment smashes into the ship, as it there still carries the original, now discernible, registry number.
External link
bg:SS Циолковски
de:USS Tsiolkovsky
es:SS Tsiolkovsky
fr:SS K.E. Tsiolkovsky (NCC-53911)
ja:SSツィオルコフスキー
nl:SS Tsiolkovsky
Tsiolkovsky
|
3537
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Starfleet flag officers
|
In the history of Starfleet, many officers have held the various flag officer ranks: (commodore, rear admiral, vice admiral, admiral, and fleet admiral).
List of prime reality flag officers
Fleet admirals
(Commander in chief)
Bob (Chief of Staff, Starfleet Operations)
Cartwright (Starfleet Command)
(Commander in chief)
Morrow (Commander, Starfleet)
Shanthi (Starfleet Command)
Admirals
Bullock (Starfleet Command)
Nsomeka (Starfleet Academy)
(Pathfinder Project)
T'Lara
Terral
(Starfleet Headquarters)
Vice admirals
Chekote (Starbase 227)
, MD
Dougherty (Sector 441)
(Starfleet Command)
Fujisaki (Deputy Chief of Starfleet Intelligence)
Gromek
Haden (Lya III)
Haftel (Starfleet Research, Galor IV)
Hendricks
(Chief, Starfleet Security)
(Commander, Deep Space 3)
Kennelly
Leyton (Chief of Starfleet Operations)
(Tactical Command; Starfleet Command)
Nakamura (Starbase 173)
Patterson (Utopia Planitia Fleet Yards)
(Starbase 375)
(Starfleet Command; Tactical Command)
Toddman (Starfleet Security)
Rear admirals
Rear admiral
(Superintendent, Starfleet Academy)
Cobum
(Chief of Starfleet Operations; Starfleet Academy)
(Starfleet Command)
(Starfleet Intelligence)
Rollman (Starbase 401)
Savar (Starfleet Command)
Shukar
Sitak
Rear admiral lower half
(Starfleet Command)
Commodores
(Ambassador-at-Large)
Barstow
(CO, )
Enwright (Starbase 6)
(NX Program)
(Starbase 11)
Oh (Chief of Starfleet Security)
Probert
Stocker (Commander, Starbase 10)
(Portmaster, Starbase 11)
Travers (Commander, Cestus III outpost)
(CO, )
Other
(Starfleet Command)
(Chief of Staff)
(Judge Advocate General)
(Starfleet Command; Fleet Operations)
Brackett
Budrow (Starbase 29)
Colti
(Commanding officer, Starfleet Command)
Drazman (Commanding officer, Proxima Maintenance Yards)
Gardner (Starfleet Command)
Gilhouly
Gupta
Hahn (Superintendent, Starfleet Academy)
Hastur
(Sector 9)
, MD
(Starbase 97)
Mitsuya
(Starbase 12)
Nimembeh (Starfleet Command)
Ngomo
Nogura
(Starfleet Command; Exploratory Division)
Raner (Chief, Starfleet Security)
(Chief of staff)
Shanthi (Starbase 234; Starbase 247)
Veta
Westervliet
(Starfleet Administration; Starfleet Command)
Illusory flag officers
Jean-Luc Picard was shown to be a full admiral in a fictional 2383 created by Barash. ()
Patrick impersonated a full admiral in 2373. ()
Q impersonated an admiral in 2364 ()
Unnamed flag officers
Fleet admirals
Starfleet Command briefing attendee, 2293
Admirals
Federation Council member, 2286
Federation Council member, 2286
Federation Council member, 2286
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Vice admirals
Starfleet Headquarters admiral, 2151
Enterprise launch ceremony attendee, 2151
Coalition of Planets attendee, 2155
Federation founding ceremony attendee, 2161
Federation Council member, 2286
Federation Council member, 2286
Federation Council member, 2286
Starfleet Command briefing attendee, 2293
Bajor admission ceremony Human attendee, 2373
Bajor admission ceremony Vulcan attendee, 2373
Unidentified Pathfinder Project female, 2376
Unidentified Pathfinder Project male, 2376
Unidentified Pathfinder Project male, 2378
Rear admirals
Starfleet Headquarters admiral, 2151/2154
Enterprise launch ceremony attendee/Coalition of Planets attendee, 2151/2155
Starfleet Command briefing attendee, 2293
Enterprise-B maiden voyage attendee, 2293
Klingon Civil War adviser, 2368
Bajor admission ceremony attendee, 2373
Commodores
Starfleet Headquarters commodore, 2143/2152/2154
Coalition of Planets attendee, 2155
Federation Council member, 2286
Federation Council member, 2286
Others
Starfleet Headquarters admiral, 2143/2154
Enterprise launch ceremony attendee, 2151
Federation Council member, 2286
Federation Council member, 2286
Federation Council member, 2286
Federation Council member, 2286
Federation Council member, 2286
Federation Council member, 2286
Starfleet Chief of Operations, 2375
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Starfleet Command briefing attendee, 2293
Bajor admission ceremony Bolian attendee, 2373
Bajor admission ceremony Human attendee, 2373
Pathfinder Project female, 2378
Pathfinder Project male, 2378
Vulcan admiral, 2360s
List of alternate reality flag officers
Fleet admiral
(Head of Starfleet)
Admirals
(Starfleet Command)
(Starfleet Command)
(Starfleet Command)
(Starfleet Command)
(Starfleet Command)
(Starfleet Headquarters)
Vice admiral
Yellowstone-class presentation female, 2373
Yellowstone-class presentation male, 2373
Commodore
(Starbase Yorktown)
Other
(alternate reality)
Unnamed flag officers
Daystrom Conference Room meeting attendee, 2259
Daystrom Conference Room meeting attendee, 2259
Head of Starfleet Security, 2371
Headquarters personnel, 2259
Memorial attendee, 2259
Memorial attendee, 2259
List of mirror universe flag officers
Fleet admiral
(Commander, )
Admiral
()
List of alternate future flag officers
A list of flag officers seen in parallel universes:
Nakamura (Admiral)
(Admiral; Starbase 247)
(Vice admiral; Starfleet Academy)
Other
MacIntyre
de:Liste von Sternenflottenadmirälen
fr:Amiraux de Starfleet
it:Ammiragli della Flotta Stellare
Flag officers
|
3538
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Prokofiev
|
The USS Prokofiev was a 24th century Federation starship operated by Starfleet.
The Prokofiev was dispatched to the border of the Cardassian Demilitarized Zone in late 2370, following the arrest of Starfleet member Miles O'Brien. The and the were also ordered to patrol the border of the DMZ. ()
Appendices
Background information
The classified the Prokofiev as an starship, with registry number NCC-68814.
The Star Trek Encyclopedia (4th ed., vol. 2, p. 183) stated this ship was "named for the 20th century Russian of ."
Apocrypha
According to her personnel file in the non-canon video game Star Trek: Starship Creator, Ensign Melora Pazlar was assigned to the stellar cartography department on the Prokofiev following the events of .
External link
de:USS Prokofiev
Prokofiev
|
3540
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Rutledge
|
The USS Rutledge was a 24th century Federation starship operated by Starfleet.
In the 2340s, the Rutledge was involved in the Federation-Cardassian War while under the command of Captain Benjamin Maxwell.
In 2346, Miles O'Brien transferred to the Rutledge as an enlisted crewman. After rescuing thirteen Starfleet officers from Setlik III in 2347, O'Brien was promoted to the tactical officer aboard the Rutledge. (; )
Will Kayden served aboard the Rutledge, as did Raymond Boone until his capture at Setlik III. (; )
In 2373, the Rutledge and the led the Starfleet counterattack into the Archanis sector during the . ()
Appendices
Background information
According to the , the Rutledge was a starship, with the registry number NCC-57295. For possible origins of the name, please see .
In the first draft script of , the Rutledge was sent to track and capture Michael Eddington, though these tasks were instead ultimately assigned to the .
Apocrypha
The DS9 "No Time Like the Present" used the Star Trek Encyclopedia reference and depicted the Rutledge thusly.
External link
de:USS Rutledge
es:USS Rutledge
fr:USS Rutledge
ja:USSラトリッジ
nl:USS Rutledge
pl:U.S.S. "Rutledge"
Rutledge
|
3541
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Raman
|
The USS Raman (NCC-29487) was a 24th century Federation starship operated by Starfleet.
In early 2370, the science vessel, and her crew of seven, was assigned to conduct a science mission of the gas giant Marijne VII. According to the Ramans mission plans, it was to descend to the lower atmosphere, where the crew was to sample the atmosphere at that level, and then return to a safer orbit.
After entering the lower atmosphere of the planet, the Raman accidentally picked up some subspace beings that lived in the lower atmosphere. These lifeforms tried to communicate with the crew of the Raman during the ship's ascent by directly accessing their thoughts; however, the attempt proved fatal to the Ramans crew.
On stardate 47215.5, the responded to a distress call from the Raman after the science vessel became trapped inside the planet's turbulent atmosphere. Upon the Enterprises arrival, the Raman was discovered at a position, in the troposphere, 11,000 kilometers above its lowest descent point.
The Enterprise crew boarded the vessel via an interface probe, controlled by Geordi La Forge, at a position directly to the aft section of the Raman, through its secondary air lock, one bulkhead away from the bridge. It was not far from this access point that the probe discovered one of the ship's dead crewmembers. The probe later found the remaining crew in the nearby magnetic storage bay.
After determining that the crew of the Raman was dead, Captain Jean-Luc Picard hoped to retrieve the vessel. With the Ramans bridge too heavily damaged, the interface probe was taken into the Ramans auxiliary control room. It was in the auxiliary control room that La Forge discovered what he believed to be an image of his mother, whose ship, the , had previously disappeared. This image of his mother, who was actually a subspace being, convinced La Forge to take the Raman into a low stationary orbit so that it could return to its home.
Upon taking the Raman into a lower orbit, he was able to successfully return the subspace beings to their home; however, in the process, the ship's shields failed, and the ship was destroyed in the planet's atmosphere. ()
Personnel
USS Raman personnel
Appendices
Background information
The Raman was one of the few Federation starships whose interior was visited on screen, but whose class was left unknown. Producer Peter Lauritson has expressed disappointment that there was no opportunity to depict the exterior of the ship. ()
According to the , the Raman was an starship with registry number NCC-59983. This registry contradicts the registry shown (NCC-29487) in the on-screen okudagram. It was also stated in the Star Trek Encyclopedia (4th ed., vol. 2, p. 202) that the Raman was named for , an Indian physicist who was awarded the 1930 Nobel Prize in Physics for his work on the molecular scattering of light.
External link
de:USS Raman
es:USS Raman
nl:USS Raman
Raman
|
3542
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Galaxy class model
|
Several studio models of the were created for , , and . Two differently sized physical studio models were initially constructed for The Next Generation, to be joined by an intermediate sized one at a later stage. Advances in computer technology resulted in CGI model versions of the class being introduced, first in Generations, and subsequently during the run of Deep Space Nine for use in that series and beyond. Apart from these, several specialty models were also constructed of the Galaxy-class, or its components, to fulfill specific functions when the need for those arose due to specific script requirements. Various Galaxy-class models appeared in both the series premieres of The Next Generation and Deep Space Nine, and the series finales of The Next Generation, Deep Space Nine, , and Enterprise, making it the only Starfleet vessel of which external views were seen in all four spin-off television series, and the only one seen in all four finales.
Design
When it came time to design a new starship Enterprise for The Next Generation, history did not repeat itself. Where Matt Jefferies had to produce hundreds of sketches to come up with the design direction for the original , the main design work for the exterior of the was done long before another Star Trek television series had even been considered.
Design origins
In 1979, long before the new Star Trek series was announced, Andrew Probert, upon completion of his work on , painted an illustration of a future starship concept, strictly for his own enjoyment. "I actually did a little painting (8"×5.6") of a ship that would have been the Enterprise had I been able to take it fully in the direction I wanted to take it. That little painting became the basis for the Enterprise-D", he recalled. (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, accompanying booklet, p. 7) Elaborating, he later added:
"Having warp engines above the saucer always bothered me and I thought it made more sense to lower them closer to the ship's center of mass. And, while I was at it, I thought, along with the saucer's wide horizontal profile, the other main elements should also be wide and horizontal. So I sat down and said... "what if..I could design this ship the way I thought it should look"?"
In December 1985 he shortly revisited that painting and made some additional sketches, still for his own amusement, "Six years go by and I randomly produce this page of sketches in one of my sketchbooks. Obviously, I started with that "New Idea" above and, out of the blue, sketched up these couple of ideas in passing, little realizing that I'd be doing this for real, less than a year later." Probert later added:
"If you look at the original TV Enterprise, it had two long cylinders stuck to a stubby cylinder with flat sticks and a neck attached to a saucer, so you have many different design cross-sections. What I've attempted to do is unify the whole ship by giving everything the same sort of ovoid sculptural feeling, so it's basically an industrial design. After seeing the initial sketches, Gene and the other producers liked my idea. They actually played on it by rationalizing that in the future, our art forms will hopefully surpass our concern for technology. Therefore, we could design and build something that we were proud to fly around in; the technology being a given at this point." ()
Early November 1986, Probert secured an interview with Gene Roddenberry for a position on the new show. Going home after the interview, Probert was so excited, that he could not restrain himself from turning out a new painting and additional sketches of the new Enterprise based on his initial design six years earlier:
"I was so pumped up that I started right in, sketching my little heart out. Knowing that the new series was to be at least a hundred years hence (which later got changed to 85 years), I felt that it would be faster and probably sleeker if there was any influence from hyperlight dynamics. At least it should be more elegant, I felt. The saucer had, since its inception, been the main section, so I made it larger in proportion to the secondary or engineering hull. In previous designs the warp nacelles were always to the rear but above the saucer rim, which visually seemed to give them equal importance, and physically placed them above the ship's center of mass. Both of these seemed to be negative point, which I hoped to remedy by lowering them to a position between the two hull sections. This would place them closer to the ship's center of mass. Also, the struts holding the saucer and warp engines were slanted in opposite directions; the saucer is going forward, engines going back. That wasn't bad but it created a slight visual conflict, so I slanted them all forward to unify their direction and give the overall design a feeling of aggressive forward movement, like a lunging cat. The view from the front of the old ship produced a variety of shapes. I took my design theme from the saucer and started sketching every component as a compressed oval." ()
Hired as the fifth member of the production team on 2 December 1986 in the capacity as Senior Illustrator, Probert's initial job was designing the interiors of the new starship, especially the bridge. As inspiration he brought along some of his sketches of the exterior of his vision for the new Enterprise and hung them on his office wall. While working on his bridge design, a lucky happenstance occurred when one of the producers walked into his office and saw one of his sketches, fondly remembered by Probert:
"David Gerrold walked in one day and asked, "Is that the new Enterprise?" I told him that it was the direction that I wanted to go with it. He leaned over me, plucked it off the wall and said, "Let me borrow this a minute," as he walked out. I don't think 15 minutes had passed when he returned when he returned with a smile on his face and said, "Yep, that's it, they liked it." As it turned out, Gerrold walked into Roddenberry's office while the other two producers were there, held up my sketch and said, "What do you think of this?" They all liked it.". (Starlog photo guidebook Special Effects, Vol.5, 1996, p. 100)
To which he added, "I was flabbergasted. I'd never heard of a design going through that quickly, and it was very close to what I ended up producing." ()
All that remained was fine-tuning and filling in the details.
Refining the design
One of the first things Probert had to address was his misinterpretation of the saucer separation concept. Only referred to in the Original Series, this time around a saucer separation capability was from the very start envisioned for the new ship. The producers' idea behind this was, according to Executive Producer Robert Justman:
"(...) that we should have families on board. I said that it was unconscionable to expect people to go out into space for X number of years and leave everything they hold most dear behind them. Just because you're on a space exploration, it doesn't mean you have to give up your life. If you have loved ones, you have family, you should be able to enjoy and live and make your lives together, even though you're out in space.(...)For that we provided for the separation capabilities, so that in case of danger or threat to the ship as a whole, if necessary we would send the saucer section away under its own power. Not warp power, but sufficient power to get it away while the battle section went to the fight." (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, pp. 10-11)
Yet a poor choice of wording in the preliminary briefing led Probert to misinterpret the producers' intent:
"The way they described it was that the Enterprise would have a battle section that would separate from the ship. I thought, 'Now you tell me!' I'm thinking, 'Hmm, a battle section that would leave the ship.' I thought maybe it was like an auxiliary craft or something that separated to go off and fight battles. What I came up with was a shape like the letter D. If you lay that down on top of the saucer with the round part toward the front and then extend the serifs, those would be two warp engines. This thing would be nestled into the top of the saucer and it would separate to go fight the battles. When I showed this to them they said, "No, no. What'll happen is the saucer separates and the engineering hull then becomes the battle section." So I have this dorsal sculpted into the saucer and now I have to separate that and still make it look good both ways, which was an extraordinary challenge. I started playing with it and I found if I left part of the saucer on the dorsal then it could be a very broad mounting point for the saucer as well as hopefully making the engineering hull look a little better." ()
Coincidentally, Probert's original concept of "an auxiliary craft or something that separated to go off and fight battles", was later re-visited in the design of the .
Probert originally intended the saucer section to have landing feet, much like he had envisioned for his redesign of the refit- for :
"Popular opinion indicated that the two triangular points on the underside of the saucer [remark: of the Original Series ] are actually two landing legs; the third one would be in the dorsal cavity, so the saucer would have tricycle landing gear for planet landing. Carrying that into Star Trek: The Motion Picture Enterprise I designed four landing pads on the underside of the saucer. When I did the D, I started to do that and was distracted away from it and that poor ship eventually paid the price!" ()
Explaining some of the thought processes behind the fine-tuning process, Probert stated in regard to the vertical windows in the saucer section:
"They would scale out to about three and a half feet across and their length would vary according to what deck they were on. The way that I came up with that originally was that, if you think of a porthole on an ocean liner, it's usually set at an average height of around five feet, so any normal-sized person could look out of it. I started with that, but because the walls on the saucer are slanted at such a radical angle my thinking was, "Where do you put the porthole so everybody, short or tall, could look out?" The solution I came up with was to have a vertical porthole so people of any size could use it." ()
As to the armaments of the new vessel he elaborated:
"In classic Star Trek the phasers came from the Special Effects department. They had nothing to do with any feature on the outside of the original Enterprise. The phasers came out of the photon torpedo tube and vice versa: very confusing. When we did Star Trek: The Motion Picture, I felt it was important to give the effects animators as well as the audience an understanding of where the armament was on the Enterprise. So, I designed the bubble housings for the phaser banks. When it came to do Star Trek: The Next Generation, I started thinking about today's navy, particularly the Enterprise aircraft carrier, which has a reason for its square island and its four huge radar antennae that don't turn like the old radar antennae do. They're mounted to cover the four quadrants of the space around the carrier. And I got thinking that having little electronic turrets or phaser bubbles on the feature Enterprise was starting to look a little archaic. I thought it would be interesting to encircle vast areas of the ship with one single phaser strip, whereby the computer would be able to determine from a moving target what would be the most optimum angle to fire at the target. So if the Enterprise was passing a moving target, the phaser beam would visually walk around the strip as the computer continually updated that angle of fire."
He added in regard to reducing the number of forward firing photon torpedo launchers from two to one, "I figured that advanced technology would allow a single photon tube to reload faster, plus it didn't make any bulgy things on the side of my dorsal." (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, p. 8)
During the refinement stage, Probert, in conjuncture with Roddenberry, also worked out some basic specifications for the new ship:
"Roddenberry already liked the direction in which the Enterprise design was going and I took the opportunity to propose that we double the ship's length to 2,000 feet [remark: as opposed to the established length of the refit-Constitution class]. Roddenberry thought that was rather large but after we talked about the extra personnel, families, holodecks, larger shuttles, longer missions, etc., he agreed. I added a series of visible lifeboat covers (as opposed to graphic markings on the movie Enterprise) to the ship which alluded to the ship's capacity of 3,500. He felt that too many extras (people) would be needed to reflect a complement of that many, so he established it as 1,100. Later on 1,012 became the official ship's complement." (Starlog photo guidebook Special Effects, Vol.5, 1996, pp. 107-108)
At this stage Probert shortly toyed with the idea of having his new ship a modular structure, before that was abandoned.
Gene Roddenberry asked only for two modifications to Probert's final design. He wanted to restore the bridge to its position on the top of the saucer section, which Probert had originally placed in the center of the saucer feeling "that in a ship that size, the bridge, being the center of command, should be in the center" and that "it would still have the electronic visual capabilities" with the added consideration that it would have been well protected. Roddenberry and Justman felt that the ship's defensive capabilities were able enough to protect the bridge no matter where it was placed even as exposed as it was on top of the saucer and they also wanted to allow viewers to be able to scale the rest of the ships in their minds. The other modification Roddenberry asked for was to extend the nacelles, which Probert had slanted forward in order to create the visual impression of a "lunging cat", so that they had similar proportions to the original Enterprise. (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, pp. 7-8) The modification of the nacelles increased the overall length of the Galaxy class to 2,108 feet, as is adhered to in most reference works, among others the Star Trek: The Next Generation Technical Manual.
While addressing Roddenberry's requests, one of the last features Probert turned his attention to was the underside of the saucer section:
"In the original show the dome on the bottom of the ship was a sensor array. What I did was move the sensor array to more of a surrounding detail, leaving the dome on the bottom free. That's where I put the captain's yacht, which is a private vessel for dignitaries and captains of ships to use as personal shuttles. That was never used in the show. At one point there was a script where Picard was returning to the ship and the dialogue was, "The captain's shuttle is on the way back. Crew members, man your stations." Then the captain comes aboard. We never ever have a visual, so I suggested mentioning the yacht, but they decided against it." ()
Though the concept of an embedded captain's yacht was further explored in the Next Generation Technical Manual, in which the vessel was christened Calypso and was also envisioned to be a feature on the in the form of the Aeroshuttle. The concept was only firmly established in on the in the form of the .
After final approval of the design a set of six-view orthographic working drawings were made to be sent to the outside contractor that was to build the studio model.
A design patent, No. , was issued to Paramount Pictures by the US Patent and Trademark Office for the USS Enterprise-D on 15 March 1990 (there described as "The ornamental design for a toy spaceship"), which noted Andrew Probert as the sole "inventor", correctly in this case, of the design. Probert's earlier patents for the starships in The Motion Picture were cited as past references, as was the . The patent application was tendered by the studio on 23 September 1987, valid for fourteen years when issued.
ILM and study models
Once the design phase for the new Enterprise, to serve as the main vessel for the new The Next Generation series, had become final, tenders got out to solicit bids in order to build two studio models. "Once we got all the working drawings for the exterior of the ship, I put up it out for bids to a number of optical special effects houses, including Industrial Light & Magic (ILM), Apogee, and . All of them received copies of the main title sequence and a list of library shots which we would need for various episodes. Of the five we contacted, four were in the Los Angeles area; only ILM was out of town, up in Marin County.", Justman recalled. (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, p. 9)
Yet, ILM was able to secure the commission, due to the fact that they were able to tender a bid that was below par as the company was between jobs. "'What they decided was to make a bare-bones bid, enough to keep their doors open and keep everyone on that they needed. Oh, it was a tremendous bid. I couldn't believe it was so cheap! But it was ILM, you know? The best in the business!", Justman exclaimed. ()
Still, no matter what deal was offered to the company, Model Shop Supervisor Jeff Mann had to contend with differences between the franchise's movie productions and TV productions:
"In the past, we had always dealt with the movie division – people like Harve Bennett and Ralph Winter – but this was a whole new group of people working on the TV series and they weren't familiar with our involvement in Star Trek movie FX – that is, what we do and how we do it. So, the new producing team came up and we had a show and tell session. We got out all the Star Trek movie models so they could see what they looked like close up, how they were built and how they operated. In this way, we were able to give them an idea of what different things cost. I'm sure they went through a similar process for all of the companies that they visited for FX bids.
"Of course, everybody does things slightly differently, we all have our own methods and systems. For us, it was an education process to determine the producers' needs and discuss how they were to be satisfied. At that point, the only thing under discussion was building the ship. We would not be shooting it. Our bid was based on the very specific requirements that Andy Probert's ideas would be interpreted exactly – we were to build that ship as drawn.
"This was a very different way of working for us, and in a way, harder. I think our real strength at ILM is art direction and the interchange of ideas as a project develops. When working with , Nilo Rodis-Jamero or Joe Johnston, for example, as art directors, they'll have an idea which they sketch out and one of us may come back and suggest that we need to twist this a little bit, or how about something more like this... It's very much a collaborative process.
"But the Star Trek people had already nailed down all of their ideas and concepts for the Enterprise, and Andy Probert was very knowledgeable as to why certain features of the Enterprise are the way they are. It wasn't just a matter of pretty design, his detailing is very functional." ()
Once ILM was chosen, the producers sent the company the orthographic drawings they had prepared. It was up to Gregory Jein, employed at ILM at the time, to come up with a concept model to show if the intent was understood. A clay study model was presented to the producers and it was then that Probert realized that orthographic views were not sufficient and a more hands-on approach was needed. "The first thing that they had sent us was a two-foot maquette based on the drawings that we had sent up. The only thing that I had guessed wrong, in defining the shape of the ship from six views, was the shape of the wing as seen from the top and bottom. I felt the most important profile was the side view. Looking at the wing top or bottom produced a different wing shape than seen from the side.", to which Jein added, "Once we got the drawings and the approval, after all the bids from all the other companies came in, ILM got the contract. Jeff Mann was the head of the model shop at that time, and I was the lead man on the patterns. So we just interpreted Andy's drawings as best as we could.". (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, accompanying booklet, p. 9) Doug Drexler remembered seeing the study model after he was hired on the show: "Bob had just gotten done showing me Greg Jein's little five inch maquette of the Enterprise-D. It was the first time I laid eyes on the new configuration. I remember all the little windows being penciled, and I remember Bob's obvious pride in the design. "Not a straight line on it," he enthused, referring to the ships curvy appearance. Curves meant that the show had a substantially better budget than in 1966."
Adopting the hands-on approach from then on, Probert kept in very close contact with the model shop of ILM during the build of the two models. A second clay study model was commissioned (constructed around a carton skeletal structure for internal integrity), this time as a two-part model to reflect the saucer separation capability. This time the model followed more closely the lines of the ship Probert had in mind. By the time the model was delivered to the producers, construction on the larger studio model had already started. (Star Trek: The Next Generation - The Continuing Mission, pp. 18-20) Again built by Jein, this version was presented in person by an ILM representative to Roddenberry at his Paramount office for his approval, after which the model was used by John Knoll to test out his below-mentioned "slit-scan" technique. Not seen for decades afterwards, the study model resurfaced in the collection of ScienceFictionArchives.com, an European organization that is dedicated to preserve science fiction production assets for public display purposes, such as in museums. The whereabouts of the first concept model though, remain unknown.
Once given the go-ahead, a second set of one-to-one scale working drawings of the six-foot model were prepared and sent to ILM, and from then on the model-shop was on a tight schedule. "They called us on a Friday. They said, "OK, we accept your price to build the ship; we want you to start on Monday and build it in 10 weeks." I said 12 weeks. I knew what it took to build other ships, and I knew that this one would be more difficult.", Mann remembered. () First order of business for Mann was composing the team that was to build the two models. As lead modelers he chose Greg Jein (as pattern or master lead) and Ease Owyeung. The team was further filled out by Sean Casey, Bill Concannom, Bill George, Wesley Seeds, Larry Tan, and Howie Weed, while Steve Gawley was given the task of preparing the Excelsior-class studio model, for its re-use. ()
Six-foot model
Awarded the contract to build two differently sized physical studio models of the Enterprise-D for the new The Next Generation television show, ILM faced some problems where the larger of the two was concerned, the one that was to be known as the "six-foot model". As Model Shop Supervisor Jeff Mann recalled:
"The principal difficulties with this model were: First, this Enterprise has a detachable saucer; and second, the shape is very flat, which makes it difficult to mount – that is, the center-of-gravity was positioned so that it couldn't be supported easily. Also, when you have someone specifying the paint scheme and windows so very specifically, as Andy Probert did, it takes much more time – you have to be very careful and plan things out.
"The ships we did for the Star Wars movies were much looser. The art director would say that he wanted this kind of a look with this paint job and panels. We have a way of detailing the ships with a team of guys – sort of like a quilting bee. Using airbrushes and pre-etched brass stencils, we move around the ship in a somewhat random pattern. It's like an impressionistic painting when you stand back, turn your head sideways and squint. It works. It's very subtle and it helps the scale." ()
Build
After receiving large one-to-one scale orthographic working drawings for the six-feet model from the studio, construction started on Monday . First thing to be addressed was the solving of the center-of-gravity challenge, which Owyeung had to tackle in the manufacture of the machine shopped aluminum armature framework. Mann explained:
"The armature was really a difficult problem, which had to be solved right away, because, of course, everything is built around the armature. The old Enterprise has a nose mount in the center of its body – no mounts are on the dish, but right about the center of gravity, there are mounts going out each side and the bottom and the rear, The new Enterprise is generally a flat ship since the engine nacelles don't stick up and the saucer is elliptical; the ship is very nose heavy because of the enormous elliptical dish, which puts the center of gravity somewhere up in the neck and dish area. We had to come up with a a really complicated armature that would allow us to shoot the ship from all positions – both together and then split apart, because this new Enterprise is essentially two ships. In concept, we would be dealing with 12 mounting points.
"Ease came up with a pretty simple method that involved mounting the dish on the top or bottom and making the armature strong enough so that even if you grab it at one end with the other end of the ship just cantilevered, it would still hold. On our other ships, the saucer has an edge which is about two or three inches thick, so it would be possible to pop a panel off and run a mount arm in. But on this design, the saucer tapers down to almost a point – maybe a quarter of an inch. To run a mount arm in, we would need to do much more than pop in a panel, we would have to take a section out of pie out, and then we couldn't shoot the model from the top or bottom.
"Ease designed a mount arm that emerges out of the dish's top or bottom and makes a right turn, it is structurally sound enough to support the entire ship – and this [is] the heaviest ship we ever built. There is another mount at the neck and others at the bottom, the rear and the front of the body. So, I guess there are six different mount points that allow you to shoot from any direction." ()
In the meantime, while Owyeung was solving the question of the structural integrity of the model, Greg Jein turned his attention to the manufacture of the masters or patterns of the model from which molds were to be taken for the casting of the parts, that were to be used to construct the final model. Mann elaborated further:
"Jein's basic approach was to use station points on Probert's drawings to create sectional ribs out of Plexiglas. Styrofoam was used to to fill in the gaps and was laid over the surface, It took a lot of hand work to sand down the Bondo down to the ribs.
"For the elliptical dish we had a side view and a front view, but everything in between wasn't drawn. So, we got the computer graphics boys in, which we thought would be a really fast way to get the sectional views we needed. But it turned out that their schedule and ours wouldn't work out. Greg said, "I'll do it!" and he came up with a way of shortening each rib – he must have made at least 100 of them, and he had to do it for the top and the bottom of the saucer."
To which Jein added, "My main concern was getting the shell to the right contour. On my first attempt, I thought I could get by with fewer station points, but the curve was so complex that the shape began to dip. On the second try, I made enough station points so that it was practically a solid mass front to center. I filled in the rest with rigid polyfoam and finished off the surface in Bondo, which was sanded down to the Plexiglas station points." Once sculpted, the master's surfaces were imprinted with details or, as Jein put it:
"If you're going to the trouble of creating a pattern, taking a silicon mold and making casts in fiberglass resin, every casting should come out of that mold relatively finished, rather than casting a simple shape and having to detail every casting. Once it was formed and shaped, we used a mixture of Bondo, glass cloth and polyester resin to harden the surface. Then, when we got this nice smooth surface, we laid down tapes in three smallest gauges in a cross contour all over the ship's surface. Once the tape was down in a position we liked, we sprayed the model with an automotive primer and peeled it up before it cured, thereby leaving a depression in the paint. It's like a reverse stencil; it allows us to make corrections by just moving the tape, rather than inscribing into the model and having to correct that." ()
After Jein's team had applied all the tapes onto the master and inscribing additional details into it, mostly to indicate where all the windows were to be positioned, liquidized silicone rubber, after an intermediate process to stabilize the master, was poured over the master. After solidifying the rubber was pulled off the master, resulting in a negative mold. These molds then served as a tool into which heated glass reinforced plastic was poured. Vacuformed, i.e. the air sucked out of the space between the mold and the plastic to achieve a perfect fit, this eventually resulted after cooling off in a cast, once the flexible mold was pulled off, to be used to construct the final model with. The resin chosen was transparent, as after application of the paint layers, details such as the windows then could be showcased by merely scraping away the paint layers and/or removing the masking tape on those applicable places where the internal neon lighting was supposed to shine through. (Sci-Fi & Fantasy Models, issue 29, pp. 52-53)
Establishing the color for the Galaxy-class
As the build of the six-foot model was nearing its completion, Probert turned his attention to giving the model its color, like his predecessor Jefferies had done with the original Enterprise. Probert had a specific goal in mind when deciding upon the color scheme, "When I did the Enterprise-D, in my attempt at easing the visual move into a new shape Enterprise, looking [at] a lot of footage of classic Star Trek and all of the Enterprise flybys, I specified the color to be very subtle shades of blues and greens." (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, p. 8) Probert's intent was to approximate the bluish hue as it was seen on screen in the original run of The Original Series:
"The fans were very concerned that we were replacing the original series. In order to soften some of that anxiety I wanted the two ships to be colored basically the same. Well, because of the low degree of technology compared to today, when the original Enterprise (which was actually a warm pearl gray) was filmed it picked up a lot of the blue spill [light used in the visual effects process] and therefore became bluish. What I did was indicate that the paneling of the D be painted in two shades of blue. One is a duck egg blue, and the other is kind of a sky blue, which is the base color the hobby kits are molded in. By mixing the two blues together I was hoping cinematically that there would be a close tie-in with the color of the original ship." ()
The paneling Probert referred to was the re-introduction of the "Aztec-paneling", the interlocking hull plate pattern on the saucer section originally conceived for the Motion Picture Enterprise in order to ease some of the concerns as worded by later appointed Visual Effects Supervisor Dan Curry: "But when we photographed the big ship very smooth, we couldn't tell the difference between it and a very small ship very smooth, because photographically, particularly on television and in order to create that sense of scale and hugeness, we needed three-dimensional relief, something to cast shadows." Eventually Curry's concerns were only partially met due to time restraints. He further recalled:
"On the six-foot model, another two months would have gotten us the detail I wanted, but I had to be practical. We had to get the model photographed and into the show. Although the use of the blue and green paneling worked well, I also asked for more "weathering", to make the surface more believable, even though we're reasonably sure that there's no weathering in space, no grease stains, no oxidation like you would have have on an airplane. When you have a completed model like that and it's painted and it looks pristine, it's not believable because it's pristine. It needs a certain patchiness to it, and the more detail you can get into a miniature, the more believable it's going to look" (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, p. 9)
The "hobby kits" Probert referred to was AMT/Ertl model kit No. 6619 that was released within a year of the show's first airing. AMT, for whom Probert concurrently served as a consultant , maintained close contact with the Art Department as their painting instructions proved to be highly accurate. A pre-production evaluation model was sent to the studio and ended up as display piece in various episodes (see below). How close this contact was, was evidenced by the fact that they unwittingly copied an in-joke one of the modelers performed on the studio model. Detailing the numerous panels onto the model was drawn-out and tedious work, and one of the modelers, no doubt in a mood of tediousness, arranged some of the panels to read "Ugly". Never discernible on screen, it was dutifully carried over onto AMT's instruction-sheet. (Sci-Fi & Fantasy Models, issue 29, p. 54)
Probert has given a detailed overview of the colors he has used on an archived version of his , specified as follows:
notes:
When Probert saw the first footage of the model shot under studio conditions, he was surprised that the result was the exact opposite of what he had intended. The intense studio lights blurred the color scheme into an overall gray color (as it did when still-photographed with flashlights; – see picture below of the "anti-time" variant of the four-foot model), ironically making the model approximate the appearance of the original Enterprise model as it was under flat-lit conditions. Though to date, no production confirmation has ever been forthcoming supporting the assertion, Probert has always been under the impression that this had been done on purpose. "For some unknown reason, however,... those colors were intentionally neutralized when the miniature was filmed, reducing it to the ranks of yet another gray spaceship. And this dis-coloring was perpetuated in subsequent movies." . Nevertheless, this color scheme has been adhered to for the remainder of the series and has been carried over to the later four-foot model as well as to the contemporary Nebula-class studio model.
Production use
Upon completion, the model, measuring 78 × 59½ × 14½ inches, was retained at ILM, as the company by that time had secured additional rights to shoot stock footage, especially , of the model and the going-to-warp sequences for the pilot episode . The model was delivered on schedule, "(...)and we actually started shooting the ship on June 1.", newly appointed Visual Effects Supervisor Robert Legato confirmed (, issue 132, p. 55). Usage was made of the six-feet model since then, in providing additional stock footage at Image G until the advent in 1989 of the four-foot model in , though the stock footage shot up until then was utilized throughout the remainder of the series. As the production staff had decided upon a relatively small class of only six vessels in service, no other Galaxy-class vessels were called upon to make an appearance during the run of TNG, with the exception of the (NCC-71807), which was represented using stock footage of the Enterprise-D. The Star Trek: Encyclopedia mentions that Michael Okuda made decals for the Yamato for its appearance in , but it is unclear whether the six-foot model was relabeled or if the decals were created for the debris seen in that episode. ()
Less than a year later, in 1990, Robert Legato's visual effects team was forced to pull the six-foot model back from retirement for use in the season four episode . The script specified that the Enterprise-D performed a battle maneuver that involved a saucer separation for which stock footage was not sufficient and the large model was the only one that was constructed to do so. Having quickly become accustomed to the easier to handle four-foot model, which was on top of it also outfitted with an easier to operate lighting rig, the team was less than enthusiastic of having to work with the larger, more unwieldy six-foot model again. Having to handle the large model again, "(...) proved to us what a pain that model really was to shoot.", an evidently terse Legato commented. (Cinefantastique, Vol 22, issue 2, p. 34) Legato was not alone in his assessment. Close co-worker, Visual Effects Coordinator Gary Hutzel, had issues with the model too, as he reminisced in 2012, "The original 1701-D Enterprise, which we received from ILM, they constructed at ILM, was a very sophisticated model for its time. My understanding was it cost approximately $75,000 to have constructed. It had very complex internal lighting systems and very elaborated animated elements in the foreground nacelles and all that. When we received it, the first thing that struck was that it was gigantic. The saucer was an oval, so it was very wide, it was made of fiberglass and aluminum framing, and it was constructed in such a way that the saucer could separate from the main body. So, it was a very, very heavy model. It took anywhere between four and six people to pick of off its stand and reorient it for any of the shots we had to do. So, it was very, very heavy and in addition it was very complex. It had fourteen separate, high-voltage neon light circuits in it, which I had to rig every time we had to shoot it. And I wish I had a dime for every time that sucker shocked the bejeebers out of me when we were going to plug it in, or unplug it, because we get an arc from that high-voltage source." (TNG Season 3 Blu-ray-special feature, "The Trek Not Taken")
Four years later, the services of the six-foot model were called upon yet again for appearance in . The only other alternative, the four-foot model, was not an option as it was too small for the big screen and was still in use for television productions. Most importantly, it was not capable of saucer separation and the script for the movie required one. When hauled out of storage and delivered to ILM, it became clear that the model needed a refurbishment to meet big screen requirements. Visual Effects Art Director Bill George, who was part of the original construction team seven years earlier came full circle, when he again had to work with the model:
"I have to admit, when I first saw the Next Generation's Enterprise, I didn't like it much, but it has definitely grown on me. I view most of the Star Trek ships as Art Deco – they're very simple shapes put together – but I think the Next Generation ship is more Art Nouveau. Quite frankly, it was a very difficult model to build because of that. It's definitely the next stage, and it's more organic. There are some things I've always wanted to do to that Enterprise, but Rick Berman just wanted us to give it a facelift. I wanted to change the paint job, because we didn't have a lot of time to paint it when we built the model back in 1987, and the green and blue color scheme didn't read on television. Rick agreed, since the six-foot model was pretty beat up. We stripped off all the paint and decals and Bondoed all the dents and scrapes where the motion-control camera had run into it. We took the color more toward a battleship grey, and also, per John Knoll, added some glossy areas because he liked the tiled look of the original Enterprise. When there's raking light across it, you can see that paneled look and it's really beautiful." (American Cinematographer, January 1995, p. 79)
Once Berman came around to his way of thinking, George added, "Rick said that people who watch the show have fallen in love with the Enterprise, and when they see it in the theater, they should fall in love with it all over again." With regard to the glossy highlights which so bedeviled camera teams in filming The Motion Picture Enterprise, George clarified, "Now that we've entered the digital realm, we don't have the same enormous problems we once did with blue spill. John Knoll felt that adding these glossy areas – where there would be glints of reflected light – would really help the scale. Embellishments, such as the accentuation of numerous emergency "lifeboats" visible in relief along the hull and scale graphics identifying each of them, provided additional detail." (Cinefex, issue 61, p. 70)
Replacing the paint scheme was not the only thing that had to be tackled. Years of storage had taken its toll as Model Supervisor John Goodson clarified:
"I think there were an average of about three people for about twelve weeks to refurbish this model. We took the thing completely apart and replaced a lot of the missing neons or neons that were broken on it, rewired the engines, went into it, did a lot of cosmetic body work to it. It was like an old car when it showed up. It had a lot of things that were broken, the front of the engines were falling off, the impulse engines were gone. We did a whole new paint job on it, which was about two months worth of painting, because we kept masking and masking and masking. We actually kept all the masking tape of it, and it ended up as a ball this big. [Goodson spreading his arms wide to indicate the size]" (Star Trek Generations (Special Edition) DVD-special feature, "Inside ILM: Models And Miniatures")
Despite considerable efforts of ILM to outfit the six-foot model with a new livery, unexpected reuse of stock footage of the model originally shot for turned up in Generations. The first use was an establishing shot just prior to the scene in stellar cartography, while the second was a view of the underside of the ship during the saucer separation. As the model had been refurbished for the movie, its use constituted a continuity breach. "This created a problem later on, when Berman & Lauritson decided to save 12 cents and reuse a stock TNG flyby from the pilot for Generations (right before the Data/Picard cartography scene) ...for that shot, you've got a very old ship element that they had to tweak like crazy to get it looking like the repainted D, not all that successfully. And it wasn't even ILM who recomp[osit]ed that shot, it was Jeff Matakovich (sp?), who did it as an optical, not a digital comp.", Kevin H. Martin (author of the feature article in Cinefex) recalled. When interviewed by Martin, Visual Effects Supervisor Ronald B. Moore justified the decision, "The production decided to reuse a couple of stock Enterprise-D shots from the series. It was a matter of time and money; but, in truth, there was no reason not to use them. So we dug up some shots ILM had done for the pilot episode. They were generic shots, and we had comped them a lot of times. We considered the recompositing of these shots on the computer, but since the elements had been shot Vistavision, I suggested that we have them done optically by Jeff Matakovich at Optical Illusions." Admitting there was more work involved than originally envisioned, he continued, "The film had more weave and motion than we liked; so, very quickly and economically, Jeff made cover mattes and assembled the comps." (Cinefex, issue 61, pp. 69-70) Nevertheless, it constituted the very first time that Probert's carefully laid out color scheme became somewhat discernible on-screen, years before the later The Next Generation remastering efforts.
Its use in Star Trek Generations, proved to be the last time the six-foot studio model was ever used as a production asset. The shot of the saucer section breaking through the cloud cover of Veridian III was the last shot of the model seen in a Star Trek production.
After shooting, the model for Generations had been modified to have the registry read "USS Enterprise NCC-1701-E". It befuddled Penny Juday, then archivist at Paramount Pictures, who had no explanation for this change as she uncrated the model for the TNG Season 2 DVD-special feature, "Inside the Starfleet Archives" on 19 October 2001. However, the change was done at ILM by Goodson prior to crating up the model after completion of Generations. He assumed that the new Enterprise might be a Galaxy-class ship as well and changed over the number to save whoever would do the special effects the trouble of having to change it over themselves. (Industrial Light & Magic: Into the Digital Realm, p. 60)
Post-production use
Relabeled back to "NCC-1701-D", known as , part of the 40 Years of Star Trek: The Collection auction and estimated at US$25,000-$35,000, the six-foot model was eventually sold on 7 October 2006 with a winning bid of US$500,000 ($576,000 including buyer's premium). The model, still carrying the battle damage scars applied at ILM for its last appearance, eventually became the highest priced lot of he auction. Incindentally, when taking the undisclosed seller's premium for the sevices of the auction house into account, this actually constituted pure profit (roughly an gross profit of US$190,000 in 1987 prices) for the franchise as the model, constructed at the above-mentionded cost of $US75.000, was completely written off as a production asset.
The model was acquired by Microsoft's co-founder for his Science Fiction Museum and Hall of Fame in Seattle – now known as the (MoPop) – , though it was initially not put on display due to space limitations in the museum. It eventually resurfaced as part of the Star Trek: Exploring New Worlds exhibition, when it was displayed at MoPop from 21 May 2016 to 28 May 2018 , becoming subsequently a touring exhibition.
Two-foot model
Fully aware of the fact that the six-foot model was to be a large, hard-to-handle model, the producers, taking a cue from their predecessor, decided to have ILM build a smaller two-foot model of the Enterprise-D as well for the new The Next Generation television show, for shots where detailed views were less of an issue.
Build
Because of this, the small model needed less detailing, less elaborate lighting, and also did not need to be capable of saucer separation. This made it easier to build for the crew, who followed essentially the same building methodology as with the six-foot model. Unlike its predecessor, the three-foot Constitution-class studio model, which was originally only intended as study model and for public relations purposes, the two-foot model was from its very inception intended to serve as a full worthy filming model. It was therefore outfitted with internal lighting, though that was limited to the warp engines, navigational lights and deflector dish. As for the windows, Visual Effects Associate Eric Alba has observed, "This model is different from the 4 and 6 footer in that there were no electronic lights built into the windows. Rather, 3M reflective tape was placed where windows were and were illuminated with a simple lamp. Michael Okuda later added in this respect, "I should clarify that while the 2' Enterprise didn't have interior window lights, it did have little bits of retroreflective tape for the windows. This ingenious technique wasn't as effective as internal neon lighting, but it did allow for the illusion of internal lights on models that were too small for neon. The glow from retroreflective tape (like the lettering on many highway signs) was often dimmer and sometimes did not show up well in the original video composites."
Reportedly, the construction costs for both the two-foot and six-foot models, came in at around US$75,000. () Two internal memos from Associate Producer Peter Lauritson, one dated were the costs were stated to be US$72,750, and one dated where they were adjusted upwards to US$73,663 ($77,479 including tax), gave an impression how the costs developed. As a comparison, the single Motion Picture Enterprise model constructed nine years earlier came in at double that price.
Use
Upon completion, the model was turned over to ILM's 's film crew for filming the intricate "going-to-warp" sequences in conjuncture with the big model. Additional footage was shot at Paramount Pictures for the pilot episode and at Image G afterwards, until the advent of the four-foot model early in TNG Season 3, after which the model was retired though stock footage remained utilized throughout the remainder of the series.
One way of distinguishing the two-foot model from its larger counterpart, at least in the more static shots, were the front, port and starboard running lights on the saucer. These were far more pronounced on the smaller model, as the light bulbs used were large in relation to the scale of the model. Apart from this, there was less overall lighting, especially on the ventral side of the saucer section, partly for the technical reasons as touched upon by Michael Okuda. For the remastered version of The Next Generation, some of these deficiencies were corrected (see below). Okuda clarified, "Today's digital compositing tools offer more flexibility, so are sometimes able to pull more detail out of the tiny retroreflective windows." The remastered version has also made it easier to discern the pronounced separation lines between the saucer and secondary hull, which were far more pronounced on the six-foot model due to that model's two-part construction.
A notable appearance of the two-foot model occurred in in the scene where the Enterprise-D approaches Starbase 74. Explaining the scene from a cost-saving point of view, Robert Legato related: "One week the Enterprise was supposed to visit a space station, so we constructed it around stock footage we have access to. We took some footage from one of the four features and used the background with the space station in it. We then matted in the new Enterprise, following the exact movement of the old Enterprise. So it had a lot of production value, but what it cost was the expense of compositing those shots as opposed to building a space station and setting up the shot from scratch. You use what you got, and disguise it a bit. We do that quite a lot." (Cinefantastique, Vol 19, issue 3, p. 33) Image G's Tom Barron, delving a bit deeper into the technological aspects of the scene, elaborated:
"For one episode, we had the new Enterprise fly into the background footage drydock used in – and what we wound up doing was running a tape of the movie and matching the moves and angles of the old ILM shot by using comparison mix. We matched the interactive light as well. Like everything else, we shot the moves on half-inch JVC video recorder and then ran the tape over to Rob and Dan who gave us suggestions and approval." (Cinefex, issue 37, p. 21)
The creative use of this stock footage did not meet everyone's approval as Probert's later observation showed:
"Going into the Spacedock was ludicrous, and I was fighting tooth and nail to get them to not do that. The producers simply shrugged their shoulders and said, "Well, we'll say it's a bigger Spacedock," but that logic really didn't work for me. The system that I proposed was that the Enterprise to be serviced and docked on the existing space station' exterior, because it has an umbrella-like rim – a mushroom head, if you will – under which the Enterprise could have been docked by connecting the dorsal replenishment systems, but... There's a lot of things that sort of fell by the wayside, and it is what it is."
Probert eventually produced a matte-painting that was used to show the Enterprise-D docked inside Starbase 74. At Image G a close-up shot was taken of the six-foot model, combined with a maquette of the gangway, which was especially constructed for the occasion. The shot was printed on a plate and sent to Probert, who produced the interior of the station and incorporated the ship plate in his painting, adding touch-ups on the ship and gangway. Footage of people walking through the gangway as well as the addition of a passing shuttle drone were added in post-production.
The current wherabouts of the two-foot model are unknown. Unlike its larger counterparts, it has not yet appeared in any auctions or exhibitions.
Filming the six and two-foot models
Originally only contracted to build the two studio models, ILM was able to secure an additional commission to do visual effects photography for the pilot as well including shooting effects shots of the Enterprise-D model(s). David Carson remembered, "They sent us a tape of clips of the old TV show, about 40 of them, different fly-bys: bank left, bank right, comes close, goes far away, etc. They pretty much covered their needs. Their intention was to draw from this library of basic shots wherever appropriate throughout the 24-episode season. Elements we shot could be matted into a variety of backgrounds which could either be pulled from the features or new backgrounds to be produced." ()
Going-to-warp sequences
The first order of business was getting the going-to-warp sequence of the new starship for the title sequence of the new series on film, as envisioned by Robert Justman. In a final proposal to Roddenberry, he worded the main title sequence as "As narration finishes, the warp engines suddenly glow brightly and the Enterprise hurtles away from us, accelerating into warp speed. The ship seems to stretch longitudinally in a kind of "rubber band" effect as the forward part of its image pulls away from the rear part. A beat later, the rear part of the image snaps forward and rejoins the part." ()
As difficult it was to come up with the concept (Justman had an even more difficult time coming up with the opening sequence for the ), executing the effect was even more difficult. It was at this time newly appointed Visual Effects Coordinator Rob Legato stepped in:
"ILM was also instrumental in providing us with the rubber band warp-out effect. Though it looks like a video effect, it was done on film. The idea is that the Enterprise stretches out or elongates as it goes into warp drive. Then as it reaches its speed, it snaps back like a rubber band and goes off into the distance. I read that Douglas Trumbull had tried to do something similar on Star Trek: The Motion Picture, but was unable to get it together in time. No one had ever a three-dimensional model before and he encountered terrible problems using a literal slit moving in front of his camera lens. I came up with the alternative idea of scanning a slit of light across a two-foot model. The camera would be positioned very close to the tail of the Enterprise while a projected sliver of light swept across the surface from the rear to the front. As the light scanned forward, the camera would open onto the film. By the time the camera reached the end of its track, the sliver of light had reached the front of the Enterprise-now fifteen feet away and very tiny in the frame-creating the effect of a stretched starship. By repositioning the start and stop points of the camera, the image of the Enterprise could be made to literally stretch and collapse on demand." (Cinefex, issue 37, pp. 6, 8)
On another occasion Legato said:
"We thought that we could just do a streak effect as had been done in the films. But I came up with an idea one morning, phoned the FX supervisor at ILM; it sounded good to him and he wanted to try it. We create the effect by moving a slit of light across the model, while the camera is moving backwards. This technique makes the image stretch as if it's made out of rubber. The first test looks great, bur there are technical problems. There are certain lighting conditions in which this effect will work, mostly side lighting. You have to have a fill slit, too, so the model doesn't jump into a completely different lighting set-up. For the effect, the model is only illuminated by the slit, so the model would suddenly switch to all key light and no fill. On Star Trek, the convention has always been to use a great amount of fill light, much more than would really exist in space. So, we had to come up with a traveling fill slit moving at the same time, but we found that we could only get it to work in certain situations. We would love to do more warp shots, but they are very very time-consuming, and therefore, expensive." (, issue 132, p. 56)
Once the details were worked out it was left to ILM's John Knoll to actually create the sequence. Having to work with both models, the innovative technique was not without its flaws:
"The original effect was done using motion control and slit-scan, which was really the only thing that was practical at the time. The problem with slit-scan approach, which involved projecting a slit of light onto the model from front to back, was that we couldn't have rim light, all the light had to come directly from the side, and we couldn't do slit-scan on a light pass. If you analyze the warpdrive stretch in the TV show, you'll notice that the portholes go off as soon as the stretch starts! It worked fine for what the TV show intended to do, but today it just barely holds up, even on television." (American Cinematographer, April 1995, p. 87)
The "blinking-off", Knoll refers to, is the transition of the six-foot model to the two-foot model after the flash of light of the warp-engines in the sequence, that also conveniently served to disguise the transition. ILM's Bill George later further clarified, "One of the reasons that flash occurs in the opening credits when the ship goes into warp is because we switched from the six-foot model to the two-foot model. We used the two-foot model for the stretch effect, and the six-foot model for the fly-by. Well, they didn't quite match, so that's why the flash is there – to cover the fact that when we're switching from one model to the other, we kind of used it to cover the discrepancies between the two models." ( (hardback), pp. 271-272)
At the time shooting these sequences was a very expensive and time-consuming technique, requiring several minutes per frame and tying up valuable camera and stage time for hours or even days. Thus only three "going-to-warp" sequences were ever made by ILM, to be utilized throughout the remainder of the series. (Cinefex, issue 37, p. 8) Carson mused at the time:
"When the studio asked us to create the distortion effect, we discussed several possible techniques. On the same day, one of our guys up here and Rob Legato at Paramount both began to pursue the same technical approach. We found that while it wouldn't be easy, it would be possible. There are only three shots in the first episode where it needs to make the jump. It looks pretty good. I don't know how feasible it's going to be on a continuing basis to have this jump to light speed; it isn't an easily achieved effect. Of the three shots we did, I suppose one of them could conceivably be used in a stock situation, but so much depends on the script. Usually, when the ships jumps. it's because it is in trouble or something is chasing it or whatever. It remains to be seen how generic the jump we've done for "Farpoint" is." ()
Legato himself added a simplified sequence, shot on the Paramount Pictures lot itself, "Three warp shots were created at ILM, and one was done here at Paramount. The one we did was a simpler shot of the Enterprise as seen in full profile. When you see the ¾ back shots, the effect needs to be created three-dimensionally; in the profile shot, you get by with doing it two-dimensionally using normal slitscan techniques." (Starlog, issue 132, pp. 55-56) Partly because it was easier and partly because ILM was busy filming the six-foot model, Legato made use of the two-foot model for this warp-sequence as well as for filming some additional stock-footage. () Legato's warp sequence was not utilized in the pilot episode, but showed up for the first time in the episode .
These four shots were later supplemented by two more sequences Legato had made for using the same technique. (American Cinematographer, January 1992, p. 87)
Stock footage
Once the "going-to-warp" sequences were completed, attention could be directed to shooting stock footage. ILM took on the task of shooting this footage of the six-foot model. The studio made most of the situation as Carson recalled, "So, whenever possible, we extended the shorts that they needed. For Instance, if they needed a shot of the Enterprise that might be only three or four seconds long for this episode, they would ask us to start the shot much further away and finish the shot much closer, so that we might deliver a 20-second shot, They could use the portion needed for that episode, and hopefully use other parts of the shot or the expanded shot for future episodes as well. (...) Additionally, we provided elements that could be used in more than one situation. In some cases, for example, where they asked for one element with a shadow pass over it, we would also provide an element that had no shadow on it, so they could use it in later shots.", Effects Manager Patricia Blau added. ()
While ILM was busy composing a library of stock footage of the six-foot model, Robert Legato had other plans with the two-foot model. Feeling that it was impractical to have ILM produce everything on the pilot or eventual follow-ups, he decided to look elsewhere for additional visual effects suppliers. Legato was a former employee of visual effects provider Image G, and approached them with a request to produce effects for the second regular episode, . Tom Barron recalled its first acquaintance with the franchise: "One day Rob came in the back door with this rock! He literally comes knocking on the door and says, "Hey look, you guys shoot stuff and you got spare time in your schedule. Shoot me this thing." I'm not exactly the most aggressive executive producer around, and we didn't have anything else going on that day, so we shot it." Barron's company shot footage of the two-foot model and the Oberth-class studio model dressed as the as a courtesy to Legato. () Image G eventually became tthe regular provider of motion control photography shots from the second episode onward until the technique was no longer employed in the television franchise.
Discounting the going-to-warp sequences, ILM and Paramount between them produced a library of about forty effects shots of the two models for the pilot. The producers' idea was to use this library for all the ships shots, much like it was done for The Original Series, as a cost saving measure. "The plan was to take the library shots from ILM and add about five per show", Legato said (referring to all VFX shots, not only the ship ones), adding a bit ruefully, "That was probably a little naive... The pilot needed two hundred and ten shots, the second show had seventy-five, the third eighty, and so on, so by the sixth or seventh show we found it was cheaper just to "trick" (custom shoot) each one out." () More specifically in regard to the Enterprise-D he elaborated, "The ILM method never really panned out. In no time you've run through all the shots and they're all dull, because they don't move. We generally shoot new things for each show. After a while you have so many different variations that you can do it." Having made the comment at the end of TNG Season 4, the library had by then been augmented by Image G to more than 350 shots. (Cinefantastique, Vol 22, issue 2, p. 33)
The remastered edition
In 2012 a start was made with the release of the remastered version of The Next Generation television series, starting with Star Trek: The Next Generation - The Next Level sampler Blu-ray Disc. Like its predecessor, the remastered Original Series, intent of the project was to upgrade the original footage to 1080p , to meet Blu-ray Disc standards. Unlike its predecessor none of the visual effects were slated for replacement with newly conceived computer generated imagery, or as Project Consultant Mike Okuda has put, it, "We love the approach that CBS took for this project. We take the original film elements and put them together in a new way. The material still has all the details and they are beautiful. And the new visual effects are really the old visual effects but a lot more beautiful than you have ever seen them."
The newly composited, enhanced, and color-corrected footage has resulted in far more detailed imagery. For example the hull paneling, including the duck-egg blue highlights, on the Enterprise is better discernible. The project also brought out details that were present in the original film but which did not show up on the original master prints, such as the dim lighting on the ventral side on the footage of the two-foot model. Some use of CGI was made however, but that was restricted to correcting continuity errors, such as the "blinking-off" issue, mentioned above, or for replacing original elements that were either technically impossible to upgrade or simply lost. An example of the latter case occurred for the episode where a missing shot of the aft of the six-foot model was replaced with one utilizing a CGI model.
Costs of filming the studio models
The aforementioned Lauritson memos (which were part of of the lots sold on 27 June 2002 in Profiles in History's The Bob Justman Star Trek Auction) also provided some insight into the costs incurred of filming the models for the pilot episode. On 12 May 1987 the motion control photography costs were projected as :
Miniature Photography (library shots) (includes warp test and video composting)
US$169,200 ($180,198 including tax)
of which were:
Build Split-Apart Model Section [remark: The partial "Battle Head" model–see below–for the saucer separation sequence]
US$15,000 ($15,975 including tax)
All "Enterprise" and "Hood" Photography (headed as "Motion Control Photography (40 Shots)" on the April 1st memo)
US$63,000 ($67,095 including tax, adjusted upwards from US$62,200 of the April 1st memo)
Four-foot model
During the break in filming between season two and three of the The Next Generation series the Visual Effects Producers made a conscious decision to have an intermediate sized studio model of the Enterprise-D made for practical reasons, what was eventually to become known as the "four-foot" model.
Raison d'être
Overriding practical reasons for doing this occupied the minds of the producers and they were mainly two-fold, as Dan Curry explained:
"We had the six-footer and we also had the two-footer, and something that must have intellectually interesting to Andy was the idea of this perfectly smooth ship that was absolutely huge, and if you saw it in person the scale would be rapidly apparent. But when we photographed the big ship very smooth, we couldn't tell the difference between it and a very small ship very smooth, because photographically, particularly on television and in order to create that sense of scale and hugeness, we needed three-dimensional relief, something to cast shadows. That's why we built the four-footer. And also because the six-footer was really too big to be manageable, particularly when we shot matte passes, where you have enough lit cared behind the ship to obtain a silhouette. (...) So if you had a big move going around it, it would sometimes take a day to get the matte pass because the ship was so huge. And the four-footer turned out to be a more manageable size." (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints,booklet, p. 9)
Echoing Curry's statement, colleague Ron B. Moore has added, "When we started TNG we had two models of the Enterprise-D. One was six feet long and looked really great. We could take the saucer off, though not without a lot of effort. The other was a two-foot model that didn't look so good up close but was great for distant shots. Somewhere around the third season Rob Legato had a third model built. It was four feet and was a great compromise. It gave us a lot more flexibility in shooting the models. From that point on most of our models were at that scale or smaller." (Flying Starships, p. 35) As to underscore the remarks Curry made about the manageability of the six-foot model, a private behind-the-scenes video shot by Gary Hutzel demonstrated that it took six people to move that model around. "It takes six guys just to take it of the stand and turn it over, and those guys are wetting themselves with fear, because you drop this or a nacelle breaks or something, you could set the company back.", Doug Drexler jokingly commented. On a more serious note, Rob Legato additionally commented, "I didn't agree with the idea of making the model that big originally. It made shooting difficult because you couldn't get back far enough. [remark: Legato refers to the space limitations at Image G where the camera, due of the size of the model could not be retracted enough to get forced perspective shots] And there was no detail on it, Detail was drawn on in pencil. You can't get close to it, so there's no reason to have it that large." (Cinefantastique, Vol 22, issue 2, pp. 33-34) Legato went on explaining that the lighting system on the six-foot model was very cumbersome, needing a full hour just to set up the model for filming. Hutzel devised an on-board neon transformer for the new four-foot model, allowing the lighting scheme to be changed by flipping a few switches and avoiding being electro-shocked, as he was by the big model.
The four-foot model was also useful for close-ups as well as for forced perspective shots, thereby eliminating the need to switch between the two-, and six-foot models at Image G resulting in significant time savings. This versatility of the four-foot model rendered the original models virtually obsolete as they were almost never utilized again.
Build
Once the decision was made, the task of building the model fell upon Gregory Jein, Inc., whose four-man team, which included, amongst others, Bruce MacRae and Dana White, had to pull off all-nighters during the 1989 Thanksgiving season to have the model built in time. His team also received help from production staff associates David Takemura and Michael Okuda and outside contractors Ed Miarecki and David Merriman, Jr.. Merriman recalled:
"Greg called, explaining the need for a smaller miniature, and asked if we had time to build a master of the warp engine and wing section of the secondary hull. Later in L.A., our masters would be used to make molds and from those tools, the translucent GRP parts [remark: the transparent grills on either side of the nacelle] of the actual miniature. (...) The completed four foot long 1701-D was, of course, an amalgamation of work performed by several people. Ellie [remark: Meriman's wife] and I did the warp engine and wing structure masters. I understand that Edward [sic] Miarecki, the same guy who did the recent, and by far the best restoration of the TV 1701 miniature, worked up the secondary hull master. Greg Jein farmed out the glass work to an outfit in Burbank and his crew did the primary hull, part assembly, painting, and weathering." (Sci-Fi & Fantasy Models, issue 30, 1998, pp. 36, 38)
Jein later related:
"When the series got a Go, they decided that at that point they needed a smaller model so they could get their camera back farther and make it disappear into infinity faster. It was also decided at that point that they would have more detail on the ship and the model that we handled down here was about four feet long and it had a lot more surface detail, so the lights would create more details on the surface. I have here a pattern for the nacelle and if you play it through the light you can see the detail that is inscribed into it. (...) This is a big difference from the ILM size." (TNG Season 3 DVD-special feature, "Departmental Briefing, Year Three: Production")
While proud of his and his team's creation, Jein recalled the sense of relief they felt upon the model's completion. "I remember when we finished work on the 4-foot miniature version of the U.S.S. Enterprise (there are several version of the starship, from 6-foot long down to only a few centimeters), we filled a thin glass grape mold with sparkling soda and "christened" the ship/model." (Star Trek: The Next Generation - Behind the Scenes, backside card 26)
Though intended to represent the same vessel, there were some other differences between the six and four-foot models as well. In order to address Curry's concerns, the surface details were slightly raised whereas the surface on the big model was smooth. "They wanted a more realistic look than the smooth surface of the initial Enterprise. We devised a thin layer of what we call 'plating'-raised surfaces. With rim light you can eventually see it's not a flat surface. There are actually levels of detail.", Jein elaborated. (Cinefantastique, Vol 23 issue 2/3, p. 95) Additionally the layout and size of some of the windows on the leading edge of the saucer section were slightly altered, to reflect the location of Ten Forward, introduced during the run of the second season, as envisioned by Mike Okuda in October 1988. Also the saucer rim was somewhat thicker, which also applied to the shape of the secondary hull that was most discernible in the deflector dish assembly area as well as the dish itself. These alterations were designed to address the issue of the Ten Forward set not having been built to scale down correctly to the window detailing of the forward rim of the six-foot model, and it resulted in a model that had a slightly "stockier" appearance. Finally the base hull color was shifted to a lighter blue- almost white-gray tone, though that had negligible effects under shooting conditions. A final, small difference, only discernible in close-ups, was the deflector dish. Aside from the overall shape, the large model had a central detail feature on which were sported two horizontally aligned circular features. These were lacking on the four-foot model, as they were on the two-foot model. Like the small two-foot model, this model also was built without the capability of saucer separation.
The slightly altered look received some mixed reactions as evidenced by a remark Dan Curry made:
"I love the shape of the Enterprise. It's fluid, it's elegant, it's got a sleekness to it. The fact that the saucer is not a circle but an ellipse reminds me of Trojan shields. It presented an engineering challenge, for sure, with all the stresses that the armature inside has to take, but I also think it presented a real opportunity. With the six-footer, most of us like the sculptural proportions a little bit better than on the four-footer. The four-footer is a bit more of a bulldog; it's stockier, whereas the six-footer really has a sleek elegance about it." (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, pp. 9-10)
Use
Debuting in "The Defector" (), it was this model that was almost exclusively used for any newly shot footage for the remainder of the series. The model was never relabeled nor modified for The Next Generation series to represent other vessels until the finale were it was extensively modified to represent the anti-time future variant.
Intensive use was made of the four-foot model at Image G for the episode where the appearance of thousands of Enterprises was called for. Effects Supervisor for the episode Ronald B. Moore recalled:
"The writer Brannon Braga contacted me and asked if it would be possible to show hundreds and thousands of Enterprises in the same shot. He was worried because he knew that if it cost too much the effect could end up being scaled down, which often happens. A script might start out asking for a fleet of hundreds of ships but then it becomes dozens and finally we're viewing this incredible fleet from the rear so the three leading ships are all we see. Brannon thought the effect was important so he wanted us to be prepared. It sounded interesting so I told him that we could do it within our budget. Then I had to figure out a way to do it!"
Options Moore considered were using a matte painting ("I decided against that because I didn't think it would have the right texture, and I wanted to have real lights on all the ships. I think the lights of the Enterprise are one of the most striking things about the ship and I didn't want to lose that."), hanging multiple models of the ship on wires (he decided against that as the slightest disturbance would cause the models to bounce around like "Christmas tree ornaments") and using existing stock footage which would not do because, "(...)the lighting on the ships would have been different for every one, and I needed them to look consistent." (Cinefantastique, Vol.25, No.6/Vol.26, issue 1, pp. 54-55)
CGI not yet being an alternative at the time, Moore eventually bowed to the inevitable:
"I finally bit the bullet and shot hundreds of Enterprises at Image G. I'd do one version, rotate the Enterprise slightly and then do the next one and the one after that until I'd photographed it from every angle I could. Then I turned the model upside down and repeated it. It took a long time to get all the elements I needed because each ship had to be filmed with multiple passes, but I felt it was worthwhile because every ship in the shot is the actual Enterprise, which is the whole point of the shot. Then I added them to the frame, starting with those that were furthest from the camera. These were so small I pretty much rubber stamped from the different versions I created. As I worked forward I added more variety in terms of movement and orientation, until the screen was filled with Enterprises."
Despite the enormous amount of work the shot was delivered on time and on budget and received high praise from the producers, though Moore had an even more ambitious shot in mind, "Ideally I'd have loved to have done a sweeping camera move through all the Enterprises, but we didn't have the time or the money for it. It's something you learn to accept when you work in television, because there are always those extra touches you wish you were able to do." (Cinefantastique, Vol.25, issue 6/Vol.26, issue 1, p. 55)
"All Good Things..."
For its future variant appearance in "All Good Things.." the four-foot model was endowed with various add-ons, designed in a collaborative effort by Dan Curry and Greg Jein. Musing about how the Enterprise would look like twenty-five years in the future, Curry elaborated, "I took a model of the Enterprise, some clay and a few spare parts and began experimenting. Everyone had ideas and Greg Jein suggested adding the third engine that helps give the future Enterprise an unique look. I sculpted a rough warp engine and added it to the model. I was very crude, like something a child would do, but we showed that to executive producer Rick Berman who thought we were headed in the right direction. Once we had Rick's approval, Greg went to work on it." (Cinefantastique, Vol 25 issue 6/Vol 26 issue 1, p. 67) Using the molds he had of the studio model, Greg cast a third warp nacelle assembly which also included two additional impulse engines. The 21" × 10" × 4.5" part, constructed around a metal armature and rigged throughout the inside with electronics and halogen bulbs for internal lighting, was attached to the spine of the secondary hull. Other parts that Jein's shop manufactured to complete the transfiguration into a future variant were the phaser canon assembly on the ventral side of the saucer, the twin torpedo launcher and two antenna like features aft and on either side of the bridge module respectively, phaser strip assemblies on top of either port and starboard warp nacelle and "speed" fins on both nacelle struts.
Doug Drexler recalled an in-joke having been performed on the model by Jein's staff when he visited the completed model on stage, "I remember going down to "G" with Mike and Denise to see the Future D on the stick. I recall that the ship had a tiny bumper sticker on its tail that said "I Heart Uranus" ," – though a picture from Eric Alba later showed up where it could be discerned that the sticker actually read, "We Heart Uranus".
The thirteen modification parts, constructed out of fiberglass re-enforced resin, were removable and as one-time only pieces normally slated for discarding. However, Visual Effects Supervisor Gary Hutzel, who genuinely loved the traditional methods of visual effects production, could not bring himself to let these parts go, and saved them from the dumpster, keeping them in storage for two decades. Ultimately though, Hutzel offered these pieces up as Lot 1 at auction in Propworx' Star Trek Auction V of 30 May 2015, where they sold for US$9,500 ($11,210 with buyer's premium), having had an estimate of $3,000–$5,000.
Final production uses
Following completion of the model was relabeled for the first time as the (NCC-71832) in the second season episode . The relabeling was done by Doug Drexler at the Art Department, who elaborated, "Occasionally if a miniature needed graphic retouching, VFX would arrange to have the teamsters pick the model up [note: from Image G] and bring it to the art department. That was always a big event, because the ships were our idea of celebrities. They, more than anything, seemed to embody what the show was all about... symbolic of Human aspiration and ingenuity."
Believing that the model had reached its end as an useful production asset, the studio released the model (labeled back to USS Enterprise NCC-1701-D) for public relations purposes, appearing for the first time as a display piece in the February 1995 opening leg of the Star Trek: The Exhibition tour in Edinburgh, UK. (Sci-Fi & Fantasy Models, issue 6, p. 24) Still, Visual Effects Supervisors Glenn Neufeld and Gary Hutzel had one more use for the model in mind for the fourth season episode and the model (along with the Negh'Var studio model) was hurriedly pulled from the tour in May 1995. Labeled (NCC-71854), the model was featured at the end of the episode as part of a relief force, interestingly sporting the phaser assemblies on the nacelles as featured in "All Good Things...", albeit in a reversed orientation and applied to the model by Hutzel, who had earlier taken the parts under his wing.
Its performance in the episode proved to be the very last time the four-foot model – or any of the physical studio models – was used as a production asset. The next new-footage appearance of a Galaxy class vessel in was already being executed as a CGI effect.
Post-production "odyssey" of the four-foot model
The four-foot model came very close to sharing the fate of its illustrious predecessor, the three-foot Constitution class studio model. Eager to get in on the hype surrounding the restaurant franchise craze around 1995, the studio immediately loaned out the model in its USS Venture livery to the newly opened Beverly Hills branch for display purposes – where it was photographed as such in October 1995 by William S. McCullars for his now defunct "The IDIC Page" website – , and subsequently…lost track of it. Penny Juday related in the TNG Season 2 DVD-special feature, "Inside Starfleet Archives", "One of the things we were searching for to keep in the archive was the model of the Enterprise-D that was used throughout the entire series [sic; Juday was also in error in her assessment that the model was made by ILM]. We could not find it anywhere and we had no real idea where it had gone." The model was eventually returned to the studio by a conscientious ex-employee when the Beverly Hills restaurant defaulted in 2000. "And I get a call from Gil Johnson from the back lot, and he says, "Downstairs in the construction office, we have this model laying on the couch that someone, it just appeared and we don't know really where it came from. Somebody brought it in, set it on the couch and here we are. We don't know really what it is, can you come over and take a look at it." So, I go over and looked at it, and knew pretty much right away what it was. So a little bit teary, I said "I need to get hold of someone who knows for a fact and can confirm my thoughts on this". So I called Mike Okuda, he came down and stood there looking at it, jaw dropping, and said "Oh my God". It was the model of the Enterprise-D for Star Trek: The Next Generation that we thought had disappeared, we thought surely somebody had absconded with.", Juday continued.
The archival photos Juday took showed the model still bearing the USS Venture markings, though only the registry – NCC-71854 – was legible. She went on describing the dire straits the model was in: "Apparently, it had been loaned for display in one of the restaurants. It had been hanging over a grill for quite some time apparently. It still had the wires hanging from it that they used to suspend it with, and holes that they had drilled in it. The nacelles were broken, it was in a really, really bad condition, as you can imagine, and it was also covered in a few layers of grease besides. And so now it's back in our possession, safe and sound in a little crate, stored in a very secret place! So, hopefully, somewhere in the near future, we get to restore it.". It lent credence to some earlier witnesses' reports on internet blogs that the model had been sighted suspended in a kitchen over an open stove.
Unlike its larger counterpart, the four-foot model was retained by the studio. It has since been restored to its Enterprise-D designation and included as display piece in the Star Trek: The Exhibition tour as late as 2012.
Four-foot break-away models
On one occasion, special purpose models, cast from the molds of the four-foot model, were constructed as break-away models for use in the Next Generation season five episode . It was felt that the special occasion of the Enterprise-D's destruction warranted a more realistic and impressive explosion. Normally, at that time, the technique used was superimposing an image of an explosion over stock footage of a physical studio model of the ship in post-production, but in this case an actual model was filled with explosives, and blown up while shooting it from multiple angles. Visual Effects Associate Eric Alba recalled, "They blew up four or five models, all built by Greg Jein. Greg always kept the molds – what we called the negative – for the ships he built, so he could create new pieces if he had to repair something. Greg had to paint them and put all the details on, but he didn't have to include lights. (...) The models were pre-scored so they would break apart easily during pyro." (Star Trek: The Next Generation 365, p. 500) Typically, the debris of these models was discarded after use, but in this case the debris was gathered up on a hunch by Effects Supervisor Gary Hutzel who recalled, "Last season we blew up a model for the Enterprise, by dropping it from the ceiling of the sound stage toward a high speed camera while timed charges went off to blow it up in mid-air. I went around with a cardboard box and picked up all the pieces of the model I could find, because I knew they would come in handy someday." (Cinefantastique, Vol.25 issue 6/Vol 26 issue 1, p. 109)
The debris was indeed re-utilized for the destruction of another Galaxy-class vessel, the USS Odyssey in "The Jem'Hadar". Hutzel continued, "My coordinator David Takemura combined these with pieces from kits to create a broken neck and dish for the Enterprise. We also had a nacelle we were going to use, but it was stolen." The nacelle Hutzel referred to was replaced by the battle damaged Miranda-class nacelle, while the Constitution-class battle-damaged primary hull model was used for the saucer section. Takemura elaborated a bit further, "Someone had the presence of mind to save the pieces and store them. I took a piece of the bottom of the cigar section of the Enterprise, did some kit bashing, and made a demolished version of the bottom of the ship." () In post-production editing, in order to create the finalized scene, Pat Clancey at Digital Magic was responsible for aligning all the debris footage with those of the Enterprise studio model, shot at Image G, while Animator Adam Howard combined these with stock footage of explosions and footage of the Jem'Hadar fighter in post-production editing.
As it turned out, one of the break-away models escaped being used and was afterwards retained by Ron B. Moore as part of his personal collection. Additional surviving copies were kept at Image G, as uncovered by Doug Drexler and Gary Hutzel.
Four-foot derivative ship class studio models
For the fourth season of The Next Generation, Gregory Jein, Inc. made use of their own production assets in the form of the molds they had of the four-foot Galaxy-class model, to cast parts in order to create various other Federation ship classes. Parts were cast to construct the and the for the "graveyard" scene in the season's opening episode "The Best of Both Worlds, Part II" episode, and in particular the Nebula-class studio model for the later fourth season episode .
Freedom-class studio model
Jein and his staff created the scratch-built "kitbash" studio model of the Freedom-class for the "graveyard" scene that the Enterprise-D traveled through following the Battle of Wolf 359, from the start as being pre-damaged . Jein used the molds he had of the and the four-foot model to cast parts for the neck and nacelle, respectively. The other parts he built from scratch. Michael Okuda recalled, "Freedom: Upon reflection, I think this may have been something that Greg Jein came up with for one of the kitbashes he contributed to either BOBW or Unification. I'm not sure which model this was, and I'm not at all confident that Fact Files checked with anyone."
Additional link:
Nebula-class studio model
See: main article
Niagara-class studio model
Like the Freedom-class, the equally scratch-built studio model of the pre-damaged Niagara-class was created at Gregory Jein, Inc. for the "graveyard" scene that the Enterprise traveled through. Jein used the molds he had of the and, again, the four-foot Galaxy-class studio model to cast parts for the secondary hull and nacelles, respectively, or as he has stated, "But we did a three engined ship for that and we did a one engined ship for that, which I think I still have someplace, because I just let them use that out of our stock inventory. We just took parts of the Enterprise we had left over and added nacelles and some other crap to it like that." (The Best of Both Worlds (Blu-ray)-special feature, "Regeneration: Engaging the Borg"). The other parts he built from scratch. This model too, was from the start constructed as being pre-damaged. Okuda later remarked, "Greg Jein built a number of severely-damaged hulls and parts for the graveyard scene. Greg is one of the unsung heroes of Star Trek. (...) The three-nacelled ship was made by Greg Jein. (...) I remember reminding Greg that Gene didn't approve of odd-numbers of nacelles." The Surplus Depot Z15 appearance of the class in was stock footage of "The Best of Both Worlds, Part II".
Jein used his own production assets for all his derivative ship class builds, unlike Okuda, Rick Sternbach, and Ed Miarecki, who constructed their models from commercially available AMT/Ertl model kits, enhanced with miscellaneous other pieces and first built "intact" and "damaged" later.
Additional link:
Four-foot commercial models
A limited edition of twelve, built from the same molds as the four-foot studio model, was later sold in 1997 at the in Chicago. They came with certificates of authenticity, signed by Jein, but were more crudely detailed and sported no internal lighting.
In the same period sightings were reported on the internet of four-foot models being displayed in several Planet Hollywood restaurants. With the exception of the one in the Beverly Hills restaurant, these were either especially commissioned models Greg Jein, Inc. had built for the restaurant franchise using the molds of the four-foot studio model or models originating from the 1997 commercial production run, or both.
One of these showed up as in the The Ultimate Sci-Fi Auction of 26 April 2003, in the catalog misrepresented as "(...) this 4 ft model was used as the main filming miniature." (Profiles in History presents: The Ultimate Sci-Fi Auction catalog, p.84) Estimated at US$20,000-$30,000, it reportedly sold for US$20,000. Though outfitted with internal lighting, the model was in fact identified as a display model for a Planet Hollywood restaurant in the Far East, the lighting more than likely applied by Planet Hollywood's own prop house in Orlando, Florida.
In the same vein, there is an alleged sighting of a four-foot physical model at a Planet Hollywood restaurant labeled USS Trinculo (NCC-71867), though it has never been clear in what respect that labeling was done nor have any photos of the model surfaced. Still, the report of this name and registry has proven to be so persistent that it has made his way into the officially-licensed reference book USS Enterprise Owners' Workshop Manual of 2010 (p. 102).
None of the commercial four-foot models were ever used as production assets.
Partial physical models
While the six-foot and two-foot models, and later the four-foot model as well, were sufficient to provide all of the necessary wide shots for the new television series which depicted an overview of the ship, there were instances (even in the pilot episode) when more-detailed "specialty" models were required to depict close-ups of certain exterior parts of the ship. Models were also occasionally produced to depict (in miniature) internal areas of the ship.
The "Battle Head" model
For the saucer separation scene a close-up was required that could not be done with either model. Instead a special larger scaled model, constructed out of resin, glass fiber and aluminum highlights, was built of the top of the Enterprise-D's neck with operating latches, known as "Battle Head", "Copper Head", or "Cobra Head". Also designed by Andrew Probert, the final exterior view concept was turned in on 1 April 1987. At ILM the model was filmed in action for "Encounter at Farpoint", footage of which appeared in later episodes of the The Next Generation series as well as in Star Trek Generations.
As noted in the aforementioned Lauritson memos, this particular specialty model was a surprisingly expensive build in relation to the two full filming models, coming in at US$15,000 ($15,975 including tax) as opposed to the US$75,000 the construction of the two filming models cost.
That model, including some of the latches, was eventually offered up as , measuring 21×25 inches, in the 40 Years of Star Trek: The Collection auction with an estimated sale price of US$1,500-$2,500, selling for US$3,000 ($3,600 with premium) on 7 October 2006 to American collector Eric Gunzinger.
Sensor strip detail model
One of the more unusual partial models, was the sensor array strip detail model that was featured in the The Next Generations second season episode . The model was used for an establishing shot where the camera sweeps over the saucer rim at close range, past the strip and focused in on the outside windows of Ten Forward. The model was constructed by Michael Okuda, who had commented, "I made the sensor strip model for Rob Legato and Gary Hutzel. It was a cool idea, but I don't think it was successful in conveying the location of Ten Forward on the saucer rim."
Dorsal saucer section and core section models
In the subsequent season two episode the Enterprise-D was caught in a Borg tractor beam, with a separate cutting beam slicing out a section of the primary hull. Conceived in the pre-CGI age the scene was entirely executed with especially made models. Dan Curry explained:
"Shot up that close, the inadequacies of a model that size would have been too obvious. You would have seen the grain of the paint! Also, to enable the thing to come out we would have had to cut a hole in the Enterprise specifically for this shot. We didn't want to do that! We made a very large model of a segment of the saucer section. It looked even bigger than it was because it was built in forced perspective, but that meant it only really worked from one angle. Then we made a little model of the actual slice; that was maybe two feet long by 12 inches [sic] or so in diameter. The saucer section was maybe 15 feet on its side."
Kim Bailey of Starlight Effects was contracted to build the models. Due to the large visual effects demands needed for the episode, Bailey, hired model maker Gene Rizzardi for the construction of the forced perspective saucer model.
The cross-section model, referred to by Bailey as the "Enterprise Core Sample", and built by him and David Heilman, was constructed in such a way that it slid neatly into a specially prepared hole in the larger model. "There was a hole in the large model of the saucer section with a tube in it. That acted as guide that we could shove the section out of mechanically.", Curry continued, going on explaining that the telltale lines on the saucer where the two models met, were disguised in post-production both by digital erasing and by superimposing the tractor, and cutting beams over the area. () Bailey and Heilman needed three weeks to complete the model. This was its only appearance on the series.
The model, measuring six inches in width and constructed out of styrene plastic and other materials, was featured in the TNG Season 2 DVD-special feature, "Inside the Star Trek Archives". It showed up at the 40 Years of Star Trek: The Collection auction as , estimated at US$1,000-$1,500, where it sold on 7 October 2006 for US$5,800 ($6,960 with premium) to American collector Adam Schneider. It was also included as part of the MoPop Star Trek: Exploring New Worlds exhibition.
The large saucer section model was more than likely discarded, as was commonplace with episode-specific production pieces this large.
Nacelle models
At least on one occasion a nacelle was cast from the molds of the six-foot model at Gregory Jein, Inc. to appear as debris in the season four episode "The Best of Both Worlds, Part II" in the "graveyard" scene. On another occasion, a close-up was deemed necessary for the season five episode "Cause and Effect", when the Enterprise-D is hit by the , so for that purpose a large starboard nacelle with strut, measuring 82 × 35 × 21 inches, was constructed out of fiberglass and resin. The model was for the scene packed with pyrotechnics and subsequently detonated, causing the outer grill to be blown off.
The large nacelle model was sold as in the 40 Years of Star Trek: The Collection auction with an estimated sale price of US$3,000-$5,000, selling for US$4,000 ($4,800 with premium) on 7 October 2006 to American collector Adam Schneider.
For the season seven episode , a specialty maquette of an interior of the Galaxy-class warp nacelle was called for as per specifications of the script, showcasing for the first time the warp coils touched upon in the Star Trek: The Next Generation Technical Manual. Originally it was intended to have the shot of the interior executed as a CGI effect, for which Rick Sternbach produced preliminary CGI designs. However as Doug Drexler recalled, "The original plan was that Rick wanted to attempt to build the coils in CG, but it didn't quite work out. If memory serves, the render time per frame was enormous, and it became impractical. It was a nice try, but it would be a few years before off the shelf CG programs were up to snuff, and we ended up building it physically instead." Continuing he has added, "I made a couple of sketches for Mike Okuda to approve, traced out the profile of a warp coil, ran down to the mill, and had the boys cut a wooden template. I handed that off to Anthony Fredrickson who used a vacuum form machine left over from the makeup days to pull a bunch of warp coils. He then painted and assembled it. That was fun!" From the wooden template Fredrickson manufactured vacuum-formed styrene copies and had them assembled into the final model. He included foam coffee cups for dividers as well as blue-gelled plastic with black tape to set off the glowing nacelle "grills". Measuring approximately 2.5 feet across, the seven coils as built by Fredrickson had to be optically doubled to fourteen in post-production at Digital Magic, where Effects Supervisor David Stipes had also lengthwise runway lights and a ceiling piece optically added. (; Star Trek: The Next Generation 365, p. 342) The maquette has not been seen since.
The turbolift shaft model
The episode featured a scene in which Captain Picard and a young boy escaped from a stuck turbolift by climbing up a turboshaft. The shaft was neither a matte painting nor a set, but rather a small maquette built by WonderWorks Inc., as Dan Curry has explained:
"There was a shot in which Captain Picard looks down the shaft and we see the boy he's looking at. We shot the boy against green screen because he was wearing a blue costume. But the model of the turbolift shaft [built by Brick Price] was only eight inches in diameter. We had to be carefully plot the perspective so when we combined the boy with the miniature, the lighting matched and the perspective was proper." (Cinefantastique, Vol 23 #2/3, 1992, p. 41)
Footage of the maquette, taken for this occasion, turned up several years later as a turboshaft in s season four episode . This maquette too, has never been sighted again afterwards.
Main shuttlebay maquette
For , a close-up was also required of the otherwise never utilized main shuttlebay. The build was incorrectly attributed to Mike Okuda in . It was actually Ed Miarecki's company, Science Fiction Modelmaking Associates (SFMA), which was contracted to construct the bay maquette. Stated Miarecki, "This set miniature, built in five days, featured a hangar door, which worked like a roll-top desk, and was powered by a cordless electric drill. The two Shuttlecraft in the scene were named for the shows producers, "Berman" and "Pillar" [sic]." Miarecki created three more tiny Type 6 shuttlecraft and one more Type 15 shuttlepod to go with his maquette.
Neither the maquette, built around a wooden frame, nor the bay itself were ever called upon to make another appearance again.
The model, measuring 9 × 48 × ;57 inches was eventually listed as in the It's A Wrap! sale and auction where it sold for US$3,050 on 17 February 2008, again to American collector Adam Schneider.
The large primary hull and partial saucer rim models
For the saucer crash scene in Generations it was quickly decided to have a larger model build of the saucer section, both as not to have the six-foot studio model damaged as well as for practical cinematographic reasons. John Knoll initially wanted to construct a twenty four-foot model, but had to settle for a smaller twelve-foot variant for budgetary as well as practical reasons. "Going with a smaller model made it easier to rig and less expensive, but it also caused depth of field problems and forced us to shoot at a higher frame rate than we would have liked.", he explained. (Cinefex, issue 61, p. 74) Measuring 12'1" long × 9'10" tall × 11" wide, the model was and constructed out of wood with a fiberglass and resin outer shell and contained a functional internal lighting system. It was rigged on a truck-powered dolly rig that dragged the model over an eighty-foot long by forty-foot wide maquette of the Veridian III landscape, also especially constructed for the scene by ILM. "The saucer was mounted on an extendible post that that ran down beneath the set. We had two guys underneath controlling the saucer's motion from this cart, which had pulleys attached and was connected to a rental pick-up.", Knoll continued. As was related in the Star Trek Generations (Special Edition) DVD special feature, "Crashing The Enterprise", several takes were shot on the ILM back lot in direct sunlight using several high-speed cameras filming the action from different angles. For this reason, the ventral side of the model was not detailed and no shots of the ventral side were seen in the movie. Prior to the construction of the landscape and saucer models, ILM modeler John Goodson constructed a small concept maquette for the producers to mull over. (Star Trek: The Next Generation Sketchbook: The Movies, p. 26)
For the extreme close-ups where the saucer was seen careening over the jungle floor up close, an enlarged wooden leading edge of the saucer, representing the Ten Forward area was constructed. ILM modeler Howie Weed explained, "On the other dish, about 6 inches across would equal this whole 12-foot model. Even though we can build really highly detailed models very small, water droplets still look like water droplets, dirt still looks like dirt. So, we build a model real big, we can get real close to it, and when it interacts within an environment it looks more realistic. We can see clods of dirt flying over it, bigger trees, leaves flying off the trees, things like that." (Star Trek Generations (Special Edition) DVD-special feature, "Inside ILM: Models And Miniatures")
The shot in the movie of the crew standing on top of the crashed saucer section of the Enterprise-D was not executed with any of the models of the ship. That shot of the saucer was realized as a matte painting onto which live action photography was later inserted in post-production. (Cinefex, issue 61, p. 77)
While the wherabouts of the leading edge model are unknown, the large twelve-foot saucer was not included in the 40 Years of Star Trek: The Collection and It's A Wrap! sale and auction 2006-2008 wave of auctions. It had initially been retained by Paramount Pictures and has typically been seen as an entrance display piece on tour displays such as Star Trek World Tour, Star Trek: The Exhibition, and Star Trek: The Adventure as late as 2011. In 2012, however, the model was finally pulled from the exhibition circuit and temporarily entrusted into the care of Property Master Alec Peters, who was employed by the studio to catalog its remaining props and models for the CBS Consumer Products Star Trek archive. A huge piece, CBS indicated that it would not be a part of the archive. Peters embarked on a mission to find a home for it, commenting, "But one piece that we are trying to find a home for is the large scale saucer section of the Enterprise "D" from the crash landing scene on Veridian III in Star Trek: Generations. This is a huge piece, about 12' high by 15' wide. It is heavily featured in the featurettes on the Generations Blu Ray and DVD. Now, on the face of it, you would think this, being the biggest filming miniature ever used in Star Trek, would be an easy piece to find a home for. But this gets to the "Law of Big Props". Basically the law says that "The bigger the prop, the harder it is to sell". And this is one BIG prop. So for the past month, we have been trying to find a home for this piece. It needs some restoration, but is incredibly cool." Early June 2012, the model was acquired by noted American Star Trek prop collector Gerald Gurian. Nevertheless, Gurian offered the piece up as Lot 2 at auction in the aforementioned Propworx' Star Trek Auction V of 30 May 2015, where it sold for US$25,000 ($29,500 with buyer's premium), originally estimated at US$25,000-$30,000.
Other physical models
Jein's four-foot model proved to be so versatile that, unlike with the Constitution-class or , no need was ever perceived to use commercially available models as stand-ins for any of the motion control models of the Galaxy-class in the live action productions, though they did show up in the hereafter mentioned different functions.
AMT model kits
Continuing the tradition that the Star Trek franchise had started during the production of the Original Series, the production did make use of the Star Trek model-line from model kit manufacturer AMT/Ertl for roles different from that of stand-in filming models.
Display models
While not used to represent class vessels in live action productions, AMT/Ertl products showed up to represent the class as display models, firstly as a display model in the guest quarters on board the Enterprise-D in and secondly in the drafting room 5 at the Utopia Planitia Fleet Yards in . Rick Sternbach remembered, "The desk model in "Booby Trap" was, in fact, a test shot of the kit from AMT/Ertl, before any of the surface detailing was added. We got a box of smooth styrene model parts in the mail, assembled the ship, and mounted it on a lucite stand built by the prop shop. As I recall, it had no decals, just a basic paint job." The model, it having been built by Andrew Probert, went on to be featured as a display model in and as well, though the custom-built stand was differently attached. As to why, Sternbach mused in private correspondence with , "As to the Ent-D model, that was set dressing stuff that changed a lot. Jim Mees, the decorator, might have had the model and stand modified after sustaining damage, that sort of thing. I know the Stargazer model was dropped more than once by the grips, so I wouldn't be surprised if things got altered a bit." A similar model ended up in Sternbach's office as his personal study model and was later offered as in the The Ultimate Sci-Fi Auction of 26 April 2003, estimated at US$1,000-$1,500, where it sold for US$3,000.
A first regular 1988 production run AMT modelkit (No. 6619) was used by then Production Associate Dana White to construct a display model on a custom made stand as a gift to Executive Producer Gene Roddenberry. "I remember when you built that beautiful Enterprise-D for Gene Roddenberry," recalled Mike Okuda, "It sat proudly on the shelf in his office for the rest of his life." That model was sold for US$1,664 as in Julien's Star Trek auction of 27 June 2010 as part of Roddenberry's estate.
A silver Galaxy model was seen mounted on a wall in Admiral Leyton's office at Starfleet Headquarters on the Presidio in . This probably was a painted regular AMT model kit (No. 8793) as well.
The same AMT model kit also wound up on screen in as one of the golden models, constructed by John Eaves, in the display case in the observation lounge. "This was before eBay, so I went and scoured the hobby shops all the way from Los Angeles to PHX Arizona to find any and all kits of the Enterprises. What was available then was the Enterprise-A, a TOS Enterprise that was too small so I opted to get the cutaway version that was substantially bigger, and the Ent. D. (...) Herman asked for 3 of each ship because we were now going to have the smashing of the case scene", Eaves remembers on his . Molds were taken of the model and solid resin casts copies were made (since there were multiple takes of the scene). After smoothing out the surfaces, the models were gold plated at ArtCraft Plating. The models were subsequently smashed when the scene was filmed. For there were again three models needed, this time because there were three display cases and Eaves more or less repeated the procedure, solidifying the models by filling them up with resin. Though, due to a late script change, they were not seen in that movie, they did turn up as display models in the observation lounge in .
Eaves and the studio initially retained most of the golden models though most of them were later auctioned off; one was sold as with an estimate of US$800-$1,200 in Propworx' Star Trek auction III on 24 March 2012 for US$1,900 ($2,337 including buyers premium); one sold as part of a complete set of six in the Profiles in History's Hollywood Auction 44 on 15 May 2011 as Lot 1550 for US$11,000 (for the whole set); one sold on 10 August 2007 as , selling for US$3,500 in a It's A Wrap! sale and auction; one sold on 15 June 2007 as for US$1,804, and one model was reportedly sold at an on-line Sotheby's auction in October 2000.
Derivative ship class studio models
For the "graveyard" scene in the "The Best of Both Worlds, Part II" episode, liberal use was also made of AMT model kits, Nos. 6618 and 6619, by Michael Okuda and Ed Miarecki, to create the kitbash models of the proto-, , , , , and as miscellaneous floating debris, all built at Miarecki's SFMA company. Though prominently featured in the "graveyard" scene, "The purpose of these study models was originally to develop starships that were clearly sister ships of the Galaxy-class Enterprise. (Remember, this was when nearly every guest starship was a recycled movie model.) I wanted to show that the Enterprise-D was only one of many similar ships with related designs, even if she was the largest and most powerful", according to Okuda.
Camera test models
As one of the most important hero models of modern televised Star Trek, it came as no surprise that the Galaxy-class studio model had several camera test model counterparts, typically made of styrofoam, for pre-visualization purposes by camera teams. As filming models were rarely built in scale to each other, the Galaxy-class had more than one of these, scaled to whichever model of the week it was supposed to interact with, among others one to interact with the Deep Space 9 studio model during pre-production of . In post-production the shot of the test model was replaced with a shot of the four-foot studio model.
Several of these camera test models were sold in It's A Wrap! auctions, one, measuring 10 × 7 × 1.25 inches, as on 2 August 2008 for US$455.00 (resold as on 19 September 2008 for US$394.00), and a second one, measuring 23.25 × 17.5 × 3.25 inches, as on 12 August 2008 for US$127.50.
CGI models
Realizing during the pre-production stage that the new show would be the most visual effects laden television production of its time, much like its predecessor was, producers Robert Justman and Edward K. Milkis looked into the feasibility of applying CGI to the new television show, especially for exterior ship shots. They even had an effects company compile several test shots for evaluation. Justman recalled, "Eddie Milkis and I investigated the possibility of generating everything on the computer. We had great reservations about it, because it still didn't have the reality. The surface treatment wasn't totally believable [remark: Justman is referring to a CGI refit-Constitution-class that was commissioned for evaluation, serving as a stand-in for the yet-to-be designed new ship]; we could have gotten by, it would have been acceptable, but it wasn't satisfactory." (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, p. 14; Cinefex, issue 37, p. 10) Milkis declined the prospect of adopting CGI for another reason. He commented, "It was incredibly good, and it took some real thinking on our part, but ultimately we decided that if something ever happened to that company and they couldn't deliver, then we'd have nothing. We were very concerned about that and ultimately they did go out of business." ()
The earliest known representation of a Galaxy-class vessel as a CGI effect was a crude of the Enterprise-D constructed at Santa Barbara Studios in post-production for compositing a shot in , where the Enterprise-D frees the D'Arsay archive from the comet. Though the comet and archive were eventually executed as CGI effects, the Enterprise-D was not - stock footage of the four-foot model was composited into the scene instead. Still, when the 2014 remastered version came along, CBS Digital recreated the entire scene in CGI as the original computer files for the archive were no longer available , on the occasion also making use of the digital Enterprise-D model they had available for such occurrences.
No production CGI version was ever built for the The Next Generation television series, though Effects Supervisor David Stipes, at the time the foremost advocate of application of CGI, eagerly wanted and lobbied for one:
"On we were all over the galaxy-warp here and warp there-and I have basically the one or two jumps to warp that we had in stock. When TNG was started, the first bits of material were shot at ILM and they shot the original jump to warp with slit scan and streak photography. That served us very well for seven years, but it was very difficult to do and expensive. I had been pushing to build a CGI Enterprise, but no one wanted to incur the expense at that point so I lived with the stock shots." (Cinefantastique, Vol. 27, issue 4/5, p. 79)
ILM's CGI model
When ILM's Visual Effects Supervisor John Knoll discovered how well the just constructed CGI model of the USS Enterprise-B translated on-screen during the production of Generations, he decided to have a CGI version of the Enterprise-D built as well for scenes where the ship jumped to warp:
"So I did the two shots of the Enterprise-D going into warp on the feature. The original effect was done using motion control and slit-scan, which was really the only thing that was practical at the time. The problem with slit-scan approach, which involved projecting a slit of light onto the model from front to back, was that we couldn't have rim light, all the light had to come directly from the side, and we couldn't do slit-scan on a light pass. If you analyze the warpdrive stretch in the TV show, you'll notice that the portholes go off as soon as the stretch starts! It worked fine for what the TV show intended to do, but today it just barely holds up, even on television.
"When we were faced with doing the same for the feature, I figured we should use computer graphics, which would allow us to do the effect the right way-the ship could stretch out, its blinkers could keep going and the lighting wouldn't change. Admittedly, back in 1987, we couldn't really do a completely realistic CG Enterprise that looked as good as the motion-control model, but I think we achieved that this time. Basically, we took a CG model of the Enterprise-D and just snapped it into warp drive. It's easy enough." (American Cinematographer, April 1995, pp. 87-88)
On another occasion Knoll further stated:
"The original animation for that effect was all 2-D, so the nacelles didn't really occlude the light effect as they would have in reality. This time out we made sure they did, by creating a CG Enterprise and stretching it. As a result the ship's clear definition during the jump to warp speed has much greater presence. The ship really stretches, and the internal lights remain on throughout the effect since there is no abrupt jump to different model."
As to the starburst when the warpdrive is engaged, he continued, "I designed it to have a little more motion; and the way the flare tapers and fades makes it look more like an actual light. It's a similar look to previous warp entries, but more polished." (Cinefex, No.61, p.70) Knoll took on the task of building the CGI model himself at his home in his spare time (using flat-lit photographs taken from the refurbished six-foot studio model for mapping), and rendered the model in the 2.1 software package. (Cinefex, issue 61, backcover)
Knoll used a low-resolution CGI version of the Enterprise-D and the Duras sisters' Bird-of-Prey for story-boarding and animatics purposes. (The Art of Star Trek, p. 285)
Digital Muse's CGI model
During the pre-production of sixth season of Star Trek: Deep Space Nine, it became clear that events would lead up to the massive climactic battle in . Visual effects supervisors were aware that that battle was impossible to realize using traditional motion-control photography. "The problem is that motion control is about shooting one ship at a time, one pass at a time. There was just no way we could have done it. We just didn't have enough time or money", David Stipes explained. () In order to execute these scenes, it was decided to complete the transition to CGI. Due to the scale of the project it was decided to divide the workload up between Digital Muse, who were to transform the Federation starships to CGI and Foundation Imaging who were responsible for the alien ships.
Part of the process was the decision to greatly improve efficiency by employing one software format only, . This entailed turning over existing CGI models, done in other software formats, to Digital Muse for re-programming and re-rendering in "LightWave". This included the ILM models done for Star Trek Generations and Star Trek: First Contact. Digital Muse's supervisor Bruce Branit elaborated:
"It was the first time that anyone had actually assembled the entire Starfleet fleet in CG. Normally there were always a few ships they used for CG, and they pulled models out, and did motion control. Due to the nature of the show, there was no way they could do it with motion control. There was not enough time and not enough money. They were talking about having fifty to a hundred Starfleet vessels on screen at one time, and there was no way to pull that off in traditional ways. So we were a collecting point for anything that had been done in CG before. We brought the digital models in and converted them to LightWave, which is our rendering package of choice. The Enterprise-D had been done before, but in something else, so we were able to bring the geometry in, and bring some of the maps in, but we had to rebuild it. We had all the ingredients, so we could put it together much more quickly than building it from scratch. So now we have folders with the entire fleet all lined up in the same form, so we can just load a Reliant, we can load a Defiant, we can load an Excelsior, whenever we need it. That was the first real challenge, to get all that stuff in order, and to fill the garage with usable ships." (Cinefantastique, Vol.30, issue 9/10, p. 64)
Part of the upgrade was the re-mapping of the model with newly taken flat-lit photographs of the physical studio model. As Digital Muse had only the four-foot model at their disposal as reference, their model was endowed with the color scheme of that model, light blue-gray with duck-egg blue highlights, instead of the color-scheme re-applied to the six-foot model at ILM. (Sci-Fi & Fantasy Models, issue 32, p. 55) In this guise the CGI model debuted prominently as Galaxy-class article illustrations in Star Trek Fact Files (its editor-in-chief Ben Robinson having as the first realized that production-used CGI models were singularly well suited for print reproductions as well ), additionally appearing in , and most specifically in Star Trek: The Official Starships Collection. The Enterprise-D model was one of the very first tackled by Digital Muse and could already be showcased in the earlier episode and remained in use throughout the remainder of the Deep Space Nine and Voyager series.
Long after Deep Space Nine and Voyager had wrapped, Digital Muse's model made one last reappearance in another official live-action production, when it was featured in the opening scenes of the film portion in the 2004 Borg Invasion 4D-ride at the Star Trek: The Experience-attraction. Former Foundation Visual Effects Supervisor Adam Lebowitz was now serving in a similar function at Threshold Digital Research Labs for this film and had access to the digital database of previously used CGI live-action production starship models. Several of these featured, mostly as scenic backdrops in the opening and closing scenes.
Gabriel Koerner's CGI model
The Enterprise-D was to make one more prominent appearance in the 2005 finale . However, as the series was shot in , as opposed to the previous series that were shot in , new footage of the Enterprise-D was called for. Since motion-control photography of physical studio models was no longer an option, that left the producers with the options to either build a brand new CGI model or use Digital Muse's model. Budgetary considerations prevented construction of a new model, so an upgrade was performed on the existing Digital Muse model. Gabriel Koerner volunteered to do the upgrade:
"The Generations model and the DS9 / VOY model are the same. However its really low poly. The only reason they were able to get it to look so nice in Generations (it appears in the warp-jump shot right after stellar cartography scene) is that it was mapped with photos of the miniature. However it was lit VEEEERY carefully to not expose its flaws. Remember, DS9 and VOY were also mastered at standard def, Enterprise at HD. It needed to perform more dynamically, we needed to see the specular highlights rolling across it (the simpler model had to be lit more flatly), and generally see more detail, as the miniature photo texture maps were not very high resolution. So now we had a model that, instead of cheating and being able to do only limited things with, could really give a performance. The budget only warranted upgrading the existing model, I was working at Eden at the time and did the model in my spare time. I was paid the budget allocated to up-res the old model, but that wasn't much so I basically did it for a song and a dance. BUT the consolation is... that model is in the final shot of 18 years of modern Star Trek... too bad everything before the final shot is unwatchable."
Explaining his thought processes behind the upgrade, Koerner further clarified:
"I modeled it and textured the saucer and nacelles. I took some liberties. As many know there were two miniatures: The initial ILM smooth 6 footer (which in my opinion was the more graceful of the two) and the chunkier, thicker paneled 4 footer. I gave it the lines of the 6 footer, about half the thickness of the paneling from the 4 footer, the thicker lifeboat hatches of the 4 footer, and the shinier highlights of the Generations repaint. A notable difference is that because of constraints in the model the lights on the rim of the saucer were never seen lit, this is the first time that they are. I hope I got it right. This really was a labor of love... with a check attached."
Koerner, who essentially constructed a new build, went on crediting co-worker Benjamin Burnett for helping out rendering the secondary hull due to time constraints. Another co-worker, Robert Bonchune, fondly recalled, "Gabe was sooooooo keen to have his ship in the final. We had one also, but no one objected to using his as he had put so much of his own time work into it and the mesh detail was truly great. I didn't sup the last show, but his stills are really nice. He loves that ship!"
Both Digital Muse's and Koerner's versions of the CGI model went on to make several appearances in and onto licensed Star Trek publications, most notably in the Star Trek: Ships of the Line calendars and their book derivatives, and would have been prominently featured in the abandoned The Official Star Trek The Next Generation: Build the USS Enterprise NCC-1701-D project.
Appendices
Related topics
Galaxy-class decks
Further reading
"Designing the Enterprise", Dennis Fischer, The Official Star Trek: The Next Generation Magazine Vol. 4, April 1988, pp. 29-37
The Art of Star Trek, November 1995
"Entertainment Visual Design: A Look Back", Andrew Probert, Starlog photo guidebook Special Effects, Volume 5, January 1996, pp. 88-113
Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, July 1996, accompanying booklet
Star Trek: The Next Generation - The Continuing Mission, November 1997
"Designing the USS Enterprise NCC-1701-D", , August 2000
Star Trek: The Official Starships Collection
Issue 1, August 2013
Issue XL02, June 2017
External links
: analysis on the differences in appearances between the older and newer miniatures
– featuring a behind-the-scenes video registration, currently owned by Doug Drexler, made by Gary Hutzel during the construction of the four-foot model.
Studio models
|
3543
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Portland
|
The USS Portland was a 24th century Federation starship operated by Starfleet.
In 2371, the Portland and a Cardassian cruiser were assigned to search the Algira sector for a missing runabout from Deep Space 9. ()
External link
de:USS Portland
nl:USS Portland
Portland
|
3545
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Mike Vejar
|
Laurence Michael "Mike" Vejar , sometimes credited as Michael Vejar or Mike Laurence Vejar, is a director, having experience on four Star Trek series, as well as directing other cult series, such as Babylon 5, The Dead Zone, Lois & Clark: The New Adventures of Superman, and Jeremiah. His last name is pronounced ve-HAR, and while working on Babylon 5 he acquired the nickname "Ve-harder and ve-harder" for his willingness to put in long hours shooting, which everyone else involved with the show having to stay on set along with him.
Mike was held in very high esteem among the writing staff. When Ronald D. Moore was asked if he had a favorite director, he stated: "I'd like to single out Mike Vejar, who has directed three of my scripts ("Darkness and the Light", "Rocks and Shoals", and the upcoming "Valiant"). I really admire Mike's work and I've found working with him to be a wonderful experience. Each time I worked with him, I felt that he took my material and made it better than it was on the page – as a writer, I'm not sure what more I can ask for in a director."
Credits
External links
de:Mike Vejar
es:Mike Vejar
nl:Mike Vejar
Vejar, Mike
|
3550
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Registry
|
A registry was a place to record or register information. One such registry was the Vulcan Genome Registry. ()
Vessels were often registered by agency. They may have recorded a vessel's name, registry number, history, and basic ship information. () This information was generally transmitted via registration beam. () These registries could also be forged. ()
Ship registries were used as early as the 19th century. In 1893, after overhearing a time-lost Data mentioning a starship, Samuel Clemens asked, "What registry is that!?" ()
Throughout the 20th century, both civil and military aircraft were registered. In addition to registration, military aircraft were given serial numbers. One of these registry abbreviations, first used by American civil aviation, later appeared on Earth shuttles and starships. This was the abbreviation NC. An example of an NC registry was "NC 18602" (the California Clipper). (; ; )
In the 23rd and 24th centuries, Starfleet vessels were able to check both historical registries from Earth and Vulcan as well as the Starfleet Registry. (; )
Between 2254 and 2364, registry numbers skyrocketed from the NCC-1701 of the to the NCC-87270 of the .
The was not listed in any registry, although this might have been a result of the fragmented records in that era, and the Augments' desire to remain hidden. ()
Registry numbers and prefixes
In some governments and agencies, a ship entered into a registry received a prefix that was placed before the vessel's name. This prefix was used to easily identify the vessel as belonging to that agency.
A registry prefix should not be confused with a ship's prefix code.
Vessel prefixes include:
† With Earth's national prefixes (British HMS and Russian VK) still in use up to the founding of the Federation, it is probable that "USS" still meant "United States Ship" in the same time frame, but we only have one example to look at.
Items listed in a registry generally had a number or code to help identify the specific entry.
In some registries, the registry number was preceded by an abbreviation as well:
Aside from the registry prefixes, Starfleet has also used letters after the main registry prefix to further define specific types of craft. This was seen in the freighter , with its registry of NCC-F1513 and the ships with the registry NCC-G1465. ()
The first Earth ship to have warp drive installed, , had an anomalous arrangement of the registry numbers, 10281NCC. () So did , with the registry NCC-2010-5, and the , with the registry NC-5940-1. (; )
Shuttlecraft assigned to starbases and other installations were given registries indicating their origin. Such vessels were the da Vinci SB4-0314⁄2 from Starbase 4 and the Picasso SB11-1201⁄1 from Starbase 11. () The shuttlecraft Verne assigned to Relay Station 47 was simply given the registry RS-47. ()
On Starfleet display graphics, Klingon, Romulan, and Cardassian starships had had registry numbers or identification codes without a letter prefix. These included ships like the Klingon (454435), Romulan warbird (19386), and a Cardassian warship (324384950). (; )
In the alternate reality, an escape pod of the was registered as 313-C. Starfleet did not use registry prefixes on small craft such as jumpships and military shuttles that were not assigned to a starship. (; )
Starfleet sometimes used sequential lettering after a registry number was repeated to honor a former vessel. ()
Examples of this include:
Appendices
Background information
The most famous registry number, of course, is "NCC-1701" of the original . It was chosen by Matt Jefferies, who was a pilot before joining the Star Trek staff, and based the registry number on 20th century codes. In the early 20th century, the letter "N" indicated a United States origin, and the letter "C" indicated a civilian aircraft. As American craft used NC and Soviet craft used CCCC, Jefferies combined the two as NCC. His philosophy was, "If we do anything in space, we (Americans and Russians) have to do it together." In a sketch of the Enterprise, drawn by Jefferies, he states the numbers "1701" stand for the 17th cruiser design, serial number #1. Also, upon choosing the Enterprises registry number, Jefferies decided that the number should be easily readable, so he was careful to avoid numbers that could be confusing, such as 3, 6 and 8. ()
According to the Star Trek: Deep Space Nine Technical Manual, the registry prefix NXP was used for study models, also called pathfinders, in the development phase of a starship class. For the escort, the pathfinder was designated NXP-2365WP/T. According to the , the registry prefix for the Odin was NGL and for the it was NDT.
Based on usage – and – it is probable that the "VK" prefix was used on Russian starships in Star Trek. In the real world, the Russians do not use prefixes for their ship names. VK, however might be an homage to Tom Clancy. In the book , the primary Alfa-class attack sub is named V.K. Konovalov, in honor of .
Apocrypha
According to the novels of Diane Duane and Peter Morwood, Klingon starships use a "KL" registry number prefix. Diane Duane's Rihannsu novels give the prefix "ChR" for Romulan starships.
According to the Star Trek: Ships of the Line (2009) calendar (for the month of December), the registry prefix "X" was used for static test models. An example was the "X-17B", which was used for evaluating the performance of a refitted heavy cruiser in the mid-2260s.
External link
de:Registriernummer
fr:Registre
ja:レジストリ
Identification technology
|
3551
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Earth-Romulan War
|
The Earth-Romulan War, also known as the Romulan War, was a major interstellar conflict fought from 2156 to 2160 between the forces of United Earth and those of the Romulan Star Empire. Its conclusion, which was marked by an Earth/Andorian/Vulcan/Tellarite alliance decisively defeating the Romulans at the Battle of Cheron, led to the establishment of the Romulan Neutral Zone and immediately preceded the incorporation of the United Federation of Planets. (; )
Prelude
See also: Babel Crisis, Vulcan Reformation, and Vulcan reunification
In the early 2150s, Earth began to make impressive diplomatic and military advancements in the Alpha Quadrant. Major conflict between the Vulcans, Andorians, and Tellarites had for the most part ended thanks to diplomatic intervention by United Earth and the starship , under the command of Captain Jonathan Archer. The Romulans saw this newfound peace in the region unacceptable, and thus began a carefully crafted campaign to destabilize the region and maintain the status quo of conflict between the quadrant's major powers.
At some point prior to 2154, a reunification movement began to become popular among some Romulan and Vulcan citizens. In that year, the Vulcan High Command, under the leadership of Administrator V'Las, planned to launch a preemptive strike against Andoria, citing that the Andorians were developing weaponry based on Xindi technology. Additionally, the Earth embassy on was bombed prior to the attempted execution of these plans, prompting involvement by United Earth and Starfleet. Although V'Las's plans were halted and his involvement with the bombing was exposed, his connection with a Romulan operative who had been working on Vulcan with V'Las for several years remained secret. ()
Later that year, the Romulans attempted to incite a war between Andoria and Tellar by using automated drone ships to attack Andorian and Tellarite targets. Unfortunately for the Romulans, this had the opposite effect of what they were hoping to achieve; instead of destabilizing and dividing the region, the attacks resulted in a successful allied effort to stop the drone ships and return peace to the region. ()
In early 2155, the consolidation of interests among Earth and some of its neighbors reached a new milestone, when a conference to form a Coalition of Planets was convened. It included participants from the later war allies and Federation founders, i.e., Vulcan, Andoria, and Tellar, in addition to United Earth. ()
Open conflict
In 2156, Earth forces and the Romulan Empire entered a state of war. It ultimately continued until 2160. (; )
In 2266, Spock categorized the weaponry generally used in the Earth-Romulan War as atomic in nature, and fairly primitive at that. He also characterized the ships in use as primitive, and designed in ways that did not permit quarter or captives.
Romulan starships were painted to resemble a "bird of prey", a tradition kept through the mid-23rd century. Ship-to-ship visual communication between Earth-allied ships and Romulan-allied ships did not take place during the war or during the peace negotiations.
Among the casualties during the course of the war included several members of the Stiles family, including one Captain , and several junior officers. () A number of MACOs also fought in the war, including Balthazar Edison. ()
The Battle of Cheron in 2160 is generally considered the decisive battle that marked the end of the Earth-Romulan War. Both sides recognized the major victory achieved here by a Human/Vulcan/Andorian/Tellarite alliance as a humiliating defeat of the Romulan military. This event established long-term political effects within the Romulan Empire that went on to last well into the 24th century. (; )
Aftermath
Despite the Romulan's 2154 campaign of destabilization and the war that followed, Earth and Romulus learned little of each other in the 22nd century. In fact, it would be over a century before any Human would even see what a Romulan looked like. ()
Following the Battle of Cheron, the two sides negotiated a treaty via subspace radio. Among other things, it established a neutral zone, entry into which by either side would constitute an act of war. Earth set up at least eight outpost stations on asteroids along its side of the Neutral Zone to monitor Romulan activity.
From a 23rd-century Human perspective, the Neutral Zone represented an area "between planets Romulus and Remus and the rest of the galaxy." Some Humans still harbored resentment over the war after over a century of peace, including Lieutenant of the .
Despite these Human attitudes, until 2266 the Neutral Zone served its purpose and the treaty had remained unbroken. In fact, one might say it served its purpose too well, as there were limited or no contacts between Earth and the Romulan Star Empire from the conclusion of the war until the mid-23rd century. ()
During the Dominion War, two centuries later, Captain Benjamin Sisko alluded to this war when he warned the Federation President Jaresh-Inyo of "the thought of a Jem'Hadar army landing on Earth without opposition." Adding that, "They don't care about the conventions of war or protecting civilians. They will not limit themselves to military targets. They'll be waging the kind of war that Earth hasn't seen since the founding of the Federation." ()
Appendices
Background information
The details of the Earth-Romulan War have remained canonically vague. As Spock said about the war, "As you recall from your histories, this conflict was fought, by our standards today, with primitive atomic weapons and in primitive space vessels which allowed no quarter, no captives. Nor was there even ship-to-ship, visual communication; therefore, no Human, Romulan, or ally has ever seen the other. Earth believes the Romulans to be warlike, cruel, treacherous... and only the Romulans know what they think of Earth." The exact dates for the war and several details above are derived from a viewscreen graphic seen in the episode . The graphic was comprised of data points from an outdated version of the .
Prior to this, a behind-the-scenes newspaper clipping titled It's Federation Day!, which was among the collection found in the Picard family album from , dated "11 Oct. 2161", stated that the war ended "a little more than a year" prior to the final declaration of peace and the foundation of the Federation. This source also stated that the war ended with the Battle of Cheron in early 2160. This information did not appear on screen.
Michael and Denise Okuda wrote in the Star Trek Chronology, " (DS9) seemed to imply that the Romulan Wars actually reached Earth."
Some evidence indicates that Earth itself commenced the conflict, as Data remarked in "The Defector" that "in their long history of war, the Romulans have rarely attacked first…. They prefer to test their enemy's resolve." In other words, Earth may have been provoked into acting first, either intentionally or possibly inadvertently. However, it may have been one of the few occasions on which the Romulans did attack first, such as the events that transpired in .
The fourth season of Star Trek: Enterprise began to show the very early beginning of the coming conflict with the Romulans. Writing couple Judith and Garfield Reeves-Stevens kept what had and hadn't been established about the war in mind during the writing of the Babel Crisis trilogy of episodes (namely, , , and ), including the fan expectation that the Federation had been formed in the aftermath of the conflict. In fact, while the trilogy was in development, very little had been confirmed about the timing of the war. Recalling the little evidence available from canon, Garfield Reeves-Stevens commented, "All we know is that the Romulan Wars occurred about the same time the Federation occurred in – we know the year the Federation occurred in but we don't know what year the Romulan War occurred in or how long it lasted. We know it was fought and we know they never met each other. So we typed up memos with these key points that everyone should keep in mind in developing stories, and one conversation we had was that in the original series it was never called the Romulan Wars, it was called the Romulan Conflict, and everyone was concerned with how you could have a war where the antagonists never meet. We came up with the idea that what if it was a phony war and the Romulans were sending out robotic ships." These concepts never made it into established canon but did influence the trilogy and inspired the invention of the Romulan drone ships. (Cinefantastique, Vol. 37, No. 2, pp. 39-40)
Had Enterprise been renewed for a fifth season, it would have continued to show the whispers of the Romulan War and eventually allow the conflict to be realized on screen. Additionally, according to rumors at the time, Rick Berman and Brannon Braga considered making "Future Guy" a Romulan. However, this was simply a "red herring": Braga intended "Future Guy" to be a future version of Jonathan Archer.
An early concept for a proposed eleventh Star Trek film – Star Trek: The Beginning – would have revealed the beginnings of the Earth-Romulan War. However, this concept, which included Romulan drone ships in the conflict, was scrapped for the film .
In the Star Trek Star Fleet Technical Manual, Franz Joseph offered a one-page version of the subspace peace treaty that concluded the war. It was signed by "Christofur Thorpe" for Earth and "Praetor Karzan" for the Romulans.
There are several points of ambiguity involved with this time period. For more information on those topics, please see cloaking device, Romulan Bird-of-Prey (22nd century), and Romulan Bird-of-Prey.
Spaceflight Chronology (1979)
In the reference book Spaceflight Chronology, more detailed accounts are given of the events that led to the war and the war itself. Fourteen years prior to the actual war, the Romulan Star Empire began a campaign of attacks disguised as random space pirate activity. The first of these attacks was the hijacking of the ore freighter . Two years later, the Delta VII outpost was attacked. Five years after this, the commercial transport Diana was attacked with its cargo stolen and crew killed. Four years prior to the actual war, the reports on piracy attacks were, for the first time, perceived as possibly being organized. Three years before the war, Starbase 1, in Sector 3A, was destroyed by what was still believed to be an act of space piracy. Romulans were, for the first time, identified as the culprits. All transports were given military escorts at this time. Two years before the war, the Romulan threat became apparent. A year before the war, Romulans made a number of hit-and-run attacks on several sectors.
The actual war began when a full Romulan invasion fleet, advancing on the Rigel system, was encountered by the destroyer USS Patton. In the second year of the war, Romulans managed to destroy a mining complex in Sector 5B. A Romulan armada was completely destroyed in Sector 7. In the third year of the war, Romulans attacked Alpha Omega. Victory in the war was credited to advanced ship-mounted laser weaponry, developed only two years before the war as a response to the destruction of Starbase 1. The dates of these events in the timeline of the Spaceflight Chronology differ from the canonical timeline. Also, the major difference between these accounts and canonical accounts is that the war is stated to have been fought by the Federation, not the allied forces as was established later on in the viewscreen graphic from .
Federation - The First 150 Years (2012)
According to the reference book Star Trek: Federation - The First 150 Years, Praetor Gileus led the Romulan Star Empire into the war against United Earth by ordering a surprise attack on Starbase 1, on Algeron. During the conflict, Denobula tried to remain neutral, but in 2158 a Romulan fleet attacked the planet in order to use one of its orbital space stations as staging ground for an attack on the Sol system; fortunately for Earth, Starfleet assumed as much and was able to prepare defenses, turning the eventual assault into a -esque catastrophe from which the Romulans would never recover. Although this occupation only lasted a short time, three million Denobulans were killed by orbital strikes, causing them to be more skeptical and to not join the Federation immediately, in 2161.
The Battle of Cheron was ultimately won by Earth when the starship Lexington, combined with a small fleet of Denobulan ships, set a course for Romulus. Gileus, fearing that the impending attack would threaten his power, prematurely ordered his fleet defending Cheron to return to Romulus mid-battle, allowing Enterprise and Atlantis to destroy the shipyards there. Shortly afterwards, the Romulans sued for peace, and the Neutral Zone was established.
Apocrypha
The Pocket ENT "relaunch" arc by Michael A. Martin, which is consistent with the Star Trek: Destiny series of novels by David Mack, covers the events from the end of Enterprise to the Romulan War. It starts with faking his death so he can spy on the Romulans, who are attempting to create a warp-seven capable ship. This reinterprets the events shown in , moving them to 2155. According to the series, the Romulans started the war out of fear of the birth of the Coalition of Planets, by attacking proposed member Coridanite (thus delaying their entrance into the alliance until The Original Series) and then by attacking a number of Coalition ships using a telecapture device and destroying the Kobayashi Maru as seen in the novel . The novel series Star Trek: Enterprise - The Romulan War details the war proper. According to the novel Last Full Measure as well as the older novel Starfleet: Year One, the Federation was born as a result of the conflict.
In DC Comics' The Mirror Universe Saga, the Earth-Romulan War marks the point of divergence for the mirror universe; in the mirror universe, Earth lost the war, was occupied by the Romulans, and the resistance that eventually fought them off took control of the planet and proclaimed that Humanity would now be the conquerors, not the conquered. This was later on established not to be the case in the episodes and , that establish that, if there was a divergence point, it was somewhere before the 16th century.
According to the 2006 game Star Trek: Legacy, a Vulcan scientist named T'Uerell supplied the Romulan Star Empire with metagenic weapons to use against Earth colonies. Earth used the radiation from nuclear reactors in the Tyburn system to halt a large Romulan force from reaching Earth – explaining the use of atomic weapons. The Last Unicorn Games book Among the Clans: The Andorians makes reference to a series of Earth-Romulan wars, taking place during roughly the same time as the single canonical war.
Diane Duane's 1987 novel The Romulan Way, published fourteen years before Star Trek: Enterprise aired, gives an entirely different version of events. In this version, the Romulans were still a pre-warp people when the Federation discovered them. The Romulans mistook the exploration vessel for a precursor to invasion and quickly created a fleet of primitive, sublight warships which they used to capture the next Federation ship to approach Romulus. From it, they reverse-engineered a number of technologies, including warp drive. Things escalated from there, and the Federation eventually negotiated the Treaty of Alpha Trianguli entirely by subspace radio, setting up the terms of the Romulan Neutral Zone and designating a swathe of space surrounding the Romulus system as the Romulan Star Empire.
External links
: a discussion of warp drive and Romulan ships
de:Irdisch-Romulanischer Krieg
it:Guerra Terra-Romulus
ja:地球・ロミュラン戦争
nl:Aarde-Romulan oorlog
Earth conflicts
Conflicts
Deleted and unused material in background
|
3552
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Battle of Cheron
|
The Battle of Cheron was a pivotal battle that took place in 2160, between the Romulan Star Empire and an Earth/Andorian/Vulcan/Tellarite alliance. The outcome of the battle effectively ended the Earth-Romulan War, with the "humiliating defeat" of the Romulans. ( production art) The United Federation of Planets was founded shortly after this conflict, in 2161. ()
Even into the mid-24th century, the battle remained an intense embarrassment for the Romulans, which, according to Alidar Jarok, would be avenged by "the new leaders" on Romulus, who "vowed to discard the treaty and claim the Neutral Zone," with Nelvana III being the first step. ()
Appendices
Background information
After the Battle of Cheron had first been mentioned in "The Defector" in 1990, it was not until 2005 that a computer screen seen in "In a Mirror, Darkly, Part II" presented the first canon reference to when and in which context it took place. The same computer screen, which displayed a historical archive entry mentioning a "Human/Vulcan/Andorian/Tellarite alliance" winning the Battle of Cheron in 2160, is also the only canon reference that these races fought the Romulans alongside Earth forces.
An article in the Picard family album that wasn't seen on screen was titled "Foe in retreat after Cheron debacle" in reference to this battle.
According to the reference book Star Trek: Federation - The First 150 Years, the planet Cheron seen in was the namesake of the battle.
However, according to Star Trek: Star Charts (pp. 60 and 67) and Stellar Cartography: The Starfleet Reference Library ("Federation Historical Highlights, 2161-2385"; "The Romulan War: An Astrographic Brief"; "Portion of the Romulan Star Empire"), the Battle of Cheron was fought in the Cheron () star system. The primary was a F-class star and was located in the Romulan War Theater of Operations (2156-2160). The Battle of Cheron was fought in this system on January 10, 2160. According to a map of the Romulan Star Empire – prepared by the Stellar Archive Artist Lsel Essik, from the Romulan Master Data Catalog, in 2366 – Cheron was identified as a Romulan system. (The homeworld of the Cheron natives was located in the Cheron () system.
The battle was described in the novel To Brave the Storm as a battle at the planet Cheron seen in "Let That Be Your Last Battlefield".
External link
bg:Битка при Херон
de:Schlacht von Cheron
es:Batalla de Cheron
nl:Slag om Cheron
Conflicts
Earth conflicts
Deleted and unused material in background
|
3553
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2160
|
Events
The Earth survey ship is launched. ( production art)
The humiliating defeat of the Romulans at the Battle of Cheron effectively ends the Earth-Romulan War. This victory was achieved by an alliance comprised of Earth, Vulcan, Andorian, and Tellarite forces. ()
External link
Timeline
de:2160
es:2160
fr:2160
nl:2160
sv:2160
|
3554
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Federation-Klingon War
|
There have been several conflicts fought between the Klingon Empire and the United Federation of Planets.
Federation-Klingon War (2256-57)
Federation-Klingon War (2267)
Federation-Klingon War (2372-73)
Federation-Klingon War (alternate timeline) (after 2344)
You may also be looking for
Federation-Klingon Cold War
|
3555
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Treaty of Organia
|
The Treaty of Organia, also known as the Organian Peace Treaty, was an agreement enforced by the Organians, a race of powerful incorporeal beings of Organia, upon the United Federation of Planets and the Klingon Empire, ending the in 2267. ()
According to the terms of the treaty, each side could lay claim to a disputed planet inside the Neutral Zone between the two powers, and was given the opportunity to demonstrate its ability to develop that planet most efficiently. Also, each side was granted the right to demand use of the other's shore leave facilities along the border. ()
The Treaty of Organia was eventually superseded by the Khitomer Accords of 2293, which bore out the Organians having predicted that the Klingons and the Federation would one day become friends. ()
In the alternate reality, this treaty was in existence by February 2259. On the eve of the founding of Sherman's Planet, there was a dispute about this treaty. (, production art)
Appendices
Background information
The actions of were said to break "the treaty" and therefore might trigger war between the Federation and the Klingons, but it was not explicitly said that this was the same treaty as the Organian one. If it was the same treaty, it would mean it did not allow indigenous native populations to be disturbed, except under the auspices of pure scientific exploration and research, and the Klingons would have violated it by giving flintlock rifles to the primitive inhabitants of the planet Neural.
In , Kirk later informed Kruge that "By violation of treaty between the Federation and the Klingon Empire, your presence here [at ] is an act of war." As before, it was not explicitly said that this was the same treaty as the Organian one, as no other treaties were know to be instated during this period of time.
Apocrypha
According to the The Klingon Gambit, by Robert E. Vardeman, the Treaty of Organia covered a seven-hundred-and-fifty parsec zone. The novel How Much for Just the Planet? sums up the Organian Treaty as "Don't get grabby, or you'll get your fingers burned."
According to the novel The Sorrows of Empire, a version of the Treaty of Organia was signed between the Klingons and the Terran Empire in the mirror universe.
Federation: The First 150 Years states that the Treaty of Organia was recorded on an advanced disk that, when touched, would detail the following provisions of the treaty:
Worlds in dispute – All worlds currently in the previously described Disputed Area between the two parties are now considered neutral.
Further, any worlds that may be discovered from this point forward that lie in the one parsec overlap between the nearest Federation and Klingon outposts shall be considered neutral.
No party may seek to use a new world for military purposes.
If both parties seek to make use of the world to provide sustenance to their civilization, they must make a case to the Organian Council of Elders that their plans for it are efficient and non-militaristic.
Any attempt to violate this section of the agreement will result in the permanent immobilization of the offending party's fleets and space habitats.
All beings belonging to the offending party's species will be immediately and permanently returned to their homeworld.
According to The First 150 Years, the circumstances of the treaty being forced upon them by the Organians was a source of great embarrassment for both the Federation and the Klingon Empire. The Federation, in particular, was highly dissatisfied with the fact that the Klingons were granted access to Federation facilities, and sought to replace it with something that would keep the Klingons confined to their own borders. The induction of Coridanite into the Federation provided the opportunity to do just that. In The First 150 Years, Coridan's admission into the Federation supplies them with a large supply of dilithium, allowing them to give up claims to a great number of dilithium-rich planets in the Disputed Area (referenced in "Errand of Mercy") to the Klingons in exchange for new treaty that would establish a neutral zone between the two governments and keep the Klingons out of Federation space.
External link
de:Vertrag von Organia
ja:オルガニア条約
Organia
Deleted and unused material in background
Alternate reality
|
3558
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Klingon planets
|
The following is a list of mentioned planets and star systems in the Klingon Empire. All planets listed are or were inhabited at some point of time.
Planets
Archanis IV (Archanis sector, ceded to the Federation in the 23rd century, reconquered in 2373)
Boreth
H'atoria
Khitomer (Khitomer system, colony destroyed by Romulan forces in 2346, within Romulan territory as of 2369)
Krios Prime
Maranga IV
Morska
Narendra III (attacked by Romulan forces in 2344)
N'Vak Colony (colony destroyed by Klingon forces in 2154)
Ogat
Organia (only briefly occupied in 2267)
Praxis (Qo'noS system, destroyed in 2293)
Qo'noS (Qo'noS system)
Qu'Vat Colony
Raatooras
Rura Penthe (Beta Penthe system)
Sherman's Planet (shared possession in 2267, granted to the Federation as of 2269)
Ty'Gokor
Uncertain
Donatu V
Elas (Tellun system, claimed by the Empire in 2268)
Forcas III
Galorda Prime
Ganalda IV
Hitora colony
Korvat colony
Neural (claimed by the Empire in 2267)
Torna IV
Troyius (Tellun system, claimed by the Empire in 2268)
Unnamed deuterium mining planet
Xarantine homeworld
Stars and star systems
Beta Lankal
Beta Thoridar
Gamma Eridon
Mempa system
Pheben system
Other stellar phenomena
Azure Nebula (on the border to Federation space)
Baber Nebula
Barnes Nebula
Betreka Nebula (uncertain, may not really border the Klingon Empire)
Gullory Nebula
Hodges Nebula
Stevens Nebula
Klach D'kel Brakt (also called "Briar Patch", in Federation space as of 2375)
Vodrey Nebula (on the border to Federation space)
See also
Federation-Klingon border
Romulan planets
Cardassian planets
bg:Клингонски планети
de:Liste von klingonischen Planeten
es:Planetas Klingon
fr:Territoire de l'Empire Klingon
nl:Klingon planeten
Planet lists
Cartography
|
3560
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Non-corporeal lifeform
|
A non-corporeal lifeform, also called an incorporeal, non-physical lifeform, or formless, was a classification of species that did not maintain a corporeal form, but may or may not be capable of assuming physical form.
Physiology
The properties of what made a lifeform non-corporeal were loosely defined, as they existed under many forms, such as space-dwelling lifeforms, multispectrum particle lifeforms, electromagnetic lifeforms, and included interphasic species. ()
In describing Trelane, Spock suggested describing him under several classifications, including "pure mentality", "force of intellect", "embodied energy", or "superbeing". ()
The planet Meridian and its inhabitants existed in a non-corporeal state for sixty year intervals. ()
Often they were composed of various forms of coherent gas or energy. () Of the latter, these were sometimes known by the term energy being, energy force, or energy form, and included trianic-based energy beings. (; )
The Zetarians existed as the life force of their former corporeal existence, and were a collective composed of "the desires, the hopes, the mind and the will of the last hundred of Zetar." Together they sought out another corporeal host "through whom [they could] see and speak and hear and live out our lives." ()
Many had the ability to pass through solid matter or had no mass. These non-corporeals also possessed the minds of corporeal beings. (; ) During the 's mission, the crew encountered a species referred to as "Wisps". They had the ability to possess the minds of humanoids, one notable exception being Doctor Phlox. () Likewise, the Organians possessed the same abilities, without exception. () The Komar of the Delta Quadrant also possessed the same abilities. ()
Generally, non-corporeal species did not utilize technology, compensating with intrinsic physiological capabilities. One exception was in the case of the child-being Trelane who possessed a mirror machine capable of performing matter-energy conversion. () Those that possessed the intrinsic capacity to travel at warp speed, included the Companion, the dikironium cloud creature, and the Zetarians. () When coalesced, Q's forcefield-grid had the capabilities of traveling at warp 9.9. ()
More advanced non-corporeal races, such as the , had evolved beyond the need for sustenance, and wielded substantial control over space and time, or possessed all around omnipotence. ()
Others required sustenance to survive. Some non-corporeal entities absorbed and utilized energy directly from their environment. (; ) Others, such as Redjac or the Beta XII-A entity, derived sustenance from the emotions of humanoid lifeforms. () The dikironium cloud creature of Tycho IV forcibly extracted the corpuscles of iron-based blood and fed on that. ()
In early 2374, Kes became a non-corporeal lifeform after the 's encounter with Species 8472 in the Delta Quadrant, and the growth of her telekinetic abilities. ()
See also
List of non-corporeal species
List of unnamed non-corporeal species
List of powerful and godlike beings
Lifeform classifications
|
3561
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Organian
|
The Organians were a race of powerful incorporeal beings, composed of pure energy and thought, native to the planet Organia.
History
Millions of years ago, the Organians existed as humanoids, but over the passage of those same millions of years, they evolved beyond the need for physical bodies. () Their desire to overcome pain was a major contributing factor in moving beyond the limitations of the physical world. ()
For a period of ten thousand years, the Organians looked for indicators that observed corporeal species' intelligence was developed enough for first contact. From roughly the 14th through the mid-22nd century they observed a planet that contained a silicon-based virus, and the reactions of species that encountered it, in an attempt to find a species with a higher level of intelligence. Among the species which the Organians observed attempting to deal with this deadly virus were the Klingons, Cardassians, and Humans.
In 2154, investigated a Klingon waste site on the planet, and a landing party consisting of Commander Charles Tucker III and Ensign Hoshi Sato contracted the virus. Following their protocol of non-interference, two Organian observers watched the crew's reaction to the situation by inhabiting the bodies of crew members and subsequently altering their memories so that they had no recollection of the Organians' actions. The elder observer felt that the Organians' protocols should be followed strictly; the other, who was impressed by the Humans' compassion, felt that the time had come for the protocols to be altered. The less senior being argued that intelligence alone was not a sufficient measure of a species' worthiness to be contacted. The senior observer initially occupied the body of Lieutenant Malcolm Reed, while his associate occupied the body of Ensign Travis Mayweather. All of the senior staff of Enterprise were possessed by the observers at one point or another.
After a period of rapid deterioration, both Tucker and Sato died from the virus. However, at the moment of Tucker's death, the junior Organian inhabited his body and communicated his admiration to Captain Jonathan Archer, who had become infected himself in an effort to save his crewmen. The junior Organian explained his mission to Archer, who pleaded for the Organians to save his crew members – to experience compassion, not merely observe it. Although it was a violation of their protocols, the Organians complied and revived Tucker and Sato, as well as eliminating the virus from their systems and Archer's. The crew of Enterprise NX-01 retained no memory of their interactions with the Organian observers. Before they left, the junior Organian told his superior that they should begin preparations for an official first contact mission, which they felt gave them only about five thousand years. ()
The Organians later took the appearance of a simple pre-industrial humanoid society for the purpose of interaction with other lifeforms. Based on preliminary Federation surveys, the Organian society rated a class D-minus on the Richter's scale of cultures.
When Organia was invaded by the Klingons at the start of the in 2267, Captain James T. Kirk and his first officer, Spock, attempted to convince the apparently primitive Organians to accept Federation protection. The Organians seemed completely unconcerned with external affairs, almost to the point of apathy. It was only when Kirk and Spock began conducting a guerrilla war against the Klingon occupation that the Organians abandoned their false humanoid forms and intervened, forcing an end to the interstellar war. ()
The Organians imposed the Treaty of Organia, establishing a framework for interaction between the two enemies, accurately predicting that, in time, they would eventually become friends. () This event placed the Organians' official first contact with Humans much sooner than the Organians had first anticipated. (; )
Abilities and physiology
The Organians demonstrated a number of abilities.
As beings of pure thought, they were either immortal or extremely long-lived; Claymare commented that no one had died on Organia in "uncounted thousands of years."
It is unclear exactly what the Organians really looked like, but they stated they had once been humanoid. They had developed beyond the need for physical bodies, millions of years earlier, and "that of us which you see… is mere appearance… for your sake." Two of them then disappeared, first passing through a state in which they radiated intensely bright light. ()
At least one of them, Trefayne, was keenly aware of events at great distances, reporting that space vehicles had assumed orbit about his world and that men had beamed down. () Another was able to tell where the helmsman and armory officer were on Enterprise while still in the ship's sickbay, as well as whether they were being observed. ()
The Organian observers of the mid-22nd century were able to inhabit to animate as well as resurrect the dead, as was performed on the recently deceased Trip Tucker and Hoshi Sato.
The Organians also had the ability to occupy the bodies of humanoid hosts, including the crew of Enterprise NX-01, consisting of Humans, Vulcans, and Denobulans, as well as to alter or completely wipe the memories of their activities, noting that "memories are simple to adjust." ()
An individual, Ayelborne, was able to move through a crowded citadel without attracting the attention of anyone there. He was able to prevent the Klingons from returning to a particular chamber in the building, which housed the Organian Council of Elders, to search for Kirk and Spock, whom Ayelborne had rescued from the citadel. He was also able to appear in at least three places light years apart at the same time, these being his own world, Earth, and Qo'noS.
Kirk believed that the Organians made it possible for Spock and himself to enter the citadel while it was apparently under Klingon rulership, in defiance of long odds against them. Collectively, the Organians were able to neutralize Starfleet and the Klingon fleet wherever they were. To prevent the conflict between Humans and Klingons, they caused extreme heat to emanate from every harmful object available, including phaser controls in both fleets.
External affairs
Organians considered intervention in the affairs of others to be most disgusting. The Organian principle of non-interference was akin to Starfleet's Prime Directive, though existing before it. (; , etc.) The Organians felt they had no choice but to intervene when they imposed the peace treaty in 2267 – they simply could not watch idly as the Federation and the Klingons slaughtered each other and perhaps others. In general, the Organians found the discordant emotions of less evolved beings highly painful. As a gesture of hospitality to visitors, they created conventional points of reference – physical bodies for themselves, buildings, and other objects, such as, in 2267, creating a setting reminiscent of a primitive agrarian society. ()
People
Named
Ayelborne
Claymare
Trefayne
Unnamed
List of unnamed Organians
Appendices
Appearances
Background information
Although "Observer Effect" was written by Judith and Garfield Reeves-Stevens, the idea of bringing the Organians back to Star Trek in an episode of ENT Season 4 was thought up by Manny Coto, after he and Brannon Braga asked the Reeves-Stevenses to write a budget-saving installment that involved the crew of Enterprise being inhabited. "Manny […] said, 'It would be great, for a tie to the original series, if the aliens that were inhabiting our guys were Organians," recalled Garfield Reeves-Stevens.
The pair of writers thereafter chose to subtly depict the behavior of the Organians' hosts. "We didn't want to have anything like, you know, eyes flash or they start talking in a really bizarre way," Garfield Reeves-Stevens explained. "They had to talk as the characters, but referencing that they were possessed by Prime and Second." Consequently, much of the responsibility for conveying that the Organians were inhabiting the crew of Enterprise was given to the relevant actors and the director of "Observer Effect", Mike Vejar. Their efforts in this respect pleased the Reeves-Stevenses. "And while we made the two [Organian] characters distinct, it's the actors who just made this happen, because you always know which one of them they are," remarked Judith Reeves-Stevens.
Precisely whom the Organians opted to possess was another concern. "Working on the show, we were trying to think, 'Um, how do the Organians pass around? Who do they concentrate on?" stated Garfield Reeves-Stevens. At one stage, he and his writing partner even had the Organians inhabit Captain Archer's dog, Porthos, so that they could eavesdrop on a discussion between Archer and another character, though that notion lasted for approximately a day before being dropped. The writing couple subsequently focused on having the aliens possess Mayweather and Reed.
In an extra page from "Observer Effect", the Organians, while possessing Tucker and Sato, were given dialogue to be performed by actors Connor Trinneer and Linda Park, though the lines were deliberately not heard on-screen. The aliens, in the script page, discussed Human history and compared the violence of Humans to that of Cardassians. ("Observer Effect" audio commentary, ENT Season 4 Blu-ray special features)
Garfield Reeves-Stevens thought the Organians' use of a directive similar to the Prime Directive, while in contact with races including early Starfleet, was interesting. ("Observer Effect" audio commentary, ENT Season 4 Blu-ray special features)
Although the Organian Peace Treaty was occasionally mentioned in TOS, it is not certain what happened to the Organians themselves in later years; negotiations and politics portrayed in and suggest that they were no longer interfering in Federation-Klingon affairs. This is consistent with their declared view that such interference was most disgusting; it is possible that they chose to make an exception in 2267 due to them being directly involved in said affair .
It appears that the Organians predicted the state of interstellar diplomatic and security affairs during the time of the Dominion War, upon which, as stated by a member of the Organian ruling council in , the Klingons and the United Federation of Planets become "fast friends."
Apocrypha
In the novel Q-Zone, the Organians also turned back the envoys of the Tkon Empress Glevi Ut "some six hundred thousand years ago." In Q-Strike, it was revealed that they observed a battle between the Q Continuum and a coalition of powerful villains under 0 with some disgust, and eventually departed after stopping a stray attack that flew their way. Q seemed to think little of them, remarking that their commitment to non-involvement in the affairs of other species made the Prime Directive seem like "an incitement to riot" by comparison.
Further in Q-Strike, the Organians stood on the perimeter of the war zone between the Q Continuum and 0, with their hands clasped together before their chests in a meditative pose projecting an aura of peace and dignity. Q considered them to be relative youngsters compared to the Continuum but reasonably evolved. He also referred to them as "a bunch of upstart, idealistic kids, slackers and layabouts."
External links
de:Organier
es:Organianos
uk:Органіани
Non-corporeal species
|
3562
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Khitomer Conference
|
The Khitomer Conference was the first full peace negotiations between the United Federation of Planets and the Klingon Empire in 2293, held at Camp Khitomer, a Klingon colony on the planet Khitomer near the border with the Federation.
Following the destruction of the Klingon moon of Praxis, Chancellor Gorkon reached out to the Federation for détente and an end to the lengthy and costly hostilities between the two superpowers. Following Gorkon's assassination by anti-peace operatives from Starfleet, his daughter, Azetbur, became chancellor and continued her father's peace initiative. For security reasons, the location of the conference was kept secret. However, both sides underestimated the extent of the Khitomer conspiracy. Eventually, personnel from the and the intervened, preventing an assassination attempt against the Federation President and exposing the conspiracy.
Ultimately, the Khitomer Conference led to the signing of the Khitomer Accords and the beginnings of nearly a century of peace between the Federation and the Klingon Empire. (; ; )
Captain Spock and Ambassador Pardek first met during the Khitomer conference and began setting forth the goal of reuniting the and Romulan governments. ()
One of the Federation ambassadors present at the conference was Curzon Dax. ()
One of Chancellor Azetbur's delegation members was Colonel . ()
Participants
Appendices
Background information
The filming location of Khitomer in The Undiscovered Country was the Brandeis-Bardin Institute in California.
External link
de:Konferenz von Khitomer
nl:Khitomer conferentie
Conferences
|
3563
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Talarian
|
The Talarians were a warp-capable humanoid species from the Talarian homeworld. They were native to the Alpha Quadrant and the name of their government was the Talarian Republic.
Physiology
Talarians were characterized by a distinctive hairless enlargement of the coronal area of the skull extending in two lobes to the back of the head. Talarian blood was red, and Talarians were susceptible to radiation burns and respiratory distress. ()
Raktajino was known to have intoxicating effect on Talarians. ()
Society and history
Talarians followed a strict set of traditions and customs. Their society was rigidly patriarchal, where a woman could never outrank a man, and encouraged warrior-like behavior. ()
Xenophobic tendencies among Talarians were hinted at by Jono's revelation in 2367 that Talarians wore gloves when touching aliens. Removing the gloves and touching someone with the bare hands was a sign of affection and respect.
Talarians were very competitive; games, tests, and competitions were an important part of their culture, and children regularly engaged in contests and challenges. Sharing victory was an important part of the games. Furthermore, when undertaking the tests, pain was not a consideration as passing the tests was what mattered.
Bowing was considered a sign of respect, affection and solidarity. When meeting a close person, the bowing was extended by touching arms and gently pressing foreheads.
When a Talarian boy had reached the age of fourteen, the Age of Decision, he underwent a ceremony of initiation and after that had the freedom to make his own choices.
The B'Nar was a Talarian ritual of mourning. When Talarians were in distress, they performed the B'Nar, which consisted of a high-pitched shriek and rocking back and forth.
Adolescent Talarians listened to Alba Ra, a loud, discordant, electronic form of contemporary, 24th century, Talarian music, comparative to Human rock and roll.
Talarians were known to ride t'stayans, very strong, six-hoofed animals native to their homeworld.
Talarians had trouble sleeping in Human beds as they hurt their backs. Jono installed a hammock in Jean-Luc Picard's quarters, so it is possible that hammocks were their preferred bedding.
Talarian men often wore full beards. Talarian males, young and old, wore a short thin braid of hair, originating between the two hairless lobes at the back of their head.
During the mid-24th century, the Talarians were involved in a series of small skirmishes with the United Federation of Planets, most notably the Galen border conflict, which lasted at least until 2357.
In 2367, the responded to the distress call of a Talarian observation craft (likely used as a training ship for young Talarian warriors). The craft was found adrift in Sector 21947. The craft had developed a serious radiation leak within its propulsion system, and Dr. Beverly Crusher's team evacuated the survivors, including a Human youth named Jono, to the Enterprise. Soon after, the Talarian warship Q'Maire, commanded by Endar, along with two sister ships, intercepted and surrounded the Enterprise in the hopes of forcing the release of Jono, Endar's adoptive son. An armed conflict was averted when Captain Jean-Luc Picard decided to return Jono to the Talarians. ()
As of the early 2370s, Talarians were known to visit Deep Space 9. ()
Technology and militia
In 2367, Talarian military weaponry was inferior to Federation standards, consisting of neutral particle weapons, high energy X-ray lasers, and merculite rockets, and thus did not represent a serious tactical threat to a starship. They also employed subspace proximity detonators and self-destruct devices that were installed on their ships. Though their technology was inferior, they were known to have employed guerrilla maneuvers, such as booby-trapping an observation ship and sending out a distress call, luring would-be rescuers to their deaths. ()
Talarians also had their own freighter type. ()
Attacking a superior officer, like a captain, was considered the highest offense and was punishable by execution, usually carried out by the offended officer. This was applicable to all superior officers no matter their army or species: for example, the custom would allow a Starfleet commander to execute a rude Talarian soldier.
Talarian uniforms reflected a militaristic culture. Talarian officers and boys having passed the Age of Decision wore a similar brown padded uniform vest and black trousers. Large black helmets and black leather gloves were a standard part of the uniform, and a ribbed silvery-black undergarment was worn under the brown vest. Large rifles were worn on a shoulder strap on the right side of the body.
Golden insignia were worn on the right side of the uniform vest; two different kinds were observed: captains and senior officers wore badges with rounded ends, while young Talarians wore badges with pointed triangular ends. Additionally, only captains wore a second golden insignia, consisting of three diamond-shaped metal pieces positioned centrally on the chest. ()
Ship types
Freighter
Observation craft
Warship
People
Named
Endar
Unnamed
List of unnamed Talarians
Appendices
See also
Talarian hook spider
Background information
Talarians were first mentioned in "Heart of Glory", but not actually seen until "Suddenly Human". The race in "Suddenly Human" were initially called "Phrygians", but Michael Okuda advised using a race that had been mentioned but not seen. ()
A Talarian helmet was sold off on the It's A Wrap! sale and auction on eBay.
According to an internal reference document, listing all the aliens seen in , which was circulated around the time of the production of TNG Season 5, the Talarians were described as "outwardly humanoid bony ridge atop the head." They were not physically described in the episode's script.
The Talarian that was referred to by Elim Garak in was not a Talarian, but in fact, a Kobheerian.
According to Star Trek: Star Charts (p. 37) and Stellar Cartography: The Starfleet Reference Library ("Federation Historical Highlights, 2161-2385"), the Talarian state was named the Talarian Republic. The capital system was named Talar. This interstellar entity was located in the Alpha Quadrant.
Apocrypha
In the Star Trek: Destiny novel trilogy, the Talarians are described as being one of the major superpowers in the Alpha and Beta Quadrants. The Talarians contributed a number of ships to the abortive attempt to engage a Borg force in the Azure Nebula in Mere Mortals. In the follow-up A Singular Destiny, they are invited to join the Federation-Klingon alliance in an expansion of the Khitomer Accords.
External link
de:Talarianer
es:Talarianos
Species
|
3564
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Coridan
|
Coridan was an inhabited Federation planet in the Coridan system of the Alpha Quadrant, and homeworld of the Coridanites, a warp-capable humanoid species. As of 2151, the planetary government was headed by an elected chancellor.
The planet Coridan was rich in valuable resources, most significantly dilithium. (; ; )
History
In 2151, Coridan had a population of three billion, with the majority living in several cities in the equatorial region. The capital city was surrounded by a shanty town, and there were almost as many bio-signs outside the city as there were within it. The planet was known for having the largest shipyards in its sector, building advanced warp-capable vessels, some of which were rumored to reach warp 7. However, Coridan was also embroiled in an internal conflict between the government, backed by the Vulcan High Command, and rebel forces, secretly supported by the Andorian Empire. The Vulcan agenda was to keep the planet's chancellorship stable while the Tau Ceti Accords prohibited any Andorian presence on the planet, which in turn assured Coridan's dilithium exports to . ()
Chancellor Kalev invited Captain Jonathan Archer and Sub-Commander T'Pol of to visit the planet, but they were captured by rebels and held for ransom. As a result, a commando force led by Sopek, the Vulcan senior officer of the sector, as well as the Andorian Imperial Guard, led by Shran, who was thereby violating the Tau Ceti Accords, came to assist the rescue. ()
A year later, in 2152, Jonathan Archer, playing the role of a smuggler, claimed to have outrun a customs vessel near Coridan. ()
In 2155, Coridan took part in talks on Earth to form a Coalition of Planets. Here, the Coridanites rejected the Tellarite proposal of a trade embargo against the Orion Syndicate. The Coridan representative claimed his people had been trading with the Orions for centuries and that the accusation of Orions attacking s was slander. ()
Over the next century, Coridan became under-populated to the point that it could not defend its dilithium mines.
In 2268, Coridan sought admission to the United Federation of Planets. However, due to the wealth of minerals available on Coridan and the presence of illegal mining operations, Coridan's admission was a controversial subject between Tellarites and Vulcans. The Babel Conference was convened to settle the matter and ultimately approved Coridan's admission, although Orion smugglers initially tried to sabotage the meeting. Ambassador Sarek of Vulcan was credited with achieving the consensus towards admitting the planet to the Federation. (; )
Shortly before the start of the Dominion War, Kandra Vilk moved from Deep Space 9 to a neutral world near Coridan. ()
During the Dominion War, Coridan's dilithium mines came under attack by the Dominion in 2374, due to their strategic importance. Gelnon left Kudak'Etan in command of the while he and his ship left to launch an attack on Coridan. ()
Appendices
Background information
This planet's quadrant of origin is inferred based on the position of its primary as seen in the star chart appearing in the episode .
"CORE-ah-don" was the pronunciation for this planet's name from the script pronunciation guide for "Sarek".
In the first draft script of "Shadows of P'Jem" (written while the episode had the working title "Untitled Andorians Return"), the capital city of Coridan was referred to, in dialogue, as "an architectural marvel" and, in the stage directions, as featuring "crystalline, high-rise buildings," which Archer speculated "must be a half-kilometer tall." The planet was spoken about as having "fabrication facilities" better than any on Earth. In the stage directions from the same early script, the planet was also described as having a "cloud layer" whose coloration wasn't identified, to be depicted on "a bright, sunlit day." However, in the final draft of the script, Coridan was instead described as having gray clouds and a "crystalline city," with the other descriptions no longer included in the script.
In a deleted scene from , a news feed announced that Magustav Pachangara became the new chancellor of Coridan. Information on this planet appeared in a powerwall in the office of Admiral .
According to Star Trek: Star Charts (p. 53) and Stellar Cartography: The Starfleet Reference Library ("Federation Historical Highlights, 2161-2385"), Coridan (Coridan III) was an M-class planet governed by the from its seat at . The dominant species were the humanoid Coridanites, who were warp-capable in 2093. In the mid-22nd century, the planet had a population of three billion. By the mid-23rd century, a centuries-long civil war had reduced the population. In the late 24th century, the planet had a population of 185 million.
Apocrypha
According to The Worlds of the Federation, Coridan was the third planet in the Coridan system. It was called Desotriana by its natives.
According to the RPG sourcebook The Federation, Coridan is the fourth planet in the Danthos system.
According to the RPG sourcebook Worlds, Coridan is the fifth planet in its system.
In the non-canon The Good That Men Do, Coridan was referred to as "Coridan Prime", on the verge of developing warp-7 technology. To prevent such advances from spreading to other Coalition of Planets member worlds, the Romulans launched a vicious attack on Coridan, flying a vessel into the planet at maximum warp. Anti-matter from the suicide attackers' ship mixed with Coridan's abundance of dilithium, causing a fireball that spread across the planet, killing billions. The planet's population was said to be further depleted by civil wars that continued after the Romulan attack.
In Star Trek: The Original Series - Core Game Book, Coridan is described as a cold, dry, class-M world, with a chronically corrupt government, in the 2260s.
External link
de:Coridan
nl:Coridan (planeet)
pl:Coridan
es:Coridan
Planets
Homeworlds
|
3565
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Benzar
|
Benzar was the inhabited second planet in the Benzite system of the Alpha Quadrant. It had at least three moons, the third of which was B-9-3.
Benzar was the homeworld of the Benzite civilization, and a significant member of the . Benzar's atmosphere differed somewhat from class M norms, such as that, before the 2370s, Benzites who were off-world required a breathing apparatus. (; , )
In 2256, during the , the successfully broke a Klingon supply line at this planet. ()
During the Dominion War, Benzar had fallen to Dominion and Cardassian forces by 2374. However, the planet was liberated by the Romulan Star Empire later the same year, after it joined the war on the side of the Allies. Constable Odo expressed concerns that the Romulans would not give up control of Benzar even after the war ended, as their usual policy was to keep claimed territories. ()
Appendices
Background information
In the early versions of the script of "The Reckoning", it wasn't Benzar but Bolarus, the Bolian homeworld, which was the planet conquered by the Dominion and liberated by the Romulans.
Based on the star charts seen as the Enterprise-E raced back to Federation space after their first encounter with the Scimitar, it's likely that, by this point, Benzar had once again passed into Federation control, although this has yet to be confirmed in canon.
According to Star Trek: Star Charts ("United Federation of Planets I"), Benzar was listed as a member planet of the Federation in 2378. According to The Worlds of the Federation, Benzar is the third planet in the Delta Pavonis system.
According to StarTrek.com, before this planet had become a member, it was a non-aligned world that had, through treaties, established a relationship with the Federation.
Apocrypha
According to The Worlds of the Federation, Benzar was called "Pheradon".
According to Decipher's sourcebook, Benzar was the fourth planet in the Securis system.
External link
bg:Бензар
de:Benzar
es:Benzar
ja:ベンザール
nl:Benzar
Planets
Homeworlds
|
3566
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Replicator
|
A replicator, replicator system, replication system, or molecular synthesizer was a device that used matter-energy conversion technology similar to a transporter to produce almost anything from a ship's replicator reserves. (; ; ; ) It was also capable of inverting its function, thus recycling the item. (; ) Items thus disposed of served to fuel the replicator and could potentially become other items in turn. () A replicator that was installed primarily for the purpose of replicating food was referred to as a food replicator, food synthesizer, food dispenser, or food slot, while one installed for replicating beverages was referred to as a drink replicator.
Replicators were one of the technologies used in holodecks and holosuites, as well as in exocomps and self-replicating mines. (; ; ) They were commonplace among advanced Alpha Quadrant cultures like the United Federation of Planets, the Cardassian Union, and the Ferengi Alliance, but were largely unheard of in the Delta Quadrant, although a few species did possess them. ()
Replicators were capable of producing food as fresh and tasty as non-replicated foodstuffs, inorganically materialized out of patterns used by the transporters. () Most people found replicated foods and drinks to taste exactly the same as "real" food, although some people claimed to be able to tell the difference. Furthermore, Federation replicators could be programmed to produce foodstuffs of acceptable "nutritional value" despite resembling more indulgent items. (; ) Some people didn't learn to cook without a replicator. (; ) Some smaller ships didn't bother to carry food or water, preferring to rely on their replicators to synthsize what they needed, which saved on space but caused problems if the replicator was damaged. ()
Once a meal was finished, the used dishes, utensils, and uneaten/inedible portions could be placed back inside the replicator to be automatically recycled.
Federation replicators often recycled waste produced by living beings - including fecal material - to provide the raw material for replicators. Such material was deconstructed down to the atomic level, and then recombined as needed into foodstuffs and other products. ()
In addition to foodstuffs, replicators could be used for replicating an almost limitless range of other objects. Complex devices (; ; ), weapons (; ), machine components (; ), clothing (; ; ), medication (), coins (), musical instruments (), antique furniture (), photographs (), and a wide range of other items. Industrial replicators could even be used to replicate heavier machine parts, to help build factories, power plants etc. ()
Users could program their own replication patterns into the replicator, such as a particular recipe for soup, a larger duplicate of a complex item, or an unusual device such as a wheelchair. Worf programmed an approximation of bloodwine into the 's replicators. (; ; ) Elim Garak would program replicator patterns for clothing as he designed it. () Replicators included built-in scanners, allowing someone to make copies of an item without understanding its internal workings. ()
Starfleet replicators kept logs of their use. ()
On some Starfleet vessels, the full range of meals programmed into replicators was limited to senior officers through the use of an access card, or certain areas only frequented by senior officers would have a replicator that could freely dispense higher quality recipes to anyone. Some types of meals were simply limited by volume, such as producing only one slice of pizza at a time. Limited recipes included gnocchi, fritters, lobster ravioli, macaroni and cheese with a breaded top, pasta with pesto, and lobster mac and cheese. ()
Starfleet replicator technology was theoretically capable of creating artificial substitutes for natural organs for use in certain transplants, such as eyes or lungs. (; ) A genetronic replicator could extrapolate actual organs for use in medical transplants from a DNA sample, though this device was experimental. ()
Some alien replication technology was able to create living organic material, such as when the D'Arsay archive created living snakes. The abductor aliens were also able to create living things, as in the case of Jean-Luc Picard's impostor, for which the replicators were even able to recreate the dendritic connections where memory was stored. ()
Limits
Replicators had limits to their functionality. If the object desired contained a certain degree of complexity in its molecular structure, it could not be replicated. (; ) Talaxian lungs were considered too complex to replicate, as Talaxian physiology included a complex series of neural links between the lungs and the rest of the body that replicators were unable to duplicate exactly. () Certain medicatical compounds could not be replicated, nor could Cardassian plasma distribution manifolds (or rather the beta-matrix compositor used in making them), Borg cortical nodes, or bio-neural gel packs. (; ; )
Certain materials, such as tricyanate and polyduranide, were considered difficult to replicate. (; ) For some reason, it took a long time to replicate nanoprobes. ()
Some citizens of the Federation, such as Robert Picard, refused to use replicators. Picard was opposed to their use and would not allow them on his property, complaining that they were destroying people's ability to cook, among other issues. () Similar but less extreme mindsets were not uncommon, and both Miles O'Brien's mother as well as Joseph Sisko raised their respective children believing that replicated food was less nutritious or generally "lacking". (; )
Some people claimed to be able to tell the difference between replicated and "real" food. Jean-Luc Picard admitted that their replicator did not do "justice" to caviar, so he kept some cases of it for special occasions. () Worf claimed they did not do justice to Klingon Warnog. () Aquiel Uhnari complained the Muskan seed punch she could replicate didn't match the sort her mother made for her. () Eddington claimed that he could taste the fact his "curried chicken" was in reality "replicated protein molecules". () In 2366, Deanna Troi expressed her desire to the computer to have a "real" chocolate sundae. The computer wished for her to define "real in context", to which Troi explained, "Real. Not one of your perfectly synthesized, ingeniously enhanced imitations. I would like real chocolate ice cream, real whipped cream..." before she was interrupted by the computer explained that "[t]his unit is programmed to provide sources of acceptable nutritional value. Your request does not fall within current guidelines. Please indicate whether you wish to override the specified program?" () In 2399, Troi and William T. Riker lived on Nepenthe, hunting and harvesting their own food, which matched well with Riker's interest in cooking. When Troi provided Soji Asha a ripe tomato from their garden, Soji was surprised by how "real" it tasted in the comparison to the replicated food she had eaten all of her life. (; ) Dr. Bruce Maddox apparently preferred to replicate all the ingredients for chocolate chip cookies, then mix and bake them himself. On Dr. Agnes Jurati asking why he hadn't just replicated the cookies themselves, Maddox explained that he disliked the replicated kind and that there was an "alchemy" to it. ()
However, always having "acceptable nutritional value" apparently did not mean that always consuming replicated food necessarily meant one would have a balanced diet no matter what they ate. Kayshon once stated to Brad Boimler, after the latter accidentally insulted his weight in the Tamarian language, that it was difficult to lose weight when one could replicate any food they wanted. ()
Not all replicators carried the same patterns. Jake Sisko was unable to find a replicator on Earth that carried the pattern for I'danian spice pudding as good as that available from the replicators on DS9. Runabout replicators carried particularly sparse menus. () The replicators on DS9 needed to be specially programmed with Cardassian food whenever Cardassian dignitaries visited. () When Geordi La Forge and Worf visited DS9's replimat in 2369, La Forge ordered pasta al fiorella, one of his favorite meals, for both of them. However, while he considered the replimat's version to taste like liquid polymer, Worf called it delicious. ()
Romulan replicators left distinctive patterns in the molecular structure of items they produced. ()
Replicating large numbers of items could require significant amounts of power to be diverted from the warp core. () Complex elements such as anicium and yurium also required large amounts of energy to replicate. () During emergency situations, the use the replicators might be restricted to save power for vital systems or because they were unreliable; requiring rations to be replicated instead of more elaborate food (; ; ), rationing of replicator usage (), or the use of traditionally-prepared food. (; ) It was sometimes necessary to take the replicators completely offline to conserve power. (; ; )
Replicators, or at least the Cardassian replicators on Deep Space 9, needed to be shut down weekly for routine maintenance. ()
Safety Limits
Replicators aboard Starfleet vessels would not produce fatal poisons. () Furthermore, replicators had biofilters which automatically screened out all contaminants. () Although clothing could be replicated for general wear, they would not allow non-Starfleet crewmembers to replicate official Starfleet uniforms. () They produced synthehol versions of alcoholic drinks by default, but they could easily be manually readjusted through their control panel to make real alcohol instead. ()
On Starfleet installations and starships, if a person in custody was confined to quarters, it was standard policy to disable the replicators that the person had access to in order to ensure that a weapon could not be replicated. (; )
Makeup
Starfleet replicators made use of the alloy nitrium in their construction. () Components of a replicator included the replicator waveguide, power converter, power supply grid, memory, pattern buffers and the matter-energy conversion matrix. (; ) A disruptor pistol had some components in common with a replicator. () Voyager's replicator panels made use of bio-neural gel packs, were enhanced using several alien technologies they had acquired, and had their own secondary power supplies. ()
History and notable uses
One of the first replicators seen by Humans was the one seen by the crew of when they had their ship repaired in a mysterious automated repair station. Prior to this, T'Pol once saw a similar device on a Tarkalean vessel that was capable of replicating almost any inanimate object. Until this time, the most comparable technology aboard 22nd century starships were protein resequencers, which had limited capabilities compared to later technologies. ()
In the 23rd century, the United Federation of Planets had not yet perfected replicator technology for ships, though replicators already existed in industrial sites. Replicator technology was, however, in use by The Traveler's species, and the Beta 5 computer utilized replicator technology to manufacture several false identity cards for use by Gary Seven. () Starships of this time period were equipped with food synthesizers and other devices for producing clothing and machine parts on demand. This was a step forward, but did not achieve the quality and sophistication of the 24th century replicator. Replicator technology was not yet employed on starships as late as 2293. (; ; )
24th century Federation starships were commonly equipped with replicators because they allowed for a wide variety of foods and beverages to be served to crew members and also allowed for replication of other objects. The selection was limited only by the software and the number of options that had been programmed. (; ; )
Type 6A shuttlecraft were equipped with a replicator, but did not solely rely on it for emergencies and so also carried a supply of emergency rations. ()
Captain Picard beamed down to Rana IV with a portable matter replicator for Kevin and Rishon Uxbridge in 2366. ()
When Beverly Crusher determined that a captured Romulan needed ribosomes to survive, she noted that the replicator could not be used due to the complexity of the molecular structure. ()
As of 2367, starships were equipped with a replicating center that contained several replicator terminals resembling miniature transporter pads, at which crew members could order items. Lieutenant Worf and Lieutenant Commander Data shopped the 's replicating center for a wedding present for Miles and Keiko O'Brien. ()
The Enterprise-D's replicators were used to provide blankets to a Bajoran refugee camp. ()
The replicator played a key role in spreading the Ktarian game around the Enterprise-D in 2368. ()
On the Promenade of the Federation space station Deep Space 9, the Replimat provided a casual location for inhabitants to enjoy a meal or beverage courtesy of a bank of replicators located along one of its walls. ()
In 2374, the drink replicator at Quark's experienced a malfunction. To fix it, Quark submitted an emergency maintenance request in the morning, and was assured by Chief Miles O'Brien that Rom would be fixing it right away, however, Rom, in turn, promised Quark that Nog would fix it before the end of the day, however Nog never arrived, but in his place, Jadzia Dax showed up. Quark felt that that task was below her, and fixing a replicator was "work for a mechanic, a repairman, a lowly engineer." Quark later confessed to Odo that, "those hands weren't meant to be poking around inside a filthy drink replicator," as they observed her pulling a green goo from the replicator's insides. ()
Replicators in the Delta Quadrant
After the was pulled to the Delta Quadrant in 2371, an energy crisis occurred several weeks into the journey back to the Alpha Quadrant, and Janeway ordered replicator usage to be rationed in order to conserve power for other key systems. These replicator rations became a type of currency among its crew. ()
The Ocampa were provided with food dispensers by the in their underground city on . ()
Later that year, it became very clear that replicator technology was unknown to the indigenous people of the region around the Ocampan homeworld. The Kazon, in particular, repeatedly tried to obtain this technology, as did other races. Captain Janeway feared that if this technology was acquired by a civilization before it was ready, disastrous consequences could ensue. For this reason, and because of the Prime Directive, Janeway refused to give up this technology at any price. () By 2377, however, the crew of Voyager had shared replicators to help people feed and clothe themselves a number of times. () In contrast, the Ferengi Arridor and used a portable replicator to pass themselves off as the Holy Sages of the Takarians. ()
In 2374 in the alternate timeline known as the Year of Hell, the replicator system on Voyager was heavily damaged by attacks from Krenim warships, forcing the crew to go to emergency rations. ()
In 2377, Voyager acquired technology from a race within that had joined The Alliance which tripled the ship's replicator efficiency. ()
In 2378, the young manipulated a replicator to tell Janeway "Make it yourself" when she asked it for coffee. () Janeway herself had a tense relationship with her personal replicator. After it burned a pot roast, not the first time it had done so, she told Commander Chakotay that she had once referred to it as a "glorified toaster" and it had never forgiven her. ()
See also
Fabrication device
Fundamental field replicator
Industrial replicator
Class 4 industrial replicator
Matter-energy conversion matrix
Matter synthesizer
Micro-replication system
Oxygen replication system
Protein resequencer
Self-replication
Vehicle replicator
Appendices
Background information
The idea of replicators was unpopular with the writers of The Next Generation and Deep Space Nine. Ira Steven Behr commented: "I'd like to lose the replicators. They're my least favorite thing in Star Trek. A society that uses replicators is a doomed, finished society." () Ronald D. Moore added that "Replicators are the worst thing ever. Destroys storytelling all the time. They mean there's no value to anything. Nothing has value in the universe if you can just replicate everything, so all that goes away. Nothing is unique; if you break something, you can just make another one. If something breaks on the ship, it's "Oh, no big deal, Geordi can just go down to engineering and make another doozywhatsit." Or they go to a planet and that planet needed something: "Oh, hey, let's make them what they need!" We just hated it and tried to forget about it as much as possible."
Per an odd after-credits scene in the episode , 23rd century food synthesizers apparently incorporated replicator safety protocols, although it remains unconfirmed that replicators incorporated these as well.
Replicators are considered as Star Trek predicting technology, like 3D printing, in part.
The idea that replicators used fecal material was initially mentioned in the Star Trek: The Next Generation Technical Manual, where it stated that replicators on the Enterprise-D extensively sterilized and deconstructed fecal material prior to recombining its component atoms into foodstuffs.
External link
cs:Replikátor
de:Replikator
es:Replicador
fr:Synthétiseur
ja:レプリケーター
ru:Репликатор
Technology
Victual technology
|
3567
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Charter of the United Federation of Planets
|
The Charter of the United Federation of Planets (or Federation Charter for short) was the document that was ratified by the original members of the United Federation of Planets at its founding in 2161. Jonathan Archer was one of the signers of the charter. (; )
In 2372, Benjamin Sisko pointed out to Akorem Laan that if Akorem, as Emissary of the Prophets, guided the people of Bajor towards using the D'jarra caste system, it would prevent them from joining the Federation, as caste-based discrimination went against the Federation Charter. ()
After discovering Luther Sloan's plan to interfere with the selection of a new member to the Romulan Continuing Committee, Julian Bashir pointed out that the Federation Charter explicitly forbade interference in the internal affairs of a sovereign state. ()
While trapped in in 2377, captain Kathryn Janeway used the Federation Charter as an example to form the basis of a multi-species alliance to help many other trapped ships escape the Void. She described it as being a statement of principles, rather than a practical document. ()
Excerpt
One excerpt from the Charter:
CHARTER OF THE UNITED FEDERATION OF PLANETS
"We the lifeforms of the United Federation of Planets determined to save succeeding generations from the scourge of war, and to reaffirm faith in the fundamental rights of sentient beings, in the dignity and worth of all lifeforms, in the equal rights of members of planetary systems large and small, and to establish conditions under which justice and respect for the obligations arising from treaties and other sources of interstellar law can be maintained, and to promote social progress and better standards of living on all worlds, and for these ends, to practice toleration and live together in peace with one another, and to unite our strength to maintain interstellar peace and security, and to ensure, by the acceptance of principles and the institutions of methods, that weapons of destruction shall not be used, save in the common interest, and to employ interstellar resources for the promotion…"
See also
Starfleet Charter
Appendices
Background information
The above text is a rewording of the United Nations charter, altered via the use of more expansive and inclusive words in place of Human- and Earth-centric terms.
A comment Deanna Troi voices in , in which she wishes she could inform those viewing the founding ceremony that the alliance being formed would "give birth to the Federation," would seem to suggest that the ceremony was not the signing of the Federation Charter, but the charter for an earlier interspecies alliance such as the Coalition of Planets. However, this could be seen to contradict a comment by in , in which he specifically said the ceremony had Archer and the other planetary representatives signing the Federation Charter. It is possible that Troi's comment meant either the alliance would grow from merely an alliance to a political body, or that Daniels referred to a different ceremony. Alternatively, Troi's remark may simply be referring to the contemporary, 24th century Federation, which is a far larger, more developed galactic union than the one being born and depicted here. From this point of view, Troi is fascinated by the fact that such a relatively small alliance grows into the Federation she knows.
A clipping in Captain Picard's photo album (seen in ) suggests the Federation Charter was signed on October 11, 2161. This, however, is not considered canon, as the clipping was not visible on-screen.
The relationship between the Constitution of the United Federation of Planets and the Charter of the United Federation of Planets is unclear. Both contain rights for individuals, as Sisko put it in , when he remarked, "Caste-based discrimination goes against the Federation Charter." It is most likely that the Charter describes the requirements for entry of a planet into the Federation (e.g., no entry if caste-based discrimination is in place), while the Constitution describes the principles, governing structure, and citizen rights once becoming a member (e.g., rights against self-incrimination).
The Star Fleet Technical Manual features the "Articles of Federation", a Federation charter. Just as was the case for "The Void", Franz Joseph too revised the UN Charter text with a more galactic sensibility and noun set, but retained the much longer phrasings of the UN original. In fact, the eventual canon text is remarkably similar in reflecting the root document, differing only in its use of shorter, more succinct phrases and sentences.
External link
de:Charta der Vereinigten Föderation der Planeten
fr:Charte de la Fédération des Planètes Unies
ja:連邦憲章
Federation
Legal documents
|
3571
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Xindi-Aquatic cruiser
|
The Xindi-Aquatic cruiser was a type of starship used by the Xindi-Aquatics during the 22nd century. The vessel was at least 1,800 meters long, heavily armed, and equipped with the most advanced technology of any of the five Xindi species. The ship featured a hydrodynamic, swept-wing hull structure and a large hangar bay in the primary section that could be used to carry other starships. Despite also having superior weaponry, the Xindi-Aquatic ships had a drawback of being slower than other Xindi ships.
One of these cruisers participated in the battle to stop the Xindi weapon, after it was commandeered by the Xindi-Reptilians, and transported into the battle. It was disabled during the battle by a spatial anomaly generated by a nearby Sphere. () Another cruiser transported Enterprise back to Earth following the successful destruction of the weapon, probably to shorten the trip as a thanks for destroying the Spheres and Sphere-Builders. ()
Interior design
These Xindi-Aquatic ships used a small room where oxygen-breathing humanoids could come aboard and communicate with the Aquatic crew. A round window was located between this room and the Aquatics' domain. ()
Appendices
Appearances
(interior only)
Background information
In the script for , the Xindi-Aquatic cruiser was introduced with the description, "Five times the size of Enterprise, the Aquatic ship is an impressive sight."
The exterior of the Xindi-Aquatic cruiser was designed by concept artist John Eaves.
The round window aboard the cruiser was previously included in an alien bazaar in the third season episode and went on to appear as part of a Romulan control room in season four's and . Interior views involving the Aquatics' section of the cruiser were rendered with CGI, even to the extent that the water containing the Aquatics themselves was digitally created. Although a detailed control room (including control consoles) was designed for the Aquatics, the murkiness of the artificial water mostly obscures this part of the vessel class. ( text commentary, ENT Season 3 DVD)
Executive Producer Brannon Braga liked the design of the Xindi-Aquatic cruiser. "It's not every day that you can go on a ship filled with water," he observed. "Only in science fiction could you have your captain standing in what we call our 'airquarium.' I've never seen anything like that, and it was fun and cool." ()
Apocrypha
In Star Trek Online, this ship is called "Xindi-Aquatic Narcine Dreadnought Carrier", and a playable version is available by opening Xindi Lock Boxes. As a carrier, the ship deploys small craft similar to the Xindi-Aquatic scout ship (called "Mobulai Frigates") for use in combat.
External links
de:Aquarianischer Kreuzer
fr:Vaisseau des Aquatiques
nl:Xindi-Aquatic kruiser
Aquatic cruiser
|
3573
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Argo (shuttlecraft)
|
The Argo was a Federation Argo-type shuttlecraft that was in service with Starfleet in the late 24th century, attached to the .
The Argo was designed with recessed warp nacelles and fold-down wings. These wings were designed to assist in atmospheric maneuverability.
The shuttle was equipped with an that could transport up to three passengers over rugged terrain. The buggy was secured aboard the shuttle's cargo bay via wheel clamps. The shuttlecraft could also be remote controlled from a device on the buggy.
In 2379, on its first mission, the Argo was commanded by Captain Picard. Accompanied by Worf and Data, Picard successfully located and recovered the Soong-type android B-4 from the planet Kolarus III. ()
Appendices
Background information
The shuttlecraft Argo was designed by FX artist John Eaves. Eaves classified the Argo as a heavy transport shuttle.
In an early draft of the script, this shuttle was called a "transport vehicle"
and was described to be "larger than a regular shuttle with a particularly large cargo area at the back."
The interior of the Argo was represented with a set on Paramount Stage 27. (Information from shooting schedule)
The Argo made an appearance in the Star Trek: Ships of the Line (2011) calendar, for the month of December. In this illustration, painted by John Eaves, the Argo was on a landing vector for the main shuttlebay of the Enterprise-E.
According to Shuttlecraft issue #09 of the Star Trek: The Official Starships Collection, the Argo (cargo shuttle 5) was a Type 17 heavy transport, or cargo, shuttle. Equipped with a 2.250 millicochrane engine, this type of ship had a cruising speed of warp 1.65.
External links
de:Argo (Shuttle)
nl:Argo (shuttle)
Federation shuttles
|
3574
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Cousteau (yacht)
|
The Cousteau was a Federation captain's yacht that was in service with Starfleet in the late 24th century, attached to . Cousteau was a large auxiliary craft which normally docked on the ventral side of the saucer section, opposite the bridge, and immediately below the saucer torpedo launcher. When connected to the Enterprise, only the bottom side of the yacht was exposed to space; the top of the craft was concealed by the Enterprise and the warp nacelles were folded against the hull. Upon launch, the Cousteau nacelles folded downward and the entire ship dropped away from the Enterprise.
The Cousteau contained a cockpit (with a dedication plaque), a small transporter and cargo area, and a docking port which made a direct connection to the Enterprise-E. It was capable of atmospheric flight and landing on a planetary surface. It could also generate tachyon bursts. Only one pilot was needed to fly the craft.
In 2375, Captain Jean-Luc Picard and his senior staff took the Cousteau to the Ba'ku planet as part of a plan to prevent the forced relocation of the Ba'ku by the Son'a. The yacht carried several weapons and transport inhibitors to the surface, which were deployed by the crew in order to keep the Son'a from removing the Ba'ku from the planet. Later, Data used the Cousteau to create a diversion by firing tachyon bursts into Ru'afo's ship's shields, forcing him to reset his shield harmonics and allowing Worf to transport the bridge crew to the Federation holoship. Ru'afo was able to seriously damage the Cousteau before he was transported from his ship. ()
A model of the Cousteau was stored in Picard's section of the quantum archive at the Starfleet Archive Museum. ()
Appendices
Background information
The Cousteau was described as "a diplomatic cruising vessel that's docked out for touring," by designer John Eaves, who noted: "It's almost 110 feet long, so it's a pretty big ship." (The Secrets of Star Trek: Insurrection, p. 39)
Star Trek: Starship Spotter classified the Cousteau as a Mark 2 Captain's Yacht.
A deleted scene established that the Cousteau disintegrated in the atmosphere of the Ba'ku planet shortly after Data's attack. The yacht was not shown attached to the Enterprise-E at the end of the film, so it was possible the yacht was destroyed.
The , in the entries "captain's yacht" and "Cousteau", stated the Cousteau was destroyed. It further stated in the notes to the former entry, "The Enterprise-E yacht was named Cousteau at the urging of Patrick Stewart, in honor of the French oceanographer. The name was inscribed on a dedication plaque in the ship's cabin. Cousteau was designed by Herman Zimmerman and John Eaves." In the third edition of the Star Trek Encyclopedia (p. 590), the name of the yacht was said to have been chosen by producer Rick Berman.
This might be the second captain's yacht and the third auxiliary vessel under Captain Picard named the Cousteau. In the notes to the "captain's yacht", in the fourth edition of the Star Trek Encyclopedia, the authors wrote, "The yacht on the Enterprise-D was apparently also named Cousteau, although we never saw it in use."
A Type 15 from the and a Type 7 from the were also named Cousteau.
Studio model
See: Cousteau model
See also
Cousteau dedication plaque
de:Cousteau (Yacht)
fr:Cousteau (yacht)
Federation shuttles
|
3575
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Marla McGivers
|
Lieutenant Marla McGivers was a female Human Starfleet officer in the 23rd century who served in the operations division aboard the in 2267 under the command of Captain James T. Kirk, during the historic five-year mission.
She was ship's historian; however, she rarely had active duties to perform, indeed, Kirk could rarely recall her name, believing at one time, it was "McIvers". On the few occasions when she was called to service, McGivers regarded it almost as an inconvenience, and on one occasion she even kept a landing party waiting for her arrival. Judging from McGivers' cluttered quarters, crowded with paintings and sculpted busts, her primary pastime was art. Her favorite subjects were all strong, forceful leaders from Earth's history. McGivers' works of art depicted men such as Alexander the Great, Napoléon, Richard the Lionheart, Leif Ericson, and Flavius, a gladiator. McGivers was of the opinion that modern men did not live up to her heroes of the past.
As an historian with a fascination for bold, colorful characters, McGivers was particularly intrigued when, in 2267, the Enterprise discovered the and Khan Noonien Singh, a dictator who had ruled much of Earth in the 1990s. Though she protested that her interest in Khan was professional, she invited him to her quarters, where she began painting his portrait. She later arranged a full-dress welcome dinner in his honor, a function normally reserved for a fleet admiral. When Khan pursued her, McGivers was surprised and shocked by his bullying manner, but also deeply flattered. Khan demanded absolute loyalty from her; desperately afraid of losing him, she promised to do anything he asked - including helping him in his attempts to seize the Enterprise.
Fortunately, McGivers was uncomfortable with Khan's murderous plans; she turned against him for long enough to prevent Captain Kirk's death and to help retake the ship, but it was too late to save her career. When Kirk sent Khan and his followers on Ceti Alpha V, McGivers was given a choice between facing court-martial or accompanying Khan. She chose to go with Khan, and he called her "a superior woman." ()
At the time that Khan's party settled on the planet, it was perfectly fit for Human habitation. However, a mere six months after their arrival, the neighboring planet, Ceti Alpha VI, exploded, causing an ecological disaster on Ceti Alpha V which left the planet a barren wasteland. Khan's followers struggled to survive, but Marla did not survive to be freed from the planet. ()
Appendices
Background information
Marla McGivers was played by Madlyn Rhue.
Although she was referred to as "lieutenant" in dialogue, she wore no rank stripe, denoting an ensign. Presumably, McGivers wore a red uniform because as ship's historian, her duties would fall under the classification of engineering and support services.
The Second Revised Final Draft of the script, dated , indicated that McGivers' historian duties are in addition to her job as a "control systems specialist."
In the script for The Wrath of Khan, McGivers is stated specifically to be Khan's "beloved wife" who was killed by the ceti eel. Khan's line directly referencing McGivers did not make it into the final cut of the film, however, and thus McGivers' status as Khan's late wife remains unconfirmed, though probable.
According to Harve Bennett, McGivers was actually to appear in Star Trek II. After he discovered Rhue was then using a wheelchair due to , however, the character was written out as it was felt it would be unfair to recast the role. (Set Phasers to Stun: 50 Years of Star Trek; )
Apocrypha
"Madlyn" was established as Lt. Marla McGivers' middle name in the novel To Reign in Hell: The Exile of Khan Noonien Singh by Greg Cox. In the early part of the novel, Kirk, Spock and McCoy, returning to Ceti Alpha V in 2287, discover McGivers' tomb, hand-carved by Khan himself, showing a birth year of 2242 and a death year of 2273.
To Reign in Hell indicated that Marla married Khan shortly before the destruction of Ceti Alpha VI, and, because she and Khan appeared incapable of producing children by dint of her non-Augment genetics, she tended to the children of Khan's people in their cavern home after the cataclysm. She was captured by Harulf Ericsson, one of Khan's former operatives on Earth who sought to overthrow him, and infected with a Ceti eel with the intention of using her to kill Khan. However, as Clark Terrell did when ordered to kill Kirk, Marla committed suicide instead. This scenario played out similarly in issue 3 of the series Star Trek: Khan - Ruling in Hell.
External links
de:Marla McGivers
fr:Marla McGivers
it:Marla McGivers
McGivers, Marla
McGivers, Marla
McGivers, Marla
|
3576
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2340
|
Events
Worf, son of Mogh, is born on Qo'noS. ()
Edward M. La Forge and his wife Silva La Forge save their son Geordi La Forge when he is caught in a fire. ()
January 17 – Ro Laren is born on Bajor to Ro Talia and Ro Gale. ()
At age five, Will Riker starts school and begins to tell his new friends the same stories about his mother that his father told him. ()
Nathaniel Teros develops the theory of neuromuscular adaptation for low-gravity species; however, at the time, it has no practical success. ()
Lwaxana Troi deletes the journal files from 2329 to a few months after her daughter Deanna Troi's birth in 2336. These files contain references to her first daughter, Kestra Troi, who had died tragically in 2336. ()
According to the con artist Alsia, her stellar cartographer father, conducts a mineralogical study of the Vlugta asteroid belt and finds it rich with minerals. ()
The Yaderans are conquered by the Dominion. ()
Captain Jean-Luc Picard is awarded the Hall of Honor for his outstanding work ethic by the United Federation Planets. ()
Appendices
Background information
According to the script for , Melora Pazlar is born between this year and 2345.
Apocrypha
According to the non-canon video game Star Trek: Starship Creator, Reginald Barclay and B.G. Robinson were born in this year.
External link
de:2340
fr:2340
nl:2340
sv:2340
|
3581
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Federation-Klingon War (2372-73)
|
The Federation-Klingon War was a brief but intense conflict fought primarily between the United Federation of Planets and the Klingon Empire, from late 2372 to mid-2373.
Intermittent hostilities, and later open war, between the two powers followed from the breakdown of the Federation-Klingon Alliance in the wake of the Klingon-Cardassian War, which were engineered by Changeling agents to weaken the Alpha Quadrant. A fragile cease fire was signed after the involvement of the Dominion was exposed, but the resumption of the alliance did not occur until the Dominion made a full-scale incursion through the Bajoran wormhole.
Background
In the early 2370s, the Dominion sent several Changeling agents to weaken the Alpha Quadrant powers in preparation for an invasion. drew the Romulan Tal Shiar and the Cardassian Obsidian Order into a trap in the Omarion Nebula in 2371. With these organizations decimated, the last bastion of resistance to the Dominion was the Federation-Klingon Alliance. ()
Freed from the watchful eye of the Obsidian Order, the Cardassian dissident movement succeeded in toppling the Central Command in early 2372 and restoring power to the civilian Detapa Council. , having replaced the prominent Klingon General Martok, convinced Chancellor Gowron that the coup had been a Dominion plot and that the Klingon Empire must conquer the Cardassian Union for the sake of the quadrant's security. ()
Breaking the alliance
Starfleet refused to support the Klingons' aggressive actions, which included the searching of all ships leaving Bajoran space for Changelings. One such search of the Federation freighter nearly led to an exchange of fire between the and the . The Federation Council, failing to dissuade the Klingons, condemned their invasion of Cardassia. Gowron retaliated by withdrawing from the Khitomer Accords, recalling his ambassadors, and expelling all Federation citizens from Klingon territory, thus ending the alliance between the two governments.
Captain Benjamin Sisko rescued the Detapa Council from the Klingons, which led to a massive Klingon assault on Deep Space 9. The Klingons were repelled by the station's upgraded defenses and the arrival of Starfleet reinforcements. () However, Gowron continued to see the Federation as weak and war inevitable. ()
In the following months, the Klingons continued to prosecute their war with the Cardassians while escalating hostilities along the rest of their border, probing for exploitable weaknesses. () They also attempted to secretly place a cloaked minefield that would isolate the Bajoran system; the minefield was destroyed by the USS Defiant with the assistance of Kurn. () The Federation Council kept pressing the Klingons to return the Cardassian colonies they had seized, which was angrily rejected. ()
Klingon and Federation vessels clashed again when Starfleet agreed to escort seven Cardassian humanitarian convoys bound for the Pentath system. In an attempt to discredit Starfleet and force it to cease its support of the Cardassians, the Klingons staged a "massacre" wherein a Klingon civilian transport decloaked in front of the Defiant amidst a battle, leading to its destruction by Lieutenant Commander Worf's orders. The deception was exposed by Odo, who uncovered evidence that the transport was in fact empty. ()
Open war
Near the end of 2372, the Martok Changeling influenced Gowron into reasserting the Klingon Empire's claim to the Archanis sector, which it had relinquished to the Federation a century prior. Gowron sent an ultimatum demanding that the Federation leave the sector, abandoning all starbases and military installations. The Federation attempted to stall and negotiate, though Federation worlds along the Klingon border began calling for a preemptive strike against the Empire.
Finally, Gowron dispatched a task force to conquer Archanis, giving Starfleet ten days to withdraw or be fired upon. In response, Starfleet and the Bajoran Militia prepared for war. Meanwhile, the Founders deceived Odo into believing that Gowron had been replaced by a Changeling, hoping that Starfleet would assassinate him and leave the false Martok in control.
In early 2373, the Klingons invaded Federation space along a broad front from Archanis to Bajor, committing all available resources. Federation defenses proved inadequate and Starfleet was only able to slow their advance; the and the were among the starships that took heavy casualties. Gowron relocated Klingon military headquarters to Ty'Gokor, a heavily fortified planetoid. Based on Odo's information, Starfleet sent a team, led by Sisko, to infiltrate Ty'Gokor with Dukat's captured Bird-of-Prey and expose Gowron as a Changeling. The team ultimately discovered the Changeling to be Martok, who was killed by the Klingons.
Gowron was reluctant to end the war unless the Empire were allowed to annex Archanis IV and the other worlds it had captured. Nevertheless, Sisko prevailed on him to push the Klingon High Council into accepting a cease fire. () The Federation and the Klingon Empire subsequently engaged in peace talks. () Many Klingons continued to clamor for war despite having proof of Dominion machinations, confident the Empire would emerge victorious. ()
The cease fire was briefly violated several weeks later when Klingon troops attacked the Federation colony on Ajilon Prime, possibly as revenge for their defeat at Ganalda IV. Many colonists were killed and the planet nearly fell before the cease fire was reinstated; the , sent to relieve the colony, was also destroyed by the Klingons near the Lembatta Cluster. During the resumption of fighting, Starfleet began assembling a fleet to retake the Archanis sector, spearheaded by the and the . ()
Restored alliance
In mid-2373, an unexpected game-changing event forced the Federation and the Klingons to resolve their conflict. Gul Dukat announced the incorporation of the Cardassian Union into the Dominion, with himself as the Cardassian leader. A Jem'Hadar fleet crossed the Bajoran wormhole and joined the Cardassians' fight against the Klingons. In three days, the Klingons suffered severe losses, leaving Gowron with no choice but to order a general retreat from Cardassian territory.
Gowron and his battered fleet arrived at Deep Space 9, where Sisko convinced him to revive the Khitomer Accords and make a united stand with Starfleet at the station. With the alliance restored, the Klingons established a permanent military presence on Deep Space 9 commanded by the real General Martok, who had recently escaped from Dominion Internment Camp 371. ()
Aftermath
Though the Founders' disruption of the Federation-Klingon alliance proved temporary, the war they incited between the two powers was costly to both. By the time the Dominion entered the Alpha Quadrant in full force, Starfleet's strength had been depleted to the point that defeating the Dominion was assessed to be impossible. () The two allies would later be hard-pressed to resist the Dominion advance in the opening months of the Dominion War. ()
External link
de:Föderal-Klingonischer Krieg (2372/73)
ja:連邦・クリンゴン戦争（2372年～73年）
nl:Federatie-Klingon oorlog (2372-73)
Federation
Conflicts
Qo'noS
|
3587
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2272
|
Events
The Klingon Empire relinquishes its claim on the Archanis sector to the Federation. ()
External link
de:2272
fr:2272
nl:2272
sv:2272
|
3588
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Secondary hull
|
On many Federation starships, the secondary hull (also known as the engineering hull, the engineering section, the stardrive section, or the battle section) was a major component of the overall hull structure. The secondary hull was generally located behind and below the primary hull.
The secondary hull was usually dedicated to engineering and support functions, especially in starships built after the mid-23rd century. It was the home of the warp drive, Main Engineering, and other engineering support systems. Separating these potentially dangerous systems from the majority of the crew, located in the primary hull, allows the secondary hull to be abandoned in the event of catastrophic damage to the warp core or a loss of antimatter containment.
The warp nacelles also make a direct connection to the secondary hull. Other areas typically found in the secondary hull include the shuttlebay, cargo bays, Crew quarters, corridor, transporter room and brig. The main deflector dish was usually located at the very front of the secondary hull, as were torpedo launchers.
On starships, the secondary hull was usually referred to as the battle section because it mounted the majority of the ship's weaponry and was intended to enter combat or other dangerous situations following a saucer separation. The saucer module, containing the majority of the ship's crew (including civilians) could then retreat to safety. Both sections could operate without one another for long periods of time. Once the crisis was resolved, the two sections could reconnect. Because of this, the battle section was designed with duplicates of systems usually found only in the primary hull, including a battle bridge, captain's ready room, sickbay, crew quarters, corridor, transporter room, a computer core, and other mission-critical facilities. ()
The deflector dish weapon used against the Borg by the in 2367 required the entire forward half of the secondary hull to be evacuated due to radiation danger. ()
Some Federation starship classes that lacked a secondary hull included the , , , , and .
Several duranium alloy fragments of the 's secondary hull survived its destruction near Deep Space 9 in 2369. ()
In an alternate timeline, debris from the secondary hull of the was found in the 29th century following a temporal explosion which obliterated the Sol system and Earth. ()
de:Antriebssektion
ja:第二船体
nl:Aandrijfsectie
Spacecraft components
|
3594
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Narendra III
|
Narendra III was the inhabited third planet in the Narendra system of the Beta Quadrant. This planet was colonized by the Klingons prior to 2152. ()
In that year, the Human Captain Jonathan Archer was put on trial on Narendra III, under the suspicion of conspiring against the Klingon Empire. Archer was sentenced to lifelong exile on Rura Penthe, and his advocate had to join him for one year. However, Archer was later rescued from Rura Penthe by his crew. ()
In 2344, the outpost was attacked and destroyed by four Romulan warbirds, an assault which was later known as the Battle of Narendra III. The outpost's distress call was answered by the Federation starship , and although outnumbered four-to-one engaged the Romulans, only to be destroyed during the battle. This course of action was considered as an act of honor by the Klingon Empire, which led to the signing of a new peace treaty.
In an alternate timeline, the Enterprise-C disappeared during the battle. The outpost was destroyed, and events led to a renewed between the Federation and the Empire. ()
Appendices
Background information
This planet's quadrant of origin is inferred based on the position of its star system as seen in the star charts appearing in the episode and in the episode .
According to Eric A. Stillwell, this planet was named after writer and science consultant Naren Shankar. (The Making of Yesterday's Enterprise, p. 77) "nah-REN-druh" was how the planet's name was phonetically spelled in the script pronunciation guide for "Yesterday's Enterprise".
Although the planet shown in "Judgment" is never identified as Narendra III on screen (the term "Narendra" is not mentioned there at all), the episode's final draft script referred to it as such. Also, David A. Goodman, the episode's writer, stated in a podcast that he intended for the settlement/installation shown to refer to the outpost from "Yesterday's Enterprise".
In the final draft script of "Judgment", an overview of an area on Narendra III shown in that installment was described as "A large city on this Klingon outpost, with familiar Klingon-style architecture. In the center of town, a GRAND TRIBUNAL BUILDING which proudly displays the three-pointed Klingon symbol."
External link
cs:Narendra III
de:Narendra III
nl:Narendra III
ja:ナレンドラ3号星
pl:Narendra III
Colonies
Narendra 03
Outposts
|
3598
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2344
|
Events
By starship
The Enterprise-C responds to a distress call from the Klingon outpost on Narendra III. Concurrently, the Klingon Empire and the Federation are negotiating a peace treaty. ()
In what becomes known as the Battle of Narendra III, the USS Enterprise-C is destroyed while defending the Klingon outpost on Narendra III from Romulan attack. This event reemphasizes the Khitomer Accords and ensures a lasting peace between the Federation and the Klingon Empire. ()
In an alternate timeline created by a temporal rift, the Enterprise-C disappears while engaged with the Romulan attackers. It crosses into the year 2366 (prime timeline), which is then altered through unknown means. The ship returns through the rift with Natasha Yar. In the Battle of Narendra III, the USS Enterprise-C is destroyed while defending the Klingon outpost on Narendra III from Romulan attack. However, some of the Enterprise crew survives and are captured, among them Natasha Yar, who had been sent there by Jean-Luc Picard from 2366, in an attempt to fix the unexplained alteration of memories and the appearance of the Enterprise. ()
Other events
A Starfleet captain fails in his attempted contact with the Jarada following a protocol error that causes a twenty-year rift between the two groups. ()
Kyle Riker and his son William go on a fishing trip in Alaska. ()
Devinoni Ral leaves Earth and relocates to Hurkos III. ()
Roana and her husband open a shop on Bajor. ()
Shakaar Edon begins to fight the Cardassians during their occupation of his home. ()
Chakotay's entry into Starfleet Academy is sponsored by Captain . ()
Annika Hansen is born. ()
Notes
The Bajoran Springball Association releases a new springball scorecard sheet. ()
Appendices
Episodes
(in part)
Background information
According to a line cut from the final episode of , Guinan and Captain Jean-Luc Picard have been together since this year.
According to the , Kira Pohl was born in this year.
According to an okudagram shown in , Kathryn Janeway was born in this year. However, this would mean she was only 27 in 2371 when she took command of the .
Apocrypha
According to his personnel file in Star Trek: Starship Creator, Simon Tarses was born during this year on the Martian colonies.
External link
de:2344
fr:2344
nl:2344
sv:2344
|
3602
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
NX-01
|
NX-01 could refer to:
, Earth's first warp 5 starship
, a 22nd century Earth starship from the mirror universe
, an alien vessel used in a plot against the USS Voyager
bg:NX-01
|
3604
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
ENT Season 4
|
Episodes
Summary
The fourth season of concludes the Temporal Cold War story arc that had been a staple of the series since . The remaining episodes of season four refocus Enterprise on the series' original prequel concept by exploring cultural shifts on ; establishing the beginnings of conflict between Earth and the Romulans; explaining the difference in appearance between the Klingons of and those of ; giving an insight into the mirror universe prior to any crossover with the prime universe; and exploring the obstacles Humanity must overcome before allying with alien species.
Background information
Season 4 saw the series move to Fridays at 8pm EST, and Manny Coto stepped up to become show runner and Executive Producer. Judith and Garfield Reeves-Stevens were brought on as story editors. After the narrow escape from cancellation at the end of season 3, and despite continued fan campaigns, the series was officially cancelled on .
For the fourth season, UPN reduced the allowed budget from $1.7 million to $800,000 per episode. One of the most significant results of the budget cut was the series now being shot on digital instead of film.
Coto's most important change in format and storytelling was the introduction of the "mini-arcs", storylines spanning two or three episodes usually. This was not only a creative decision, but also a way to deal with the reduced budget, as now the filmmakers were able to use the same sets, costumes, and guest stars for multiple episodes. (The Fifty-Year Mission: The Next 25 Years)
Characters which 'cross over' from other incarnations of Star Trek: T'Pau and Surak (), Phillip Green (), and William T. Riker and Deanna Troi (). Data, Jean-Luc Picard, and James T. Kirk were also featured in in voice-over.
John Billingsley felt that this season was the strongest overall of the show's run, and credited the new format for this success. "I think the idea of having the multi-episode arcs was the best way of having your cake and eating it too, getting some kind of a sustained narrative drive which you can't do in any standalone episodes, and not necessarily tying up a whole season the way we did in season three when we were chasing the Xindi." On the cancellation at the end of the season, Billingsley remarked, "I think if anything what I would love fans to come away with is a sense of the show was getting better and while it was disappointing we didn't [get] a full seven year run we [were] beginning, I think, to establish ourselves as a strong series in our own right."
Not everyone was thrilled with the fourth season, former staff writer and co-executive producer Chris Black (who left Enterprise after season three) belongs to a minority who consider it a step back. "A lot of people were happy. But to me, as fun as it is to see Scott wearing a velour tunic or Jolene in a minidress, that's not what Enterprise was supposed to be. In a way, we gave up trying to do something different. The premise and promise of the show was to take Star Trek to the next level. Let's do something people haven't seen before and get them excited about that. We did three seasons of that and it didn't work so, f..k it, we'll give them the old Star Trek. Give them what they want. Give them the Mirror universe. Whatever. To me, it felt like giving up." (The Fifty-Year Mission: The Next 25 Years)
Credits
Guest and co-stars
ENT Season 4 performers
Crew
Theme by
Diane Warren
Performed by
Russell Watson
Consulting Producer
Alan Brennert ("Storm Front" – "Daedalus")
Co-Producers
Stephen Welke
Brad Yacobian ("Storm Front" – "Bound")
André Bormanis
Judith Reeves-Stevens ("Babel One" – "These Are the Voyages...")
Garfield Reeves-Stevens ("Babel One" – "These Are the Voyages...")
Producers
Mike Sussman
Dawn Velazquez
J.P. Farrell
Brad Yacobian ("In a Mirror, Darkly" – "These Are the Voyages...")
Supervising Producers
Ken LaZebnik ("Storm Front" – "Daedalus")
Merri D. Howard ("Storm Front" – "In a Mirror, Darkly")
Peter Lauritson
Executive Producers
Manny Coto
Rick Berman
Brannon Braga
Associate Producer
David Rossi
Executive Story Editors
Judith Reeves-Stevens ("The Forge” – “Observer Effect")
Garfield Reeves-Stevens ("The Forge” – “Observer Effect")
Post Production Supervisor
Joanna McMeikan ("These Are the Voyages...")
Music by
Jay Chattaway ("Storm Front", "Cold Station 12", "Awakening", "United", "Divergence", "Bound", "Terra Prime")
Dennis McCarthy ("Storm Front, Part II", "Borderland", "Kir'Shara", "Observer Effect", "The Aenar", "In a Mirror, Darkly", "In a Mirror, Darkly, Part II", "These Are the Voyages...")
Kevin Kiner ("Storm Front, Part II", "Borderland", "Kir'Shara", "Observer Effect", "The Aenar", "In a Mirror, Darkly", "In a Mirror, Darkly, Part II", "These Are the Voyages...")
Velton Ray Bunch ("Home", "The Augments", "Affliction")
Paul Baillargeon ("Demons", "Daedalus", "Babel One")
John Frizzell ("The Forge")
Director of Photography
Marvin V. Rush, A.S.C. ("Storm Front" – "Bound")
Douglas Knapp ("In a Mirror, Darkly" – "These Are the Voyages...")
Production Designer
Herman Zimmerman
Editors
Robert Lederman (every third episode after "Storm Front")
David A. Koeppel (every third episode after "Storm Front, Part II") – Also credited as David Koeppel ("Demons")
Daryl Baskin (every third episode after "Home")
Unit Production Manager
Brad Yacobian
First Assistant Directors
Michael DeMeritt ("Storm Front", "Home", every third episode from "The Augments" through "In a Mirror, Darkly", "These Are the Voyages...")
Arlene Fukai ("Storm Front, Part II", "Borderland", every third episode from "The Forge" through "In a Mirror, Darkly, Part II", "Terra Prime")
David G. Trotti (every third episode after "Cold Station 12")
Second Assistant Directors
David G. Trotti ("Storm Front" – "Home")
John Tagamolila ("Borderland" – "These Are the Voyages...")
Casting by
Junie Lowry Johnson, CSA
Libbyann Goldstein
Costume Designer
Robert Blackman
Set Decorator
Jim Mees
Visual Effects Producer
Dan Curry
Visual Effects Supervisors
Arthur J. Codron (odd-numbered episodes)
Ronald B. Moore (even-numbered episodes)
Art Director
Louise Dorton
Scenic Art Supervisor/Technical Consultant
Michael Okuda
Make-Up Designed and Supervised by
Michael Westmore
Senior Illustrator'
Doug Drexler (odd-numbered episodes)
Production Illustrator
John Eaves (even-numbered episodes)
Set Designers
Fritz Zimmerman, III (every third episode after "Storm Front")
Lee Cole (every third episode after "Storm Front, Part II")
Ahna Packard (every third episode after "Home")
Property Master
Craig Binkley ("Storm Front" – "Divergence")
John Nesterowicz ("Bound" – "These Are the Voyages...")
Construction Coordinator
Thomas J. Arp
Scenic Artists
James Van Over (every third episode after "Storm Front")
Anthony Fredrickson (every third episode after "Storm Front, Part II")
Alan Kobayashi (every third episode after "Home")
Video Supervisor
Denise Okuda
Video Operator
Ben Betts
Script Supervisors
Jan Rudolph ("Storm Front” – “Daedalus", even-numbered episodes from "Babel One" through "These Are the Voyages...")
Judi Brown (odd-numbered episodes from "Observer Effect" through "Terra Prime")
Special Effects
Rich Ratliff
Assistant Editors
Christopher Petrus (every third episode after "Storm Front")
Michael O'Halloran (every third episode after "Storm Front, Part II")
Joanna Jimenez ("Home", "The Augments")
Harry Jierjian (every third episode after "Kir'Shara")
Visual Effects Coordinators
Elizabeth Castro (odd-numbered episodes)
David Takemura (even-numbered episodes)
Visual Effects Associate
Andy Simonson
Chief Lighting Technician
Bill Peets
First Company Grip
Jay Devlin
Hair Designer
Michael Moore
Makeup Artists
Suzanne Diaz-Westmore
Earl Ellis ("Storm Front", "Home", "Borderland", "The Augments", "The Forge", "Kir'Shara", "Daedalus", "Babel One", "United" – "Divergence", "In a Mirror, Darkly", "In a Mirror, Darkly, Part II", "Terra Prime", "These Are the Voyages…")
Jeffery Lewis ("Awakening", "Daedalus", "Observer Effect", "United", "The Aenar", "Divergence", "Bound", "In a Mirror, Darkly, Part II", "Demons", "These Are the Voyages...") – Also credited as Jeff Lewis. ("Storm Front", "Storm Front, Part II", "Borderland", "Cold Station 12", "The Forge")
Bradley M. Look ("Storm Front, Part II", "Home", "Cold Station 12", "The Augments", "Awakening", "Kir'Shara", "Observer Effect", "Babel One", "The Aenar", "Affliction", "Bound", "In a Mirror, Darkly", "Demons", "Terra Prime")
Hair Stylists
Laura Connolly (odd-numbered episodes)
Roma Goddard (even-numbered episodes)
Camera Operators
Douglas Knapp, S.O.C. ("Storm Front" – "Bound")
Gary Tachell
Joe Chess ("In a Mirror, Darkly" – "These Are the Voyages") – Also credited as Joseph Chess ("In a Mirror, Darkly", "Demons")
Sound Mixer
Greg Agalsoff
Stunt Coordinator
Vince Deadrick, Jr.
Wardrobe Supervisor
Carol Kunz
Key Costumers
Tom Siegel (odd-numbered episodes)
Matt Hoffman (odd-numbered episodes)
Carol Kunz ("Borderland")
Phyllis Corcoran-Woods (even-numbered episodes, except "Borderland")
Jamie Thomas (every fourth episode after "Storm Front, Part II")
Erin Regan (every fourth episode after "Borderland")
Music Editor
Stephen M. Rowe
Supervising Sound Editor
Bill Wistrom
Supervising Sound Effects Editor
Masanobu Tomita
Sound Editors
Jim Wolvington
T. Ashley Harvey
Dale Chaloukian
Shaun Varney
Production Coordinator
Gayliann Harvey
Post Production Coordinator
Joanna K. McMeikan (all episodes except "These Are the Voyages...")
Production Associates
Doug Mirabello
Terry Matalas
Donna Rooney
Pre-Production Coordinator
Juan Carlos Fernandez
Location Managers
Lisa White ("Storm Front", "Home", "Cold Station 12")
Greg Lazzaro ("The Forge")
Choreographed by
Travis Payne ("Bound")
Assistant to Producers
Sarah Rissmiller
Production Accountant
Suzi Shimizu
Casting Executive
Sheila Guthrie, C.S.A.
Main Title Design by
Montgomery/Cobb
Post Production Sound
Technicolor Sound Services
Digital Optical Effects
TCS, Hollywood
Editing Facility
Level 3 Post
Computer Generated Effects
Eden FX (all episodes except "Observer Effect")
High Definition Cameras Provided by
Plus8digital
Uncredited
Ron Balicki – Fight Choreographer (unknown episodes)
Veronica Lorenz – Special Effects Makeup Artist ("Kir'Shara")
Cristina Patterson Ceret – Contact Lens Designer/Painter
Kevin Pike – Special Effects Technician ("In a Mirror, Darkly", "In a Mirror, Darkly, Part II")
Ralph Sarabia – Set Painter
Jacob D. Stephens – Visual Effects Artist: Character Animator Gorn for Eden FX ("In a Mirror, Darkly, Part II")
See also
ENT Season 4 DVD
ENT Season 4 Blu-ray
cs:Čtvrtá sezóna ENT
de:ENT Staffel 4
fr:ENT Saison 4
nl:ENT Seizoen 4
sr:ЕНТ: Сезона 4
sv:ENT, säsong 4
Star Trek seasons
|
3606
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
New Berlin
|
New Berlin was a city on Luna. The colony was founded sometime prior to 2069, as Jonathan Archer mentioned it existed prior to the launch of the . (, , okudagram)
In the 22nd century, Niel Wray Raymond and Michael Brown Raymond were born in this city. (, okudagram)
After Jonathan Archer's girlfriend Caroline moved to New Berlin, he became drunk at the 602 Club. ()
In 2143, New Berlin detected the NX-Beta, an early warp ship, leaving Earth's orbit for an unauthorized flight piloted by Jonathan Archer and A.G. Robinson, so then-Commodore Maxwell Forrest could witness the ship achieving warp 2.5. ()
In the 23rd century, Angelo Dante Raymond and Scott Senofonte Raymond were born in this city. (, okudagram)
In 2354, Benjamin Sisko and his friend Calvin Hudson were posted here. During their time, Benjamin and Jennifer Sisko, together with their friends Cal and Gretchen Hudson, attended a Mazurka Festival. At the festival, people ate sausages and drank beer. Benjamin wore lederhosen and a hat. ()
By 2373, New Berlin was large enough to be seen from Earth in the daytime, since Commander William T. Riker missed the familiar sight of the city while looking at the Moon during his mission to the year 2063. ()
See also
Lunar colonies
de:New Berlin
es:New Berlin
fr:New Berlin
nl:Nieuw Berlijn
Settlements
Colonies
|
3607
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Manzar colony
|
The Manzar colony was a Federation colony in the Alpha Quadrant. This colony was located near Sector 441.
In 2259, the location of this colony was labeled on a stellar cartography chart that was seen on the 's ready room viewscreen. This colony's symbol had a blue color, indicating that it was affiliated with the . ()
Worf visited the colony in 2375 from Deep Space 9 to assist in constructing a new defense perimeter there. Through some unspecified circumstance, this led to his briefly joining the while it was hosting a banquet for the Evora. ()
In 2399, the location of Manzar was labeled in a Federation star chart that was in Fleet Admiral Kirsten Clancy's office at Starfleet Headquarters. ()
de:Manzar-Kolonie
ja:マンツァー・コロニー
nl:Manzar kolonie
Colonies
|
3608
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Vega colony
|
The Vega colony was an Earth colony on a planet in the Vega system. This system, located less than ninety light years from Sol, was in the Alpha Quadrant.
This colony was one of the earliest Earth colonies established, along with Alpha Centauri and Terra Nova. Established as an outpost, Vega colony was, for many decades, located on the frontier of known space. By the time it became an important trading partner of Earth and other worlds, it was referred to as a colony. In the 2250s, Vega colony was several weeks away from Rigel VII at the maximum speed of a heavy cruiser. (; )
In 2126, Travis Mayweather was born aboard his parents' interstellar cargo freighter, the , halfway between Vega colony and Draylax. ()
In 2152, Admiral Forrest speculated that an escape pod-like vessel, found by , might have been launched by Vega colony. However, the small vessel was later discovered to be a timeship from the 31st century. ()
In an alternate timeline, created by Jonathan Archer being infected by interspatial parasites, the Xindi destroyed Earth in 2154 and then proceeded to annihilate all other Human settlements, including Mars, Alpha Centauri, and Vega colony. ()
In 2254, the planned to make use of the medical facilities at the Vega colony to take care of the crew injured on Rigel VII and replace the personnel who needed hospitalization. ()
In 2328, this was the destination for passengers traveling from Tycho IV Spaceport via commercial transport. , , and Scooter T. Rocketboy traveled on the , and on the . (, okudagram)
See also
Vega IX
Appendices
Background information
This colony's quadrant of origin is inferred based on the position of its star system as seen in the star chart appearing in the episode .
The real-world star Vega (Alpha Lyrae) is located approximately 25 light years from Sol, which is in agreement with "Two Days and Two Nights", where it is stated that the set a milestone by becoming the first Earth ship to travel 90 light years away from the Sol system.
According to Star Trek: Star Charts (p. 36 & 44; "United Federation of Planets I") and Stellar Cartography: The Starfleet Reference Library ("Federation Historical Highlights, 2161-2385"), the Vega (Alpha Lyrae) system was, in the mid-22nd century, an important destination on the Earth trade routes, and it traded with Draylax and Sol. In 2254, the Enterprise traveled to the system after visiting the Talos star group. In the late 24th century, the system was a destination on a major space lane. In 2378, the Vega Colony, on Vega IX, was listed as a Federation member.
Apocrypha
In Star Trek Online, the Vega colony was the site of the Borg reemergence in the galaxy during the year 2409, Starfleet attempted to evacuate Vega colony while engaging the Borg fleet in orbit. This location serves as the tutorial for the game as the player attempted to defend the evacuees with the help of now captain Nog, yet they failed to repel the invasion force. The Borg then successfully assimilate Vega colony.
Later that year, the now assimilated Donatra traveled back in time to set a dormant Borg facility deep underground to assist in the aforementioned events, after having done so in the New Khitomer colony.
External link
bg:Колония Вега
cs:Kolonie Vega
de:Vega-Kolonie
ja:ヴェガ・コロニー
nl:Vega kolonie
Colonies
Outposts
|
3610
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Vega
|
Vega was an inhabited planetary system in the Alpha Quadrant. One of its planets was Vega IX.
In 2259, the location of Vega was labeled on a stellar cartography chart seen on the 's ready room viewscreen. Vega's symbol had a blue color, indicating its affiliation with the . ()
The location of Vega was depicted on a star chart in astrometrics on the in 2376. (; )
In 2399, a Federation star chart that was in Fleet Admiral Kirsten Clancy's office at Starfleet Headquarters located Vega in the Alpha Quadrant. This system was in or near to Federation space. ()
In 2401, the location of Vega was labeled on a star chart that was seen on the 's bridge viewscreen. The chart was used to show the location of the combined Starfleet-Borg armada and where it needed to go to face a galactic-level threat. ()
In 3190, the location of Vega was labeled on a star chart used by Commander Paul Stamets for tracking the movement of the Dark Matter Anomaly through the galaxy. ()
See also
Vega-Omicron sector
Vega colony
Vegan system
Appendices
Background information
Vega is a real star system about 25 light years from Earth. The Vega colony, presumably at Vega, was established prior to 2151.
According to Star Trek: Star Charts (pp. 36, 44, 57; "United Federation of Planets I") and Stellar Cartography: The Starfleet Reference Library ("Federation Historical Highlights, 2161-2385"), the primary of the Vega (Alpha Lyrae) system was an A-class star. In the 19th century, it was the capital system of the . In the mid-22nd century, this system was an important trading destination on the Earth trade routes, and it traded with Draylax and Sol. In 2254, the Enterprise traveled to the system after visiting the Talos star group. In the late 24th century, the system was a destination on a major space lane.
There exists a picture of Steven Lance, who played a Rhaandarite, identifying him as a being from the planet Vega. This may be linked to early mentions of Vegans in the crowd.
Apocrypha
In the children's storybook The Prisoner of Vega, Klingons capture Queen Vanadala of Vega III and take over her planet.
In the game Star Trek Online, the Vega system was the site of a renewed Borg attack in 2409, and where the tutorial for Federation players takes place.
External links
de:Vega
es:Vega
fr:Véga
ja:ヴェガ
nl:Vega
Star systems
|
3613
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Sector 441
|
Sector 441 was an area of space in the Alpha Quadrant. This sector, containing the anomalous Briar Patch, was located in Federation space.
The Briar Patch contained the stars SNC 461206, UFC 8177, and the Ba'ku system, which was home to the inhabited planet . Outside the Briar Patch were SNR 093120, UFC 9364, NGC 2812 and QSR 390021.
In 2154, Arik Soong, who, along with a group of Human Augments, had stolen a , set course for Sector 441, where he felt the Briar Patch, known by the Klingons as "Klach D'Kel Brakt," would provide a safe place for the incubation and maturation of several augment embryos which he had stolen from Cold Station 12. ()
In 2375, the traveled to Sector 441 in order to investigate a mysterious malfunction of Lieutenant Commander Data, who was participating in an anthropological expedition on a planet located in the Patch. ()
bg:Сектор 441
de:Sektor 441
fr:Secteur 441
ja:セクター441
nl:Sector 441
000441
|
3615
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Huron
|
The USS Huron (NCC-F1913) was a 23rd century Federation starship operated by Starfleet. In 2270, this freighter was under the command of Captain O'Shea, who identified the ship as "SS" Huron rather than "USS" Huron, during a confrontation with an Orion Pirate ship.
In that year, the Huron was carrying a load of dilithium when it was required to rendezvous with the to transfer a vital supply of a medication called strobolin to choriocytosis-stricken .
En route, the Huron was intercepted, attacked, and raided by Orion pirates, who sabotaged her engines before making off with her cargo.
Upon the rescue of her crew by the Enterprise, the hulk of the Huron was abandoned as "space junk." ()
Huron personnel
See: USS Huron personnel
Appendices
Background information
This vessel was presumably named either after the of Native Americans, or another of their namesakes, one the , .
No class name was ever given to this freighter design. This ship and the NCC-G1465 ships are the only canon starships to have a further letter prefix, after the "-", before the number, in their registry.
Although the ship was manned by Starfleet officers, this vessel was consistently referred to as the "" Huron, rather than the "USS" Huron. Despite this, the hull clearly reads "USS Huron".
External link
de:USS Huron
fr:USS Huron (NCC-F1913)
Huron, USS
|
3627
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Walter Koenig
|
Walter Marvin Koenig is the actor and writer best known for playing Pavel Chekov on and in the first seven Star Trek movies. He was the only original cast member not to lend his voice to due to budgetary reasons, though he still contributed to the series by writing the episode . His image also appeared in , in a photograph that was among Spock's possessions bequeathed to .
Personal life
Walter Koenig (pronounced "KAY-nig") was born in Chicago, Illinois, the son of Sarah and Isadore Koenig. His parents were Jewish immigrants from the Republic of Lithuania (independent at the time of his birth). Walter first started acting while attending Fieldston High School in Riverdale, New York, where he played the lead roles in stage productions of Peer Gynt and George Bernard Shaw's The Devil's Disciple.
After graduating from Fieldston, Koenig attended Grinnell College in Iowa with a pre-med major. He later transferred to the University of California at Los Angeles, where he graduated with a Bachelor of Arts in psychology. After receiving his BA, however, a professor encouraged him to pursue an acting career. Koenig then enrolled in New York's Neighborhood Playhouse, where he received a scholarship from the school's regents. His classmates at the Neighborhood Playhouse included Christopher Lloyd, who later worked with Koenig on .
Koenig married actress Judy Levitt on 11 July 1965. They have two children together, Andrew and Danielle. Andrew Koenig appeared in the Star Trek: Deep Space Nine episode as Tumak, while Judy Levitt has appeared in bit parts in several Star Trek films. Danielle is one of the writers for the Nickelodeon cartoon Invader Zim, which contains a few Star Trek references in honor of her father.
On 14 February 2010, Andrew Koenig went missing while visiting friends in Vancouver, British Columbia. He was scheduled to return to the United States on 16 February, but he did not board his flight. On the 16th, Walter stated that he and his wife received a note from Andrew in which he "sounded despondent." Walter and his wife flew to Vancouver on 23 February to participate in the search for their son. On 25 February, Andrew's body was found by friends in a densely-wooded area of Vancouver's Stanley Park. Walter announced in a subsequent press release that his son had taken his own life.
Early career
Koenig appeared in two films in the early 1960s, The Norman Vincent Peale Story and Strange Lovers. In 1963, he made an appearance in the premiere episode of the long-running daytime soap opera General Hospital. The following year, he guest-starred on the short-lived drama series The Lieutenant. This series starred Gary Lockwood and was created and produced by Gene Roddenberry, the creator of Star Trek. On the show, Koenig was directed by Vincent McEveety, who later directed Koenig in several episodes of Star Trek. Koenig's fellow guest stars included Paul Comi and Paul Lambert.
Other television shows on which Koenig appeared throughout the 1960s include Combat! (acting with cinematographer John A. Alonzo), The Untouchables (with Paul Sorensen), The Great Adventure (with Arthur Batanides and Gene Lyons), The Alfred Hitchcock Hour (directed by Joseph Pevney), and Ben Casey (directed by John Meredyth Lucas). In addition, Koenig was directed by Michael O'Herlihy in two episodes of Mr. Novak and an episode of Mannix (working with Louise Sorel). An episode of Gidget in which Koenig appeared (with Brooke Bundy) was scripted by Stephen Kandel.
Star Trek
Koenig was cast as Pavel Chekov for the second season on Star Trek: The Original Series in . The producers specifically brought in the youthful Koenig to draw younger viewers to the show. The original plan was to create a young, British character in the vein of and the current success of their "American counterparts", . Later, Gene Roddenberry decided the character should be Russian, in response to an alleged article in the leading Soviet newspaper, . (Inside Star Trek: The Real Story, These Are the Voyages: TOS Season Two)
Koenig was recommended for the role by director Joseph Pevney, who noted that he "had the worst fake Russian accent I ever heard". The actor, 30 at the time, played the 22-year-old Ensign. To augment the ploy, they made him look like from the The Monkees. Reportedly, the ploy worked. Koenig originally had to wear a Davy Jones-style wig until his own hair grew out. (Inside Star Trek: The Real Story, These Are the Voyages: TOS Season Two)
During later in the season, Koenig often had to fill in for George Takei, who was delayed filming The Green Berets. When Takei finally returned to the show later that season, he was required to share his dressing room and even episode scripts with Koenig, a situation Takei did not like. (William Shatner's Star Trek Memories) This circumstance was later referenced in the Futurama episode "Where No Fan Has Gone Before," in which Koenig and Takei were forced to share a copy of Melllvar's fan-written script. Koenig and Takei have since become close friends.
Koenig appeared in thirty-six episodes of Star Trek between 1967 and 1969, beginning with (although his first aired episode was ). His first filming day on the series was Tuesday, . Archive footage from his work in the second season episode was used in the Deep Space Nine episode . He reprised his role as Chekov in and continued playing the character in the next six feature films. He was nominated for Saturn Awards by the Academy of Science Fiction, Fantasy & Horror Films for his work on two of these films, and . Several uniforms and costumes worn by Koenig during his time working on the Star Trek films were sold off on the It's A Wrap! sale and auction on eBay, including a red undershirt.
His last canon appearance as Chekov was in the film , but he did play the character in several non-canon productions. He appeared as Chekov in the short film created for the theme park attraction Star Trek Adventure, and he also voiced the character in the video games Star Trek: 25th Anniversary, Star Trek: Judgment Rites, Star Trek Generations (based on the film), Star Trek: Starfleet Academy, and Star Trek: Shattered Universe.
In 1996, Koenig visited the Star Trek: Deep Space Nine set during the filming of "Trials and Tribble-ations" and taught Colm Meaney how to use the original Star Trek communicator. (The Making of Star Trek Deep Space Nine Trials And Tribble-ations)
In 2006, he played Chekov (as a lieutenant) in the fan production Star Trek: New Voyages, which was conceived and produced by James Cawley. Koenig guest-starred in the episode "To Serve All My Days," alongside Cawley, Mary Linda Rapelye, John Carrigan, Jeffery Quinn, and Larry Nemecek. The episode was written by D.C. Fontana, Ethan H. Calk, and Jack Treviño.
Koenig again played Chekov, this time with the rank of captain, in the independent movie Star Trek: Of Gods and Men, in which he starred opposite fellow TOS co-star Nichelle Nichols as Uhura and Star Trek Generations actor Alan Ruck as Captain John Harriman. The movie was directed by s Tim Russ, who also appeared in his role as Tuvok. The movie featured many other Star Trek veterans in the cast, including Gary Graham, J.G. Hertzler, Cirroc Lofton, Chase Masterson, Arlene Martel, Lawrence Montaigne, Ethan Phillips, Garrett Wang, and Grace Lee Whitney.
Koenig has written two books describing his experiences working on Star Trek: Chekov's Enterprise: A Personal Journal of the Making of Star Trek - The Motion Picture, published in , and Warped Factors, published in . He has also participated in a number of Star Trek-related specials and documentaries, including William Shatner's Star Trek Memories, Star Trek 25th Anniversary Special, Trekkies, and How William Shatner Changed the World.
Other works
1970s
After Star Trek was canceled in 1969, Koenig made guest appearances on such television series as Medical Center (acting with Rudy Solari), The Virginian (with Brock Peters), and Ironside (with Theodore Bikel). He also had a supporting role in the Emmy Award-nominated TV movie Goodbye, Raggedy Ann, working alongside John Colicos. In 1973, Koenig appeared in the film Nightmare Honeymoon, which also featured John Beck, David Huddleston, Roy Jenson, and Jay Robinson. That same year, he played the alien Oro in two episodes of Harlan Ellison's science fiction series The Starlost, including one episode directed by Joseph L. Scanlan.
In 1973, he wrote an episode of Star Trek: The Animated Series, entitled (). The following year, Koenig wrote an episode of the 1970's fantasy/sci-fi series Land of the Lost. Said episode, The Stranger, introduced the character of Enik the Altrusian. (Koenig had initially named the character Eneg - "Gene" spelled backwards - as an inside reference to his old friend Gene Roddenberry.)
Before 1974 had passed, Koenig appeared in the unsold TV pilot movie The Questor Tapes, written by Gene Roddenberry and Gene L. Coon. The pilot was directed by Richard Colla and starred Robert Foxworth in the title role. Koenig's TOS co-star Majel Barrett also had a role in the movie. In 1976, Koenig reunited with TOS co-star William Shatner in the Columbo movie Fade in to Murder, which also featured Bert Remsen. Koenig subsequently wrote an episode of the drama series Family, which ended up guest-starring Bert Remsen as well as Kim Cattrall.
1980s
In 1982, Koenig appeared on the short-lived adventure series Bring 'Em Back Alive, on which Clyde Kusatsu was a regular cast member. The following year, Koenig played the role of Pompey in a TV movie adaptation of William Shakepeare's Antony and Cleopatra. His TOS co-star Nichelle Nichols played Charmian in this production, while James Avery and Earl Boen also had supporting roles.
Koenig starred in the 1989 independent science fiction/action film Moontrap, in which he played Col. Jason Grant, an astronaut who takes on sentient machines from the moon that have been programmed to conquer Earth. Koenig's wife and fellow Star Trek alum, Judy Levitt, had a small role in this film. Koenig appeared in another science fiction film in 1989 called Deadly Weapon, which also featured DS9 guest star Gary Frank.
1990s
Besides his work on Star Trek, Koenig is also well known for his role as villainous Psi Cop Alfred Bester on the acclaimed science fiction series, Babylon 5. He appeared in twelve episodes of this show between 1994 and 1998, during which time he worked with fellow Star Trek alumni Caitlin Brown, Brian Cousins, Diane DiLascio, Mike Genovese, Andreas Katsulas, Leigh J. McCloskey, Christopher Michael, Marjorie Monaghan, Bill Mumy, Julia Nickson, Tracy Scoggins, Patricia Tallman, and John Vickery. Koenig's wife, Judy Levitt, was also seen on the show, playing a fellow Psi Cop. Among those who directed Koenig on Babylon 5 were Tony Dow and Michael Vejar. Koenig had previously been offered a different guest role in the first season episode "And the Sky Full of Stars", but his health at the time prevented him from accepting, and the role ultimately went to Christopher Neame. (Had Koenig taken the role, it would have reunited him with his Wrath of Khan co-star Judson Scott).
Koenig had a supporting role in the 1996 martial arts film Sworn to Justice, working alongside Brad Dourif. He then starred in the 1997 independent film Drawing Down the Moon, which also involved martial arts. In addition, Koenig participated in the video game Maximum Surge, in which he portrayed the villainous role of Drexel. He reprised this role in 2003 for a TV movie based on the game. Michael Champion, Chris Doyle, John Eskobar, Leslie Hoffman, Michael Jace, and Spice Williams also appeared in the video game version, while Dick Miller and Vincent Schiavelli had roles in the TV movie.
In 1998, Koenig made a gag appearance on an episode of Diagnosis Murder which involved a possible alien abduction. The episode also featured his TOS co-stars Majel Barrett, George Takei, and Grace Lee Whitney, s Wil Wheaton, and aforementioned Lost in Space and Babylon 5 star (and Deep Space Nine guest actor) Bill Mumy.
2000s
Koenig made an appearance in the independent science fiction movie/pilot, The Privateers, in which he acted alongside Karl Urban. Koenig later made a guest appearance as a Russian submarine commander on the comedy series Son of the Beach, on which DS9 guest actress Lisa Banes was a regular.
Koenig and his TOS castmates (with the exception of James Doohan and DeForest Kelley) voiced caricatures of themselves in the 2002 episode of Futurama entitled "Where No Fan Has Gone Before". This episode parodied many aspects of Star Trek, and thus contained numerous Star Trek-related references, gags, and in-jokes. Some of the references related to Koenig included his delivery of "nuclear wessels" in Star Trek IV and his having to share scripts with George Takei on the set of TOS.
In 2003, Koenig played the role of "Mr. Lofcheck" in the short film Roddenberry on Patrol. This short film, directed by and co-starring Voyager regular Tim Russ, offers a comedic look at how Gene Roddenberry created Star Trek. It also featured Star Trek alumni Robert Beltran, Richard Herd, Nichelle Nichols, Robert O'Reilly, Robert Picardo, and George Takei.
Koenig recently wrote, starred in, and executive produced a science fiction film called . Koenig premiered an unfinished trailer of the film at the 2007 Star Trek convention in Las Vegas. TNG actress Marina Sirtis also stars in the film; among the other performers who appear are fellow Star Trek alumni Erick Avari, Gary Graham, Richard Herd, J.G. Hertzler, Judy Levitt, Lisa LoCicero, Courtney Peldon, Alan Ruck, Patricia Tallman, and Koenig's son, Andrew. When originally announced in 2003, InAlienable – then known as Illegal alien – was set to star John de Lancie and s Robert Picardo. According to Koenig during his appearance in Las Vegas, Picardo had to drop out of the film because his was filling in for Koenig on a Star Trek cruise. John de Lancie also dropped out as he was unhappy with the changes being made to the film.
Other recent acting credits from Koenig include a supporting role in the 2006 film Mad Cowgirl and an appearance in the 2007 TV movie Bone Eater. In 2006, he published his first novel, Buck Alice And the Actor-robot, in which survivors of an alien invasion vie for the hand of the last fertile woman on Earth.
2010s
On 21 June 2011 it was announced that Koenig was among the honorees of the 2012 stars. Fellow Trek actor and Generations co-star Malcolm McDowell joined him and also received his star.
Appearances
Chekov
:
(archival footage)
Additional appearances
Books
Warped Factors
Chekov's Enterprise: A Personal Journal of the Making of Star Trek: The Motion Picture
Writing credits
(written by)
References
External links
– archived official site
de:Walter Koenig
es:Walter Koenig
fr:Walter Koenig
it:Walter Koenig
nl:Walter Koenig
pl:Walter Koenig
Performers
TOS performers
DS9 performers
Film performers
Video game performers
Audiobook performers
Saturn Award nominees
Star Trek comic authors
Star Trek reference authors
Writers
|
3628
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Porthos
|
Porthos was Captain Jonathan Archer's pet Beagle. () One of four puppies in a litter, Porthos and his brothers were named after the main four musketeers from the Alexandre Dumas novel The Three Musketeers: Porthos, Athos, Aramis and . Porthos and his brothers were born to a female dog owned by the mother of one of Archer's ex-girlfriends. Archer was crazy about the dog and was the first person she called after the dog got pregnant. ()
History
2150
Porthos lived with Archer on Earth in mid-2150. () In the same year, Archer was selected to command the starship . ()
2151
When Archer moved aboard Enterprise in April of 2151, he took Porthos with him. Shortly before the vessel departed Earth, Lieutenant Malcolm Reed discussed the ship's transporter with Ensign Travis Mayweather near the craft's transporter platform. Reed was slightly worried when Mayweather told him that the transporter had been approved for bio-transport, but the ensign assured the lieutenant that, from what he had been told, the captain wouldn't even use the contraption on his dog.
In the captain's ready room, Porthos lay with his head on the floor but his legs and torso resting on a mat, while Chief Engineer Charles "Trip" Tucker talked with Captain Archer. Tucker jokingly told Archer that he would be more comfortable with Porthos on the bridge than with the new Vulcan science officer, Sub-Commander T'Pol. Hearing this, Porthos lifted his head up from off the floor and looked towards Archer.
After T'Pol entered, she smelled a scent that disgusted her and glanced at Porthos, realizing that the dog was producing the repulsive odor. Porthos looked back at her shortly before Archer realized that T'Pol, with her sensitive Vulcan sense of smell, was particularly offended by the dog's scent. As T'Pol talked with Archer, Porthos climbed half-way up her leg, wagging his tail excitedly. This encounter made T'Pol flinch and she quickly left the room.
Shortly thereafter, Porthos was in the captain's quarters while Archer made a log entry. The captain paused the log several times to rhetorically question himself and Porthos about T'Pol's motives.
After Enterprise completed its first mission, Archer was attending to Porthos in the captain's ready room when T'Pol and Tucker entered. Porthos sat beside the captain on a large seat, wagging his tail. He licked around his mouth a few times before Archer lifted him down to the floor so that the captain could speak to the officers. ()
{{bginfo|Several alterations concerning Porthos were made between the original script of "Broken Bow" and the final episode. Porthos was originally to have been sleeping when T'Pol sensed his unpleasant odor. After he climbed up her leg, Archer shouted at Porthos and the dog obediently returned to its bed. Before Tucker and T'Pol entered the captain's ready room near the end of the episode, Porthos was lying on his back with his four legs in the air as Archer scratched his belly. |It is unclear exactly when Phlox gave T'Pol her nasal numbing agent, although T'Pol does not react to Porthos when entering the captain's ready room with Tucker near the end of "Broken Bow". This could suggest that she had already been given the nasal numbing agent by that time.}}
In May of 2151, Porthos was again in Archer's quarters as the captain made another log entry. While Archer paced back and forth across the floor, Porthos followed on the captain's bed. He was desperately attempting to acquire a piece of cheese that the captain was holding. Archer paused the log entry to reproachfully remind Porthos that he had previously suffered problems digesting cheddar cheese. However, the captain ultimately gave into the dog's pleas. Archer rubbed Porthos behind his ears and resumed the log.
Before the captain left his quarters with Ensign Hoshi Sato, Porthos quietly barked. Archer looked round to see the dog sitting upright, wagging his tail and gazing expectantly at the captain. When Porthos whimpered, Archer reluctantly tossed him another piece of cheddar, informing the dog that it was "the last time". Porthos jumped to catch the cheese in midair and gratefully chewed the snack. ()Enterprise soon visited a planet that later became known as Archer IV. () Porthos traveled to the planet in a with a team from Enterprise. He was the first to exit the shuttlepod, bounding out of the craft and racing across the grassy surface of the planet, essentially wasting no time in going – as Commander Tucker put it – "where no dog has gone before".
When Archer whistled for the dog to return, Porthos obediently rushed back to the captain and his officers. The team from Enterprise then decided to separate, with Porthos joining Archer, Tucker, and Ensign Mayweather. The dog ran beside the Humans as they leisurely explored the planet. Porthos eventually raced ahead of his companions to the edge of a small boulder overlooking a stream. He gazed at his surroundings as the Humans took up a position directly behind him and contacted the other members of the team. They soon began to leave the area and Porthos followed them back to the shuttlepod. It was decided there that Archer and Porthos would return to Enterprise while the others would stay on the planet to conduct research and enjoy shore leave. ()
Archer later fed Porthos dog food while talking with Commander Tucker using subspace communication, as the engineer was aboard a damaged Xyrillian starship. ()
Shortly thereafter, a group of Borothan pilgrims were hosted aboard Enterprise. Archer entered his quarters after returning from the ship's mess hall to find Porthos barking and whimpering. The captain rubbed the dog behind his ears and assumed Porthos was upset that his breakfast was already two hours late. Archer consequently began to prepare a meal for Porthos, telling the dog that he had also missed his own breakfast. However, Porthos continued to bark and the captain eventually realized that something else was wrong. Archer told Porthos that he wasn't getting any cheese as the captain gave him a bowl of dog food. The Beagle moved away from the food to hide behind Archer and growled at something on the other side of the captain. While Porthos kept snarling, Archer noticed a Borothan robe on his desk. He realized that his pet Beagle had been attempting to warn him that Silik was using his Suliban camouflage ability to hide unseen in the room.
Archer tried to contact ship's security, but was stopped by Silik. After they talked, Silik shot the captain with a Suliban disruptor. Porthos barked in distress as Archer fell to the deck and Silik left the room. Once the Suliban had gone, Porthos whined while he scampered over to Archer's fallen body and licked the captain's face. ()
Following Archer's recovery, the captain and Commander Tucker took Porthos for a walk in September of 2151. The group left from the captain's quarters and traveled through a corridor to an intercom that Tucker calibrated. As Porthos stood waiting for the Humans, Archer told him to sit. The dog complied with the instruction and continuously wagged his tail. Porthos followed when Archer and Tucker resumed their journey through the corridor. The Humans entered the mess hall together but soon left when T'Pol contacted Archer with news of an imminent emergency.
In engineering, Archer recalled that he had risked the lives of the entire crew by rushing Enterprise out of spacedock. Tucker reminded him that the life of his dog had also been jeopardized and Archer sarcastically replied "Thanks". ()
Shortly thereafter, Captain Archer took Porthos to see Dr. Phlox. While the dog sat on a biobed, Archer and Phlox viewed the animal's stomach using a computer monitor. Phlox diagnosed Porthos as having mild gastrointestinal distress. As Archer approached the dog, he commented that Porthos hadn't been himself recently. The Beagle moaned softly when the captain began to rub behind his ears. Phlox explained that the noted difference in the dog's behavior was a result of Archer feeding Porthos cheese. The doctor advised Archer to learn how to deny Porthos what he wanted. The captain relayed the news to Porthos, telling the dog that he was no longer allowed dairy products.
Phlox injected Porthos with a hypospray before Archer picked the dog up from the biobed and into his arms. While the captain stroked behind the dog's head, he apologized for bothering Phlox. The doctor replied that analyzing the dog's condition was no bother and remarked that Porthos had been one of his most co-operative patients on that particular day. As Archer lifted Porthos down to the floor, the captain thanked Phlox. Archer and Porthos headed toward the exit as the captain asked the dog, "See all the trouble you cause?"
The strong relationship between Archer and Porthos later inspired Phlox to note in a letter to Dr. Jeremy Lucas that Humans surprisingly tended to make intimate bonds with 'lesser' creatures. Phlox was also amused by Archer's habit of anthropomorphizing and even talking to Porthos, although the doctor was fairly certain that the dog could not understand English. Phlox then recalled how he himself had occasionally talked to his Pyrithian bat and realized that speaking to animals was not so strange as he had initially thought. ()
When a group of Ferengi marauders rendered the Enterprise crew unconscious and boarded the ship, one of the aliens named Grish attempted to establish communication with Porthos through a universal translator. After failing to lock onto the dog's language, Grish's cohort, Muk, deduced that Porthos was a lower lifeform and called Grish a fool. Although Muk suspected that the animal was probably the captain's next meal, Grish argued that the size of the dog's ears suggested otherwise. Muk informed his accomplice that he would be able to acquire several bars of gold-pressed latinum for Porthos at the Malurzian Zoo. Muk picked the dog up from off Archer's bed and held him in mid-air while Grish left with another Ferengi marauder named Ulis. Muk subsequently carried Porthos to the launch bay and placed him inside a cargo container.
Once the crew regained control of the ship, Archer released Porthos from the cargo container and rubbed the dog's head, playfully asking if he was okay. ()
While a Kantare female named Liana visited the ship, Commander Tucker gave her a tour of the vessel. In engineering, he told her about T'Pol, Phlox, and Porthos. Liana did not understand what a dog was, as she had never seen one and the word had no equivalent in the Kantare language. Tucker therefore described Porthos as a mammal with four legs and big ears. The engineer also commented that the dog was slightly "cute". When Liana asked what Porthos did, Tucker replied, "Not much – he's the captain's pet". Liana understood the word "pet" and realized her mistake. She asked Tucker if she could see the dog, as she was unfamiliar with the creature. ()
2152
In early 2152, Porthos was lying on a cushion in Archer's quarters when he sensed an alien symbiotic lifeform move through a Jefferies tube above the room. He looked up at the ceiling before licking the point of his nose as he quickly moved off the cushion. He then jumped onto the captain's bed and, balancing on his hind legs, began to bark at the ceiling. ()
In February of the same year, Archer was lying on his bed and playfully massaging Porthos' head when T'Pol solemnly entered the captain's quarters. Archer held Porthos in his hands and started to gently rub the dog as he asked T'Pol if there was something wrong. When she replied that she had spoken to V'Lar, a visiting Vulcan ambassador, Archer lifted Porthos on to his bed and instructed the dog, "Go on". Porthos then walked to the edge of the bed and jumped down off it. ()
On February 12th, Archer recorded a log entry concerning the crew's forthcoming shore leave on Risa. Porthos lay on the cushion next to the captain's bed and watched as Archer made the entry. When T'Pol contacted the captain from the bridge, he paused the log to answer. She notified him that Enterprise was receiving an incoming distress call and asked whether the bridge crew should alter their course to investigate the emergency. Archer was at first hesitant but eventually replied positively. After closing the communication channel, Archer told Porthos that his walk on the beach would probably have to wait. Aware that his owner was talking about the walk, Porthos barked softly as he jumped up to a sitting position. After Archer left the room, however, Porthos seemed disappointed and depressed. He tucked one leg under him and lay back down. ()
Six days later, Enterprise finally reached Risa. Porthos yipped as he walked through a corridor beside T'Pol and Archer. The captain looked down to check the dog was safe. Satisfied that Porthos was fine, Archer turned his attention to T'Pol and discussed the next two days in which he and his dog would be away. When the group arrived at a turbolift, T'Pol and Porthos entered the lift and waited for Archer to follow them. The captain cocked his head at Porthos before walking into the lift. They traveled to the launch bay, where Archer held Porthos in one arm. The captain talked with Ensign Sato and Crewman Rostov before leaving the ship with Porthos in a shuttlepod. On the way down to the planet, the vacationing officers discussed their plans for the next two days. Archer revealed that he and Porthos were going to relax at a small villa overlooking the Risian ocean. When the captain mentioned Porthos, the dog jumped up on to its hind legs and placed its front paws on the captain's lap. Archer moved one hand behind Porthos and affectionately rubbed the back of the dog's head.
After the captain and Porthos entered their villa, the dog stood on its hind legs near a table. Archer asked Porthos what he thought of the building and commented that the place was "not bad". The dog looked at Archer as he intentionally dropped a water polo bag on a seat. The captain soon noticed a book from T'Pol entitled, The Teachings of Surak, on the table near Porthos. When he put the book back down, Porthos moved away from the table. Archer quickly rubbed the dog's back and headed onto a balcony outside.
That night, Archer read The Teachings of Surak on the balcony while Porthos lay on a chair next to the captain's seat with his head resting on his paws. When Archer got up to pour himself a drink, Porthos lifted his head to watch the captain leave the balcony. The dog dropped its head back to its paws but immediately bolted upright when it suddenly heard two loud, squeaky barks. As Archer poured his drink, he heard the barks mixed with similar noises coming from Porthos outside. The captain returned to the balcony, where he found Porthos with another dog, Rhylo, quite similar to an Earth Chinese Crested breed dog that he had previously seen on a veranda downstairs. As Porthos growled at the other dog, Archer told them both to stop threatening each other. Porthos barked and Archer reprovingly uttered the animal's name, but the dog kept growling.
When the captain heard his front door chime, he picked Porthos up in his arms. The Beagle stopped growling after the captain lifted it away from the other dog. He then carried Porthos to the door, where he met Keyla, the owner of the other dog. She apologized to Archer for her pet's intrusion before he allowed her to retrieve the animal. Porthos watched the visitor as Archer rubbed his head and Keyla made her way to the balcony. The captain followed her outside while he continued to hold Porthos. Keyla picked her own dog up and stated that she hoped her pet had caused Archer's dog no harm. When the captain told her Porthos' name, she said hello to the Beagle. The two dogs glimpsed at one another while their owners held and comforted them, occasionally rubbing the animals softly. Archer told Keyla that he had decided to read and to let Porthos run on the beach. The group went back inside before Keyla said goodbye to Porthos and left.
Archer later discovered that Keyla was a Tandaran and believed that she was an agent of Colonel Grat. When confronted with this discovery, Keyla knocked Archer unconscious and disappeared. The next morning, Porthos licked the captain's face and he eventually regained consciousness.
On the shuttlepod back to Enterprise, Porthos climbed half-way up Lieutenant Malcolm Reed's leg, sniffing and licking his limb. ()
After a shuttlepod from Enterprise apparently caused the destruction of an alien colony, Archer sat in his quarters sadly looking at a computer record of the colonists as Porthos sat in his lap. He gently rubbed the dog's ears but set Porthos down on the deck before answering an incoming call from Admiral Forrest.
Porthos later lay on his side atop the cushion next to Archer's bed as the captain played with a yellow ball and a game of water polo was shown on the nearby computer monitor. T'Pol entered and, while she spoke about the recent devastation of the colony with Archer, Porthos moved to lie on his torso. The captain bent down next to Porthos as he told T'Pol that he was not only feeling sorry for himself but also for the entire Starfleet.
The dog was still lying on the cushion after T'Pol left. Archer had readied himself for bed and dressed down to his underwear. Porthos looked up at the captain as Archer told the dog that it was time for bed and rubbed behind its ears. After the captain lay down on his bed and switched the light off, he sighed and instructed Porthos to jump up to the bunk but nothing happened. Archer began to ask the beagle what was wrong as he reached for the light but stopped in mid-sentence when he realized he had been transported to an entirely different time and location: Earth, ten months into the past, to the night before Archer and Tucker's inspection by pod of Enterprise prior to launch for another test flight.
Porthos was lying in a soft basket beside Archer's bed. He stirred as Archer answered a call from Commander Tucker. After the captain ended his conversation with the engineer, he looked at Porthos and declared that he doubted the supposed evidence that his time aboard Enterprise had been nothing but a dream. The dog soon sat up in the basket and watched Archer walk to a computer monitor on his desk. Porthos also moved agitatedly when , an operative from the future, suddenly appeared in the room.
The captain's emotional attachment to Porthos was evident before leaving Enterprise for a vessel. His last order before he left the ship was for Ensign Sato to care for Porthos and to make sure that the dog had no cheese while he was away. ()
After Archer returned, Enterprise journeyed to the Kreetassan homeworld and remained in orbit of the planet for five days. An away team consisting of Archer, T'Pol, Porthos, and Ensign Sato eventually took a shuttlepod to the planet's surface and were made to wait there. Unknown to the members of the away team, Porthos was infected with a deadly pathogen on the planet. After the group had waited for twelve hours, the Kreetassans instructed them to return to Enterprise. The away team assumed that they had accidentally offended the Kreetassans and the captain was irritated by the aliens' hypersensitivity but ultimately complied with their request and left the planet with his officers and Porthos.
The Kreetassan pathogen necessitated Dr. Phlox having to replace his pituitary gland with that of a Calrissian chameleon in a complex underwater operation. Thanks to Phlox's skills, Porthos made a full recovery. ()
2153
Archer also brought Porthos along when the Enterprise embarked on the search for the Xindi weapon. Tucker worried how Porthos would hold up in the Delphic Expanse, observing that "if no people have returned from the Expanse, I doubt any dogs have." ()
Porthos was able to sense the approach of spatial anomalies in the Delphic Expanse. Early in the Xindi mission, Porthos attempted to alert Archer of an imminent anomaly. The captain, however, did not understand the warning until after the anomaly had passed through his desk. ()
After the operation, Phlox became quite fond of him, and Archer entrusted the Denobulan with Porthos' safety on a number of occasions. Two of the most notable were when Archer volunteered to become a ritualistic sacrifice for the Triannon, () and when Archer had to turn over control of the ship to Phlox as it passed through a region of space which negatively affected all Human crew members. While Phlox was the acting captain of Enterprise, he bonded with Porthos to a significant degree, and took time to make a casual study of Human-canine interaction. During this period with a "substitute master," Porthos was unusually fed leeches and appeared to eagerly enjoy them. However, it should also be noted that Porthos appeared to chew the leeches before swallowing; presumably in order to perform their cleansing function, the leeches needed to be alive and undamaged. ()
2154
Phlox again looked after Porthos when Archer and the rest of the Enterprise crew had to be rendered comatose while the ship traversed a region of space affected by a transdimensional disturbance. However, it was revealed that Phlox's Denobulan physiology was not immune to the effects of the disturbance as he previously thought, and the doctor began to hallucinate to the point where he nearly shot Porthos with a phase-pistol. ()
T'Pol later learned to tolerate Porthos and even comforted him after Archer was apparently killed while destroying the Xindi weapon. ()
After Captain Archer was found alive and Enterprise returned to Earth, the captain and T'Pol were chased by a wild sehlat on . T'Pol compared Porthos to a domesticated sehlat she had kept as a pet in her youth but Archer reminded her that, unlike the seemingly aggressive sehlat, Porthos would not try to eat the captain if he was late with the dog's dinner. ()
Porthos later met Danica Erickson in Archer's quarters aboard Enterprise. Erickson wasn't told the dog's name, but she had learned a lot about him from Archer and correctly assumed he was called Porthos. When he playfully rolled on to his side, Erickson commented that Porthos seemed to have a lot of personality. Archer added that the dog had as big an appetite. Just before Erickson left the ship, she asked Archer to say goodbye to Porthos for her. ()
At one point in November of 2154, Porthos was in Archer's quarters with the captain and Ensign Hoshi Sato. He watched the Humans role-play that Sato was a Tellarite ambassador, the officers' attempt to prepare for the real ambassador's visit aboard the ship. While playing the role, Sato told Archer that his "mangy pet," referring to Porthos, would probably taste better than the food served aboard Enterprise. Once they had stopped role-playing, Sato told the captain that she actually did believe there was some truth to what she had said about Porthos. Archer initially thought she was implying that he was "mangy," but Sato clarified that Tellarites considered canine a delicacy and suggested that the captain keep Porthos out of sight during their stay. ()
Later that month, Dr. Phlox was captured by Rigelians working for the Klingon Empire and forcefully taken to Qu'Vat Colony. () In Archer's quarters, the captain tried to comfort a miserable Porthos, who lay on Archer's bed. The captain realized that Porthos was either missing Phlox or depressed by the fact that the doctor had a stash of cheese in sickbay. Archer told Porthos to "hold that thought" before answering an incoming hail from Section 31 operative . Porthos watched as Harris told Archer that Phlox was on a mission of vital importance to Starfleet and advised the captain not to interfere. ()
2161 and 2370
In 2161, shortly before Enterprise was decommissioned, Porthos was in Archer's quarters while the captain and T'Pol discussed a final meal for the crew that Chef was preparing. After T'Pol left the room, Porthos jumped on to Archer's bed, whimpered and quickly licked around his own mouth. Archer rubbed behind the dog's ears and assured Porthos that Chef had promised to include six kinds of cheese. Porthos then affectionately licked Archer's nose.
In 2370, Commander William T. Riker watched a re-enactment of this scene in a holodeck aboard the . While later visiting the re-creation of the NX-class Enterprise with Counselor Deanna Troi, Riker recalled that Archer had owned a dog. Troi remembered that the dog's name had been Porthos and that one of the musketeers had been called the same name. ()
Alternate timelines
In an alternate timeline, Archer was relieved of command of Enterprise in 2153 after parasites from a spatial anomaly made him unable to form long-term memories. Months after the incident, one of the few tasks he would still do would be to regularly take Porthos for walks. When T'Pol once visited the former captain, Porthos sat on Archer's bed. ()
Shortly after Enterprise traveled to 1944 of an alternate timeline, Porthos was in Enterprises sickbay when Doctor Phlox tried to feed him a concoction of his favorite meal, chicken liver, mixed with grated cheddar. As Archer was believed to have died aboard the Xindi weapon, Porthos seemed extremely saddened and refused to taste the food presented to him. When Phlox offered to sing him a Denobulan lullaby, he crawled away from the doctor. Phlox then rubbed his back and suggested that he might enjoy a steak. Porthos reacted by licking his lips and gazing quickly at his surroundings, looking first at the Denobulan doctor. As Phlox left Porthos, he stated that he was going to find Chef.
When Archer later entered sickbay, Porthos jumped up to his leg with a yelp, enormously excited to be reunited with the captain. Archer responded by rubbing Porthos' head. He told Phlox that the doctor would never have to look after Porthos again. However, the Denobulan replied that, as always, he had enjoyed caring for the dog. ()
Eating habits
Captain Archer regularly provided Porthos with dog food. This was stored in foil-wrapped packets that Archer poured into a bowl and gave to the dog. () Porthos whimpered and complained to the captain if he missed any of his meals. () The dog was fond of cheese, although it occasionally caused him to visit Dr. Phlox (in sickbay) for gastrointestinal distress. ()
Appendices
Appearances
(Season 1)
(Season 2)
(Season 3)
(Season 4)
(hologram)
Background information
In a commentary track for available on the ENT Season 1 DVD and Blu-ray, Brannon Braga recalls that he and Rick Berman had always wanted to have a dog as a character, so to speak, that appeared regularly. However, they had been extremely worried that there could be a backlash against their decision to finally include a dog in a Star Trek series.
Rick Berman later recalled the casting sessions for the role of Porthos as the most fun of the necessary auditions before filming could begin. Several breeds of dog were tested before production personnel eventually chose to use a beagle.
Prada was eventually cast as Porthos and played the role from "Broken Bow" up to and including . Some episodes of Season 1 required a more "spunky" beagle to play the role of Porthos. Although Enterprises resident dog was male, a female beagle named Breezy was used for these episodes as she had a more playful nature than Prada did. After "Two Days and Two Nights", Breezy and another female beagle named Windy took over the role. Due to strict welfare rules governing the use of animals on television and the expense of regularly having a dog on set, a couple of prop dogs were constructed early in the series to stand in for the real animals. These were still in use in Season 3 and one appeared in .
The prosthetic Porthos figures seen in the episode – one suspended in the super-hydration tank and one resting inside the quarantine tank – were designed and constructed by Joel Harlow.
Porthos featured in two scenes that were written for the Season 3 episode "Twilight", but neither scene made it into the final show. Both scenes take place in an alternate timeline. One scene, which is set in the mess hall during the crew's regular movie night, shows Archer informing T'Pol that Porthos has recently seemed frequently stressed and might benefit from Vulcan neuro-pressure. In the other scene, Porthos appears but is fifteen years older.
Porthos was also featured in a deleted scene from .
In the final draft script of , Porthos was featured in a short scene that does not appear in the final version of that episode. In it, Porthos was lying in Archer's quarters, late at night, but picked up his head when Archer offered him a treat. This scene was immediately before one that was not only in the script but is also in the final edit of the installment, in which Porthos is treated to some cheese Archer gives him in Enterprises galley.
Brannon Braga ultimately came to the decision that all of the viewers and production personnel had grown to like or accept Porthos.
Perhaps as a result of his popularity, Porthos was the only character, besides the regulars, to appear in both the first and last episodes of .
Porthos is the fourth of six recurring animals throughout Star Trek, the others being Livingston, the fish belonging to Jean-Luc Picard, Data's cat Spot in , Chester, a cat owned by Miles O'Brien in , Number One, Picard's dog in Star Trek: Picard, and Grudge, Cleveland Booker's cat in Star Trek: Discovery.
Porthos is indirectly referenced in , when mentions "Admiral Archer's prized Beagle". Screenwriter Roberto Orci, responding to a question about whether this was Porthos (and whether veterinary science had advanced enough for a dog to live over a hundred years), answered "YES!" It should be noted, however, that the individual who asked the question pleaded for the writer to "please say yes."
Along with Shran, Ambassador Soval, and , Porthos is one of only four characters, outside of the main ones, to appear in all four seasons of Star Trek: Enterprise. Of those four, Porthos is the only one to appear in more than one episode of each season.
Porthos was "interviewed" by StarTrek.com as an April Fool's Day prank in 2011.
The It's A Wrap! sale and auction auctioned off a bulletin board, similar to those created for other main characters, that was apparently dedicated to Porthos. . If it appeared on screen, it is unclear where. It included a number of jokes.
Apocrypha
In the ization of , it is said that Porthos was originally given to Archer from Becky's mother, having been bred as part of one of her prize litters, and that she was also responsible for naming the dog (as well as his brothers).
The Star Trek: Waypoint, Issue 4 story "The Fragile Beauty of Loyalty" sees Porthos volunteer to travel back in time to Archer's childhood and rescue him after young Archer falls through the ice, following a Temporal Cold War attempt to kill him before he reaches adulthood.
In the novel Patterns of Interference'' Porthos died due to old age in March of 2166, with Archer at his side.
External links
de:Porthos
fr:Porthos
ja:ポートス
Dogs
Enterprise (NX-01) personnel
|
3630
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Michael Okuda
|
Michael "Mike" Hideo Okuda, on occasion affectionately called Mikey O by his close co-workers, born in Tokyo, Japan but raised in Honolulu, Hawaii, is known for his work on the scenic art of , , , , , , , , , and . The fourth Star Trek film was Okuda's first recorded motion picture industry credit, where he followed in the footsteps of Lee Cole, who as graphics designer had performed the same duties for the first two Star Trek films. As the art supervisor, heading Star Treks Scenic Art Department during the entire run of the franchise from onward, he has been responsible for such things as the look of alien languages, computer screens, graphic detailing and perhaps even the look of the exotic artifacts Jean-Luc Picard has collected.
Okuda was honored by SkyBox International with an individual card entry, no. 04, in their 1993 specialty Star Trek: The Next Generation - Behind the Scenes trading card set.
Together with Rick Sternbach, he served as a technical consultant to the script staff, maintaining technical and chronological continuity and inventing scientific terms and technobabble, resulting in a number of internal "technical manuals". He is a co-author of the Star Trek: The Next Generation Technical Manual, which resulted from the internal documents, the , and the . Though never having taken a class in calculus in his life (being a graduate of the University of Hawaii-Manoa notwithstanding), Okuda is responsible for designing the logarithmic warp scale used in . All his computer graphics and designs are done on a Macintosh.
Aside from being an avid Original Series fan, Okuda was also a big fan of M*A*S*H, Gilligan's Island and the 1984 cult science fiction movie The Adventures of Buckaroo Banzai Across the 8th Dimension, and has often placed references to these productions in his designs. His most recognizable achievement is the creation of okudagrams, the futuristic glass-covered control panels first seen in The Voyage Home . He was a graphic designer at that time.
In the Star Trek franchise, it was customary from the very beginning (starting with ), when more than one production was in development at any given time, to avoid cross-over work being done by staffers on different productions, though there, "(...) was no good reason for this that we could perceive", a slightly chagrined Doug Drexler – aside from having been a co-worker, also close collaborator on the Chronology/Encyclopedia and family friend – once noted. To this end studio staffers, excepting the very highest management echelons, when assigned to, and contracted for one production, were legally forbidden to work on any of the others. This legal prerequisite however, did not extend to Mike Okuda's Scenic Art Department, which was exempt from the proviso for the obvious reason to maintain visual consistency within the franchise. However, the exemption was originally only extended to the senior staff (meaning Okuda himself), resulting in the somewhat cumbersome, and ultimately untenable, situation in 1994 of him heading a department whose staffers were officially only allowed to work on either one Star Trek production (Deep Space Nine), or the other (Voyager).
Married to fellow Star Trek scenic artist Denise Okuda, with whom he co-authored The Encyclopedia and the Chronology, Mike Okuda and his wife have, unsurprisingly, been commissioned by the franchise to create the text commentaries on the Star Trek DVD home media releases. "Inside DS9 with Michael Okuda" is a special feature on the DS9 Season 5 DVD in which Okuda himself takes center stage in his official production capacity. After having written several text commentaries for the various Star Trek DVD releases, the Okuda couple recorded their first, own audio commentary for the 2010 DVD/Blu-ray releases of Nemesis. This was followed by several co-audio commentaries for the 2012-2014 remastered The Next Generation and Enterprise Blu-ray Disc releases.
The Okuda couple was assigned in 2006 to serve as consultants to auction house Christie's, supporting them with the sale of the contents of Paramount's Star Trek warehouses. They helped cataloging the production assets and picking the choice items that were ultimately auctioned off in the highly publicized about 40 Years of Star Trek: The Collection auction of October that year. Mike Okuda also wrote the item background annotations for the accompanying two-tome auction catalog. Both Okudas were prominently featured in the documentary that was made of the occasion.
Together, they were the visual effects producers, as part of the CBS Digital team, for the 2006 remastered Original series, both appearing as a Starfleet officers on a new matte painting in the remastered version of , he as a science officer. Due to the extensive research he had performed for his reference book writings – and the derivative text commentaries – , Okuda is, at least in the Star Trek community, considered one of the foremost authorities on Star Trek lore, and from 2012 onward the couple served as consultants on the 2012 follow-up The Next Generation remastering project.
Mike Okuda has the distinction of becoming one of the very few Star Trek staffers in any function (the exclusive assembly encompassing among others Rick Berman, Peter Lauritson, Ronald B. Moore and David Takemura), to have officially served uninterrupted for the full eighteen years on the entire production run in the "Berman-era" of the modern television franchise, having worked on all series at one time or another. Adding to this his official involvement with all prime universe Star Trek movies produced in this era (a record he as officially credited studio production staffer held until 2015, when he became tied/surpassed by friend and former co-worker John Eaves), as well as his official participation in the remastered projects, has made his tenure on the franchise all the more remarkable.
Outside the live-action franchise, Mike Okuda was part of the development staff for the ultimately unrealized Star Trek Online game variant by Perpetual Entertainment, in addition to his work supervising the remastering of the Original Series, while having also designed the new title logo for the Deep Space Nine relaunch series. Okuda also worked as graphics artist on James Cawley's fan-made internet series Star Trek: New Voyages, episode "World Enough and Time" (2007) and received special thanks in the end credits. This episode features fellow Star Trek alumni George Takei, Grace Lee Whitney, Majel Barrett Roddenberry, John Carrigan, Jeffery Quinn, writer and director Marc Scott Zicree, writer Michael Reaves, Doug Drexler, Iain McCaig, James Van Over, Dan Curry, Daren Dochterman, Pierre Drolet, Sam Mendoza, Ronald B. Moore, Lee Stringer, Gregory Jein, Philip Kim, Leslie Hoffman, and Tom Morga.
In November 2014 Okuda again returned to the Star Trek franchise when he was invited to become a part as consultant of a team of experts – including a host of former Star Trek alumni, including his wife – to oversee a new restoration of the original eleven-foot Enterprise studio model, residing at the Smithsonian Air and Space Museum, for its 50th anniversary. Having accepted the prestigious assignment, Okuda was flown in in May 2015 for the team's first work meeting on 13 May.
2016, the 50th Anniversary of Star Trek, turned out to be another fruitful Star Trek year for the Okuda couple as it not only saw the release of the Star Trek: The Original Series - The Roddenberry Vault three-disc Blu-ray Disc production, on which the couple had served as co-producers, but also the vastly updated fourth print edition of their Encyclopedia, the commissioning of which by the franchise having been as much as a surprise to them as it had been to fans. (introduction)
On 22 November 2021 it was announced that Mike Okuda, together with his wife, had been awarded the 2022 "Lifetime Achievement Award" from the Art Director's Guild, predominently for their work on Star Trek. In this, they followed in the footsteps of their former co-workers Herman Zimmerman and John Eaves, who had already been bestowed the honor, the latter as recently as the year previously.
Career outside Star Trek
After his tenure on the Star Trek franchise, Mike Okuda has worked in pretty much in the same capacity for , ultimately awarded by that organization with an "Exceptional Public Service Medal" for his emblem designs in 2009.
In 2007, Michael and Denise Okuda were hired as scenic designer and video supervisor, respectively, for a planned zombie series co-created by Judith and Garfield Reeves-Stevens entitled Alive. John Billingsley and Gary Graham were set to star in the series, which would've debuted in the summer or fall of 2008. However, the series was never made.
His steady employment at firstly the Star Trek franchise and subsequently NASA notwithstanding, has not deterred Okuda occasionally lending his talents to other motion picture productions as well. Mostly credited as graphic designer, he has contributed such imagery to movie productions like, Flight of the Intruder (1991 albeit uncredited), The Informant! (2009) and The Bourne Legacy (2012 albeit again uncredited). Television series credits, Okuda has to his name included, The Flash (1990, pilot episode), Maggie (1998 one episode), Threshold (2005 one episode) and Lie to Me (2012 one episode)
In 2019, the Okuda couple joined the Apple TV+ production of the alternate historyseries For All Mankind as graphics and technical consultants, which reunited them with showrunner Ronald D. Moore and his Deep Space Nine and Battlestar Galactica writer/co-producer team Bradley Thompson and David Weddle, alongside Next Generation co-worker Naren Shankar and David Gautreaux. Mike Okuda's position on the NASA-heavy production was a natural one, considering the work he had done for the agency in the decades following his tenure on Star Trek.
Star Trek credits
(This list is currently incomplete.)
– Novocom, Inc.: Computer Animation and Tactical Displays
– Scenic Artist
– Graphic Designer (as Michael H. Okuda)
– Scenic Art Supervisor (as Michael H. Okuda)
– Scenic Art Supervisor/Technical Consultant
– Scenic Art Supervisor/Technical Consultant
– Scenic Art Consultant
Season 1 – Scenic Artist
Season 2 – Scenic Artist
Season 3 – Scenic Art Supervisor/Technical Consultant (credited only as Scenic Art Supervisor until )
Season 4 – Scenic Art Supervisor/Technical Consultant
Season 5 – Scenic Art Supervisor/Technical Consultant
Season 6 – Scenic Art Supervisor/Technical Consultant
Season 7 – Scenic Art Supervisor/Technical Consultant ("Descent, Part II"-"Journey's End")/Scenic Art Consultant ("Firstborn"-"All Good Things...")
Season 1 – Scenic Art Supervisor/Technical Consultant
Season 2 – Scenic Art Supervisor/Technical Consultant
Season 3 – Scenic Art Supervisor/Technical Consultant
Season 4 – Scenic Art Supervisor/Technical Consultant
Season 5 – Scenic Art Supervisor/Technical Consultant
Season 6 – Scenic Art Supervisor/Technical Consultant
Season 7 – Scenic Art Supervisor/Technical Consultant
Season 1 – Scenic Art Supervisor/Technical Consultant
Season 2 – Scenic Art Supervisor/Technical Consultant
Season 3 – Scenic Art Supervisor/Technical Consultant
Season 4 – Scenic Art Supervisor/Technical Consultant
Season 5 – Scenic Art Supervisor/Technical Consultant
Season 6 – Scenic Art Supervisor/Technical Consultant
Season 7 – Scenic Art Supervisor/Technical Consultant
Season 1 – Scenic Art Supervisor/Technical Consultant
Season 2 – Scenic Art Supervisor/Technical Consultant
Season 3 – Scenic Art Supervisor/Technical Consultant
Season 4 – Scenic Art Supervisor/Technical Consultant
Blu-rays
TNG Season 1 Blu-ray special feature Energized! Taking The Next Generation to the Next Level – Project Consultant
special feature Star Trek: The Next Generation - Regeneration: Engaging the Borg – Project Consultant
special feature The Unknown Possibilities of Existence: Making "All Good Things" – Project Consultant
Star Trek: The Original Series - The Roddenberry Vault – Co-Producer
Emmy Award nominations
Okuda received the following Emmy Award nominations for his work on Star Trek in the category Outstanding Achievement in Special Visual Effects:
for the episode , shared with Robert Legato, Gary Hutzel, Steve Price, Don Greenberg, Erik Nash, and Don Lee
for the episode , shared Gary Hutzel, Robert Legato, David Takemura, Don Greenberg, Erik Nash, Steve Price, Syd Dutton, Robert Stromberg, Bill Taylor, and Don Lee
for the episode , shared Robert Legato, Gary Hutzel, David Takemura, Patrick Clancy, Steve Price, Erik Nash, Syd Dutton, Bill Taylor, and Don Lee
Bibliography
Star Trek: The Next Generation Writers' Technical Manual, 1989 – Co-author
, 1st ed. 1993 and 2nd ed. 1996 – Co-author
Star Trek: The Next Generation Technical Manual, 1991 – Co-author
, 1st ed. 1994, 2nd ed. 1997, 3rd ed. 1999 and 4th ed. 2016 – Co-author
Star Trek: Voyager Technical Manual, 1994 – Co-author
Star Trek Sticker Book, 1999 – Co-author
Christie's 40 Years of Star Trek: The Collection auction catalog, 2006 – Author
Ships of the Line, 2008 – Author
USS Enterprise Owners' Workshop Manual, 2010 – Technical Consultant
Star Trek: The Next Generation - On Board the USS Enterprise, 2013 – Co-author
Star Trek interviews
Star Trek DVD and Blu-ray special features:
TNG Season 1 DVD special feature "The Making of a Legend" ("Artistic Design")
TNG Season 3 DVD special feature "Departmental Briefing Year Three" ("Art Design and Visual Effects", "Visual Effects ", "*Creating the ", "Technical Consultation"), interviewed on
TNG Season 4 DVD special feature "New Life and New Civilizations" (), interviewed on and 22 January 2002
TNG Season 5 DVD special feature "Mission Overview Year Five" ("A Visit from Spock"), interviewed on
TNG Season 5 DVD special feature "Departmental Briefing Year Five" ("Visual Effects"), interviewed on 4 April 2002
TNG Season 5 DVD special feature "Memorable Missions Year Five" (, ), interviewed on 4 April 2002
TNG Season 5 DVD special feature "Alien Speak", interviewed on 4 April 2002
TNG Season 5 DVD special feature "A Tribute to Gene Roddenberry" ("Gene Roddenberry Building Dedicated to Star Trek's Creator"), interviewed on 4 April 2002
TNG Season 6 DVD special feature "Mission Overview Year Six" ("January 1993 Debuts"), interviewed on 4 April 2002
TNG Season 6 DVD special feature "Departmental Briefing Year Six" ("Production", "Special Graphics Design"), interviewed on 4 April 2002
TNG Season 7 DVD special feature "Departmental Briefing Year Seven" ("A Stellar Writer"), interviewed on 4 April 2002
TNG Season 7 DVD special feature "Starfleet Moments & Memories Year Seven" ("A Unique Family"), interviewed on 4 April 2002
TNG Season 7 DVD special feature "The Making of "All Good Things..." Year Seven" ("", "Changes On The Enterprise"), interviewed on
DS9 Season 1 DVD special feature "Deep Space Nine: A Bold Beginning"/ "Designing Deep Space Nine", interviewed on
DS9 Season 2 DVD special feature, "Hidden File 01: Mike Okuda" (2003, ported over from the 1994 DS9 documentary)
TOS Season 1 Blu-ray special feature "Spacelift: Transporting Trek Into The 21st Century" (2009)
TNG Season 1 Blu-ray special features Energized! Taking The Next Generation to the Next Level and "Stardate Revisited, Part 3: The Continuing Mission"
Unification (Blu-ray) special feature "From One Generation to the Next" (2013)
TNG Season 4 Blu-ray special feature "In Conversation: The Star Trek Art Department" (2013)
TNG Season 5 Blu-ray special feature "Requiem: A Remembrance of Star Trek: The Next Generation" (2013)
ENT Season 1 Blu-ray special feature "To Boldly Go: Launching Enterprise" (2012)
ENT Season 2 Blu-ray special feature "Uncharted Territory" (2013)
Star Trek: The Original Series - The Roddenberry Vault special features "Inside the Roddenberry Vault, Part 1-3", "Star Trek: Revisiting a Classic" and "Strange New Worlds: Visualizing the Fantastic" (2016)
Print publications:
"Michael Okuda – Scenic Art Supervisor", Bill Warren, , June 1991
"Scenic Art Department", Larry Nemecek, , November 1999, pp. 22-28
"Michael and Denise Okuda: A Star Trek Love Story", Alec Peters, The official STAR TREK prop and costume auction catalog, 2010, pp. 24-27
Star Trek documentaries:
Star Trek 25th Anniversary Special, 1991
Star Trek: Deep Space Nine - Behind the Scenes, 1994, Okuda segment ported over to the 2003 DS9 Season 2 DVD
Journey's End: The Saga of Star Trek: The Next Generation, 1995
Star Trek: Beyond the Final Frontier, 2007
In Conversation: The Star Trek Art Department, 2013
William Shatner Presents: Chaos on the Bridge, 2014
Text commentary:
(ENT Season 3 DVD and ENT Season 3 Blu-ray)
External links
Graphics by Michael Okuda – official site
de:Michael Okuda
es:Michael Okuda
Linguists
Art department
Special and Visual effects staff
Video game production staff
Performers
TOS remastered performers
Star Trek reference authors
Emmy Award nominees
ADG Excellence in Production Design Award winners
CBS Digital staff
Star Trek reference artists
Special features staff
|
3631
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Think Tank
|
The "Think Tank", so dubbed by Captain Kathryn Janeway, was a group of alien intellectuals whose stated purpose was to perfect their knowledge by challenging themselves with various problems. Together they operated out of a technologically advanced vessel.
The Think Tank claimed to have solved problems for hundreds of clients, in exchange for items that were unique though not necessarily valued by the client. They tackled all manners of problems, up to and including the elimination of entire fleets or planets, though they refused to commit species-wide genocide or design weapons of mass destruction. However, Kurros admitted that selfishness was necessary for them to attain intellectual perfection, and they were not above using manipulation and force to achieve their goals. Because of their unsavory behavior, the group was notorious and had made many enemies.
Members
Main article: Think Tank members
The Think Tank consisted of five members: Bevvox, Kurros, Fennim, an aquatic being, and an artificial intelligence. Kurros acted as the main intermediary between the Think Tank and the outside. Because the members of the Think Tank were very different from each other, they could only communicate via a device that enabled telepathy.
History
Bevvox founded the Think Tank in the early 23rd century. The past accomplishments of the Think Tank included turning the tide of the war between the Bara Plenum and the Motali Empire, reigniting two red giant stars in the Zai Cluster, recovering a Lyridian child's lost subspace mesomorph pet, and helping the inhabitants of Rivos V resist the Borg. In 2375, they cured the Vidiian phage and established a planetary containment field on Saowin's planet.
Later in 2375, the Think Tank became interested in Seven of Nine on the , whom they believed would be a valuable addition to their group. They devised a scheme in which Kurros, disguised as a Malon, would contract Hazari bounty hunters to capture Voyager. The Think Tank then offered to help Voyager escape the Hazari in exchange for various items and custody of Seven. Although Seven refused their offer, the Think Tank was confident that either she or Captain Kathryn Janeway would eventually relent under pressure from the Hazari.
The Voyager crew captured a Hazari ship and discovered the Think Tank's deception. The Hazari were persuaded to target the Think Tank instead, as the group was a far more valuable bounty. As part of the ruse, the Hazari intensified their attack on Voyager and Seven pretended to surrender herself to the Think Tank. Suspicious, the group attempted to probe her mind, whereupon Voyager transmitted an interference signal through Seven's neural transceiver that disrupted the Think Tank's ability to intercommunicate. With the Think Tank temporarily disabled and their vessel vulnerable, the Hazari surrounded it and began their attack, while Voyager recovered Seven and resumed its course home. ()
External links
de:Denkfabrik
nl:Denk Tank
Groups
|
3632
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Arturis
|
Arturis was a male member of a species known only by its Borg designation, Species 116. Arturis was a highly-skilled linguist and cryptologist, having learned over 4,000 languages; he was also able to decipher any spoken or written language almost instantly, like a living universal translator, an ability possessed by his species.
In early 2374, Arturis' people were assimilated by the Borg after centuries of successful resistance. Arturis was one of only 20,000 people who escaped the Borg and was lucky to have his own ship. He blamed the crew of the starship , in particular Captain Kathryn Janeway, for his species' defeat at the hand of the Borg after the Voyager crew had aided the Borg in their fight against Species 8472. As such, he decided to exact revenge on them, believing that his species could have been saved if Species 8472 had been allowed to destroy the Collective, regarding the Borg as simply a "force of nature" that could only be avoided rather than fought or destroyed.
After months of searching, he found and tracked Voyager. He traveled for several months, learning all he could about the ship and crew, and was even able to learn about the Starfleet message that had been sent to Voyager. Using the Starfleet message, he devised a trap using particle synthesis technology to recreate the appearance of a Starfleet vessel on his own ship. Then, after making contact with Voyager by helping Tom Paris and Neelix communicate with traders at a colony, he planted evidence in the Starfleet message he claimed to have decrypted which lured the crew to his ship, making them think that it was the , a ship sent by Starfleet to the Delta Quadrant that would bring them home using a quantum slipstream drive.
Initially, his deception was successful, but his plans began to unravel when the crew spent some time analyzing Dauntless rather than simply seizing the opportunity without analyzing the ship in depth as he had hoped they would. The plan was further jeopardized when Captain Janeway decrypted another fragment from the actual Starfleet message – which explicitly stated that the best they could do was offer updated star charts of the region – and Janeway accompanied a team to try and apprehend Arturis. He escaped, however, capturing Janeway and Seven of Nine before he set his ship to return to his homeworld, now in Borg space, so that they would be assimilated as punishment. He was unsuccessful in this as well, as they were able to escape thanks to Voyager managing to simulate the slipstream drive and follow the Dauntless. Thus, his plan backfired on him; his ship continued on towards Borg space, he being unable to change its course after destroying the navigational controls to prevent Janeway and Seven from doing so. On arrival in Borg space, it was captured by the Borg and Arturis was presumed to have been assimilated. ()
Arturis and his slipstream drive were among the failed attempts to get back to the Alpha Quadrant that Tom Paris mentioned to Harry Kim in 2377. ()
Background information
In pre-production notes, Arturis was referred to as "". (Star Trek: Action!) Ultimately, co-writer Brannon Braga was very happy with how the character turned out, referring to Arturis as "a great villain." (Cinefantastique, Vol. 30, No. 9/10, p. 97)
Fifty or more individuals were auditioned for the role of Arturis, before actor Ray Wise was selected for the part. The casting setup was such that very few, if any at all, older performers auditioned for the role, the character having slowly become much younger than originally conceived. "Casting was the component that finalized the process," commented Jeri Taylor. "We wanted someone who would convey a large presence, and that need sometimes strips away people at either end of the age scale, and brings it more toward the center." Having previously played Liko in , Ray Wise was not required to audition for the role of Arturis, as the producers trusted that he could be relied upon in the part. (Star Trek: Action!, p. 23)
Wise filmed his scenes for "Hope and Fear" on Friday , Monday , Thursday , Friday , and Tuesday on Paramount Stage 8, 9, and 16. He also filmed scenes on an additional day of filming on Thursday on Paramount Stage 9.
Despite Arturis being an ultimately malicious character, costume designer Robert Blackman did not want to indicate that too much. "My job was to make him look interesting but affable," Blackman explained, "so I just put him in a shirt and a pair of pants." (Star Trek: Action!, p. 70) His costume was later sold off on the It's A Wrap! sale and auction on eBay.
The design of Arturis' makeup was originally envisioned by Michael Westmore for another project. On , he recollected, "I actually designed this makeup for a different show – not for Star Trek. But those producers didn't use it." (Star Trek: Action!, p. 68)
Arturis' makeup was meant to imply the presence of an extended skull, paralleling the character's intelligence. "Instead of a large skull typical of the aliens people think landed at Roswell," explained Michael Westmore, "I kept it with skull-like proportions. If you look at him straight on, he looks like a bald man. Only his profile looks alien." (Star Trek: Action!, p. 67) Notably, this deceptive aspect of his appearance echoes the misleading role the character plays in "Hope and Fear".
Michael Westmore explained that the main prosthetic headpiece "is thick foam rubber that's been vulcanized in an oven. If you push it in, it will bounce right out again." The headpiece, according to Westmore, was cast "from the same plaster head that we used to make the Vorgons [from TNG's ]." Westmore concluded, "All we had to do was get a cast of Ray's face and make some sidepieces to work as blenders over the edges of the piece." (Star Trek: Action!, p. 67) In fact, the prosthetics that were crafted from the life cast of the actor's face were a thin forehead piece, cheek appliances and two neck pieces. (Star Trek: Action!, p. 66) As well as the prosthetics, Wise also wore contact lenses. (Star Trek: Action!, p. 67)
External link
de:Arturis
fr:Arturis
Species 116
|
3634
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
People
|
The following is a list of people lists.
By species
For lists of species, see species
List of individuals
By organization
Bajoran Militia personnel
Bajoran Militia casualties
Earth Cargo Service personnel
Fleet Operations Center personnel
Klingon Defense Force personnel
MACO personnel
Maquis personnel
Starfleet personnel
Starfleet personnel (22nd century)
Starfleet personnel (22nd century)
Starfleet personnel (23rd century)
Starfleet personnel (24th century)
Starfleet personnel (25th century)
Starfleet personnel (26th century)
Starfleet personnel (29th century)
Starfleet personnel (32nd century)
Starfleet casualties
Starfleet casualties (22nd century)
Starfleet casualties (23rd century)
Starfleet casualties (24th century)
Starfleet command division personnel
Starfleet engineering personnel
Starfleet JAG personnel
Starfleet operations division personnel
Starfleet medical personnel
Starfleet sciences division personnel
Starfleet security personnel
Starfleet tactical personnel
Vulcan casualties
By ship or station
Personnel lists
By rank or title
List of titles
Cardassian guls
Starfleet admirals
Starfleet captains
Starfleet commanders
Starfleet lieutenant commanders
Starfleet lieutenants
Starfleet lieutenants junior grade
Starfleet ensigns
Starfleet cadets
Starfleet enlisted personnel
By occupation
List of occupations
Civilian casualties
By origin
Mirror universe people
Mirror universe casualties
Holodeck characters
Fictional characters
By nomenclature
Unnamed individuals
de:Besatzung
ja:登場人物
Lists
|
3638
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Starfleet personnel (22nd century)
|
The following is a list of personnel in service in the pre-Federation Starfleet during the 22nd century.
See also
Unnamed Starfleet personnel (22nd century)
A
Agalsoff, G.
Agalsoff, J. Jr.
Albiez, P.
Alex
Alison
Almack
Alvarez, G.
Anderson, D.
Anderson, J.
Ansara
Archer, Jonathan
Arp, T.
Ayres, J.
B
Baillargeon, P.
Baird
Baker, D.
Bakula, S.
Ballard, K.
Baskin, D.
Berman, R.
Betts, B.
Biggs
Billingsley, J.
Binkley, C.
Blackman, B.
Blackman, R.
Blackwell, C.
Blalock, J.
Bookout, T.
Bormanis, A.
Bozeman, M.
Brill, S.
Bro, A.
Brody
Brookshire, F.
Brown, J.
Bunch, R.
Burdette, G.
Burgess, R.
Burman, S.
Burrows
Butler, P.
C
Calvaruso, R.
Canamar, V.
Candy, N.
Castro, L.
Chakarian, V.
Chambers, M.
Chattaway, J.
Chavez, T.
Christenberry, I.
Clark, C.
Clark, K.
Clark, L.
Cobb, T.
Codron, A.
Cole
Cole, L.
Connoly, L.
Conway, J.
Cooper, E.
Cooper, R.
Corcoran-Woods, P.
Coto, M.
Cunningham
Curry, D.
Cutler
D
D'Errico, S.
Deadrick, V. Jr.
Decker, F.
DeMeritt, M.
Deperna, R.
Devlin, J.
Dillard
Djanrelian, J.
Dominguez, A.
Dominguez, R.
Dorton, L.
Drapanas, W.
Dressor, E.
Drexler, D.
Drozdowski, D.
Duder, D.
Dukes, L.
Duvall
E
Eddie
Edelman, G.
Ellis, E.
Eyslee, R.
F
Fernandez, J.
Fincke, M.
Fisher, J.
Fleck, J.
Forrest, Maxwell
Foster, W.
Fredricks, V.
Fukai, A.
Fuller (male)
Fuller (female)
Fusco, C.
G
Gardner
Geary, A.
Goddard, R.
Graber, J.
Gullesserian, M.
H
Hart
Harvey, G.
Haselbush, J.
Haynem
Heidemann, B.
Hernandez
Hess
Hester, R.
Hoffman, M.
Hutchison
J
Jacobson, P.
Jacque-Metton, A.
Jacque-Metton, M.
Jefferies, W.M.
Jennings
Jierjian, H.
Johnson, D.
K
Kay, A.
Keating, D.
Keating, M.
Keeley
Kelby
Kelly, E.
Kelly, J.
Kelly, M.
Kelly, Morgan
Kimball
Killpack, R.
Knapp, D.
Kobayashi, A.
Koeppel, D.
Kunz, C.
L
Lambert, A.
Latrelle, Mark
Laughlin, B.
Lauritson, P.
Lawrence, R.
Leasure, F.
Lederman, B.
Lehrhoff, D.
Leisure, F.
Leonard, Daniel
Levy, A.
Lewis, J.
Look, B.
Lopez, G.
M
Mach, R.
Mandel, G.
Marcel
Martin, J.
Masaro
Massaro
Matalas, T.
Matsumoto, E.
Mayer, W.
Mayweather, Travis
Mazurov, S.
McCarthy, D.
McCoy, P.
McFarlane
McMeikan, J.
McMeikan, L.
McWade, P.
Meadows, T.
Medina, G.
Mees, J.
Mertz, T.
Meyers, R.
Middleton, S.
Millar, M.
Mirabello, D.
Montgomery, A.
Moore, J.
Moore, M.
Moore, R.B.
Mullen, Steven
N
Naiman
Namod
Nesterowicz, J.
Nomura, R.
Norman, E.
Novakovich, Ethan
Nygren, J.
O
O'Halloran, M.
O'Hea, F.
O'Malley, Patricia F.
O'Neil, K.
Okuda, D.
Okuda, M.
Olgyay, Z.
Ortiz, L.
Overdiek, D.
P
Pacheco, S.
Packard, A.
Palazzo, T.
Park, L.
Peck, S.
Peets, B.
Petrus, C.
Peyser, J.
Pierce
Pierce, Jeffrey
Pizston, J.
Pondella, D.
Pooley, A.
Purser, T.
Q
R
Raineri, B.
Rarick, J.
Ratliff, R.
Rayburn, R.
Reed, Malcolm
Reeves-Stevens, G.
Reeves-Stevens, J.
Regan, E.
Reilly, M.
Rich, L.
Rivers
Robinson, A.G.
Rockler, A.
Rooney, D.
Rossi
Rossi, D.
Rostov, Michael
Rowe, R.
Rowe, S.
Rudolph, J.
Rush, M.
Russell, C.
Russo, C.
S
Sanders, J.
Sarabia, R.
Sarstedt, R.
Sato, Hoshi
Satterfield, S.
Sayadyan, A.
Scott, T.
See Yuen, M.
Sena, L.
Sepulveda, F.
Shimizu, S.
Siegel, T.
Simonson, A.
Simonson, R.
Shumar, Bryce
Slechta, K.
Socorro
Sperber, D.
Stella, A.
Strong
Strong, P.
Sussman, M.
T
T'Pol
Tachell, G.
Tagamolila, J.T.
Takemura, D.
Tanner
Taylor, Jane
Thomas, J.
Thoms, W.
Treuherz, N.
Trineer, C.
Triphon, J.
Trotti, D.
Tucker, Charles, III
U
Narsu, Uttan
V
Van Over, J.
Velazquez, D.
Viramontes, F.
Virts, T.
W
Walsh
Walter, D.
Ward, L.
Welke, S.
Westmore, M.
Westmore, S.
White, K.
White, L.
Williams, E.
Wishnack, J.
Wolfe, W.
Y
Yee, C.
Yee, S.
Z
Zabel
Zerkel, A.
Zimmerman, F.
de:Liste des Sternenflottenpersonals (22. Jahrhundert)
fr:Personnel de Starfleet (22ème siècle)
01
|
3639
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
MACO personnel
|
The following is a list of Military Assault Command Operations (MACO) personnel.
Named personnel
Carender
(KIA)
(KIA)
(KIA)
O'Malley
Parsons
Unnamed personnel
Combat training MACO
This MACO arranged for combat training between MACOs and on-board Starfleet officers in 2153. He was the opponent of Travis Mayweather and used excessive force during their match. Their fight was part of the accusation, Lieutenant Malcolm Reed later used to discredit Major Hayes. ()
Defense force MACO
This MACO, seen with S. Money, attempted to stop a Klingon-augment boarding party from uploading a virus into Enterprise computers in 2154. ()
Delegation guard
This MACO was part of the team which guarded Tellarite ambassadors on board Enterprise in 2154. He guarded the quarters door and later arrested the Andorians after they tried to murder the Tellarite ambassadors. ()
MACO (2153-2154)
This MACO served aboard Enterprise between 2153 and 2154.
He and R. Azar stood guard in cargo bay 2 while Captain Archer attempted to ruse information from Degra in a mock simulation. When Degra discovered the ruse, he boarded the simulator after Degra attacked the captain, and escorted the prisoner back to the brig. ()
He served as guard for Arik Soong while he was on Enterprise in 2153. ()
Along with , W. Woods, and another MACO, he welcomed the Tellarite ambassadors aboard Enterprise. ()
In 2154, he was one of the MACOs who guarded the Orion slave girls Maras, D'Nesh, and Navaar and was affected by their hypnotic abilities. ()
MACO private (2154)
This MACO private was part of the group of MACO who defended Enterprise from the Klingon Augment boarding party in 2154. ()
Raiding party member (2154)
This MACO was part of the raiding party led by Captain Jonathan Archer in 2154, which boarded the Illyrian starship to rob technology and supplies. The team was attacked by the Illyrian soldiers but the mission became successful. This MACO was part of the last three officers who transported back to Enterprise. ()
Sickbay guard
This MACO guarded the sickbay where Talas was treated after Naarg shot at her. He watched the last conversation between Talas and Shran, moments before she died in his arms. ()
Ushaan guard
This MACO guarded Arik Soong during his arrival on Enterprise and escorted him to the brig. He was also on duty when the augments boarded the ship and rescued Soong. ()
Later that year he served as guard during the Ushaan between Commander Shran and Captain Archer aboard Enterprise. ()
Young MACO
This MACO was assigned to Enterprise during the Xindi mission in 2153.
In 2153, he was part of S. Money's MACO team which was sent to welcome the Xindi-Reptilian boarding party near an airlock. When the airlock was blown off, the team opened fire but had to withdraw. ()
When Captain Archer was under the influence of Xindi-Insectoids, he was working in a shuttle bay and shot unconscious by the senior staff who tried to retake Enterprise. Later, he served at the tactical station on the bridge. Hayes gave him a nod. He then moved toward the science station but was not there yet, having reached a position just outside the port turbolift doorway, when four Starfleet officers, including T'Pol and Malcolm Reed, invaded the bridge. He was shot unconscious again, this time by T'Pol. ()
Casualties
Appendices
See also
MACO personnel (mirror)
Background information
Almost all of the MACOs were portrayed by stunt performers or actors with a stage combat background or experiences.
Due to the re-use of costumes and name tags, several performers portrayed one character, for example E. Hamboyan, who was played by at least three actors.
Apocrypha
The complement of MACO on board Enterprise during the Xindi crisis is given as 36 in the novel Last Full Measure. Additional MACO named in this novel are Corporal Selma Guitierrez, Corporal McCammon, Corporal Meredith Peruzzi, and Private Colin Eby.
de:Liste von MACOs
fr:Personnel MACO
nl:MACO personeel
MACO personnel
MACO personnel
|
3644
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Earth starships
|
The following is a list of Earth starships.
Related links
Unnamed Earth starships
Unnamed Arctic One type starships
Unnamed Intrepid type starships
Unnamed J class starships
Unnamed Y class starships
Earth starship classes
Unnamed Earth starship classes
de:Liste der irdischen Sternenflottenraumschiffe
fr:Vaisseaux terriens
nl:Aarde Vrachtdienst sterrenschepen
Earth starships, List of
|
3645
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
B'Etor
|
B'Etor was a female Klingon officer of the 24th century Klingon Empire and member of the House of Duras. She was the younger of the two Duras sisters, herself and Lursa, sister of Duras and daughter of Ja'rod. Through Duras, she had a nephew, Toral.
History
As sister to Lursa, B'Etor was one of the Duras sisters responsible for the start of the Klingon Civil War in early-2368. She was the younger sister, the more seductive (and more promiscuous) of the two. She and Lursa supported their nephew Toral as the new Chancellor of the Klingon High Council. Toral was the illegitimate son of their brother Duras. She staked Toral's claim just as Jean-Luc Picard, who was the Arbiter of Succession, was about to pronounce Gowron as Chancellor. In determining their claim, Picard went planet-side and paid an invited visit to B'Etor and Lursa. B'Etor attempted to convince him that Toral's challenge must be approved. B'Etor made a futile effort to seduce Picard. ()
When Picard designated Gowron as the rightful Chancellor, she and her sister took up arms against Gowron. They were supported by the Romulan Empire, who wished to see the alliance between the Federation and Klingon Empire fall apart. They kidnapped Worf and B'Etor took a liking to him and offered herself as a mate to him in exchange for his cooperation. He declined. B'Etor and her sister's plot failed due to a Federation blockade of Romulan ships, which denied them aid and supplies. It more importantly exposed their alliance with the Romulans who most Klingons hated. This caused B'Etor and her sister's support to erode. ()
The Duras sisters were also responsible for selling bilitrium to Bajoran Kohn-Ma terrorists in 2369. In order to raise capital to rebuild their forces, they offered the Bajoran Kohn-Ma terrorist Tahna Los bilitrium in return for gold-pressed latinum while plotting to sell him out to Elim Garak and the Cardassians once they were paid off. ()
Another capital-raising scheme had them seizing a Pakled magnesite mine on Kalla III, overseen by the Dopterian Gorta, and selling its explosive ore to an Yridian, Yog. B'Etor and her sister were also falsely accused of an attempted murder of the members of the Mogh family in 2370. ()
In 2371, the sisters worked with the El-Aurian scientist Tolian Soran and raided a Romulan outpost to acquire trilithium in exchange for Soran's trilithium bomb. In a recurring theme, she appeared interested in "initiating a mating ritual" with Soran. She was killed in orbit of Veridian III when her Bird-of-Prey was destroyed in a battle against the . ()
Memorable quotes
"This is not a threat, Captain. Just an unfortunate truth."
"So why be our enemy, when you can be our friend?"
"You have manipulated the circumstances with the skill of a Romulan."
- Lursa, B'Etor and Jean-Luc Picard ()
"I think he'll find our offer appealing."
"I'll make sure he does."
- Lursa and B'Etor ()
"Toral is Duras' only son, and he will be the leader of the Council. In your heart, even you know that. But Toral needs guidance."
"A firm hand."
"A father figure. That could be you, if you were mated to B'Etor."
"The rewards could be greater than you can imagine."
- Lursa and B'Etor, to Worf ()
"I hope for your sake you were initiating a mating ritual."
- B'Etor, after Tolian Soran punched her ()
Appendices
Appearances
Movies
Background information
B'Etor was played by actress Gwynyth Walsh.
The script for "Redemption" states the pronunciation of B'Etor's name as "be-TOR". Of the scene in which B'Etor is introduced, it described her thus; "B'Etor is several years younger, and more volatile than her sister [...] She's not afraid of Gowron and her presence shores up Toral a little."
The script for "Firstborn" also described B'Etor as having a "grating squawk".
In the first draft script of , B'Etor had sexual relations with Data.
Star Trek author Keith R.A. DeCandido described Walsh's performance in "Redemption" and "Redemption II" as an "impressive debut".
Apocrypha
Both Lursa and B'Etor return to Deep Space 9 in the Pocket DS9 The Big Game, in order to participate in a poker tournament to raise funds for their war against the Empire. The two attempt to win the tournament by cheating, but when Quark discovers their special deck, it is tossed aside and new one used in its place. Afterwards the two women are quickly defeated by the remaining players.
External links
cs:B'Etor
de:B'Etor
fr:B'Etor
BEtor
|
3646
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Lantree
|
The USS Lantree (NCC-1837) was a 23rd century Federation starship operated by Starfleet. In 2365, this starship was classified as a class 6 supply ship and was armed with class 3 defensive armaments. ()
History
In 2293, the Lantree was assigned a colony resupply mission in Sector 22858. The ship was named on a Starship Mission Assignments chart on the bridge. ()
In 2365, Captain L. Isao Telaka was the commanding officer of the Lantree. At the beginning of their duty cycle, the twenty-six crewmembers had a complete examination. All were in perfect health. The ship was assigned to Gamma 7 sector.
Five days before stardate 42494, the first officer was treated for Thelusian flu. Two days later, the Lantree visited the Darwin Genetic Research Station. Shortly after visiting the station, all twenty-six crewmembers fell victim to a mysterious aging disease that was later identified as geriatric phenomena during communications between Dr. Kingsley and the .
After answering her distress signal, the Enterprise-D found the Lantree adrift in space. With her crew deceased, the ship's quarantine transmitter and marker beacons were initiated to warn other vessels of the danger. After it became clear that the disease, caused by the immune systems of the children at Darwin, was highly contagious and could not be cured medically, the Enterprise-D destroyed the starship with one photon torpedo to prevent further transmission. ()
Personnel
Appendices
Background information
The Lantree was a reuse of the studio model from , but with the "roll bar" removed, which had a down-to-earth rationale. In a privately shot behind-the-scenes video, shot by Effects Supervisor Gary Hutzel, it was disclosed that when the model was prepared to make its appearance as the Lantree after its stint as the in , the effects crew were unable to make the internal lighting of the roll bar work on time, so the decision was made to have the Lantree appear without it.
The quarantine transmitter computer voice of the Lantree was voiced by an unknown actor.
The bridge of the Lantree was a redress of the Enterprise-D's battle bridge turned 180 s. The main viewer, featuring star charts, can be seen behind Captain Telaka.
An unseen element from the Operation Retrieve charts includes a list of starships, their registries, and their commanders. According to this list, the Lantree was commanded by K. Glover, named after that film's camera operator Kristin R. Glover.
External link
bg:USS Лантри
cs:USS Lantree
de:USS Lantree
es:USS Lantree
fr:USS Lantree (NCC-1837)
ja:USSラントリー
nl:USS Lantree
pl:U.S.S. "Lantree" NCC-1837
Lantree
|
3647
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Gamma 7 sector
|
Gamma 7 sector was a region of space. This sector contained the Federation planet Gagarin IV and an unnamed outpost. This sector was adjacent to an unnamed sector, which was home to Star Station India.
In 2365, the was assigned to the Gamma 7 sector, when her entire crew fell victim to a mysterious disease. ()
es:Gamma 7
nl:Sector Gamma 7
Sectors
|
3649
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Repulse
|
The USS Repulse (NCC-2544) was a 24th century Federation starship operated by Starfleet.
In 2364 and 65, Captain was the commanding officer of the Repulse. Medical officer Katherine Pulaski served aboard this vessel before she was transported by shuttlecraft D'Alison (Repulse shuttlecraft 10) to her new assignment, the , in 2365. ()
Captain Taggert valued Pulaski as an officer, despite her idiosyncratic preference to shuttles instead of matter-energy transportation. Taggert told Captain Picard that there were no recent records of her using a transporter, since over a year previous. ()
In 2367, the Repulse was on a deep space exploration mission in Sector 22036. The ship was named on the chart "Starfleet Operations-Sectors 21166-23079" on the Enterprise-D's bridge. ( okudagram)
In 2369, the Repulse was on a deep space exploration mission in Sector 22358. The ship was named on the chart "Starfleet Operations-Sectors 21538-23079" in the Enterprise-D observation lounge. ( okudagram)
In 2374, the starship reported numerous casualties to Starfleet Command. The reporting ship's name and registry and its casualty list were named on the "Personnel Status Update" chart in the Deep Space 9 wardroom. ( okudagram)
Personnel
USS Repulse personnel
List of casualties
Capt. (WIA)
Lt. (KIA)
Lt. (MIA)
Lt. (jg) (MIA)
Lcmdr. (WIA)
Lt. (KIA)
Dr. (KIA)
, RN. (KIA)
Lcmdr. (KIA)
Capt. (KIA)
Ens. (WIA)
Appendices
Background information
Repulse was a reuse of the studio model first built for . Repulse was later listed on the mission status chart seen on screens from TNG Season 4 onward. The casualty report seen on Deep Space Nine contains many double names of personnel being killed or wounded on multiple ships. It seems more likely that each officer died only once and that the reports were filed multiple times. In this case it was unclear which officers listed under Repulse actually served on this vessel.
USS Repulse was the only established operational Excelsior-class vessel still sporting a four digit registry number in the 24th century, suggesting she was a close contemporary of the 23rd century original and thus one of the oldest vessels of the class still in service. Originally, Repulse was to be paired with , which had been given the registry number "NCC-2541" in . Apparently the original labeling was forgotten about or ignored later by the production staff and as she was endowed with a new, much higher registry number, leaving Repulse the only four-digit-registered Excelsior-class vessel in the 24th century.
According to the , Repulse was "named for the British that fought in Earth's World War II". In the first edition of the Encyclopedia (p. 274), it was incorrectly stated that she fought in the . The Repulse had been sunk by the Japanese Navy off the coast of Malaya nearly six months before on 10 December 1941. This was only three days after the attack on Pearl Harbor, which marked America's entrance into the war. As for the (with whom she was slated to be paired in fiction), she had been sunk in the on 24 May 1941 by the .
Apocrypha
USS Repulse was the name of a starship that appeared in the game Star Trek: Tactical Assault.
In FASA's Star Trek: The Role Playing Game, the Repulse was a Miranda-class starship with the registry number .
The Excelsior-class Repulse, with and Katherine Pulaski back as CMO, fights the Borg in the Vendetta.
External link
bg:USS Рипълс
de:USS Repulse
es:USS Repulse
fr:USS Repulse (NCC-2544)
ja:USSレパルス
nl:USS Repulse
Repulse
|
3653
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Monitor
|
The USS Monitor (NCC-61826) was a Federation starship operated by Starfleet during the mid-24th century.
In 2366, the Monitor and were dispatched to the Romulan Neutral Zone to counter a possible Romulan sneak attack originating from a supposed cloaked Romulan base on Nelvana III. ()
In 2367, the Monitor was patrolling the Romulan Neutral Zone. The ship was named on the chart "Starfleet Operations-Sectors 21166-23079" on the bridge. ( okudagram)
In 2369, the Monitor was patrolling the Romulan Neutral Zone. The ship was named on the chart "Starfleet Operations-Sectors 21538-23079" in the Enterprise-D observation lounge. ( okudagram)
Appendices
Background information
The class and registry were derived from the chart in "Brothers".
Apocrypha
According to the Star Fleet Technical Manual, there was a in service in the 23rd century with the registry NCC-1713.
In William Shatner's The Return, the was a modified vessel with an all black hull coating that was specially built by Starfleet Intelligence, and was temporarily renamed Enterprise while mounting a direct offensive against the Borg/Romulan alliance at the . In a later novel of the series, the ship is stranded outside the galaxy and destroyed by the same entity that destroyed the robot ships launched in Kirk's era to the Kelvans' homeworld in the Andromeda Galaxy. The video game Star Trek: Legacy also portrayed the Monitor as a Defiant-class vessel.
In the video game Star Trek: Away Team, the was a explorer that was being assimilated by the Borg during one of the missions. The video game also featured the USS Monitor as a Galaxy-class starship.
In the video game , if the USS Enterprise-D is destroyed in battle, Starfleet Command sends the USS Monitor to investigate the disappearance of the ship following an emergency distress call sent out by Data. Furthermore, if the player fails to stop Soran from destroying a sun, besides the Veridian star, Starfleet Command relieves the Enterprise-D of its mission and sends the Monitor to continue investigating Dr. Soran.
External link
bg:USS Монитор
de:USS Monitor
es:USS Monitor
fr:USS Monitor (NCC-61826)
ja:USSモニター
Federation starships
|
3654
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS T'Kumbra
|
The USS T'Kumbra was a 24th century Federation starship operated by Starfleet. In the 2370s, the T'Kumbra was under the command of Captain . The T'Kumbra had an all-Vulcan crew, similar to the and , which also had predominantly Vulcan crews.
The T'Kumbra was assigned to six months of fighting on the front lines during the Dominion War in 2374 and 2375. The ship then visited Deep Space 9 for repairs, including an overhaul of the ship's warp core and upgrades to the inertial damper systems, overseen by Chief Miles O'Brien.
While at the station, several members of the ship's crew indulged Solok's desire to challenge his former Starfleet Academy classmate, Benjamin Sisko, to the ancient Earth sport of baseball. Solok's team, the Logicians, eventually beat Sisko's team, the Niners. ()
Personnel
Appendices
Background information
According to the script for the episode, the pronunciation for T'Kumbra was "tuh-KUM-brah".
The T'Kumbras appearance in "Take Me Out to the Holosuite" was recycled footage of the from .
Apocrypha
The T'Kumbra appears in Star Trek Online with the registry NCC-62100. It makes its appearance as part of a joint Starfleet/Klingon operation tasked with holding the Borg invasion at bay. The RPG sourcebook gives its registry as NCC-62100.
External links
bg:USS Т'Кумбра
de:USS T'Kumbra
es:USS T'Kumbra
ja:USSトゥカンブラ
nl:USS T'Kumbra
Federation starships
|
3655
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Klingon Bird-of-Prey
|
The Klingon Bird-of-Prey was a type of warship utilized by the Klingon Empire serving the Klingon Defense Forces from the late 23rd century into the late 24th century.
This type of craft, initially descended from its counterpart from a century earlier, was one of the most versatile warships employed by the Empire, serving a variety of mission roles, including that of a scout, raider, patrol ship, and cruiser.
Designations
The Klingons applied several class designations to the different types of their Bird-of-Prey design, including the K'vort-class, B'rel-class, and D12 class.
The D12 class was retired from service by the 2350s due to faulty plasma coils, which were components of the cloaking systems. This could be exploited as a means of remotely disabling the ship's shields. A low level ionic pulse could cause the plasma coil to reset, which would activate the ship's cloaking device, thus lowering their shields. ()
By the 2360s, it was not uncommon to find a B'rel-class Bird-of-Prey stripped and relegated to a surplus yard. Ferengi DaiMon Lurin acquired two of these vessels, complete with cloaking devices, and managed to make them space worthy once again, after a few repairs and the addition of some weapons. ()
In an alternate timeline, the K'Vort-class was referred to as a "battle cruiser." While slower than the battleships of the era, in a three-to-one confrontation, a Galaxy-class was not able to last long. ()
In the prime timeline the K'Vort-class had remained in service well into the 2370s. The of the K'Vort-class was equipped with several escape pods in 2375. ()
History
For nearly a century, the Bird-of-Prey proved to be a rugged, sturdy design that saw continuous use, in that they were much like their Federation counterparts the Excelsior- and starships, whose usefulness out-lived contemporaries such as the cruiser. (TNG; DS9)
Starfleet possessed knowledge of the Bird-of-Prey during the 2280s. Hikaru Sulu was among those familiar with the class at that time, and was capable of visually identifying a Bird-of-Prey, as well as being familiar with its crew complement. ()
A well-publicized encounter with a Bird-of-Prey occurred in 2285, when a Bird-of-Prey commanded by Kruge conducted a mission to uncover the secrets of Project Genesis. After acquiring the information, the ship destroyed the Merchantman, and later the , before facing off against the in orbit of the .
Kruge ultimately lost the battle, and his ship, allowing James T. Kirk the privilege of Starfleet capturing its first Klingon Bird-of-Prey. ()
This event was well documented in the events leading up to the court martial of Admiral Kirk, and the ship was thereafter utilized for time traveling back to Earth's 20th century. ()
A few years later, the first Bird-of-Prey to ever breach the Great Barrier was commanded by Captain Klaa in 2287. ()
In 2293, one prototype Bird-of-Prey possessed the unique ability to fire torpedoes when its cloaking device was engaged. This vessel was commanded by General and used to assassinate Chancellor Gorkon of the Klingon Empire while implicating the Enterprise crew of the crime. This Bird-of-Prey was destroyed at the first Khitomer conference by the USS Enterprise and USS Excelsior. ()
The first Klingon Bird-of-Prey to ever be captured by Cardassia was commandeered in 2372 by Gul Dukat. ()
Despite the age of the Bird-of-Prey design by the 2370s, the ships fought valiantly during the Dominion War and featured in every battle of the conflict. Though the Bird-of-Prey design had been in service for nearly one hundred years, constant upgrades ensured that the ships were still a powerful and capable front-line warship.
In the hands of a seasoned and aggressive commander, a Bird-of-Prey could engage multiple Dominion fighters and expect to come out victorious. They were considered much more agile than cruisers, allowing them to be better suited for some tasks. ()
In the mirror universe, the Klingon-Cardassian Alliance used the Bird-of-Prey in their fleet. ()
Technical data
Physical arrangement
Comparable in design to its 22nd century predecessor, the exterior design of the Bird-of-Prey utilized the same basic avian design, including vaguely feather-like hull plating on its wings.
The bulk of the ship's overall mass was incorporated in the aft section of the ship. The bridge module was located on a bulbous forward section, which was separated from the aft section by a relatively thin connective section that attached to and flared into the aft portion, which swept from the main body, forming wings. The wing-design was characterized by its multi-positioning for various flight modes.
Located on the caudal section of the ship were the ship's cargo bay, impulse engine, and warp nacelle. The nacelle was positioned diagonally along the aft section of the ship, above the cargo bay, and perpendicular to the impulse engine. (, etc.)
Tactical systems
The Bird-of-Prey of the mid-24th century was said to be equipped with the Klingon Empire's "best weapons" and "finest warriors". While typically designated for peaceful missions, they were always "prepared to go into battle instantly." ()
The typical offensive arsenal of the Bird-of-Prey included two forward-firing wing-mounted disruptor cannons, two photon torpedo launchers – positioned fore and aft – and deflector shields. (; ) By the 24th century, at least one ship of the class was armed with phasers, rather than disruptors, and possessed a weapons range that exceeded 40,000 kilometers. ()
In general, the firepower of a Klingon Bird-of-Prey varied by ship and era. During the 2280s, a Bird-of-Prey was said to be "out-gunned, ten to one" by a battle cruiser. () The Bird-of-Prey was considered to be "no match" for the Federation's during the latter 24th century; the Bird-of-Prey was also significantly inferior to the Federation's as well. (; ; )
Despite these design liabilities, the Bird-of-Prey proved more than a match for several other contemporary vessels, including the Empire's very own cruiser, as was demonstrated at the outbreak of the Klingon Civil War, when two Birds-of-Prey were nearly successful in defeating a Vor'cha-class in an ambush attack, before being repelled by a third Bird-of-Prey. ()
The Bird-of-Prey also proved to be very successful against the Dominion's Jem'Hadar fighters. On more than one occasion during the Klingon-Cardassian War and Dominion War, Bird-of-Prey commanders successfully engaged and defeated Jem'Hadar fighters. (, etc.) However, during one Klingon-Cardassian War encounter, a Bird-of-Prey was ambushed by three Jem'Hadar ships – this three-to-one engagement was considered to be "long odds," and the fact that the ship was able to successfully escape in one piece was good fortune. () However, with an experienced crew, a single Bird-of-Prey could engage and defeat at least three Jem'Hadar fighters while sustaining only moderate damage. () As seen many times throughout the Dominion War, the twin primary disruptor canons on the wings of the vessel were extremely effective against Jem'Hadar fighters, and could destroy one in as few as three shots. It was also during this conflict that a single Bird-of-Prey was successfully able to overwhelm the Cardassian outpost on Korma, disabling the planetary defense systems and destroying every building. ()
The most vulnerable spot on a Klingon Bird-of-Prey was located the underside of the ship's hull. While weak, this section was able to withstand sustained phaser fire from a Cardassian freighter with the shields down. This area was, however, unable to withstand a shot from a system-5 disruptor, which was capable of breaching the hull within two shots. () The Bird-of-Prey's neck was one of the more resistant sections of the ship, capable of withstanding the change in pressure caused by a hull breach. ()
The Bird-of-Prey was additionally utilized by the Klingon-Cardassian Alliance in the mirror universe, where they were described by Intendant as being "quick and powerful". These vessels, however, were not without their weaknesses; specifically, their targeting systems could be easily fooled. ()
Cloaking device
Birds-of-Prey were typically outfitted with a cloaking device – the key to the ship's success in battle. The first 23rd-century models' cloak could permit the use of communications and/or the ship's transporters, but its operation could not be maintained while the ship used its weapons systems and shields. Additionally, the cloak left an "energy surge" that could be picked up on close-range sensor scans as a "distortion", tipping off an observant opponent to the vessel's presence. (; ) There was approximately two seconds of vulnerability from the time a Bird-of-Prey's cloak began to engage or disengage and the raising or dropping of the ship's shields. (; )
In the mid 2290s, an advanced Bird-of-Prey prototype was developed that could fire weapons while cloaked and did not display the characteristic "energy surge". However, that model's cloak could not mask "neutron radiation" or high-energy plasma, such as the exhaust from the ship's impulse engines. ()
The defective plasma coils used on D12-class Birds-of-Prey were a component of their cloaking device. This made them susceptible when exposed to a low-level ionic pulse, which caused the coils to reset, causing the vessel's cloak to engage and thus its shields to drop. ()
Propulsion systems
Under normal conditions, a Bird-of-Prey was capable of making at least warp 8. () Under ideal circumstances, a Bird-of-Prey could reach warp 9.8 while initiating the slingshot effect. ()
During the 23rd century, the Klingon Bird-of-Prey utilized a dilithium sequencer that was considered "primitive" by Federation standards. ()
The primary impulse injector aboard a Bird-of-Prey was located on Deck 5. ()
To create a graviton burst, it was necessary for a Bird-of-Prey to divert warp power to the main deflector . ()
In the case of a Bird-of-Prey experiencing a containment problem in the warp core, an adjustment could be made to the tritium intermix to compensate. ()
Additional systems
At least two tractor beam emitters were located on the ventral sections of the Bird-of-Prey, specifically on the "head", behind and below the torpedo launcher, and between the wings, below and in front of the impulse engines. () In 2375, the emitted an EM pulse from a location near the latter tractor emitter. ().
Birds-of-Prey were capable of atmospheric operations as well as landing on most planetary surfaces as they were equipped with landing struts (a feature later installed on Starfleet runabouts and starships). Birds-of-Prey also came equipped with a retractable loading ramp in the rear just behind the tractor emitter for crew members to enter or exit while the ship was landed, or to load or unload cargo. However, they were not able to operate on or below the surface of a body of water (; ; )
Interior design
Overview
On average, a Bird-of-Prey had a crew complement that varied from "about a dozen officers and men," up to a crew of thirty-six. (; ) A skeleton crew of a half-dozen could adequately operate a Bird-of-Prey, and even take it successfully into battle. (; )
The interior design of the Bird-of-Prey had limited space available for the very fact that it was designed as "a military ship, not a pleasure craft," according to Klingon captain K'Vada. () Jadzia Dax described life on board a Bird-of-Prey as "cramped and uncomfortable," even when compared to the spartan starship. ()
Main bridge
Due to their age and variety of configurations, the main bridge design for Birds-of-Prey included numerous variations. Most bridges incorporated a viewscreen that was octagonal and was built into the room's forward bulkhead. (; , et al.)
23rd century designs
The Bird-of-Prey encountered by the in 2285 over the had a bridge that was of a mostly light blue and pink color scheme. The room featured the captain's chair on a raised, circular platform, providing the commanding officer with visual access to the main viewscreen on eye level. This screen was considerably smaller and more rectangular than the majority of its later counterparts.
From his position, the captain could visually monitor all stations located in front of him, including the helm, navigation and gunner's consoles, located in a recessed "pit" in a half-circle to the fore of the command chair. Although this series of connected stations was typically manned by five officers, it included only three monitors. A set of steps was located on either side of the raised platform, allowing access between the platform and the lower pit, and a pair of metallic handrails could be found above each of the two sets of steps.
Two more stations were located aft of the command chair, to either side of the commanding officer's regular position. Each of these two stations had a small data port, for recording incoming transmissions, and a lower monitor that could not only display such transmissions, including playback of data that had been recorded upon reception, but could also detect, track, and identify vessels in proximity of the Bird-of-Prey. The command chair could swivel to face either of the aft stations and each of its arms bore a thin panel of controls.
An oval access point at the rear of the bridge allowed ingress and egress from the room and had a pair of curved double-doors that slid open or closed. These doors led to the rest of the ship and opened directly into a red-lit, smoky area. ()
From 2286 onward, most bridges of Klingon Birds-of-Prey were of a primarily bronze color scheme with red highlights – such as red-lit screens, consoles and small lights in the bulkheads – and had a floor level that was relatively flat. Three months after the Enterprise encountered a Bird-of-Prey in proximity of Genesis, the same Klingon ship featured an all-different bridge, with no variations in the floor level and now sporting the new color scheme, as Admiral Kirk and his crew steered the vessel to Earth.
As before, the command chair was positioned in the center of the bridge and a pair of double doors could be found at the aft of the room. In front of the command chair was now located only two stations, however, and both functioned for the ship's course control. Both of these stations included a single console, connected to the other via a central instrumented pedestal. To the right of this pair of stations, a circular hatch was built into the ceiling; this could be used as a means of evacuation in emergency circumstances, although it was normally closed, and a short ladder could be found under the hatch.
There were two other main stations on the bridge: aft to the captain's right was located the communications console, while aft to the captain's left was located a station that served engineering and scientific monitoring purposes. The aft consoles surrounded their operator on three sides, with the fourth enabling maneuverability to and from the rest of the bridge. Displays were built into the bulkheads at each station, above the surrounding consoles, so that the forward console was the only one without higher displays, allowing the station's operator to view the rest of the room. Control buttons were a common feature of the consoles in this bridge design and the frame of the main viewscreen was slightly more well-defined than those of other Bird-of-Prey viewscreens. ()
One year later, the confronted a Bird-of-Prey, under the command of Captain Klaa, whose bridge was of yet another layout. One difference was that this bridge design provided the commanding officer with a direct link to the starship's weapons systems by means of a scope that could be lowered into position or raised for storage, to a position just below the ceiling, as and when required. This method did not replace the main viewscreen, however, and the commanding officer's view of the screen was unobstructed whenever the scope was in its raised storage position, as the bridge included no consoles directly in front of the command chair.
The bridge still featured two aft stations. These each consisted of a forward, physically interlinked pair of consoles that were each surrounded on two sides by other consoles, along the aft and side bulkheads. Both pairs of forward consoles included a pair of hooded monitors, on either side of a thin control pad. The controls on this bridge were touch sensitive, unlike with the preceding bridge design.
Another difference from the past two bridges was that the room's aft doorway was considerably larger and was permanently open, leading into the vessel's neck corridor beyond. ()
In 2293, General commanded a prototype Bird-of-Prey that had the ability to fire its weapons while it was cloaked. Its bridge was extremely similar to that of Klaa's Bird-of-Prey, with the same style of aft twin consoles and viewscreen.
This bridge was also lit with a harsh green light that emanated from widely-spaced, small squares of light in the bulkheads, near the ceiling. Unlike the similar green glow aboard Klaa's ship, the green illumination on Chang's Bird-of-Prey was constant and did not pulsate.
An unusual style of helm station was positioned behind the command chair, at the entrance of the open doorway. This station incorporated a large wheel for directional control, rather than conventional console-based controls.
Another difference was the absence of a scope, although a small console ahead of the command chair had a display that was reminiscent of equivalent graphics as seen through a scope and served a similar targeting purpose. This console was supplemented by a firing button – amid several raised controls, located elsewhere on the bridge – that could launch photon torpedoes from the Bird-of-Prey and glowed red when pressed.
Another station could be found to the left of the command chair. Unlike at all other stations on the bridge, the operator of this station typically sat on a chair while on duty. Ahead of both this station and the command chair was a slanted support strut on either side of the viewscreen. ()
24th century designs
Bridges of the D12-class Birds-of-Prey, in use until about 2350, included a scope that could be raised or lowered and supplemented the main viewscreen, in common with the bridge of Klaa's Bird-of-Prey. The similarities did not end there; two aft stations on the bridge of the D12-class Bird-of-Prey were identical to those on the bridges of both Klaa's ship and Chang's prototype Bird-of-Prey, including two hooded monitors at each aft station.
However, the scope and operator's chair below it were positioned between the two aft stations, with a second, more padded command chair situated ahead of these stations. Two thick support struts could be found on either side of each of the two command chairs, although the struts near the scope operator's chair were located just behind it. Similar to the bridge layout of Chang's Bird-of-Prey, a lower station was located at sitting level, to the fore of one of the forward struts and left of the forward command chair. An open doorway to the right of the aft port station led to a metallic door that was hidden from sight behind the port bulkhead and enabled passage between this bridge and the rest of the ship.
A bridge of this style was used aboard a Bird-of-Prey under the command of the Duras sisters, Lursa and B'Etor, in 2371, even though ships of this class and, by extension, bridges of this layout had officially been retired from service about twenty years beforehand. ()
In 2365, the bridge of the also included a pair of sturdy support struts on either side of the command chair, which was positioned on a slightly elevated platform. On each side of these struts was a station that was located under a red, glowing hexagon and faced towards the bulkhead, away from the rest of the bridge. A third, smaller console was present behind the command site, as were additional displays that lined the aft bulkhead. Two narrow sets of double-doors were located on either side of this aft area.
The main viewscreen was akin to a larger version of the viewscreen aboard Kruge's ship, as they were both more rectangular than the usual octagonal screens of Birds-of-Prey. Additional screens could be found to either side of the Paghs viewscreen, between this main screen and the two side stations. The room was dark, red-lit and included a large, circular grille in the center of the ceiling. ()
The bridge of the in 2368 was of a more conventional Bird-of-Prey bridge design, featuring the usual two aft stations on either side of the command chair. Two more chairs were positioned near the command chair; relative to the captain, one of the additional chairs was directly to the right while the other was ahead and to the right. A long, thin cylindrical beam could be found at either side of the open doorway at the aft of the room and both of these beams, positioned inside the doorway, were completely vertical. Similar beams were located at various intervals beside the bulkheads. This bridge was notably well lit, in contrast with its darkly illuminated precursors. ()
A dimmer version of the bridge aboard the Hegh'ta could be found aboard a particular Bird-of-Prey under the command of Captain K'Vada, later in 2368. ()
In 2370, the bridge of a Bird-of-Prey commanded by Kang had another unusual layout. Kang's command chair, in front of a bulkhead that included a variety of small lighting features, faced a table and vertical wall-mounted display, on both of which could be presented various unmoving schematics. To the left of the command chair were located a console, above which were two animated display screens, and, further in the same direction, a door. A second access point could be found on the opposite side of the room. This bridge apparently featured no viewscreen nor any additional consoles. ()
Shortly after in that year, the Duras sisters confronted the aboard their own Bird-of-Prey, which included a bridge of yet another design. This arrangement featured two large wall-mounted red hexagons, similar to those aboard the IKS Pagh, and a pair of display screens below these. A podium was positioned before the screens and a chair sat before the podium, with both items of furniture facing the room's viewscreen. To the right of the podium was a brown wall panel that featured many vertical grooves. The front of the podium was emblazoned with the emblem of the Klingon Empire. ()
In 2372, the included a dimly lit bridge that was more featureless than most bridges of its ilk, with a red light shining directly down on the captain's position. ()
Later that year, a Bird-of-Prey that was captured by the Cardassian Dukat included a bridge that was essentially typical of its kind, with the twin aft stations that each had two hooded monitors. However, these stations were situated extremely close together, in tight formation with the command chair, leaving inadequate space for personnel passage at the room's center. Instead, there were wider gaps than usual between the consoles lining the bulkheads and the two aft stations.
A large opening, allowing access to and from the bridge, was located on either side of the room and both of these access points were separated from the outer consoles by vertical partitions that also placed the forward outer consoles in small alcoves adjacent to the main viewscreen. Similar partitions could be found at various other points between the outer consoles. Thick, slanted support struts could be found on either side of the command chair and just before the aft doorway, which featured a set of double doors.
This bridge layout remained unchanged until at least the beginning of the following year, while the ship remained under Dukat's command. ()
A bridge that was extremely similar to that of Dukat's Bird-of-Prey could be found on board the in 2373, although the latter bridge had a dustier environment. () In addition, the pair of thick support beams had been moved from beside the command chair, where a small console on a pedestal had replaced the starboard beam, to a position just aft of both of the foremost outer stations but forward of the side access points, on both sides of the room. () These support struts had again been moved by 2374, at which time they were situated slightly aft of the side access points and slanted up to the ceiling above the command chair, which was relocated to a place slightly further ahead of the pair of aft stations even though the two stations remained compacted together. () By 2375, the structural beams had been changed back to the same position they had been in aboard Dukat's Bird-of-Prey, sloping down toward the command chair. ()
Later that same year, the featured a virtually identical bridge. The pair of forward support beams on this bridge sloped up to the ceiling, much like in the 2374 configuration of the IKS Rotarrans bridge, and the command chair was again situated in front of a sizable gap between the chair and the aft stations. ()
Medical facilities
When compared to Starfleet sickbays, the medical ward of a Klingon Bird-of-Prey was extremely small and cramped. The room was dully illuminated and featured a dark bed beside a wall that included a red-lit screen, among several small decorative motifs. The Bird-of-Prey that was under the command of Kruge in 2285 featured this type of sickbay. ()
Cargo bay
A Klingon Bird-of-Prey had a cargo bay that was approximately sixty feet in length. This room featured a long walkway between two wider storage areas, one situated on each side of the ship. A short horizontal barrier separated the walkway from the storage areas and many structural supports extended vertically from this barrier, placed between the barrier and the room's overhead.
The room's foremost bulkhead included an open doorway, on the port side, and led into a recessed corridor on the starboard side. The doorway opened straight ahead, into the vessel's engine room, while the corridor was entirely angled straight starboard, leading to a small transporter bay nearby.
The cargo bay had an automated set of large double-doors that allowed exit of the Bird-of-Prey and, if the door was powerless, an explosive override in the room could force it open. This override system was essentially a lever on a bulkhead and was pulled down to open the door. At least one of the bulkheads in the cargo bay, located adjacent to the opening of the recessed corridor, could also be opened to allow large-scale passage into the craft from above its hull.
A cargo bay of this type could be found aboard the HMS Bounty and was, in that particular case, converted into an enclosed whale tank. Incorporating sheets of plexiglass as walls, the tank withstood the weight of about forty tons per each whale and four hundred tons in total. ()
Engineering
Aboard a Klingon Bird-of-Prey, the engine room was located fore of the cargo bay and included an open doorway that enabled passage between these two adjacent areas. Another door, on the opposite side of the engine room from the open doorway, led towards the bridge. A third door was built into a bulkhead that was between the two other access points, next to a small trapezoidal slot, in the bulkhead, through which a sub-room – the dilithium chamber, containing the ship's dilithium crystals – could be seen.
Two monitors could be found in this engine room; one was positioned above the trapezoidal slot and another could be found on a bulkhead to the right, on the same side of the room that featured the open doorway. The second of the two screens was built into a raised portion of the bulkhead and a red-lit panel was positioned below this monitor, on the lower section. The raised part of the bulkhead also featured several controls for the monitor and an intercom, with the latter positioned on the side of the raised portion of the bulkhead and adjacent to the frame of the open doorway. ()
This style of engine room could be found aboard the Bird-of-Prey christened the HMS Bounty in 2286. () In 2365, engineering of the , another Bird-of-Prey, monitored the growth of a subatomic bacteria on that ship's hull. ()
Transporter area
Various forms of transporter areas were included aboard Klingon Birds-of-Prey.
The craft that was christened the HMS Bounty in 2286 had a small transporter bay, at the end of the short, recessed corridor that extended from the cargo bay. The ship's transporter had four lower pads and a single upper pad, and was capable of beaming a mass of four hundred tons. A transporter console was positioned on a small, cylindrical pedestal at the opening of the recessed corridor and an intercom could be found on the bulkhead next to it. Unlike most other stations of the same purpose, the transporter console aboard the HMS Bounty faced away from the transporter itself, although the console was also able to be rotated, at least slightly. ()
The Klingon Bird-of-Prey that was under the command of Captain Klaa had a larger, dedicated transporter room. This room included a console that was fixed in place, situated so that the console's operator would be facing the transporter to the right. Located on an elevated platform, the transporter had two large upper and lower pads, in front of a row of circuited wall panels. At least two monitors, with screens close to the deck, were positioned beside the transporter, on the opposite side from the transporter console. ()
Kruge's Bird-of-Prey also included a transporter room. () Transporters were utilized by Klingon Birds-of-Prey of the D12-class. (; )
Mess hall
The mess hall aboard the IKS Pagh included adequate seating for about nine officers, at two long, zigzagging tables that were positioned parallel to each other. The seating arrangement in this relatively spacious room was such that some of the officers would be facing at different angles from each other, while others sat facing the same direction as one another.
Like most of the other areas aboard the Pagh, this large mess hall was dully illuminated with red-tinged light; deep red glow shone from a double set of metallic lighting grilles, shaped as hexagonal rectangles, on one of the bulkheads, which were otherwise dull metallic, as well as from two rectangular wall panels on an adjacent bulkhead. Both of these two wall panels were each intersected by an angled metallic strut in the bulkhead, the two struts forming the shape of an arrow with a third, similar strut running vertically through the same bulkhead, up to the ceiling.
The mess hall had only one door, which was located on the opposite side of the room from the lighting grilles. The room's ceiling was lined with rows of small, circular, white lights. ()
The HMS Bounty carried Klingon food packs aboard but these were removed by Chief Engineer Montgomery Scott, upon finding that they were giving him an irritable stomach. ()
:
Captain's ready room
In 2367, the had a grayish captain's ready room with a single door that opened into a corridor. White light shone dully through a grille in the room's ceiling.
On the opposite side of the room from the door was a metallic desk, on which could be found two ribbed, ceramic chalices, a smooth-sided jug that looked as if it had been crafted from similar material and a broad but shallow silver bowl. On the back wall, up from the desk, was a selection of Klingon blade weapons, including a crossed pair of swords arranged above a pair of small weapons that each looked similar to a bat'leth. They are joined together by a staff to form one weapon.
The side of the room to the left of this weapons display also included an array of weapons against the back wall, as a pair of crossed gin'tak spears could be found there. Ahead of these, on the same side of the room as the spears, was a padded chair.
An alcove, in the approximate direction of the room's other side, contained a wall-mounted metallic shield, shaped like a half-globe and with a center that was embellished with a tiny, red rendition of the Klingon Empire emblem. This shield was exhibited on the side of the alcove and another small desk was below it, against the recess' middle bulkhead. Another metallic bowl sat on this desk.
Each of the weapons in this room, as well as the shield, was presented in a pool of light. The room's bulkheads were mostly gray, elaborated by a variety of straight lines, and both bowls contained a small white mound of undetermined substance. ()
The ready room of Dukat's Bird-of-Prey included two vertical, rectangular, red lighting panels, one above the other. These were to the right of a group of vertical lines – one thin red strand, surrounded by thicker black ones – that ran up the bulkhead. A viewscreen was situated before this bulkhead. ()
In the ready room of the Rotarran, consoles ran along three sides of the room, with the fourth featuring personal effects of the captain, which included a chair for the ship's commanding officer, and the opposite side of the room including space between the consoles for a wide set of double doors. The consoles were arranged in a straight line at typical approximate hand level, on a level control board that jutted out of the bulkheads on which they were arranged, on a downwards slant. Two consoles were on either side of the door, while an additional three were on each of the other bulkheads. The bulkheads to the side of the door were not angled at a straight ninety degrees from the two main console bulkheads but instead were centrally angled away from the opposite side of the room. A partition was at both corners that included the control board and both of these corners turned sharply, rather than curved.
Grilles filled with yellow light were located above the consoles. On each of the two opposite sides of the room that were both entirely lined with consoles, the grilles were consecutively arranged in the shape of a small trapezoid (near the room's corner) and two, long rectangular octagons. No yellow grilles were featured beside the double door but, in their place, two more display screens were situated to either side of the door. Similar red grilles, each shaped as a parallelogram, were below the consoles, near the deck. Two of these were on each of the two bulkheads that featured the rows of consoles and another red grille could be found below the consoles at each side of the door.
Two additional display screens were at both sides of the commanding officer's chair, at raised positions within the bulkhead. On both sides of the chair, examples of pottery were on display, exhibited on two small tables that were at either side of the chair and below both pairs of the display screens. ()
In 2373, the commanding officer's chair was essentially a highly maneuverable, high-backed throne that sat behind a desk. A decorative brown wall panel, adorned with vertical Klingonese lettering, was directly behind the chair. () By the following year, the room's occupant, General Martok, had installed a more conventional, padded chair and removed the ornamented wall panel, instead adding a Klingon tapestry to the bulkhead. The room was darkened and prepared for a ceremony that used many candles and signified Alexander Rozhenko's induction into the House of Martok. () The room was returned to its former appearance (prior to the ceremony taking place), shortly thereafter. ()
The , later under the command of Martok, had an extremely similar ready room, containing an identical tapestry and padded chair. However, there was only one table in the room: the desk in front of Martok's chair. ()
Quarters
Although the crew quarters aboard most Klingon Birds-of-Prey were considerably shoddy, typical quarters of a D12-class Bird-of-Prey were particularly dreary. In 2371, the quarters of the Duras sisters' outdated D12-class Bird-of-Prey was a dilapidated, dark and damp part of the ship, including numerous vertical pipes at various places and chains hung from the ceiling.
The room featured the openings of two very similar corridors that both led in the same direction, with these corridors opening at opposite ends of the same bulkhead. Only one of these was smoky and included a bulkhead that led straight from the room, the latter due to the fact that this passageway's opening was located essentially at one of the room's corners, whereas the other corridor opened only near the bulkhead on the room's opposite side and did not include it. The latter passageway led into a small sub-room, adjacent to the main room but partitioned off behind a grille.
A shelving unit was opposite the sub-room partition and another could be found between these two opposing sides of the room, next to the other unit; the top of each side of both units culminated in a bottle-shaped feature and both units were situated in front of a low portal through which, while the ship was in space, a starfield could be seen. A small console directly faced the opening of the smoky corridor, and a physical support – such as a chair or bed – was positioned roughly in the room's center, facing the side of the room that featured the two corridor openings and the sub-room partition. This item of furniture had a thick, brown harness with a metal buckle. ()
The captain's quarters of a Bird-of-Prey in 2367 were luxurious by comparison. This area included an open doorway, below a triangular light that glowed pinkish red and between a pair of shields that were each adorned with a tiny, red rendition of the emblem of the Klingon Empire. On the bulkhead to the right of this doorway, a wider access point, featuring a pair of functioning double-doors, was located at a right angle to the other door and faced a thick, vertical structural beam. A thin, horizontal strip of Klingonese lettering was on either side of each of the two doorways and a white-lit area of the ship was outside both access points. A cluster of tiny, circular, yellow lights was arranged on at least part of the ceiling opposite the wider doorway and a cream-colored lighting panel was built into the ceiling near the same doorway.
This room could be altered between two variations, with the first containing several furnishings and the second being an emptier but more functional space. In the furnished version of this area, a sheathed sword was affixed to the structural beam but could easily be removed when required. The furnishings included several fabric chairs and – approximately at the center of the room but also near the seating – a low table, over which was draped a tasseled cloth beneath a metallic bowl. Although these furnishings were absent from the area's alternative layout, two vertical stands were still present in the second arrangement. ()
In typical Bird-of-Prey quarters meant for a single crewman, virtually every surface of the room was bronze-colored and hard, including a shelf that served as the room's only sleeping space (although red light was cast down on the shelf, from behind a grille above). This rest area was farthest from and opposite the room's only access point, a narrow pair of double-doors. A work area was situated between these doors and the sleeping area, with an arch separating the latter compartment and the work space. In addition to the optional inclusion of a desk with two seats and two desktop monitors in this area, the space also featured a static display touchscreen computer, showing Klingonese graphics and text. Above this screen was an illuminated hexagon, mostly glowing white but regularly spotted with many tiny, black circles. On the opposite bulkhead of this work area, a black shield, surrounded by a pool of red light, was located at an elevated position. The room also had an intercom system, which could receive audio transmissions from the ship's bridge.
In 2368, a set of quarters of this style was allocated to visiting Enterprise officers Jean-Luc Picard and Data. The Bird-of-Prey's commander, Captain K'Vada, at first described the area as possibly not matching the quality of accommodations that the Starfleet officers were used to, aboard their own vessel, but Picard reacted pleased with the Klingon quarters, describing them as "nice" and even thanking Captain K'Vada in return. The Klingon commander subsequently implied that the reason this small area was assigned to both his visitors was due to the limited availability of space aboard his Bird-of-Prey. Data later privately admitted to Picard, however, that the quarters were obviously intended to be for merely one crewman, supporting his deduction by noting that there was only one sleeping area. Implying that he agreed with Data's conclusion, Picard assumed with supposed certainty that the allocation of the small area to both himself and Data had constituted a private practical joke to the Klingons. The room was later visited by Ambassador Spock, during Data's and Picard's stay there. ()
:
Other rooms
Computer room
A room of the HMS Bounty Bird-of-Prey contained several computer banks. Two interlinked monitors lined each of two opposite sides of the room while, in a corner between these two bulkheads, smaller readouts were displayed on a wall panel, whose two main surfaces formed a reflex angle. An access point was situated on the fourth side of the room.
The monitors were built into pronounced sections of the bulkheads and slanted downwards, towards the viewer. The readouts on the wall panel were on level surfaces but the top of both sides of the panel were also slanted and numerous small, circular, white lights were arranged above the flat displays. More white lights were fixed to the base of both bulkheads that bore the higher monitors and each of these lights were rectangular, situated in indented grooves along each of the two bulkheads. A long console was positioned at or near the center of the room and a wall panel of white light could be found to the side of the room's access point.
This computer room contained data concerning the whale species of Earth, including extinct specimens. ()
Training room
Back rooms
Corridors
Neck corridor
A passageway located in the "neck" area of a Klingon Bird-of-Prey allowed maneuverability between the ship's bridge and the rest of the ship. This corridor, aboard the HMS Bounty, led directly to the engine room while the equivalent corridor on the Bird-of-Prey that was commanded by Captain Klaa led to the vessel's transporter room. The latter was longer and wider than the neck corridor of the HMS Bounty. Both corridors included a metallic pipe running horizontally along the length of the port bulkhead and at least two sets of double-doors, including one between this corridor and the bridge. (; )
Other corridors
Escape pods
The design of the K'Vort-class Bird-of-Prey included at least seven escape pods, with six escape pods on the ship's starboard side and at least one on the port side. ()
Ships of the class
Named
Unnamed
Unnamed Klingon Birds-of-Prey
Chang's Bird-of-Prey
Duras sisters' Bird-of-Prey
Japar's Bird-of-Prey
Kang's Bird-of-Prey
Klaa's Bird-of-Prey
Kruge's Bird-of-Prey
K'Temang's Bird-of-Prey
K'Vada's Bird-of-Prey
Lurin's Bird-of-Prey
Appendices
Appearances
TOS films:
(alternate timeline; K'Vort-class)
(B'rel-class)
TNG films:
(D12-class)
(mirror universe)
(sensor image; K'Vort-class)
(database image; K'vort-class)
(database image)
(database image)
(holodeck simulation)
Season 2 opening credits
Related links
Klingon starship classes
Klingon starships
Background information
Original concept
As originally conceived, the Klingon variant of the Bird-of-Prey was actually a Romulan ship; the script of Star Trek III at first called for the film's main villains to be Romulans using a Romulan Bird-of-Prey, as had been typical of Bird-of-Prey use in . In other early drafts of the movie's script, the Bird-of-Prey was suggested as having been stolen, by the ship's Klingon commander, from the Romulans. Later script revisions dropped the ship's connection to the Romulans but the craft's designation as a Bird-of-Prey remained unchanged.
As had established that the Romulans and Klingons were briefly allied and exchanged technologies, Bennett used this line of reasoning in retaining the Romulan designation after having had "Klingicized" the characters in the film. He explained, "But I didn't change their ship, because I remembered a piece of trivia that stated there was a mutual assistance military pact between the Klingons and the Romulans for an exchange of a military equipment." ( #103, , p. 17) Though this rationale seemed legitimate at the time, it was later retconned with the introduction of an earlier but similar style of Klingon Bird-of-Prey in , set before the Romulan-Klingon Alliance.
Concerning the use of the Bird-of-Prey designation, Harve Bennett (Star Trek IIIs writer and producer) once stated, "The Bird-of-Prey was a homeless bird there, in a sense, being used by multi-cultures. But I think what we wanted to do was establish it clearly as a Klingon, because of its evil-looking nature and its name: the Bird-of-Prey." (Star Trek III: The Search for Spock (Special Edition)) The red "feather design" of the wings' underside was nevertheless designed with the original Romulan Bird-of-Prey in mind.
Exterior design
The Klingon Bird-of-Prey studio model was designed by Nilo Rodis and , visual effects art directors from Industrial Light & Magic. Leonard Nimoy was involved in selecting the design concepts of the class and Bill George built the prototype studio model for this vessel.
In coming up with the ship's exterior design for , director Leonard Nimoy suggested to the ILM effects team that the ship should generally look swooping and frightening, like a bird on attack, and was also interested in the idea of the ship having an extended "neck", like a bird flying to attack a creature or swooping down towards water before diving to catch a fish in its beak. To demonstrate to the ILM team how he wanted the ship's wings to look, Nimoy gestured with his arms outstretched.
Many sketches of the Klingon ship were drawn. In an early version of Star Trek IIIs script, a simple shuttle – rather than the Bird-of-Prey itself – carried only Kirk and McCoy to Vulcan at the end of the film. The design of the Bird-of-Prey was still to be finalized when it replaced the shuttle as the landing vehicle in this scene. One of the earliest designs that figured into this scene had an even more bulbous command section than its ultimate equivalent and a single, central aft hull, absent the two large bulks that would later help characterize the final design. The craft's wings were also in a more level landing position than they would become and were not adorned with the feather design of the later model. Aft of these was a yellow-shaded trapezoidal vent that was angled at a lower degree than the component's equivalent on the ship's eventual exterior.
Ultimately, aspects of different designs were mixed to create a hybrid of the various looks. One of the sketches that Nilo Rodis gave Bill George, to help George in constructing the first prototype studio model of the ship, featured the image of a muscleman. Despite being somewhat surprised by Rodis' guideline of using this sketch as an influence, George was nevertheless inspired by the appearance of the pictured man while building the original prototype model. The muscular man's down-turned arms influenced the look of the ship's wings in their attack position and his large, distinctive shoulders and trapezius muscles inspired George to add the wiry meshes on the ship's aft hull. George also thought that the sketched male looked somewhat like a football player so he added the twin bulks below the meshes, believing they resembled shoulder pads, and a thin, tiny, brown pipe around the command bulb, as the protective-looking pipe's appearance was similar to a footballer's chin guard.
It seems that the Bird-of-Prey underwent a few more modifications following these changes; one design of the ship in the Vulcan landing scene shared many characteristics with the vessel's ultimate appearance, but had a weapons turret extending from the hole that would later become its forward torpedo launcher and the ramp from the craft's underside led forward rather than aft. (The Art of Star Trek)
Regarding the creation of the ship's external design and effectiveness of its coloration, Harve Bennett once commented, "They had a lot of fun designing that one! And I think the color selection – a kind of serpentine kind of green – went on to help us, not only there but later. We utilized it in Star Trek IV, because it is so dramatic a look."
Years later in , the exterior design of the Klingon Bird-of-Prey was an influence on Alex Jaeger's design of the .
Designing the interior
In regards to the design process of a Klingon Bird-of-Prey's interior and how he wanted the ship to differ from the Enterprise, actor and director Leonard Nimoy recalled, "The interior of the Klingon ship was to be the opposite of what the Enterprise always was; the Enterprise was always rather clean and pristine. The idea for the Klingon ship was that it should be grungy, it should be oily, it should be greasy, dirty. Very mechanical, very clunky. Big metal parts, that you had to work around and could hurt you if you bumped into them.... It should make different noises; the ship should groan and creak, in a way that the Enterprise would not. The Enterprise would be more sleek and silent, with a nice hum. The ambient noise of the Klingon ship should be... like almost the rumbling of a steam engine."
Blueprints were drawn and approved for each of the areas within the Bird-of-Prey, as seen in Star Trek IV, before production on that film began. Referring to the use of the Klingon interior by Starfleet personnel in both that movie and near the end of Star Trek III, Leonard Nimoy discussed the merits of the ship's interior and recalled, "What I enjoyed about using the Klingon ship was the fact there would be certain elements of it that we wouldn't quite understand. And there was a certain amount or level of discomfort at times, trying to figure it out. And particularly the character of this ship was clunky; it was mechanical as opposed to sleek and futuristic." Both Nimoy and William Shatner were of the opinion that the Klingon vessel was "ominous" and "smoky", and Nimoy added, "The way it was lit; the colors on the graphics are not necessarily pleasing; the angles are all sharp angles. It was well designed." (Star Trek IV: The Voyage Home (Special Edition) DVD; audio commentary)
The script for described the Bird-of-Prey interior as appearing "utilitarian", while lacking "the smooth free-flowing lines and coloring of the Enterprise-D."
Model
The intricate, final practical model of the Klingon Bird-of-Prey's exterior measured 15" × 36" and incorporated built-in motors that allowed the wings to sweep up or down. The same model was used to represent the Klingon Bird-of-Prey in and some episodes of . The motors that allowed the wings to be adjusted became tricky, however, and the wings consequently seldom moved, from a slightly elevated position, in episodes of the spin-off series. It was not until the switch to computer-generated models that the alternating wing modes came back into use, as can be seen when the Klingon ship appears in later episodes of DS9.
The ILM effects team struggled to create a certain shot of the Bird-of-Prey in which it flies under the Golden Gate Bridge, near the end of Star Trek IV. At first, the team repeatedly tried to achieve this shot practically, flying the model Bird-of-Prey – on a wire rig – through the space between a model of the bridge and a miniature version of the San Francisco Bay. They found difficulty with this method for a variety of reasons, however, particularly the timing of the shot and the appearance of it, especially with fog and smoke that they had decided to use. As a result of the complications, the effects team ultimately opted to create the shot as a composite shot, layering footage of the bridge (with the smoke elements) and the Bird-of-Prey together. The footage of the Bird-of-Prey was shot as a motion-control element, by Pat Sweeney (a visual effects director of photography at ILM). (Star Trek III: The Search for Spock (Blu-ray); "Industrial Light & Magic: The Visual Effects of Star Trek")
Two full-scale mock-ups of sections of the Bird-of-Prey were created for Star Trek IV. The first was the underside of the ship, including a landing strut, and appeared near the start of the movie. The second was the command bulb and can be seen toward the end of the film. Both of these enlarged sections of the ship were filmed in a parking lot of Paramount Pictures, in Los Angeles. For the filming of the scene that features the ship's command section, however, the parking lot – having been a tank for underwater work, many years earlier – was converted back into a tank that was about four feet deep (except for a deep spot at its center) and was referred to as "B Tank", wherein the enlarged Bird-of-Prey section was positioned between and parallel to a skyline backdrop and a set of underwater tracks for a full-size humpback whale prop. To simulate stormy weather in this scene, the enlarged Bird-of-Prey mock-up was pelted with wind machines and water machines, to such an extreme degree that at least some of the actors in this scene, including both William Shatner and Leonard Nimoy, found performing it – while hanging onto the mock-up, as the majority of the scene required – to be painful. The Bird-of-Prey component and the surrounding set were also covered with a tent of translucent fabric, simulating overcast lighting, but this was later removed to allow natural sunlight to illuminate the set.
For Star Trek V, a separate, enlarged model of one of the Klingon ship's wings (including one of the craft's wing-mounted disruptor cannons) was built, so that the wing could be shown in close-up. This miniature measured 36" × 40" and was rigged so that, when the disruptor cannon fired, the weapon's firing mechanism would move. This was shown in the first scene that features the Bird-of-Prey, wherein the craft destroys the Pioneer 10 probe, and in the film's climactic moments, when the Klingon vessel annihilates the God of Sha Ka Ree.
The script of called for fleets of Klingon ships to be engaged in battle. Klingon Bird-of-Prey Christmas ornaments, released by Hallmark, were among the examples of licensed paraphernalia that the series' effects department requested from Paramount's licensing department, so that the episode's action sequences could be enhanced and spectacular explosions could be created without the destruction of valuable ship models.
The Klingon Bird-of-Prey model was listed in the 40 Years of Star Trek: The Collection auction with an estimated sale price of US$8,000 to US$12,000; it sold for US$260,000 ($307,200 with premium). The enlarged Bird-of-Prey wing shown in Star Trek V was also sold in the 40 Years of Star Trek: The Collection auction, with an estimated sale price of US$3,000 to US$5,000; it sold for US$7,000 ($8,400 with premium).
Miscellaneous
In Star Trek IV, the positioning of the Bird-of-Prey hovering between a whaling boat and two submerged humpback whales to prevent a harpoon reaching the whales, was an homage to Greenpeace activists who would position their rafts between a whaling ship and its quarry, in occasionally successful attempts to protect whales. A close-up shot of the Bird-of-Prey's nose section, as the craft uncloaks and first reveals its presence in this scene, was not originally budgeted, so Nimoy had to appeal for adequate funds so that the shot could be created.
A shot of the Bird-of-Prey rising over the edge of a cliff, in the climatic moments of Star Trek V, was originally suggested by Nilo Rodis.
One of numerous pre-visualization tests for the various visual effects of that film was for the shimmering cloaking effect, using a tiny hand-held miniature of a Klingon Bird-of-Prey, propped up by a thin black stick and set against a moving starfield background.
Of the five Star Trek movies in which Klingon Birds-of-Prey appear, the ship features on the theatrical posters for Star Treks III, IV, and VI, but not the posters for Star Trek V and Star Trek Generations.
According to the final draft scripts for , , , and , the Klingon Bird-of-Prey was intended to be used, but changed to a Vor'cha-class before production. On the other hand, a Ferengi battle cruiser was featured in the writer's first draft of the script for (which had the working title "Maker of Dreams"), whereas three Klingon Birds-of-Prey appear in the final version of that episode. Likewise, the Klingon Bird-of-Prey which appears in was, in the first draft script of the film, instead a Klingon battle cruiser.
According to Star Trek: Star Charts (p. 64) and Stellar Cartography: The Starfleet Reference Library ("Federation Historical Highlights, 2161-2385"), there were star systems called B'rel and K'vort in the Beta Quadrant, both sites of historic battles. These might be possible origins for the class names. A map based on this map, which contained K'vort, was later seen on screen in . A Klingon with the name K'vort also appeared in the series, offering another potential namesake.
Technical Manual
The following information of specifications and defenses comes exclusively from the Star Trek: Deep Space Nine Technical Manual:
Production Base: Qo'noS Orbital Factory Base
Type: Scout (B'rel); Cruiser (K'Vort). Common planform, scaled up 4.3 times for cruiser
Accommodation: 12 plus flight crew and troops (B'rel); 1,500+ flight crew and troops (K'Vort)
Power Plant: One M/A warp system; two impulse systems
Dimensions: Length, 157.76 meters; beam, 181.54 meters; height, 98.54 meters (B'rel). Length, 678.36 meters; beam, 780.62 meters; height, 423.72 meters (K'Vort)
Mass: 236,000 metric tonnes (B'rel), 1,890,000 metric tonnes (K'Vort)
Performance: Warp 9.6 (B'rel and K'Vort)
Armament: Two ship-mounted disruptor cannons; one torpedo launcher (B'rel). Four ship-mounted disruptor cannons; two torpedo launchers (K'Vort)
Resources
Klingon Bird of Prey Owners' Workshop Manual
Star Trek: Deep Space Nine Technical Manual
Star Trek: Starship Spotter
External links
: an analysis of the size discrepancies of the Klingon Bird-of-Prey
cs:Klingonský dravec
de:Klingonischer Bird-of-Prey
es:Clase B'rel
ja:クリンゴン・バード・オブ・プレイ
nl:Klingon roofvogel
Bird-of-Prey
Starship classes (mirror)
|
3657
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Nash
|
The USS Nash (NCC-2010-5) was a 24th century Federation starship operated by Starfleet. This transport ship made several trips to and from Deep Space 9 in the early and mid-2370s. ()
History
In 2370, the Nash transported Dr. Julian Bashir and Trill initiate Arjin from Starbase 41 to Deep Space 9. ()
In 2372, the Nash transported Keiko and Molly O'Brien from Bajor to Deep Space 9. After Bashir saw how messy the O'Brien's quarters were, he warned Miles that "Keiko's shuttle will be here before we know it. We should have left the holosuite hours ago." ()
In 2373, the Nash transported two agents of the Department of Temporal Investigations, Dulmur and Lucsly, to Deep Space 9. ()
In 2375, Sarina left Deep Space 9 on the Nash. ()
Appendices
Background information
In the script of "Playing God", the Nash was simply identified as a "personnel transport." In the script of "Accession", the Nash was specified as a "Bajoran transport." It was called a "Federation transport" in the script of "Trials and Tribble-ations" and a "Starfleet transport" in "Chrysalis". The Nash was named by the studio modelers for Erik Nash, a motion control technician at the special effects company Image G. (Cinefantastique, Vol 25 #6/Vol 26 #1, p. 102)
A legible picture of the studio model labeled as the Nash was first seen in the above-mentioned magazine Cinefantastique of December 1994, p.102. The name and registry are derived from there. The Nash studio model was only seen docking with DS9 "upside-down", at least in respect to the models previous appearance as the in . The placement of the Nashs name and registry decals however, seemed to indicate that the Jenolan appearance was the correct orientation for this ship. For further information on the studio model, see: SD-103 model.
Its registry number, "NCC-2010-5", harkened back to the one the model was endowed with in its previous use as the USS Jenolan (NCC-2010) in "Relics", and as far as in-universe usage of the Starfleet registry numbering system went, an odd one, as this was the only time that a ship was given a number of another class vessel addended with what appeared to be a follow number.
External link
de:USS Nash
Nash
|
3658
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Renegade
|
The USS Renegade was a 24th century Federation starship operated by Starfleet. In 2364, this frigate was commanded by Captain Tryla Scott.
In 2364, the Renegade was one of the ships that met the at Dytallix B to discuss the infiltration of an alien intelligence in Starfleet Command. ()
External link
de:USS Renegade
es:USS Renegade
fr:USS Renegade
ja:USSレネゲイド
nl:USS Renegade
pl:U.S.S. "Renegade"
Renegade
|
3660
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Trial
|
The USS Trial (NCC-1948) was a 23rd century Federation starship operated by Starfleet.
History
In early 2372, the Trial, accompanied by the and two starships, were part of Admiral Hastur's task force that relieved Deep Space 9 following the First Battle of Deep Space 9. The ship later docked at the station after the Klingon withdrawal. ()
It returned to visit Deep Space 9 again in 2373. ()
The Trial later fought in the Dominion War, and took part in Benjamin Sisko's fleet assigned to retake Deep Space 9. It was one of the first starships to arrive at the station after the Dominion withdrawal. ()
Appendices
Background information
The Trial was built from an AMT/Ertl model kit of the . The origin of the name is a result of the rearrangement of the letters R-E-L-I-A-N-T to get T-R-I-A-L (minus the E-N). The registry was also conceived the same way, rearranging 1-8-6-4 to get 1-9-4-8 (turning the 6 upside down, making it a 9). A similar method was used in naming and registering of the (NCC-65674), created from (NCC-74656) and the registry of the (NCC-1017) from the (NCC-1701).
External link
bg:USS Траял
cs:USS Trial
de:USS Trial
ja:USSトライアル
Trial
|
3661
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Valdemar
|
The USS Valdemar was a 24th century Federation starship operated by Starfleet.
In 2370 the Valdemar was dispatched to the border of the Cardassian Demilitarized Zone, following the arrest of Starfleet officer Miles O'Brien. The and the were also ordered to patrol the border of the DMZ. ()
External link
de:USS Valdemar
es:USS Valdemar
nl:USS Valdemar
Valdemar, USS
|
3662
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
USS Zhukov
|
The USS Zhukov (NCC-26136) was a 24th century Federation starship operated by Starfleet. It was under the command of Captain .
Reginald Barclay served on the Zhukov prior to his transfer to the in 2366. ()
In 2367, the Zhukov was on a cultural observation mission of Alpha Laputa IV. The ship was named on the chart "Starfleet Operations-Sectors 21166-23079" on the bridge. ( okudagram)
Later that year, the Zhukov rendezvoused with the Enterprise-D in order to transfer Federation ambassador to the ship. ()
In 2368, the Zhukov transferred several science teams to the Enterprise-D in preparation for its mission to the Phoenix Cluster. ()
In 2369, the Zhukov was on a cultural observation mission of Alpha Laputa IV. The ship was named on the chart "Starfleet Operations-Sectors 21538-23079" in the Enterprise-D observation lounge. ( okudagram)
Later that year, the Zhukov was named on the chart "Sector Ipai Relay Log – Relay Message Flow 1293" in Relay Station 47 Ops. This ship was in Sector 001. This ship sent a message to Relay Station 001 via long line only. On the ship's next mission, it underwent a refit and service of its warp coil components. ( production art)
Personnel
Appendices
Background information
The Zhukov was "named for Russian general (1896-1974)." () Gabriel Lorca actor Jason Isaacs would go on to portray Zukov in the political satire dark comedy .
In "Brothers", the Zhukov was identified as being a starship with the registry NCC-62136. This information was repeated in an internal list of starships, dated September 26, 1990. The Zhukov, as it appeared in "Data's Day," also bore the hull registry of NCC-62136, in agreement with the chart from "Brothers" and the internal list of starships; its name was also misspelled as "Zuhkov." These markings were not visible on screen and were later determined to be production errors. The Star Trek Encyclopedia (4th ed., vol. 2, p. 515) had a diagram of the Zhukov with the erroneous registry.
A revised registry of NCC-26136 later appeared on a chart in the observation lounge in "The Chain of Command, Part I".
Apocrypha
The Zhukov has appeared in a number of non-canon works.
According to the Star Trek: Stargazer Enigma, the commanding officer of the Zhukov in the year 2333 was Captain .
The Star Trek: The Lost Era novel Deny Thy Father stated that Captain served as commanding officer during the 2350s and that Erik Pressman served previously on the ship under D'Emilio's command.
In the Pocket TNG novel , the Zhukov was William T. Riker's first assignment on graduation from Starfleet Academy.
Similarly, the video game Star Trek: Starship Creator established the Zhukov as Reginald Barclay's first assignment.
The Star Trek roleplaying game stated the Zhukov discovered the twin parallax stars of Ullais between 2362 and 2374.
In The Captain's Table novel Dujonian's Hoard, the Zhukov visited Madigoor IV in 2374 in order to attend a conference there.
In the video game Star Trek: Bridge Commander, set in 2378, the Zhukov was assigned to Starbase 12 as a support ship. It escorted the back to Starbase 12 after the latter suffered a breakdown of its warp systems. It could be later chosen to assist the player in a tactical attack at the system. In the game, the ship was commanded by Andorian Captain .
External links
bg:USS Жуков
cs:USS Zhukov
de:USS Zhukov
es:USS Zhukov
fr:USS Zhukov (NCC-26136)
ja:USSズーコフ
nl:USS Zhukov
Zhukov
|
3666
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Wrightwell
|
Commander Wrightwell was the aide to Fleet Admiral Alynna Nechayev. As of 2370, he was stationed at Starbase 310.
That year, Captain Jean-Luc Picard of the talked to Wrightwell shortly before a briefing with Admiral Nechayev. In order to help Picard to improve his relations with Nechayev, Wrightwell told him that the admiral was fond of Bularian canapés. ()
External link
de:Wrightwell
es:Wrightwell
Starfleet personnel (24th century)
Individuals
|
3667
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Species 116
|
Species 116 was the Borg designation for a spacefaring humanoid species from the Delta Quadrant.
Species 116 possessed an innate ability to learn any language extremely quickly, such as that they could speak a new language after hearing only a few phrases; this was described as the capacity to "see patterns where others see only confusion". They also had the memory to retain fluency in thousands of languages. They perceived no difference between natural and computer languages, which gave them great facility with cryptanalysis and the manipulation of information. Species 116 was resistant to phasers and could withstand a shot to the torso without being stunned.
The technology of Species 116 was more advanced than that of the Federation. Their starships were propelled by quantum slipstream drives, allowing faster-than-light travel at velocities far exceeding warp drive. They also utilized particle synthesis, a more sophisticated analog of holographic technology that was undetectable by Federation sensors.
The biological and technological attributes of Species 116 made them attractive targets for the Borg. Species 116 in turn viewed the Borg as akin to a natural disaster, a "storm on the horizon" to be avoided. For centuries, Species 116 managed to outwit the Borg and stay one step ahead, but by the 2370s the Borg had adapted. Their last hope rested on the much-anticipated destruction of the Borg by Species 8472. Much to their dismay, the Borg repelled Species 8472 in 2374 thanks to intervention by the Federation starship .
Afterward, the Borg returned their attention to Species 116, invading with massive force. Their sentry ships proved no match for the Borg, and 23 of their outer colonies fell in a matter of hours. Hundreds of Borg cubes converged on their home star system, and only an estimated ten to twenty thousand managed to escape assimilation.
Voyager encountered a surviving member of the species named Arturis in late 2374. He tried to transport the crew of Voyager to his homeworld in Borg space for them to be assimilated, but his revenge plan backfired and he was presumed to have been assimilated instead. ()
People
Arturis
de:Spezies 116
es:Especie 116
it:Specie 116
nl:Ras 116
Species 00116
|
3669
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Xindi-Primate
|
The Xindi-Primates (or Xindi-Humanoids) were one of the six Xindi species native to Xindus.
The Primates were ape-like and they, more than any other Xindi species, resembled "traditional" humanoids. () In common with Humans, they had skin that varied in complexion and most of the Primates had ten fingers. They had, like all Xindi, distinctive ridges on their cheek bones. They also had larger foreheads but no eyebrows. ()
The Primates were generally seen as fair, honest, and trustworthy by other Xindi. () However, Xindi-Reptilians such as Dolim considered them not very resilient. ()
They were also among the most intellectual species of Xindi and therefore one of their own, Degra, was assigned to develop the weapon to destroy Earth alongside the Xindi-Aquatics on Azati Prime. However, this intelligence also helped in convincing Degra that the Guardians' promises were empty.
Degra and his associate were the Primate representatives to the Xindi Council.
Individuals
Degra
Kessick
Thalen
Unnamed Xindi-Primates
Appendices
Appearances
Background information
In scripts for episodes ranging from season three premiere to third season finale , Xindi-Primates were commonly referred to as "Xindi-Humanoids". In the final draft script of "The Xindi", the species was even described as having "Xindi-humanoid features." Though the species was most often referred to as "Xindi-Primate" in canon, the species was also referred to as "Xindi-Humanoid" in and .
Following approval of the facial design for the Xindi-Reptilians, the makeup for the Xindi-Primates began to be designed. This turned out to be a fairly easy job, as it had already been decided that a common feature among the Xindi was to be spiky cheek-ridges. () The Xindi-Primate makeup ultimately consisted of a single prosthetic piece which spanned from the actor's mid-skull to their cheekbones. The prosthetic was made from molded foam rubber which felt supple to touch and was subsequently painted for usage.
The process of applying the Xindi-Primate makeup took about an hour and a half or two hours, whereas the removal of the makeup required forty-five to ninety minutes. (; BLANKMANinc.com: The Star Trek Interviews) Although the prosthetic appliance was extremely tight around the eyes, it was important that the relevant actors took the time to have the prosthetic applied. Remarked Tucker Smallwood, "That's not something you want to rush, no matter how late or tired you are. Not if you value your skin!"
For the typical Primate head design, the hairline was raised, in an effort to make the aliens look significantly different from how extraterrestrials on the show commonly looked; Hair Designer Michael Moore also tried out various hairstyles for the Primates, in a series of concept sketches. "Somewhere in the work I just decided to try to bring the spots down lower and then blend it in with the rest. And so I sent that, along with the other drawings I had, to Rick [Berman] – and the envelope came back to me with a big check on that one," recalled Moore. "Sometimes when you send 12 drawings up, you think, 'I bet he's going to go with that one' – and I had that feeling with this one." () The actors playing Xindi-Primates regularly had their hair appropriately styled at the same time as their makeup was being put on.
The costumes for the Xindi-Primates were inspired by centuries-old European uniforms, as Costume Designer Bob Blackman was intent on making them look like "something that was a little more ancient" than the costumes for the other Xindi species. "Caucasus shapes, from Eastern Europe/Russian shapes, is where I went to get this, 16th-17th-18th century – so it's kind of like Cossack coats," Blackman explained. "But that was just in order to find something that would give them some bulk, and some strength in how they looked." () The tiger-striped brown and gold jackets worn by the Primates had vinyl trim and a vinyl harness which culminated in a metal buckle.
A pair of Xindi-Primate facial make-up applications was sold off on the It's A Wrap! sale and auction, included in a lot along with a group of Xindi-Reptilian make-up pieces. One of the Primate masks was painted and suspected to have been screen-used, whereas the other prosthetic was in its raw, unpainted form. Two of the tiger-striped brown and gold coats worn by some of the Primates were additionally auctioned off on It's A Wrap! One of these, worn by the character Thalen, sold for US$354.99. A costume worn by Degra was likewise sold at Christie's 40 Years of Star Trek: The Collection auction, in a lot including three other Xindi costumes.
Apocrypha
In the ization of , the Primates are cited as having been the second Xindi species to have evolved a very high degree of intelligence, preceded by the Xindi-Aquatics. The book also establishes the Primates as having a pubis.
According to The Expanse, the Primates dominated most of the Xindi homeworld for eons, ruthlessly oppressing the other Xindi species (which they considered inferior) to the point where the others (particularly the Xindi-Reptilians and -Insectoids) developed a hatred of them that remained into the 22nd century. At that time, the Primates still controlled the majority of the planet but had (seemingly at least) abandoned the belief of themselves as superior Xindi. Also, the Primates' language had, following centuries of Primate domination, become the official language of their homeworld. Most Primate politicians had originally considered the fact that the other species were gaining power and increasing in number as a tragedy, believing the developments certainly could only lead to more racial wars akin to the one which had virtually torn the planet apart. An oft-stated Primate opinion held that the Xindi-Reptilians, -Insectoids and -Arboreals had very limited thoughts. The reason why the Primates were the Xindi species that developed the weapon is given as being that they were the most talented engineers.
de:Xindi-Primat
fr:Xindi-Primate
nl:Xindi-Primate
pl:Xindi-Naczelne
Species
|
3671
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Xindi-Reptilian
|
The Xindi-Reptilians were a member of the multi-species Xindi race. They were easily the most aggressive of the six species, which shared a genetic ancestry.
Physiology
Xindi-Reptilian faces were scaly and highly textured, including many small wrinkles and ridges. The Reptilians had yellow to brown-colored scales with multiple spikes coming out of their heads and little tusks, one on either side of the face, protruding from close to the mouth. They had yellow eyes with slitted vertical pupils, and were cold blooded. Like other Xindi, they had a characteristic facial feature, involving a small indentation and a series of little bumps on their cheek bones. (, et al.) Reptilians' brains had neural pathways that were virtually identical to those of Xindi-Primate brains. ()
Xindi-Reptilians were also stronger and had greater stamina than Humans. For example, they were not affected by phase-pistols set on stun and survived direct hits from MACO particle weapons without suffering any immediately noticeable ill effects from such weapons, apart from being pushed slightly back. ()
Reptilians were carnivorous. Living food, like small rodent-like creatures, were part of their diet. ()
Philosophy
Reptilians were perceived as being untrustworthy and impatient by the other Xindi species. () A common Reptilian saying was "Patience is for the dead." Nevertheless, the Reptilians were usually the first choice for when force was needed. ()
With their easily provoked and opinionated nature, Xindi-Insectoids often sided with the Reptilians on certain issues. (, et al.) They sometimes even shared ships with each other. Reptilian soldiers were surgically implanted with a "suicide gland" that secreted a neurotoxin if they were captured. ()
The Reptilians were the species of Xindi that seemed to be most interested in destroying the planet Earth. The Reptilians lived out a militaristic lifestyle and hoped to ultimately rule over all the other species of Xindi. ()
Reptilians preferred to be on or near the ground as opposed to up in the air. ()
Technology
Reptilian weapons, such as biorifles and seekers, used techno-larvae. Their biorifles worked on a rotating modulation that self-destructed when accessed by other species. () Reptilians additionally used organic grenades fired from a grenade launcher which could be attached to a bio-rifle (see Xindi technology). ()
The Reptilians also used thermal chambers on board their ships, due to their cold-blooded metabolisms. ()
Commander Dolim was the Reptilian representative on the Xindi Council until 2154. ()
Appendices
Appearances
(deceased only)
(dream only)
Background information
Makeup
Of all the Xindi, the Reptilians were meant to look especially different from other aliens on . Regarding the intentions for the Reptilians, Makeup Supervisor Michael Westmore noted, "[It] wouldn't just be a pullover head and scales – maybe a few little spikes, horny-toadish and nasty." ()
Michael Westmore has repeatedly referred to the black spikes ascending from the Reptilians' heads as "porcupine quills," presumably because his idea for the spikes was influenced by the coat of a porcupine. (; ; Star Trek: The Official Starships Collection, issue 103, p. 16) He admitted, "I've always wanted to do a character that had porcupine quills coming out of its head – that's why we twisted them, bent them; it's not just spikes."
Many concept sketches for the Xindi-Reptilians were done by Michael Westmore, before the design was whittled down. () In the final draft script for ENT Season 2 finale , the species was described as "terrifying-looking", with "animalistic features". Though "The Expanse" was the first appearance of a Xindi-Reptilian, a few modifications were made to the species thereafter. These included the addition of the bumpy facial feature common to all Xindi. ()
Representing each of the Xindi-Reptilians' faces involved the use of a delicate, full-facial latex prosthetic. The appliance specifically covered the neck and the entire front of the head. The prosthetic was extensively airbrushed to create skin texture, shadows, and definition. The small tusks protruding from near the mouth and the black spikes extending from the head were made of resin. The Reptilian makeup also incorporated pointed teeth which, compared to Ferengi teeth, were slightly longer and meant to look more menacing. Contact lenses were worn by the actors who played Reptilians, which is how their eyes were made to seem lizard-like.
The first time Reptilian hands had to be represented in an Enterprise episode, the series' makeup department glued scales onto the relevant actors' hands and gave them long fingernails. () In fact, prosthetic pieces were crafted out of foam rubber for both the tops of the hands and the palms. All the pieces were then painted for on-screen usage and the palm applications were designed to represent scales. When Reptilians started being involved in stunt sequences, the make-up approach was deemed no longer viable, so the members of the species were portrayed as wearing gloves. This implied that Reptilian nails could retract, to fit inside the gloves, and extend. Michael Westmore remarked, "It should be interesting to see, at some point, all of a sudden the nails retract as they put a glove on."
The complexion of Reptilian skin also changed during the third season of Enterprise. The first three Reptilians to be shown on-screen all had much the same "neutral brownish tones," in the words of Michael Westmore. He cited the Reptilians, later in the season, as varying with a mix of green, brown, and red. ()
A spiked Xindi-Reptilian breast piece shown in consisted of several latex molds. These were adhered together, before the chest application was painted in the fashion of scales.
Costuming
In the final draft script of "The Expanse", the Xindi-Reptilian (in the first scripted description of a member of the species) was scripted to have "heavy armor".
After the theatrical release of had run its course, Costume Designer Robert Blackman decided to create the costumes for the Xindi-Reptilians, who were about to make their on-screen debut in ENT, by reusing Reman costumes from the film. They were made from a polyurethane stretch fabric that Blackman had already used in the creation of Starfleet EV suits for ENT. (Star Trek: Costumes: Five Decades of Fashion from the Final Frontier, p. 221) He later explained, "The idea was to reuse the Nemesis Reman foot soldiers [suits] but make them be entirely different." Originally under the impression that he would be required to create an enormous quantity of Reptilian uniforms under the ever-present time pressure, Blackman came up with the idea of altering the costumes with "cages". () "I saw a picture of a cage and thought that would be a good way to do it," he said. This was obviously a relatively cheap way of modifying the uniforms. Broad cages of wire armor were therefore added for the Reptilians' reuse of the costumes. Explained Blackman, "I used aluminium tubing as a frame, and made the rest out of vinyl hose." (Star Trek: Costumes: Five Decades of Fashion from the Final Frontier, p. 221) The alterations to the costumes included the removal of breastplates which had been part of the Reman configuration of the suits and making them into two pieces rather than a single piece, which meant they were easy for the actors to get into and were consequently more user-friendly for episodic usage. (; Star Trek: Costumes: Five Decades of Fashion from the Final Frontier, p. 221)
The wire cages were extremely delicate, so a great deal of care had to be taken to avoid damaging them. ( text commentary, ENT Season 3 DVD) Despite this, Bob Blackman thought they were indeed a good addition to the costumes. "We didn't think about them doing stunts in those, and the first time they got rough in them we just held our breath – but they came through just fine." The meshes also echoed the wiry quality of the spikes above the head. "And for all of that – Michael and I didn't really talk about any of that, the quills. So when you look at the quills and you look at the cages and go, 'Well – how did that happen?!' – I don't know how that happened!" ()
Other notes
As well as being portrayed by live actors and stuntmen, Xindi-Reptilians were also depicted with a mannequin (in the case of the Xindi-Reptilian corpse in "The Expanse") and computer-generated figures (such as in the first shot of the Xindi weapon's interior, in ). (; "Countdown" text commentary, ENT Season 3 DVD)
The look of the Xindi-Reptilians influenced the CGI design of the Xindi-Insectoids and -Aquatics, as well as helping to make the task of designing the Primates easy. (, pp. 51, 52 & 56) Also, the faceplate from the Xindi-Reptilian make-up design went on to be reused; it was kit-bashed with other prosthetic pieces, to represent an unnamed Coalition of Planets dignitary in the two-parter and .
The Xindi-Reptilians gained the approval of Archer actor Scott Bakula, who enthused, "I love the Reptilians... the visual that [the art department] created with the Reptilians I think is spectacular." () Dolim actor Scott MacDonald also liked the Reptilians, commenting, "There were several extras playing Xindi soldiers, so it was pretty cool, me walking around with my troops."
In a interview, Michael Westmore cited the Reptilians as one of "two things I loved doing on Enterprise." He went on to refer to the species as "fascinating" and further remarked, "The heads, with the porcupine quills coming out of them, were gorgeous." Consulting Producer David A. Goodman regarded the Reptilian make-up as "amazing" and "remarkable," an opinion which Director David Livingston agreed with. ( audio commentary, ENT Season 3 Blu-ray) Regarding the Reptilian uniforms, Co-Executive Producer Chris Black admitted, "I love those costumes." Executive Story Editor André Bormanis stated, "It made sense in the context of the civilization we were trying to portray here [....] You can see these guys have a very distinctive look and that's a costume style that we've never seen before." Black agreed but he and Bormanis also joked that the Reptilians might use their uniforms, with all the tubing therein, to distil alcohol, concocting Xindi-Reptilian moonshine. Bormanis jested, "It's how they get through the day," and Black concurred, "Exactly. They have little jars at their waist that it's just slowly dripping into." ( audio commentary, ENT Season 3 Blu-ray special features)
When asked to cite one of the Xindi species as the one he believed to be the most complex and disruptive in the Xindi Council, Jannar actor Rick Worthy initially responded with uncertainty as to which was the most complex but then stated, "Perhaps the Reptilians. They're warhawks, really. They're bullheaded, and it's difficult for them to see others' point of view."
Several Xindi-Reptilian make-up appliances were sold off on the It's A Wrap! sale and auction. One such piece was a painted, heavily detailed face application. One of its head spikes had come loose from the prosthetic, owing to time and use of the mask, but the application sold for US$786. A group of Reptilian prosthetics was included in the auction too, in a lot additionally consisting of two Xindi-Primate masks. The Reptilian portion was comprised of a full-facial application, a pair of hand top coverings and a pair of palm coverings. All these pieces were unpainted except for one of the palm coverings, which had been painted but retained the tear-away foam rubber which exists during casting. Another lot consisted of a facial application and a chest and shoulder prosthetic piece. Both of these were painted and the mask was known to have been worn by Scott MacDonald. Two other Reptilian masks were sold at the auction, one of which fetched US$760. Yet another lot presented at the auction consisted of the breast piece from "The Council" and the facial prosthetic used for the aforementioned unnamed dignitary in "Terra Prime" and "Demons". The latter item was originally misidentified as a Xindi-Reptilian mask worn by Scott MacDonald. The eBay entry for this lot ended early, due to the error being stated in the listing. The mistake caused much confusion and resulted in MacDonald himself trying to ensure the listing was corrected.
Apocrypha
In the ization of , the Xindi-Reptilians are characterized as being extremely tall, with a darting forked tongue, a vestigial tail, a cloaca and a penchant "for sudden, deadly strikes." The Reptilians' scales covering the face and arms are characterized as occasionally reflecting light by glinting like dull jewels, such as amber, ruby and emerald. The Reptilian central nervous system is also described, involving a brain stem, a basal ganglia and a spinal cord. Reptilian facial expressions are said to be hard to read, to the point of the book at one point describing the facial expressions as having "all the animation of a lizard sunning itself upon a rock."
The Expanse describes the Reptilians as having a pronounced hatred of the Xindi-Primates. According to Primate doctrine, the Reptilians thought with their spinal cords, their intelligence having evolved from only their brain stems and basal ganglia. As of the 22nd century, the Reptilian warrior class was swiftly gaining power. Purportedly, Reptilian skin was softer than it seemed. A current event in Reptilian culture was that the warrior who piloted the Xindi probe orphaned multiple Reptilian children, who were later presented with some lavish donations from the Xindi-Insectoids.
de:Xindi-Reptilianer
fr:Xindi-Reptilien
pl:Xindi-Gady
Species
|
3672
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Gagh
|
Gagh was a Klingon delicacy made from serpent worms. Although most Klingons preferred to consume it alive, it could also be served stewed or cold. ()
Live gagh required a supply of blood to survive. Scraping out the worm barrels was considered one of the worst jobs on Klingon vessels. ()
Many Humans found gagh unappetizing, though both William T. Riker and Jean-Luc Picard claimed to have developed a taste for it, and Doctor Julian Bashir occasionally enjoyed it. (; )
In 2154, Fleet Admiral casually ate gagh as he informed of Section 31 that he was reneging on their arrangement. After Captain Jonathan Archer had been exposed to and subsequently cured of the Klingon Augment virus, he had a "strange craving" for "a plateful of live gagh." ()
In 2373, Neelix served cold gagh aboard the for a special Klingon breakfast buffet. However, none of the crew seemed very enthusiastic about it. () He did so again in 2377 when Voyager took aboard Klingons whose ancestors had migrated to the Delta Quadrant. ()
Regular shipments of gagh started to arrive on Deep Space 9 after a permanent Klingon military presence was established on the station in mid 2373. Major Kira Nerys claimed a tentacle grabbed her hand while she was checking the contents of one such crate. ()
In 2374, Bashir was given a plate of gagh intended for Worf instead of the red leaf tea, scones, and moba jam he had ordered. He rejected it as it was "too early." ()
In 2375, a shipment of gagh ordered by Jadzia Dax for the celebration of General Martok's birthday arrived on Deep Space 9. Ezri Dax later rejected the gagh due to being sickened by Jadzia's memories of it. She wanted it thrown out into space by dumping it out the airlock but was disallowed due to environmental laws. ()
In 2380 while being transported to Tulgana IV for diplomatic talks, a drunken Klingon General K'orin insisted on being set down in "Little Qo'noS" to find some gagh (or as Ensign Beckett Mariner referred to it, "hot worms"). He promptly stole the shuttle after landing and set off for gagh, to Ensign Bradward Boimler's displeasure. ()
Varieties of gagh
There were at least 51 different types of gagh, each with its distinct taste and texture. () These included:
Bithool gagh, which had feet
Filden gagh, which squirmed
Meshta gagh, which jumped
Torgud gagh, which wiggled
Wistan gagh, which was packed in targ blood
Appendices
See also
Racht
Apocrypha
In the Klingon language designed by Marc Okrand, gagh is spelled qagh and pronounced slightly different from what is heard on the various TV shows. Preparation of gagh is discussed at length in his book Klingon for the Galactic Traveler.
External link
de:Gagh
fr:Gagh
pl:Gagh
Qo'noS
Klingonese
Foods
Animals
|
3677
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Cardassia V
|
Cardassia V was the inhabited fifth planet in the Cardassian system, in the Alpha Quadrant. The planet was affiliated with the Cardassian Union.
In 2370, Kono was wanted there for stealing bone-carvings from a museum. ()
In 2375, the location of Cardassia was labeled on a tactical map that was displayed in the wardroom of Deep Space 9. (, okudagram)
Appendices
Background information
"car-DASS-ee-uh" was the pronunciation for this planet's name from the script pronunciation guide for "Tribunal".
According to a stellar cartography map, seen in the Star Trek: Deep Space Nine Technical Manual, the Cardassian system was located in the Bajor sector.
According to Star Trek: Star Charts (pp. 37, 43, 46), Cardassia V (Cardassia Minor) was classified as a M-class world.
External link
de:Cardassia V
fr:Cardassia V
nl:Cardassia V
Cardassia 05
Cardassia
|
3678
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Cardassia IV
|
Cardassia IV was the inhabited fourth planet in the Cardassian system, in the Alpha Quadrant. The planet was affiliated with the Cardassian Union.
Li Nalas, Borum, and several other Bajorans were prisoners at the Hutet labor camp on this planet during the Occupation.
In 2370, Rionoj was given Li Nalas' earring by a maintenance worker on Cardassia IV. Kira Nerys and Miles O'Brien later traveled to the planet to rescue Li after Kira was given the earring by Quark.
While attempting to dupe Post 24, Kira claimed a Gul Marayn on Cardassia IV was waiting for a shipment of Rulot seeds.
The Cardassian military had two warships stationed near Cardassia IV.
Dukat later claimed the Central Command was not aware of the existence of the camp on Cardassia IV. ()
In 2375, the location of Cardassia was labeled on a tactical map that was displayed in the wardroom of Deep Space 9. (, okudagram)
External links
de:Cardassia IV
fr:Cardassia IV
nl:Cardassia IV
Cardassia 04
|
3679
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Cardassia III
|
Cardassia III was the inhabited third planet of the Cardassian system, in the Alpha Quadrant. The planet was affiliated with the Cardassian Union.
In 2371, Grand Nagus Zek managed to acquire the Orb of Wisdom from a contact on this planet. ()
In 2375, the location of Cardassia was labeled on a tactical map that was displayed in the wardroom of Deep Space 9. (, okudagram)
Later that year, the position and orbital path of Cardassia III was illustrated on a tactical map that was displayed in the wardroom of Deep Space 9. (, okudagram)
External link
de:Cardassia III
nl:Cardassia III
Cardassia 03
|
3683
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Utopia Planitia Fleet Yards
|
Utopia Planitia Fleet Yards, also known as Utopia Planitia Starfleet Yards or Utopia Planitia Shipyards, was a key Starfleet vessel construction and design facility in the 24th century. The facility included several large drafting rooms for starship design and planetary facilities on the surface of Mars, as well as a number of drydocks and space stations in orbit. (; )
The shipyards were attacked and destroyed by rogue synths in 2385, igniting the planet's atmosphere in the process. (, )
History
The Galaxy Class Starship Development Project, including the majority of ship construction, design work and system model tests, was based out of drafting room 5 in Mars Station at Utopia Planitia. ()
Then-Commander Benjamin Sisko was assigned to Utopia Planitia sometime after the Battle of Wolf 359 for three years, where he assisted in the design work and flight tests of the . ()
The also underwent final construction phases at this location. Additionally, while still in drydock, this was the first time Kathryn Janeway visited the ship. ()
In an alternate quantum reality visited by Worf in 2370, the Cardassians were using the Argus Array to spy on several of Starfleet's most important ship yards and design complexes, including the Utopia Planitia surface facilities, along with Starbase 47, Deep Space 5, and the Iadara colony. ()
In an alternate timeline in 2371, the death of Gabriel Bell in 2024 led to the Utopia Planitia Fleet Yards temporarily being erased from history. ()
The fleet yards in orbit of Mars were sometimes displayed on the large astrometrics monitor aboard the . ()
When it seemed possible Voyager would be returning home in early 2377 with the help of a Barclay hologram, he asked Seven of Nine what she would do when they returned. She said immediately get to work on repairs to Voyager, but Barclay told her there were people at Utopia Planitia to do the repairs – and that she should celebrate. ()
In 2385, the yards were supported by a number of shuttlecraft and tri-hy stations, including Tri-hy station A19. Operations were coordinated from Central. Living technicians were supported by synthetic labor units like the A500. ()
Kimas mom worked at the Utopia Planitia Shipyards as an anti-grav rigger. On April , 2385, First Contact Day, the planetary defense network was hacked as part of an Attack on Mars by rogue synths, destroying the shipyards. (, )
Personnel
Utopia Planitia Fleet Yards personnel
Ships developed, refit, and/or built at Utopia Planitia
(NCC-42111)
(NCC-70637)
(NCC-71807)
(NCC-1701-D)
(NCC-71832)
(NCC-72381)
(NX-74205)
(NCC-74656)
(NCC-75633)
At least 2 starships
At least 2 starships
At least 1 starships
At least 1 starship
At least 2 starships
Appendices
Background information
According to Star Trek: The Next Generation Technical Manual (p. 14), the orbital part of the yards was positioned in synchronous orbit 16,625 kilometers above the Utopia Planitia region on Mars.
According to the dedication plaque for the , which makes an appearance in the , this starship was built at these yards.
According to Ronald D. Moore, the production staff put starship models in Sisko's office to show his involvement with ship design. A subplot from which never made it on screen had Benjamin Sisko sending Jake and Joseph to the fleet yards for safekeeping, the location chosen because he still had a lot of friends there.
The exterior view of the yard in "Relativity" was originally not intended to be shown on screen as the script only called for a shot of the Voyager in a drydock on its own. Many of the modelers at Foundation Imaging were fans and took a different view as Adam "Mojo"" Lebowitz explained:
"But when we got the script, we thought, "Well, we're going to build a drydock and we already have a library of other Federation ships, and making a Mars planet wouldn't be that difficult; it really wouldn't be much more expensive to create a scene of dozens of ships being built." So we suggested to the producers, "Hey, why don't we make a big moment out of this shot and show all the Utopia Planitia shipyards?" They said, "OK", so we eagerly went back into the office and created a temporary scene of what we had in mind with this big, big expanse. We used this big image map of the actual Utopia Planitia area of Mars that was recently surveyed by the Global Planetary Surveyor that NASA sent, and we showed it to Dan Curry and Ron Moore and Peter Lauritson and they liked it. Then they said, "While you're at it, why don't you add this scene and add some space stations back there?", and we said, "No problem." And of course the scene wound up turning into 10 times more work than we originally planned for, but we just wanted to do it. We wanted to see that on the air." ()
Working "on spec", the industry term for "for free", in their own time, Lebowitz was joined by among others Robert Bonchune, Koji Kuramura, Brandon MacDougall, and Lee Stringer in creating the scene. While working on the scene Lebowitz hit upon the idea of what was to become the Star Trek: Ships of the Line calendar series.
In the Enterprise series bible, the orbital Utopia Planitia facility was referred to as one of two main Starfleet bases as of 2151, the other being on Earth. The Martian outpost was also mentioned as a place where Charles Tucker III worked, prior to his assignment aboard Enterprise.
External link
cs:Loděnice Utopia Planitia
de:Utopia-Planitia-Flottenwerft
fr:Chantiers spatiaux d'Utopia Planitia
ja:ユートピア・プラニシア艦隊造船所
nl:Utopia Planitia scheepswerf
pl:Utopia Planitia Starfleet Yards
Sol system
Shipyards
|
3685
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Mars Defense Perimeter
|
The Mars Defense Perimeter was part of the Federation planetary defenses of the Sol system. It was designed to protect the inner planets of the system, and specifically Earth, from intruding hostile starships. The defense perimeter consisted of a series of sentry pods.
In early 2367, an attacking Borg cube crossed the planetary defenses between Jupiter and Mars. It was able to easily break through the defensive lines, destroying the ships sent to intercept it within a matter of seconds. ()
In 2368, a ship of the same type was stored in the ship graveyard of Surplus Depot Z15. ()
External link
Sol system
Military technology
de:Mars-Verteidigungslinie
ja:火星防衛圏
nl:Mars defensielinie
|
3687
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Martian colonies
|
The Martian colonies were one of the oldest colonies of Humankind. (e.g., ; ; )
Having been completed in 2012, the Millennium Gate on Earth served as a model for the first colony on the red planet. It pioneered many new technologies and scientific principles like a coverage by highly-reflective solar panels and being constructed as a self-contained biosphere. ()
The Martian colonies were established in 2103, although settlements on Mars had already existed by 2069. (; ) Among the pioneers who settled the first colony were some of Jean-Luc Picard's ancestors. () The Fundamental Declarations of the Martian colonies were an important step in the pursuit of individual rights. () The flag of the first of the Martian colonies was inspired by a velvet painting of a matador, according to Quark. ()
In 2105, Redjac, an entity feeding off pain and fear, killed eight women of the Martian colonies. ()
In an alternate timeline, the Martian colonies were destroyed in a 2154 Xindi attack. ()
In 2155, when a xenophobic faction of Humans known as Terra Prime took over the verteron array, Starfleet intended to destroy the array rather than let the terrorist organization carry out their attack on San Francisco. Destroying the array threatened to destroy a portion of Utopia Colony, an indication that the two were in close proximity to one another. The colony had at least one hospital as of 2155. ()
Known citizens include Lieutenant Mira Romaine, a crewmember of the who was born at Martian Colony 3, and Simon Tarses and his brother, the former a crewmember of the . (; )
The colonies on Mars were destroyed when the atmosphere ignited during the synth attack. ()
Appendices
See also
Martian Colony 3
Utopia Colony
Background information
Although Harry Kim stated in that "Mars was colonized by people from Earth in 2103", establishes that Mars was colonized prior to 2069 with the building of Utopia Planitia. This seems to make more sense since 2103 is forty years after the warp drive was invented, and after deep-space expeditions like and Friendship 1 and after the Terra Nova colony was established in another star system. The 2103 date may refer to the formal incorporation of the colonies as one body, the year Humans were first able to colonize the planet on a long-term basis, or the beginning of the terraforming project seen in .
The buildings representing the Martian colonies in episodes such as "Lifesigns" were built out of garbage cover plates, birdbaths, cat toys, and hair curlers by using the technique "kitbashing". Penny Juday gives some insight in the TNG Season 2 DVD special feature "Inside Starfleet Archives – Penny Juday, Star Trek Coordinator".
The Martian city seen in "Lifesigns" was not referred to in the first draft script. In the episode's final draft script, it was referred to as "a futuristic domed city." According to the , it was located at Utopia Planetia. The encyclopedia also noted that it was realized as a matte painting by Dan Curry, based on designs by Anthony Fredrickson and Doug Drexler.
External link
fr:Colonies martiennes
ja:火星コロニー
nl:Mars kolonies
Colonies
Sol system
|
3688
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Lunar colonies
|
The Lunar colonies on Earth's moon Luna were, along with Utopia Planitia on Mars and a few asteroid colonies, the first attempts by Humans at colonizing space. One of the earliest settlements, New Berlin, was built between 2063 and 2069. (; )
In the mirror universe the Lunar colonies were bombarded by an starship sometime before the of starships came into use. (Opening credits, )
In the 22nd century, Lunar One Colony was the largest of all Lunar colonies. The Orpheus Mining Complex was another settlement on Luna during the 22nd century. ()
By 2373, the population was approximately fifty million. ()
Among the Humans born on the Lunar colonies were Beverly Crusher and Dorian Collins. (; ). People born or living on the Lunar colonies were often called Lunar schooners by Earth-based Humans. ()
See also
Mentioned locations on Luna, i.e., potential constituents of the Lunar colonies
fr:Colonies lunaires
ja:ルナ・コロニー
nl:Lunar kolonies
Colonies
|
3695
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Jupiter
|
Jupiter, also known as Sol V, was the fifth and largest planet of the Sol system. The planet was noticeable for the Great Red Spot, its many moons, and bands of cloud layers. This gas giant was located near to the . (; ; ; )
Dimensions
Jupiter's diameter was more than 11 times the diameter of Earth and its was over 1,300 times that of Earth. In other words, 1,300 Earths could fit inside this gas giant. ()
Location
The spatial coordinates in orbit of the inner moon Io were 23.17.46.11. ()
In 2024, the position and orbital path of Jupiter were depicted on a map of the Solar System, which was seen at the gala held for the Europa Mission astronauts. ()
In 2267, the position and orbital path of Jupiter were depicted on "Chart 14A: The Sol System", stored in the library computer. The chart was scanned by the probe Nomad in auxiliary control. ( production art)
In the mid-2270s, after one point eight hours from launch in Earth orbit, the Enterprise traveling at warp point five reached the Jovian system. The ship, staying close to the planet, passed through the system. Later, a star chart that labeled the location of Jupiter in a neighborhood of astronomical objects, stored in the Enterprise library computer, was scanned by V'ger. ( production art)
History
Before the invention of the telescope, Humans had discovered this planet in the night sky. ( okudagram)
In the late 1970s, this planet was surveyed by Pioneer 11, which discovered the planet's magnetic field and magnetosphere. ( okudagram)
In 2143, the NX-Alpha was destroyed near Jupiter shortly after breaking the warp 2 barrier. By 2151, Jupiter Station in orbit of Jupiter served as a repair facility to Earth Starfleet and the Earth Cargo Service. (, et al.)
That year, Charles Tucker III planned to take up to warp 4.5 once the ship had passed Jupiter. ()
An image of Jupiter appeared in Daniels' database on two occasions when Captain Jonathan Archer accessed it in 2152. ()
In 2257, the Klingon fleet passed through the Jovian system on its way towards Earth. Later, on a course to , the passed through the system, flying close to Jupiter. ()
In 2259 of the alternate reality, the was launched from the Io Facility, a spacedock in orbit of the moon Io. ()
A close-up image of Jupiter was contained in the library computer aboard the . This image was flashed on a viewscreen when the Talosians scanned the Enterprise computer in 2254. ()
According to Arex, the cosmic cloud encountered by the Enterprise in 2269 was twice the diameters of Jupiter, Saturn, and Neptune in size. ()
In the 2270s, the Enterprise flew past Jupiter on its way to intercept V'ger. ()
By the early 24th century a shuttle route had been established "from Jupiter to Saturn and back, once a day, every day," know as "the Jovian Run." Both Edward Jellico and Geordi La Forge used to pilot shuttles on this route early in their Starfleet careers. ()
In 2367, Jupiter Outpost 92 reported visual contact of a Borg cube at 12:13. ()
According to a sarcastic remark by Lewis Zimmerman, tours of the lava flows on Jupiter's third moon were popular by 2377. ()
Appendices
Background information
According to the , Jupiter has a "equatorial diameter of 142,700 kilometers, and it orbits its sun at about 778 million kilometers." Additionally, the classified Jupiter as a Class J gas giant.
A painting seen in several episodes aboard the was originally created by Rick Sternbach to illustrate a (non-Trek) science fiction story called "The Anvil of Jove". As such, it depicts a plane-like craft tethered to a balloon, cruising the atmosphere of Jupiter.
set decorations mention the Jupiter Mining Corporation, which may be associated with this planet.
The chart of Sol/Jupiter in relation to nearby astronomical objects seen in was taken from page T0:02:07:02 of the Star Fleet Technical Manual by Franz Joseph.
According to Star Trek: Star Charts (Pgs. 22, "United Federation of Planets I"), Jupiter was classified as a J-class planet. This planet was a charter member of the United Federation of Planets in 2161.
Jupiter is one of the planets seen in the opening sequence of beside the Earth, Luna, Sol, and Saturn, shortly before the Enterprise-D started its exploration of the unknown space.
External links
cs:Jupiter
de:Jupiter
es:Jupiter
fr:Jupiter
it:Giove
ja:木星
nl:Jupiter
Planets
Sol system
|
3696
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Ares IV
|
Ares IV was an Earth spacecraft used during one of Humanity's early manned missions to Mars, which took place in 2032 under the command of Lieutenant John Kelly. The other members of the crew were Rose Kumagawa and Andrei Novakovich.
The mission was run under the auspices of the International Space Agency, with communications being assisted by NASA. ()
Technical data
The Ares IV craft was made up of several connected modules, with the "Martian Command Module", located in the front, acting as the craft's bridge. This command module was cylindrical and had two pilot seats with a small curved window in front of each. The craft had seat belts on the chairs to keep the pilots secured in their seats during take-off and in the zero gravity of space.
Between the two command seats was a Spectrum video monitor and digital clock that had a series of push-buttons and switches to control the ship's systems. The mission commander sat on the starboard side, which also controlled the ship's engines and sensors. The screen in front of him showed various spatial information, such as the ship's location and video feed of the surface team on a "TM 9U Color Video Monitor."
The Ares IV had a third-generation ion drive as a propulsion system, designed for travel to Mars and back, not for deep space. The ship had an ionic power system that relayed power to all the ship's systems and was channeled through an ion distributor, the 21st century equivalent of plasma manifolds. The Ares was also able to replenish some of its own power through the use of two large photovoltaic solar panels on each side of the ship.
Communication for the Ares mission was joint-run by NASA and the ISA, so the Ares IV transmitted to and received information from NASA Mission Control in Houston, Texas. The module used a high gain antenna and, as such, there was a delay of several minutes for messages sent from Ares IV to Earth and vice versa messages. Communication between Ares IV and the surface of Mars, however, was almost instantaneous.
The ship's science equipment included a LIDAR array. It was also equipped with a trans-spectral imager used to collect data, though it had to be manually activated.
In the event of emergency, a small escape craft was docked directly behind the cockpit so the crew may abandon ship if necessary. The escape-craft had a rounded back to allow for entering a planet's atmosphere.
The vessel itself was constructed of several titanium alloys, as well as polymer composites – distinctive of 21st century early-Human space craft. It was 46 meters long, and weighed 92 metric tons.
Designs
The hull of the Ares IV had a ring of flags around it, each representing a member of the International Space Agency. Also on the hull was the ISA logo. The Ares IV mission patch was an irregular hexagon with a white band around the edge which contained the spacecraft's name at the top and an image of the Ares IV module from the front with its solar panels extending beyond the edges. The bottom three sides listed the last names of the crew members, "Kumagawa Kelly Novakovich."
Mission
The Ares IV mission was set for mid-late October of 2032. Scientists Rose Kumagawa and Andrei Novakovich landed on Mars, spending several days on the surface. On the morning of October 19, Kumagawa described the sunset as beautiful, with a hint of green. Kelly, manning the craft from orbit, wished he could see the sunset as well. Kumagawa and Novakovich worked on drilling through a lava plain, breaking through the iron oxide barrier down to eight meters. They were hoping to have samples ready by the end of the day, when the signal to the craft was lost.
Tragedy
The signal came back a moment later as Kelly encountered turbulence in orbit. He reported an unknown object approaching his position, over 1,000 meters across with an azimuth of 121.6 on the LIDAR. Scanning the anomaly with the trans-spectral imager, his signal was lost at 0922 hours, when the anomaly overtook his ship. NASA, ISA, and the team on the surface believed Kelly had been killed and there was no trace of Ares IV. It took several weeks for a rescue ship to retrieve Kumagawa and Novakovich.
This was Humanity's first encounter with a spatial anomaly. It was later found that what Kelly encountered was a graviton ellipse, an anomaly which is attracted to EM radiation and rarely comes out of subspace.
The loss of Ares IV almost derailed future missions to Mars as it was another tragic point in the history of space exploration. But manned missions and colony attempts would eventually continue, with the Ares IVs mission and crew being cited as groundbreaking, paving the way for the future of space exploration. Mars itself was colonized seventy-one years later in 2103. ()
Kelly's mission
ISA and NASA didn't know it, but Kelly actually survived being engulfed by the ellipse, after he'd fallen off NASA's LIDAR scopes. He continued keeping log entries for several days, the last one dated October 29, 2032.
Recovery
In 2376, the encountered the graviton ellipse and located the remains of the command module – and those of Kelly – in the Delta Quadrant. The module's database, including logs recorded by Kelly after the module had entered the ellipse, were subsequently recovered. ()
Appendices
See also
Ares V
Background information
The Area IV mission patch was designed by Mike Okuda and Wendy Drapanas. ()
Interior and exterior design
From the , "The Ares 4 orbital craft and Earth return vehicle was designed by illustrator (and noted space artist) Rick Sternbach in consultation with Dr. , planetary scientist and former director of NASA's Jet Propulsion Laboratory. The landing craft was a modification of an Apollo lunar module."
In a article for , Sternbach suggested that Ares IV was one of the most researched designs made for Star Trek, and possibly the most realistic ever on the show. () This included detailed prop manuals composed by Sternbach and Wendy Drapanas. (p. 50)
Concept art for the craft's interior by Tim Earls labeled the module Kennedy III. ()
Working from Sternbach's concept sketches and computer models, the CGI studio model was built by Koji Kuramura. ()
Real world connections
There was also a real world NASA Ares program in the works. These rockets were part of , a renewed American effort to send Humans back to the Moon and, eventually, to Mars. The real Ares IV was intended to carry a lunar lander into orbit during its 2017 test flight. In the real world, Project Constellation was canceled in 2010. In , a desktop model of Ares V, seen as set decoration, suggested that the program wasn't canceled in the Star Trek universe.
Apocrypha
Ares IV is referenced as "one of the early missions" to Mars, suggesting it was not the first manned mission. According to the Star Trek: Star Charts (p. 38), in 2030 the spacecraft Ares I became the first manned vessel to land on Mars.
In the novel The Rings of Time, when Captain James T. Kirk is transferred by an alien probe into the body of Colonel Shaun Geoffrey Christopher during the expedition to Saturn in 2020, he initially assumes that the Lewis & Clark is the Ares IV, having been somehow transported to his current location by the anomaly that caught it, but soon establishes that he has been sent back in time himself.
The novels Preserver and The Needs of the Many use the spelling "Aries IV".
de:Ares IV
Earth spacecraft
|
3698
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Jupiter Station
|
Jupiter Research Station, also more simply known as Jupiter Station, was a Starfleet research station located in orbit of Jupiter.
History
22nd century
In the 22nd century, Jupiter Station served as a maintenance and repair facility for Starfleet vessels, as well as a supply stop for cargo ships and a training facility for the Military Assault Command Operations.
Prior to setting out on its mission in 2151, the cargo freighter stopped at Jupiter Station to take on cargo, where the cargo handlers failed to properly balance the load in one of the Fortunates cargo modules. This caused a vibration in the module, which was eventually corrected when the crew redistributed the cargo. ()
Later that year, in the face of constant attack by an unknown species, Captain Archer decided to reverse course and take back to Jupiter Station, where the armory team could install state-of-the-art phase cannons, with which Enterprise could better defend itself. Feeling a sense of personal pride in the project, however, Commander Charles Tucker and Lieutenant Malcolm Reed took it upon themselves to complete the modifications, constructing and installing two phase cannons in forty-eight hours, whereas it was estimated that it would take two weeks for the armory team to complete the project. ()
In 2152, MACO Major J. Hayes and his team developed a specialized training system at Jupiter Station, wherein a trainee would utilize a particle rifle in an attempt to hit as many holographic targets as possible in a ten-second period. The MACOs later utilized this program to help train officers on board Enterprise, where they had been assigned to augment the crew in their mission in the Delphic Expanse. ()
MACO Corporal J. McKenzie did a six-week tour on Jupiter Station, where she gained experience operating in zero gravity conditions when the grav-plating would periodically fail. In 2153, McKenzie related this story to Captain Archer when justifying her presence on an away mission to a derelict alien vessel where the environmental systems were offline. ()
In the year 2154 of an alternate timeline, where half of Enterprises warp coils were fused in a ramming maneuver, estimated their repair to take three weeks if they were at Jupiter Station, but at least six months out in the Delphic Expanse. ()
24th century
During the mid-2360s, Tuvok was temporarily assigned to Jupiter Station where he often wrote to Kathryn Janeway. ()
In the 2370s, the commanding officer of Jupiter Station was a female. ()
In his last will and testament, Dr. Lewis Zimmerman requested that, after his death, his holographic assistant be allowed to remain active on the station for as long as the station continued to be operational. ()
Design
Jupiter Station's structure as it existed in the 24th century was that of two sets of three saucer section hulls on top of each other, with a series of antennae and sensors extending from the bottom.
Similar to a starship's mess hall, the station had a café. In 2373, that cafe's owner decided to leave, and its ownership was offered to Leeta by the station's commander (at the behest of Dr. Zimmerman) but she refused, deciding to remain on Deep Space 9. ()
Holoprogramming Center
By the 2360s, the station was the location of the Jupiter Station Holoprogramming Center, run by Dr. Lewis Zimmerman. ()
It was on Jupiter Station where Dr. Zimmerman created the Emergency Medical Hologram holoprogram. ()
Zimmerman offered Leeta a job in the café on the station during his visit to Deep Space 9 in 2373 to interview Julian Bashir for the template of Long-term Medical Holographic program. ()
Personnel
Appendices
See also
Jupiter Outpost 92
References
Background information
The Jupiter Station studio model was designed by Rick Sternbach. Sternbach drew inspiration from the model as well as a painting he had done for Captain Jean-Luc Picard's quarters. Sternbach has suggested the saucers may be recycled from decommissioned vessels, perhaps or similar. Sternbach also speculated that the dual extensions at the bottom of the station provided power to the station.
The Jupiter Station insignia was designed by scenic artist Wendy Drapanas. (Star Trek Sticker Book, pg. 14)
Apocrypha
Jupiter Station appears in the Star Trek Online episode "Red Shift". In it, Mirror universe versions of Kathryn Janeway, Sylvia Tilly, Kuumaarke, and the mirror version of the player character, referred to as the "Inquisitor", invade the Prime universe and the Jupiter Station in search of what is called the "Emperor's Prize". The four ravage the station and reach their goal: the recently returned Ilia, though Tilly, Kuumaarke and the Inquisitor turn against Janeway and steal Ilia for themselves.
External link
cs:Stanice Jupiter
de:Jupiter-Station
nl:Jupiter station
Sol system
Space stations
|
3699
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2032
|
Events
A manned Earth mission to Mars, the Ares IV, takes place under the command of Lieutenant John Kelly. However, the orbital module of the mission, along with Lt. Kelly, vanishes in a graviton ellipse so the two remaining astronauts on the Martian surface have to be rescued. Nevertheless, Ares IV starts a crucial step in the continued Human exploration of the planets. ()
The New York Yankees win the World Series in six games. ()
Francis M. Raymond is born in Philadelphia, Pennsylvania. ( okudagram)
Notes
Zefram Cochrane is born. ()
Episodes
(in part)
External link
sv:2032
de:2032
fr:2032
ja:2032年
nl:2032
|
3701
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Regenerative shield
|
Regenerative shielding was an advanced form of deflector shielding technology used in the 24th century by the Numiri culture of the Delta Quadrant, and later developed by Starfleet.
In 2371, when the was engaged in combat with two Numiri patrol vessels, Commander Chakotay utilized an old Maquis maneuver, wherein Voyager feigned distress to lure the enemy vessels into close proximity. When one of the patrol vessels attempted to lock a tractor beam onto Voyager, Chakotay ordered phasers fired at the vessels' navigational deflectors, successfully penetrating their regenerative shields and disabling both ships. ()
The experimental vessel , developed by Starfleet in 2374, was equipped with regenerative shielding, ablative hull armor, and multi-vector assault mode as part of its primary battle systems. In that year, the regenerative shielding was utilized in battle with a group of Romulan Warbirds. ()
See also
Auto-regenerative shielding
Multi-regenerative security field
Regenerative force field
Regenerative phaser
Apocrypha
According to the Pocket VOY , the Borg had assimilated regenerative shield technology from an insectoid race known as the Tuktak, who used it to protect their ships. However, it proved impractical for Borg vessels, especially the very massive Borg cubes, so the Collective modified the technology for drones' personal protection instead.''
de:Regenerativer Schutzschild
Shield technology
|
3702
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
North Pole
|
A North Pole was the northernmost point of a planet. Its southern equivalent is a South Pole.
On Earth, the North Pole was contained within a region known as the Arctic Circle. 20th century-era maps of the Arctic Circle, including the North Pole were stored in the library computer in 2254. ()
The North Pole of Mars was covered by an ice cap. By 2154, it was the frequent target of comets, as part of a terraforming effort. ()
External link
de:Arktis
fr:Pôle Nord
Geography
|
3704
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2289
|
Events
T'Meni and her husband, both of , send their son Tuvok to Starfleet Academy, as it was their wish that he become a Starfleet officer. Feeling obliged to honor his parent's wishes Tuvok consents to attend. ()
Negotiations between the Federation and the Klingon Empire take place on the Korvat colony. At the time, Curzon Dax was representing the Federation, while Kang represented the Klingons. ()
External link
de:2289
fr:2289
it:2289
nl:2289
sv:2289
|
3707
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Sector 3641
|
Sector 3641 was the Vulcan designation for the area of space from which the Suliban originated. The Suliban homeworld became uninhabitable in 19th century, forcing the Suliban to become ic. ()
bg:Сектор 3641
de:Sektor 3641
es:Sector 3641
fr:Secteur 3641
nl:Sector 3641
it:Settore 3641
003641
|
3708
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Rigel X
|
Rigel X, also known as The Rigel Colony, was the inhabited tenth planet in the Rigel system of the Alpha Quadrant. The planet was home to a native species species of large flying insects and a variety of colorful butterflies. () The planet was affiliated with the . ()
History
Some time before 2151, the Rigel Colony was established on Rigel X. The colony was a trade complex consisting of thirty-six levels and populated by numerous different species. ()
In 2151, the Klingon Klaang visited Rigel X to make contact with Suliban dissident Sarin. Rigel X was soon thereafter the first planet visited by ; the Earth starship Enterprise visited Rigel X in its search for Klaang, who had been kidnapped from the ship by the shortly before. ()
While imprisoned at Tandaran Detention Complex 26, Captain Jonathan Archer was reminded of Enterprises visit to Rigel X, upon being questioned by Tandaran colonel Grat. Grat also informed Archer that several Tandaran men had seen the captain at Rigel X. ()
In 2161, Enterprise returned to Rigel X to help Shran rescue his daughter, Talla. It was the last world Enterprise visited before being decommissioned, which Captain Archer considered to be "poetic justice." ()
In a commercial for Tribbles cereal, Rigel X was shown on a computer screen of a food synthesizer in the mess hall of the . It was listed along with other locations such as Earth, , Izar, Cestus, Tellar, Rigel VI, and Andoria. (, credit cookie)
Some time before 2267, Rigel X had become a Federation world. ()
In 2267, Rigel X became the next target of the planet killer, after it had disintegrated the planets in the nearby star systems L-370 and L-374. The combined efforts of the starships and destroyed the extragalactic doomsday weapon before it reached this planet. ()
Rigel X inhabitants and visitors
Appendices
Background information
This planet's quadrant of origin is inferred based on the position of its star system as seen in the star chart appearing in .
Rigel X was identified as the "Rigel colony" on a viewscreen in . Previously, the "Rigel Colonies" had been referred to in the first draft script of "He Walked Among Us", an undeveloped installment of . Rigel was apparently not a name invented by Humans, since Vulcans and Klingons used this name in their native languages and the planet's location was not known to Humans before it was learned from the Vulcan star charts in . Rigel X was the first and last planet visited by Enterprise, not only in the fictional sense but also on-screen, from "Broken Bow" to "These Are the Voyages...".
For "Broken Bow", some scenes at the trade post were filmed at the Redondo Power Plant and Hyperion Water Treatment Plant. ( text commentary, ENT Season 4 DVD) The exterior of the alien planet's outpost, including its landing platform, involved a real set. A CG model of the area, created by Eden FX, was also used. "That went through a couple of revisions as far as whether it was sitting on top of a mountain or built into the side," recalled Eden co-founder John Gross. "Also the things on the roof that [the characters] stood next to [...] were about six feet tall, and we built everything to scale, but when we looked at our shots, Peter Lauritson commented that [the CG version] didn't look big enough. And he was right; it looked like it was the size of the set and we wanted it to look massive, so we shrunk all those things down and it looked much better." The variety of elements that were integrated together to portray the surface of Rigel X in "Broken Bow" additionally included a CG snowstorm. Snow in wide shots of the planet's surface incorporated the digital snow effects, but Ronald B. Moore also had Eden provide him with some CG snow which he combined with the live-action footage in the compositing bay. This helped ensure that the snow in the various shots looked consistent. () Eden's Fred Pincus was another visual effects artist who worked on representing the Rigel X complex in "Broken Bow", an assignment he particularly enjoyed doing. ()
In a scene that was scripted for the end of (and included in the ENT Season 4 Blu-ray) but never filmed, Rigel X was briefly mentioned, as one of several small rocks which Archer left at his father's grave had been taken by the captain from Rigel X. In the same scene, Archer commented as if to his deceased father, "The entire planet's a frozen wasteland. You would've hated it."
For "These Are the Voyages...", only a section of the trading complex was rebuilt, on Paramount Stage 9. ( text commentary, ENT Season 4 DVD)
According to Star Trek: Star Charts (p. 52), Rigel X was located in the Beta Rigel system, between the Sol system and Qo'noS, not around the "true" star Rigel, which in the real world is located significantly further away from Earth. This would solve a problem in the episode , wherein it is stated that 90 light years was the farthest away from Earth any Human had ever gone up to that point. Rigel X (Beta Rigel X) was classified as a P class planet. The planet was a member planet of both the and the United Federation of Planets. Rigel X was admitted, along with the United Rigel Colonies, to the Federation in 2202. The capital city was the Rigel Trade Complex. The dominant species were the humanoid Rigellians; however, there were many other species living on the planet. In 2378, there were 35.9 million people living on Rigel X.
External link
de:Rigel X
es:Rigel X
ja:ベータ・ライジェル10号星
nl:Rigel X
Rigel 10
Colonies
|
3710
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
1979
|
Events
Voyager 1 and Voyager 2 explore the Jovian system and provide the first hints that Europa might have liquid water under its icy surface. ()
September 1: After traveling 6.2 billion kilometers, Pioneer 11 reaches the giant planet Saturn. This probe is the first Human spacecraft to visit this world. ()
External link
de:1979
es:1979
fr:1979
it:1979
nl:1979
sv:1979
|
3711
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
1973
|
Events
Pioneer 11 is launched from Earth. ()
Notes
The Exorcist is released. ()
Betty Grable dies. ()
Veronica Lake dies. ()
Mission: Impossible ends its seven-year run on television. ()
External link
de:1973
es:1973
fr:1973
it:1973
nl:1973
sv:1973
|
3712
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
1983
|
Events
External link
de:1983
fr:1983
it:1983
nl:1983
sv:1983
|
3714
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2103
|
Events
The first Human colony on the planet Mars is established, marking the birth of the Martian colonies. ()
External link
bg:2103
de:2103
fr:2103
it:2103
nl:2103
sv:2103
|
3715
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
Surak (shuttlecraft)
|
The Surak (VS-5047-61192259584-5) was a Federation-registered long range shuttle that was in service in the late 23rd century.
In the mid-2270s, the Surak transported Commander Spock from to a rendezvous with the . At the time of the rendezvous, the Enterprise was on a mission to intercept V'ger. ()
External link
de:Surak (VS 5047 61192259584-5)
it:Surak (navetta)
Federation shuttles
|
3716
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
ECS Horizon
|
The ECS Horizon was a freighter commissioned in 2102 in the Earth Cargo Service under the command of Paul Mayweather.
History
In 2126, Travis Mayweather was born aboard the Horizon halfway between Draylax and Vega colony. ()
In 2141, the Horizon encountered a Deltan ship. Travis Mayweather, who was fifteen at the time, described the group of Deltans as "very attractive" and "very open". () The Horizon once came under attack by Nausicaan pirates; it barely escaped in one piece. ()
In January of 2153, the Horizon was attacked by the same pirates that attacked the many weeks prior. Mayweather managed to upgrade the ship's plasma cannons by connecting them directly to the ship's impulse engines. This, combined with his expert piloting skills, allowed the Horizon to withstand the attack. ()
Among the planets visited by the ECS Horizon were:
Earth
Draylax
Both of the Teneebian moons
Trillius Prime
Vega colony
Command crew
Commanding officer
Mayweather (– ca. 2152)
Paul Mayweather (ca. 2152 –)
Chief engineer
Rianna Mayweather, also medic
Helmsman
Charlie Nichols (2150s)
See also: ECS Horizon personnel
Appendices
Background information
The Horizon made only a single appearance, in . In the final draft script of that episode, the craft was described as "space-worn," as of 2153. The ship was rendered as a CGI model, designed by John Eaves and built by Brandon MacDougall at Eden FX.
The assignment patch for the Horizon was created by Anthony Fredrickson, a design task provided to him by Michael Okuda. "Because this was the Horizon, I did a star dropping behind the horizon and an old-time sailing ship with a star glowing at the top of its mast," Fredrickson recalled. ()
According to the final draft script of (dated ), the Horizon made a two light year journey from Andoria to a planet called Bylaran Prime. In a revised final draft of the episode's script (dated ), Horizons starting point in this trip was renamed to a newly invented planet called Lavinius. The scene in which the ship was referred to as having undertaken its voyage between Lavinius and Bylaran Prime was filmed but then deleted. The deleted scene can be found on ENT Season 1 DVD.
Apocrypha
According to the Pocket ENT novel , the ECS Horizon was the starship Horizon that visited Sigma Iotia II, as mentioned in . The fate of the Horizon was unclear; by the end of the book, it was deemed missing and presumed destroyed by Romulan action. This connection to the Original Series episode was also suggested by the set decoration of the ship in "Horizon", as a hard-bound copy of a book beginning with the title Chicago Gangs can be briefly glimpsed on a bookshelf in Travis' quarters aboard the ship.
External link
de:ECS Horizon
es:ECS Horizon
fr:ECS Horizon
nl:ECS Horizon
Horizon, ECS
|
3717
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
ECS Constellation
|
The ECS Constellation was an Earth freighter that was in service with the Earth Cargo Service in the mid-22nd century.
In 2153, the Constellation was attacked by a pirate vessel. The pirates boarded the ship and killed three crew members. The Constellation relayed the information to other Earth Cargo Service vessels, among them the . The Constellation was lightly armed with two plasma turrets. ()
de:ECS Constellation
fr:ECS Constellation
ja:ECSコンステレーション
Constellation
|
3718
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
ECS North Star
|
The ECS North Star was a Earth Cargo Service freighter that was in service in the mid-22nd century.
Prior to 2151, the North Star became well-known, at least among the boomer community, for its involvement in a disaster. Matthew Ryan and his parents served aboard the ECS North Star; they were killed in the event, and Ryan was one of the few survivors. Subsequently, Ryan transferred to the . ()
Personnel
ECS North Star personnel
Appendices
Background information
In the first draft script of "Fortunate Son", this vessel had the name the "Gallant" and was established as the first posting of Keene. However, as in the final version of the episode, the craft was referred to as having also included Ryan's parents among its crew and having been disastrously "lost."
According to Star Trek: Star Charts (p. 45) and Stellar Cartography: The Starfleet Reference Library ("Federation Historical Highlights, 2161-2385"), the ECS North Star was lost in 2147.
External link
de:ECS North Star
es:ECS North Star
nl:ECS North Star
North Star
|
3724
|
http://s3.amazonaws.com/wikia_xml_dumps/e/en/enmemoryalpha_pages_current.xml.7z
|
2102
|
Events
The , an Earth J-class cargo starship, is commissioned. ()
The Earth survey ship is launched for deep space exploration. ()
Soval fires a weapon for the last time until 2152. ()
begins serving as an advocate within the Klingon Empire. ()
External link
bg:2102
de:2102
fr:2102
it:2102
nl:2102
sv:2102
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.