DS9 Stories/News: Bajoran Life Part (4)

Bajorans are a humanoid race from the planet Bajor. Bajorans are a very spiritual people, and their history has produced many great architects, artists, builders and philosophers.

Bajoran civilization has existed for over a half-million years. A contemplative and spiritual people, the early Bajorans saw little need in reaching to the stars. It is known, however, that the Bajoran people held limited interstellar abilities via primitive solar sail space craft.

Site: http://www.ussgalaxy.net/database/species/members/bajoran.htm

Bajoran culture declined greatly during the Cardassian Occupation, from 2328 to 2369 (was formally annexed in 2339), during which time the Cardassian Union dominated the Bajoran people. 10 million Bajorans were killed, but despite the brutality of the government implemented massacres, freedom fighters in the mountains of Bajor never ceased their struggle for independence. The Cardassians made heavy use of forced labor camps and attempted to strip the Bajorans of their cultural identity. Cardassian strip mining of Bajor lead to planet-wide ecological devastation. It was the Cardassian Occupation of Bajor that forced the Bajoran people to throw off their strict caste based culture and actively fight against their oppressors. They have only recently been allowed to rebuild their culture.

The Bajoran people successfully repelled the Cardassians from their world in 2369 and a provisional government was established. The United Federation of Planets was called upon to provide assistance during this time of chaos and turbulence. The Federation assumed control of the abandoned Cardassian mining station Terok Nor (which the Federation renamed Deep Space Nine) and acted as a deterrent to future Cardassian reprisals against the Bajoran people.

The discovery of the Bajoran wormhole (which the Bajorans called the “Celestial Temple”) made Bajor a site of scientific importance. Later, Bajor became a strategically important location when the Dominion began their invasion of the Alpha Quadrant.

Bajorans developed an intolerance of Cardassians due to the recent Cardassian occupation of Bajor. The Bajoran sense of spirituality is so strong that they have developed a very strong will due to their faith. Most Bajorans have studied their religion fairly extensively. Also, most Bajorans with a highly-developed faith are also devoted to the rebuilding of their world.

Bajor

The entire planet, or at least its largest continent, is known by geographic areas such as the Northwestern District, Northeastern District, etc. Those in turn, are divided into provinces such as Tozhat, Dahkur and Hedrickspool, each having its own administrative centre and council of Vedeks but both as subservient to the Capitol. The planet is larger than Terra and so its gravity is about 1.4g. A classical model of a Class M system, the planet has a number of large oceans breaking up the land mass, the water is said by many to be unusually green, probably due to a high concentration of microscopic plant life. The weather on Bajor is tropical over most of the planet, with periods of storms during certain seasons of the year. There are a number of desert areas, although most of the barren wasteland left by Cardassian mining has been reclaimed.

A massive system of aqueducts over the land mass provides both irrigation and an established transit system. Transport centres in major urban settlements often combine water and air transport, to the amusement of many off-world visitors.

The Capitol City is the center of Government, Military and Religion on Bajor. Most of the other settlements have now been fully rebuilt after the destruction of the Cardassian Withdrawal. There are few other large cities as Bajorans prefer small communities to large Urban sprawl.

DS9 Stories/News: Cardassian Names (1)

Site: http://www.pfrpg.org/ce/names.htm

A

Akleen,Tret – male – Putative founder of modern Cardassia. Akleen Sector on Cardassia Prime was named after him. A Stitch in Time

Ari – Male –

Ari was a Cardassian soldier serving on Cardassia in 2371. He was an aide or other form of associate to Legate Tekeny Ghemor, and a member of Cardassia’s dissident movement opposing the seemingly limitless authority of the Central Command and the Obsidian Order. Fiercely loyal to Legate Ghemor, he was killed by Entek, an Obsidian Order operative attempting to expose Ghemor as a traitor and while trying to help Kira Nerys escape from Cardassia Prime. DS9: Second Skin

Asha – Female

Asha was a Cardassian war orphan abandoned on Bajor after the occupation of Bajor. When Doctor Julian Bashir and Garak came to the center where Asha lived looking for some files, Asha politely asked if Garak had come to take her and the other children home. (DS9: “Cardassians”)

DS9 Stories/News: Star Trek: Deep Space Nine – Crossroads of Time (Genesis/Mega Drive) (3)

Shit! I’m not liking this inventory. I have to hold down the A button to bring it up and assign an item to my hand, and tap it to switch between assigned items. There’s two problems with this:

  1. I can’t quick draw my phaser and gun down my enemies if I’ve forgotten to assign it to a hand.
  2. I have to hold down A to use the lifts too. So half the time when I’m trying to move a lift around, I end up bringing my items up instead. And I can’t make a quick escape when my inventory screen’s open.

And every time I get killed I’m thrown back to the password screen and have to reassign my items.

Seven seconds left. Damn, I’m really cutting it close on some of these grenades. Plus I’ll probably have to spend three seconds trying to line him up with the ejection tube correctly so he’ll flush the thing.

Still, I’m just glad I found the damn tube for once. Half the time I end up totally lost and get blown up by the bomb in my hand.

On the next section they start throwing these tricorder jammers in too. I can’t tell where nearby bombs are on my radar until I find and break the jammers.

Yeah, the inventory popping up when I’m on a lift isn’t getting any less annoying. I’ve got a time limit here!

Okay I admit, it’s my fault. If I was properly centered on the lift the menu wouldn’t come up. But I don’t have time to properly center myself on every lift, I’ve got a time limit here!

I’ve finally reached the third section of the level, and it’s getting very Prince of Persia now. There’s no lift to ride here, so I have to jump from ledge to ledge to reach the bombs. Then back down again to flush them.

And every time I miss a ledge and fall I’m put all the way back at the start of the level again. Crap.

A FEW DEATHS LATER.

I don’t actually mind jumping between a maze of ledges over a fatal drop. I don’t even mind the time limit. The thing that’s really starting to annoy me though, is that I have to replay this huge level every time I fuck up. That’s two entire sections of bomb disposal I have to repeat, over and over and over.

I should probably quit now, but I can’t help being implausibly curious about what’s on the next level. It can’t all be bomb disposal to the end, right?

TWO AND A HALF SECTIONS OF BOMB DISPOSAL LATER.

Okay, made a jump. So far so good. I’ll have to keep throwing myself at ledges like this until I find the next bomb, and even a single missed jump is likely to get Sisko killed.

And then when I find the bomb I’ve got seconds to jump all the way back down again.

The SNES version’s still pretty similar, and no less annoying. Well I guess it doesn’t have the inventory/lift button problem, so it has that going for it.

The hero sprite seems a bit invisible in these shots, but he shows up pretty well in game thanks to the parallax scrolling background. These lift rails look way too much like platforms I can stand on though.

THREE MILLION MISSED JUMPS LATER.

I… don’t believe I actually did it. Hah!

Level complete and I NEVER HAVE TO DO IT AGAIN.

BUT THEN…

DS9 Stories/News: Of Trek and War (1)

Source: http://www.goth.net/forums/viewtopic.php?t=14138&f=20

This is based on an idea from DarklyInclined, who was wondering how I might rate the rather protracted Dominion War featured in Star Trek: Deep Space Nine versus the one-season Xindi conflict (a subset of the much larger Temporal Cold War) as shown in Star Trek: Enterprise. I thought I’d also open the topic up to other wars in Trek, since those two weren’t quite the only wars shown in all of the series.

This will be a lengthy post. I’ve been working on it for a while now. I tend to write essays instead of simple replies; apologies in advance. Non-Trekkies who don’t really give a shit might want to head for another thread. For those Trekkies not well-versed in the subject matter, I will include links to pertinent data where applicable. Those who do choose read this, please bear with me.

You could make it more fun by taking a shot of your favorite alcoholic beverage anytime I bash Rick Berman & Brannon Braga (two of Trek’s longtime writers/producers, both of whom were blamed for Star Trek’s demise and the early cancellation of Enterprise, if not the near-total downfall of UPN itself) or anytime I mention Ronald D. Moore and Ira Steven Behr (two longtime Trek scribes who later moved on to Battlestar Galactica on SyFy) in a positive light. You’ll be happily plastered by post’s end.

Which did you think was done best: the Dominion War from DS9 or the Xindi conflict from Enterprise (or a different conflict featured in one of the other series, like the Klingon/Federation Cold War from TOS or the brief war against the Klingons in DS9 that served as a prelude to the Dominion War)?

Or, for a much more broad, open-ended question (if it suits you): do you think Star Trek handles a mature subject such as war well or poorly?

Dominion War

Dominion War

If you really don’t care about my lengthy diatribe on the Dominion War vs. the Xindi conflict (maybe because you didn’t live your entire life in your parents’ basement and you actually did have a social life), just skip past this and post your response already. Otherwise, feel free to keep reading.

Eh..?

Eh..?

I’ll open the discussion with my response…

I think Deep Space Nine handled the Dominion War fairly well. They didn’t just rush into it head-on. The writers gave it a great build-up, slowly tip-toeing into it, mentioning the Dominion here and there throughout Season Two (the Dominion were first mentioned in “Rules of Acquisition“, a Ferengi episode, no less!) before introducing us to their foot soldiers, the genetically-grown Jem’Hadar, in the Season 2 finale. Even after that, the Dominion didn’t quite take center stage yet, opting instead for a Cold War against the Alpha Quadrant powers, during which they covertly started two wars involving the Klingons – a war between the Klingons and the Cardassians (which the Maquis would get involved in) and renewed hostilities between the Klingons and the Federation. After destabilizing the Alpha Quadrant’s major powers, the Dominion finally invaded. Brilliant tactic! By then, the Federation was so shell-shocked from having to deal with wars on all borders (save the Romulan Neutral Zone) that they barely had the resources to fight the Dominion, a nigh-unstoppable force compared to the Federation.

Jem'Hadar

Jem’Hadar

The Dominion seemed militarily superior in all respects: non-stop construction of warships while the Federation was still trying to convert aging exploration vessels into battleships; they could grow Jem’Hadar at an exponential rate (and even tailor-make them for warfare in that part of the galaxy) while Starfleet couldn’t recruit new officers fast enough; the Dominion were united while Starfleet was divided between the pacifists and the war-mongers (usually represented by a shadowy “rogue” group of Starfleet Intelligence called Section 31, a sort of Starfleet “Men in Black” that utilized very dirty tactics like assassinations, cover-ups and even genocide to preserve the Federation; this was the series’ attempt at exploring a darker side of Starfleet that I, for one, appreciated). Good mix of drama, tension and action all around, plus it was an interesting examination of the Federation through darker lenses than we’re used to.

Section 31

Section 31

While Deep Space Nine’s executive producer, Rick Berman (Roddenberry’s hand-picked successor), wanted the Dominion War to last only three or four episodes tops, DS9′s lead writers – Ira Steven Behr and Ronald D. Moore (themselves chosen by Berman for their outstanding work on The Next Generation and Deep Space Nine, both of whom would later helm the Battlestar Galactica reboot and create its prequel series Caprica) – conned him into allowing the Dominion War to play out until its “natural” end, which came during the final episode of the series. Say what you will about the Dominion War as a storyline and how it diverges from Roddenberry’s utopian vision of the future or about Deep Space Nine as a series, I think the Dominion War worked successfully (mostly), given its purpose as a method of deconstructing Roddenberry’s notions of the Federation as a utopian society. Ira Steven Behr re-imagined Deep Space Nine as a darker, grittier version of Roddenberry’s vision, and given how the series was written before that (set aboard a Cardassian space station by Michael Pillar – the brain behind some of the best TNG episodes ever, including “The Best of Both Worlds” – who imagined the series as a “frontier town in space” filled with broken individuals, former terrorist “freedom fighters”, orphaned aliens and unscrupulous bartender/merchants), the series worked well as such. The Dominion War, while I admit it was rather protracted (and ultimately weakened the hell out of Season 7, when the writers had to figure out a quick way to end the war in only one season after building the story arc to be a lengthy epic), worked overall as the ultimate test of Roddenberry’s dream.

When such a dream – the notion of humankind striving to better itself through peace and cooperation – is threatened by outside forces, what will humanity endure to protect it? The approach to this was very realistic, from the major portions of the story (“Operation Return“, the re-taking of DS9 after it was taken over by the Dominion) to the humdrum day-to-day stuff (Sisko’s grim ritual of posting casualty reports from the war every Friday). Ultimately, the war took a bitter toll on everyone involved, especially Captain Sisko; he would later commit acts that many Trek fans consider cardinal sins against Roddenberry’s lofty ideals – specifically helping a former Cardassian spy murder a Romulan senator in cold blood and blame the Dominion for it in the masterpiece episode “In the Pale Moonlight” – just to bring a quicker resolution to the war by bringing the Romulans into it. By the series’ end, the Federation is saved, and all the major goals of the series – bringing an end to the Cardassian threat and putting Bajor on the fast-track to membership in the Federation – have been met, along with the added bonus of creating a tentative peace between the Federation, the Klingons and the Romulans. Additionally, Ira Steven Behr was able to inject a bit of Judaism into the story through the Bajorans and their Emissary (messiah figure), Benjamin Sisko, whose story arc Behr based loosely on Moses.

DS9 Stories/News: Designing Deep Space Nine’s Interiors

BY  ON JULY 10, 2007 5:01 PM ON DEEP SPACE NINE

In designing the Cardassian architecture for the interiors of Deep Space Nine, production designer Herman Zimmerman was inspired by the look already established on The Next Generation. Unfortunately, this was limited, as the interior of the Carassian ships had never been seen. So Zimmerman drew primarily from Robert Blackman’s design for Cardassian costuming; an armored look, somewhat crustacean in appearance. Part of the theory was that the Cardassians were big on structure and if Cardassians felt structure was of vital importance, they would keep it on the outside. Zimmerman visualized a space station of which the basic framework was not concealed but where all supports and structures were clearly visible.

Quark's bar concept art by Ricordo Delgado

Quark’s bar concept art by Ricordo Delgado

Zimmerman elaborated on his idea of Cardassian design. “The Cardassian mind prefers balance to symmetry, ellipses to circles, angles to straight lines and hard metallic surfaces and dark colors. They don’t like ninety degree angles. Cardassians believe in honesty in design and want to see the columns and beams that make up a structure rather than disguising them with some cosmetic treatment.”

Ops Concept Art

Ops Concept Art

Working with Zimmerman’s basic concept, Nathan Cowley and Joe Hodges melded the desired crustacean look with the heavy handed impressiveness of fascist architecture for the show’s sets. As finally realized, the sets are quite imposing, but still maintain their own unique appeal; a strangely alien sort of streamlining.

As the Cardassians are very militaristic, their operations center was placed by Zimmerman in such a fashion that the commander’s office can look down on it and see everything that is going on. There are literally windows everywhere in the office, so that the Cardassian commander would have had no blind spots whatsoever.

Ops Concept Art

Ops Concept Art

Another part of Zimmerman’s design concept was that the sets and devices on the Cardassian made station were not as user friendly as those on the Enterprise. Perhaps most notable are the automatic doors on Deep Space Nine — large, round and cog-wheeled, the doors roll nosily out of the way and then roll ominously shut. One gets the feeling that, while the smooth, almost soundless doors on board the Enterprise would not, and almost certainly could not, close on you, it seems likely that Cardassian safety features were not so rigorous and that being caught in the way of one of these portals would really hurt.

An artist who contributed heavily to the look of Deep Space Nine was Ricardo Delgado, an illustrator who designed and storyboarded the opening title sequence for the series and designed many of the essential but unobstructive background details of many of the sets. Much of the Promenade was Delgado’s creation, from alien plants to shop designs. The Promenade underwent a heavy facelift after the show’s first season. “We wanted more bustle,” said Rick Berman. “[In the first season] we had all these well dressed Bajoran women browsing around the station as if they beamed up for a little afternoon shopping.” For season two, they made “it look more like the part of town where sailors hang out; less like Beverly Center and more like a remote outpost in space.”

Promenade Concept Art

Promenade Concept Art

Promenade Concept Art

Promenade Concept Art