DS9 Stories/News: Star Trek: Deep Space Nine – Crossroads of Time (Genesis/Mega Drive) (4)

Oh right, I forgot about this bit. I have go systematically speak to every NPC on the station until one of them says something useful, then go do it all over again until one of them finally lets me go on a mission.

LATER.

Are you the one I’m supposed to be talking to now? No? Right, okay, moving on.

LATER.

AAAAAGGGGHHHH, this is driving me crazy!

EVENTUALLY…

Finally they let me have a little more gameplay! This time I’m flying a spaceship through a wormhole. I’m tasked with flying up, and sometimes down, to avoid hitting the… glowy strands of blue.

I’m sure this doesn’t actually go on for two hours, but that’s what it felt like.

Then I get to do five minutes of shooting against some asteroids and some poor ship that doesn’t fire back, and it’s back to the station.

And then it’s back to running around. Talking to every damn NPC. Again.

I know it’s a Star Trek game and everything, but I really wouldn’t have minded if there was less talking and more gameplay. Don’t get me wrong, if (for instance) Bethesda had actually made that Star Trek RPG they were thinking about before deciding they loved Fallout more I’d be all for talking to those NPCs. But this is just annoying.

LATER.

Level three at last!

I’m free, I’m finally free! Free to jump around these shitty looking wooden beams covered in thorns and evil fruit that jumps off and tries to kill me!

Oh fuck it, I’m just going to walk.

And then three steps later I fall down an invisible underwater pit and instantly die.

They’re putting me all the way back here again? Seriously? You know, if I’d started back at the beginning of the wooden beam planet I probably would have kept playing, but there’s no way I’m going through this NPC scavenger hunt again.

And then they never made another Star Trek platformer again. I hope.

Next game!

http://superadventuresingaming.blogspot.com/2011/12/star-trek-deep-space-nine-crossroads-of.html

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: Star Trek: Deep Space Nine – Leeta’s Love Life

Source: http://thehathorlegacy.com/star-trek-deep-space-nine-%E2%80%93-leeta%E2%80%99s-love-life/

by Revena on September 14, 2006

I want to continue with my series about the female characters of Star Trek: Deep Space Nine (see the previous article, “Jadzia’s Gender,” here) without too much of a gap between articles, but, of course, I’ve been insanely busy for the last few weeks, and haven’t had any time to do the prep work for another article, much less write one.

So I’m gonna cheat a little bit, and write about Leeta (played by Chase Masterson). This is easy, because while I think Leeta is great (there are not many DS9 characters that I wouldn’t describe as great, really), she does get a lot less screen time than most of the other female characters, and what I want to say about her is comparatively easy to express. It goes a little something like this:

Leeta is sexy. She is played by a lovely actress, she is usually dressed in low-cut and/or tight-fitting costumes, and her job is linked to her sexuality – she’s a dabo girl at Quark’s. Leeta is also sexual. In her first appearance on the show (in the third season episode “Explorers”), she flirts quite openly with Dr. Julian Bashir, whom she later dates. The two eventually break up, without acrimony, on Risa, where Leeta is shown enjoying a sensual encounter with another man (“Let He Who is Without Sin”¦” in season five).

Sexuality isn’t the only thing Leeta’s got going for her – she has a strong sense of justice (she becomes quite involved in the formation of the Guild of Restaurant and Casino Employees), she is friendly and seems to have many platonic relationships, and though she can be a bit flighty, she’s no dummy.

But her sexual energy is definitely one of her most marked traits. And even though that’s the case, Leeta winds up with one of the happiest endings on the show by the end of the series. She hasn’t had any traumatic injuries, and her emotional trauma is no worse than that which affects any other character (Leeta loses friends to violence, but so does everyone else on DS9). She’s fallen in love, had that love returned, and gotten married. She gets along well with her new husband’s family. And, in the second-to-last episode of the series, that husband is named Grand Nagus of the Ferengi Alliance. Leeta gets love, health, and a husband who is politically powerful (and, presumably, a comfortable living as well).

How many other sexy, sexual female characters can you think of on television that end up so well? The sexy woman is usually the victim, or at least the recipient of some shaming or punishment from other characters on the show. She needs to be taught a lesson, made to pay, reformed, exposed as the slut she is – or else her sexiness needs to be linked somehow to a violent death or assault, in the constant sexualization of violence that we consumers and producers of Western media are so invested in.

There certainly are other female characters who are as flirty and as sensual as Leeta, and who wind up with happy endings anyway – but not many. As a person who doesn’t believe that there’s anything wrong with healthy expressions of adult sexuality, I’ll take all the Leetas on TV that I can get.

DS9 Stories/News: The Magic Of Star Trek Deep Space Nine: Joint Trill and the Higher Self

Source: http://bajorron.blogspot.com/2012/02/magic-of-star-trek-deep-space-nine_15.html

Jadzia, meeting her “shadow self” in “Equilibrium”

One of the more fascinating races in Star Trek: Deep Space Nine are the Trill, a species of humanoids who share existence consciousness with a slug-like creature called a symbiont. Throughout the series, the psychology of such an existence is explored quite thoroughly, as several episodes are devoted exclusively to the special problems and challenges Trill science officer Jadzia (eminently portrayed by Terry Farrell) faces due to her ‘joining’ (as is the term) to a symbiont called “Dax”. These symbionts live on after the “host” dies, we are told, and Jadzia is just the latest in a series of joinings of the same symbiont to previous hosts.

So what is the exact relationship between symbiont and “host”? Early in the series it is established that for all practical purposes, Jadzia is a separate personality from all the previous hosts, and that due to the joining, a unique personality is established by a merging of host and symbiont. Yet, this is the outside world view, as Jadzia herself adopts a very different attitude and, in the episode “Dax”, seems to hold herself responsible for the alleged sins of her predecessor, Curzon. And later in the series, in “Blood Oath” she does exactly the same when upholding a Klingon blood oath that Curzon swore but that she herself feels obliged to fulfill.

Jadzia seems very much in touch with her ‘previous lifes’, especially with Curzon, as she is often quoting him and his wiles, sometimes ad nauseam. In one episode, “Equilibrium”, she even encounters a previously unknown host, Joran Belar, who turned out to be an unsuccessfull host and whose joining had been suppressed both by the Dax symbiont itself as well as by the Trill officials.

Jadzia Dax (Terry Farrell)

This all seems to point towards an existence in which a personality is brought into intimate contact with a -more or less- immortal and ‘higher’ mentality. The symbiont seems to fulfill the role of the Higher Self, the Individuality, while the various hosts deliver the Lower Selfs, the Personalities, the mortal “incarnations” that throughout the ages allow the symbiont to discover Itself. The actual act of the Joining -which is shown in the episode “Invasive Procedures”- then becomes an initiation, in which the Higher and Lower Selves are connected to each other. In that particular episode, the actual moment of contact between host and symbiont is shown as an extatic moment of enlightenment. In fact, the candidates selected for joining are referred to as “Trill Initiates”. Those initiates have followed a rigorous regimen of training and study and are subjected to numerous tests in order to determine capacity for joining.

After the joining, the newly joined Trill need some time to establish and equilibrate their new existence. We witness this in Deep Space Nine’s final season when Ezri, Jadzia’s successor, needs to come to terms with her symbiont while being stationed at DS9 in the thick of the Dominion War.

What emerges is a new and stronger, and more balanced personality. Eventual character flaws are smoothed over, so we see the single-mindedness of Jadzia turn into the warm and versatile Jadzia Dax, and the insecure Ezri into an effective officer. The symbiont cannot be moved without killing the host; an interesting reference to the irreversible nature of initiation: one cannot undo it, it is a Rite of Passage.

I cannot help seeing this as depicting the initiation pathway that -in fact- aims at re-establishing the same kind of inner cooperation between the two aspects of our soul: the Higher and Lower Selves. The severe and sometimes tedious preparations, the tests, the discipline and dedication of the Trill candidates: it is all too familiar. Now, of course, the analogy is not exact, but enough parallels may be discovered to trigger a lasting interest in the development of the Dax character. More on this subject in due time!

The Trill Homeworld

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

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..?

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

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

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.