Holy schedule slip, Batman!Wow, so I've missed two scheduled updates. January and February are the busy season at my job, so I'll just chalk it up to a frenetic work schedule. Yeah. Anyway, since I'm making up for lost time, this will be two-and-a-half posts in one, taking us from Issue #7 through Issue #10 and including the first special issue, Deep Space Nine. Allons-y!
Issue #7, K't'inga-class battlecruiser
As with previous issues, the magazine opens with some in-universe information about the ship. There's a two-page spread about the "master systems display," that features some neat artwork. The really interesting parts, though, are still the "Designing the Ship" and "Filming the Ship" features.
"Designing..." talks about how the original model started out as a D7-class, intended for use in the Star Trek: Phase II series that never materialized. When the project was changed to a feature film, what would become Star Trek: The Motion Picture, the model had to be extensively modified with additional texture and surface details in order to look convincing on the big screen. There's also some early concept art showing the ship with a spherical forward hull; I'm kind of glad they didn't go in that direction. "Designing..." also has a little bit about the design of the bridge set, including special effects supervisor Douglas Trumbull's direction that it should like "an enemy submarine in World War II that's been out at sea too long."
"Filming..." is only a single page this time, focusing on the scene in Star Trek: The Motion Picture where three K't'inga-class ships encounter V'Ger. There are quite a few interesting details, such as the sole model being redressed and reshot to look like three different ships, and the use of a laser and a Tesla coil to create the "digitization" effect as V'Ger destroys the Klingon ships.
Continuing Eaglemoss' excellent track record, the model is lovely. Highly detailed, with a slight metallic sheen, it looks very nice sitting on my desk. The stand is also a step up from the last shipment, particularly the Romulan Warbird's. The "fingers" are long enough to keep the model secure, but unfortunately it does not fit as snugly into the base as I would like. Oh, well.
Issue #8, U.S.S. Excelsior NCC-2000
I really, really like the design of the Excelsior. It's very sleek, with a clear Art Deco inspiration, and I think it's the best-looking Starfleet ship.
"Designing the Ship" in this issue is very interesting, showing several study models that were constructed to explore different directions the design might take. They all have the basic primary-secondary-nacelles structure of other Starfleet designs, but otherwise are radically different from the Enterprise. I always find this kind of behind-the-scenes insight fascinating, showing the thought process and the evolution of a production design.
"Filming the Ship" talks mainly about the construction of the 7'6" studio model for Star Trek III, and its subsequent modification to play other ships of the same class in later films and series, including the Hood, the Melbourne, the Enterprise-B, and the Lakota.
As with the Issue#1 Enterprise model, the Excelsior's saucer section is very slightly off kilter relative to the secondary hull. Apart from that, however, the model is gorgeous, with lots of surface detail and a great paint job. The stand is also well-designed, clipping onto the saucer and holding the model pretty securely. On a side note, I really need to look into getting a proper camera. It took me several tries to get that last perspective shot clearly on my phone.
Special Issue #1, Deep Space Nine
I was a big fan of the series, Star Trek: Deep Space Nine, so I'm very glad to see that Eaglemoss chose that station as the subject of their first special issue. I find trilateral symmetry very pleasing, and overall I just think it's a really neat design.
"Designing the Station" incorporates some very interesting early concept art, including an oil-derrick-like model that was ultimately rejected, and several iterations of the circular plan that eventually made it onto the screen. Gyroscopes and atoms, with their circling electrons, are cited as inspirations. There's also a little bit about producer Rick Berman's insistence that the design not be derivative of other Star Trek series, and also that it be instantly recognizable while also not being mistaken for anything else.
This model doesn't come with a stand, but I don't really mind as it stands up quite well on its own. At roughly six inches in diameter, it matches well with the length of the ship models, but its circular design and height make it quite a bit larger. It's well made, well painted, and beautifully detailed, and I think makes a great addition to the collection.
Issue #9, U.S.S. Defiant NX-74205
The Defiant represented a sharp departure, both in-universe for Starfleet, and for Star Trek. In a property that had always been about peaceful exploration, Starfleet's first purpose-built warship signaled a definite change in direction.
Again, "Designing the Ship" has lots of good stuff. There are several very interesting pieces of concept art, showing the Defiant's evolution from beefed-up runabout to a sleeker design that had originally been meant for a Maquis fighter. Modeller Tony Meininger also drew inspiration from sports cars, based on visual effects supervisor Gary Hutzel's admonition that, "it has to look fast." Illustrator Jim Martin cites the Defiant as his favorite thing to draw for the show.
"Filming the Ship" is a one-page article with an accompanying page of photos, and is pretty dry in this issue. It reiterates some of the information from "Designing..." and talks mainly about the various iterations of both the physical and, later on, CG models of the Defiant.
There is also a small inset about the Defiant's cloaking device and the Romulan officer who was supposed to oversee its operation, one Subcommander T'Rul. She was killed off in either her first or second episode and never replaced, and I've always thought that represented a missed opportunity for the show.
While the model is very well constructed overall, I have to mention that the nose is a separate piece from the hull, and its attachment is a little wobbly. Still, the model did slide off my desk and hit the floor with no visible damage suffered, so I guess it's all right. Apart from that, the level of detail and the quality of the paintwork continue to be more than satisfactory.
Issue #10, Borg Sphere
While the Borg unquestionably suffered quite a bit of villain decay, they remain conceptually my favorite Star Trek antagonists. I'm not fond of their strawman brand of transhumanism, but they do represent a very different flavor of antagonism from the Klingons, Romulans, and other human-like aliens. The Borg make the Star Trek universe feel bigger, and stranger, and in my mind that's almost always a good thing.
Issue #10 departs from the normal format by including an interesting, and horrifying, piece on the process of assimilation. Limbs are sliced off, and eyes and other organs removed and replaced with prosthetics, all while the victim is conscious and aware. I don't think the horror of this was emphasized nearly enough in any of the Borg appearances in the series or movies. It would have gone a long way toward maintaining the Borg's credibility as a threat.
"Designing the Ship" is very brief, about a third of a page of text with accompanying images. It talks about how the irregular, patchwork surface of the ship is meant to suggest that newly assimilated technologies are constantly being added to it, and how one of the main design directives was that the ship had to be distinct from the Death Star.
Taking the place of the "Filming the Ship" article is "Designing the Borg Queen." I'm going to be honest, here: I don't care at all for the Queen, conceptually. I think she's a major component of the Borg villain decay; putting a face on what had been a faceless, impersonal entity actually makes it considerably less threatening, in my opinion.
Having said that, the article about the design process is quite interesting, discussing both the development of the actual character design as well as her entrance in Star Trek: First Contact. Jonathan Frakes, who directed, considered her assembly the "signature visual effect" for the film.
I'm of two minds about the model, frankly. While the production quality remains high, the lack of a defined fore and aft (or, for that matter, a defined top and bottom) mean that the Sphere just isn't as visually interesting as the other models so far. My reaction to this one is a solid, "Meh."
In the next post: Issue #11, U.S.S. Reliant, and Issue #12, U.S.S. Thunderchild.