#oneaday Day 127: What You Leave Behind

Well, I’ve done it. I’ve made it through all of Star Trek: Deep Space Nine at last, and I’m pleased to report that it was fantastic. A consistently excellent show from start to finish, and a real demonstration of why ’90s Trek is so fondly regarded to this day.

I should probably add at this point that there may be spoilers ahead. I have somehow managed to go this long without having any of the latter part of Deep Space Nine (which I hadn’t seen prior to this watchthrough) being spoiled to me, so on the offchance there’s anyone in the world still left in that position, I thought I’d give you due warning. After this image of Doctor Bashir and Garak smouldering with unresolved sexual tension, anything goes discussion-wise.

One of the things I’ve always liked about Star Trek is that it strikes a good balance between being convincingly “sciencey” and having quasi-mystical elements. That’s the kind of sci-fi I like: where there’s a high level of technology and cool spaceships, but also where there’s still stuff that science can’t quite explain, or which feels like it drifts somewhat into the realm of fantasy. As someone who enjoys nothing more than an RPG where you kill God (or equivalent) at the end, I always have time for pseudo-mystical fantasy, even in a sci-fi setting; in fact, I tend to find that particularly “hard” sci-fi — that is to say, sci-fi that paints an overly practical, “realistic” image of the future without any overtly fantastical stuff, is a bit of a turn-off.

Deep Space Nine had this right from its very first episode, where leading character Ben Sisko encounters “The Prophets”, aka the noncorporeal entities that live outside of linear time inside the Bajoran wormhole. And this element runs as a constant thread through the entire series, right up until its climactic confrontation, placing Ben Sisko, Emissary of the Prophets, up against his most fearsome foe: the Emissary of the Pah-wraiths, who, of course, turns out to be Gul Dukat.

Gul Dukat is a thoroughly interesting character throughout the entirety of Deep Space Nine, and played brilliantly by Marc Alaimo. Beginning as a somewhat smarmy individual that is clearly bitter about the Federation occupying the space station he used to be in charge of, the episodes that involve him reveal a character with a considerable amount of depth and complexity — and one who goes through almost as much shit as Miles O’Brien. Sadly for Dukat, he doesn’t pull through in the way O’Brien tends to; his eventual fate is unglamorous, but for him to be the “final boss” of the series, defeated by Sisko flinging himself into the fire with a Pah-wraith-possessed Dukat in tow, is entirely appropriate.

The whole Dominion War arc, which takes up a significant portion of Deep Space Nine’s complete runtime, is kept consistently interesting by allowing us to see it from a variety of different perspectives. Even the Dominion’s grunt soldiers, the Jem’Hadar, are given some complexity through episodes such as “Hippocratic Oath” and “Rocks and Shoals”. And the sinister twist of Section 31, while relegated somewhat to background lore, provides a good means of giving the Federation a bit of interest, too.

One of the things Deep Space Nine shows repeatedly is that even the forces we have previously been led to believe are the “goodies” have their dark sides — and likewise, traditional “baddies” can have solid redemption arcs, too. The narrative arc of Dumar, set up to be a character the audience is supposed to loathe when he kills Dukat’s daughter Ziyal — one of the few indisputably “good” characters in the series — is thoroughly fascinating, with his descent into alcoholism and bitterness and his emergence on the other side with a new-found determination to cast off the shackles of the Dominion’s oppression. It’s fitting that he die a martyr.

Kai Winn is another character who I was pleased to see eventually get their comeuppance. I wasn’t sure if they were going to go full-on “Evil Space Pope” with her during the finale, but it is, again, entirely fitting that she have all the power and glory denied to her at the last minute as Dukat steals the show. She was a consistently loathsome character throughout her entire run in the series, so seeing her fall to evil out of her lust for power and end up incinerated for it was thoroughly satisfying.

It’s kind of sad that the end of the series marked so many “farewells” from the regular cast, but it makes sense; Deep Space Nine was not the kind of Star Trek that would necessarily lend itself well to a movie in the same way as The Next Generation was, and so it felt appropriate for most people to go their separate ways at the conclusion. I was surprised at the inconclusive fate of Sisko himself — I was expecting him to pop back into existence, Q-style, towards the end of the episode — but again, with the buildup of him being part Prophet throughout the latter seasons, it made sense for him to at least temporarily be “at one with them”, if not actually dead.

Anyway, I’m relieved, as finishing Deep Space Nine now means I feel like I can engage with Trek media produced since that series finished. The Dominion War was such an important event in Star Trek canon that I had always been hesitant to engage with anything post-Deep Space Nine for fear of inadvertently spoiling myself, but now I feel like I’m free to explore the wider Trek universe, be that through other series or video games. And there are a fair few Trek video games I’m interested in trying.

That said, I do kind of want to see how Voyager goes for its whole run. That’s another one I haven’t seen all the way through, so as far as my Star Trek journeys go, that one might well be next on the list.

Later, though. We’re off on holiday on Monday, and I wanted to finish Deep Space Nine before then, as it would have been frustrating to have just a couple of episodes left and no means of watching them while we were away! Now I just need to finish Silent Hill 2 before the end of tomorrow and I can go away with no regrets…

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

#oneaday Day 96: Lower Decks

I was resistant to the idea of watching Star Trek: Lower Decks for quite some time. I was put off by a combination of some truly terrible trailers, the fairly generic-looking “adult animation” art style it uses, and the fact that its creator had some involvement in Rick and Morty, a show I couldn’t even make it through the first episode of without feeling mildly ill.

But then I got thinking: I fucking hate it when people write stuff off based on superficial things like art style, so I should endeavour to not do that either. And, discovering that the complete run of Star Trek: Lower Decks to date appears to be on Prime Video, I decided to watch an episode or two, just to see what it was like.

And you know what? It’s all right. The first couple of episodes are a bit heavy on the Gen Z-baiting manic energy, but after that it settles down a bit and starts to be a lot more witty and fun. There’s still a certain amount of that 2024 “energy” to it, which I’m sure will turn some people off, but it’s by no means a tedious Seth McFarlane-alike show. In fact, despite having a very different tone to live-action Star Trek, it actually manages to do quite a good job of feeling plausibly like what a comedy set in the Star Trek universe would feel like.

Because that’s what it is. It still has many of the elements of classic Trek: characters with a bit of depth to them; relationships that come to light over the course of several episodes; creative takes on alien races; and, of course, the all-important technobabble. It just has a rather more overtly irreverent tone than live-action Trek; this isn’t to say that live-action Trek was never funny, but rather it tended to be a more gentle, subtle sort of humour, whereas Lower Decks is rather more self-conscious about it.

Of the episodes I’ve watched so far, I think my favourite has been the third one, Temporal Edict, which is a funny take on something my wife and I discuss rather frequently: the amount of time wasted in an average day at a full-time job.

The episode concerns the captain becoming aware of the crew’s use of “buffer time”, a concept where they tell a superior that a particular job will take much longer than it will actually take, allowing them to look like a “hero” when they complete it in a fraction of the time they said they would, and also affording them time to slack off without anyone noticing. The episode explores the disastrous situation that would arise if everyone was well and truly “on the clock” at all hours of the day, and how it would almost certainly be counterproductive to try and micromanage people to this degree. It was a clever episode that, like classic Trek, takes a look at a real-life concept through the lens of sci-fi and invites us to have a good old think about it.

In short, I’m rather impressed with Lower Decks so far, and am pretty sure I’ll watch it all the way through on Prime Video at the very least and perhaps even pick up the series on disc to keep. I guess it remains to be seen whether or not it wears out its welcome by the end of five 10-episode seasons, but everything I’ve heard from people who are already fans seem to suggest that it only gets better from hereon. I’m certainly willing to give it the chance to prove itself further.

#oneaday Day 92: The Dominion War

I have watched so many episodes of Star Trek: Deep Space Nine over the course of the last few days. I can’t remember the last time I was quite so hooked on a TV show to the exclusion of almost everything else — even gaming — but Deep Space Nine definitely has its hooks in deep.

Of course, part of the reason I’ve been able to enjoy so many episodes over the course of the last few days is because I’ve had a couple of days off work. Andie was having a long weekend away with some online friends, so I decided to take a couple of days off to just decompress and unwind also. And it turns out enjoying some quality TV and mostly staying away from the Internet has been exactly what I wanted and needed.

I’m currently on the third disc of season 6 of Deep Space Nine — yes, I’m doing this old-school, on DVD (not quite as old-school as when I was first watching the show on VHS, mind!) — and I think I’m into stuff I haven’t seen before. I say “I think” because the episode I just watched seemed quite familiar — or perhaps it’s just because it reminded me of another episode. I can’t be quite sure. I’m fairly convinced that I haven’t seen beyond season 5 before, but… well, I guess it doesn’t really matter. I’m enjoying it either way.

It saddens me a bit that TV isn’t made like this any more. Sure, there are Netflix series and what have you, but those are shot and budgeted in a completely different way, and it leads to quite a different feel. It’s rare for a new streaming show to last more than a couple of seasons, and some folks describe them as “8 hour movies”. One of the reasons Deep Space Nine in particular works so well is that while it is serialised and has definite arcs — particularly at this point in its run — it also isn’t afraid to spend an episode on just being a character piece, or doing something a bit weird.

This is good for the mood and helps the show feel varied. The Dominion War overarching storyline could easily have just gone unrelentingly bleak and worked well, but I feel it works even better with interludes like Worf and Dax’s wedding, or Kira dealing with the Mirror Universe counterpart of her deceased lover, or Julian contending with genetically modified humans who didn’t end up quite as well-adjusted as him.

I’m looking forward to seeing how some aspects of the series end up. Gul Dukat being utterly broken by the death of his daughter was without a doubt an incredibly significant moment for the series, so I’m looking forward to see what happens with him from there. And of course, there’s still plenty to resolve with Sisko that I suspect will continue right up until the very end.

It’s easy to see why this is such a well regarded series, and one which many people consider Star Trek’s absolute peak. I do find it quite funny that when it first started airing, some people considered it “the boring one”, though, and many of those folks didn’t come around until season 4. Part of the show’s strength is that slow build; while I’m sure it could have told a similar story over far fewer episodes, it wouldn’t be the same show without us just having the opportunity to live with these characters for so long.

I suspect I will cry at the finale, whatever form that takes. I have remained unspoiled on that for many years now, though, so I’m looking forward to finally experiencing it for the first time when I do eventually get that far.

Should probably sleep now, though. Or maybe one more episode…?

#oneaday Day 73: Stylised TV

One of the things that I’m finding most striking about watching through Star Trek: Deep Space Nine is how the show is, on the whole, willing to experiment with structure, presentation and the entire way an episode’s story is told. I don’t know if it’s just that I haven’t watched a really good TV show for a long while or if things really were a lot more ambitious in this regard in the ’90s; either way, I’ve found it very striking.

There are several episodes that defy the conventions of what I think of as “regular TV” — or perhaps it’s more accurate to say what I perceive as the “norms” of the show. The first of these that springs to mind is the early fourth season episode The Visitor, which is frequently held up as an example of the show at its absolute best. And interestingly, it’s an episode of the show where it’s at its least “sci-fi”, outside of one significant aspect.

Spoilers ahead, though this episode is nearly thirty years old at this point, so I’m going to assume most of you reading this who might be interested in watching it will have probably seen it by this point.

In The Visitor, we are introduced to an old man who lives by himself. It’s a dark and stormy night, and a young woman comes knocking at his door, seeking shelter from the rain. The old man introduces himself as Jake Sisko — but at this point, we, the audience, know Jake Sisko as the 18 year old son of the show’s lead, Captain Benjamin Sisko.

The old Jake explains to the young woman that at some point after he turned 18, his father died.

Boom. Right in there with the intrigue. Had Star Trek: Deep Space Nine really killed off its lead in the second episode of its fourth season? No, of course it hadn’t, and everyone watching knew that was the case. But it was still one hell of a way to get the audience’s attention prior to the opening credits rolling.

The Visitor continues with old Jake telling the story of what happened to his father — apparently an accident aboard the USS Defiant pushed Ben out of sync with reality, causing him to “time jump” at various intervals. He’d return to Jake for a while — sometimes a few days, sometimes just a moment — and Jake would be older, but he’d not have aged a day.

Long story short, Jake spends his life trying to figure out what exactly is going on with his father, and how he might be able to save him. Eventually he comes to the conclusion that the only way for him to prevent his father from springing through time, attached to him by an invisible thread, is for him to die. And so, it gradually becomes clear over the course of the episode, that old man Jake Sisko is going to die, and that this is the only way for Ben to return to his own time.

The way this episode is presented is beautiful. It cuts back and forth between Old Jake simply telling the story to his companion, and us actually seeing what was going on at various points in Old Jake’s “past” — including some delightful “aged up” takes on Dr Bashir and Jadzia Dax. It’s just so unusual and beautifully directed that it remains one of the most memorable episodes of the series to this day; I remembered it fondly from when I first saw it on VHS tape roughly when it was “current”, and it hasn’t lost any of its impact in the intervening years.

I’m now getting into episodes that are less familiar to me, because I drifted off watching Deep Space Nine partway through the fourth season. Not because I wasn’t enjoying it, but because I didn’t really have the money or space to keep investing in VHS tapes with just two episodes on each!

Recently, I watched an episode called Rules of Engagement, and this also does some interesting things with its direction. The concept of this episode is that Worf is facing a hearing for supposedly destroying a civilian vessel during a confrontation with the Klingon Empire, who are, throughout the fourth season, being A Bit Of A Dick, to put it mildly.

Similar to The Visitor, a lot of the narration takes place in the “present” through the words of the participants in the hearing, but it also cuts to scenes that are being remembered by the people involved and the witnesses. In these instances, there are situations where the characters are going about their business as they did back in the way, but narrating them as they go — and even speaking directly to the “viewer” at various points. Seeing a character in a TV show directly address you, as if you are a participant in proceedings — in this case, casting you in the role of one of the participants in Worf’s hearing — is quite unusual, and it’s used to striking effect in this episode.

I’m sure from some perspectives both of these framing devices can be looked upon as a little cheesy. But I was struck by both of them as being thoroughly unusual and interesting. Like I say, it’s entirely possible that I just haven’t watched any “good TV” for quite some time (I can’t remember the last series I watched from start to finish. Possibly Fringe? And that was years ago) and thus haven’t seen anyone being particularly ambitious with direction and storytelling. But it doesn’t really matter; what matters is that Star Trek: Deep Space Nine still stands out as spectacularly good television, even nearly 30 years later.

#oneaday Day 15: Station on the Frontier

Right! Yes. I was going to talk about Star Trek: Deep Space Nine, wasn’t I. Okay, let’s do that.

I love Star Trek: Deep Space Nine, but I had a bit of a curious introduction to it. I grew up watching the endless reruns of Star Trek: The Next Generation on BBC2 at 6pm; that tended to coincide with family dinner time, so we’d often watch it on the kitchen TV while having our food. When Deep Space Nine launched in 1995, though, I feel like our family were initially a bit resistant to it. It was, after all, very different from what had been, at that point, the only two prior Star Trek series; for one thing, there was very little actual “trekking”, what with it being all set in one location, and the tone was very different from the optimistic nature of The Next Generation.

I kind of drifted away from it because of this; I personally hadn’t really found anything to dislike about it, but the fact my parents didn’t seem to enjoy it as much meant that I didn’t derive quite so much pleasure from it if it happened to be on around dinner time. (And of all the Star Trek series, Deep Space Nine is arguably the one least appropriate for dinnertime viewing — not because it’s particularly gory or anything, but simply because its rather bleak tone and uncompromising look at certain less glamorous aspects of life among the stars made it more of a “primetime evening” sort of show.)

I watched the odd episode here and there, but I didn’t keep up with it. That all changed, however, when I spent a couple of weeks in London with my brother for my Year 10 work experience placement. Rather than be placed in the boring old local industrial area like most of my peers, I made arrangements to do my work experience in the PC Zone offices, since my brother was editor there at the time. I had a thoroughly enjoyable time, but that’s probably a story for another day.

No, the thing I particularly remember from that trip, besides my time in the office, was some discussion over Star Trek: Deep Space Nine’s fourth season — which had recently started being broadcast on Sky satellite TV at the time, as I recall; the BBC’s reruns were a few seasons behind — and was just starting to come out on VHS cassette. I heard such enthusiasm for the new episodes from my brother and his peers that I wanted to find out a bit more about it for myself. So one lunchtime, I took a trip to the Virgin Megastore on Oxford Street, which was within walking distance from the Zone offices on Bolsover Street, and picked up video “4.1: The Way of the Warrior”. And I watched that feature-length episode that evening on my brother’s TV.

Not my copy; this is from a listing on eBay. I won’t lie, it is tempting to grab this for old time’s sake.

I was blown away; this was damned good TV, though I was quite conscious that I had clearly missed some rather important story beats somewhere along the way. Who were the Dominion? Why was Sisko now a captain, not a Commander? Why was he bald and bearded? Who was Kassidy Yates? What was up with the Klingons being all weird, after years of them being “no longer the bad guy” in The Next Generation?

I was confused, but enthralled nonetheless; after I got home, I started collecting the VHS cassettes from season 4 onwards. In retrospect, this was an enormous waste of money and space, since each tape only included two episodes and cost about £14.99, but as a teenager living out in the country, I didn’t have much else to spend my money on at the time other than video games. I built up quite a collection, and also, on someone’s recommendation, picked up the “3.1” volume “The Search”, which helped me understand a bit better who The Dominion actually were.

After some time, though, I drifted away from Deep Space Nine again. As before, it wasn’t that I disliked what I was seeing, but there were other factors at play — perhaps most notably the dawn of DVD as a distribution medium. By the time I got to university, DVD players were becoming much more accessible, and I was excited by all the movies I could now watch in what was, at the time, spectacularly good picture quality. I think at that point, collecting VHS tapes started to feel a bit less desirable — particularly since, as a student, I was living in a relatively limited amount of space.

As I recall, it took quite some time for all the Star Treks up to that point — The Original Series, The Next Generation, Deep Space Nine and Voyager — to make it to DVD, and I just sort of got out of the habit of watching them. There was always a little voice at the back of my mind, though, that said “one day, you should watch all of Deep Space Nine and Voyager“. (I had, by this point, seen all of The Next Generation multiple times.)

I never quite got around to doing that. I started watching Star Trek on US Netflix for a while, but got fed up with having to use a VPN to do so, since they weren’t on UK Netflix at the time. Then I pretty much fell out of the habit of watching long-form TV and movies altogether; I much preferred the more active sense of entertainment I was getting from video games.

Cutting out many intervening years in which nothing of any real relevance to this story occurred, for my birthday this year I was fortunate enough to receive a box set of Deep Space Nine from my brother, who, true to what he had always said, left a note saying “it’s still the best one”. And so, having set up my now-mostly dormant PS4 (my PS5 plays all my PS4 games now) in the bedroom, I decided to start watching an episode or two before going to sleep of an evening.

As I type this, I’m about two-thirds of the way through Season 3, and I am absolutely loving the show. It shows its age in some ways — an episode set in “the future” of the time when it was broadcast turned out to be 2024, for example — but it’s definitely got it where it counts. Strong characters, excellent acting, compelling storylines, and above all, plenty of variety.

I’m not sure why my parents and I ever thought Deep Space Nine was “boring”. Because it absolutely is not, even in the first three seasons, which are commonly regarded as “the bit before it gets really good”. Some shows are epic in scale, while others are tight, character-driven pieces — and beneath it all, there’s a sense of coherence that The Next Generation didn’t really nail until its later seasons. This latter point is perhaps best exemplified by how, for quite some time, the best way to get The Next Generation VHS videos was not on an episode-by-episode basis, but in box sets that were each themed around a particular element of the show, such as Data, Q or the Borg. (I had several of these; they were cool display pieces as well as being pretty good value!)

The Data box set. Again, not my copy; this image is from fan wiki Memory Alpha. The back of the box opened up to reveal three VHS cassettes, with their cases designed to look like the positronic circuits inside Data’s head.

Deep Space Nine is from that point where American television really seemed to latch on to the fact that audiences enjoy serialised stories. Sure, it’s a risk — with heavily serialised shows, you run the risk of alienating anyone who isn’t on board from the start — but Deep Space Nine manages to remain mostly accessible throughout, as shown by my jumping in at The Way of the Warrior all those years ago, while truly rewarding those who are in it for the long haul.

It’s been a real pleasure to return to a series that, in retrospect, I’ve always liked a great deal. I feel I’m getting more out of it now than I did when I was younger — and this time, this time, I’m going to make it all the way to the end. I’m just a little sad that I never did so before several of the cast members passed away. But their memory shall live on.

2504: Tears of the Prophets

Reached the end of Star Trek: Deep Space Nine’s sixth season this evening and despite inadvertently spoiling myself on the death of a major character some months earlier (though given Deep Space Nine’s age, I’m surprised I lasted this long without spoilers!), it remained an impactful episode and an excellent season finale.

I really like how Deep Space Nine developed. While it started as something of a “soap opera in space”, which is why some people found it a little dull when compared to the galaxy-spanning adventures of Star Trek: The Next Generation, the gradual buildup of the Dominion storyline into all-out war throughout the sixth season gave the show scope to deftly and subtly readjust its focus over time.

At the end of the sixth season, it’s still recognisably distinct from the more “mobile” Star Trek series such as The Next Generation and Voyager, but the action following Sisko and his comrades into battle against the Dominion gets the action off the station often enough to keep things fresh and interesting — and Tears of the Prophets, the sixth season finale, features some spectacular space combat sequences, an area in which Deep Space Nine generally excels.

One thing I’ve found particularly interesting about the show as a whole is the development of the character Gul Dukat. Initially presented as a character whose motivations and overall alignment wasn’t entirely clear, he’s had plenty of significant moments over the course of the series, ranging from joyful to tragedy. When he’s at his lowest ebb, it’s hard not to feel sorry for him, because the show certainly kicks the shit out of him, but Tears of the Prophets makes it abundantly clear why it took such pains to make us sympathise with Dukat as he lost everything he held dear.

Dukat’s losses drive him to absolute desperation. He willingly allows himself to be possessed by a Pah-Wraith, the antithesis to the “Prophets”, aliens who live in the wormhole that Deep Space Nine protects. The Wraith kills [REDACTED so you don’t have to suffer like I did] and apparently cuts off the connection between the Prophets and Bajor before leaving Dukat’s body. We’re left to see Dukat with a few regrets — most notably the death of [AHEM] — but an overall sense that he’s enacted vengeance that he’s satisfied with.

This sequence — and the consequences therein — highlight another reason why I enjoy Deep Space Nine: it doesn’t attempt to explain everything away with (fake but plausible) science. Oh, sure, there’s plenty of traditional Star Trek technobabble throughout the series, but also there’s a real sense that some things simply are unknowable and impossible to understand by humanity at its stage of development in the 24th century. The recognition and embracing of this is the basis of religion (or spiritualism at the very least) and Deep Space Nine as a whole handles this sort of thing very nicely. It also makes for some extremely dramatic moments, as metaphysical, “supernatural” things are far less predictable than those which can be explained by science.

I’m looking forward to seeing how the series ends, and am very glad that I’ve finally got around to watching it all the way through for the first time. I’m even more glad that doing so is a simple matter of watching it on Netflix rather than collecting however many hundred VHS cassettes would have formed the complete run on its original release!

2202: Three Games I’d Like to See Made

Posting my piece about Neptunia games I’d like to see the other day got me thinking more broadly about other interactive experiences I’d like to indulge in, should they ever be made. (Or perhaps they already exist, in which case please do let me know in the comments and I will investigate!)

The following games either don’t exist at all, or the last time they were properly explored in gaming — in my opinion, anyway — was far too long ago for my liking. So here we go, then:

A proper spy game

I downloaded Sid Meier’s Covert Action from GOG.com a while back when it was on sale for some ludicrously low price, and discovered that it was an immensely satisfying, fascinating game with a number of distinct facets. I wrote in detail about the game a while back, but for those of you too lazy to click through, the elevator pitch is thus:

You are Max (or Maxine) Remington, an agent. A Dastardly Plot is about to unfold in the world, and it’s up to you to stop it. Ideally, you will find out what is going on before it happens, arrest everyone involved and follow the trail of clues to find the Mastermind behind it all. You will then repeat the process until all the Masterminds there are in the world are behind bars — or until you give up at the ludicrous level of difficulty the game escalates to on its higher settings.

Covert Action incorporates a variety of game styles ranging from puzzle (phone tapping) to code-breaking, car chases and top-down action-stealth-adventuring. While clunky by modern standards, it’s an extremely clever game that, in true Sid Meier tradition, is busily simulating a whole bunch of things happening in the background while you appear to be doing something relatively simple. None of it is pre-scripted, either; each case you get is randomly generated, so there’s no easy way to find the solution other than putting in the hard graft yourself.

To cut a long story short, we need a new Covert Action. There have been spy-themed games, sure — the most memorable of which for me is, without a doubt, Alpha Protocol — but these tend to be more scripted and action movie-like, rather than focusing on the interesting but perhaps less glamorous aspects of the job. I want a spy game where it’s rare you’ll pull your gun on anyone; I want a spy game that’s more about setting up surveillance and investigating than shooting terrorists; I want a spy game where it feels like I’m a spy, not an action movie hero. (To put it another way: I want a spy game where it feels like I’m old-school James Bond, rather than new-school James Bond.)

A good Star Trek game

There’s plenty of space games around, since they’ve been making a bit of a resurgence over the last few years. With the success of Elite: Dangerous and the anticipation for No Man’s Sky, the time is surely ripe for a new Star Trek game to hit the market.

Oh, there are a couple of relatively recent Star Trek games around, of course, but neither of these quite scratch the itch I have. Star Trek Online is a massively multiplayer online RPG, with everything that entails — including lots of grinding and free-to-play monetisation that requires you to pay up for the coolest ships rather than earning them — while Star Trek Timelines is a mobile game with everything that entails — including lots of grinding and free-to-pla… you get the idea.

Neither of these games are particularly bad as such — though Star Trek Timelines’ use of the obnoxious playtime-limiting “Energy” system that I really wish would die a horrible death is something I find hard to forgive — but neither of them are quite right. Both have good aspects: Star Trek Online has a great feeling of taking your ship around the galaxy, exploring uncharted areas and engaging in battle, while Star Trek Timelines presents you with some interesting non-combat scenarios to deal with, albeit only in text form. The trouble is, neither of them go far enough in simulating what it’s like to be a crewman on a Starfleet vessel.

There are a few approaches I’d like to see a new Star Trek game take. Firstly and perhaps most obviously is a starship bridge simulator. I know these exist and are available on GOG.com, but with modern technology it would be possible to do something far more impressive — and perhaps even multiplayer, a la Artemis Starship Bridge Simulator.

Another possible approach is something along the lines of Spectrum Holobyte’s elderly Star Trek: The Next Generation – A Final Unity, which combined starship operations (including combat and power management) with point-and-click adventuring down on planet surfaces. While the combat and engineering sections on the ship ended up feeling a little superfluous when compared to the game’s narrative aspects — particularly as you could put them both on automatic without penalty — the whole thing felt suitably authentic as an interactive episode of The Next Generation, and ripe for updating.

I guess one of the main issues with the Star Trek license is that there’s not a current TV series running to tie it in with, so it would probably have to be an original work, perhaps with guest appearances from established characters. That’s not an issue for me, so long as it feels like Star Trek, but for some fans it may not be acceptable.

I believe there is talk of a new Star Trek series of some description coming soon, though, so it will be interesting to see if anything interactive comes of it. Anything’s better than that dreadful third-person shooter that came out for consoles a year or two back and was promptly completely forgotten about…

A game about running a school

There are tons of management games out there, but outside of an extremely peculiar mobile game by Kairosoft called Pocket Academy, I don’t recall all that many that focus on educational institutions, and I think this is something that would be ripe for the interactive treatment.

SimSchool, as we’ll call it, has a considerable degree of scope to be a much more “personal” strategy game than many other management sims, since although running a school does include the standard stuff like budgeting, staffing and training, a key part of what keeps a school running effectively is interpersonal communications, rapports and morale.

In SimSchool, you’d play the new, young headmaster of a school that was struggling, and you’d have a certain amount of time to set things right. In true strategy game tradition, you’d be able to set up various conditions at the beginning of the game such as the affluence of the area the school is in, the size of the school, when it was built, its condition and suchlike, and have the game create a challenge for you accordingly.

As you worked your way through a campaign, you’d not only have to perform managerial duties to keep the establishment in the black and keep an eye on the day-to-day operations of the school, but you’d also have to interact with students, staff and parents in order to keep them happy. There’d be dialogue sequences in which you’d have to negotiate things and determine the best way to handle problem children — sometimes you’d even have to convince the local authority that the decision you’d made was the right one for the greater good. And, on the harder difficulty levels, you’d also have to contend with various “disasters” that make your life more difficult — this is a Sim game, after all!

My time working in schools was hellish, and I have no desire to return — but that doesn’t mean I don’t still find them interesting places. A game like this has a lot of scope to be an interesting twist on the strategy-management genre, and I’d certainly love to play it.

1962: Great Title Sequences (From My Living Memory)

Re-watching Star Trek: The Next Generation and Deep Space Nine recently has made me more conscious of something that had been on my mind for a while: the fact that TV doesn’t really seem to do lengthy credits sequences any more.

This isn’t necessarily a bad thing, as in the case of Star Trek you’re sitting there for a good few minutes watching swirly space and Patrick Stewart as Capt. Jean-Luc Picard and Avery Brooks as Commander Sisko (still in season one at the moment) and, consequently, without a credits sequence the show itself has a few more minutes to play with. But does that few minutes really make a difference? Perhaps when the show is a short 20-minute affair, but when it’s 45 minutes or more there’s a strong argument for saying the writers should maybe look at where a few bits can be snipped.

But anyway. Whether or not credits sequences are a good thing isn’t really what I want to talk about today, since that would be a short discussion — yes, they are — but what I did want to talk about is the ones that have stuck in my head over the years. A good credits sequence is strongly iconic and does a good job of summing up what the show’s all about — either literally, by introducing characters, or sometimes in a more abstract sense by using representative imagery.

These are in no particular order. Given how I’m attempting to call them up from my living memory, they’ll probably in roughly chronological order, but I am making no promises. I’m simply going to provide them for your delectation, with a few words about why I like them, why they’re important to me or why I simply find them memorable.

Henry’s Cat

I hadn’t thought about Henry’s Cat for the longest time, but a brief Twitter discussion with the fine Mr Alex Connolly the other day reminded me of both its existence and its terrible but strongly iconic credits sequence.

I honestly don’t remember much about Henry’s Cat beyond the title sequence and the little bit of an episode I watched out of curiosity on YouTube the other day. But I do suspect it’s rather a product of its time, and not the sort of thing that kids are watching on TV these days.

Count Duckula

Whoever uploaded this gets bonus points for including the “Thames” logo at the beginning. Ahem. Anyway. Count Duckula was brilliant. And I’ve watched a few episodes recently and it’s still genuinely quite amusing thanks to some wonderful voice work and characterisation… not to mention its baffling premise of a vegetarian vampire duck voiced by David Jason.

Unlike Henry’s Cat, the Count Duckula theme and intro has stuck with me all these years. However, I did not know until two minutes ago when I looked at Wikipedia (to make sure it really was David Jason who voiced Duckula) that Count Duckula was actually a Danger Mouse spinoff series. TIL, and all that.

Star Trek: The Next Generation

You can’t really get more iconic that Star Trek when it comes to title sequences, and there’s really not much more that needs to be said about The Next Generation — aside, perhaps, from the fact that when you look at it, it’s actually rather basic. Once the credits themselves start rolling, it’s little more than text and the Enterprise occasionally hurling itself at the screen.

Star Trek: Deep Space Nine

I didn’t like Deep Space Nine all that much when I was younger; its relatively “static” nature of being set on a space station rather than on an exploratory starship made it feel a bit more “boring” to the young me. Revisiting it recently has made me realise (or remember?) that it’s actually really rather good — and certainly a lot more consistent than The Next Generation was in its early seasons.

I like the theme very much. It’s one of those pieces of music that just sounds satisfying. What I did find interesting, though, was when they changed it very subtly starting in the fourth season:

It becomes faster, I think it’s in a different key, the orchestration is different and the accompaniment is less “bare”. It accurately reflects the show’s noticeable change in direction from the fourth season onwards, not to mention the changes in the cast: Commander Sisko becomes Captain Sisko, The Next Generation’s Worf joins the crew and Shit officially Starts Getting Real with regard to interstellar conflicts.

Friends

Friends was everywhere when I was a teenager, and I didn’t mind because I enjoyed it a whole lot. The credits sequence was simple and straightforward, accurately summing up each character with a selection of season-unique snippets of their most iconic moments. It was fun to try and identify which episode each of the snippets had come from… you know, if there wasn’t anything better to do.

Angel

Ah, Angel. Probably one of my favourite TV shows of all time, next to its companion piece Buffy the Vampire Slayer (which is also one of my favourite TV shows of all time, but whose credits sequence I never really rated all that much). Angel’s intro was great in that it reflected the dark, brooding nature of its title character, but it also allowed the show to pull off one of its best features: the unexpected and surprising fact that while it wasn’t afraid to deal with some seriously dark themes, it was very happy to poke fun at itself and show the silly side of the supernatural as well as the scary. The intro helped with this in that it set the expectation for a very “serious” and dark story, then in true Whedon fashion, it often subverted these expectations with the actual content of the episode.

Yuru Yuri

(This was the best video of the intro I could find that hadn’t been snagged by YouTube’s copyright laws. You’ll just have to deal with the Spanish subtitles.)

I love Yuru Yuri. It’s such a delightfully mundane and silly anime; very little actually happens in it, but by the end you have such a wonderful understanding of these loveable characters that it doesn’t matter that they haven’t done anything of note. The opening titles complement it perfectly, introducing the characters visually and setting the energetic, joyful tone for the rest of the show.

Love Live!

You’d hope a show about music would have a catchy theme tune, and Love Live! doesn’t disappoint. This video (which repeats several times; you’re not going mad) is from the first season and, like any good opening sequence, neatly summarises the show and its characters without them actually “saying” anything (although one could argue the lyrics of the song have a certain degree of meaning). Also it’s just plain catchy.

Akiba’s Trip

One thing I really like about Japanese games is that they treat them the same as anime — and that means that a big deal is made out of the opening credits, with music that is often released as a single in its own right. Akiba’s Trip had a particularly strong opening with a catchy theme song, a good introduction of all the characters and, again, a summary of what to expect from the next few hours of your life.

Hyperdimension Neptunia Victory

The Neptunia series has some excellent songs throughout, but the opening theme for third game Victory is one of the stronger ones. It does a great job of capturing the games’ energetic, joyful spirit and acknowledges their origins as a parody of the video games industry at large through heavy use of electronic effects and synthesised sounds. It also makes a point of demonstrating the extremely strong friendship between the core cast members — they may not see eye-to-eye about everything (or anything) but they stick together and help one another out.

Omega Quintet

Last one for now, otherwise I’ll be here all night and I quite want to go to bed. I wrote a few days ago about how I like the fact Omega Quintet treats its episodic story just like an anime series, complete with opening and ending credits sequences. Here’s the opening sequence, which you see not just at the beginning of the game, but at the start of every chapter. It’s as delightful as the game itself.

1934: Across the Universe

I’ve been rewatching Star Trek recently and simultaneously introducing Andie to it. At the time of writing, we’re coming up on the end of season six of The Next Generation and a few episodes deep in Deep Space Nine, because yes, I’m one of those people who likes to watch overlapping shows chronologically so the few-and-far-between crossover episodes happen at the “right” time.

I’ve been really enjoying them. I reached something of a saturation point with Star Trek in my late teens and early twenties as it was on TV an awful lot and it was one of those shows I liked to record every episode of on video. I started collecting the official videos at one point and even had some of the more ostentatious box sets — such as the awesome Data one which had a metallic mould of Brent Spiner’s face — but eventually reached a point where I simply parted ways with it, not because I was no longer enjoying it or had seen it all — to date, there’s a significant chunk of Deep Space Nine I’ve never seen, I’ve not seen beyond the first season of Voyager and I’ve been surprised how little I remember of The Next Generation — but simply because there were lots of other things vying for my attention.

With the modern age of video on demand, though, you can watch a show like Star Trek at your own pace when it’s convenient to you, and with no fear of missing episodes because you’re out on Wednesday nights at 6pm or whatever. This gives the shows a much greater feeling of coherence than if you’re watching disjointed — and sometimes out-of-sequence — episodes once a week on the television, and makes it into a much more enjoyable experience as a result.

Although I’m enjoying revisiting The Next Generation — and, as noted above, have actually forgotten a significant amount of it, so rewatching these episodes feels quite “fresh” — the main thing I’m looking forward to is the completely new episodes of Deep Space Nine. For some reason, when I was younger, I and my family regarded Deep Space Nine as “the boring one” in the Star Trek pantheon, with it not getting truly interesting until the fourth season, when they sped up the theme tune a bit, gave Sisko a badass starship to fly around with and decided it was high time the Klingons started being villains again. Watching it with more mature eyes and — I like to think, anyway — refined tastes, I’m liking it a lot more than I used to for its emphasis on characterisation and relationships over tales of derring-do in space. It’s a good complement to The Next Generation, and watching them in parallel as we have been really highlights this.

Also Odo is a work of genius, combining witty writing with some wonderfully deadpan delivery by Rene Auberjonois. I’m especially interested to find out more about his particular story arc, as that’s something I’ve only seen dribs and drabs of here and there; I stopped collecting the videos and watching the show just as the Dominion storyline was getting underway.

There’s still a long way to go before we’ve watched all of them, but I’m not complaining; the shows — with the possible exception of the first couple of seasons of The Next Generation — very much stand up to the test of time and, while occasionally cheesy (rocking camera shots while people throw themselves around the set ahoy!) remain some of the most interesting, enjoyable, dramatic, emotional and thought-provoking television there has ever been.

Here’s to the final frontier.

1839: These Are the Voyages

Andie and I have been watching Star Trek: The Next Generation recently. We started watching from the very beginning (yes, even the dodgy early ones) a while back, but picked it up again recently. I’ve been delighted to discover 1) how well it holds up after all these years and 2) how many of the individual episodes I’ve forgotten about.

I mean, sure, I still remember particularly noteworthy episodes such as any involving Q, Data or the Borg, but I’m finding the episodes in between to be almost as if they’re brand new to me. This is a good thing.

One of the big strengths of Star Trek: The Next Generation — and, indeed, many of the other Star Trek series — is the amount of variety there is between the different episodes. One week there might be an action-packed adventure with lots of space combat, zappy phasers and horrible alien monsters; the next there might be something like the one we watched this evening, which was skin-crawlingly creepy without veering into full-on horror; the next still there might be something that proves to be a genuinely emotional tearjerker.

Part of this variety comes from the fact that the series’ setting has the whole universe to play with; any time things are getting boring, they can just warp the show to another part of the galaxy and bring in another alien race with their own quirks, variations on the “bumpy forehead” look and even, in some cases, languages. There are recurring cultures that have been around since the original ’60s series, of course: the classic Klingons, the insidious Romulans, the devious Cardassians and the proud Vulcans all make numerous appearances. And there are new recurring cultures that have been introduced by The Next Generation: the empathic Betazoids, the symbiotic Trill (explored in considerably more depth in the follow-up series Deep Space Nine) and the deeply spiritual Bajorans (likewise), to name but three. And, of course, the rather upsetting Borg, who remain just as chilling as they did the first time they graced our screens with their biomechanical nature and curious, cube-shaped ships.

This aspect of Star Trek at large is one thing that the ambitious but flawed online RPG Star Trek Online didn’t quite get right, despite doing a lot of other things very well indeed. That variety just wasn’t there, though it was at least partly due to gameplay constraints rather than an unwillingness to be true to the source material. It’s difficult — though not, as we’ve seen on several occasions, impossible — to make a compelling diplomacy simulator, for example; it’s much more fun to give players control of a heavily armed starship and invite them to blow seven shades of snot out of anything that dares to cross their firing arc. (Star Trek Online’s space combat is one hell of a lot of fun, if you’ve never tried it; while it’s true Star Trek feel may be a little questionable, there’s no denying that it’s a fantastically enjoyable space game, pure and simple.)

So, to get back on point: I’ve been enjoying Star Trek: The Next Generation very much indeed, and when the time comes I’m looking forward to revisiting both Deep Space Nine and Voyager and watching them both through to their conclusions — something I’ve never done. Yes, even as someone who would consider himself a bit of a Trekkie/Trekker/whatever you want to call it, I’ve never seen Deep Space Nine beyond the fifth season, and I’ve never seen Voyager beyond I think the third season. While I know the latter in particular is nowhere near as fondly regarded as its two predecessors, I’m curious to finally explore the entire universe in full detail, and thanks to Netflix, I can now do just that without filling up an entire bookcase with VHS tapes.