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10 More of the Many Reasons Star Trek Voyager Is. The. Best.

Yes, ten more. I could go on for many more. Here’s the next ten, anyway. Enjoy!

1. The people who conceived of and made Voyager seem to have some kind of camera in my brain which tells them what I want from science fiction, and they turned it into a tv show. I want a strong leader. I want a dynamic crew I can get emotionally attached to. I want a cool looking ship. I want adventure and action. I want exploration. I want new aliens. I want new worlds. I want danger. I want drama. I want humour. I want that important human element. I want to see people at their best, sometimes at their worst. I want thrills, and yes, spills. I want realistic portrayals of friendships, relationships, dilemmas and problems. I want interesting stories. I wanted all these things. And I got them all with Voyager.

I’m detecting epic amounts of Win in this sector.

2. Its not like other Star Treks. I love it when some TNG obsessives say that like its an insult. XD “>XD “>XD “>XD “>XD “>XD “>XD “>XD XD XD XD XD. Too fucking right its not like other Treks! Halle-frkkin’-lujah, I say. That’s not a criticism of other obsessive fans by the way, after all, I’m a Voyager obsessive. Swings and roundabouts, isn’t it? Licenses that stay on the same note die. Each Trek has been different from its forebears in one way or another, Voyager strays farther from the norm than the other shows. That’s another reason I love it.

3. The audio effects. I’m talking ambient noise of ships and worlds here, and the special effects generated by aliens, alien controls, the sounds of ships. I think Voyager has the edge here over other Treks because of the sheer variety on offer. I’ve always noticed these things very keenly in shows and films I like, too me, having good quality sound effects is almost as important as having a good story. It draws me into the world. Here are a few good examples: Species 8472’s bioship and species sounds. The deep thrumming and rumbling inside the bioship. The screeches of the creatures themselves as they attack or make violent and forcible telepathic communication with Kes. The ‘flyby’ effect of the bioships, which is the industry term for when starships or some other craft are seen flying by or within close proximity to the ‘camera’s’ position. (Who is going around filming all these starships anyway? 😀 ) The sound of the massive lifeform from ‘Bliss.’ It rumbles, it gurgles, the bioelectric pulses that constantly zap Voyager and Quatai’s ship as the search for a way out are tangible, they crackle sharply. The menacing tones of the Hirogen when they speak through the breath masks incorporated into their armour. The eerie wails of one member of the Think Tank’s crew, the electronic language of another. The intense and harsh language of the alternate-dimension aliens from ‘Equinox’. And, of course, Voyager itself. The constant thrum of the ship’s engines is so omnipresent during scenes aboard the ship that it becomes white noise, more noticeable in its absence than its presence. The sound generated by the warp core in Engineering is much better than the odd tone generated by the Enterprise-D’s core. And the Red Alert klaxon…Heavens to Murgatroyd, if the Red Alert siren from the Enterprise (Kirk’s and Picard’s) isn’t one of the dumbest fucking sounds I have ever heard, then I am a bloody penguin. Its almost comical in its inappropriateness. Voyager’s Red Alert klaxon, on the other hand, is damn cool. It sounds like it could really be used in some version of humanity’s future as an alert siren. Class. It would make crewmember alert to upcoming danger, instead of making them await a clown to enter and perform some manner of jumping, juggling trick.  Insert circus music here: Do-do-doodle-do-do-doo-doo duh-duh…

4. The musical score. Scores are very much a product of their time and can age more quickly than sound effects, even special effects in some cases. However, the music on Voyager was excellent, and brilliantly composed. Themes relating to certain races or action going on on screen started to become prevalent in Season 3. These are hard to explain in words, but there are four or five action motifs which kick in at certain moments when the crew is embroiled in an action scene of one kind or another. These are not overused and consequently not employed in every episode, but you know them when you hear them. The Borg have certain music attached to them, a menacing theme with heavy notes and lots of drums and brass. The use of real-world music is also nicely done, particularly with the use of Tchaikovsky and Mahler Symphonies in ‘Counterpoint’, The Doctor’s love of opera (the opening to ‘Renaissance Man’ makes me laugh every time I see it), and Tom’s love of jazz and Rock & Roll.

And of course, the magnificent Opening Title. The best piece of Star Trek music ever, and close to being the best piece of Science Fiction music ever composed. It is equal in grandeur and beauty to the Main Title of the Star Wars movies (Return Of The Jedi has the best version of the six opening title scrolls) Voyager’s title sequence conjures feelings of majesty, exploration and intrepidity with images of breath-taking beauty, sweeping galactic vistas. There is even some sense of isolation amongst the expanse of the universe, a ship alone despite all the life and motion that surrounds them. Incredible opening sequence. The version of this music used in the show is wonderful, but there is a superior version on ‘The Star Trek Album’, available on iTunes. The front cover is a blue jumping to warp effect with yellow text for the album title. I really recommend this version of the piece, as it actually manages to improve upon an already superb piece of music.

5. Seven of Nine. This is not a criticism of Kes, I loved her character too, her innocence and child-like view of the galaxy was very refreshing, so all credit goes to her. But Seven’s arrival and nature brought an extra dynamic to Voyager that was missing from earlier seasons. Her gradual journey back to humanity from the cold and evil of the Borg was a brilliant facet of Voyager, and wonderfully realised. The relationship that developed between Janeway and Seven is one of the most realistic and well-portrayed friendships I’ve seen on Trek. The dynamic between them felt real and accurate. A mother-daughter, love-hate relationship, with the initial tension between them slowly, slowly dissolving into mutual respect and warmth as they solved differences, as each one started to understand the other. The fact that Seven came from the Borg emphasises why she is so different, a creature snatched from the grasp of the biggest threat ever to grace the Trek universe.

6. The Motley Crew. Ah, the motley crew. I like the way they’re not a bunch of goody two-shoes. They’re good and honourable people, but they have their foibles and their faults, and I like that. Janeway can be stubborn and unreasonable, Paris can be rebellious and disobedient, Seven can be confrontational and thoughtless, Tuvok can act arrogant and superior, The Doctor has projection issues (not with his emitters, necessarily) and can be pompous and self-important, Torres has a chip on her shoulder and is a serious self-doubter. This, along with their admirable qualities, of which there are many more, makes them 3-dimensional characters. I don’t need to go into their admirable qualities here, if you watch, you know. They’re brave, they’re tough, they’re smart, they’re honourable, they work as a team, they look out for each other, they can rely on each other.

Also, they’re not all Starfleet Officers, at least not originally. Now, I like Starfleet Officers, the organisation is one of the finest fictional militarys ever devised. But its nice to have some variety and spice in the crew. We have, of the ten recurring characters featured in Voyager’s run (that’s nine at a time):

  • Three Starfleet Officers, two with long and distinguished careers, one freshly graduated rookie, (Janeway, Tuvok, Kim, respectively).
  • One dishonourably discharged Starfleet Officer reinstated given a field commission of Lieutenant. (Paris).
  • Two ex-Maquis crewmembers, one who used to be in Starfleet but resigned, one who only got to the second year of Starfleet Academy before a tumultuous departure. (Chakotay, Torres respectively).
  • A holographic Chief Medical Officer, who qualifies as a Starfleet Officer. (The Doctor)
  • An ex-Borg, liberated from the Collective who subsequently becomes part of the crew. (Seven of Nine).
  • Two Delta Quadrant natives, who serve as guides and advisers to the crew, as well as cook, morale officer, ambassador, nurse, etc. (Neelix, Kes).

This is infinitely more interesting than having a ship full of people who are largely identical to each other, apart from physical appearance and gender. I’m not saying the people from Next Gen or The Original Series have no personality, take it easy, I’m not saying that at all. All I’m saying is that they are boring in contrast to Voyager’s crew. Picard even admits he’s dull in one episode, for Christ’s sake! Now, I’m not anti-Picard, he’s a good man, and a good leader…but Janeway certainly is not dull. And life with Janeway is never boring.

7. The pilot episode. The best opener in the history of Trek. First episode of TOS, ouch, and Pike is a knobhead. TNG’s ‘Encounter At Farpoint’ has aged horribly, but the plot does nicely emphasize the whole ‘we’re explorers, yay!’ mindset, which is good, but it’s quite slow in places. DS9’s ‘Emissary’ is also slow and dull, has the overwhelming problem of the irritating as hell characters, and the religious fluff all through it is tiresome and about as welcome as the plague at your front door. Which is to say, not welcome at all. Enterprise’s ‘Broken Bow’ has more promise, but its weaker than Voyager’s opener. ‘Caretaker’ is a great pilot, it has action, it has danger, it has dilemma, it has an interesting new crew and a great looking new ship, it sets up the characters and the premise of the show with deftness and panache, and it the only opener with a real sense of threat and peril to it. All in all, impressive. By the time I saw ‘Caretaker’ for the first time I had been a long time Voyager fan, probably two years or so, I remember Season 3 was being shown at the time on UK television on the BBC. A friend of mine lent me the VHS video (This was a long time ago and I haven’t seen her for some time, but Sue Tucker, if you’re ever reading this, thanks again!), so I already knew the show and its characters well by the time I saw the first episode. But it was nice to actually see the events I had heard referenced to, and I thought the pilot was great.

8. It broke the conventions I had come to associate with Star Trek over the years by actually being good. Really. Fucking. Good. Finally, a nice short point.

9. Recurring Extras/Crew Complement: (NB: This point is a direct copy and paste from another one of my posts, but I think I put my point across pretty nicely and had plenty good examples, and its very relevant to my point here, so I simply lifted it and put it in this post). This is very appropriate for Voyager’s situation and the closer bond between the crew. eg: Vorik, the Vulcan engineer, Joe Carey, Torres’s deputy, Samantha Wildman, the Science Officer, her daughter Naomi Wildman, (Scarlett Pomers, you are the best Child Actor EVER. Not annoying like Anakin Fucking Skywalker, not immature and whiny. Bravo, young lady), Icheb and the Borg children when they arrive. Even the named crewmen who have few lines, but are present simply for a sense of continuity in the tight-knit crew. Ayala, the other Maquis who beams onto the Bridge in ‘Caretaker’ along with Chakotay and Tuvok who becomes a senior Security Officer, Ashmore, a engineer seen in the background of many scenes, the officer assisting Kim in ‘The Killing Game’ to distract the Hirogen and who Janeway speaks to and supports in ‘Memorial’, Susan Nicolette, one of Voyager’s best engineers whom Torres’s frequently mentions and works with, Lang, a security officer who is assigned to the Bridge to shore up dwindling numbers as the crew is translocated one by one in ‘Displaced’ and is consequently seen as a Bridge Officer, presumably due to her actions in ‘Displaced’, Ensign Brooks, seen in ‘Caretaker’, ‘Displacd’, ‘Darkling’, ‘The Raven’ and ‘Year of Hell’, and and any number of unnamed but recurring extras. Its a nice touch to the show. (I’m sure we see more than one hundred and fifty over the course of the show, exceeding the crew complement, but as I’ve said, I care not a single jot for such small oversights). Cool bit of trivia, Ensign Brooks is played by Sue Henley, Kate Mulgrew’s stunt-double. I understand KM is a quite the ‘all her own stunts, just like Jackie Chan’ type, but she wouldn’t have been allowed to do everything!

10. The Delta Flyer. Hooo Nelly, any crew that builds and sleek, tough-as-nails hot-rod to fly around in is cool with me. Its like having a Ferrari in your garage. It was a shame when the first one got destroyed…but hey, its ok! They’re building a new one, hooray…which in ‘real world’ terms is blatantly just the interior set of the first Flyer with patent-pending ‘go-faster-red panels’ on the inside. Hee hee, awesome! I guess the Voyager crew got the design right first time around, and figured ‘Aw hell, let’s just rebuild the same ship again. It works and it looks funky.’ There is a whole episode called ‘Drive’ dedicated to the test-run of the new Flyer which involves them signing the craft up for an interstellar race, and any episode with a race in it is a winning recipe as far as I’m concerned! I like my sports.

11. Its the best because it just is. (I know, I said 1o not 11 points, but what the hey). As I said, Voyager is the best because it just is. End of.

Okay, part 2 done. Hope you enjoyed, whether you agree or disagree.

Voyager out.


2 responses

  1. I absolutely agree with everything!

    November 3, 2015 at 12:23 pm

  2. TLW

    I think Voyager had the best opening credit sequence.

    January 13, 2018 at 12:40 am

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