Taking back Control?

The latest Star Trek novel to be released is the much antcipated Control, by David Mack. It continues Dr. Julian Bashir’s arc of taking down the United Federation of Planet’s ruthless, self appointed, and self professed “protection” service, Section 31, which began back in Deep Space Nine‘s sixth season.

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Control is Mack’s fourth novel to focus on Bashir

As with the best of Trek, Control is a story that is as much about our present as it is the future, and is highly influenced by today’s ever pervasive atmosphere of surveillance, hacking, and Snooper’s Charters. At Section 31’s centre is the titular Control; no doubt a nod to Le Carré’s Tinker, Tailor, Soldier, Spy, but the enigmatic leader of 31’s name also comes as a prophetic warning.

Here is an artificial intelligence that is as much a calculating dictator as it is the basic operating system of the entire Federation: making decisions on behalf of the ‘inferior’ citizens it protects, it does so by crunching the astronomical numbers gleaned from starship sensors, to an individual’s replicator habits. As any half decent Vulcan would applaud, it deems that the needs of the many outweigh the needs of the few, but it is doubtful there are any who would consider the few as completely expendable in a fashion as merciless as Control.

Through frequent flashbacks to the 22nd Century we are given the backstory of a relatively simple computer code designed to recognise potential threats (via the means of the unchecked surveillance which we in the 21st are becoming alarmingly aware) and inform law enforcement as appropriate. On one hand it is certainly an interesting concept, and the fact that it spans every single piece of technology of an entire interstellar superpower is fully warranted in order to fully grasp the analogy of interlinked handheld and camera/microphone equipped computers that are literally lining the pockets of our own civilisation.

As an independent piece of science fiction (it’s not like something so accurate can be described as speculative fiction) it would have been a fascinating thriller. In fact for all it’s derivation from its source material, 2004’s i, Robot was at least a blockbuster with some similarly interesting philosophy behind it.  But Control isn’t an independent piece of science fiction.

It’s an official piece of Star Trek fiction. And that’s where the problem lies…

Author David Mack has been writing Star Trek prose for well over fifteen years, having  previously co-written the screenplay and story for the DS9 episodes Starship Down and It’s Only A Paper Moon respectively. Novel-wise he is perhaps best known for Star Trek: Destiny, a centuries spanning epic in which the Borg learns that resistence is far from futile and their reign of terror is finally brought to end, albeit not without a fight.

On a more personal note, Mack has also written some of my favourite Trek novels, including the previous Bashir/Section 31 adventure Zero Sum Game, and the destruction of the USS Bombay within the pages of Star Trek: Vanguard‘s Harbinger is one of the most touching events I’ve read in any book, Star Trek or otherwise.

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Destiny featured characters from TNG, DS9, and Enterprise

Thanks to its far reaching consequences, Destiny heralded a new era for Star Trek novels and showed that the post televisual relaunch had well and truly set its own course in the stories it would tell, and praise was rightfully lauded everywhere in its general direction.

His next trilogy, the Next Generation specific Cold Equations also ended on a high after the Enterprise crew had literally saved the entire galaxy. Despite so much hanging in the balance, the tale wove together established Trek lore from both screen and page to ensure that it remained entirely believable throughout.

Other novels have increasingly extended his reach in terms of the interstellar stakes, and as impressive as his writing is however, the riskier road leads not just to greater profit, but also greater losses when things don’t pan out.

Mack’s 2011 novel Rise Like Lions follows on from his previous novella-turned-novel The Sorrows of Empire (which I will admit I haven’t read because there are SO MANY Star Trek novels it’s impossible to read them all), and sees the races of Star Trek‘s mirror universe unite into the Galactic Commonwealth. Something perhaps not so surprising, given that it effectively mirrors the way in which Destiny sees the standard alpha and beta quadrant powers suffer unheard of misfortunes. That said, it is a change which is so sweeping that the mirror universe becomes all but unrecognisable from it’s onscreen adventures; humanity has gone from a plucky rebellion to being handed technology the Federation would almost deem all but impossible to the point where it strains credibility, and breaks all suspension of disbelief, in the process.

As I mentioned, I haven’t read its predecessor which no doubt fills in many gaps, but surely any novel should be able to work solely on its own merits? It does have to be said that Mack’s Disavowed, of which Control is an immediate sequel and which also combines his mirror universe narrative with those of Bashir/Section 31, makes great use of the changes that had been introduced, but without suffering the consequences of the almost Deus ex Machina transformation itself.

Somewhere between The Body Electric and Rise Like Lions then, Mack has shown that he is more than capable of handling such extreme narratives, just not with a 100% success rate. With Control however, Mack has managed to combine making such high stakes and revelations believable and entertaining, whilst simultaneously extolling the most jarring feature of any Star Trek novel (that I have read) in that it comes completely at odds with what Star Trek is, and undermines the entire basis of arguably entertainment’s most loved, enduring, and optimistic mythology.

50-something years ago, Gene Roddenberry dreamed of a future where humankind had put its petty differences aside. Poverty, racism, and sexism, (and had paramount not intervened, homophobia) were a thing of the past, and Earth’s only adversaries came from outside it’s orbit rather than within. In fact Roddenberry’s vision was so utopian that his insistence that conflicts between crew members simply wouldn’t happen often lead to accusations that his series were too boring, and lacked significant dramatic tension.

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Section 31 was first introduced in Inquisition

Although Star Trek‘s longevity owes much to the outside influence of a host of other writers and producers, each merely put their own spin on the core optimism that is at Star Trek‘s heart. DS9 was only concieved after Roddenberry’s death, and despite making humanity a little less perfect – in part by throwing Section 31 into the mix – than he had initially intended, it showed that the light still shines the brightest in the dark.

In fact some of the best stories can be defined by Picard’s quote that “we work to better ourselves and the rest of humanity” by placing the emphasis on the actual work that is needed to achieve humanity’s potential, rather than merely presenting it as a done deal.

Flying right in the face of this established notion however, Control retcons the forming of the entire Federation, even that of a united Earth government, by uncovering the “truth” that humanity’s destiny was in fact shaped by Bashir’s ultimate nemesis and Section 31 founder: an all seeing and all watching computer code. In this version of the future, humanity was steered towards a better world rather than having the strength, willpower, and compassion to build it themselves.

It certainly raises some interesting questions about the nature of democracy and free will, but in a way which just doesn’t fit with its surroundings. I’ll admit that it would be a stretch to say that (narratively at least) the entirety of Star Trek is therefore built on a lie, but not by much.

Control isn’t the first Trek story of any medium to question the cooperative/assimilation expansive nature of the Federation, and Control’s belief that the Borg would have eventually ruled over Earth and its allies if it had introduced itself via means of seduction rather than conquering is one of the book’s most thought provoking notions. But others who take part in that debate, such as last year’s Star Trek Beyond, at least do so in terms of a humanity that overcame its own problems before finding different ones amongst the stars.

Gene Roddenberry once described Star Trek as “an attempt to say that humanity will reach maturity and wisdom on the day that it begins not just to tolerate, but take a special delight in differences in ideas and differences in life forms. […] If we cannot learn to actually enjoy those small differences, to take a positive delight in those small differences between our own kind, here on this planet, then we do not deserve to go out into space and meet the diversity that is almost certainly out there.”

We can always wonder how much better off (in the short term) we ourselves could have been with a sentient computer safeguarding our best interests during Brexit and Trump’s comparable elections, but that would have been taking the easy way out.

And that’s not how Star Trek works.

Gerry And-A-Son Have A Great Weekend

Rather appropriately for a weekend which celebrated new life and resurrection, with the release of not one but three new series, this Easter saw something of a comeback for Gerry Anderson. Unlike his resurgence in the early nineties which came courtesy of his classics being given repeat broadcasts (Space Precinct notwithstanding), this years is more impressive for the fact that the series being released are all original(ish) productions, and that this is all happening posthumously.

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Gerry Anderson, with son Jamie

Having been diagnosed with dementia in the form of Alzheimer’s disease, Anderson sadly passed away on Boxing Day 2012. Never one for retirement however, he continued to create and develop new ideas for as long as he was physically and mentally able, even dictating them to others after the ability to read and write had left him.

The last project he was working on was also the first to have been released, when last Thursday saw Black Horizon become available to the general public. With plenty of notes and outlines left behind, Gerry’s younger son Jamie Anderson recruited the services of author M.G. Harris and brought Gemini Force One to the attention of crowdfunding site Kickstarter; the result of which was raising over £33,000 to bring this this new idea to life.

Black Horizon

From the co-creator of Thunderbirds….

Looking at the fantastical concept of Thunderbirds, Anderson delved deeper into the idea of how such a rescue organisation could conceivably be created and operate. These range from basic ideas that include bland uniforms specifically designed to blend in to any situation, to their secret underwater base (Gemini Force One itself) being hidden from view by revolutionary lightbending technology.

The release of Black Horizon, the first in a planned trilogy of novels, is also something that I personally have a number of connections with. Firstly, as one of the 614 backers, I can say that I helped GF1 became the reality it is today; something confirmed by the fact that my name is printed in black and white in the book itself.

Having received my kickstarter copy of the book last year, I was also able to write a review for it at WhatCulture before its general release. As I guess is often the case when you write a favourable piece about something people have spent so much time and energy on, both Jamie and M.G. shared my review on social media. Gratifying enough on its own, but the fact that this review is also being quoted on the book’s page at Amazon is something that I have to admit I’m also rather chuffed with. (The review itself, along with a more in-depth description of GF1 can be found here.)

In the week since its release, extra deleted chapters have also been made available, and can be downloaded from the official website, geminiforce1.com.

The second, and much more anticipated release, was Thunderbirds Are Go, a new TV series which combines traditional model making techniques with computer generated characters. Although obviously based on the most famous series created by Anderson (alongside his then wife Sylvia), this incarnation is a joint production between ITV Studios, Pukeko Pictures, and Weta Workshops. Officially announced by Gerry Anderson himself back in 2011, just how much he was involved in the production of the series is hard to say; presumably very little but, unlike the 2004 Hollywood effort, we can be assured that Thunderbirds Are Go at least had his blessing.

Thunderbirds are still going!

Thunderbirds are still going!

Jamie has also been involved of sorts, acting again as Anderson’s successor/figurehead when doing interviews to promote the series. These have included The One Show, but perhaps the most interesting was on Sky News where the interviewer that seemed to imply the series was created solely to make use of tax loopholes.

Rather than sing its praises indiscriminately however, he has been promoting it in terms of celebrating its classic origins, allowing the new footage to speak for itself. One way in which he did make his opinions about the new series well-known however, was by writing a piece published by the Telegraph, about how CGI can never replace strings.

Although Jamie may be siding with those of earlier generations, it has to be said that Anderson Sr. himself wasn’t dismissive of the CGI revolution’s ability to update his series’ visuals, as the last to be produced before his death, 2005’s New Captain Scarlet, was produced in full CGI “Hypermarionation”.

I want to believe

How I summed up my trepidation

Eagerly scouring pictures and information that was released in the run up to the show’s broadcast, it was with great curiosity that I watched Reggie Yates’ preview documentary Thunderbirds Are Go: No Strings Attached. Despite the reassurance of not just the names of those involved (from actor David Graham returning to the role of Parker, and a script by David Baddiel), but the passion of those involved, my fears about CGI and modernisation weren’t quenched.

So it was that not having been convinced by the clips of what I had seen, but still with an open mind, I sat down and watched the pilot episode, “Ring Of Fire.” CGI aside, the main changes have come from the show’s narrative, the most obvious being the fact that dad Jeff Tracy is now missing. Several allusions are made to a mysterious crash in which he disappeared, explaining his absence but also adding a sense of mystery that will presumably be a recurring arc over the run of the series. ‘Tin Tin’ has also been given a more prominent role, as well as the new name of Kayo, presumably so as not to upset anyone associated with the latest adventures of Herge’s finest, given her now more involved and adventurous role.

And in the end, I have to admit I was pleasantly surprised. It is hardly perfect as the CGI and practical models don’t always mesh well, particularly during the heavy action sequences, and it is not something that will ever replace (although I highly doubt this was the intention) or surpass (you’d have to ask them) the original series. That said, it was something which appealed to me as both someone who cannot help but pick apart and analyse TV, and as a fan of Anderson’s previous work. Of all the things that they did get right, luckily the iconic Thunderbird lauch sequences, complete with bending trees, was one of them, and brought the biggest smile to my face.

TERRA0102_deadlydeparted_1417Following on from these was also the release of a new Terrahawks box set from Big Finish, a series of 8 audio episodes, one of which can be downloaded for free. Admittedly a series of which I initially knew less than Big Finish itself (a company established to continue Doctor Who after the original TV was cancelled, and which has since expanded to produce material for other sci-fi series including Stargate and Blake’s 7).

Something obviously aimed at an existing audience rather than a new one, the medium of audio adventures seems something at odds with the rest of Anderson’s back catalogue, given that his name has become synonymous with brightly coloured vehicles and giant explosions. Whilst even the written word of Gemini Force One can describe the detailed visuals, audio Terrahawks doesn’t actually seem that out-of-place, and is probably the most suited to this new (for Anderson) medium. Populated by characters with caricatured accents, these new adventures make the most of what audio has to offer; the sound of spring like motions rather than footsteps is a great way to establish the robotic nature of the series, and never has the idea of a room being so silent been so cleverly (and funnily) portrayed). The fact that Jamie was involved in terms of both writing and directing episodes also adds the desired amount of authenticity.

Despite the vastly different media, and varying degrees of publicity, all three of the latest Gerry Anderson projects may not have been met with universal praise (I guess you can’t please everybody), but at least with a favourable response that bodes well for the fact this is still just the beginning.

Black Horizon is the first in a trilogy, Thunderbirds Are Go has already been confirmed for a second season, and the current Terrahawks box set is merely volume 1. Add to this that there is even more on the way (Jamie’s latest kickstarter project, Firestorm, was funded back in November), stand by for action indeed!!!

Review: ‘Star Trek: The Fall – A Ceremony Of Losses’

Whilst no longer in their heyday in terms of the number of books published each year, current Star Trek novels now seemingly try to outdo each other in terms of galactic importance. A Ceremony Of Losses comes as part of the The Fall miniseries, and sees a third threat to a Galactic head of state in as many novels.

A_Ceremony_of_LossesIn this volume it’s the turn of the Andorians, as Doctor Bashir turns his attention to the reproductive crisis that has plagued the former Federation members so prominently in recent years. As such, this novel relies the most on prior knowledge of ‘current’ (ie, relaunch novel) 24th Century events.

Not only does the political angle continue the ongoing story-lines of Andoria’s medical problems and succession from the Federation, but even those who have read the 23rd Century Star Trek Vanguard series will have an advantage over those who haven’t. Obviously the preceding Fall novels Revelation and Dust and The Crimson Shadow also both go without saying.

All the relevant back-stories are adequately explained however, but it is the fresh cloak and dagger – and eventual all out knives drawn – angle that make this story shine. For all the various plot threads it relies upon, it is the tradition of using Bashir’s espionage tales sparingly that Ceremony best continues. It is here that Dr. Bashir makes what is possibly the ultimate decision of his ongoing personal struggle between superior intellect and bleeding heart.

Bashir’s decision (and its consequences) are chronicled with all the talent of dramatic description readers have come to expect from Mack, the political issues are far less enduring than some others, all the while focusing squarely on those characters readers know and love.

Review: ‘Star Trek: The Fall – The Crimson Shadow’

For the second in a five part mini-series, it could be easy to argue exactly how much of a Deep Space Nine novel The Crimson Shadow really is. Although its Next Generation credentials are obvious, the fact it revolves around the political turmoil of a major DS9 planet does point in the direction of that series. That said however, it’s not as though The Next Generation has ever treated the Cardassians delicately, David Warner notwithstanding.

Despite the inclusion of characters from both however, The Crimson Shadow is first and foremost simply a Cardassian novel, with any other setting taking second place; as with the recent Typhon Pact books the lines between TV series are becoming increasingly irrelevant. Also like Una McCormack’s previous novels, this is a story of an entire people rather than just those few who tell it.

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And it is through this ability to tell the big picture from a small perspective that McCormack brings out the full potential of what a Star Trek novel can be. As Trek at its best not only is this tale of another world both highly enjoyable and also relevant to our own – the withdrawal of allied troops cannot be taken as mere coincidence – but her writing is second to none.

The opening narration is reminiscent of Dickens himself and the depiction of the various levels of unrest, from boots on the ground to the offices of government, are handled with a level of skill that belies the fact this is only McCormack’s fourth full length Star Trek novel. Despite this however, it is the meeting of two diplomatic heavyweights, Elim Garak and Jean-Luc Picard, where The Crimson Shadow shines.

The depiction shows not just her in-depth knowledge of these disparate figures, McCormack’s particular fondness for Garak is no secret and as such his own story is the most compelling, but the interplay between the two is as engrossing as the rest of the novel combined.

Despite such a positive rendering of those characters that are included, the heavy political themes of the novel do tend to leave some left out; Geordi La Forge in particular is once again relegated from major player to the smallest of appearances.

Overall this novel presents such a powerful account of one of Star Trek‘s most influential races that it is easy to forget The Crimson Shadow is designed to be just one part of larger whole. Regardless of the Federation’s aid, or even the Castellan’s leadership, Cardassia couldn’t be in better hands than Una McCormack’s.

Review: ‘Star Trek: The Fall – Revelation and Dust’

Despite the plethora of novels in the Star Trek: Deep Space Nine relaunch series, their number has diminished in the all-encompassing post-Nemesis relaunch novels; which now includes Captain Riker’s Titan in addition to the regular Next Generation, DS9 and Voyager staple, not to mention the various cross-overs. Although no books have been published with a Deep Space Nine title since 2009, the series has been the focus of a number of Star Trek: Typhon Pact novels however, not least of these is Plagues of Night, in which the beloved titular station is spectacularly destroyed.

Revelation_and_Dust_solicitation_coverBetween the longer than average span between publishings, and the dramatic events of the previous novel, Revelation and Dust understandably takes longer than most to get started. Although there is little that has happened in the interim there is still a new station to introduce and previous events to recap, which includes the kidnapping of Rebecca Jae Sisko. Something that has to be recapped, as it was a presumably major event that was never actually told.

The relaying of the exposition is helped by the fact that the characters we are reacquainted with are mostly old favourites from the TV series once more, as with Vaughn and Shar no longer aboard it is only the addition of Ro Laren and Sarina Douglas who new readers may be unfamiliar with. Although old and new alike will feel those such as O’Brien and Odo could have featured more heavily, Revelation makes the best of a new start thanks to author David R. George III’s ability at picking up right where he left off, having written three of the four DS9 set Typhon Pact novels.

Interwoven with the main comings and goings of the new station’s opening ceremonies, the novel also charts the experiences of former colonel (now vedek) Kira within the celestial temple. As is often the case when dealing with the prophets, this tale is shrouded in metaphorical mystery and by the end poses more questions than it offers answers. Doubly interwoven as the introduction of Rebecca’s abilities similarly seems to have been added as the start of an ongoing narrative of which this is only the beginning.

As the first of a five part mini series however, it is clear that Revelation is a beginning of many things by design, not least considering the fact that narratively it has to be the most influential Star Trek novel of recent times, its singular pivotal event is made all the more surprising by coming much later in the novel than is normally expected of something so inciting.

And despite George’s fine writing this is perhaps the only downfall of Revelation and Dust. Despite being accessible to regardless of how well read in Star Trek fiction, and an exceptional start to what promises to be a game changing mini-series, it is not simply a tie-in novel that can read independently from any others.

Book Review: ‘Star Trek: Enterprise – The Romulan War’

For all the potential that Star Trek: Enterpise was living up to in its fourth season, it is hard to imagine how it would have portrayed the already canonical six-year Romulan war had it not been cancelled. It is arguably for this reason that telling the story through the two-volume novel mini-series is no bad thing, even if it is perhaps something of a double-edged sword.

Enterprise_The_Romulan_WarWhile the first volume, Beneath Raptor’s Wings, gives a great view of the galaxy at large, this does come at the expense of the Enterprise itself. A far cry from Broken Bow‘s initial four-day trip to Qo’Nos, it takes 27 days for the eponymous ship to get from Earth to Vulcan, and more than half the book goes by before her becomes half way anything close to adventurous. Despite this slow start for the Enterprise crew, it has to be said that author Michael A. Martin’s descriptions of the galaxy at large make it worth the wait.

Right from the start we are shown a great view of Humanity’s initial colonisation of the stars through the inquisitive eyes of the Federation’s Newstime reporters, the pioneering image of a Native American/Western style Mars not only creates an atmosphere any terraformer would be proud of, but is also highly believable. Unfortunately though, this is not the same for the XVIII Dalai Lama; as much as the current incarnation may be humility personified, Martin could not have made his successor any more of a Californian high-schooler if he tried.

Minor gripes aside however, this first volume achieves as much as you would expect from its more than average 568 pages. Apart from perhaps only Malcolm Reed, even those characters who are given little page time still manage to have significant impact. Even Phlox’s journey from explorer to battlefield medic is just the tip of the iceberg as Captain Archer is haunted by the ramifications of previous decisions, and Charles ‘Trip’ Tucker III’s continuing spy mission continues to escalate into more than he was bargaining for.

Perhaps most importantly however, this book’s strength comes in its feeling of connection to our own world (even if a certain Braveheart reference could have done without such vivid imagery) while at the same time sowing more seeds of bridging the gap between Enterprise and the 23rd and 24th century Star Treks that spawned it. More than just in the “why does something set 100 years in the past look more modern?” way, the inclusion of a particular gifted but introverted engineer is a particularly nice touch, as is reverse-naming Romulan officers after future Warbirds.

RomulanwarbravestormWhere the first volume stretches itself across space, the second does likewise across time; despite its smaller size of only 334 pages, To Brave The Storm spans an almost impressive five years. “Almost” impressive in that as much as it keeps a coherent story, it seems that very little happens in the months between chapters. Something which again evokes the vast distances of pioneering space travel, but also seems to be only something done in order to comply to a previously established timeline.

All in all The Romulan War is a fair portrayal of what many fans would like to have seen on-screen, worthy of a read but two books aren’t quite enough to fulfill the potential of a galactic event with such wide-reaching consequences.

Book Review: ‘Star Trek: The Next Generation – Cold Equations’

When leaving the cinema having just watched Star Trek: Nemesis, it is likely that many disappointed fans correctly presumed it would herald the end of The Next Generation on the big screen. What they may not have predicted however, is the successful relaunch that the tie-in novels have been enjoying in their decade of free reign storytelling since.

Persistence_largeCoinciding with the final films ten year anniversary the Cold Equations trilogy, released during the final months of 2012, told what is arguably the one story which fans had been eagerly waiting for ever since, particularly after the publication of 2009’s Star Trek prequel comic, Countdown. Between his sacrifice on board the Scimitar and his captaincy of the USS Enterprise E, readers were finally treated to the tale of Data’s resurrection in the first of the three books, The Persistence Of Memory.

The bulk of the story recounts the secret history of cyberneticist Dr. Soong, retconning his death in the TNG episode Brothers to an elaborate deception in the process (something which, it has to be said, Brothers itself was guilty of first). Having designed and built himself a top-notch – even by his standards – android body to carry his own consciousness, he sets off to find and win back his beloved Juliana Tainer, with whom he plans to share his immortality. Until the pesky Breen show up, that is.

Silentweapons_largeContinuing where Persistence leaves off, Silent Weapons sees a newly resurrected Data, all too fully aware of how possible it can be, embark on a quest to do the same for his own daughter, Lal. Caught in the middle of a Breen/Gorn scheme to turn the balance of the galaxy’s power in their favour however, this second book also continues in the tradition of the more recent Typhon Pact novels as much as it does its immediate precursor. In fact Federation president Nanietta Bacco also makes a welcome return, accompanied as ever by her loyal staff, although as events unfold it is one appearance she would most likely end up regretting.

Set largely on the Orion homeworld, readers are also shown a largely unexplored side to this culture that has generally remained overshadowed by its criminal syndicated underworld, but does so in such a way that all but makes its existence almost inevitable in the first place.

Body_ElectricIn contrast to the first two however, the third and final novel, The Body Electric, seems almost a stand alone story were it not for the continuation of Data’s personal quest. Leaving the Typhon Pact far behind, the crew of the Enterprise find themselves against an antagonist so incredible that believability is almost defied to the point of becoming non-existent. Especially when a billions of years ticking clock is reduced to a matter of minutes.

A Next Generation tale of reunion wouldn’t be complete without fully grown Traveller Wesley Crusher however, even if the comparisons to character and TV actor Wil Wheaton aren’t all that subtle either.

Although Cold Equations may not have the same page turning suspense as author David Mack’s Star Trek: Destiny, this is something that can be put down to the previous trilogy’s sheer scope, and shouldn’t be held against this offering personally. That said however, the more personal events of the novels are treated with the drama and weight they deserve, the cold climax of Persistence in particular is felt throughout Worf’s continuing narrative, no doubt well beyond Weapons and Electric, almost as much as the events of DS9‘s Change Of Heart.

This itself is one of the trilogy’s strengths, containing as it does nods to both canonical events and previous novels in all the right places, that can only come from such a knowledgeable Star Trek author. 

All in all, a trilogy of stories that recounts one defining moment but doesn’t for a second rest on its laurels, adding its own to the mix that stand their own ground, on their own terms.