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Star Trek: Deep Space Nine Books In Order

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The Star Trek: Deep Space Nine series is a series of novels based on the science fiction genre and written by a number of noteworthy authors. The series consists of a total of more than 60 novels published between the years 1993 and 2008. The novels of the Deep Space Nine series are directly based on the television series of the same name which aired between the years 1993 and 1999. This series is the first one in the Star Trek franchise which has not included the franchise creator named Gene Roddenberry. The novels of the series are based on the time frame of the years following the 2370s and are set on a space station which is led by the Commander Benjamin Sisko. The Deep Space Nine novel series began in the year 1993, when author J.M Dillard published its first novel titled ‘Emissary’. A number of authors have given their contribution to the series and have written novels continuing with the plot of the series based on the television show. The Star Trek series is currently going on as the authors are busy writing the latest novels of the series. The readers all over the world enjoy reading the Deep Space Nine novels because they depict intricate mythology, and feature their own legitimate language, which is known as Klingon. The novels of the series have helped to enrich the mythos of the Star Trek franchise by accompanying the television series and the various Star Trek movies.

The first novel of the Star Trek: Deep Space Nine series was published under the title ‘Emissary’ in the year 1993. It was written by the author J. M. Dillard. The plot of the novel shows a new crew that takes over the space station at a distant space and is about to change the galaxy with its astonishing discoveries. The space station named Deep Space Nine is situated in the orbit of Bajor and is controlled by the station commander named Benjamin Sisko. The station was used by the Cardassian Union on previous occasions. Sisko loses his wife Jennifer in the Borg attack and hence becomes resentful of his duties. The attack also destroys his former ship named the USS Saratoga. He seems to be worried about the wellness of his son Jake on the Deep Space Nine station. When Sisko and his son arrive at the station, they find it almost bare on the unimportant system of the Cardassians. The Bajoran staff on the station is led by Major Kira Nerys. Kira does not trust the presence of the Starfleet staff on the station. Soon, the USS Enterprise sends more Starfleet staff on the station, including Chief Miles O’Brien. As Miles O’Brien and his family arrive at the station, Sisko becomes more despondent as he does not like to take orders from Captain Picard, the man whom he holds responsible for his wife’s death. He informs the station crew that he is going to resign from his post and take up a civilian position, but continues to work as the station commander. Sisko takes the help of the chief of security of the station Odo, who is a shape-shifter, and manages to convince the Ferengi barkeeper named Quark to remain on board the station in order to help him in keeping the station active. He also intends to provide Jake a friend in the form of Quark’s nephew named Nog.

Sisko visits Kai Opaka, a spiritual leader of Bajor. Kai Opaka shows the Orb of Prophecy to Sisko, which is believed to be sent by the Prophets of Bajor. Sisko decides to look into the Orb and relive his special moments with wife Jennifer at the time of meeting her for the first time. After reliving the moments, Sisko is informed by Kai that Jennifer has the faith in him to be the ‘Emissary’, a messiah who can help Bajor. Kai hands him the Orb so that he can study his role further. After returning to the station, Sisko learns about the arrival of his remaining staff including Dr. Julian Bashir and Lt. Jadza Dax. He gives the Orb to Jadza Dax and asks her to study the scientific explanation of its working. Soon, the former commander of the station, Gul Dukat visits the station. He was the last prefect of Bajor from the Cardassian Union and informs Sisko about his ship parked in an orbit near the station. He asks for the permission to allow his crew to visit the promenade of the station, to which Sisko does not hesitate. He learns from Dax that the Orb is related a few phenomena in the Denorios Belt situated near Bajor. He wants to investigate the phenomena, but knows that any activity by him will make the Cardassian aware of his mission. Sisko asks Odo to disable the Cardassian sensors with the help of his shapeshifting abilities. Sisko prepares himself to go to Denorios Belt along with Dax to investigate the phenomena and does not worry about getting detected by the Cardassian sensors.

The second novel of the Deep Space Nine series was published in the year 1993 under the title ‘The Siege’. The plot of the novel deals with the efforts of Benjamin Sisko and Li Nalas to stop the Bajorans from commanding the Deep Space Nine station and Dax and Kira trying to end the Circle. In the opening sequence of the novel, Sisko decides to evacuate the civilian population of the station as the assault vessels of the Bajor arrive near Deep Space Nine station. The crew of the station decides to stay behind and fight against the Bajorans along with their commander Benjamin Sisko. The resulting battle endangers the friendship of Jake Sisko and Nog, who have just become new friends. But the two decide to stay as friends forever. Chief Miles is urged by her wife to leave the station and Quark tries to use the opportunity to broker additional seats. However, he is left on the station when his brother Rom sells his seat to a Dabo girl. There should be no sign of the presence of the Federation crew once the forces of Bajor arrive, but General Krim doubts this. He finds out that the security net of the station is disabled and hence, he believes that the Federation crew is still on board. Krim is ordered by Jaro to capture Li Nalas alive. Odo tries to use his shapeshifting abilities to prevent the crew from getting detected. Finally, the battle comes to an end and Sisko is once again made the commander of the station. As Li Nalas gets killed by coming in the way of a weapon blast, everyone becomes confused by knowing the true nature of Li Nalas. Sisko says that he will always remember Li Nalas as the hero of the resistance.

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Star Trek: Deep Space Nine Lit-verse Reading List

The Deep Space Nine Reading List is centered around the Post-Finale Series, which chronicles events following the end of the Dominion War. This series jumped forward in time and was given a new primary author after the Destiny trilogy. Accordingly there are two good "jumping on points" below.

Besides the Post-Finale Series, many additional novels, short stories, and comics are connected due to recurring characters and various references in other books, or to other books. These references are mentioned in the notes. 

Other novels are connected by three crossover series: Invasion! (which is referenced several times in the Lit-verse), Day of Honor (which shares references with several things in the Lit-verse), and The Captain's Table (which is thematically connected with the Lit-verse spanning Tales From the Captain's Table. ) 

Three other short stories or novellas are connected: one from The Brave and the Bold duology (which ties into the Gorkon series), one from Tales From the Captain's Table (which ties into the Post-Finale Series,) and one from Seven Deadly Sins (which also ties into the Post-Finale Series.)

Eleven Lit-verse novels in other series crossover with Deep Space Nine: The Next Generation: Slings and Arrows- The Oppressor's Wrong, The Next Generation: Slings and Arrows- The Insolence of Office, The Next Generation: Slings and Arrows- Enterprises of Great Pitch and Moment , The Next Generation: The Battle of Betazed , SCE: Cold Fusion, SCE: Lost Time, Typhon Pact: Paths of Disharmony, Prometheus: Fire with Fire, The Next Generation: The Light Fantastic , Prey: The Hall of Heroes, and Enterprise: The Good That Men Do. Several comics are connected by the Telepathy War crossover event (which ties into the Starfleet Academy series.)

Also included are all the stories from Prophecy and Change (which contains a sequel to a Post-Finale Series story) and Tales of the Dominion War (which contains stories tying into four Lit-verse series.) Various references in parts of Unlimited #8, the Wildstorm Star Trek Special, the anthology New Worlds, New Civilizations , The Mirror War miniseries, and Star Trek #400 connect DS9 stories from those works. 

The Nog, Sisko, and Worf "spin-off" comic series, Starfleet Academy , Star Trek, and Defiant respectively, are included in this Reading List. Several Post-Finale Series characters spun off onto the USS Aventine, which features in the Destiny trilogy and subsequent novels, and they are included here.

Dark blue denotes the primary narrative. Read these for the bare bones story. Light blue denotes the expanded storyline. Read any or all of these to go a bit deeper. The white denotes every other connected story, regardless of overall continuity. 

Hover for notes. As always, not every reference to every other story is mentioned, just the one I chose as most important to show the expanding Lit-verse web. CLICK HERE FOR A MORE MOBILE FRIENDLY VERSION OF THIS PAGE.

CLICK HERE FOR A SIMPLE SUGGESTED READING LIST.

• The Next Generation: Pliable Truths
• The Star Ghost
• The Mirror War: Sisko
• The Big Game
• Fallen Heroes
• Devil in the Sky
• Alien Spotlight: Klingons- Four Thousand Throats
• The Second Artifact
• Blood and Honor
• Proud Helios
• The Orb of Opportunity
• The Laertian Gamble
• The Long Night
• Invasion!: Time's Enemy
• Wrath of the Prophets
• The Way of the Warrior
• Starfleet Academy: Prime Directives
• Starfleet Academy: Liberty
• Judgment Day
• The Cancer Within
• The Shadow Group
• Broken Oaths
• Day of Honor: Armageddon Sky
• Starfleet Academy: Loyalty Test
• The Next Generation: Slings and Arrows- The Oppressor's Wrong
• Reflections
• The Heart of the Warrior

• Day of Honor: Honor Bound
• The Warrior
• The 34th Rule
• The Next Generation: Slings and Arrows- The Insolence of Office
• Starfleet Academy: War and Peace
• Starfleet Academy: Love and Death
• Starfleet Academy: Passages
• Starfleet Academy: Hide and Seek
• Starfleet Academy: X²
• Starfleet Academy: Return to the Forbidden Planet
• Starfleet Academy: A Prelude to War
• Starfleet Academy: Judgment
• The Next Generation: Slings and Arrows- Enterprises of Great Pitch and Moment
• Starfleet Academy: Public Enemies, Private Lives
• Rebels: The Conquered
• Rebels: The Courageous
• Rebels: The Liberated
• Lwaxana Troi and the Wedding of Doom
• Four Funerals and a Wedding
• ...Loved I Not Honor More
• Telepathy War
• Starfleet Academy: Parent's Day
• Starfleet Academy: T'Priell Revealed
• Requiem in Obsidian
• Starfleet Academy: Culture Clash
• What Dreams May Come
• Starfleet Academy: mangHom qaD
• Starfleet Academy: Between Love and Hate
• Night of the Vulture
• Three Sides to Every Story
• When the Stars Come A-Calling
• The Captain's Table: The Mist
• The Ceremony of Innocence is Drowned
• Blood Sacrifice

• Too Long a Sacrifice
• The Dog of War
• The Devil You Know
• Millennium: The Fall of Terok Nor
• Millennium: The War of the Prophets
• Millennium: Inferno
• Mirror Eyes
• The Next Generation: The Battle of Betazed
• Twilight's Wrath
• Chiaroscuro
• Eleven Hours Out
• Safe Harbours
• Field Expediency
• A Song Well Sung
• Stone Cold Truths
• The Left Hand of Destiny, Book One
• The Left Hand of Destiny, Book Two
• Second Star to the Right...
• ...And Straight on 'til Morning
• You Can't Buy Fate
• A Warrior's Path
• A Dry Day on Ferenginar
• A Walk in the Path of the Emissary
• A Stitch in Time  (Good jumping-on-point)
• Avatar, Book One
• Avatar, Book Two
• SCE: Cold Fusion
• Section 31: Abyss
• Gateways, Book 4: Demons of Air and Darkness
• Gateways: Horn and Ivory
• Divided We Fall

• Mission: Gamma, Book 1- Twilight
• Mission: Gamma, Book 2- This Gray Spirit
• Mission: Gamma, Book 3- Cathedral
• Mission: Gamma, Book 4- Lesser Evil
• Shadowed Allies
• Trill: Unjoined
• The Officer's Club
• Bajor: Fragments and Omens
• Andor: Paradigm
• Ferenginar: Satisfaction is Not Guaranteed
• SCE: Lost Time
• Cardassia: The Lotus Flower
• The Dominion: Olympus Descending
• Fearful Symmetry
• The Soul Key
• The Never-Ending Sacrifice
• Alien Spotlight: Cardassians
• The Last Tree on Ferenginar
• Reservoir Ferengi
• A Perfect System
• Star Trek: Godshock
• Star Trek: The Red Path
• Defiant, Issue One
• Defiant, Issue Two
• Prelude to Day of Blood
• Defiant, Issue Three
• Defiant, Issue Four
• Defiant, Issue Five
• Star Trek Annual 2023
• Day of Blood
• Star Trek: A Savage World of Glass and Bone
• Defiant Annual 2024
• Defiant: Another Piece of the Action
• Defiant: Hell is Only A Word
• The Calling
• Destiny: Gods of Night   (Master jumping-on-point for all major 24th century series)

• Destiny: Mere Mortals
• Destiny: Lost Souls
• A Singular Destiny
• Typhon Pact: Rough Beasts of Empire   (Good jumping on point)
• Typhon Pact: Zero Sum Game
• Typhon Pact: Paths of Disharmony
• Typhon Pact: Plagues of Night
• Typhon Pact: Raise the Dawn
• Typhon Pact: Brinkmanship
• The Fall: Revelation and Dust
• The Fall: The Crimson Shadow
• The Fall: A Ceremony of Losses
• The Fall: The Poisoned Chalice
• The Fall: Peaceable Kingdoms
• Lust's Latinum Lost (And Found)
• Prometheus: Fire With Fire
• The Next Generation: The Light Fantastic
• The Next Generation: Takedown
• The Missing
• Sacraments of Fire
• Rules of Accusation
• Force and Motion
• Section 31: Disavowed
• The Long Mirage
• I, the Constable
• Gamma: Original Sin
• Prey: The Hall of Heroes
• Section 31: Control
• Enigma Tales
• Coda: Moments Asunder
• Coda: The Ashes of Tomorrow
• Coda: Oblivion's Gate
• Revisited, Part One
• Revisited, Part Two
• Enterprise: The Good That Men Do

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Star Trek: Deep Space Nine — Multiple Authors

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The Star Trek: Deep Space Nine Series in Order (87 Books)

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Peter David is the New York Times bestselling author of numerous Star Trek novels, including the incredibly popular New Frontier series. In addition, he has also written dozens of other books, including his acclaimed original novel, Sir Apropos of Nothing, and its sequel, The Woad to Wuin. David is also well known for his comic book work, particularly his award-winning run on The Incredible Hulk. He recently authored the novelizations of both the Spider-Man and Hulk motion pictures.He lives in New York.

K. W. Jeter is an American science fiction and thriller author known for his literary writing style, dark themes, and complex, paranoid characters. His latest novels are THE KINGDOM OF SHADOWS, set in the sinister & glamorous world of the film industry of the Third Reich, and the Kim Oh Thriller series -- KIM OH 1: REAL DANGEROUS GIRL, KIM OH 2: REAL DANGEROUS JOB and KIM OH 3: REAL DANGEROUS PEOPLE, with more to come.

Jeter is an exhilarating writer who always seems to have another rabbit to pull out of his hat.

-- The New York Times Book Review

Brain-burning intensity . . .

-- Village Voice

Melissa Scott was born and raised in Little Rock, Arkansas, where she discovered science fiction as the direct result of breaking her arm during junior high gym class. She was banished to the library, and there the assistant librarian suggested she might enjoy “what’s his name, Heinlein - or that Andre Norton guy.” He was right. She devoured everything available at school, and then discovered the collection created by the Little Rock Public Library’s À Son Goût Trust, which had been established to purchase “books people like to read” — SF, fantasy, and Westerns

Scott studied history at Harvard College, where she was involved with the now-defunct college-sanctioned SF ‘zine that spawned the Harvard/Radcliffe Science Fiction Association, and was introduced to a new round of SF, particularly media SF — like Dr. Who — that had been unavailable in her home town. After graduation, she was admitted to Brandeis University’s comparative history program, and also sold her first novel, The Game Beyond, quickly becaming a part-time graduate student and an — almost — full-time writer. She earned her PhD from Brandeis with a dissertation titled “The Victory of the Ancients: Tactics, Technology, and the Use of Classical Precedent.”

Over the next twenty years, she published eighteen original novels and a handful of short stories, as well as tie-in novels for both Star Trek: Deep Space Nine (Proud Helios) and Star Trek: Voyager (The Garden). She won the John W. Campbell Award for Best New Writer in 1986, and won Lambda Literary Awards in 1994 for Trouble And Her Friends, 1995 for Shadow Man, and again in 2001 for Point of Dreams, the last written with long-time partner and collaborator, the late Lisa A. Barnett. Scott has also been short-listed for the Tiptree Award, and won a Spectrum Award for Shadow Man.

During Barnett’s struggle with breast cancer, and for several years after her death in 2006, Scott focused on short fiction. She returned to longer work in the summer of 2009, when good friend and fellow writer Jo Graham invited her to participate in a new project: Legacy, an eight-book series of tie-in novels for Stargate: Atlantis, to begin where the fifth season had ended. Scott was immediately hooked by the idea, and she, Graham, and Amy Griswold completed the project with the release of Stargate Atlantis: The Third Path. Scott and Graham also began a new series of adventure novels, The Order of the Air, set in the 1930s, featuring aviation, magic, and secrets hidden in plain sight. Scott and Griswold also teamed up for fantasy novels Death By Silver and A Death at the Dionysus Club, which are gay Victorian murder mysteries with magic (or fantasies with murder). Scott and Griswold won another Lambda Literary Award for Death By Silver. Scott has also returned to the world of Astreiant to continue the acclaimed Points series, and is continuing her original science fiction and fantasy.

Scott currently lives in North Carolina, where her living room overlooks a pond filled with alarmingly active and carnivorous turtles.

Greg Cox (born 1959) is an American writer of science fiction, including works that are media tie-ins. He lives in Oxford, Pennsylvania.

He has written numerous Star Trek novels, including The Eugenics Wars (Volume One and Two), The Q Continuum, Assignment: Eternity, and The Black Shore. His short fiction can be found in such anthologies as Star Trek: Tales of the Dominion War, Star Trek: The Amazing Stories and Star Trek: Enterprise logs. His first "Khan" novel, The Eugenics Wars: Volume One, was voted best sci-fi book of the year by the readers of Dreamwatch magazine. Cox can be found in a bonus feature on the "Director's Edition" DVD of Star Trek II: The Wrath of Khan.

Bio from Wikipedia, the free encyclopedia.

John Gregory Betancourt (b. October 25, 1963 in Missouri) is a writer of science fiction, fantasy and mystery novels as well as short stories. He has worked as an assistant editor at "Amazing Storie"s and editor of "Horror: The Newsmagazine of the Horror Field," the revived "Weird Tales" magazine, the first issue of "H. P. Lovecraft's Magazine of Horror" (which he subsequently hired Marvin Kaye to edit), "Cat Tales" (which he subsequently hired George H. Scithers to edit), and "Adventure Tales" magazine. He is the writer of four Star Trek novels and the new "Chronicles of Amber" prequel series, as well as a dozen original novels. His essays, articles, and reviews have appeared in such diverse publications as "Writer's Digest," "The Washington Post," and "Amazing Stories."

Considered one of the most prolific writers working in modern fiction, USA Today bestselling writer Dean Wesley Smith published far more than a hundred novels in forty years, and hundreds of short stories across many genres.

At the moment he produces novels in several major series, including the time travel Thunder Mountain novels set in the Old West, the galaxy-spanning Seeders Universe series, the urban fantasy Ghost of a Chance series, a superhero series starring Poker Boy, and a mystery series featuring the retired detectives of the Cold Poker Gang.

His monthly magazine, Smith’s Monthly, which consists of only his own fiction, premiered in October 2013 and offers readers more than 70,000 words per issue, including a new and original novel every month.

During his career, Dean also wrote a couple dozen Star Trek novels, the only two original Men in Black novels, Spider-Man and X-Men novels, plus novels set in gaming and television worlds. Writing with his wife Kristine Kathryn Rusch under the name Kathryn Wesley, he wrote the novel for the NBC miniseries The Tenth Kingdom and other books for Hallmark Hall of Fame movies.

He wrote novels under dozens of pen names in the worlds of comic books and movies, including novelizations of almost a dozen films, from The Final Fantasy to Steel to Rundown.

Dean also worked as a fiction editor off and on, starting at Pulphouse Publishing, then at VB Tech Journal, then Pocket Books, and now at WMG Publishing, where he and Kristine Kathryn Rusch serve as series editors for the acclaimed Fiction River anthology series.

For more information about Dean’s books and ongoing projects, please visit his website at www.deanwesleysmith.com and sign up for his newsletter.

New York Times bestselling author Kristine Kathryn Rusch writes in almost every genre. Generally, she uses her real name (Rusch) for most of her writing. Under that name, she publishes bestselling science fiction and fantasy, award-winning mysteries, acclaimed mainstream fiction, controversial nonfiction, and the occasional romance. Her novels have made bestseller lists around the world and her short fiction has appeared in eighteen best of the year collections. She has won more than twenty-five awards for her fiction, including the Hugo, Le Prix Imaginales, the Asimov’s Readers Choice award, and the Ellery Queen Mystery Magazine Readers Choice Award.

Publications from The Chicago Tribune to Booklist have included her Kris Nelscott mystery novels in their top-ten-best mystery novels of the year. The Nelscott books have received nominations for almost every award in the mystery field, including the best novel Edgar Award, and the Shamus Award.

She writes goofy romance novels as award-winner Kristine Grayson.

She also edits. Beginning with work at the innovative publishing company, Pulphouse, followed by her award-winning tenure at The Magazine of Fantasy & Science Fiction, she took fifteen years off before returning to editing with the original anthology series Fiction River, published by WMG Publishing. She acts as series editor with her husband, writer Dean Wesley Smith.

To keep up with everything she does, go to kriswrites.com and sign up for her newsletter. To track her many pen names and series, see their individual websites (krisnelscott.com, kristinegrayson.com, retrievalartist.com, divingintothewreck.com, fictionriver.com, pulphousemagazine.com).

I was born in Nottingham, home of Robin Hood, so I grew up hearing and reading stories. Inevitably, I began to also write them. I've now written over 120 books, including tie-ins to such popular shows as "Doctor Who", "Star Trek" and "The Outer Limits". I've also created several series of my own, including "Diadem", "2099" and "Dragonhome". I currently live in New York.

Susan Wright is the author of over thirty novels and nonfiction books published by Penguin Group, Pocket Books and St. Martin's Press, among others.

Susan is the spokesperson for the National Coalition for Sexual Freedom, an advocacy group founded in 1997 protecting freedom of sexual expression among consenting adults.

Susan now lives in Phoenix with her husband Kelly. After graduating from Arizona State University in 1986, Susan moved to New York City to get her masters from New York University and stayed for over 25 years before returning to the desert.

Susan's romance novels are New Adult and are set in New York City. They are standalone HEA: Good Girl (2014) and Role Play (2014).

Slave Trade is the second edition of a space opera novel originally published by Pocket Books in 2003. The sequels are Slave Masters and Slaves Unchained.

Susan's urban fantasy series is set in New York City: Confessions of a Demon (2009) and Demon Underground (2010). Her historical fantasy novels were also published by Roc: To Serve and Submit (2007) and A Pound of Flesh (2008).

Susan has written nine Star Trek novels: Dark Passions (vols. 1 & 2), Gateways: One Small Step, Sins of Commission, The Best and the Brightest, The Badlands (vols. 1 & 2), The Tempest, and Violations. Susan has also written a number of nonfiction books on art and popular culture.

www.susanwright.info

A writer, editor, and project manager, Robert Greenberger has been working in publishing since 1980. A lifelong fan of comics and science fiction, he watched dreams become reality when he first joined Starlog Press in 1980. There, he created Comics Scene which he edited during its initial run. In 1984, he moved to DC Comics where he worked as an editor or administrator until 2000, earning plaudits for his work on the Star Trek comic book. After a brief sojourn to the Internet, he returned to comics in 2001, this time working as an executive at Marvel Comics. This turned out to be a stormy, frustrating year and in 2002 he returned to DC as a senior editor in their growing collected editions department. In 2006, he left DC and found himself having the time of his life as Managing Editor at Weekly World News unitl its clueless management shuttered the paper.

Since then he has been a freelance writer, working on media tie-in properties, original fiction, non-fiction for your young adults and adults, and whatever else has come his way. He has cofounded the digital Crazy 8 Press.

He currently teaches, writes, and edits.

He makes his home in Maryland. For more, check out his website: www.bobgreenberger.com.

David R. George III is the New York Times and USA Today bestselling author of eighteen novels, a novella, three novelettes, an introduction, and eighteen magazine articles. He also co-wrote the television story for a first-season "Star Trek: Voyager" episode, “Prime Factors.” The International Association of Media Tie-in Writers has nominated his work for a Scribe Award, and his television episode was nominated for a Sci-Fi Universe Award. You can learn more about David and contact him at his official website, DRGIII.com.

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Star Trek: Deep Space Nine (DS9) focuses on the twenty-fourth century adventures of Captain Benjamin Sisko on space station Deep Space 9, an outpost situated near the mouth of a stable wormhole on the far reaches of explored space. Although Sisko commands Deep Space 9, the station actually belongs to the inhabitants of nearby Bajor, who requested Starfleet's protective presence after Bajoran freedom fighters put an end to the brutal Cardassian occupation of their world. Approximately a sixth of the station's 300 permanent residents are Starfleet personnel; there is also a sizable Bajoran militia presence.  The rest of Deep Space's inhabitants are civilians, most of whom work in the station's Promenade, a kind of indoor marketplace. Initially, Sisko's mandate from Starfleet was to protect Bajor and the station from any hostiles who ventured into the area. But with the discovery of the nearby wormhole—a shortcut through space that leads directly to the uncharted Gamma quadrant—Sisko's mandate has expanded exponentially, as the region becomes the gateway to all manner of visitors, both friendly and extremely hostile.

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Order of Star Trek: Deep Space Nine Books

The Star Trek: DS9 novel series began in 1993 with the novel Emissary by J.M. Dillard. The series is currently ongoing. For crossover Star Trek mini-series, please see Star Trek . Below is a list of the Star Trek: Deep Space Nine novels in order of when they were originally released as well as in chronological order:

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Star Trek: Deep Space Nine

Star Trek: Deep Space Nine was the fourth Star Trek series and entered production in 1992 . It was broadcast in first-run syndication from January 1993 until June 1999 .

It was the first Star Trek series created by Rick Berman and Michael Piller rather than by Gene Roddenberry . It was also the only series to air alongside another Star Trek production throughout its entire run, airing alongside Star Trek: The Next Generation from 1993 until 1994 , and then with Star Trek: Voyager from 1995 until 1999 .

• (Themes composed by Dennis McCarthy ).
• 1.1 The characters
• 1.2 Alien races
• 1.3 The mirror universe
• 1.4 Technology
• 1.5 Costumes
• 2.1 Development
• 2.2 Serialization
• 3.1 Starring
• 3.2 Also starring
• 3.3 Special guest stars
• 3.4 Special appearances by
• 3.5 Recurring characters
• 4 Executive producers
• 5 Staff writers
• 6.1 Season 1
• 6.2 Season 2
• 6.3 Season 3
• 6.4 Season 4
• 6.5 Season 5
• 6.6 Season 6
• 6.7 Season 7
• 7 Related topics
• 9 External links

Summary [ ]

Deep Space Nine goes where no Star Trek series had gone before – DS9 was the first Star Trek production not based on a starship , but instead, a starbase , known as Deep Space 9 (the starship USS Defiant was introduced in season 3, but the station remained the primary setting of the series). The show is known for its complex characters and storylines, engaging battle scenes and darker (less Utopian) atmosphere. Unlike its predecessors Star Trek: The Original Series and Star Trek: The Next Generation , Deep Space Nine tended to avoid an episodic format for most of its run and instead featured multiple-episode story arcs .

The show broke the "standard format" for Star Trek shows a number of times as well, with a direct, first-person narrative providing the commentary for the episode " In the Pale Moonlight ", a retelling of a classic TOS episode from a different angle in " Trials and Tribble-ations ", life in the racially segregated 1950s in " Far Beyond the Stars ", and a reintroduction of the concept of "black ops" to the Star Trek universe with Section 31 : " Inquisition ". The show also broke with tradition – and with the two Star Trek series that followed it – by featuring a commanding officer as the star of the show at the rank of commander, rather than captain, for a significant portion of its run, until Sisko was eventually promoted to captain in " The Adversary ". Additionally, a number of the episodes and main storylines focused entirely on characters who weren't members of Starfleet: for example, those revolving around Kira, Odo, Jake Sisko, and Quark. (" Progress ", " Shakaar ", " The House of Quark ", " Heart of Stone ", " Prophet Motive ", " Little Green Men ", " Bar Association ", " Body Parts ", " Nor the Battle to the Strong ", " The Ascent ", " The Darkness and the Light ", " Business as Usual ", " Ties of Blood and Water ", " Ferengi Love Songs ")

The characters [ ]

Unlike other Star Trek series, DS9 also had a large cast of recurring characters . Such characters included Nog , Rom , Elim Garak , Dukat , Vedek Bareil Antos , Winn Adami , Weyoun , the Female Changeling , Damar , Martok , Kasidy Yates , Leeta , Brunt , Ishka , and Zek .

Miles O'Brien , and later Worf , were two characters imported from TNG. Worf – a major character from TNG – played a large role on DS9. Several Next Generation characters also had recurring roles on the show, such as Keiko O'Brien and Gowron . Several other TNG characters made appearances too, such as Captain Jean-Luc Picard , Thomas Riker , Q , Lwaxana Troi , Kurn , Lursa , B'Etor , Admiral Alynna Nechayev , Vash , Toral and Alexander Rozhenko . In addition, Julian Bashir and Quark also had one-time appearances on The Next Generation , in " Birthright, Part I " and " Firstborn " respectively. Quark (and the station itself) also made a cameo in the pilot of Star Trek: Voyager , " Caretaker ". Characters from The Original Series were also re-introduced in DS9, including Kor , Kang , Koloth , and Arne Darvin .

The series also featured a number of episodes in which the character of Miles O'Brien was subjected to particular trauma. This became an in-joke among the DS9 writing staff, who called them "O'Brien Must Suffer" episodes and went to great lengths to produce at least one such episode per season. ( Star Trek: Deep Space Nine Companion , p. ? )

Alien races [ ]

The series focused on several races that were first featured on TNG, such as the Bajorans , the Cardassians , the Trill , and the Ferengi . Later, the Klingons and the Romulans (both created in TOS) became pivotal species in the series. Many other species made appearances on the series, including Vulcans , Bolians , and Benzites . The series also created many species of its own, most notably the Changelings , the Vorta , and the Jem'Hadar , who formed part of the Dominion .

Jadzia Dax and other Trills portrayed in DS9 were distinctly different from how Trills had been depicted in the TNG episode " The Host ". In DS9, the relationship between host and symbiont was described more as a truly symbiotic relationship rather than the symbiont dominating the host. Trills now having spots, rather than prosthetic make-up, was due to studio executives feeling that Jadzia Dax actress Terry Farrell was too attractive to cover her face up. ( Cinefantastique , Vol. 23, No. 6, p. 21)

Another significant change was the relationship Ferengi had with Humans . The Ferengi on TNG had originally been intended to be a new adversary comparable to the Klingons in TOS, although the writers had quickly realized how ridiculous the Ferengi were as villains. In DS9, the Ferengi were mainly entrepreneurs and the Ferengi Alliance was a politically neutral economic power.

Deep Space Nine also featured several regular characters who were not members of Starfleet , with Kira Nerys , a member of the Bajoran Militia , and Odo , the station's chief of security , as well as civilians such as Quark and Jake Sisko .

The mirror universe [ ]

The series spent some time exploring the mirror universe , which had not been seen since the TOS episode " Mirror, Mirror ". The mirror universe was featured in five episodes of the series: " Crossover ", " Through the Looking Glass ", " Shattered Mirror ", " Resurrection ", and " The Emperor's New Cloak ".

Technology [ ]

The show also focused on a wider array of uses and depictions of functions for holographic simulations (known as a holodeck in TOS and TNG but as a holosuite in DS9). In addition to many obvious activities (such as those referenced by Chief O'Brien and Julian Bashir) which were completely in keeping with holodeck usage on The Next Generation , the numerous applications of the holosuites on DS9 included them being used as: a recurring background for people to hang out in, in the form of a 1960s Las Vegas lounge (in numerous episodes); a weapons showroom (by Quark); and the location for a baseball game between teams assembled by Sisko versus Solok , a long-time rival Vulcan captain (in " Take Me Out to the Holosuite ").

Costumes [ ]

DS9 initially featured a noticeable change in Starfleet uniform to a reversed color scheme of the TNG uniform, which is a black design with the division color on the shoulders and a grayish-indigo undershirt underneath the uniform, resembling the cadet uniforms seen on The Next Generation . This design is called the old DS9-style uniforms . It was mostly implemented as a continuation of Star Trek 's pattern of changing uniforms over time, although factors such as the discomfort of wearing TNG-style uniforms played a role as well.

What came to be known as the DS9-style uniforms were more of a variant than a switch, however, due to the cost of producing all-new uniforms. This is why, for example, the DS9 crew themselves wear old DS9-style uniforms from the beginning of DS9 pilot episode " Emissary " up to the fifth season episode " The Ascent ", and this style was also later used throughout Star Trek: Voyager . Meanwhile, even after TNG had gone off the air, the dress uniforms and flag officer uniforms on DS9 up until the sixth season (as well as uniforms on Earth , as seen in the fourth season episodes " Homefront " and " Paradise Lost ") were " TNG-style ".

These discrepancies were corrected with the later switch to a unified, "gray-on-black" format with the division color undershirts (known as the " DS9-style "), which was used through Star Trek Nemesis and were also used in this series, starting with " Rapture " and for the remainder of this series, though the old DS9-style uniforms in this series appeared four more times following the uniform change in the episodes, " In Purgatory's Shadow " and " By Inferno's Light " as well as seen on a photograph of " Field of Fire " and in the flashback scenes of " What You Leave Behind ".

Background information [ ]

Development [ ].

The decision to set the series on a space station, rather than a starship, spawned when Brandon Tartikoff originally approached Rick Berman about the show, in 1991, and specifically said he wanted it to have a format that was new for Star Trek but was classically western; if The Next Generation was Wagon Train in space, Deep Space Nine was to be The Rifleman in space – a man and his son coming to a dilapidated frontier town on the edge of known civilization. Berman brought this concept to Michael Piller , and together they set about creating a western in space. As Robert Hewitt Wolfe later explained, " We had the country doctor , and we had the barkeeper , and we had the sheriff and we had the mayor , we had it all, it was all there. We had the common man, Miles O'Brien , the Native American, Kira . " Indeed, the producers initially discussed setting the show at a colony on an alien planet rather than on a space station. This idea was ultimately rejected because it was felt that it would involve too much location shooting, and because they felt that fans of Star Trek wanted to see story lines set primarily in space , not on a planet. ( New Frontiers: The Story of Deep Space Nine , DS9 Season 2 DVD special features)

The change of venue to a space station was largely intended to differentiate DS9 from The Next Generation , because the producers felt that having two shows about a starship airing simultaneously would be unacceptable. As co-creator and executive producer Rick Berman later explained, " Because there were two years of overlap with The Next Generation , we could not create a show that took place on a spaceship. It just seemed ridiculous to have two shows and two casts of characters that were off going where no man has gone before. It was a land-based show, it was a show that in a sense was taking place on a space station. So it had to be an entirely different concept. " ( Deep Space Nine: A Bold Beginning , DS9 Season 1 DVD special features)

The decision to set the show on a fixed station rather than a traveling starship was also based upon a desire to look deeper into the actual workings of the Federation and to see how it dealt with the type of problems one wouldn't find in a show set upon a starship. Michael Piller felt that, by having the characters standing still, they would be forced to confront issues not usually applicable to people on a starship. Whereas on The Next Generation , issues raised each week could simply be forgotten about the following week as the ship visited somewhere else, on a space station, events couldn't be forgotten or left behind but instead had to have implications for the future. As Piller explained, " We didn't want to have another series of shows about space travel. We felt that there was an opportunity to really look deeper, more closely at the working of the Federation and the Star Trek universe by standing still. And by putting people on a space station where they would be forced to confront the kind of issues that people in space ships are not forced to confront. In a series that focuses on a starship, like the Enterprise , you live week by week. You never have to stay and deal with the issues that you've raised. But by focusing on a space station, you create a show about commitment. It's like the difference between a one-night stand and a marriage. On Deep Space Nine , whatever you decide has consequences the following week. So it's about taking responsibility for your decisions, the consequences of your acts. " ( Star Trek: Deep Space Nine Companion , p. ? ) Similarly, in 2002 , Piller stated, " If you look at The Next Generation , it's really about movement. You don't ever stay in one place long enough to get to know anybody. Well Deep Space Nine is a show where everybody is forced to stay week after week, so each episode, each show, is fundamentally dealing with the people who have to learn that actions have consequences, and they have to live with the consequences of their actions on a weekly basis. " ( New Frontiers: The Story of Deep Space Nine , DS9 Season 2 DVD special features)

Setting the show in a fixed location meant that a large cast of recurring characters could be built up with relative ease; much more so than in The Original Series or The Next Generation before it, or Star Trek: Voyager , Star Trek: Enterprise , or Star Trek: Discovery since. As Rick Berman, speaking in 2002, stated, " The show was land-based, but the benefit we got from that was that by staying in one place, it enabled us to create twenty or thirty secondary and recurring characters, which really enriched the show because of all the multi-layers of relationships that have existed over the years. It's a very character-driven show as a result, and I think that makes it quite unique. " ( Deep Space Nine: A Bold Beginning , DS9 Season 1 DVD special features)

The decision to set the show in a fixed location was regarded as a benefit by the series' staff writers. For example, Ira Steven Behr , speaking in 1996 , commented, " We have certain advantages that I think no other Star Trek series has had, because we do have a base of operations that doesn't travel through space, which is the space station. Every story we do, the repercussions, the consequences don't disappear. It's not like the other shows where you have an adventure and then you zoom off into the great unknown. We are here, we have made a home, what we do has consequences. And I think we're able to do this mosaic, this fabric of life in the future, which I like. " Similarly, Robert Hewitt Wolfe, speaking in 2002, stated, " I think if Next Generation and The Original Series were about going out there and discovering new things about other races, Deep Space Nine is about staying in one place and discovering new things about ourselves. Not that we didn't go out there and discover things, but we had the same characters, we didn't change location every week. Sisko couldn't just solve a problem and sail off into the sunset, and never have to go back to that place again. That place was always there, and that problem could always come back to haunt him. So, in a lot of ways, it was a more complex show. " ( New Frontiers: The Story of Deep Space Nine , DS9 Season 2 DVD special features)

The series was designed to have more interpersonal conflict than its predecessors, while still staying true to the universe that Gene Roddenberry had created. Rick Berman commented, " [Deep Space 9]'s an alien space station that doesn't work the way they want it to, and that in itself created a lot of conflict. At the same, our core characters are Starfleet officers; Sisko, O'Brien, the doctor and Dax in no way vary from The Next Generation in terms of the lack of conflict among themselves. That was a rule we had to follow. " ( Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages , p. 5) Berman also commented, " What we wanted to do was something that was almost paradoxical – bring conflict but not break Gene's rules. They still play paramount importance in what we're doing. We created an environment where Starfleet officers were in a location that they weren't happy about being in, and they were in a location where the people who lived there weren't all that happy about them being there. " ( Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages , p. 8)

The show's main cast was intentionally assembled to create conflict (Quark and Odo, Kira and Sisko, etc.), so as to contrast the relatively tranquil atmosphere aboard Federation starships. This was another very specific decision taken by the producers. Gene Roddenberry's golden rule was that there was to be no conflict among Starfleet characters, so the producers decided to introduce non-Starfleet characters so conflict could come from within the show rather than always coming from outside (as it did on TNG). Rick Berman recalled, " We [....] created a situation where we had people who were members of our core group who were not Starfleet: the security shapeshifter Odo; the Bajoran Major, Kira; the bartender, Quark. A group of our integral people are not Starfleet officers, and the ones that are Starfleet officers aren't crazy about where they are, so we have a lot of frustration and conflict. " ( Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages , p. 8) Writer Joe Menosky explained, " You can see right away they're not the perfectly engineered Humans of TNG. They seem more real. I don't know if that makes them as attractive to viewers or not. But they are really different, and they represent a different way to tell a story. And it was definitely a conscious choice to create that potential for conflict. " Similarly, Berman stated, " Viewers didn't see that group of loving family members that existed on the first two Star Trek shows. " ( Star Trek: Deep Space Nine Companion , p. ? ) Michael Piller also commented on this somewhat controversial aspect of the show; " One of the primary goals of the development process was to come up with a show that had more inherent conflict than The Next Generation . In order to do that, you have to understand that Gene Roddenberry had a very specific vision for Humanity in the 24th century. What that meant for The Next Generation was that everybody gets along remarkably well on the Enterprise . There's very little room for interpersonal conflict between those people. In this series, we set out to create a situation that would provide natural conflict. We've populated the show with several aliens, primarily Bajorans , as we are stationed on the edge of the Bajoran star system . And the Bajorans are very different people than we are. They are people who are very spiritual and mystical and have a whole different way of looking at life than the 24th century humanist views which many of our Starfleet people will have. So immediately, there are conflicts. And then there's additional aliens from elsewhere who are thrown into the mix. So, as regular characters, not all the people are Starfleet, not all the people are Human, and as a result, you have this continuing conflict, because people who come from different places, honorable, noble people, will naturally have conflicts. " ( Deep Space Nine: A Bold Beginning , DS9 Season 1 DVD special features)

Unlike with TOS and TNG, Gene Roddenberry wasn't directly involved in conceptualizing DS9. Regarding Roddenberry's involvement in the series, Rick Berman stated, " Michael and I discussed it with Gene when we were still in the early stages, but never anything conceptual. " " We never got a chance to discuss it (the concept) with Gene. By the time we had it to the point that it was discussable, he was in pretty bad shape and not really in the condition that it would have been wise to discuss it with him. On two specific occasions I was with him at his house and we tried to bring it up, but it wasn't really appropriate. " ( Captains' Logs: The Unauthorized Complete Trek Voyages , p. 328) Director Paul Lynch remarked, " My gut feeling is that Gene would be jumping up and down. This is definitely a different take on what Gene spawned, but I think he would love it [....] While it's quite different, Deep Space Nine is also, in many ways, quite the same. All of Gene's moral requirements are upheld in this show. If we've done anything, we've expanded on what Gene created. " ( The Official Star Trek: Deep Space Nine Magazine issue 1 , pp. 10 & 12)

Initially, Berman and Piller were at a loss for a title for the series and toyed with calling the series "The Final Frontier". During further development, the station was temporarily dubbed "Deep Space Nine", which not only stuck permanently as the name of the station, but also the title of the show itself. Despite this, the two co-creators were reportedly dissatisfied with the name. ( Trek: Deep Space Nine: The Unauthorized Story , pp. 17-18)

Miles O'Brien was brought aboard DS9 and made a part of the space station's senior staff because the producers felt that Colm Meaney was too talented an actor to confine his character to a transporter room . Additionally, they hoped the TNG crossover would help boost the new series' ratings.

In the Star Trek: Deep Space Nine Companion , p. ? , Michael Piller explained the rationale behind each of the principal cast members, why each character was chosen, and what each one was to bring to the mix;

• Jadzia Dax: " The Trill is a great race. They had some interesting ramifications on TNG. A Trill character would provide great potential for dichotomy and paradox. "
• Odo: " We knew that we needed some kind of Data / Spock character who looks at the world from the outside in. And the idea that an alien entity would have to find some way to pass as Human was fascinating, and seemed to give us an avenue into the kind of 'complexion of Humanity' stories that we wanted to tell. "
• Quark: " A Ferengi would provide the show with instant humor and built-in conflict. I saw Quark as the bartender who is a constant thorn in the side of law and order, but who has a sense of humor about it. He'd be someone who could obviously throw lots of story dynamics into play. "
• Julian Bashir: " We decided to create a flawed character. He'd have to be brought down to size in order to grow. And we wrote him as kind of a jerk for much of the first season . "
• Miles O'Brien: " After we decided we were bringing him over to the new show, we thought, 'How do we use him?' We'd already decided to focus on Bajor, with this long backstory, establishing his bitterness towards the Cardassians , so it worked very nicely together. "
• Kira Nerys: " We liked the idea of having somebody working with the commander of the station who would be a thorn in his side, who would represent a different point of view. We knew we'd get conflict and interesting dynamics between the two characters. "
• Benjamin Sisko: " Every hero needs a journey. You want to take your leading man on a quest where he has to overcome personal issues as well as whatever space stuff happens to be out there. The idea of a man who is broken and who begins to repair himself is always a great beginning for drama. "

The first officer aboard DS9 would have been Ro Laren , but she was replaced by Kira Nerys ( Nana Visitor ) because Michelle Forbes did not want to commit to a six-year contract working on DS9. Indeed, the reason the producers had decided to set the show on Bajor in the first place was because of Ro.

Following the highly rated appearance of James Doohan as Montgomery Scott in TNG : " Relics ", it was reported, in 1993, that Doohan had been urging Paramount to add him to the cast of DS9. It was also rumored that William Shatner had expressed interest in participating in DS9 in some capacity. ( Trek: Deep Space Nine: The Unauthorized Story , p. 15)

During pre-production for the series, the producers were especially keen to ensure that the aesthetic of the show was very different from anything yet seen in the Star Trek universe. For example, Director of Photography Marvin Rush said the producers told him that they wanted "a darker, more sinister place" than the Enterprise -D. Rush himself described the final look as "dark and shadowy." Similarly, Herman Zimmerman said, " The marching orders for the station were to make it bizarre. " Finally, Supervising Producer David Livingston summed up the differences between DS9 and TNG by comparing the Enterprise 's bridge with Deep Space 9's Ops ; " The bridge is a very easy set to shoot. It's a three-wall open set with a lot of room, big and cavernous. Ops, on the other hand, is a multilevel set with a lot of cramped areas and very contrasty lighting. It's more interesting visually. " ( Star Trek: Deep Space Nine Companion , p. ? ) As Colm Meaney elaborated, " Because it was an alien space station, it gives the whole thing a very different feel I think to Next Generation or the original show, where you have the Enterprise , which is this very perfect environment. This is much more kind of dark and eerie, and also nothing works, the whole thing is a terrible mess. " ( Deep Space Nine Scrapbook: Year One , DS9 Season 1 DVD special features)

From the very beginning, DS9's darker aesthetic, more antagonistic characters and less Utopian setting were somewhat controversial among die-hard fans of Gene Roddenberry's universe. As Ira Steven Behr, speaking in 1996 (about halfway through the show's seven-year run), stated, " At the beginning of Deep Space Nine 's life, there was feelings that this was not a show that Gene would approve of by some of the fans, feeling that, you know, we had gone away from the image of the future as a paradise, that we had much more conflicts between our people, life isn't always great. But I think Gene, just by his very nature as a creative individual, as a writer, as a forward-thinking person, knows that any franchise has to move forward like a shark, or it dies. And I think he would understand what we're doing, and I think he would like what we're doing, and I think we're in the pocket of the Star Trek universe, and we try to push the envelope. And I see nothing wrong with that, and I have a hard time believing that Gene would see anything wrong with that. " ( New Frontiers: The Story of Deep Space Nine , DS9 Season 2 DVD special features) The sense that DS9 was too "dark" to be a Star Trek show only increased over the years, with episodes such as " Nor the Battle to the Strong ", " In the Pale Moonlight " and " The Siege of AR-558 ", and topics such as Section 31 charting territory never before seen on a Star Trek show, and creating a great deal of controversy among fans of both The Original Series and The Next Generation .

Robert Hewitt Wolfe recalled that Sisko holding the rank of commander led to unfavorable comparisons to the other series. " Whenever people would do articles about Star Trek they would talk about the three captains: Kirk , Picard , and Janeway . " The decision to promote Sisko to captain was prompted by the producers feeling that he deserved the higher rank as much as the other lead characters. ( Star Trek: Deep Space Nine Companion , p. 253)

Identifying one way in which he believed DS9 differed from TNG, Colm Meaney stated, " On Next Generation they were dealing with more philosophical ponderings where we on DS9 tend to deal with more hands-on immediate crises that I think of as more resonant with the problems we have in the world today [….] I think that's probably the single main difference. We connect more with contemporary issues, issues relevant to the 1990s, than did Next Generation." ("Mr. Goodwrench", Star Trek: Communicator  issue 105 , p. 20)

Serialization [ ]

The series is best remembered for an approach to serialization, predating the format of the late-2010s Star Trek series. Ira Behr commented: " The fact that Discovery is serialized or that Picard is serialized doesn't mean much to me, because how could they not be serialized in 2019? They get to just stay with the times. It's easy to be serialized now. Thank God they're doing that, but it would only be worthy of discussion if they didn't do it. The serialization was a bold move. I look back at it now and I was really a bit of an asshole, because everyone was saying people can't keep up with it. The show was syndicated and on at different times. I didn't care about any of that. I just wanted to do the best show we could do. I could understand why certain people involved and other producers and studios would feel that that was a little bit of an annoying take, because it did hurt the fan base, but at the time, I wasn't thinking about the future. I just wanted to do the best show we could do ". [1]

Ron Moore commented, " I think a lot of Battlestar was born at Deep Space Nine in that Deep Space started as much more episodic because of the nature of the show, it became more a continuing serialised structure. I really liked that, and I discovered I really liked that style of storytelling, and also particularly when we got into the later years of Deep Space , and we started telling the Dominion War story (1997-99), we would sit and argue and fight with the powers that be at Trek about making it a more realistic war, about making it grittier, and ugly; adding more ambiguity to the characters, and roughing it up a little bit, and I kept bumping my head against the strictures at Trek . What Star Trek is could not accommodate things that I wanted to do, so I started to have this sort of pent up frustration about 'well if we were really going to do it right', these ideas would sit in the back of my head so when Battlestar came along, I could now do all of those things that I was never allowed to do at Deep Space . " [2]

Due to the non-episodic nature of DS9, some of the series was lost on the casual viewer when it first aired. Many also believe that the changing television landscape contributed to DS9's ratings trouble, as local TV stations which had aired TNG in prime time became WB and UPN affiliates and pushed syndicated programming to the margins. Subsequent Star Trek shows Star Trek: Voyager and Star Trek: Enterprise had network support from UPN and a guaranteed time slot. DS9 was also the only series to run opposite another Star Trek show (first The Next Generation , then Voyager ) for the entirety of its run (the first twelve episodes of the third season aired without another series on). Additionally, certain markets, notably in the UK, would only play one Star Trek series, in its entirety, at a time. Thus, events alluded to in The Next Generation or Voyager that happened in Deep Space Nine took months to "sync up."

Star Trek: Deep Space Nine was nominated for 32 Emmy Awards , mostly in "technical" categories such as visual effects and makeup. It won four: "Outstanding Individual Achievement in Main Title Theme Music", "Outstanding Individual Achievement in Special Visual Effects", and "Outstanding Individual Achievement in Makeup for a Series" (twice).

Deep Space Nine remained a fan-favorite series throughout its seven-year run, with reviewers consistently lauding the series for its bold shift in tone from The Next Generation . Most notable among such changes was the concept of inter-personal conflict – something which Gene Roddenberry himself was said to have forbidden.

Said Ronald D. Moore , DS9 producer and screenwriter:

"I'd like us to be remembered as the Trek series that dared to be different. We took chances in a franchise that has every reason to play it safe and spoon-feed the same old thing to the audience week after week. We challenged the characters, the audience, and the Star Trek universe itself. Sometimes we failed (sometimes spectacularly) but we never stopped trying to push the show into new directions."

Robert Hewitt Wolfe remarked, " The truth of DS9 is, we had a great ensemble cast. Michael Piller created all these terrific characters [with the exception of Worf]." ("Flashback: The Way of the Warrior", Star Trek Magazine  issue 127 )

Several former producers and head writers from DS9 have been involved in other sci-fi series, including the creation of the "re-envisioned" Battlestar Galactica , as well as The 4400 , Farscape , Medium and Outlander .

In 2019, the documentary What We Left Behind was released. The documentary featured interviews with the actors, writers, production staff and fans, as well as featuring segments in which the writers pitched a new episode.

There was also a rivalry with another popular and critically acclaimed television series, Babylon 5 , created and produced by J. Michael Straczynski for Warner Bros. The two productions, which ran largely concurrently, were observed to be so similar that Babylon 5 fans accused Paramount, to whom Straczynski had previously pitched his series, of plagiarism. Considering how fellow Star Trek alumni like Walter Koenig and Andreas Katsulas had major roles in the rival series, Majel Barrett-Roddenberry agreed to a guest appearance in Babylon 5 as a gesture of goodwill to encourage a reconciliation between the two sets of fans. Rick Berman commented that rivalry was: " purely a fan thing, " adding: " there was a time when, I don't know whether it was specifically Straczynski or other people, it was implied that he had pitched an idea similar to DS9 to Paramount and that it had been rejected and that, lo and behold, a year or so later DS9 came about. The implication being that Michael Piller and I perhaps stole all or part of his idea, which was always amusing to Michael and I because it was completely untrue. We had no knowledge of this gentleman. If he did pitch something to Paramount, we never heard about it. DS9 was a show that was created by Michael and me and Brandon Tartikoff, who was the recent head of Paramount at the time, without any knowledge of Straczynski or of anything that he had ever pitched. So when we were accused of stealing his idea it was a little sad but at the same time a little comical to us. " [3]

Main cast [ ]

The first season promotional image of the cast of Deep Space Nine

Starring [ ]

• Avery Brooks as Commander / Captain Benjamin Sisko

Also starring [ ]

• Rene Auberjonois as Odo
• Nicole de Boer as Ensign / Lieutenant jg Ezri Dax ( 1998 - 1999 )
• Michael Dorn as Lt. Commander Worf ( 1995 - 1999 )
• Siddig El Fadil as Doctor Bashir

Beginning in 1995, El Fadil was credited as Alexander Siddig and moved between Shimerman and Visitor in the opening credits.

• Terry Farrell as Lieutenant / Lt. Commander Jadzia Dax ( 1993 - 1998 )
• Cirroc Lofton as Jake Sisko
• Colm Meaney as Chief O'Brien
• Armin Shimerman as Quark
• Nana Visitor as Major / Colonel Kira

Special guest stars [ ]

• Steven Berkoff as Hagath
• Rosalind Chao as Keiko O'Brien
• Jeffrey Combs as Weyoun
• Meg Foster as Onaya
• Jonathan Frakes as Thomas Riker / William T. Riker
• Louise Fletcher as Winn Adami
• Salome Jens as the Female Changeling
• Penny Johnson as Kasidy Yates
• Richard Kiley as Gideon Seyetik
• Richard Libertini as Akorem Laan
• Andrea Martin as Ishka
• Bill Mumy as Kellin
• Brock Peters as Joseph Sisko
• Andrew Robinson as Elim Garak
• Tim Russ as Tuvok
• William Sadler as Sloan
• Michael Sarrazin as Trevean
• Wallace Shawn as Grand Nagus Zek
• Kurtwood Smith as Thrax
• Patrick Stewart as Jean-Luc Picard / Locutus of Borg
• Leigh Taylor-Young as Yanas Tigan
• Clarence Williams III as Omet'iklan

Special appearances by [ ]

• Bernie Casey as Calvin Hudson
• James Darren as Vic Fontaine
• Robert Picardo as Lewis Zimmerman / Emergency Medical Holographic program
• Chris Sarandon as Martus Mazur
• Vanessa Williams as Arandis

Recurring characters [ ]

• Cecily Adams and Andrea Martin as Ishka
• Marc Alaimo as Gul Dukat
• Philip Anglim as Vedek Bareil
• Casey Biggs as Damar
• Jeffrey Combs as Liquidator Brunt
• Max Grodénchik as Rom
• Aron Eisenberg as Nog
• Hana Hatae as Molly O'Brien
• J.G. Hertzler as General Martok
• Barry Jenner as Admiral Ross
• David B. Levinson as Broik
• Kenneth Marshall as Michael Eddington
• Chase Masterson as Leeta
• Robert O'Reilly as Chancellor Gowron
• Duncan Regehr as Shakaar
• Andrew J. Robinson as Elim Garak
• Mark Allen Shepherd as Morn

Executive producers [ ]

• Rick Berman – Executive Producer
• Michael Piller – Executive Producer (1993–1995)
• Ira Steven Behr – Executive Producer (1995–1999)

Staff writers [ ]

• Ira Steven Behr , Staff Writer
• Hans Beimler , Staff Writer (1995–1999)
• René Echevarria , Staff Writer ( 1994 –1999)
• Ronald D. Moore , Staff Writer (1994–1999)
• Bradley Thompson , Staff Writer ( 1996 –1999)
• David Weddle , Staff Writer (1996–1999)
• Robert Hewitt Wolfe , Staff Writer (1993– 1997 )

Episode list [ ]

Season 1 [ ].

DS9 Season 1 , 19 episodes:

Season 2 [ ]

DS9 Season 2 , 26 episodes:

Season 3 [ ]

DS9 Season 3 , 26 episodes:

Season 4 [ ]

DS9 Season 4 , 25 episodes:

Season 5 [ ]

DS9 Season 5 , 26 episodes:

Season 6 [ ]

DS9 Season 6 , 26 episodes:

Season 7 [ ]

DS9 Season 7 , 25 episodes:

Related topics [ ]

• DS9 directors
• DS9 performers
• DS9 recurring characters
• DS9 studio models
• DS9 writers
• Character crossover appearances
• Undeveloped DS9 episodes
• Paramount Stage 4
• Paramount Stage 17
• Paramount Stage 18
• Star Trek: Deep Space Nine novels
• Star Trek: Deep Space Nine comics (IDW)
• Star Trek: Deep Space Nine comics (Malibu)
• Star Trek: Deep Space Nine comics (Marvel)
• Star Trek: Deep Space Nine soundtracks
• Star Trek: Deep Space Nine on VHS
• Star Trek: Deep Space Nine on LaserDisc
• Star Trek: Deep Space Nine on DVD

External links [ ]

• List of Star Trek: Deep Space Nine characters at Wikipedia
• Star Trek: Deep Space Nine at Memory Beta , the wiki for licensed Star Trek works
• Star Trek: Deep Space Nine at the Internet Movie Database
• Star Trek: Deep Space Nine at TV.com
• Star Trek: Deep Space Nine episodes at the iTunes Store
• Star Trek: Deep Space Nine at StarTrek.com
• Star Trek: Deep Space Nine at Wikiquote
• 2 Daniels (Crewman)
• 3 Alyssa Ogawa

Star Trek Deep Space Nine Books in Order (49 Book Series)

Star Trek Deep Space Nine is a series of 49 books written by Various. Here, you can see them all in order! (plus the year each book was published)

Psst... Want to see the top Star Trek Deep Space Nine gifts? Click here .

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Last Updated: Monday 1 Jan, 2024

• Star Trek Deep Space Nine Books in Order

Star Trek Deep Space Nine, Book 1

Star Trek Deep Space Nine, Book 2

Bloodletter

Star trek deep space nine, book 3.

The Big Game

Star trek deep space nine, book 4.

Fallen Heroes

Star trek deep space nine, book 5.

Star Trek Deep Space Nine, Book 6

Star Trek Deep Space Nine, Book 7

Star Trek Deep Space Nine, Book 8

Star Trek Deep Space Nine, Book 9

Proud Helios

Star trek deep space nine, book 10.

Star Trek Deep Space Nine, Book 11

Star Trek Deep Space Nine, Book 12

Devil in the Sky

Star trek deep space nine, book 13.

The Laertian Gamble

Star trek deep space nine, book 14.

Star Trek Deep Space Nine, Book 15

The Way of the Warrior

Star trek deep space nine, book 16.

Station Rage

Star trek deep space nine, book 17.

The Long Night

Star trek deep space nine, book 18.

Objective: Bajor

Star trek deep space nine, book 19.

The Heart of the Warrior

Star trek deep space nine, book 20.

Star Trek Deep Space Nine, Book 21

Trials and Tribble-ations

Star trek deep space nine, book 22.

The Tempest

Star trek deep space nine, book 23.

Wrath of the Prophets

Star trek deep space nine, book 24.

Trial by Error

Star trek deep space nine, book 25.

Star Trek Deep Space Nine, Book 26

Far Beyond the Stars

Star trek deep space nine, book 27.

The 34th Rule

Star trek deep space nine, book 28.

What You Leave Behind

Star trek deep space nine, book 29.

The Lives of Dax

Star trek deep space nine, book 30.

A Stitch in Time

Star trek deep space nine, book 31.

Star Trek Deep Space Nine, Book 32

Prophecy and Change

Star trek deep space nine, book 33.

Star Trek Deep Space Nine, Book 34

Star Trek Deep Space Nine, Book 35

Star Trek Deep Space Nine, Book 36

Twist of Faith

Star trek deep space nine, book 37.

Fearful Symmetry

Star trek deep space nine, book 38.

The Soul Key

Star trek deep space nine, book 39.

The Never Ending Sacrifice

Star trek deep space nine, book 40.

Lust's Latinum Lost (and Found)

Star trek deep space nine, book 41.

Sacraments of Fire

Star trek deep space nine, book 42.

Star Trek Deep Space Nine, Book 43

Force and Motion

Star trek deep space nine, book 44.

Rules of Accusation

Star trek deep space nine, book 45.

The Long Mirage

Star trek deep space nine, book 46.

Enigma Tales

Star trek deep space nine, book 47.

Gamma: Original Sin

Star trek deep space nine, book 48.

I, The Constable

Star trek deep space nine, book 49, what to read next.

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A Star Trek icon isn't likely to return to the franchise

S tar Trek has seen a resurgence in recent years of returning characters and actors to the franchise. Leads of Star Trek shows like Patrick Stewart, Kate Mulgrew, and others have popped in and out of the franchise in recent years, reprising roles for Picard, Lower Decks, and Prodigy, while also seeing various characters return for Strange New Wolds, Discovery, and other shows as well.

Yet, not everyone has returned or even wants to. Having featured and then later starred on both the Next Generation and Deep Space Nine respectively, Colm Meaney has seemingly shut the door on ever returning.

Formerly a recurring cast member on The Next Generation, Meaney played Miles O'Brien, a minor background character, who would go on to play a major role on Deep Space Nine. One of the starring characters, O'Brien went from a somewhat seen character to truly one of the best parts of Deep Space Nine.

Yet, it looks like his time in space is over, according to a new interview with Comic Book Movie 's website.

"I think seven years in a space suit was enough, you know? I'm often asked that question and you never say never, of course, but first of all I wouldn't fit in it anymore [Laughs] and...I remember people saying at the time when Voyager got going, 'How many times can you go to the well? How many times can you revamp this? ...They successfully did it with Star Trek and they're still doing it. Good luck to them. Do you want to see an elderly Miles O'Brien? I don't know. It's certainly not at the top of my agenda of things I'd like to do at the moment."

Meaney, now 71, has had a long career since Deep Space Nine ended and has been working regularly ever since. He's in high demand still and isn't looking to slow down his workload by any means. That's not to say he couldn't fit some time in with Starfleet, but it does seem like he's ok if he never wears the uniform again.

With so many people returning, among those who want to return, it doesn't make much sense to pine over someone content with that part of his life being done.

This article was originally published on redshirtsalwaysdie.com as A Star Trek icon isn't likely to return to the franchise .

Marvel and 'Star Wars' take note. 'Star Trek' is now Hollywood's ultimate shared universe

From 'Discovery' to "Strange New Worlds' via 'Lower Decks' and 'Prodigy', 'Star Trek' is leading the way.

Shared universes go back way further than Tony Stark, Steve Rogers and co sitting down for some post-Chitauri shawarma. Superheroes have been moonlighting in each other's comic books for decades, while Cheers regulars frequently paid Frasier a visit in Seattle. It wasn't until Marvel Studios launched the MCU ( Marvel Cinematic Universe ), however, that the concept started to gain serious mainstream traction. 

By incorporating the contrasting adventures of Iron Man, Captain America, Thor and Black Widow into one gigantic, overarching narrative, Marvel successfully blended cinematic spectacle with the "must-watch-every-episode" ethos of serialised TV. The MCU's famous end-credits stings also had the unexpected side-effect of convincing us all to stick around until the end of the closing titles of every movie, y'know, just in case. 

From a business point of view it's one of the shrewdest creative decisions ever made in Hollywood, a move that helped turn the MCU into the most lucrative franchise in history, while spawning an army of imitators. Some fell quickly by the wayside — Universal's planned Dark Universe didn't survive beyond its first release, "The Mummy" — while others (most notably DC's original answer to the MCU) simply felt tired in comparison. But with apologies to box-office behemoths Marvel, Star Wars and the Monsterverse home of Godzilla and King Kong, the most exciting shared universe of them all is currently located somewhere on the final frontier.

It's not quite "Infinite Diversity in Infinite Combinations" (sorry, Mr Spock), but " Star Trek "'s guiding principle since "Discovery" brought the franchise back to TV in 2017 has been variety. "Discovery" started out as an "Original Series" prequel, before warping off to the even-more-distant future of the 32nd century. That left a gap in the timeline for the less serialized voyages of a pre-Kirk Enterprise in " Strange New Worlds ". "Picard" picked up the story of the ageing Jean-Luc Picard two decades after "The Next Generation" crew's final voyage, while a pair of animated series — kids' show " Prodigy " and all-out comedy "Lower Decks" — were given freedom to take the most daring swings in "Trek" history. 

Throw upcoming spy adventure " Section 31 " and cadet-themed "Disco" spin-off " Starfleet Academy " into the mix, and it's clear that — beyond the obligatory warp drives, phasers and frequent violations of the Prime Directive — the main element unifying these very different series is their shared universe. Even their settings are far enough apart — geographically and chronologically — that there's little danger of storylines colliding in Spacedock. 

The contrast between the Alpha Quadrant and a certain galaxy far, far away is stark. Until " The Acolyte ", every canonical "Star Wars" movie and TV show had been set within a few generations of the Skywalker family tree. But even ignoring the limitations of that brief timeline, there's a creeping homogeneity to much of the saga's storytelling and dialogue. 

Scenes from "The Acolyte" (set around a century before "The Phantom Menace") feel interchangeable with moments in " Ahsoka " (several years after "Return of the Jedi"), while the powers-that-be at Skywalker Ranch seem more preoccupied with plugging holes in existing lore than telling stories for their own sake. What was the final episode of "The Acolyte" season one if not a prequel to the prequel trilogy?

"Star Wars" should be an exhilarating interstellar playground capable of supporting any story you can imagine, but it's increasingly constrained by strict rules that must, it seems, never be broken. "Star Wars" is calling out for its own "Lower Decks"-style comedy" , while the upcoming "'Goonies' in space" " Skeleton Crew " could be the kid-oriented launchpad that Prodigy has been for "Trek". "Star Wars" arguably needs both because right now, all that canon could easily feel daunting to anyone eager to take those precious first steps into a larger world.

Not that the current iterations of "Star Trek" deny the franchise's rich past. The glorious final season of "Picard" was a nostalgia-fest from start to finish, bringing back familiar friends and foes to give the "TNG" crew the send-off they deserved — if it's possible to replicate your cake and eat it, that season showed the way. "Prodigy" also goes big on the deep cuts, but crucially, it doesn't matter if you have no idea that the name of the USS Voyager-A's resident whale (Gillian) is a reference to "Star Trek IV". Or that a mention of the "dysfunctional" crew of the Cerritos is a callback to "Lower Decks". All of the in-jokes are simply window dressing holding the universe together, without excluding newcomers. 

That's the genius of the modern "Star Trek" universe, whose guiding lights clearly understand that expecting every viewer to be up-to-speed with the more than 900 episodes and 13 “Star Trek” movies in the back catalogue would be a surefire route to failure. The MCU and "Star Wars" lived charmed lives when they were built around a relatively small number of movies, but both franchises are now too vast and unwieldy to demand that even casual viewers become completists. 

Nobody should have to watch everything , so surely it's better for everyone if we accept that some people will set their targeting computers on "The Mandalorian" but avoid " Andor ", just as some "Discovery" fans can skip "Picard" without feeling they're missing out. 

Besides, we probably shouldn't be surprised that it's "Trek" leading the way, because this isn't Starfleet's first away mission to a shared universe. Back in the ’90s "The Next Generation", "Deep Space Nine", "Voyager", four movies and even prequel series "Enterprise" shared characters and plotlines, to the extent that after hundreds of hours of TV, planet Earth was losing interest in shows that were becoming increasingly formulaic. Sound familiar? The franchise's latest overseers have boldly taken note — now "Star Wars", the MCU and the rest should follow in their warp trails.

"Discovery", "Picard", "Strange New Worlds" and "Lower Decks" are all available to stream on Paramount Plus, along with "The Original Series", "The Next Generation", "Deep Space Nine", "Voyager" and "Enterprise". "Prodigy" is available on Netflix.

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Richard's love affair with outer space started when he saw the original "Star Wars" on TV aged four, and he spent much of the ’90s watching "Star Trek”, "Babylon 5” and “The X-Files" with his mum. After studying physics at university, he became a journalist, swapped science fact for science fiction, and hit the jackpot when he joined the team at SFX, the UK's biggest sci-fi and fantasy magazine. He liked it so much he stayed there for 12 years, four of them as editor. 

He's since gone freelance and passes his time writing about "Star Wars", "Star Trek" and superheroes for the likes of SFX, Total Film, TechRadar and GamesRadar+. He has met five Doctors, two Starfleet captains and one Luke Skywalker, and once sat in the cockpit of "Red Dwarf"'s Starbug.  

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• Mars Tafts I have been a Star Trek fan since 1966 and even I don't believe this article. Reply
• Amin Abakery Is this some kind of Joke? Paramount did worse to Star Trek than they did to Halo, than Disney ever did to Star Wars, its an insult not just to science but to morality and human decency. I used to grow up watching star trek, proud that it was written by scientists and good people like her. Now it seems to be written by your average twitter user. With an adulterer Spock and mushroom drive spinning ships. Reply
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Screen Rant

I’ve never understood why paramount didn't want sisko to be bald in star trek: ds9.

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• Paramount's reluctance to allow Avery Brooks to play Commander Sisko with a bald head was rooted in concerns about comparisons with the character of Hawk from Spenser: For Hire, which don't make sense from a ratings perspective.
• Captain Sisko's bald head and beard in season 4 signified an improvement in quality for DS9, making Avery Brooks more comfortable, enhancing his presence.
• Another potential explanation is that Paramount's concerns stemmed from avoiding comparisons with Star Trek's previous bald lead, Picard.

I've never fully understood Paramount's reasoning for insisting that Avery Brooks not play Commander Sisko with a bald head and beard in Star Trek: Deep Space Nine seasons 1 to 3. Captain Sisko's bald head and beard has long been seen to signify DS9 season 4's improvement in quality, much like when Commander William T. Riker (Jonathan Frakes) grows his beard in Star Trek: The Next Generation season 2. Avery Brooks is more commanding with his bald head and goatee, and it's clear that he's a more confident member of the Deep Space Nine 's cast from that point on.

It's therefore perplexing that it took so long for Paramount to accept Avery Brooks' request to play the character of Sisko in such a way. As Star Trek: Deep Space Nine writer Robert Hewitt Wolfe puts it in the book Captains' Logs: The Unauthorized Complete Trek Voyages , " That's what Avery looks like, so why shouldn't you let the guy look like himself? " The reason given for Paramount's ban on Avery Brooks playing Sisko with a bald head is that they didn't want DS9 's commanding officer to look like Brooks' character Hawk from Spenser: For Hire and A Man Called Hawk , but I've never understood why that would be a problem.

Every Star Trek: DS9 Episode Avery Brooks Directed, Ranked Worst To Best

Captain Sisko actor Avery Brooks directed nine episodes of Deep Space Nine, including one of Star Trek's finest hours. How do his other DS9s compare?

Paramount's Concerns About Bald Captain Sisko In Star Trek: DS9 Never Made Sense

Between 1985 and 1995, Avery Brooks played the character of Hawk in 65 episodes of Spenser: For Hire , four Spenser TV movies, and 18 episodes of the spinoff series A Man Called Hawk . By 1993, Brooks would have been well-known to audiences, which surely would have made him a draw as the lead of Star Trek: Deep Space Nine . Which is why I've never understood Paramount's ban on bald Sisko, because it disconnects Avery Brooks, DS9 's main star, from the public image that could attract new viewers to Star Trek .

Perhaps Paramount felt that the optics of Avery Brooks' Hawk as a Starfleet officer sent the wrong message and may incur the wrath of Star Trek creator Gene Roddenberry from beyond the grave.

Perhaps the real reason Paramount wanted Avery Brooks to shave his beard and grow out his hair was because they were uncomfortable with what Hawk represented. In Spenser: For Hire , Hawk is the best friend to the titular private detective played by Robert Urich . Despite being close friends and allies, Spenser and Hawk differ when it comes to moral scruples, with the latter working as a gangland enforcer and bodyguard. Perhaps Paramount felt that the optics of Avery Brooks' Hawk as a Starfleet officer sent the wrong message and may incur the wrath of Star Trek creator Gene Roddenberry from beyond the grave.

Directors Winrich Kolbe and Cliff Bole worked on Spenser: For Hire before they worked on Star Trek: Deep Space Nine .

Why Did Paramount Change Their Mind About Avery Brooks Being Bald In Star Trek: DS9?

Rick Berman and Ira Steven Behr were surprised when Paramount didn't oppose Avery Brooks' request to shave his head for Star Trek: Deep Space Nine season 4 . Paramount's change of mind is particularly odd because DS9 season 4, episode 1, "The Way of the Warrior" aired in October 1995, the same year that Brooks made his last appearance as Hawk in the TV movie, Spenser: A Savage Place . Clearly, Sisko and Hawk's similarities were no longer an issue for studio executives, but what if they never were? What if Paramount just didn't want two Star Trek shows with bald leads?

DS9 was specifically designed to be different from TNG , and the surface-level optics of another bald commanding officer would have undermined Star Trek: Deep Space Nine 's unique identity...

Star Trek: The Next Generation , led by bald actor Patrick Stewart, had ended 17 months before "The Way of the Warrior" was broadcast . Instead of avoiding comparisons with Spenser's morally dubious best friend, what if Paramount were actually concerned about comparisons between Sisko and Picard ? After all, DS9 was specifically designed to be different from TNG , and the surface-level optics of another bald commanding officer would have undermined Star Trek: Deep Space Nine 's unique identity in its vitally important early years. Four years in, and despite his discomfort, Avery Brooks had more than established Benjamin Sisko as his own man.

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Star Trek: Deep Space Nine: Warpath Mass Market Paperback – April 1, 2006

• Print length 344 pages
• Language English
• Publisher Pocket Books
• Publication date April 1, 2006
• Dimensions 4.19 x 1 x 6.75 inches
• ISBN-10 1416507752
• ISBN-13 978-1416507758
• See all details

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About the author, product details.

• Publisher ‏ : ‎ Pocket Books; 1st edition (April 1, 2006)
• Language ‏ : ‎ English
• Mass Market Paperback ‏ : ‎ 344 pages
• ISBN-10 ‏ : ‎ 1416507752
• ISBN-13 ‏ : ‎ 978-1416507758
• Item Weight ‏ : ‎ 6.4 ounces
• Dimensions ‏ : ‎ 4.19 x 1 x 6.75 inches
• #11,023 in Alien Invasion Science Fiction
• #26,467 in Space Operas
• #45,384 in Science Fiction Adventures

About the author

DAVID MACK is the award-winning and The New York Times bestselling author of 37 novels and numerous short works of science-fiction, fantasy, and adventure, including the Star Trek Destiny and Cold Equations trilogies.

Mack’s writing credits span television (for episodes of Star Trek: Deep Space Nine), film, and comic books. He also has worked as a consultant on the animated television series Star Trek: Lower Decks and Star Trek: Prodigy. In June 2022, the International Association of Media Tie-in Writers honored him as a Grandmaster with its Faust Award.

His most recent publications include Star Trek: Coda, Book III: Oblivion’s Gate and Harm’s Way, a Star Trek: Vanguard / Star Trek: The Original Series crossover novel. His upcoming works include several original short stories in various new anthologies.

Mack resides in New York City.

Visit his official website, http://www.davidmack.pro/ and follow him on Twitter @DavidAlanMack.

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STAR TREK: Colm Meaney On Possible Miles O'Brien Return And What He REALLY Thinks About Trekkies (Exclusive)

Star Trek icon Colm Meaney has revealed whether he'd reprise his role from The Next Generation and Deep Space Nine , and shares his honest thoughts on the Trekkie fandom in this exclusive interview excerpt.

Star Trek: The Next Generation and  Star Trek: Deep Space Nine introduced a long list of iconic characters, and while some made a bigger impact than others, Miles O'Brien understandably remains a firm fan favourite. 

Irish actor Colm Meaney played the transporter chief of the USS Enterprise-D and was later promoted to chief of operations of Deep Space Nine. Miles appeared in 225 episodes overall and clocked up the second most appearances, second only to Michael Dorn's Worf.

Last week, we caught up with Meaney to discuss his memorable role in Duchess . During our conversation with the actor, we asked whether he has any interest in reprising the role of Miles O'Brien ( Picard  recently took us back to  The Next Generation era and O'Brien was sadly M.I.A.). 

"I think seven years in a space suit was enough, you know?" Meaney says in the video below.  "I'm often asked that question and you never say never, of course, but first of all I wouldn't fit in it anymore [Laughs] and...I remember people saying at the time when Voyager got going, 'How many times can you go to the well? How many times can you revamp this?'"

"They successfully did it with Star Trek and they're still doing it. Good luck to them," he continued.  "Do you want to see an elderly Miles O'Brien? I don't know. It's certainly not at the top of my agenda of things I'd like to do at the moment."

Elsewhere in the interview, we asked Meaney for his thoughts on dealing with Trekkies and the sort of legacy a franchise like Star Trek has. 

"I never subscribed to that thing that Star Trek fans are nuts. A few of them are. There's the odd one, but now, I always found Star Trek fans to be professional fans. They're very good; they want to say hello and what they think and then they leave you alone pretty much. That's really nice and not true of everybody. I've always found them incredibly knowledgeable and way more than I was when I was doing it." "They knew more about episodes than I did which is extraordinary. They're very committed to it and I think it has had a very positive impact on people; the whole Star Trek Universe, in terms of both racially in terms of people getting along with aliens getting along with other aliens and humans and it's a very positive influence." "I think it's a very positive worldview that Gene Roddenberry created at the beginning. They very much stuck to that and it's all good."

While Meaney clearly looks back at his time exploring space with a certain level of fondness, it appears we can forget about him playing O'Brien again. It's a shame as the character really is beloved, but not tampering with that legacy isn't necessarily the worst idea. 

You can hear more from Meaney on Star Trek and Duchess in the video below.

Duchess, a small-time crook, tries to enter the treacherous underworld of diamond trafficking and ends up left for dead when a deal goes wrong. Determined to seek retribution she launches into an unwavering pursuit for vengeance.

Duchess is now available on Digital and On Demand.

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Star Trek's Colm Meaney Addresses Possible Return as Miles O'Brien

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Colm Meaney, so loved for his work as Chief Miles O'Brien in Star Trek: The Next Generation and Star Trek: Deep Space Nine , finally opened up about revisiting the iconic character. In an exclusive conversation with Comic Book Movie , Meaney shared his thoughts on returning to the Star Trek universe and the impact of the character on his career.

The role of the everyman engineer Miles O'Brien, who served on both the USS Enterprise-D and Deep Space Nine, belonged to Meaney and is, quite arguably, one of the most indelible in the Star Trek franchise. For years, O'Brien has been a favorite of fans because he was an accessible character with much development, as he moved from the background to being a main character on Deep Space Nine .

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In an interview, he expressed his gratitude for the role and acknowledged the place of O'Brien in Star Trek lore. "I never believed O'Brien was going to be such a loved character," Meaney said. "It's been incredibly rewarding to see how much he means to fans."

He was asked whether he would like to reprise this role again. An intrigued Meaney expressed interest but with a certain level of caution. " It's always possible, " he said. "But it would have to be the right project, something that adds to the character's story rather than just bringing him back for the sake of nostalgia."

The Challenge of Reprising an Iconic Role

He also mentioned how hard it is to pick up a character again after all these years. Fondly remembering the time spent on Star Trek , he wants to make sure that should it happen once more, it would be meaningful in its content and honest with the development of the character. "You don't want to undo the work that was done," he clarified. " O'Brien's story had a proper ending, and if he were to come back, it would need to be something that respects that ."

He also weighed in on the evolution of the Star Trek franchise and its recent resurgence across platforms such as Paramount+. In the wake of successes like Star Trek: Discovery and Star Trek: Picard , Meaney felt the need to point out that the franchise knew a thing or two about reinventing itself while staying true to its roots: "The beauty of Star Trek is that it's always been about new ideas, about pushing boundaries . And it's nice to see that carried through in the new series."

Not only did he address the possibility of his returning, but Meaney also spoke briefly to express his gratitude towards Star Trek fans, popularly referred to as "Trekkies." He branded them as passionate and devoted, saying that their enthusiasm had served as motivation for him many times during his career. "Trekkies are among the most devoted and enthusiastic fans out there," Meaney said. "It has been an honor to be part of something that has meant so much to so many people."

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Asked if the fans will ever get to see Miles O'Brien back in action, Meaney seemingly left the door open but with caveats that it would have to be handled carefully. "It's always possible," he said again. " But it has to be done right. "

For now, all that can be done by Star Trek fans is to wish that a project of the right vein comes up to see Chief O'Brien back on small screens. Until that time, it is Colm Meaney's quiet, introspective reflections remind us of the lasting legacies left by both the character and the actor who gave life to him .

Source: Comic Book Movie

Star Trek: The Next Generation

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Set almost 100 years after Captain Kirk's 5-year mission, a new generation of Starfleet officers sets off in the U.S.S. Enterprise-D on its own mission to go where no one has gone before.

Star Trek Features Some Brilliant References To Frank Herbert's Dune

Frank Herbert's "Dune" has a longer timeline than one might expect. The first book takes place in the year 10,191 A.G., referring to a time after the inception of the Spacing Guild, the organization devoted to faster-than-light travel. Later sequels refer to the year 11,200 B.G. as the year humans first developed space travel, lining it up with A.D. 1960. "Dune," then, takes place about 20,000 years in the future.

"Star Trek," in contrast, takes place in the relatively near future. The original series takes place in the 23rd century, and "Star Trek: The Next Generation" — and its immediate spinoffs "Star Trek: Deep Space Nine," "Star Trek" Voyager," and "Star Trek: Lower Decks" — all take place in the 24th century. Extending the timeline, "Picard" takes place in the early 25th century, and the bulk of "Discovery" takes place in 32nd century, thanks to a time warp. Comparatively, those are small temporal potatoes when compared to "Dune."

Sadly, the lore of "Dune" is so involved and unique, one cannot squint their eyes and pretend that the two franchises take place in the same universe. Their respective histories are simply too different.

But that hasn't stopped the makers of "Star Trek" from dropping in a few "Dune" references from time to time. The writers of "Voyager" are, as one might expect, science-fiction nerds, and would, in tiny ways, drop in references to other sci-fi stories. Trekkies will be able to tell you about a planetary manifest on the U.S.S. Enterprise that, when examined closely, list the planet of Alderaan, the planet the Galactic Empire blows up in "Star Wars: Episode IV — A New Hope."

On "Star Trek: Voyager," there have been passing references to planets within the "Dune" universe as well, particularly Arrakis (a.k.a. Dune) and Geidi Prime, the home planet of House Harkonnen.

Arrakis Prime

In the "Voyager" episode "One Small Step" (November 17, 1999), the U.S.S. Voyager finds a mysterious subspace ellipse that may contain a 300-year-old Mars vessel inside. Captain Janeway (Kate Mulgrew) assigns Seven of Nine (Jeri Ryan) to go inside with Tom Paris (Robert Duncan McNeill) and Chakotay (Robert Beltran) to investigate, leaving the rest of the crew envious at their opportunity. The Doctor (Robert Picardo) asked that Seven bring along a camera and to take some pictures inside the ellipse, knowing it would provide uniquely beautiful images. Seven seems unimpressed, but the Doctor explains how awesome it is to be standing among remote spatial phenomenon. "I can only tell you how I felt that morning I materialized on Arrakis Prime," the Doctor says. "I left my footprints in the magnesite dust and thought, 'One small step for a hologram, one giant leap for mankind.'"

Whether or not the Doctor visited the same Arrakis from "Dune" will have to remain the subject of nerdy fan speculation.

In the "Voyager" episode "Drive" (October 18, 2000), B'Elanna Torres (Roxann Dawson) plans on taking her husband Tom on a romantic getaway on the Voyager's holodeck. She plans on taking him to Gedi Prime, described as so beautiful, it makes the famed resort world Risa look like a tourist trap. It's also said to have excellent golf courses. Sadly, their vacation is delayed when Tom gets involved in a high-speed starship race.

Geidi Prime, as mentioned, is the homeworld of the evil House Harkonnen in "Dune," only it's decidedly not beautiful. It's mechanical, dark, oily, and gross. Repurposing Geidi Prime as one of the most beautiful of all planets is likely a cute joke on the part of the "Voyager" writers.

Gedi Prime, Geidi Prime

As "Voyager" progressed, the ship was eventually able to start communicating with the Alpha Quadrant, still many, many years away at maximum warp. Indeed, information could be shunted back and forth from the Voyager's holodeck and the holodeck belonging to Reginald Barclay (Dwight Schultz) back home. This allowed face-to-face interaction between the remote locations, and a few amusing conversations held by Barclay and the Doctor. The two liked being in each other's company, and the Doctor even suggested that the pair visit the Gedi Prime golf course. It's not exactly the same as Geidi Prime (the subtitles on the "Voyager" DVDs do indeed say "Gedi" and not "Geidi"), but it's close enough to be considered a definite reference.

One can also point out that Patrick Stewart, who played Captain Picard on "Star Trek: the Next Generation," also appeared as Gurney Halleck in David Lynch's 1984 film adaptation of "Dune." Also that Brad Dourif, who played Piter De Vries in "Dune," also appeared in three episodes of "Voyager" as a Betazoid. In Denis Villeneuve's 2021 film version of "Dune," actor Babs Olusanmokun played a Fremen warrior named Jamis, and he also plays Dr. M'Benga in the modern "Star Trek" show "Star Trek: Strange New Worlds."

As mentioned, the histories of "Star Trek" and "Dune" are too different for the two franchises to intersect in any kind of meaningful way, so there shan't be any crossovers in the near future. "Star Trek" employs warp engines to zip around the universe, while "Dune" uses a psychedelic spice. Also, "Dune" takes place in a deeply religious, markedly mystical universe, whereas "Star Trek" takes place in a post-religious, deeply humanist universe. But one can be sure that fans of one are most assuredly fans of the other.