Dominion War

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Dominion War
Part of Star Trek: Deep Space Nine
Date2373–75
Location
Primarily the Alpha and Gamma Quadrants of the Milky Way
Result

Federation Alliance victory
Treaty of Bajor:

  • Dominion withdrawal to Gamma Quadrant
  • Female Changeling is taken into custody by the Federation for war crimes.
  • Collapse of the Cardassian Union
  • Klingon Empire greatly weakened
Belligerents

Federation Alliance

Dominion
Alliance

Supported by:

Commanders and leaders

United Federation of Planets:

Klingon Empire:

Cardassian Liberation Front/Union:

  • Damar
    (2375)

Dominion:

  • Weyoun
  • Female Changeling

Cardassian Union:

  • Gul Dukat (2373-2374)
  • Legate Damar
    (2374-2375)
  • Legate Broca (2375)

Breen Confederacy:

  • Thot Gor
Strength
1,500+ Klingon ships holding front lines near the end of the war in 2375, around 600 Federation Starship participated in the "Operation Return" in order to recapture "Deep Space Nine" Station in 2374. 30,000+ ships near the end of the war
Casualties and losses
Unknown At least 7 million Cardassian soldiers, other losses unknown
800 million Cardassian civilians killed by Dominion

The Dominion War is an extended plot concept developed in several

Romulan Star Empire
. The war takes place in the final two seasons of the series, but is gradually built up to over the course of the five preceding seasons.

The principal setting of the series is the

Gamma Quadrant, a region on the other side of the galaxy. During the second season of Deep Space Nine, the Dominion
, a powerful empire in the Gamma Quadrant, is introduced; and over the course of the second and third seasons, more information about the Dominion is revealed. Conflict escalates through the fourth and fifth seasons, as the Dominion infiltrates Alpha Quadrant powers and eventually forms an alliance with Cardassia; open warfare begins at the end of the fifth season, when the Dominion briefly occupies Deep Space Nine, and continues until the Dominion is finally defeated in the series finale.

The Dominion War arcs present themes that challenge the values of the characters in a manner not attempted in earlier series of Star Trek. Developing the plot of the Dominion War also altered how the series was scripted, shifting the emphasis from an episodic to a serialized narrative format.

Synopsis

Main article: Star Trek: Deep Space Nine

In "

Bajor to the Alpha Quadrant terminus of the wormhole to lay claim. Starships begin to enter the wormhole to explore, colonize and trade. The crews on the ships are unaware that they are entering a region of space controlled by the Dominion, a union of planets ordered by force and intimidation.[1]

During the second season,

Tal Shiar
, attempt to eradicate the Founders to protect the Alpha Quadrant, but their plans are compromised by Changeling infiltration, and their fleet is ambushed and destroyed.

The Founders initiate a campaign of sabotage and terror against the Alpha Quadrant, which leaves many governments fearful of Changeling infiltrators, who are able to assume any physical form. When Earth is attacked, a band of

Klingon Empire invades Cardassia on the incorrect suspicion that the Dominion is influencing its government; this idea turns out to have been planted by a Changeling infiltrator posing as Martok, an influential Klingon general. The invasion of Cardassia leads to a dissolution of the Federation's alliance with the Klingons. The Founders plant false intelligence that it is the Klingon Chancellor, Gowron
, who is a Changeling, intended to induce the Federation to assassinate Gowron and further intensify the rift between the Federation and Klingons. The Founders' plan fails when the assassination team, led by Sisko, realize that Martok, not Gowron, was the actual shapeshifter.

The disgraced Cardassian officer

Damar
, launches a successful resistance movement against the Dominion; in response, the Dominion attempts genocide against the entire Cardassian race. Eventually, the Dominion is forced back to the planet Cardassia Prime where it is cut off from reinforcements. The Changeling in command informs Odo, a renegade Changeling on the side of the Federation, that they will fight to the end to prevent any counter-attack by the alliance into the Gamma Quadrant. Odo assures her that the Federation would not do that while the other parties would be too weak to. Odo cures her of the disease afflicting her and the other Founders with the antidote he received, and the Dominion agrees to surrender.

Conception

Main article: Dominion (Star Trek)

In 2002,

Delta Quadrant of the Milky Way.[2]

Instead of introducing one alien race, three were introduced simultaneously: the

Jem'Hadar. These three were intended to represent the front of an ancient civilization held together by fear, to contrast with the unity of the Federation enabled by bonds of friendship. Behr, Wolfe, writer Peter Allan Fields and Jim Crocker attended meetings to develop the concepts of these species and found general inspiration in Isaac Asimov's Foundation Trilogy novels.[4] Toward the end of Season Two production executive producer Michael Piller suggested the idea that the Founders of the Dominion be the race to which Odo belongs, and discovered that Behr and Wolfe had also discussed this possibility.[2][5] This character had been introduced with no knowledge of his true origins. Piller asserts that the endeavor to create a new villain was one of the most difficult tasks he undertook in his work on Star Trek.[2] Wolfe perceives similarities between the fictional Founders and the Roman Empire, in that the species first uses diplomacy, deception and cultural imperialism to achieve their aims before ultimately resorting to coercion.[6] Wolfe also characterized the Dominion as a "carrot and stick" empire, with the Vorta offering the carrot and the Jem'Hadar holding the stick.[7]

According to writer

degree of violence included in some episodes. Berman also expressed concern about the portrayal of long-term consequences for the main characters, such as the loss of a character's leg in Season Seven. The writers argued in favor of the increased violence, asserting that it was justified in view of the plotlines detailing the progression of the Dominion War.[8] Piller supported the idea that the repercussions of past episodes should continue to be felt, and that characters should "learn that actions have consequences", even if such consequences were to lead off in directions Piller had not originally imagined when Deep Space Nine remained in the conceptual stages.[9][10] Moore has stated that the filming of Star Trek: Voyager occupied more of Berman and Piller's time from Deep Space Nine's third season, which allowed Behr to defend his creative decisions more successfully.[8] Following the completion of Star Trek: The Next Generation, the writing staff could dedicate more time to working on scripts for Deep Space Nine. The writers admired the scripting techniques used for Star Trek: The Original Series: Moore cites the episode "Errand of Mercy" (1967) as a strong influence on his treatment of the Dominion War.[8]

Development

The plot of the Dominion War is presented in a succession of shorter story arcs which span Seasons Two through Seven of Star Trek: Deep Space Nine and are linked editorially by the decisions of the producers and writers.

Season Two: Introducing the Dominion

After conceptual meetings, the writers began to introduce

Gamma Quadrant. The Dominion and its methods are revealed across three episodes of the season.[11]

"Rules of Acquisition" marks the first mention of the Dominion,[12] when the Ferengi character Quark hears whispers of a powerful union of civilizations in the Gamma Quadrant with which he may be able to trade. Dialogue that seems inconsequential within the framework of a light-hearted episode was planned to ultimately create major change in the dynamics of Star Trek: Deep Space Nine.[2]

As Alpha Quadrant races begin to colonize planets in the Gamma Quadrant and their presence becomes known, disturbing reports indicate that what the Dominion cannot attain through trade is forcibly seized. These reports are justified in "

Proposition 187, a Californian law concerning the rights of illegal aliens.[14]

The finale of Season Two, "

Deep Space Nine with the message that no further intrusions into Dominion space will be tolerated and to hand Major Kira Nerys a list of colonies and ships already eliminated for trespassing. The Federation dispatches a rescue team that returns Sisko's group to the station, but, while retreating back to the Alpha Quadrant, a Jem'Hadar ship launches a kamikaze run against the Odyssey, resulting in the destruction of both ships.[17]

Season Three: Introducing the Founders

With the third season, Ronald D. Moore and others started to write regularly for Star Trek: Deep Space Nine following the completion of Star Trek: The Next Generation.[8] Robert Hewitt Wolfe joined Ira Steven Behr in scripting episodes developing the Dominion plotline, beginning with "The Search". Behr became full executive producer at the midpoint of the season, after the departure of Michael Piller.

In the two-part season opener, "The Search",

Deep Space Nine space station and that such a vessel would need the potential to oppose the Jem'Hadar, who had already been portrayed obliterating large ships. Audience research had also suggested that young male viewers were hoping for more action-oriented episodes with greater jeopardy.[19]

Season Three's Dominion stories explore the connection between

Female Changeling", acquiesce to Odo's request in the hope that he will ultimately rejoin them.[18][21]

Another facet to the Dominion was evaluated more closely in Season Three – the Jem'Hadar. In "

African-American adolescents in the 20th century and their struggles with addiction and violence, their integration into American society, and how their upbringing might contribute to these problems.[22] Brooks ensured that Odo continued to support the maturing Jem'Hadar despite the alien's regression to Dominion custom, as a commentary on how modern society should engage with young people.[23]

"

Tal Shiar, their Romulan counterpart, and launch a secret, pre-emptive strike to destroy the Founders' homeworld, hoping that the Founders and the rest of the Dominion will collapse. The Dominion successfully lures the fleets of the Tal Shiar and the Obsidian Order into a trap, eliminating both organizations. The plot establishes an atmosphere of suspicion amongst the Alpha Quadrant powers, initiated by the shapeshifters' abilities to assume other identities, which forms the basis of plots for Season Four.[25]

The Season Three finale turned out to differ significantly from the production staff's conceptual vision. Paramount did not favor the idea of a season-end cliffhanger which would have revealed the presence of shapeshifters on Earth. To continue the theme of paranoia about shapeshifters and the Dominion, "The Adversary" was instead scripted to set up a hunt for a Founder aboard the Defiant, incorporating some narrative elements at first intended to commence Season Four, while offering a more self-contained plot and using existing sets to reduce production costs.[26]

Season Four: Founder infiltration and political destabilization

Deep Space Nine.[28] While both the new plot and character offered interesting possibilities, the producers felt that their vision for Star Trek: Deep Space Nine was put off-course for almost one year.[29]

Season Four begins with "

Alpha Quadrant as a prelude to their own invasion.[30]

In "

Vorta representative Weyoun, who would become the most prominent Vorta in the rest of the series.[32]

In "Homefront", the mistrust generated by the shapeshifters continues, with Captain Sisko suspecting his own father and recommending a state of emergency be declared on Earth.[33] In "Paradise Lost", some Starfleet officers go further and attempt to implement a coup d'état against the President of the Federation after it is revealed that shapeshifters have infiltrated Earth and committed a terrorist attack. This leads to an armed conflict between Starfleet vessels for the first time in a century, according to the Star Trek in-universe timeline.[34] Sisko is able to force Admiral Leyton to abandon his efforts to impose martial law by telling him: "You're fighting the wrong war!"[35] Behr's favorite line from the episode is "Paradise never seemed so well-armed", highlighting one of many occasions when Deep Space Nine would point out the practical issues revolving around maintaining the peaceful culture of the Federation and the moral or immoral choices made to achieve this ideal.[36]

Season Five: build-up to all-out war

In the fifth season, the

Alpha Quadrant gathers pace, appearing in episodes such as "Apocalypse Rising", "In Purgatory's Shadow", "By Inferno's Light", and "Blaze of Glory". Robert Hewitt Wolfe and Ira Steven Behr were again responsible for the major Season Five episodes concerning the Dominion.[37][38][39][40]

In the Season Five opener, "Apocalypse Rising", Odo discovers that his race is capable of deceiving their own kind, as well as "solids", when he is led to believe that Klingon Chancellor Gowron is a Changeling instead of the General, Martok. This plot was planned to shift the focus of Star Trek: Deep Space Nine episodes back toward the struggle with the Dominion, which had been postponed in earlier production discussions with Paramount in favor of bringing Worf and a Klingon-based plotline into the series.[41][42]

In "In Purgatory's Shadow", it is discovered that

Deep Space Nine, under the command of the real General Martok, rescued from Dominion incarceration with Bashir.[38] In "Blaze of Glory", the characters confront the issue of ethnic cleansing when the Maquis – a resistance group of former Federation citizens now living in Cardassian space – are hunted down and ask for the assistance of Sisko, who used to criticize their methods.[39]

The Season Five finale, "

neutrality is the favorable course.[40]

Season Six: the war rages

Season Six, charting the turmoil of the Dominion War, faces themes of the

moral dilemmas of conflict. New plot elements permitted Star Trek: Deep Space Nine to examine themes in a manner unlike preceding Star Trek
productions, as characters are forced to re-evaluate their beliefs. The production staff resolved to start the season with a six-episode arc, the first attempted in the history of the Star Trek franchise.

Sacrifice of Angels", as themes increased demands for greater narrative development.[44][45] No writer had previously contributed to a series involving arcs of such length, and Moore, Behr, and novice scripting partner & supervising producer Hans Beimler have all stated that the writing process changed as a result, with more production collaboration and interaction than for earlier seasons of Deep Space Nine.[46][47][48] The potential for serialization that Rick Berman had perceived from the start of Deep Space Nine came to fruition as a result of the multiple plotlines accumulating to form the Dominion War.[44]

The return of

Deep Space Nine enabled the writers to contrast the space station of the audience's imagination to its incarnation as a former Cardassian mining facility. Former resistance fighter Major Kira is portrayed re-considering her ethical code as she sets out on the path to collaboration in "Rocks and Shoals", but the suicide of a Bajoran monk reminds her of the reality of her situation. Through "Rocks and Shoals", Deep Space Nine also revisits themes of war conduct as Sisko considers the morality of ambushing soldiers whom superiors have forsaken, only for events to force his hand.[49] In "A Time to Stand" and "Behind the Lines", the character of Odo
is torn between the trust placed in him by Kira and the Bajorans, and his status as a Founder, when he joins Deep Space Nine's Dominion council and then neglects to help his comrades at a critical moment.

Fortune is reversed again in Season Six as

Tora Ziyal, and his status as Cardassian leader. Dukat is the first, but not the only, character in Season Six to face the pain of loss in conflict. Later, in the season six finale "Tears of the Prophets", Worf loses his wife Jadzia Dax
when she is killed by Dukat.

Although themes of death are apparent in Deep Space Nine's previous seasons, "Far Beyond the Stars" details how Sisko copes with the loss of a friend on a deeper psychological level. Experiencing visions of himself confronting racial discrimination against Black Americans in the 1950s, Sisko interprets useful parallels connected to his life on Deep Space Nine.[53] Sisko's response to the death toll of the Dominion War is re-examined in "In the Pale Moonlight".[54]

Additionally, Season Six introduces Section 31, a secret organization dedicated to preserving the Federation's principles regardless of the cost and legitimacy of its methods. In "Inquisition", the character of Dr. Bashir refuses to join Section 31 and reports its actions, but still ponders its significance: "But what would that say about us? That we're no different than our enemies? That when push comes to shove, we're willing to throw away our principles in order to survive?" Sisko replies, "I wish I had an answer for you."[55][56]

"In the Pale Moonlight" considers a similar moral dilemma when the Dominion captures an important Federation planet,

Betazed, in a surprise attack. The subjugation of a planet familiar to the audience was used to heighten the sense of danger and the stakes for the characters.[57] In this episode, Sisko fuels a conspiracy intended to improve the war situation that ultimately results in the character of Elim Garak committing murder. In the context of the Dominion War, it is resolved to conceal the truth for the greater good.[54][58] Writer Michael Taylor has suggested, "It showed how Deep Space Nine could really stretch the Star Trek formula. It pushes the boundaries in a realistic way, because the decisions Sisko makes are the kinds of decisions that have to be made in war. They're for the greater good."[59]

Season Seven: end of the war

Season Seven charts further dilemmas of conflict. Following the example of Season Six, the writers considered using an arc to conclude the multiple Dominion War threads in satisfying fashion, deciding that Star Trek: Deep Space Nine could not be concluded in one or two episodes alone.[60][61] A ten-episode arc was outlined to end Season Seven, the Dominion War, and all of Deep Space Nine, and more alterations were made as scripting progressed.[62]

Characters face issues of

When It Rains..." that Section 31 has infected him to communicate the disease.[64] While Dr. Bashir
supports providing the Founders with a cure, others are unconvinced.

In “Penumbra”, it is revealed that the Dominion is receiving logistical support from the Son'a, who begin production of the Ketracel-white needed for the Jem'Hadar. Another opponent reveals itself when the Breen Confederacy signs a pact with the Dominion in "'Til Death Do Us Part". For "The Changing Face of Evil", writers Ira Steven Behr and Hans Beimler scripted a second strike against the Federation through a Breen assault on Earth. Later, with the addition of their new Breen allies, the Dominion retake the Chin'toka system, which sees the destruction of a number of Klingon, Romulan and Federation ships including the USS Defiant. Ronald D. Moore has stated: "We wanted to kill the Defiant as a statement on how tough the Breen were. We thought that would rock the characters and the audience." Behr explains that, "... the ship had become a character that had caught on in people's hearts and minds ... when the Defiant went down, that hurt."[65][66]

The resurgence in the conflict provided opportunities to introduce problems such as post-conflict psychological trauma in "The Siege of AR-558"[67] and injury when the character of Nog undergoes leg amputation in "It's Only a Paper Moon".[68] Moore has said that the plot of this episode was agreed on after an "extended argument" between Behr and Deep Space Nine creator Rick Berman and that such discussions were a common occurrence when war casualties were considered.[8] Michele and Duncan Barrett perceive the allusions made to the traumas of World War I.[69]

The concept of resistance is re-opened in the context of

slave revolt of Spartacus as a model.[71] Damar establishes an underground resistance movement, is branded a rebel, and goes into hiding. Kira, Garak, and Odo are sent as "technical advisors" to help him in "When It Rains...".[64]

The relationship between Cardassians and

Alpha Quadrant alliance.[75] Consequently, an attempted extermination results in the deaths of 800 million Cardassians in a Dominion bombardment.[75]

Allusions to genocide contrast with ethical discussion concerning the engineered "Founders disease" and a potential cure. In "Extreme Measures", the characters of Dr. Bashir and Chief O'Brien locate a treatment inside the mind of Section 31 agent Luther Sloan. A moral debate ensues on what constitutes genocide. While Bashir supports offering a cure to the Founders, Sisko determines that the disease should be left to continue crippling the powerful opposition. However, in "The Dogs of War", Odo declares that this amounts to genocide of his species and is handed a treatment by Bashir.[76] In return for the Dominion's peaceful surrender, and the arrest of the Female Changeling on charges of war crimes, the Alpha Quadrant alliance permits Odo to heal the rest of his people.[77]

The Treaty of Bajor is signed aboard Deep Space Nine in the Season Seven finale, "

What You Leave Behind, Part II". The conclusion to the Dominion War arc formed the resolution to Deep Space Nine as a series, and a moment for the production staff to settle the destinies of the main characters. Berman and Behr agreed with Paramount that the final episode of the series should concentrate on human drama rather than the endgame of the Dominion War.[78] Moore opines the production staff succeeded in ensuring the Dominion War acted as a means of deepening characterization.[79] Although further plots would have been scripted had Deep Space Nine continued into an eighth season, Behr accepted the resolution of the Dominion War at the end of Season Seven.[10]

Reception

Former cast members and production staff

In a 2007 interview with iF magazine,

films, described Star Trek: Deep Space Nine as representing the "polar opposite" of Gene Roddenberry's vision and philosophy of the future.[80] Writer D. C. Fontana has stated in an interview that Roddenberry would have admired the later series for its dark themes, referring to Roddenberry's military service record in World War II.[81]

Roddenberry doubted that a series concentrating on themes aside from space exploration could endure, and voiced displeasure with initial concepts for Deep Space Nine presented to him in 1991. Rick Berman has explained that Roddenberry, although terminally ill, had given him his blessing for its development, but that he had no opportunity to discuss any of the ideas with Roddenberry.[59]

Critical reception

Irish Catholics and Protestants, and so on across an increasingly depressing globe. Star Trek offered a vision that leapt 300 years into the future. For too many people today, three years would seem a stretch."[83]

Cynthia Littleton, writing for

Nielsen note as Next Generation, which wrapped a hugely successful run in 1994, but DS9 is hardly floundering. The series, which bowed in January 1993, consistently ranks among the top three first-run syndication hours in household and demographic ratings."[84]

In a 1999 edition of the Australian science-fiction magazine Frontier, Anthony Leong suggested that Deep Space Nine had not initially been envisaged to include a war story arc from the beginning. He demonstrated a preference for how the plot of Babylon 5 had been devised, while acknowledging how the Deep Space Nine writers had developed a continuing plotline: "... it is rare for a series creator to envision how the series will develop over time. Furthermore, the creative process in dramatic television writing tends to be organic, as events in the series will unfold based on the events that preceded it. For example, were the wars with the Klingons and the Dominion on Deep Space Nine foreseen by its creators back in the first season? Of course not ... these events developed over time through the input of its writing staff."[85]

In 2008, Nader Elhefnawy, contributor to The Internet Review of Science Fiction, asserted that, while less appreciated than other science-fiction series of the 1990s, Deep Space Nine had developed an interesting cast of characters, "thanks to the Dominion War, much of the richest and most exciting drama in the Star Trek franchise's history."[86]

Owen Williams, writing for Empire magazine, opines that Star Trek as a whole has been slow to adapt and develop to new trends, while singling out Deep Space Nine for special mention: "... arguably even the ace DS9 only got good in response to Babylon 5 ..."[87] Adam Smith, chief features writer for Empire commented in a 2009 article that, "It's hard to choose the best episodes of DS9 without mentioning the stories involving the Dominion War." He reported "The Search", "In the Pale Moonlight" and "Far Beyond the Stars" as the features staff's favorite episodes for their portrayal of darker themes and creating a change in direction.[88]

Star Trek: Deep Space Nine was nominated at the

Emmys in each season. Cinescape columnist Andrew Hershberger remarked in 2003 on the lack of critical success for science-fiction television: "Nobody cool would dare vote for a sci-fi show [for Outstanding Drama Series] that didn't have [Stanley] Kubrick or Chris Carter's name attached to it ... If Deep Space Nine was involved, you'd hear some real complaining on this end."[89]

In 2016, a reviewer at The Washington Post applauded the Dominion War saga for being the "richest narrative in the entire [Star Trek] universe."[90]

Academic perspectives

Academics have noted how the Dominion War plotlines have explored the human psyche as much as outer space. Lincoln Geraghty praises the ending to the story arc and Star Trek: Deep Space Nine as a series, and believes this is indicative of how the series manipulates the Star Trek ethos, identifying a theme of ambiguity as part of its continuing narrative.[91] Karin Blair, writing in 1997 at the time of Season Five, felt that the series was reflecting trends for American culture to re-consider its place in the global community.[92] Michele and Duncan Barrett comment on the "declining faith in rationalism that haunts Deep Space Nine" in their book Star Trek: The Human Frontier.[93]

In contrast, Robert Jewett and John Shelton Lawrence, authors of The Myth of the American Superhero, argue that the Dominion War plotlines in Deep Space Nine continue Star Trek's portrayal of "humanistic militarism", in that conflict is justified for the sake of humanity.[94] Criticism is levelled at Paramount's tie-in merchandising, in particular the slogan for the computer game Deep Space Nine: Dominion Wars, which is considered to emphasize the combat element at the expense of other themes.[95]

While television commentators and fans have noted associations with the Yugoslav Wars in the 1990s, some academics have noted parallels between the portrayal of the Dominion War and other historical conflicts. Michele and Duncan Barrett identify a number of themes relating to World War I in Star Trek, especially "in the bleak and costly alliances and endless casualty sheets that characterize the protracted Dominion War in DS9."[69]

Tie-in media

A number of tie-in media titles have expanded on the Dominion War well beyond events depicted in the Deep Space Nine television series:

Novels

Main article: List of Star Trek: Deep Space Nine novels

The Dominion War (1998)

Star Trek: The Dominion War crossover miniseries explores events leading up to the Dominion War.[96] Two novels focus on the crew USS Enterprise. A Call to Arms (1998) and Sacrifice of Angels (1998) are based on seven interlinked episodes from Deep Space Nine's fifth and sixth seasons, beginning with "Call to Arms". The Battle for Betazed (2002), by Charlotte Douglas and Susan Kearney, and Tales of the Dominion War (2004), a short story collection edited by Keith DeCandido, tie in to the series.

No. Title Author(s) Date ISBN
1 Behind Enemy Lines
  (The Next Generation) 		John Vornholt November 1998 0-671-02499-X
2 Call to Arms
  (Deep Space Nine) 		Diane Carey 0-671-02497-3
3 Tunnel Through the Stars
  (The Next Generation) 		John Vornholt December 1998 0-671-02500-7
4 Sacrifice of Angels
  (Deep Space Nine) 		Diane Carey 0-671-02498-1

Millennium (2000)

Star Trek: Deep Space Nine – Millennium miniseries explores an alternate-timeline accidentally created by the crew of the USS Defiant (NX-74205). The series was partially adapted as The Fallen (2000). An omnibus edition was published in 2002.

No. Title Author(s) Date ISBN
1 The Fall of Terok Nor Judith and Garfield Reeves-Stevens March 2000 0-671-02401-9
2 The War of the Prophets 0-671-02402-7
3 Inferno April 2000 0-671-02403-5

Mission Gamma (2002)

Star Trek: Deep Space Nine – Mission Gamma miniseries follows the exploits of the USS Defiant (NX-74205), under the command of Elias Vaughn. These Haunted Seas (2008) collected Twilight and This Gray Spirit.

No. Title Author(s) Date ISBN
1 Twilight David R. George III August 27, 2002 0-7434-4560-0
2 This Gray Spirit Heather Jarman 0-7434-4562-7
3 Cathedral Michael A. Martin and Andy Mangels October 1, 2002 0-7434-4564-3
4 Lesser Evil Robert Simpson October 29, 2002 0-7434-1024-6

Worlds of Deep Space Nine (2004–05)

Worlds of Star Trek: Deep Space Nine explores the worlds featured in the Deep Space Nine television series. Characters featured during the Dominion War arc, are peppered throughout the novellas, especially in the third volume. The concept for the series was developed by Marco Palmieri.[97]: 269 

No. Title Author(s) Date ISBN
1 Cardassia and Andor Una McCormack and Heather Jarman May 25, 2004 0-7434-8351-0
2 Trill and Bajor Andy Mangels, Michael A. Martin, and J. Noah Kym January 25, 2005 0-7434-8352-9
3 Ferenginar and The Dominion Keith DeCandido and David R. George III 0-7434-8353-7

Gamma (2017)

Star Trek: Deep Space Nine – Gamma miniseries follows the crew of USS Robinson (NCC-71842), under the command of Benjamin Sisko. Only one novel has been published. Not to be confused with the Mission Gamma (2002) miniseries which has a similar premise.

Title Author(s) Date ISBN
Original Sin David R. George III September 26, 2017 978-1-5011-3322-0

Video games

The Fallen (2000)

Main article: Star Trek: Deep Space Nine: The Fallen

Star Trek: Deep Space Nine – The Fallen (2000) is a third-person shooter video game loosely based on the Millennium trilogy of novels by Judith and Garfield Reeves-Stevens. Characters introduced during the Dominion War story arc appear in the game.

Title Developer Publisher Released
The Fallen The Collective Simon & Schuster November 23, 2000

Dominion Wars (2001)

Main article: Star Trek: Deep Space Nine: Dominion Wars

Star Trek: Deep Space Nine – Dominion Wars (2001) is a real-time strategy video game set during the later seasons of Deep Space Nine.[98] The player is tasked with defending Federation assets against attacking Dominion forces.

Title Developer Publisher Released
Dominion Wars Gizmo Games Simon & Schuster June 2, 2001

See also

References

  1. ^ a b Writer: Michael Piller. Story: Michael Piller and Rick Berman. Creators: Rick Berman and Michael Piller (January 3, 1993). "Emissary". Star Trek: Deep Space Nine. UPN.
  2. ^ a b c d e f Behr, Wolfe, Piller (2003). The Birth of the Dominion and Beyond (Star Trek: Deep Space Nine Season Three DVD Special Features). Paramount Pictures.
  3. ISBN 0-671-50106-2
    .
  4. ISBN 0-671-50106-2
    .
  5. ISBN 0-671-50106-2
    .
  6. ISBN 0-671-50106-2. Robert Hewitt Wolfe
    : "[The Founders, like the Roman Empire] would rather take over someplace without firing a shot, but they're going to take over ..."
  7. ISBN 0-671-50106-2. Robert Hewitt Wolfe
    : "[T]he Dominion was the Carrot-and-Stick Empire. The businessmen, the Vorta, were the negotiators, the friendly guys who show up with the carrot: 'Hey, we're your friends. Have some phaser rifles, space travel, whatever you want. We'll arrange it. All you have to do is owe us.' Then, if you don't toe the line, they kick your ass with the Jem'Hadar."
  8. ^ a b c d e "An Interview with Ron Moore". IGN. December 4, 2003. p. 8. Retrieved September 20, 2017.
  9. ^ Michael Piller: A Bold New Beginning Featurette [Star Trek: Deep Space Nine Season One DVD Special Features].
  10. ^ a b "Interview, Part 2: Producer Ira Steven Behr Reflects on the Legacy of Deep Space Nine, by Steve Krutzler". TrekWeb.com. July 14, 2004. p. 2. Archived from the original on December 8, 2004. Retrieved April 4, 2011.
  11. ISBN 0-671-50106-2
    .
  12. ^ Writer: Ira Steven Behr. Story: Hilary Bader. Creators: Rick Berman & Michael Piller (November 7, 1993). "Rules of Acquisition". Star Trek: Deep Space Nine. UPN.
  13. ^ Writer: Frederick Rappaport. Story: Kelley Miles & Gabe Essoe. Creators: Rick Berman & Michael Piller (November 28, 1993). "Sanctuary". Star Trek: Deep Space Nine. UPN.
  14. ISBN 0-671-50106-2
    .
  15. ISBN 0-671-50106-2. Robert Hewitt Wolfe
    : "We wanted to show the long-term fans how dangerous these guys were. And it's my belief that if that had been the Enterprise and not the Odyssey, and [Jean-Luc] Picard rather than Keogh in command, it still wouldn't have survived."
  16. ^ Interview with Robert Hewitt Wolfe: The Birth of the Dominion and Beyond Documentary [Star Trek: Deep Space Nine Season Three DVD Special Features]. Paramount, ASIN: B00008KA5A, June 3, 1993: "The Gamma Quadrant isn't empty, it isn't just a bunch of planets. It's bound together by the Dominion, a very, very tough, very smart, very old civilization, run by the mysterious Founders, who are experts in genetic engineering, and who turn out to be Odo's people, the shapeshifters. They then go and engineer these slave races that do their bidding. Essentially, the two main slave races were the 'carrot' and the 'stick'. The carrot being the Vorta, who would come to your planet and say, 'Hey, you're nice people, here's some M16s and some popcorn, and whatever else you want, baby: alcohol, fire-water? All you have to do is sign this little contract and we'll make you cool.' Then there's the Jem'Hadar. So the Vorta say, 'Oh, you don't want to play ball? Then meet these guys. They're gonna kick your asses.'"
  17. ^ Story: Ira Steven Behr. Creators: Rick Berman & Michael Piller (June 12, 1994). "The Jem'Hadar". Star Trek: Deep Space Nine. UPN.
  18. ^ a b Writer: Ronald D. Moore. Story: Robert Hewitt Wolfe & Ira Steven Behr. Creators: Rick Berman & Michael Piller (September 26, 1994). "The Search, Part I". Star Trek: Deep Space Nine. UPN.
  19. ISBN 0-671-50106-2
    .
  20. ^ "Script for "The Search, Part II"". twiztv.com. July 1994. Archived from the original on May 2, 2008. Retrieved April 23, 2010. Act 5, Scene 74. Writer: Ira Steven Behr. Story: Robert Hewitt Wolfe & Ira Steven Behr. July 18, 1994. Female Changeling: "What you can control can't hurt you." Odo: "How can you justify the deaths of so many people?" Female Changeling: "The solids have always been a threat to us, that's the only justification we need."
  21. ^ Writer: Ira Steven Behr. Story: Robert Hewitt Wolfe & Ira Steven Behr. Creators: Rick Berman & Michael Piller (October 3, 1994). "The Search, Part II". Star Trek: Deep Space Nine. UPN.
  22. ISBN 0-671-50106-2
    . Avery Brooks: "For me, it was very much a story about young brown men, and, to some extent, a story about a society that is responsible for the creation of a generation of young men who are feared, who are addicted, who are potential killers ..."
  23. ISBN 0-671-50106-2
    . Avery Brooks: "Odo knows that this is still a child, and for him to give up and just let the boy go – what kind of a statement would we be making? That these people are expendable, that we don't really care about them? Those are the hard questions to answer."
  24. ^ Writer: René Echevarria. Story: Robert Lederman & David R. Long. Creators: Rick Berman & Michael Piller (April 24, 1995). "Improbable Cause". Star Trek: Deep Space Nine. UPN.
  25. ^ Writer: Ronald D. Moore. Creators: Rick Berman & Michael Piller (May 1, 1995). "The Die is Cast". Star Trek: Deep Space Nine. UPN.
  26. ISBN 0-671-50106-2
    .
  27. ISBN 0-671-50106-2
    . Ira Steven Behr: "A shapeshifter in that episode says something like, 'In the future, all we have to worry about is the Klingons and the Federation, and that won't be for much longer.' I'd said to Ron at the time, 'You know, we could do a whole show about that ...' But the earth didn't move. Nothing shook."
  28. ISBN 0-671-50106-2
    . Ira Steven Behr: "Rick [Berman] said, 'The Klingons – that's the way to go. Everyone loves the Klingons. And if we bring in the Klingons, why don't we bring back Worf?'"
  29. ISBN 0-671-50106-2
    . Ira Steven Behr: "We only recovered our equilibrium in the middle of the fifth season, following another meeting with the studio in which we said, 'How about making the Klingons our friends again? You'll see them as much as you want, but we want to get back to the Dominion.' While I like having brought Worf onto the show ... I think it had a fairly substantial impact ... It took us way off from where we'd intended to go and it was slow going getting back."
  30. ^ Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (October 2, 1995). "The Way of the Warrior". Star Trek: Deep Space Nine. UPN.
  31. ^ Writer: Lisa Klink. Story: Lisa Klink & Nicholas J. Corea. Creators: Rick Berman & Michael Piller (October 16, 1995). "Hippocratic Oath". Star Trek: Deep Space Nine. UPN.
  32. ^ Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (May 13, 1996). "To the Death". Star Trek: Deep Space Nine. UPN.
  33. ^ Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (January 1, 1996). "Homefront". Star Trek: Deep Space Nine. UPN.
  34. ^ Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (January 8, 1996). "Paradise Lost". Star Trek: Deep Space Nine. UPN.
  35. ^ "Script for "Paradise Lost"". twiztv.com. November 1995. Archived from the original on August 30, 2005. Retrieved May 6, 2010. Act 5, Scene 50. Writers: Ira Steven Behr & Robert Hewitt Wolfe. Story: Ronald D. Moore. Revised November 14, 1995. Leyton: "It's not over! I have enough loyal officers to make a fight of it!" Sisko: "Who will you fight? Starfleet? The Federation? Don't you see, Admiral! You're fighting the wrong war! And as for your loyal officers, Benteen's already abandoned you. And she was closer to you than anyone. You've lost! Don't make anyone else pay for your mistakes." Leyton: "I hope ... you're not the one making the mistake."
  36. ISBN 0-671-50106-2
    .
  37. ^ a b Writers: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (February 10, 1997). "In Purgatory's Shadow". Star Trek: Deep Space Nine. UPN.
  38. ^ a b Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (February 17, 1997). "By Inferno's Light". Star Trek: Deep Space Nine. UPN.
  39. ^ a b Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (May 12, 1997). "Blaze of Glory". Star Trek: Deep Space Nine. UPN.
  40. ^ a b Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (June 16, 1997). "Call to Arms". Star Trek: Deep Space Nine. UPN.
  41. ISBN 0-671-50106-2. Ira Steven Behr
    : "Season Four threw us for a loop, with the whole Klingon thing, and bringing Worf into the show. So the seminal thing about our fifth season opener was that we wanted to get back on the track we'd anticipated being on a year earlier. We were moving back toward making the shapeshifters and the Dominion our enemies. Not the Klingons. I didn't want to have the Klingons as our enemies ... We wanted to let people know that we didn't switch horse in midstream. So "Apocalypse Rising" was an important episode. By having that shapeshifter in there, we were saying, 'Season Four wasn't a mistake. It wasn't the Klingons turning against us. There was a shapeshifter behind it all along.' And that's why we had to do that episode."
  42. ^ Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (September 30, 1996). "Apocalypse Rising". Star Trek: Deep Space Nine. UPN.
  43. ^ "Interview with Ronald D. Moore about "A Time to Stand" for Memory Alpha". memory-alpha.org. Retrieved April 23, 2010.: "The initial thinking was that we would end Season Five on a cliffhanger with the Federation plunged into war, and then we would come back and do a multi-episode arc, and the war would last that long."
  44. ^
    ISBN 0-671-50106-2
    .
  45. ISBN 0-671-50106-2
    .
  46. ISBN 0-671-50106-2
    . Ronald D. Moore: "We broke the six episodes together, but as everybody went off and worked on writing them, things would start to change or shift. It became a much more interactive process than it ever had been before. Because each detail had a domino effect. We'd had that happen before, to a certain extent, but we'd never done this many episodes with this many continuing storylines as a single piece. We weren't used to the rhythm. It was definitely challenging!"
  47. ISBN 0-671-50106-2. Hans Beimler
    : "It changed the dynamic of the way we work and it changed the kind of involvement that everybody had. Because René Echevarria or Ronald D. Moore would go away to work on an episode, and discover something in the writing process that was going to change everybody else's script. One of them would be coming back all the time saying, 'You know what guys? We need to re-think.' And then we'd call in all the troops and re-think the storyline."
  48. ISBN 0-671-50106-2
    . Ira Steven Behr: "The guys were coming in saying, 'What are you writing?' 'Are we gonna do this?' 'Where's Kira at right now?' 'What's Odo doing?' There were a lot of phone calls, a lot of running into each other's offices, a lot of 'Should this go before this?' and 'Wait a second – does this track?' The fact is, the show isn't geared to work like that."
  49. ^ Writer: Ronald D. Moore. Creators: Rick Berman & Michael Piller (October 6, 1997). "Rocks and Shoals". Star Trek: Deep Space Nine. UPN.
  50. ^ Writers: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (November 3, 1997). "Sacrifice of Angels". Star Trek: Deep Space Nine. UPN.
  51. ^
    ISBN 0-671-50106-2
    .
  52. ISBN 0-671-50106-2
    . Ira Steven Behr: "... They [the Prophets] wouldn't have done this for just anyone. This was the man going out into the wilderness and demanding his god to interfere, to do something, for crying out loud. The corporeal characters had done so much in this episode; surely, they'd earned the help of the gods."
  53. ^ Writers: Ira Steven Behr & Hans Beimler. Story: Marc Scott Zicree. Creators: Rick Berman & Michael Piller (November 2, 1998). "Far Beyond the Stars". Star Trek: Deep Space Nine. UPN.
  54. ^ a b Writers: Michael Taylor, Peter Allan Fields & Ronald D. Moore. Creators: Rick Berman & Michael Piller (April 15, 1998). "In the Pale Moonlight". Star Trek: Deep Space Nine. UPN.
  55. ^ Writers: Bradley Thompson & David Weddle Creators: Rick Berman & Michael Piller (April 8, 1998). "Inquisition". Star Trek: Deep Space Nine. UPN.
  56. ^ "Script for "Inquisition"". twiztv.com. Archived from the original on May 2, 2008. Retrieved May 6, 2010. Act Five, Scene 43. Writers: Bradley Thompson & David Weddle. January 14, 1998. Revised January 29, 1998. Bashir: "I can't believe the Federation condones this kind of activity." Odo: "Personally, I find it hard to believe they wouldn't. Every other great power has a unit like Section 31. The Romulans have the Tal Shiar, the Cardassians had the Obsidian Order ..." Bashir: "But what does that say about us? When push comes to shove, are we willing to sacrifice our principles in order to survive?" Sisko: "I wish I had an answer for you, Doctor."
  57. ISBN 0-671-50106-2
    . Ronald D. Moore: "We wanted a moment that would really galvanize Sisko ... so we needed to have a familiar world fall [in the war] ..."
  58. ^ "Script for "In the Pale Moonlight"". twiztv.com. Archived from the original on May 2, 2008. Retrieved May 6, 2010. Act Five, Scene 45. Writer: Michael Taylor. Uncredited contribution: Ronald D. Moore. Story: Peter Allan Fields. January 26, 1998. Revised February 11, 1998. Sisko: "So ... I lied. I cheated. I bribed men to cover the crimes of other men. I am an accessory to murder. But the most damning thing of all ... I think I can live with it. And if I had to do it all over again, I would. Garak was right about one thing, a guilty conscience is a small price to pay for the safety of the Alpha Quadrant. So I will learn to live with it. Because I can live with it. I can live with it ..."
  59. ^
    ISBN 0-671-50106-2
    .
  60. ^ Interview with Hans Beimler, Star Trek: Deep Space Nine Companion, Pocket Books, 2000: "It showed us the possibilities and the excitement that could be garnered, and in the end, we liked it so much that we decided to do the ten-episode arc at the end of the series."
  61. ISBN 0-671-50106-2. Rick Berman
    : "So rather than tie up every thread in the few hours, we thought, 'Why not look at the last third of the season as a continuing, building conclusion to the seven-year story?'"
  62. ISBN 0-671-50106-2. Ira Steven Behr
    : "The show wasn't geared to be what we kept turning it into ... We had to kind of do it and hope it was going to work out ... So we didn't lay it out at the beginning of the year. We planned then as we were doing them. That allowed us to find great stuff, but occasionally it put us into situations where we were saying to each other, 'Well, what do you want to do with —?' 'I dunno, what do you want to do with them?'"
  63. ^ Writers: David Weddle & Bradley Thompson. Story: Phillip Kim. Creators: Rick Berman & Michael Piller (November 22, 1998). "Treachery, Faith, and the Great River". Star Trek: Deep Space Nine. UPN.
  64. ^ a b Writer: René Echevarria. Story: René Echevarria & Spike Steingasser. Creators: Rick Berman & Michael Piller (May 5, 1999). "When It Rains...". Star Trek: Deep Space Nine. UPN.
  65. ISBN 0-671-50106-2
    .
  66. ISBN 0-671-50106-2
    .
  67. ^ Writers: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (November 18, 1998). "The Siege of AR-558". Star Trek: Deep Space Nine. UPN.
  68. ^ Writer: Ronald D. Moore. Story: David Alan Mack & John J. Ordover. Creators: Rick Berman & Michael Piller (November 30, 1998). "It's Only a Paper Moon". Star Trek: Deep Space Nine. UPN.
  69. ^
    ISBN 0-415-92982-2
    .
  70. ^ "Script for "The Changing Face of Evil"". twiztv.com. Archived from the original on May 2, 2008. Retrieved May 6, 2010. Act Five, Scenes 67-71. Writers: Hans Beimler & Ira Steven Behr. February 3, 1999. Revised February 23, 1999. Damar: "Seven million of our brave soldiers have given their lives to fulfill our part of the agreement, and what has the Dominion done in return? Nothing. We've gained no new territories. In fact, our influence throughout the quadrant has diminished. And to make matters worse we are no longer masters in our own home. Travel anywhere on Cardassia and what do you find? Jem'Hadar, Vorta, and now Breen. Instead of the invaders we have become the invaded. Our allies have conquered us without firing a single shot. Well, no longer."
  71. ISBN 0-671-50106-2
    .
  72. ^ Writer: Ronald D. Moore. Creators: Rick Berman & Michael Piller (May 12, 1999). "Tacking Into the Wind". Star Trek: Deep Space Nine. UPN.
  73. ^ Interview with Ira Steven Behr, Star Trek: Deep Space Nine Companion, Pocket Books, 2000: "We needed someone [Gul Rusot] who would highlight Damar's strength, by putting Damar in a position where he'd have to hold this tiger by the tail and keep him in line."
  74. ^ a b Writers: René Echevarria & Ronald D. Moore. Story: Peter Allan Fields. Creators: Rick Berman & Michael Piller (May 26, 1999). "The Dogs of War". Star Trek: Deep Space Nine. UPN.
  75. ^ a b Writers: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (June 2, 1999). "What You Leave Behind, Part I". Star Trek: Deep Space Nine. UPN.
  76. ^ "Script for "The Dogs of War"". twiztv.com. Archived from the original on May 2, 2008. Retrieved May 6, 2010. Act 1, Scenes 20-1. Writers: René Echevarria & Ronald D. Moore. Story: Peter Allan Fields. Revised April 9, 1998. Odo: "Don't split hairs with me, doctor. They used me as an instrument to try to commit genocide. We may be at war with the Founders, but that's no excuse." Bashir: "I completely agree." Sisko: "I don't condone what Section 31 did, but the Founders started this war, not us. Giving them the cure would only strengthen their hand. And we can't do that – not when there are millions of men and women out there putting their lives on the line every day." Odo: "Interesting, isn't it? The Federation claims to abhor Section 31's tactics, but when they need their dirty work done they look the other way. It's a tidy little arrangement, wouldn't you say?"
  77. ^ Writers: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (June 2, 1999). "What You Leave Behind, Part II". Star Trek: Deep Space Nine. UPN.
  78. ISBN 0-671-50106-2
    . Ira Steven Behr: "I could see their point. Deep Space Nine is bigger than just the Dominion War. So we split it. We had a two-hour episode, which allowed us to give the audience the big battle scenes and all that stuff, but then say, 'Hey, this is the final episode, and we have a lot of other stuff to take care of too!' ... I wanted to tie up all the loose ends. I didn't want this show to end like so many TV shows do, with all this open-ended 'Whatever happened to these characters?' I mean, obviously these characters go off and have some kind of life, but in terms of this series, I wanted to bring some closure, it was important to me."
  79. ^ "An Interview with Ron Moore". IGN. December 4, 2003. p. 10. Retrieved September 20, 2017.
  80. ^ Sean Elliot (November 20, 2007). "Exclusive: George Takei Thanks Fans for 40 Years of Star Trek". iF Magazine. Archived from the original on November 23, 2007. Retrieved April 4, 2011.
  81. ^ "Interview – Dorothy Fontana On New Comics, New Novel + Canon, DS9, ENT & New Movie". August 16, 2007. TrekMovie.com. Retrieved April 4, 2011.
  82. ^ John J. O'Connor (January 7, 1993). "Star Trek Leaps to the 24th Century in Syndicated Series". The New York Times Company. Retrieved April 4, 2011.
  83. ^ John J. O'Connor (September 11, 1996). "Critic's Notebook: When Space Seemed a Whole Lot Bigger". The New York Times Company. Retrieved April 4, 2011.
  84. ^ Cynthia Littleton (August 24, 1998). ""Deep Space" on final Trek". Variety.com. Retrieved April 26, 2010.
  85. ISSN 1326-8686
    . Retrieved April 4, 2011.
  86. ^ Nader Elhefnawy (June 2008). Stacey Janssen (ed.). "The Golden Age of Science Fiction Television: Looking Back at SFTV During the Long 1990s". The Internet Review of Science-Fiction. Bluejack. Archived from the original on April 30, 2009. Retrieved May 9, 2010.
  87. ^ Owen Williams (September 17, 2009). Nick de Semlyen (ed.). "Star Trek 2 on Battlestar Territory? Abrams and Orci Talk Allegory". Empire. Bauer Consumer Media. Retrieved April 4, 2011.
  88. ^ Adam Smith (September 17, 2009). Dan Jolin (ed.). "Star Trek: The Best and Worst Episodes". Empire. Bauer Consumer Media. Retrieved April 4, 2011.
  89. ^ Caillan Davenport (July 16, 2003). "Trekking to the Emmys". Trek Nation. Retrieved April 4, 2011.
  90. ^ Drezner, Daniel W. (September 13, 2016). "The top 10 'Star Trek' episodes ever". The Washington Post. Retrieved June 24, 2019.
  91. ISBN 978-1-84511-265-3
    .
  92. ^ Karin Blair (1997). Dan Jolin (ed.). "Star Trek Old and New: From the Alien Embodied to the Alien Imagined". {{cite journal}}: Cite journal requires |journal= (help)
  93. ISBN 0-415-92982-2
    . Back cover.
  94. ISBN 978-0-8028-4911-3
    .
  95. ISBN 978-0-8028-4911-3
    .
  96. ^ Jones, Neil (May 1999). Pringle, David (ed.). "Trekfiction". Interzone. No. 143. p. 59. Retrieved May 9, 2023 – via Internet Archive.
  97. ISBN 978-1-4165-0349-1
    .
  98. ^ "Star Trek: Dominion Wars Review". uk.gamespot.com. Archived from the original on July 20, 2012. Retrieved April 4, 2011.

External links

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