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95

179
TM

THE OFFICIAL STARSHIPS COLLECTION

TYPE: STARSHIP

VIDIIAN IN USE: 24th CENTURY

STARSHIP
LOCATION: DELTA QUADRANT

WEAPONRY: HYPER-THERMIC CHARGE

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 Contents
P04: VIDIIAN STARSHIP

P10: DESIGNING THE SHIP

P14: MAKING ‘DEADLOCK’

P18: ON SCREEN
STARSHIP
Stand assembly:
Slide the stand from
underneath over the
back of the ship u

u
u

Final position

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 VIDIIAN STARSHIP
SPECIFICATION

OPERATED BY: VIDIIAN SODALITY

TYPE: STARSHIP

IN OPERATION: 24th CENTURY

LOCATION: DELTA QUADRANT

CREW: OVER 350

PROPULSION: WARP

WEAPONRY: HYPER-THERMIC CHARGES

GRAPPLES

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 q This addition to the Vidiian
fleet was significantly larger
than the Federation starship
Voyager. With a crew of well
over 350, these ships were able
to deploy grappling conduits
to cut access ports directly
into the hulls of other ships
to allow organ harvesting
operations to commence.

VIDIIAN

STARSHIP
The Vidiians were forced to hunt down other species
in huge starships to harvest healthy organs to survive.

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 SHIP PROFILE

DATA FEED
In addition to its large starships, the Vidiian fleet
was able to deploy smaller fighters, designated as
warships. They shared a common design aesthetic
with their larger counterparts, possessing the same
tapered aft section and forward pincer section, but
were designed for faster, direct ship-to-ship combat.

A
s a major power in the Delta Quadrant, overcome smaller ships using a variety of weapons
the Vidiian Sodality operated a varied before boarding and taking what they needed.
fleet of ships to carry out a tragic purpose
– the harvesting of organs from other species. Their TRIPLE-SECTION DESIGN
civilization had been ravaged by a virus termed These vast ships possessed a crew complement
the Phage, and the Vidiians abandoned pursuits of well in excess of 350 Vidiians, with a flat, wide
of culture and exploration in an attempt to find a design aesthetic, echoing the look of an Earth
cure. Traveling the quadrant in ships ranging from stingray. The ships were based around a triple-
small freighters and fighters to vast starships, the section design – a large central primary hull
Vidiians harvested healthy organs from innocent tapering to a tailed point at the aft, with two
beings to fight off the advance of the Phage. The narrower drive nacelle sections running parallel
larger starships of the Vidiian fleet were able to to port and starboard. These drive nacelles were
topped with habitable crew areas. The primary
hull was distinguished by a pincer-like construction,
where the forward deflector array was thought to
be located.
The three sections were connected to flat,
aerodynamically arranged wing sections,

 A Vidiian starship could deploy powerful grapples to attach on

the hull of a starship before cutting through to allow Vidiian crew to
board. In an alternative timeline, U.S.S. Voyager used anti-graviton
pulses to detach the powerful grappling implements.

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Bel

SHIP PROFILE VIDIIAN STARSHIP OVERVIEW

 Vidiian starships with tapered smaller wing sections to port and access routes were cut directly thorough the hull,
were designed to starboard of the warp nacelles. The nacelles were allowing hundreds of Vidiians to board and begin
overcome their victims’
linked to the aft engines by angular support pylons, the harvesting of organs.
ships through sheer
size and numbers. the drive exhausts of the ship marked out by the However, these grapples could be disrupted.
Literally hundreds could amber energy signature visible to the aft, on the A reversal of hull polarity followed by a sustained
board other ships in a
ventral hull of both nacelles and the nacelle tips. anti-graviton pulse and engaging inertial-
matter of minutes.
dampeners could free a grappled ship.
ATTACK AND HARVEST
Vidiian starships were armed with a variety of DOUBLE VOYAGER
weapons that could quickly overcome other ships In 2372, U.S.S. Voyager strayed close to Vidiian
to leave them vulnerable to boarding parties. territory, detecting 20 large starships in the
A hyper-thermic charge fired at a ship could vicinity of two G-class worlds. Avoiding detection
cause widespread damage to cripple the vessel, by entering a plasma drift, a spatial scission
including disabling weaponry arrays. Once a ship duplicated local matter to create two separate
had been overcome, several powerful grapples Voyagers and their crews.
were deployed from the lower hull of the Vidiian After the death of one Voyager’s Ensign Kim,
ship, attaching to the victim’s hull. Once attached, attempts to separate the ships brought Voyager

6 VIDIIAN STARSHIP OVERVIEW

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 SHIP PROFILE

 A vast Vidiian
starship attacked
Voyager when the
Federation ship
passed close to
Vidiian territory.
The Vidiians were
unaware that their
prey was linked to
a duplicate Voyager
created by a
spatial-scission effect.

 Realizing her version  Dwarfing Voyager,

of Voyager would be the Vidiian ship deployed
lost to the Vidiian attack, multiple grappling arms
the duplicate Captain on to the hull. Over
Janeway activated her 347 individual Vidiians
ship’s auto-destruct were able to rapidly
systems. This alternative board Voyager and
Voyager was destroyed, overcome the crew.
taking the Vidiian ship
with it and freeing the
other Voyager from the
spatial scission.

to the attention of the nearby Vidiians. With only

one duplicate Voyager affected by Vidiian attack, DATA FEED
that ship’s Captain Janeway realized they would Ensign Harry Kim gave
his life in the line of duty
be quickly overcome by Vidiian boarding parties.
when attempting to seal
Knowing the other Voyager would be under
a hull breach, but thanks
threat, Janeway formulated a plan, despite her to the spatial scission
counterpart’s protests. experienced by Voyager
Janeway lured the Vidiians into a trap, setting and a Vidiian attack, he
her Voyager’s self-destruct sequence, but not still serves aboard Voyager.
The Kim that arrived back
before that ship’s Harry Kim traveled to the other
on Earth was from the
Voyager. The Vidiians overcame Voyager’s crew,
duplicate Voyager, sent
Tuvok and Tom Paris among their victims. The through by Janeway before
boarding party arrived on the bridge where they that ship was destroyed.
were greeted by Janeway a few seconds before “We’re Starfleet officers.
the ship exploded, destroying the Vidiian ship. Free Weird is part of the job,”
Janeway told her newest
of the spatial scission, the other Voyager continued
crew member on his arrival.
its long journey home to the Alpha Quadrant.

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 SHIP PROFILE VIDIIAN STARSHIP PLAN VIEWS

ALTERNATIVE ENCOUNTER
Voyager’s first encounter with the larger
variant of Vidiian starship took place in the
year 2371 of an alternative timeline. Following
her departure from the ship in 2374, an
embittered Kes returned to Voyager in 2376.
Causing damage to the ship, Kes manipulated
the warp core with her enhanced abilities to
travel back to 2371.
Feeling she was unable to return to Support pylon
Ocampa, the elder Kes plotted to alter time
and take her younger self home instead.
Communicating with the Vidiians, she offered
Voyager’s crew to them in return for safe
passage to Ocampa. A Vidiian starship
attacked Voyager, but Captain Janeway
stopped Kes’ plan, regretfully killing the older
Ocampan. The Vidiian ship was repelled, and
armed with knowledge of the future, young
Kes and Janeway found a way to help her
older self and restore the timeline.

Support pylon

 In an alternative timeline, Voyager was attacked by a Vidiian

starship in 2371. The Vidiians were given Voyager’s shield frequencies
by a future Kes, allowing them to quickly disable the ship.

DATA FEED
Despite their advanced levels of technology,
Vidiian ships did not appear to be equipped
with personnel transporters. Ships were boarded
via access routes cut directly into the hulls of
enemy ships. During the spatial scission incident,
at least 347 Vidiians boarded Voyager, easily
outnumbering the Starfleet crew by two-to-one,
with more boarding by the second.

8 VIDIIAN STARSHIP PLAN VIEWS

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 Port warp nacelle

Navigational
THE PHAGE
deflector
The Phage came
to Vidiian society
two millennia ago,
entirely changing their
civilization. The virus
was resistant to all
treatment, forcing the
Vidiians to turn to organ
theft just to survive.

ENLIGHTENED
Researching their culture,
Commander Chakotay
found that prior to the
arrival of the Phage,
the Vidiians were not
dissimilar to human
culture, being a race of
explorers and educators.

DISRUPTIVE FORCE
Starboard warp nacelle
Vidiian boarding parties
were heavily armed, also
carrying sophisticated
devices allowing the
direct transport of organs
from individual bodies.
Main bridge
Vidiians also carried
devices that were able
to disrupt and deactivate
localized forcefields, as
they did to gain access
to Voyager’s sickbay in
an alternative timeline.
Ventral beam emitter

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 DESIGNING THE

VIDIIAN STARSHIP
The second Vidiian ship seen in VOYAGER was created as the STAR
TREK franchise underwent a shift in the conception of visual effects.

I
 Production illustrator n total, STAR TREK: VOYAGER featured three a single appearance in Season One’s ‘Phage’,
Rick Sternbach’s original distinct classes of Vidiian vessels across its run. this ship was a redressed version of a popular
concept design for the
The larger variant class that made its debut in STAR TREK ship, the doomed Merchantman
Reptohumanoid ship
seen in ‘Parturition’. Season Two’s ‘Deadlock’ was the second type of freighter from STAR TREK III: THE SEARCH FOR
Vidiian ship, and was designed during a period SPOCK. This was the latest in a series of redresses
when STAR TREK’s approach to visual effects was of the Merchantman studio model, dating back
undergoing a shift from physical studio starship to the second season of STAR TREK: THE NEXT
models to computer-generated imagery. GENERATION. This first Vidiian ship saw extensive
The first Vidiian ship encountered by the crew modifications to the original model to transform
of U.S.S. Voyager bore little relation, in terms of it for the Voyager crew’s first encounter with
design, to subsequent examples. Making just the tragic race.

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 DESIGNING THE SHIP

 The Reptohumanoid
ship as it appeared on
screen in ‘Parturition’.
The digital assets for
this CGI model would
form the basis of the
Vidiian starship
several episodes later.

MASSIVE SHIP ship seen in ‘Parturition’. Concept designed by

In production in early 1996 for the second season Rick Sternbach in the summer of 1995, the  The first Vidiian
of VOYAGER, ‘Deadlock’ had requirements for Reptohumanoid ship has the distinction of being ship seen in VOYAGER
appeared in ‘Phage’.
a different class of Vidiian ship, much larger among VOYAGER’s first completely CGI starship
This was a redress
than the two-man ship seen in ‘Phage’, capable models. The digital model was constructed by of STAR TREK III’s
of carrying hundreds of Vidiians. Writer Brannon Amblin Imaging, although the orientation intended Merchantman freighter.
Braga’s script for ‘Deadlock’ described this new
ship’s bridge as ‘a small, modular room with an
emphasis on isolation. No main viewscreen.
None of the open “communal” feeling of most
starships’. In shooting the episode, little was seen
of the bridge, director David Livingston opting to
shoot the Vidiian crew in tight close up. For the
exterior, script notes indicate the Vidiian ship was
‘massive’, to emphasise its size in relation to the
much smaller Voyager.
The execution of the Vidiian ship design took
advantage of changes in VFX techniques adopted
by STAR TREK productions in this period as the
department moved to CGI work, although specific
details of the design are lost to production history.
The basis of the ship was a vessel appearing earlier
in VOYAGER’s second season, the Reptohumanoid

11

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 DESIGNING THE SHIP

 Dan Curry’s original concept design for the Vidiian ‘fighter’.

This warship was designed after the appearance of the larger Vidiian
starship, although they share design elements. The warship appeared
on screen in Season Two’s ‘Resolutions’ and Season Three’s ‘Coda’.

by Sternbach was reversed, with the tapered

forward section becoming the aft somewhere in
the production process. “The pointy end is the
front,” laughs Sternbach when looking back at the
design. “Once the stuff leaves my drafting table,
I have almost no control over how it’s used.”
At some point during production work on the
later ‘Deadlock’, it was decided to heavily adapt
the Reptohumanoid ship to become the second
variant of Vidiian ship. However, neither Sternbach,
visual effects producer Dan Curry or visual effects
supervisor David Stipes recall how this was arrived

12 DESIGNING THE SHIP

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 at. “The CG modelers and physical modelers
did what our VFX folks asked them to do,” adds
Sternbach, “and I usually didn’t get to see
the results until the episodes aired. I had no
involvement with modding the reptilian ship.
I didn’t need to be consulted if they were going
to play around with the assets they had due to
time or budget constraints.”
In adapting the Reptohumanoid ship, the
deflector dish – originally the aft engine port in
Sternbach’s original concept – was removed, with
further changes made to the assets while retaining
the embedded engine pods/nacelles and the
overall wing structure to create the completely  A modified version of Sternbach’s Reptohumanoid ship was seen in
VOYAGER Season Seven as one of the spectator ships in ‘Drive’. It can
new Vidiian vessel for ‘Deadlock’. The
be seen as the furthest ship on the top right of the spectator ships.
Reptohumanoid ship would be modified as
different vessels in the following years.

SANDS OF TIME
Despite the lack of detail available in the
execution of the design of the Vidiian starship, it
seems likely it may have influenced the design
concept of the third and final Vidiian ship seen in
VOYAGER. ‘Resolutions’, also in Season Two,
required a smaller, faster Vidiian warship. This
‘fighter’ was concept designed by Dan Curry,
with his design sketch dated March 1996, placing
pre-production work on ‘Resolutions’ concurrent
with post-production and broadcast of ‘Deadlock’.
The concept sketch adopts similar design elements
from the earlier and larger Vidiian starship, such as  A further appearance for the Reptohumanoid assets two episodes
the tapered aft section, forked forward section later in Season Seven’s ‘Critical Care’, approaching the Voth City Ship.
The pod was retained, and was placed in the correct aft position.
and energy signature coloring.
“I designed the Vidiian ship,” says Curry.
“My intent was to create a ship that had a
strange sense of proportions that were unattractive
compared to the Starfleet aesthetic. We had
such gifted modelers, both physical and CG, that
for the alien ships, I liked to give them room for
their own creativity. That’s why I gave them such
loose sketches. Artists give you their best work
when you trust them.”
With so many new starships required on a
week-to-week basis on VOYAGER, Curry admits
the specific details of design work to modify the
second Vidiian ship seen in ‘Deadlock’ and much
later in ‘Fury’ have faded in the passing of the last  A fourth and final VOYAGER modification of the Reptohumanoid
two decades. “Sadly, the details are lost in the assets, here seen as a Nygean prison transport in distress in
Season Seven’s ‘Repentance’.
sands of time,” he smiles.

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 MAKING ‘DEADLOCK’
Two Janeways and the death of Ensign Kim made ‘Deadlock’ a
challenge for director David Livingston and VFX supervisor David Stipes.

F
OR DIRECTOR David Livingston, bringing THE TWO JANEWAYS
‘Deadlock’ to screen in early 1996 for For a key scene in ‘Deadlock’, Captain Janeway p A behind-the-scenes
VOYAGER’s second season was a case received a visit from her duplicate created in shot of Garrett Wang
as Ensign Harry Kim
of seeing double. “My strongest memory is a a spatial scission event. This required the
suspended from wires
technical thing,” says the STAR TREK veteran recording of an intricate scene of the two in front of a bluescreen
looking back. Livingston helmed episodes of THE Janeways talking together in engineering. to perform the Starfleet
officer’s death when
NEXT GENERATION, DEEP SPACE NINE and “Working with multiples, that was always a
sucked out of a hull
ENTERPRISE, and also served as a supervising challenge trying to get twins in a shot. STAR TREK breach. VFX supervisor
producer. “It was dealing with Kate ‑ in having to was always doing that!” laughs the episode’s David Stipes devised
play scenes with herself. Maybe it was my visual effects supervisor David Stipes. “We had an ingenious way to
achieve the dramatic
inadequacy of explaining the technical aspects, the assistance of a company, Cogswell Video,
effect. (Courtesy of
but she said to me one day, ‘David, who were great. You had to record it on video, David Stipes)
I’m going to do this, but I don’t know what I’m and they could play it back and resize it. It
doing!”’ She pulled it off, but it’s always tough.” became very effective.

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 BEHIND THE SCENES

“Kate Mulgrew was great,” Stipes continues. u ‘Deadlock’ required

“Trying to do those dual shots when the actor has sequences featuring the
two Captain Janeways in
been duplicated is gruelling, and you really have face-to-face conversation.
to be focused to make sure your emotional The intricate sequence
response is there from one side of the recording posed a challenge
for Kate Mulgrew as
to the other, which might be done a couple of
Janeway, director David
hours later. You have to be able to keep the Livingston and VFX
emotional truth between the two halves.” supervisor David Stipes.
“It’s hard when you play to something else or a
mark on a wall,” agrees Livingston. “We always
had a stand in that was ostensibly Janeway on
the other side of the shot, but it was difficult. But
Kate is a trooper, she’s one of the most intelligent
actors that I’ve ever worked with.”

THE DEATH OF HARRY KIM

“I had to pay attention to what the visual effects
people said we could and couldn’t do,” adds
Livingston, considering the technical challenges
of ‘Deadlock’ and STAR TREK in general. “At that
time there were a lot of limitations that don’t exist
now because of the advancement in digital
technology. There were physical limitations. But
we did pull off a lot of stuff. I took the shots to a
certain point and then the visual effects people
had to take over. So it’s kudos to them. Especially
the shot of Kim being sucked into space. All I did
was start the initial piece where he’s hanging on
to the ladder and then after that they took over
and did the rest.”
“That’s actually the death of Harry Kim!” says
Stipes, who supervised the shot of Ensign Kim,
played by Garrett Wang, being pulled out of a
hull breach. The sequence called on the u ‘Deadlock’ featured an
ingenuity and problem-solving skills of Stipes and action sequence in which
Voyager’s bridge took
his team. “It was a little bit of a tussle, he explains.
heavy damage. Director
“The general way you do it is you hang the actor David Livingston relished
on cables, you have a trolley overhead and you heavy action sequences
and brought a great deal
pull him along and he flies around. We set up the
of pace to his episodes.
shot and had this big bluescreen, but it wasn’t
nearly big enough because Harry had to fall
away from us. So we thought, the camera’s
going to be mounted in this small space in the
Jeffries Tube, so why not just hang Garrett Wang
on wires in front of the blue screen so he’s
covered by it? This gave us a technical
advantage. We put the set on wheels and
literally rolled the set away from him. That’s
what we wound up doing!”

15

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 BEHIND THE SCENES MAKING ‘DEADLOCK’

p Diagrams explaining PILLER FILLER By his own admission, Livingston routinely

the process behind the “They really pulled off that sequence, which brought a fast-paced style to all his STAR TREK
death of Harry Kim. The
worked well,” says an admiring Livingston. episodes. “That’s perhaps the most memorable
top image shows the
original intention to shoot “For some reason I ended up doing a lot of thing to me about ‘Deadlock’, the bridge scene
Garrett Wang in front of a Harry Kim episodes and this was one of his when it gets destroyed. That was a lot of fun. I
bluescreen, with the actor stronger ones. I thought he was a bit remember quite vividly with the beams falling
moved on wires. The
bottom image shows how
under-utilized in the series. He had a charm down, and the nitrogen gas and the flames.
the effect was achieved and an insouciance about him and an There was a lot of damage. I assume we shot the
with a set placed on a innocence that I thought could have been clean bridge first and then trashed it.” Livingston
track. (Images courtesy
exploited more than it was. But in this episode, relished these moments as a director. “When I
of David Stipes)
he certainly proved his mettle.” quit the show as a producer, Rick Berman said,

16 MAKING ‘DEADLOCK’

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  The death of Harry
Kim as it featured
on screen with visual
effects elements
combined with the live-
action sequence.

‘oh, you just want to go out and direct and wreck people and on many episodes we had to go
stuff!’ That’s exactly right. My favorite episodes back and shoot additional material. It became
were always ones where we were in action referred to as ‘Piller Filler’ where [executive
sequences or an alternative reality. When we producer] Michael Piller had to go back in and
were standing around in a conference room write additional material. Maybe it’s my perverse
talking, those just bored me to tears!” nature that I always want things to go as fast as
On ‘Deadlock’, Livingston’s style resulted in the possible! You can’t be slow about anything.
episode under-running and requiring the addition Executive producer Jeri Taylor always said I never
of extra scenes. “The Hart Building was not a fan took the beats, for her it was always about the
of me,” he smiles. “That’s where the writers were human moments. I was never that interested,
based. My clock runs a lot faster than other I just wanted to tell the story!”

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 APPEARANCES ROMULAN WARBIRD
VIDIIAN STARSHIP
NCC-1701-D

ON SCREEN TRIVIA
‘Deadlock’ was the fourth appearance in
VOYAGER of Nancy Hower as Ensign
Samantha Wildman. She made a further four
appearances in the series, her final being
‘Fury’. In addition to acting work, Hower is a
director, producer and writer. She co-created,
wrote and directed Hulu’s comedy Western
‘Quick Draw’, which ran from 2013-14.
Hower has directed episodes of ‘10 Items or
Less’ (which she also co-created), ‘Those
Who Can’t’, ‘Teachers’ and ‘Insatiable’.

‘Deadlock’ marked the first time Captain

FIRST APPEARANCE: ‘DEADLOCK’ (VOY) Janeway came directly face-to-face with
TV APPEARANCE: STAR TREK: VOYAGER a double of herself during VOYAGER’s run.
Although she later sees herself walking down
DESIGNED BY: Rick Sternbach/Unknown
a corridor in ‘Relativity’, the captain would
KEY APPEARANCES only directly face a double of herself once
more, in series finale ‘Endgame’.
STAR TREK: VOYAGER STAR TREK: VOYAGER
‘Deadlock’ ‘Fury’
Straying close to Vidiian territory, U.S.S. An older, bitter Kes returns to Voyager,
Voyager passes through a plasma drift using her powers and the warp core
to avoid detection. As a result, the ship to travel back in time to 2371 in an
undergoes a spatial scission and is linked attempt to return her younger self to
to a duplicate of Voyager created in a Ocampa before her powers develop.
subspace diversion field. In 2371, Kes communicates with the
Following discussions between the Vidiians, offering up Voyager’s crew in Actor Simon Billig made a further
two Captain Janeways, one Voyager return for her safe return to Ocampa. appearance in ‘Deadlock’ as Ensign Hogan.
comes to the attention of a Vidiian A Vidiian starship attacks and disables As part of the action-heavy episode, Ensign
starship during attempts to detach Voyager, but their grapples are repelled Hogan was required to be blasted back from
an exploding panel. “It was the first time I
the duplicates. The Vidiians board one by Commander Chakotay and Ensign
ever really had a stunt double,” joked Billig
Voyager, and that version’s Janeway Kim, while the older Kes is confronted by
in a ‘TV Zone’ interview when discussing his
sacrifices her ship, destroying Voyager Janeway and Tuvok. The Vidiians flee,
time on VOYAGER.
and the Vidiian ship to allow her and Janeway devises a plan to keep
counterpart to break free. time on the right track…

18 ROMULAN WARBIRD
VIDIIAN STARSHIP

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 COMING IN ISSUE 180

BORG CUBE
EVERY
Inside your magazine
TWO WEEKS In-depth profile of the Borg cube
AT YOUR
RETAILER that carried the Borg Queen and
attempted to assimilate Earth in the
Battle of Sector 001

Illustrator John Eaves talks about the

ships he was asked to design for STAR
TREK: FIRST CONTACT

How a bird feeder was turned into a

Borg subspace communicator array
in STAR TREK: FIRST CONTACT

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