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THE OFFICIAL STARSHIPS COLLECTION

TYPE: CARGO SHUTTLE

DALA’S IN USE: 2376

‘DELTA FLYER’ LENGTH: 30 METERS

CREW: THREE
 Contents DALA’S ‘DELTA FLYER’
04: DALA’S ‘DELTA FLYER’ SPECIFICATION
10: DESIGNING THE SHIP

12: STAR TREK: VOYAGER SEASON SIX VISUAL EFFECTS

18: ON SCREEN
‘DELTA FLYER’

Stand assembly:
Attach stand to the
back of the wings
u

u u
TYPE: CARGO SHUTTLE

u u IN USE: 2376

LENGTH: 30 METERS (APPROX.)

u
Final position CREW: THREE

TOP SPEED: WARP 9

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 SHIP PROFILE

 The ship used by Dala,

Mobar and Zar was old, worn
and clunky-looking, but they
were nevertheless able to pass
it off as the highly-sophisticated
Delta Flyer. They used this
rather decrepit vessel to help
them fleece unsuspecting
aliens of valuable goods.

D
ala’s ‘Delta Flyer’ was a small, somewhat
dilapidated starship that operated in and
around the Wyanti system in the Delta
Quadrant during the mid-2370s.
Dala’s ship, unlike the real Delta Flyer, was far
from sleek and sophisticated, but was instead
rather slab-sided and ungainly. It looked like it
was in poor shape from years of hard use, and
its exterior was covered in pockmarks.
The main body of the ship was basically
a rectangular block, while a cargo hold was
awkwardly attached to its rear, as if it were an
afterthought. On either side of the main body
were two more rectangular blocks that housed
the impulse and warp engines. These propulsion
units emitted a red glow, and were capable of
powering the ship to a surprisingly high warp
speed despite their apparent decrepit condition.

WORN AND TORN

Overall, the ship appeared so beaten-up that it
looked as if one small plasma storm would shake
it to pieces. While it may have appeared old and
frayed, it was surprisingly robust. It was equipped
with at least rudimentary defensive shields and
energy beam weapons, while it also possessed
site-to-site transporters.
The interior of Dala’s ship was as shabby as its

DALA’S
exterior. It looked as if most of the systems and

‘DELTA FLYER’
circuitry had not been updated in years and
everything was covered in a thin film of grime. The
bridge was as well worn as the rest of the ship and
there were haphazard stacks of merchandise piled

 The one part of Dala’s ship that bore a passing resemblance to

It looked nothing like the real Delta Flyer, but Dala and her a Starfleet vessel was the bridge. The layout and decor had a slight
similarity to the real thing, but everything was frayed and a bit dingy.
cohorts were able to pass their ship off as Voyager’s shuttle. The crew were all from the same species, who normally had no hair,
but in disguise they impersonated members of Voyager’s crew.

5
 SHIP PROFILE DALA’S ‘DELTA FLYER’ OVERVIEW SHIP PROFILE

u The con artists made

contact with a ship
commanded by Varn.
He had many enemies,
and Dala claimed she
could supply him with
as many weapons as he
needed if he paid a fee
to join their Federation.

 Mobar was posing as

a monk when he first ran
into Tom Paris and Neelix
and heard about Voyager.
After being invited back to
the Delta Flyer, he used
a scanning device to
secretly download its
entire database.

 Dala’s fake ‘Delta into the corners. Despite this, the bridge was the In 2376, Neelix and Tom Paris had taken the real Varn was somewhat sceptical of their claims his mobile emitter to impersonate her form. This  The photon torpedoes
Flyer’ was slightly one area that looked most like a Starfleet ship. Delta Flyer to Selnia Prime where they encountered because their ship was so run down, but Dala, allowed him to travel with Mobar and Zar to the that Dala supplied Varn
larger than the real with were just empty
It was roughly circular in shape and about the what appeared to be two monks. In fact, they posing as Captain Janeway, claimed it was only location where they had hidden the stolen goods.
thing, and probably casings. Once he realized
would have struggled same size as the bridge found on a Defiant-class were Dala and Mobar, who were posing as because it had been through so much fighting Voyager was able to track the whereabouts of he had been ripped off,
to fit inside Voyager’s ship. There was a viewscreen at the front and religious clerics in order to run a scam. They were off the Borg, the Hirogen and Species 8472. the Doctor, and the crew apprehended the three his vessel held her ship
shuttlebay. Dala and her a command chair in the middle of the room. Two in a tractor beam. At this
taken back to the Delta Flyer, and while creating Later, after Varn realized that he had been con artists. They were then able to return the stolen
accomplices had ripped point, Voyager arrived
off so many aliens that
side-by-side consoles were situated between the a diversion, Mobar used a scanning device to ripped off, he used his own ship to hold the fake items to their rightful owners and clear their name also demanding answers.
the crew of Voyager viewscreen and the captain’s chair, which dealt download the Flyer’s entire database. Delta Flyer in a tractor beam and demanded with all the species that had been swindled.
eventually heard about with piloting and navigating the ship, as well as reparations. Dala’s ship was unable to break free,
their scams and went
looking for them.
operations. There were further workstations around RUNNING SCAMS but at this point Voyager turned up looking for the DATA FEED
the periphery of the room, while there were various Dala and her cohorts were then able to use this con artists, who were giving them a bad name. Despite belonging to a different species, Dala was
display screens in the bulkhead walls that had information to convincingly portray themselves Dala was captured, but the fake Delta Flyer able to impersonate Captain Janeway convincingly.
graphics with a distinct Starfleet style to them, as members of the Voyager crew. They claimed managed to flee. Janeway and Neelix tried to With the aid of a wig and clothes that approximated
although they were not quite the same. that their ship was the Delta Flyer, and used it to persuade Dala to give up the location of the the Starfleet uniform, she certainly looked much
more like Janeway than her ship looked like the
The ship that became known as Dala’s ‘Delta steal 10 kilotons of bolomite from the Telsius Prime property that she had stolen, but she escaped
Delta Flyer. She had obviously studied the database
Flyer’ was actually operated by three con artists of mining colony. They followed this up by scamming before rejoining her partners in crime. Fortunately,
that was downloaded from the Delta Flyer, as she
an unknown species. The crew consisted of three a reptilian individual named Varn. They promised Janeway had planned for such an event, and knew personal facts about the captain and had
individuals, one female known as Dala, and two that if he paid for membership of the Federation, Paris had secreted himself aboard the ship. He even copied some of her mannerisms.
males called Mobar and Zar. they would help him fight his enemies. drugged Dala, while the Doctor was able to use

6 DALA’S ‘DELTA FLYER’ OVERVIEW 7

 SHIP PROFILE DALA’S ‘DELTA FLYER’ PLAN VIEWS

IDENTITY THEFT
Dala’s fake ‘Delta Flyer’ may not have been
Impulse and warp engines
the most elegant or sophisticated of ships, but
it was adequate for its crew of con artists. It
had a large cargo hold at the rear, which was
ideal for storing their ill-gotten gains. Its warp
engines also ensured that it could make a
quick getaway if they needed to escape from
an irate customer that they had ripped off.
The ship was operated by three con Cargo containers
artists, who were all from the same species. Aft cargo door

They had been operating their scams for

at least six years when they got the idea to
impersonate members of the Voyager crew
after Mobar surreptitiously downloaded the
database of the Delta Flyer. They added red
stripes and Starfleet emblems to the sides of DATA FEED
their ship and claimed it was the Delta Flyer, After Dala, Mobar and Zar had been REPLICATOR FAILURE
even though these small cosmetic alterations apprehended by the crew of Voyager, The heating coil that
hardly changed its original appearance. Captain Janeway recorded in her log Neelix acquired from
that they had returned the bolomite to Dala caused systems
They did, however, manage to show detailed
the Telsian miners, and recovered stolen failures on nine decks
schematics of Voyager on the display consoles of Voyager, including
property from seven different worlds.
situated on their bridge. problems with the
replicators after it was
The con artists also used the Delta Flyer’s
integrated in a stove in
database to learn about the crew members the mess hall.
and impersonate them. Dala took on the role
of Captain Janeway, Mobar posed as Tuvok PLAYING BOTH SIDES
and Zar portrayed Chakotay. Mobar, in Navigational deflector Dala and her
particular, seemed to revel in impersonating accomplices sold
Federation membership
Tuvok and even remained in character when
to Varn with the promise
he was alone with his partners in crime. Despite they would help him
the rank of the Starfleet roles they took on, fight his enemies. The
Dala was not in command of the ship and only problem was
Cargo containers that they had already
they considered themselves equals.
done the same to the
Polonians, one of Varn’s
worst enemies.
Docking clamp
PROMINENT HUSTLERS
Dala, Mobar and Zar
were far from the only
con artists seen on
Docking port
STAR TREK. Harry
Mudd was a notorious
con artist in the 23rd
century, while Martus
Bridge section Mazur was an El-Aurian
trickster who used his
natural powers to scam
a number of people on
 While there was not much they could do to make their old ship
Deep Space 9 in 2370.
look like the Delta Flyer, the con artists were much more successful
in convincingly impersonating Janeway, Tuvok and Chakotay.
Additional cargo container

8 DALA’S ‘DELTA FLYER’ PLAN VIEWS

 DESIGNING THE SHIP

 This was Earls’ first

pass at designing Dala’s something that was distinctly different containers. From the sketch, you can hull at the front was the forward sensor
ship, but the producers from anything Starfleet by making see that the warp and impulse engines and communications array. Additional
felt it looked too sleek. it angular,” said Earls. “It remained were structurally unified. There were conduits, cables and components
They wanted something
streamlined as I assumed it was provisions to carry up to two modular were added all over the hull to give it
that looked more worn
and beaten-up. supposed to pass as the Delta Flyer. containers on pallets under each that cobbled together appearance.
I also included windows in the bridge engine. The rear center section also An additional feature I added to the
section before the decision was taken allowed for towing additional pallets, sketch was a docking clamp built into
to redress the set of the U.S.S. Defiant’s with a pair of containers secured to the the forward section of each engine
bridge and use it as the set on the fake top and bottom of each pallet.” below the Bussard collector. One of
Delta Flyer to keep costs down.” them could be seen stuck in the open
As was often the case, it wasn’t until SHIP DETAILS position in order to give the impression
the producers had seen some sketches By this point, the decision had been that the ship was in need of repairs.”
of the proposed design that they taken to reuse the existing Defiant set Earls’ final design was exactly
provided a more detailed description of as the interior of Dala’s ship and this what the producers wanted and
what they wanted. “This first version was impacted the design of its exterior. “It they approved it. Dala’s ship was
rejected by production with suggestions meant I had to eliminated the windows dilapidated, weatherworn and looked
that it look more utilitarian, well-used on the subsequent design,” said Earls. nothing like the real Delta Flyer. “It
and cobbled together with additional “Other familiar starship elements, looked more like a kind of truck you’d
hardware,” said Earls. “This edict like the Bussard collectors were use to pull a trailer,” said Earls. “When it
governed the second version I drew. incorporated into the ‘wings’ on either boiled down to it, the design really just
As the ship was originally designed to side, and the main deflector was buried resembled the cab of a truck, while the
carry cargo, I incorporated the ability into the tube-like structure on top of the rear section was just huge cargo pallets
for it to carry or tow modular shipping hull. The fin that jutted out below the to carry large amounts of contraband.”

DESIGNING DALA’S
 This was the design that the
producers approved. It was far
from advanced and looked patched

‘DELTA FLYER’
together, but it could carry plenty of
cargo in its modular containers.

Tim Earls, who normally created the sets on STAR TREK: VOYAGER, was
delighted when he got the chance to design the look for Dala’s ship.

T
im Earls joined STAR TREK: VOYAGER production illustrator. That was really the fake Delta Flyer used by Dala,
as a set designer at the beginning a role I’d been looking for in this business Mobar and Zar. Normally, the first hard
of the sixth season. His main job was rather than set design. I started out in information the designers got about
to create alien worlds on the sound set design because I could do it, but what was needed was from a beat
stages and some large props, but it was not my goal. I wanted to be an sheet, which described the basic story
occasionally when senior illustrator illustrator, and eventually an art director and what might be seen. In this case,
Rick Sternbach was too busy, he and production designer. Fortunately, the beat sheet said little about the ship
was asked to design starships too. Rick was very supportive of me assisting apart from the fact that it was designed
“I started out volunteering to do him in coming up with new designs and to carry cargo, so initially Earls had a
some extra designs for exteriors and sketches for the show.” pretty free rein to design it as he saw fit.
composite shots,” said Earls. “Of On ‘Live Fast and Prosper,’ Earls was “I do recall that with the first pass,
course, Rick Sternbach was the senior asked to come up with a design for it was my intent to come up with

11
 BEHIND THE SCENES

who were posing as some of the U.S.S. Voyager’s

crew, but not quite getting it right. Suskin said,
“The real task on that show was to take some of
our stock effects, like the transporter and the
phaser, and make them just a little bit different. The
wardrobe was almost right, but not quite, and we
tried to do that with the effects too. Beyond that
there were the ships of the week, some of which
were stock ships and some of which were actually
built. It was not a huge show for us. I think the most
challenging thing we did was the matte painting
at the beginning establishing the mining setting.”

CROWD CONTROL
One of Suskin’s earlier Season Six shows,
‘Tsunkatse,’ also appeared to be just as
straightforward – at least in principle. The fight  The episode ‘Live Fast and Prosper’ featured relatively few special effects, but it did require the
creation of a detailed matte painting to establish the setting of the mining colony on Telsius Prime.
sequences were completely real and didn’t
involve any visual effects. Penk’s enormous ship
was a little more detailed than usual because
Voyager and the Delta Flyer were flying very close
to it, but there was nothing difficult here. However,
as Suskin explained, there was another demanding
effect that was almost completely invisible. “There
was a shot where we did a 360 degree pan
around the arena and then came down to a
challenger coming in. Well, the actual set of the
arena didn’t have seats all the way around and
there weren’t enough extras to fill it, so we had to

STAR TREK: VOYAGER SEASON SIX shoot multiple passes of the audience that we
could combine to make it look full.
“There were about two dozen extras. We wanted

VISUAL EFFECTS
to shoot about six or eight passes, but we only had
about an hour to do it so we only got three. If you
looked closely at it you could see there was the
 In order to fill the seats around the Tsunkatse arena, about two dozen extras were filmed several
same Starfleet person doing the same thing in
times and then the footage was combined to make it look as if there were many more people there.
every shot. I think on one plate we recolored their
uniform to make it less obvious!” Dan Curry [visual effects producer] was called in
The VFX teams on STAR TREK: VOYAGER talk about the challenges Ron Moore’s next show, ‘Blink of an Eye,’ posed to help create a series of matte paintings. These

they faced on some of the episodes in the latter half of Season Six. some interesting conceptual problems. The story showed the planet’s culture evolving, and they
dealt with a planet where time moved incredibly were all done from one angle so the viewer could

B
y the sixth season, STAR TREK: VOYAGER’s as one of them supervised an episode that was  One of the most fast, and it was obvious that this would influence tell that they were looking at the same place as it
impressive visual effects
visual effects department was a well oiled packed with effects, while the other would find the way it looked. “We did a lot of tests to come changed, rather than different locations.
from Season Six was
machine. It had to be because the number themselves working on a show with relatively few. the creation of a fly in up with the planet,” said Moore. “At one point,
of optical effects needed for the show was simply It was just the luck of the draw. ‘Lifeline.’ Effects house the idea was to try to make it move so fast that it RUSSIAN INSPIRATION
staggering. To cope with the huge demands, Certainly, ‘Live Fast and Prosper’ was an episode Digital Muse were able looked slow, like the ‘Six Million Dollar Man.’ That Eddie Robinson at visual effects house Digital Muse
to make it so realistic
effects supervisors, Ronald B. Moore and Mitch that did not place great demands on the effects was why we had that gas giant. All the clouds built the spaceships that left the planet to examine
by using a model that
Suskin took charge of alternate episodes. department. Mitch Suskin supervised the effects on already existed and were streaked, and that told you that it was Voyager. Everyone loved Rick Sternbach’s designs
This sometimes led to an unequal workloads, this installment, which featured a group of aliens then customizing it. spinning real fast.” for the ships, which were based on the Russian

13
 BEHIND THE SCENES

outfit for his performance in the opera, and when

he came back he had this tall pointed hat! It was
easy to fix in the bay, but it was funny.”

HUGE INTERIOR
‘Collective’ was Digital Muse’s first Borg show,
and although the script didn’t call for many
effects, they went out of their way to impress.
One of the shots showed Harry Kim coming round
in the Delta Flyer and realizing that he was inside
a Borg cube. All Moore asked them to do was
show the cube out of the Flyer’s window, but
[visual effects artist] Bruce Branit decided to do
a little more, and produced a shot that showed
the outside of the Flyer and then pulled back to
reveal that it was in a vast hangar. He even
added a tiny Harry Kim.
“There’s no live action person in the Delta Flyer
in that shot,” said Branit. “We actually used a
simple CG model for Harry Kim. Basically, since he
was so small in frame, I found a picture of Garrett
Wang and used that to map his likeness on to
 Visual effects producer space program. In fact, Moore said, the VFX team and replaced with footage of the Doctor shot  The clown’s hat that a simple, almost video game res, character.
Dan Curry produced a Robert Picardo wore in
started to get a little carried away. “We started against a bluescreen. ‘Virtuoso’ was so tall that
I broke out our digital camera, and had one of
series of matte paintings,
including these two
thinking, what were they getting all these actors The most interesting effect was the alien theater, it protruded into an area the artists pantomime a ‘standing up in awe’
pictured above, to depict in for? We were doing these really cool shots. We almost all of which was created by Suskin’s team that was supposed to pose, and we used that as reference to animate
the culture progressing be reserved for a matte
were thinking we could do the launch, then we using matte paintings, and the same compositing the action of the character in shot. After about
in ‘Blink of an Eye.’ painting of the crowd.
could do like Apollo 13, but that was not what the techniques that had been used for the arena in Suskin’s visual effects the 20th frame, the camera pulled out too far to
All the paintings were
shown from the same story’s about!” ‘Tsunkatse.’ The area around the stage was also team saw the funny see it, and you started seeing the interior hangar
angle to make it clear to a matte painting and the construction team built side despite the fact that with other ships.”
the audience that they it required some extra
TINY DOCTOR only a small area for Robert Picardo to stand in.
were looking at the same work for them in post
‘Virtuoso’ was relatively free of effects. There were “We didn’t want to put bluescreen on the set production to fix. INCREDIBLE TRANSFORMATION
location on the planet.
a few ships and space stations, the team had to because we couldn’t light it properly,” said Suskin. ‘Spirit Folk’ took Moore back to the Fair Haven
invent a new ‘zimmer’ effect for the alien “So we just designed the shot so that the Doctor’s holoprogram. It was another light show, but it did
hologram, and Robert Picardo [the Doctor] had head would never poke up into the area where need more effects than its predecessor, including
to act with a tiny, holographic version of himself. we were going to put the matte painting that one of Moore’s personal favorites. “‘Spirit Folk’
 Bruce Branit at Digital
For this last shot, Picardo used a G.I. Joe toy as featured the crowd who had come to see him Muse went the extra had one of the best shots of the year,” enthused
a stand-in, which the VFX team later removed perform. Mr. Picardo went out to put on the clown mile and could not Moore. “Foundation Imaging did the show, and
resist generating a tiny Sherri [Hitch], who worked with us, put together
 Senior illustrator Rick Harry Kim in the cockpit
the cow morph, which came out so beautifully.
Sternbach based the window of the Delta
ships from the ‘Blink of Flyer for the episode My coordinator Liz Castro was out on the set
an Eye’ planet on space ‘Collective.’ He said he when they shot it, and had the foresight to get
vehicles developed by the wanted to create a special the cow in just the right spot. It was set up so well
Russian space program. moment for the audience,
and he devised some
that we were able to save production money
Moore said he was
particularly pleased with spectacular shots of the and not go back and shoot the bluescreen.
the sequence where they interior of a Borg cube. “I believe that Sherri did a little bit of CG for the
rescued Voyager. in-between stages. She’s a master at that. That
was an impossible change; there aren’t too many
similarities between a girl’s face and a cow! We

14 BEHIND THE SCENES 15

 BEHIND THE SCENES

 A computer-generated
model of an entire the corridors the bulkheads would explode behind
corridor on Voyager had her. Digital Muse’s David Lombardi explained that,
to be built for ‘Fury.’ The in order to do this, they decided that they would
producers wanted to
have to create a digital version of the corridor set.
show it exploding and
being ripped apart when
Kes was confronted by EXTREME DAMAGE
two security guards. “Ron knew we had to do something digitally,
This would have been
impossible, not to
because you couldn’t have the hallway exploding
mention dangerous, to do that close to an actor or a stunt person, and you
with actors or stuntmen couldn’t blow up the real hallway because it was
on the real corridor set.
a solid set,” said Lombardi. “So, he knew he had
to have some amount of CG enhancement, but
when he realized the shot called for the entire
hallway to be just ripping apart around her, he  Moore felt that the sequence in ‘Spirit Folk’ where Maggie
knew it had to be an entirely digital environment.” O’Halloran morphed into a cow was one of the most difficult of
Moore’s next episode, ‘Lifeline’ involved a huge the season as the two images had hardly anything in common.

amount of bluescreen work, so that Robert

Picardo could play the Doctor and his creator,
Lewis Zimmerman, at the same time. “If you look
at that one, we had almost 12 minutes of visual
were all a little worried about whether we could sections of Voyager that we had not seen quite effects in that show,” said Moore. “It was probably
pull it off, but it really worked. That was down to that close before,” said Suskin. “Foundation had the most complex show that we did all season.”
the people that did it.” to add a little bit of detail to make them hold up
After this relatively light period, things started to under that kind of scrutiny. We took a lot of care in CONVINCING FLY
heat up as the season drew to a close. The 20th shooting the elements from the proper angles, and ‘Lifeline’ also featured another of the season’s
show, ‘Good Shepherd,’ was one of the biggest making them work together.” invisible effects – Zimmerman’s holographic fly.
of the season. It opened with a pull in across the Bruce Banit said, “We bought a 3-D model of the
top of Voyager, to find Janeway standing at the ROCKS AND RINGS fly and one of our artists surfaced and modeled it,
window of her ready room. A few minutes later, Suskin went on to say that many of the other then animated that onto a background plate. It
 One of the hardest we pulled out from a window in the bottom of effects in the show involved some real conceptual was one of those shots that no one noticed,
jobs in ‘Good Shepherd’  The effect was so successful that Moore believed it was one of
the ship until we could see all of Voyager. challenges. “There was a lot of art direction because it just looked so absolutely real.”
was making the rocks in the best effect shots of the year. He was full of praise for digital artist
the ring around the planet Suskin explained that, although the team questions that haunted us in getting the look of While Suskin prepared for work on ‘Unimatrix
Sherri Hitch, who added subtle CG tweaks for the in-between stages.
look right as the Delta already had a model of Voyager, this shot the rocks in the ring around the planet the way Zero, Part I,’ which will be dealt with in a separate
Flyer flew through them. involved doing extra work. “Those were two the producers really envisioned them,” said Suskin. issue, Moore was working on his last show of the
“Also, the concept of seeing this negative space season, ‘The Haunting of Deck Twelve.’ He said
moving through the rock field was very difficult to that, like ‘Fury,’ it forced him and Digital Muse to
portray, and I was not sure it was 100 percent take the visual effects in a new direction. “It was
successful in the end. I had at one time lobbied to really scary, because it had to do with smoke
make the debris field out of finer rocks, so that it that was floating through the ship and trapping
would be easier to see a negative space moving people,” said Moore. “That was very difficult.
through them, but an asteroid field was really They had talked a lot about trying to shoot it with
what the producers wanted to see.” practical smoke, but you couldn’t color the stuff;
Meanwhile, Moore also found himself confronted every time you started putting color in, it started to
with a big show. ‘Fury’ dealt with Kes’s return to become poisonous. For some reason they got real
Voyager in a misguided search for vengeance. snicketty about that! Seeing as they wouldn’t let
The last time we’d seen her, she’d evolved onto us poison the actors, the only way to do right was
a new level, and in this show she used her new to go 100 percent CG. It wasn’t easy, but it
 Thanks to positioning the cow in just the right spot when filming
powers in several sequences. Most significantly, worked out well and as a bonus no actors and Sherri Hitch’s mastery of the CG software, Maggie’s face blended
the script said that when Kes walked down one of were harmed in the process!” seamlessly with that of the cow’s as Harry Kim went in for a kiss.

16 BEHIND THE SCENES

 APPEARANCES DALA’S ‘DELTA FLYER’
NCC-1701-D
COMING IN ISSUE 136
ON SCREEN TRIVIA CARDASSIAN
KELDON CLASS
Kaitlin Hopkins, who guest starred as Dala
in the STAR TREK: VOYAGER episode ‘Live
Fast and Prosper,’ had earlier played the
powerful and seductive Vorta named Kilani
in the 100th episode of DEEP SPACE NINE
entitled ‘The Ship.’ Some of the exterior
scenes for ‘The Ship’ were filmed at Soledad
Canyon, a gravel pit north of Los Angeles. EVERY
Inside your magazine
TWO WEEKS In-depth profile of the Cardassian
Hopkins remembered that the temperature
AT YOUR
was well over 100˚F, and one of the RETAILER Keldon class, a warship that was an
Jem’Hadar actors, whose head was covered updated and enhanced version of
in rubber, passed out due to the heat.
the older Galor class

A look at how Rick Sternbach came

up with an improved warship design
for the Cardassians

Writer and producer Hans Beimler

talks about how the writing staff on
STAR TREK: DEEP SPACE NINE created
its multi-part stories

The heating coil that Neelix acquired from

FIRST APPEARANCE:

TV APPEARANCES:
‘LIVE FAST AND PROSPER’ (VOY)

STAR TREK: VOYAGER

‘Sister’ Dala, which subsequently caused a
number of Voyager’s systems to malfunction,
had previously been a cloaking device that
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KEY APPEARANCES
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the visitors have the bolomite, their ship they track down the imposters. They
leaves without delivering the dilithium. capture Dala, but the other two escape
It transpires that these humanoids in their ship. Neelix tries to persuade
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two other VOYAGER episodes – ‘Memorial’ designed binders
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a battered ship, insisting it is the Delta Dala and her fellow fraudsters.

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