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95

125
TM

THE OFFICIAL STARSHIPS COLLECTION

TYPE: SHUTTLE

CREW: ONE

ALICE
LENGTH: 5 METERS

LAUNCHED: 24th CENTURY

 Contents ALICE
P04: ALICE
SPECIFICATION
P10: DESIGNING THE SHIP

P12: STAR TREK: VOYAGER SEASON SIX VISUAL EFFECTS

P18: ON SCREEN

Stand assembly:
Attach stand to back
of ship
u

Final position TYPE: SHUTTLE

IN OPERATION: 24th CENTURY

u
u
LOCATION: DELTA QUADRANT
ALICE

LENGTH: 5 METERS (APPROX.)

CREW: ONE

PROPULSION: WARP
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 SHIP PROFILE

 Alice appeared to be a fairly unremarkable ship,

but behind the conventional looks was some unusual
technology, which included a neurogenic interface.
This allowed the ship to control the pilot, and even
One of Alice’s main features was a multiphasic
appear before him in a seductive humanoid form.
shield configuration that could withstand the
intense heat of a star and scramble transporter
beams. She also featured an optronic weapons
array that was capable of firing powerful pulses.

PILOT LINK
Alice’s most unusual component, however, was
a neurogenic interface that allowed her to
react directly to the pilot’s thoughts. It could be
activated automatically by sitting in the single
occupant chair of the cockpit and putting on
a headset, from which an arm-like metal extension
half-encircled the pilot’s forehead.
Alice would then scan the pilot’s brain patterns,
which tapped him into all of the ship’s functions,
including ops, tactical and sensors. This gave
the vessel the potential to be quicker and more

I
n early 2376, a small, unassuming spacecraft maneuverable than any Federation ship, as the
was acquired by Ensign Tom Paris from a space pilot only had to think what he wanted to do and
station called Abaddon’s Repository of Lost the ship instantaneously reacted.
Treasures. The cost in trade was Paris’s jukebox However, rather than the pilot being in complete
and three of the U.S.S. Voyager NCC-74656’s used control of the ship, the ship exerted control on
power cells. Paris named the ship ‘Alice’ after an the pilot. The neural interface allowed Alice to
attractive woman called Alice Battisti, whom he know the pilot’s deepest thoughts and desires. This
had known at Starfleet Academy. remarkable ship could then ‘appear’ to the pilot
In appearance, Alice was a fairly basic vessel, in a form that he found most pleasing. In the case
and the hull featured a number of scrapes and of Paris, the ship presented herself as an attractive
scratches. The design was not dissimilar to one of woman with a seductive voice.
Voyager’s type-2 shuttles, although a fair amount This was not a real person, but a manifestation of
of intricate detailing was evident all over the hull, the neural interface existing only in his mind. Alice
indicating that a degree of craftsmanship went created these hallucinations by realigning Paris’
into the building of the vessel. neural pathways and making them receptive

ALICE
DATA FEED
Tom Paris named the craft after Alice Battisti, a cadet
he had met at Starfleet Academy. He found her
intelligent and beautiful, but she was uninterested
in him, and he referred to her as “the lost cause.”

 In 2376, Voyager came across a junkyard in the Delta

Alice was the name Tom Paris gave to a small alien craft, Quadrant, which was owned by an exotic-looking alien named
Abaddon. He lived aboard a space station, which was surrounded
which turned out to be sentient and almost killed him. by 62 derelict ships, and various other parts. Among his inventory
was a small battered ship that Tom Paris was desperate to acquire.

5
 SHIP PROFILE ALICE OVERVIEW SHIP PROFILE

 Paris was quick to

see beyond the worn
state of Alice, and he
described her as a
“diamond in the rough.”
His crew mates were not
so enthused and were
unable to see her allure.

 Once Alice had a firm

hold on Paris’s mind
through the neurogenic
interface, she forced him
into leaving Voyager.
Paris launched Alice
from the shuttlebay and
headed straight for the
particle fountain.

 It appeared that Alice  By tapping into the  On the shuttle, the

deduced that B’Elanna neurogenic interface with manifestation of Alice
Torres was important to a communications urged Paris to complete
Paris and took attention signal, the Starfleet crew the final stage of their
away from her. It was were able to insert a link. Different colored
almost as if Alice was manifestation of Torres wires plugged into the
jealous of Torres, and into Paris’ mind. While nozzles on his flight suit,
to force him to focus she distracted Paris, and his mind became
solely on her, she tried Tuvok was able to one with Alice. Paris was
to kill Torres by locking disable Alice’s shields then able to break free
her in the cockpit and and beam Paris back to from Voyager’s tractor
expelling all the air. Voyager. Without a pilot, beam by firing an
Alice broke apart in the optronic pulse, before
swirling eddies of the going to warp and
particle fountain. disappearing from
sensors.

 Abaddon had been to neurogenic signals. Thus, Alice could project However, Alice was not compatible with just severe pain. She then made him return to her, and
running his junkyard images and voices over vast distances and not anyone. When Abaddon flew her she complained completed the final part of their integration. Once DATA FEED
business for more than
just when the pilot was in the cockpit. that his reflexes were too slow and she demanded in the cockpit chair, restraints held Paris down as The small craft that Paris
20 years, in which time
bought from Abaddon’s
he had acquired a wide Once Alice had a hold on Paris, he became that he find her a new pilot. more tubules were injected directly into his body,
junkyard could manifest
range of mostly useless obsessed with her. He devoted all his spare time as they merged further into one being.
stock. It turned out that itself as a person to
to restoring the ship, working on her well into the MALIGN INFLUENCE After this, they left Voyager and headed to the anyone who tried on its
Abaddon knew Alice was
sentient, but she found night. Alice gained even greater control of Paris by Paris was a far more suitable helmsman as far as particle fountain. When Alice was fired upon by neurogenic interface
his piloting skills persuading him to wear a special flight suit, which Alice was concerned. She convinced him to steal Voyager, Paris felt pain because he had become headset. When Abaddon
inadequate and urged featured various nozzles into which she injected some of Voyager’s tactical data modules from so entwined with her systems. put on the headset, the
him to find a new craft appeared as a female
tubules. This made him the living, breathing heart storage to fix her weapons array. However, when Alice was ultimately defeated when the crew
helmsman for her. member of his species.
of the vessel, as his synaptic functions became B’Elanna Torres noticed that some items had gone found a way to tap into her neurogenic interface.
Similarly, after Paris used
even more closely linked with those of the ship. missing, Alice tried to kill her by sealing her in the They were able to ‘insert’ Torres into the program, the interface, the ship
Alice wanted to return to an area of the Delta cockpit and cutting off the oxygen. allowing her to wage a tug-of-war for Paris’ appeared in his mind as
Quadrant containing a particle fountain that she This made Paris realize that he was being attention, while Tuvok disabled the multiphasic an attractive human
called home, but she could not fly herself. Thus, controlled by Alice, but when he tried to resist her shielding and beamed Paris out. Deprived of her woman. The more Paris
used the interface, the
by appealing to the pilot’s desires, Alice could and attempted to go to sickbay, she was able to pilot, Alice broke up, and was destroyed when she
more he fell under her spell.
manipulate them into delivering what she wanted. send a small shock directly to his brain, causing collided with one of the particle fountain eddies.

6 ALICE OVERVIEW 7
 SHIP PROFILE ALICE PLAN VIEWS

Forward cockpit window

Warp plasma exhaust Primary energy weapon

INTIMATE COCKPIT
The cockpit of Alice was fairly similar to that of
a Starfleet Type-9 shuttle, and was accessed
through a hatch located at the rear. Inside,
there was just a single seat for the pilot and
not much storage. As Abaddon described her,
she was “designed for speed, not haulage.”
Warp nacelle pylon
Touch-sensitive consoles were positioned Matter intake grille
in front and to each side of the pilot. These
controlled everything from environmental
to guidance systems, as well as the optronic
weapons and multiphasic shields.
What made Alice truly unique was her
onboard computer. The neurogenic interface
through which Alice linked with the pilot was
positioned on top of the chair backrest. This
allowed her to respond to vocal commands,
but also made startlingly intimate pilot-ship DANGEROUS HOME
communication a possibility. The particle fountain
that Alice called ‘home’
was a dangerous spatial
anomaly. There was a
similar anomaly in the
Alpha Quadrant, and the
Impulse exhaust nozzle
Federation had lost over
a dozen starships while
attempting to study it.

VALUABLE CRYSTAL
Forward sensor array
Entry hatch Most of the items that
Voyager acquired from
Aft shield emitter Abaddon were worthless,
but one – a berllium
crystal – was valuable,
with some species
willing to trade an entire
 The neurogenic interface that was built in to the headset allowed
fleet of ships for it.
Alice to link with Paris’ synaptic functions. Their relationship became
so close that Paris almost became part of the ship.
BRAIN DAMAGE
Lateral cockpit window
Once an individual
Atmospheric control winglet put on the headset in
Alice’s cockpit and had
DATA FEED Impulse exhaust nozzle a neurological scan, the
ship was able to cause
Abaddon claimed that he bought Alice from a
them harm even when
Haakonian trader, who believed that the ship was
they were not in physical
haunted. The Voyager crew’s only encounter with contact with her. Alice
a Haakonian came five years earlier in 2371, when caused Abaddon to suffer
they met Ma’Bor Jetrel, the scientist who developed a cerebral hemorrhage
the metreon cascade weapon, which killed when he tried to tell the
hundreds of thousands of Talaxians. Voyager crew where to
find her.

Forward dorsal shield emitter

8 ALICE PLAN VIEWS

 DESIGNING THE SHIP

existing shuttle. In fact, we cannibalized an old a green glow, and the side pods with the metal
Starfleet shuttle, which I believe was first created spikes morphed into two large tubes. Two new
for STAR TREK V: THE FINAL FRONTIER. Other than spikes were added to the front of the vessel,
that I was given free reign to come up with and the engines now gave off a blue glow
something interesting and different. We ended up rather than a yellow one.
chopping off the back and the top of the existing
shuttle, and then rebuilt everything around the SKALAAR’S SHIP
cockpit. I drew up plans because we had to build The ship was modified again, this time more
the entire practical ship on stage.” substantially, for its appearance as a Skalaar’s
Having to base the design on an existing Tellarite shuttle in the episode ‘Bounty.’ Here, parts
practical shuttle obviously played a part in how of the nose section and the canopy remained
the exterior of Alice would look, and meant its essentially the same, but just about all other
appearance could not be too wild or complex. sections were changed. This included making it
With this in mind, Earls turned to the world of cars longer, putting in extra side hatches and adding
for inspiration. “Personally, I thought Alice looked extra tubes that looked like weapons arrays on
a bit awkward,” said Earls. “But, I was drawn to either side of the cockpit.
how some guys tried to modify their Hondas or
whatever with spoilers, bonnet scoops and body
kits. They often look ridiculous, but to their owners
they’re works of art. For example, the pods on
either side of the main body of Alice were like the
side-skirts on cars. Then, there are those fake shark
antenna fins and chrome non-functional hood
vents on cars. They are really just adornments. The
box structure on the nose of Alice was intended to

DESIGNING ALICE
be a type of deflector, though.”

IDEAS ON PAPER
Once Earls had come up with a few ideas for
Alice, he put them on paper and showed his boss,
production designer Richard James. “I drew up
As a full-size version of Alice had to be created on the production a few rough sketches for Richard to approve,”
 A full-size prop of Alice was built and placed on the set of Voyager’s hangar bay.
Several scenes were shot with it as Tom Paris worked on its interior and exterior.
stage, the task of designing the ship fell to set designer Tim Earls. said Earls. “I then drew a more refined sketch for
Richard to take to the production meeting. The

T
 Set designer Tim Earls oday, Tim Earls is one of Hollywood’s leading “Before I worked on VOYAGER, I was the visual CG artists also used the sketch as well as the set
drew up this concept for set designers. He has worked on blockbusters effects art director for Babylon 5,” said Earls. drawings and photos of the actual build to create
what he thought Alice
such as Iron Man 3, STAR TREK Beyond and “Richard James, the production designer on the finished exterior. Richard chose the color
should like. As Tom Paris
would been seen working Avengers: Infinity War to name but a few. Back in VOYAGER, knew I wanted to design ships, as did schemes and textures. Other than that, the set and
on Alice’s exterior in 1999, Earls joined STAR TREK: VOYAGER as a set Rick [Sternbach], who encouraged me to take on the ship turned out exactly as I originally sketched
the episode, a practical designer at the beginning of the Sixth Season. It some ship designs. And [for Alice] I was going to them, and I remember being a bit proud of the
version of the ship had to
was his job to create alien worlds and starship be creating the set drawing anyway.” functioning hatch at the rear of the craft on set.”
be created on set. To help
keep costs down, Earls interiors on the sound stages at Paramount. He also The CG exterior of Alice formed the basis for two
based his design for Alice sometimes designed some of the starships, one of MODIFIED MODEL further ships that were seen on STAR TREK:
on a Starfleet shuttle that
which was Alice. In a similar way that sets were modified and ENTERPRISE. First, it was used to depict the Arkonian
had already been built for
STAR TREK V: THE FINAL Normally, the designing of a ship would have reused, Alice ended up being a revised version shuttle in the episode ‘Dawn.’ Here, illustrator
FRONTIER. fallen to senior illustrator Rick Sternbach, but of an old craft that was pulled out of storage. John Eaves drew up a sketch of the shuttle, making
because a full-size version of the craft had to be “I designed Alice inside and out,” said Earls. a few changes of how it had appeared as Alice.
constructed on set, the task fell to Earls. He was “To mitigate the cost of building the interior and The box structure at the front was removed and  After its appearance as an Arkonian shuttle, the CG ship went through more
more than happy to take on the challenge. exterior, it was decided we’d try to incorporate an replaced with a new deflector that emitted extensive changes, and it featured as a Tellarite shuttle in the episode ‘Bounty.’

11
 BEHIND THE SCENES

 The alien spirits from

‘Equinox, Parts I and II’
were CG creatures that
were created by Santa
Barbara Studios, who
also produced the palm
pet rhyl creatures for STAR
TREK: INSURRECTION.

 Digital Muse used

a program called
‘Hypervoxels’ to create
this shot showing plasma
streaming from the
U.S.S. Equinox’s nacelle.
The smoke was actually
made up of thousands
of tiny particles.

STAR TREK: VOYAGER SEASON SIX and all the effects were as close to movie quality
as possible. To keep pace with the demands,
VOYAGER had assembled a very talented team.
“Santa Barbara Studios did the creature, which
was unusual,” said Moore. “This was the only show
that year where we worked with them. They had

VISUAL EFFECTS
It was headed by supervising producer Peter made a connection with our boss during the last
Lauritson and producer Dan Curry. They both had couple of features, and Peter Lauritson felt they
responsibility for all the shows, but the individual would be a good choice to do those creatures.”
episodes were supervised by Ronald B. Moore and Meanwhile, regular STAR TREK effects house
Mitch Suskin. They worked on alternate episodes; Digital Muse were left with all the show’s ship
Moore kicked off the year with ‘Equinox, Part II,’ effects. Most of this work was relatively routine,
The VFX teams of STAR TREK: VOYAGER explain what went into making and Suskin started with ‘Survival Instinct.’ but, as effects supervisor David Lombardi

the enormous amount of effects for the first 10 episodes of Season Six. explained, there were a few challenges.
EFFECT HOUSES “We had a slightly new warp effect,” said

S
TAR TREK: VOYAGER’s sixth season episode a few years earlier when VOYAGER began. And  Abaddon’s junkyard In order to get the work done, the effects Lombardi. “We were now seeing a ship come out
from ‘Alice’ was made
‘Alice’ featured some great special effects. yet, ‘Alice’ was an episode that carried a relatively supervisors used several different companies. They of warp, which I don’t think we had ever really
up of dozens of pieces
From the sentient and demonic starship Alice light workload for the special effects department. of floating debris as worked with were Digital Muse and Foundation done digitally. Also, one of our guys, Steve Rogers,
to the stellar phenomenon of the particle fountain Many of the other shows in the first 10 episodes of well as a space station. Imaging – both of whom provided computer- spent a great deal of time using a program called
to the sprawling space station junkyard of the season posed the special effect teams with far It was difficult to put all generated effects – and Digital Magic, who ‘Hypervoxels’ to generate a plasma trail streaming
the separate elements
Abaddon’s depository, it was an episode that greater challenges. provided editing and compositing facilities. off the engine of a damaged ship. It was
together in one effects
contained numerous impressive effects shots, By this point, VOYAGER had more optical effects shot and for it to still Moore did most of his work with Digital Muse, extremely hard to edit on our production
many of which would not have been possible just than almost any other television show of the time, make visual sense. but ‘Equinox, Part II’ was a bit of an exception. schedule because the render time was long.”

13
 BEHIND THE SCENES

about VOYAGER in general was that we built the other projects, so Moore went over to Foundation
entire station in quite a bit of detail just for that Imaging, where he worked with Mojo Lebowitz.
one show, and it was never seen again.” The interspace tunnels and the fleet that
assembled to fight the Vaadwaur were handled
SEA OF BLOOD relatively quickly, but the city presented Moore
If ‘Survival Instinct’ was a straightforward show, the with a real challenge. “I made the decision very
next episode took STAR TREK’s visual effects into early that I wanted to do the city as a CG model,”
a new realm. Traditionally, CG effects had said Moore. “We would have been limited to how
difficulty producing shots involving liquids, and
‘Barge of the Dead’ literally called for a sea of
blood. Moore was pretty confident, though; the
previous year Digital Muse had produced ‘Thirty
Days,’ a show that featured a planet made
entirely of water.
“I thought with ‘Thirty Days’ they just did such
a neat job,” said Moore. “What I liked about CG
was that it kept getting better and better. With this
one it worked really, really well.”
To change water into blood, the team at Muse
told the computer to make the liquid thicker and
turn it red. A special plug-in called ‘RealFlow’
ensured that the blood behaved the right way. It
took several tests to get the blood just right, but
Moore was very pleased with the result.
Digital Muse also made a contribution to the
 A large Markonian The next episode, ‘Survival Instinct,’ was handled for us to see the U.S.S. Voyager NCC-74656 Gates of Gre’thor. In the past, this would have  This highly complex shot of the Gates of Gre’thor from ‘Barge of the Dead’ combined
space station was built by Mitch Suskin, who did most of his CG work with docked at an alien space station. Suskin explained been a simple matte painting, but Moore turned matte painting, CG flames, water and coals with live action footage of B’Elanna Torres.
for ‘Survival Instinct.’ It
Foundation Imaging. Unlike ‘Equinox, Part II’ this that this was a straightforward effect that simply to his boss Dan Curry to handle it, who had some
featured an incredible
amount of detail, and show was relatively light on effects. It opened with involved building a CG model of the station, but very ambitious ideas.
took a long time to create, a shot of a Borg sphere crashing in an alien added that there were some mild complications. “Dan was trying to get as much as possible out
but only featured in that landscape. This sequence was entirely created of his matte,” said Moore. “We decided to work
one episode.
using matte painting, with artist Eric Chauvin MATCHING LIGHTS with CG, so there was a combination of Dan’s
basing the alien landscape on aerial photographs “There were two challenges with that really,” said painting, putting pictures together in Photoshop
of the Louisiana Bayou. Suskin. “When they filmed on the Voyager sets and modeling that in a CG environment, and then
The only other major effect in the episode called they established a yellow, interactive light coming sitting with Muse to get the coals and the water to
 Digital Muse had a through the windows of the ship, so we had to all work together. That was certainly the most
good track record when establish some yellow on the station so it would complicated shot of the show.”
working with CG liquids.
match. The other thing about it was that they
For the sea of blood
on the way to Gre’thor, didn’t want to spend the time or money to see the HUGE CHALLENGE
which featured in ‘Barge space station outside the windows, so we had to Suskin’s next episode, ‘Tinker Tenor Doctor Spy,’
of the Dead,’ they had to be careful with the position of Voyager to ensure was another light one. Most of the effects, such as
reprogram water to turn it
that it wouldn’t be seen. the Borg organelles that appeared on the crew’s
red and make it thicker.
“The station was a very nice model; it was faces, had been done before. Moore’s next show,
designed by Rick Sternbach. There were never any however, was one of the biggest of the season.
tremendous challenges in building and shooting ‘Dragon’s Teeth’ saw Voyager trapped in a series
that stuff, but building something of that size and of interspace conduits and land in the ruins of an
being able to get close to it did present some ancient city, while there was also an all-out space
 The crumbling Vaadwaur city from ‘Dragon’s Teeth’ was a fully CG environment, meaning it could
challenges. I think altogether there were about battle between two fleets of ships. At the time, be made much larger than if it had been a practical miniature. Foundation Imaging created it in such
half a dozen different shots. The remarkable thing Digital Muse were snowed under with work on a way that it could be filmed from any angle, and Voyager could even been flown down the streets.

14 BEHIND THE SCENES 15

 BEHIND THE SCENES

 Suskin said that it

was difficult to create Meanwhile, after several light shows, Suskin had
Abaddon’s junkyard drawn ‘One Small Step,’ which featured a massive
in three dimensions, anomaly and an old space ship, the Aries IV, from
especially with the scale
Earth’s 21st century.
of all the floating debris.
They had to be careful “‘One Small Step’ was one of our favorite shows
that the actual space of the season,” said Suskin. “We liked it because
station stood out and did we were able to have a counterpart to the STAR
not get lost among all the
other elements that made
TREK universe, where everything was perfect, and
up the scene. we got something that was a little bit more like
today’s space travel and a little bit more NASA-
like. So the modelmakers put a great deal of effort
into building the Aries IV.

CREATIVE INPUT  The Aries IV from ‘One Small Step’ was much closer to the space
The next show Moore drew was ‘The Voyager technology used in the real world, and Foundation Imaging worked
Conspiracy,’ which involved hardly any effects. with illustrator Rick Sternbach to make it as realistic as possible.

Moore and his team enjoyed themselves, though,

because they worked on an unusual model: Tash’s
subspace catapult, which could throw ships
thousands of light years across space.
big a miniature we could have built and shot, so Suskin. “You tended to want to reduce everything “We loved that because it had that catapult;
we decided to go CG. It was a lot of work; it was to two dimensions because it was easier to I thought it was very, very cool,” said Moore. “We
very, very ambitious.” understand. One of the difficulties was the scale. had pictures from Rick Sternbach. A lot of times
We had this little space station that went with it, during a production meeting, Rick would be
SUBTLE PROBLEMS and we had to make sure that didn’t get lost and making little drawings on his script or on a pad,
Foundation Imaging worked on the next show, appear to be some other piece of junk.” and I usually run over and tried to steal them from
‘Alice.’ They didn’t have to create any radically Other effects involved a slight modification to him. Sometimes he’d make me copies. I liked that
new effects, but once again Suskin had to deal the way warp speed looked, to show that it was best, because I’d take aspects from his doodles
with a few interesting problems. The first Paris’s point of view, and an effect that many and start creating the ship.
 The ‘invisible’ Ba’Neth concerned Abaddon’s junkyard, which people may have missed. “In this case we had some very, very rough
from ‘Riddles’ were created was difficult to make work on screen. “Alice was trying to control Tom and they went things from Sternbach and they were beautiful,
by running an effect  Digital Muse generated most of the elements that were used to
“When you had a junkyard in three dimensions, into a turbolift together,” said Suskin. “She made just magnificent, for little drawings, and we started
generated in an Inferno create Tash’s subspace catapult in ‘The Voyager Conspiracy,’ while
compositor machine over it was really hard to find a camera angle that the veins on his forehead start throbbing, and we there. I thought everybody was happy with it at
the finished version was put together in the edit bay.
a metallic CG model. communicated what you were looking at,” said had to track that effect in. In this case we had to the end. They loved that model; it was so cool.”
be a little bit careful, because it had to look Suskin’s next show, ‘Pathfinder,’ only involved  The Starfleet
Communications
somewhat supernatural without being too wild.” two new effects: a CG model of the MIDAS array,
Research Center building
which sent the message to Voyager, and a where Reginald Barclay
INVISIBLE ENEMIES 24th-century building in downtown San Francisco. worked on the Pathfinder
Moore had good reason to hope that his next “That building, I think, may be in Singapore or Project was created by
modifying a picture of the
show would be considerably easier than the ones Hong Kong,” said Suskin. “It was a stock shot real Bank of China Tower
earlier in the season. In the end, it wasn’t too bad, someone found. Dan Curry did the embossed text in Hong Kong.
but it wasn’t as simple as he might have thought. on the building and created the Starfleet logo.
“‘Riddles’ had invisible ships and invisible Then Foundation did us an element of the shuttle
creatures,” said Moore. “Of course they couldn’t flying by. The original shot, I think, was a night shot,
be completely invisible, as we had to see them. and I think we put some stars in the sky.”
I had the idea of doing these things metallic, so After 10 episodes, the visual effects team had
we could run energy over them. That was how we some of the season’s biggest episodes under their
did the creature; we had to have a detail on it collective belt, but the remaining 16 shows would
that would allow the energy to run over it.” present them with some extraordinary challenges.

16 BEHIND THE SCENES

 APPEARANCES ROMULAN WARBIRD
ALICE
NCC-1701-D
COMING IN ISSUE 126
ON SCREEN TRIVIA STARFLEET
NIAGARA CLASS
John Fleck, who guest starred in ‘Alice’ as
Abaddon, has made several other STAR
TREK appearances. His first was as the
Romulan Taibak in THE NEXT GENERATION
episode ‘The MInd’s Eye.’ He then made
three appearances in DEEP SPACE NINE, first
as a Cardassian in ‘The Homecoming,’ then
EVERY
Inside your magazine
he played Ornithar, a Karemman trader, in
TWO WEEKS A profile of the Niagara class,
‘The Search, Part I’ and finally he played AT YOUR
Koval, another Romulan, in ‘Inter Arma Enim RETAILER a 24th-century Starfleet vessel, which
Silent Leges.’ His most prominent STAR TREK was highly unusual in that it featured
role came in ENTERPRISE when he played
three warp nacelles
the recurring Suliban character Silik.

How a battle-damaged studio model

of the Niagara class was put together
at Greg Jein’s workshop

A look behind the scenes of Season

Three of THE NEXT GENERATION

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In the teaser to ‘Alice,’ Tom Paris and Harry
FIRST APPEARANCE: ‘ALICE’ (VOY) Kim tried to guess the age of Tuvok, which
TV APPEARANCE: STAR TREK: VOYAGER had remained a mystery to most of the crew.
Paris guessed 162, while Kim thought he

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was 133. They were both wrong, as Tuvok’s
age in 2376 was either 111 or 112. Use the special INTRODUCTORY DISCOUNT CODE
KEY APPEARANCES to him in his mind as a smart, attractive
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STAR TREK: VOYAGER woman. Paris soon finds himself unable
‘Alice’ to resist her charms, and he steals a Sign up for the NEWSLETTER to be the first to hear
When the U.S.S. Voyager NCC-74656 number of parts from Voyager in order about EXCLUSIVE ONLINE OFFERS
comes across an interstellar junkyard, to complete her repairs. All orders are delivered direct to your door. ANY
the crew make a number of trades When B’Elanna Torres enters Alice’s DAMAGES REPLACED - NO QUESTIONS ASKED!
with its eccentric owner Abaddon. cockpit in search of Paris, Alice seals her
Ensign Tom Paris acquires a dated, but inside and expels all the oxygen. Paris
beautiful ship, which has a neurogenic saves Torres, but when she heads off to
interface. This technology allows the inform the captain, Alice forces Paris to When B’Elanna Torres complained that Tom
ship to react directly to the pilot’s return to her and they take off. Paris was spending too much time with
thoughts, making it quicker and more Paris then completes the final stage Alice, Harry Kim told her that Paris was
manoeuvrable than any other of their of his integration into Alice’s systems, as going through what the Ferengi call the
five stages of acquisition: infatuation,
BINDERS
auxiliary craft. they head off to a particle fountain that Order specially-
justification, appropriation, obsession and designed binders
As Paris works on fixing up the ship, she calls ‘home.’ This spatial anomaly to store your
resale. As he was already at obsession, Kim BACK ISSUES
which he has named Alice, he tries out is incredibly dangerous, and unless the magazines. There Complete your collection by ordering any missing issues, and
believed he would soon lose interest in Alice. are two designs to sign up to the newsletter to be the first to know when rare
the neurogenic interface. It makes a Voyager crew can find a way to break choose from. items come back into stock.
scan of Paris’s brain, and later appears their link, Paris will be killed.

18 ROMULAN WARBIRD
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