BASICS: The archetypal characters

This subsection discusses the Star Trek captain-figure, the 'mirror'-role of Star Trek characters, the nature of Star Trek stories (action-adventure misconception; actually character-driven), and how these were taken into account in developing the new series. The subsection then moves onto the producers' initial conceptual notes for the premise, suggested series title, and characteristics of individuals in the [Star Trek Voyager] crew.

For Rick Berman, Michael Piller and Jeri Taylor, creating the characters seemed not that difficult, for every Star Trek series uses specific character types. They are important for dramatic storytelling, but are also the means of expressing Star Trek's vision, philosophy and basic precepts.

The most obvious of the traditional characters is a strong captain who is the leader, the Father/Mother/Confessor/Head-of-the-Clan person whom all aboard ship can confide in, trust, respect, bond with and feel safe with when venturing on a perilous journey, knowing that this person will return them safely, whatever the odds. Usually this person is the one around whom the story or the series revolves, the one who shepherds the story from inception to conclusion. Characters of this archetype share many common qualities: they are both leaders and nurturers, and they possess innate wisdom (often the kind viewers wish for themselves). They are quite often single at the beginning of the story/series, and just as often are still single (though not always) when it ends.

In addition, there is the character who can make observations about humanity that we would not necessarily make for ourselves - the 'outsider'. This character holds up a mirror so that we can see ourselves from a fresh perspective, and prompts us examine ourselves, the way we act, the way we think, the way we perceive each other and our surroundings. This is all done in the safe environment of a fictional setting, especially regarding issues that we might otherwise find too uncomfortable to confront. In [TOS] the character is Spock, the half-human and half-Vulcan science officer. In [TNG] the character is Data, who is mentioned in [#29 Prototype]. Because Data is an android, the writers have made him try to emulate, and essentially to become, human. In [DS9] the 'outside' character is Odo, of the alien species from the Gamma Quadrant known as the Founders. So far the character had been male but this would change in [Star Trek Voyager]'s fourth season with the arrival of Seven.

In [Star Trek Voyager], the traditional function of this 'outsider' archetype would at first be divided between two characters: B'Elanna Torres (a half-Klingon, half-human) and the Doctor (a hologram). (The role would later extend, in part, to Tuvok. Despite his analytical approach, Tuvok makes astute observations about humanity in many episodes, [#44 Flashback] to name but one.) Torres represents the struggle for self-control and self-acceptance. The Doctor sits in judgement upon humanity, making perceptive comments which range from humorous to caustic to profound. As conceived, the Doctor is a computer program, merely one more item in a long list of supplies needed by a Federation starship embarking on a mission, and was never meant to be anything other than a futuristic emergency medical kit and fill in only when (and indeed if) needed. When Voyager's doctor is killed in the opening story, the Emergency Medical Hologram has to take over full-time.

Jeri Taylor: "In the early episodes his movements aboard ship are restricted to sickbay in the same way that holodeck characters are limited to the holodeck environment in which they are created. Suddenly he's the only game in town. His character arc is his coming to terms with his role among the crew. From being sort of an imperious little despot who expects to appear in sickbay on an emergency basis, order people around, and disappear again ... he suddenly finds that he has to confront much, much more. He has to deal with people's feelings and their needs. He must give continuing care ... which is something he wasn't programmed to do. In the beginning, he doesn't have a name. In the course of the early episodes he decides that yes, he is a member of the crew and deserves respect. The crew treats him like he's a piece of equipment. He begins asking for things and demanding things. He wants a name, he wants to get out of sickbay. There's a wonderful kind of growth in this character."

It is probably Star Trek's deliberate attempt to build these archetypal characters into each episode which helps explain why so many viewers have said that Star Trek has changed their lives, because it inspired them and motivated them to dare greatly. I have received e-mail from a few dozen people describing this in their lives, including a lady who decided to study to become an engineer after seeing Torres, not just how she worked, but her personality and approach to the job.

[Star Trek Voyager] is no exception and follows the Star Trek tradition of holding up a mirror to enable self-inspection. In [Star Trek Voyager], human qualities are well represented. For instance, in Neelix we see jealousy, and the desire to have one's life mean something.

In Harry Kim we see the desire to prove oneself resulting in eagerness. Tuvok is analytical. Seska is treacherous and devious. Culluh is proud, short-tempered and chauvinistic. Jetrel in [#15 Jetrel] and Iko in [#159 Repentance] are remorseful and seek forgiveness. In the Ferengi in [#47 False Profits] and [#152 Inside Man], and in Malon such as Emck in [#97 Extreme Risk] we see greed. Tom Paris' journey takes him through rebellion against authority, womanising and jealousy (re Kes) to gain his personal redemption, then we see him being protective of Torres ([#102 Nothing Human], [#123 Barge Of The Dead], [#160 Prophecy]) and regarding imminent fatherhood. Those are just a few examples.

Throughout [Star Trek Voyager], almost every human quality and human character defect are at some point held up to each of us so that we can take a look in the mirror, with each reflection reminding us: "This is part of what it's like to be human." and it is then left to us to decide what to do about it. When I watch an episode often I just take it in on a superficial level and enjoy it as a jolly good yarn, but always there is the awareness, however latent, that the episode has layers of meaning and/or a message. Star Trek writers craft the characters, and the situations in the episodes, very deliberately so that these qualities and/or defects can and will be expressed.

This does not mean the writers believe they have a moral duty to "teach" the viewers, telling us the proper, civilised way to behave. The term 'mirror' is deliberate: a mirror does not teach, it reflects.

To enhance story possibilities, many traits seen in individual characters are in direct opposition to one another. Aside from creating interesting characters, these qualities have the advantage of representing opposing forces, which provide built-in opportunities for a character to grow and change - the shorthand term for that growth and change is the "character arc", an aspect of character-driven fiction generally. Stories have arcs as well, and occasionally span two or more episodes. For individual characters, sometimes the journey of exploration is an internal one. At the end of the arc, the result is usually a new level of awareness, understanding, or self-acceptance. Stories are important, but it is out of the characters that the stories are born. The two elements are inseparable, but character drives story. In the pilot episode of [Star Trek Voyager], being a new series, the writers needed to develop both simultaneously, and in some areas, very quickly. Later, six or eight episodes into the series, enough would be known about the characters to allow each episode's story development to go forward more naturally, and the characters will continue to grow and evolve as each succeeding episode is written.

There is a common perception that Star Trek is an action-adventure series, which is why it has such a strong male demographic. Episodes do have their share of action, phaser fights etc. But the episodes are character-driven - at the core of every story there is a strong emotional, internal conflict, either within a particular character, or between two or more characters.

Jeri Taylor: "Supporting that core element of the personal story there is, yes, always some sort of science-fiction premise that's hopefully provocative and mind-bending. Or there is some threat or jeopardy that comes from outside that our people must rescue themselves from. That is the element that gives the story its dramatic push, its drive. That's the skeleton. But the heart, the organs, the pulsing part of the story is what's going on with the people. And we think that is really what touches something deeply felt inside the audience."

So, it was a given that [Star Trek Voyager] would be a character-driven show. But there was still a big creative challenge. Among [TOS], [TNG] and [DS9] it seemed at first that all the possible variations of character types those that had proven popular with Star Trek viewers had already been used.

At least one of the character types was relatively easy. All agreed early on that the crew should include a Native American. People like Whoopi Goldberg (who plays Guinan in [TNG]) had said many times that seeing Uhura on the bridge in [TOS] gave them real inspiration as children - a model of something to strive for. It said to people everywhere, "We're here in the twenty-third century and - racially, ethnically - we're doing very well!"

Jeri Taylor: "It seemed to us that Native Americans needed that same kind of role model and that same kind of boost ... the future looks good, you have a purpose, you have worth, you have value, you will be leaders, you will be powerful. That was one character choice we had early on."

The process seemed endless. Week after week of thinking, discussing, coming up with ideas, tossing them out, going back to square one and starting the whole process all over again. By the end of July some story and character elements were starting to emerge from the haze, tentatively taking shape, however indistinct and tenuous. The origins of some of the character ideas were being formulated. Parts of the story were beginning to surface, such as the idea of a split crew - some Starfleet and some "misfits" (rebels). Taylor's handwritten notes, dated 30th July 1993, reveal some of these early pieces:

STAR TREK: THE JOURNEY HOME We get zapped to the ends of the galaxy - it will take 10 years to get home. We explore on the way. The misfits are stuck with us. Messages to Starfleet - one way. Old person on show No drunks! Multi-personality Androgynous Holo-Moriarty Half-breed Native American

One week later Taylor summarised the discussions in the following document, written for Berman and Piller's eyes only (underlining is as per Taylor's notes and are not web-links):

NOTES ON "STAR TREK: THE NEW SERIES"       This is a compilation of the notes to date (8-3-93) (3rd August 1993):       PREMISE: Starfleet sends a ship and crew on a dangerous covert mission. The ship is a sleek, nifty new-generation vessel, with some improvements, though smaller than the Enterprise. To accomplish the mission, we must take along some one who has fallen from grace a former Starfleet officer who may even be in prison. Given a chance to redeem himself, he agrees to help us.       During the course of the mission we must find two other nefarious characters; our former officer may have information about them, or know them, or know the area in which they are working.       The mission unfolds, and during the course of it-perhaps near the end?- we are somehow zapped to the far reaches of the galaxy, somewhere so far that, by conventional means, it will take ten years or so to get back. The Captain steels herself for this journey, and offers uniforms to the three misfits. Two of them accept and take positions on the bridge; the other won't take the uniform, but agrees to serve in Engineering.       The Captain makes clear that the journey home will fulfill their Starfleet job descriptions: they will map and investigate and explore this unknown space. They will get back, and when they do they will have a wealth of information and research to bring to the Federation.       One device we might use is "messages to Starfleet:" one-way communiques that serve as a kind of log. They realize no one will ever answer - it will take too long-but at least they will know the ship is coming.       THE CREW:       Captain - a human female, Lindsay Wagner type. First Officer-a human native American male, "Queegquog" person who has renounced Earth and lives as an expatriate on another planet. A mystical, mysterious man with whom the Captain has some prior connection, not explained.       Tactical - a human male, handsome leading man, a hunk with strong sex appeal. He's one of the misfits, the former officer who is trying so hard to redeem himself maybe too hard, a bit desperate. (Note: "Has to be taught to be independent.")       Conn Officer - an alien female (or male), one of the misfits, the "moderate" of the group on a sliding scale of recalcitrance. Originally thought of as of the same species as the First Officer, a conflictual relationship because the misfit has disap pointed the F. 0. (There was also mention of their having a telepathic ability between themselves.) Latest thinking is of a half-breed, possibly Bajoran/Cardassian.       "Mayfly" - The alien "scout" for the ship, whom we meet after we've been zapped to the ends of the galaxy. A female (or male or androgynous) with a life span of only seven years. We first meet her as a young woman; she will age every half sea son and progress into old age. Each day is a joy to her; she lives in the moment and cherishes every hour.       Engineer - An older human male. Vital and energetic, he has the strength and endurance of the younger officers; but also is a reservoir of wisdom and experience. He takes the rebellious young misfit under his wing and tries to help the angry loner to re-adjust.       Assistant Engineer - A human female (or male). One of the misfits, and the most unredeemed of the lot. He is angry, displaced, alienated; particularly upset that fate has treated him so cruelly. He never signed on for this long mission and he does n't want to be there. The first crack in his hostility is because of the Engineer; over the course of the series he would be redeemed and find his inner worth.       Holo-Doctor - A human or alien male or female (possibly Vulcan?). The medical officer of the ship is killed during the mission; remaining is the holographic character of the doctor who, like Moriarty, has "awareness" of himself as a holodeck fiction. He longs for the time when he can walk free of the Holodeck. (Some discussion about the fact that one of the crew must become a "student" of this doctor. Maybe one of the misfits had been kicked out of medical school.)       POSSIBLE TITLES:       "Star Trek: The Journey Home"       "Star Trek: Galaxy's End"       "Star Trek: The Return"       OTHER IDLE THOUGHTS:       A clone or genetically engineered being. Last of a species. Man without a country Man on the run. Former aliens we might like to see on the ship: Yridians,Carvallans, Soup Guy.       The birth of an alien, a la "The Child" which matures rapidly.       Nick Locarno.       Tasha's sister.       An omnipotent being who has lost its powers.

"Soup Guy" is a reference to making one of the new characters a shape-shifter, the same species as Odo in [DS9].

The reference to "The Child" is to [TNG: Season 2: The Child].

These notes show the beginnings of the characters we now know, such as the Mayfly (Kes), Assistant Engineer (Tom Paris) and of course the holographic doctor. The notes became the premise for the series, the nature of the ensemble cast, and the pilot episode story itself.

"Nick Locarno" is a character, a Starfleet cadet, in [TNG: Season 5: The First Duty]. Locarno made a mistake, for which he was expelled from the Starfleet Academy. The actor who guest-starred in that role was Robert Duncan McNeill, and he would play Tom Paris. That would be fortuitous for [#130 Pathfinder] because a picture of McNeill, as cadet Locarno, can be seen on Admiral Paris' desk, and is there because it is, in the story, a picture of the Admiral's son Tom Paris when he was younger (there is also a blooper in that initially the picture is seen the wrong way round with the combadge on the right breast, but later it is the correct way round).

"Tasha's sister" is a reference to Ishara Yar, the younger sister of Natasha Yar, a series regular at the start of [TNG]. This was roughly eight to ten years before Voyager's time period. The actress playing the part of Natasha, Denise Crosby, wanted to be released from the series and so her character was killed off in [TNG: Season 1: Skin of Evil] (she later returned as a guest-star in [TNG: Yesterday's Enterprise]).

Both the "Nick Locarno" and "Tasha's sister" notations are significant for they indicate that the co-creators felt that Locarno's troubles could make interesting backstory material for one of the rebel characters Tom Paris. With Ishara Yar, once she was established, it is presumed she is still alive and part of the Star Trek universe. Therefore, both of these characters represent resources that can be drawn upon by the writers.

It also illustrates one concept which is a fundamental element in Star Trek's appeal, and derives from one of the canons Gene Roddenberry established, namely that wherever possible the Star Trek universe will be consistent. Once a fact, character, theory, law, history, device, event, species, reference, or any other piece of data (large or small) is introduced in an episode, it is forever a part of Star Trek lore. Nothing is intentionally discarded, forgotten or ignored. The result is that writers and viewers alike have three decades of history to play in - a rich tapestry of history and detail every bit as complex and interconnected as the Earth we live on and the galaxy in which it resides. That is one reason why fans love the show - we feel the Star Trek universe is truly real. But that is also why it rocks us when a part of that universe is shown to be glaringly inconsistent due to an oversight in writing or production or even due to the writers/producers underestimating how observant fans are, such as the same footage for the Zahl homeworld in [#76 and #77 Year Of Hell] as for the Qomar in [#133 Virtuoso], or the wrong rank pips on Tuvok's and Paris' uniforms in the early episodes (see uniforms bloopers). However, maintaining consistency over so many series and motion pictures is a large task and I personally am not bothered by most bloopers. Consistency in the Star Trek universe helps writers and viewers alike - one knows what to expect, from what has gone before.

Michael Okuda: "It's this feeling of familiarity that makes Star Trek work. There is an identifiable look and feel about it all. The times may change, the people may change, the aliens and the ships and the planets may change, but everything still feels familiar. Everything in Star Trek still operates by the same laws. And there is always a family of likeable characters doing extraordinary things. And everything is a direct descendent of the Enterprise and [TOS]."

There is also the simple practical matter of production show budgets. Once a set has been built for one episode, e.g. a Romulan bridge, it is retained whenever possible, for future use. Not only does it save money, but when a set is re-used (as distinct from being recycled into another set portraying something different), its very appearance tends to reinforce the overall feeling of consistency of the series. Indeed, so much detail has been established over the years that entire volumes of compendia, encyclopedias, chronologies, and technical manuals have been published, as a convenience for the fans, to help them keep track of everything, and they in turn, if published by or approved by Paramount, are added to canon. I for one have found those canon sources to be most interesting reading and invaluable for this site.

"Holo-Moriarty" is a reference to Professor James Moriarty, a holographic character who appeared in [TNG: Season 1: Elementary, Dear Data] and then in [TNG: Season 6: Ship In A Bottle]. (An example of, not a set but a prop reinforcing believability in the Star Trek universe, is that the prop of the holographic data module in [TNG: Ship In A Bottle] is seen as the holographic data module given to the Hirogen in [#86 and #87 The Killing Game].) In Sir Arthur Conan Doyle's famous Sherlock Holmes detective stories, Moriarty was the villainous adversary of the hero detective Sherlock Holmes. Moriarty was re-created by Geordi La Forge on the holodeck of USS Enterprise NCC-1701-D using the ship's holodeck computer. The computer did such a good job of re-creation that holo-Moriarty became, in essence, a sentient being with complete self-awareness. These are the roots of the character that eventually evolved into USS Voyager's Holographic Emergency Medical program, now known simply to viewers and on this site as "the Doctor". It is a typical example of the producers' ability to build on an element established years earlier, in a different Star Trek series. It is also a clever use of "resources", for by drawing on technology established in [TNG], the producers gain credibility with the fans, because fans can and do keep track of such details. This is the sort of consistency fans have grown to love about Star Trek.