Star Trek - The Final Reflection

"There is always," Manager Akten said, "the Komerex zha."
"I do not acknowledge the existence of the Perpetual Game," Margon said without turning.  "Society is society, war is war.  If they are games at all, surely they are not all the same game.  I deny it."
"That is a favoured tactic," Akten said.
"Green Lancer to Level Nine."

If I wasn't systematically working through all these Star Trek novels and gave myself an option of whether to give myself a pass on ones I didn't like the sound of (based on the blurbs), The Final Reflection (#16 Pocket, # Titan) (1984) by John M Ford would have been one of them.  If I had indeed done this and not just forced myself to read something that sounded ultimately uninteresting to me I would have seriously missed out on a top notch Star Trek novel from the Pocket Books series.

Spock and Krenn play a game of
chess while Sarek looks on?
(Sarek isn't there in the book)

Saying that, I wouldn't say that it has converted me to novels with this kind of focus, it is still not really to my taste, however saying that I can't deny that it is well written, well plotted, well paced.  Characterisation is very strong, the narrative is consistent and well framed.  The suggestions about Klingon society believable and well thought out (unlike the later novel Pawns and Symbols).  It's almost a shame that this is a Star Trek novel because I think it could almost be better not constrained by Star Trek.  Much of the novel is I suppose speculative in a way and set well outside most fans knowledge of Star Trek bar the framing narrative it could be its own standalone story.  I expect that the framing narrative was bolted on in order for it to be published by Pocket Books as a TOS novel since although the narrative works it isn't the strongest.  Although I generally like framing narratives and the like (this is pretty much the earliest example of it in a TOS novel) I do feel it is the worst aspect of The Final Reflection.

The late John M Ford seems to have been an interesting character to say the least (he died in 2006).  The Final Reflection was his fourth published novel and was released hot on the heels of his 1984 World Fantasy Award winning novel The Dragon Waiting.  Ford would go onto write another Star Trek novel 'How Much For Just The Planet' and also write a Klingon orientated RP scenario for the FASA RPG series.  Ford was known for his aversion for doing things that had been done before, which would explain his framing narrative (not seen until now in the Pocket Book series) and his introduction of 'Klingonaase'.

The framing narrative is an effective if perhaps a little ham fisted way of getting rid of the TOS cast for the duration of the actual 'story' that Ford wants to tell.  In essence, you start The Final Reflection, the Pocket Books version you are holding in your hands, read the prologue, and then start the book that Kirk is reading in his cabin; title page, contents, prologue and all.  I think it was a nice touch to have the contents page there and the 'note from the author', as well as quotes from the characters who reportedly took part in the events of the novel within the novel.

As a consequence of the novel within a novel format, we end up with three dates to take into account.  The Final Reflection of our world was released in May 1984, the events of the framing narrative take place in the 2270s (I'd say between TMP and TWOK), and the events of the novel within the novel take place over about 15-20 years... ish... in the 2230s.  It's interesting to note that TSFS came out in June 1984.

The acknowledgement by Ford at the front of the book asserts that Ford had been developing this story for about 15 years... and it shows in two ways.  Firstly, it is an excellently constructed story which frankly, only comes about from serious time and work.  Secondly it is also regularly confusing as some characters / sections seem to have been added in to account for the change in looks between the TOS Klingons and the Klingons from TMP onwards.  As far as I understood while reading the main character is of the 'new' style Klingons (pointy teeth and forehead ridges), although sometimes it seems he isn't (especially as he seems to be a 'fusion' - hybrid to you and me).  There is a notable character who seems to be a 'TOS era' Klingon who is definitely a 'fusion'.  However, I could be misunderstanding, it would however possibly fit in with various fan theories at the time (one being that the Klingons seen in TOS were a group used for diplomatic purposes etc.).  Of course we now have an explanation for the change in appearance thanks to Enterprise, but at this time there was no such explanation.

The bulk of the novel follows the life of Krenn and his fortunes, starting as a talented youngster and ending as an established commander and one could say, diplomat.  There are through necessity frequent time jumps, some of which can be a little confusing.  Krenn is generally a likable character for a Klingon, I mean, he's still a murderous bastard but he is intelligent and charming in his own way.  The friendships he builds up and his relationships especially with Dr Talgore are endearing.  Although I think the sweetest moment of the whole novel is that he ends up romancing his childhood sweetheart... well as sweetheartish as Klingons get anyway.

Of course, this low key but super cute (do I need to add for a Klingon again?) beats the Kang relationship in Pawns and Symbols hands down.  It's quite obvious that The Final Reflection heavily influenced Pawns and Symbols, as there are quite a few cultural parallels between the Klingons and the narrative is similar in that the 'main cast' are excluded from much of the action.

There are a good few scenes/characters that stick out to me.

- The death of Krenn's adoptive father and his household.
- Sarek & Amanda - then the chess game between Krenn and Spock
- Scene with McCoy's grandfather.

Honestly, the assassination of the 'Thought Admiral', his consort (who happens to be an Orion), and his servants is possibly the most gut wrenching event.  Testament to Ford's writing ability, I actually felt appalled and saddened by the deaths of these characters he barely told me about.  The death of the 'winged' alien was particularly nasty.  Krenn thought so too, although all he was doing was watching a video of the assassinations taking place.  I thought it particularly moving that he realises 'love' between his father and the Orion consort, although he doesn't understand it until much later.

The chess game depicted on the cover is a very minor cameo of a young Spock, and Sarek never sees it, Amanda does.  Some nice observations here.

McCoy's 'cameo' is by reference.  Some people have derided the choice of actually referencing him instead of making it more ambiguous, but I actually like the way it's done and I don't actually think it detracts at all.  I had to laugh though since Kirk was no where near born at this point, but I think McCoy has been aged a little?  I could be wrong.  I think Spock is just a child (much younger than the picture, so I think it makes sense... I haven't done the maths).

Life as a Game - Klingons and the Perpetual Game.

At the forefront of The Final Reflection is the idea that everything that occurs is part of a universal and never ending game.  Some people subscribe to it, some people reject it, some are players and others are pawns.  Ford suggests that Klingon society revolves around this belief and that Klingons see their actions, their lives and interactions with others as a game - this to a certain level accounts for the Klingon distrust of each other, and their devious nature.

Excluding the framing narrative and the book 'bumf', the opening of Krenn's story is a game in which he is a pawn - a lancer - in a bloody deadly game where the 'players' move pieces (children in this case) around a board.  When they meet an opponent they have to fight until one is incapacitated defending a 'goal'.  The one who reaches the top wins the match.  Characters are introduced and just as quickly exit the story; their games are elsewhere for the time being.  Eventually some characters will come back as pawns or players in their own right.  Ford does very well in creating the illusion that the universe is bigger than just Krenn, characters weave in an out of the narrative playing their own games, Krenn is just one player amongst billions.  Krenn doesn't know all the characters (nor does the 'novelist' persona) but there is just enough information about them to make you want to know more, which, for the most part you are never given.

Krenn (or perhaps more accurately the novelist) plays games in a broad sense with the reader.  One of the lessons Krenn learns young is not to say anything you do not wish to be heard, basically 'keep your own council', because of the constant surveillance of the Empire.  The reader is also kept in the dark at several points, which sometimes makes Krenn's actions inscrutable.  At times the reader does not realise that Krenn knows something, which can make him hard to follow.  This actually fits into the framing narrative, because the novelist also doesn't know everything, he's recreating events that sometimes, not even he understands.  Not even the author understands the rules of the game.

Different games are mentioned and/or explained.  They are predominantly board games which resemble to a differing extent, chess.  A few are referred to throughout the novel as events unfold and they are reflected in the moves and goals of the games themselves.  Like the first game we see, the game of life is lethal and Krenn relearns this lesson early as he witnesses the fall of his adoptive father, his father's consort, and his household, because his father is outmanoeuvred in his play.  It takes some time for Krenn to realise the extent of his father's love for Rogaine (his Orion consort), even when watching his father reaching toward her as he died.  Krenn realises his own feelings later, and no doubt acts with his father's actions in mind.



Krenn's final 'play', which prevents galaxy wide war isn't just an altruistic action.  Although it prevents war between the Federation and the Klingon Empire which is obviously a good thing from our perspective, it also prevents the Federation from fully allying through fear and pooling all their resources against the Klingons.  Krenn's stance?  It is left up to the reader, but from my perspective Dr. Talgore was successful in his influence of Krenn and although his actions benefited the empire in the long run, I think Krenn, with his exposure to the other races and his strategic mind had decided peace would be a better option if not joining with the Federation.

For his part, Krenn influences those around him by changing the way he is perceived in order to get the upper hand in an exchange of words and wits.  He has many masks, which are assets to him in his game.

So, what is the final reflection? Humans and Klingons reflect each other, or at least the Klingons reflect an aspect of humanity which is pretty much how they were developed (although sparingly) and then developed through the future series and films.  In The Final Reflection, we see instances of humans playing the same games as the Klingons, corrupt games of power, misdirection, and devious strategies - even inciting a war is not too great a price to pay in these games.  However, the reflection is like looking into an infinity mirror.  Even whilst we point out the flaws of the Klingons, Ford points to their humanity, to Krenn, and his trusted friends - the 'other' isn't so different after all.

Essentially Ford is drawing attention to the way we perceive and treat our enemies.  Klingons, Conservatives, Socialists, Liberals, Muslims, Jews, Christians, pro-life, pro-choice,  people gain from demonising the other, they benefit from dehumanising and preventing conversation.  Even in the final section, the closing of the framing narrative Kirk reports that Star Fleet are announcing that The Final Reflection is all fiction, even though its effect appears to be positive.  The Final Reflection, a novel within a novel tries elicit understanding beyond the Organian Peace Treaty, which does not facilitate understanding at all (it's essentially mutually assured destruction - a cold war). 

The Final Reflection contains some of the best that Star Trek has to offer.  Star Trek is always at its best when being used as a vehicle for asking (and answering) the big questions of our time.  Ford shows us a story told without the main cast can be done and done well, however I still think some of the charm is lost without their presence.  Even though the development of the series took the Klingons in a different direction to Ford's vision, this is still a great read and well worth your time.  Call it an AU or put The Final Reflection as a work of liberal Federation propaganda, either way I seriously recommend it.

5/5 - Let the games begin!

"Be a storyteller, an embellisher, a liar; they'll call you that and worse anyway.  It hardly matters.  The Tao which can be perceived is not the true Tao." 

- Dr. Emmanuel Tagore, to the author.

Star Trek - From the Depths

"Your arguments are at base emotional," Spock said. "Logic tells us that any attempt to systemise justice will entail a degree of compromise."
"Then set logic aside what does your heart say?"
"My heart is incapable of speech, Commissioner."
Wayne stared at him.  "Is he making a joke, Captain?"
"He's Vulcan," Kirk said.  "He can't make jokes."
He saw the sideways flicker of McCoy's eyes, the ghost of a grin, hastily hidden.

From the Depths (#66 Pocket, #61 Titan) (1993) by Victor Milan was, I must confess, chosen because it had silver gilded lettering on the first edition, and not the usual gold.  I'm sorry, I'm a bad girl.  Whatever my reason for picking this one however, I've got to say it was rather good, although a quick crib on Goodreads suggests that opinion is divided!  I think I enjoyed this so much because firstly Milan created a character I loved to hate, and secondly the water world idea was imagination food.

The premise of the novel is a relatively simple one.  Kirk and the Enterprise are sent to mediate between (read: remove one of) the species living there.  One species (a kind of strange, small horse like creature) claims that humans settled on their native planet and are aggressively attacking them.  The humans on the other hand claim otherwise (naturally) and imply that the other species - the Susuru - started the attacks on them, and that they have merely been defending themselves.  The situation is made more complex because of the Klingon presence who are acting as advisers to the Susuru.

Memory Beta Summary

The bulk of the novel comes from it's theme and the characters that represent it, and although this novel was written in 1993, the concerns it addresses are especially prevalent today.

You'd expect the Klingons to be the main villains wouldn't you?  Well... you wouldn't be totally wrong, but I can't hate them, they are just being what your expect them to be.  No, the true villain is a human bureaucrat, feminist, PC pushing, agenda driven... female.  Of course these days we'd call them 'SJWs' or 'Social Justice Warriors', and what a blight they are!  I have a particular antipathy towards people like this and have sat appalled in the same position as Uhura, being talked down to because a feminist disagrees with my position:

Wayne looked around, her lovely haughty face with scorn.  "How like earth men," she said.  "What other Earth-derived men say is all that's important - the outcries of native beings count for nothing."

"Two of the spokespeople for the Discordians were women, Commissioner," Uhura said quietly.

Wayne dismissed the objection with a flip of her hand.  "The leader was a man.  They're a male dominated, exploitative society.  The women were figureheads - nothing more.  They'll recite the lies they're told to."

"This ship is commanded by a man, Commissioner," Uhura said.  "Does that mean I and all the other women aboard are nothing but puppets and empty headed liars?"

"Lieutenant, I don't think I like your tone."

"Commissioner, I don't think I like yours."

The passage above represents the Commissioner - Moriah Wayne - well and... she's easy to hate because she's someone everyone knows.  The apologist with that particularly detestable way of thinking, or reasoning which alienates everyone and will not be brought around to reason.  She demonises one group in this case human men, in other cases all humans, in favour of another species with no consideration that perhaps they (in this case the Susuru) might be in the wrong.  In this case, Moriah's hatred goes so far as she becomes more of a monster than the monsters, in her thirst for her particular brand of 'justice'.  I've said before that Star Trek is at it's best when it's tackling a real life issue, in this case it's a stark warning of a destructive way of thinking, a thinking which seeks to punish and destroy groups of people because of their backgrounds whilst elevating others because of past injustices committed against them.  Whilst supporting a group and giving them the means to improve is certainly a good thing this shouldn't be done whilst punishing people who are circumstantially in a better position.

I'll stop proselytizing now, I just had to get that off my chest!

Most horrifying of course (not really, but humour me) is that Kirk makes a terrible misjudgement regarding his relations with her.  Seriously James T., that woman was unhinged from the moment you saw her, just you just couldn't keep it in your regulation pants!  I am disappointed.  Problem is, it isn't outside of his character to do such a thing...

Anyway, not going to spoil just how beastly she is, but she does do something quite horrific, and you know what, when she eventually gets her comeuppance it is intensely satisfying.  Intensely satisfying.  On thing I do dislike though about her characterisation is that her behavior or, well frankly insanity is blamed on a tragic back story.  Like, Milan had to explain it away with some hackneyed pseudo psychology about her being an abuse victim so it kinda mitigates the pure evil she commits.  Sorry Milan, it doesn't.

Through the commissioner's story we also have a little bit of insight into Federation politics and the  possibility (almost a certainty) of corruption therein. Different authors have different takes on the situation within the body politic, Milan suggests a wearyingly familiar scenario where self serving individuals cover up  the evil actions of their friends.  I still don't agree with how this is linked with Moriah Wayne, I don't see why she had to have an excuse to be a monster.

Theoretically we're challenged to accept the 'human' interlopers, after all they are remnants of Earth's Eugenics Wars - think Khan - who escaped earth on a sleeper ship, only waking and landing on this oceanic planet forty or so years ago.  The most challenging is that they still practice genetic engineering, which really has been a requirement for life on this planet with its punishingly hot and humid environment and limited land.  The Augments are resourceful and command respect for their adaptation to their new environment, not just genetically but also in the way they have changed culturally and technologically to live on vast floating cities that have the capacity to submerge if the need arises.

We're introduced to a number of characters from the 'Discordians'  / Auguments, including a rather attractive green haired girl... who actually is the first character to be described in the book.  Kirk realises however that his 'love' has got him in trouble once this adventure and doesn't pursue her although he is interested in her (and she in him).  Aileea is set up to contrast to Moriah.  She is strong in combat, leading defense against the attacking Susuru but is also gentle and doesn't want to hurt them.  She is a strong representative of her people without a bureaucratic/political body behind her and doesn't feel she has anything to prove, seeing herself as equal to all others.  Other discordian characters are equally likeable one extensively engineered woman strikes up and easy friendship with Spock, and another male representative just seems like a super nice, accommodating guy!

I said that we are theoretically challenged to accept the Augments, but in actual fact the challenge isn't all that hard, and I'm not sure if that is a clever ploy to unsettle us and make us feel like we're backing the wrong people, or whether it's just supposed to be taken as read.  After all, the Susuru are allied with the Klingons and they also seem utterly unreasonable, and aside from a couple of contacts with them we don't get to know them as a species.  The reader and the Enterprise crew don't get a chance to like them or understand them, although it is difficult to speak to them with the Klingons there.

The main challenge I guess is not trying to reach into the book to strangle Moriah Wayne?

The Klingons needed to be there to facilitate the Susuru's use of advanced weaponry, but they do fall a little flat.  The commander of the Klingon forces wishes revenge on Kirk for several events in the past, and he's the one who has concocted this plan to get the Enterprise here while trying to control the planet...  He's not a strong character and is overshadowed by Wayne, this is possibly because he's a strange combination of TNG and TOS Klingons.   The Klingons also have a secret weapon hidden under the sea... however this again falls flat as the Enterprise defeats it with relative ease.

I haven't read any other books by Victor Milan,  but he isn't an inexperienced author looking at a list of his published works, although From the Depths is his only Star Trek novel.  I'm not sure that reading this novel really makes me want to read any other of his offerings.  I did enjoy it on the whole but that's mainly because of the characterisation of Moriah Wayne... and the fact she was utterly revolting to me (love to hate!), but certain parts of the story let it down terribly.  I still want to recommend this novel however, it's worth picking up for a quick and enjoyable read.

3/5 - Somebody set us up the bomb!


Finally - Merry Christmas and Happy Hanukkah! 😺

Star Trek - The Starship Trap

'He did not normally have such thoughts.  A starship captain must be an optimistic and clever person, in addition to the other attributes he or she might have.  For one thing, Kirk was philosopher king, a supreme and benevolent leader in his twenty-three deck realm.'

I didn't pick this one!  I actually asked my partner to pick one this time, which is probably why the cover is unlike the others!  I was somewhat put off by the woman on the cover, don't be afraid, she is not a romance option (I'm not biased at all nooooo....)!  I had to laugh though, she's illustrated wearing a Starfleet uniform, but it is an important part of the storyline that she isn't part of Starfleet at all.  I formulated all kinds of theories about how she would end up in a uniform, like, she was an undercover Starfleet spy keeping an eye on an errant anti-Starfleet Federation politician - needless to say, it was not the case.  Which leads me to ask, who did brief the artist on what these covers should be?  Mind you, can't complain, the artist put Kirk on the front at his best (3/4) angle, and since the cover of the last novel I reviewed was Kirkless, well, I'm glad my eye candy is back!

The Starship Trap (#64 Pocket, #59 Titan) (1993) by Mel Gilden opens with a quote -

To see a world in a grain of sand,

And a heaven in a wild flower,

Hold infinity in the palm of your hand,

And eternity in an hour.

                                       - William Blake

                                          1757 - 1827

- and quite a lofty one at that!  It's a very well known piece of poetry, and I have to admit I was a little dubious because of it.  Why?  Well, I sometimes feel that authors try and oversell their work by putting a 'deep' quote at the beginning, trying to make it more that it is.  That might have coloured my expectation of it a little and perhaps my perception of the narrator.  The narrator's voice comes  across as pretty arrogant, and slightly aloof but his observations are usually smirk inducing.  The narrator's main focus is Kirk, his thoughts, feelings and perspectives.  I think the narrator has a strong synergy with Kirk, or perhaps Kirk overwhelms the narrator a little... he's charmed by him and the narrator digs in to Kirk's smarmy nature for the best observations and reactions.  Spock and McCoy are strong supporting characters, well characterised especially when the narrator's gaze moves from Kirk for a short while and reads their inner workings.

Much of Kirk's interactions in this novel are characterised by a distinct weariness, which you can occasionally see in the series, there are certainly a couple of episodes in season three in which Kirk (or Shatner... perhaps both) is really fed up with the general state of things.  Short tempered, likely to say something with a 'devil may care' attitude, tired of responsibility, tired of politics and bureaucracy.  This may sound like it's going to be a heavy book with a description of Kirk's temperament like that, but it's not so!  The Starship Trap is an offbeat but funny novel that just seems to hit the right key.  I guess Kirk's attitude in this story is best described as sardonic, which ousts McCoy from his usual role as resident cynic-come-humanitarian to bold-optimist.  It's nice seeing Bones being cheery, and also RIGHT about someone!  Spock remains Kirk's right hand, companion and quasi-computer, I'm fairly sure that he's relieved that Kirk couldn't go chasing tail this time!

I'm getting a bit ahead of myself, I haven't even summarised the story yet... but for once I don't know where to begin!

The story begins with the Enterprise crew on shore leave, this gets interrupted with orders to go pick up one Conrad Franklin Kent and his assistant.  Kent is a Federation politician, Federation presidency hopeful and noisy critic of Starfleet, he is joined by his able assistant Payton, a woman who 'gets things done.  On picking the Kent and Payton from Pegasus IV, Kent then orders Kirk to travel to Starbase 12.  You can imagine Kirk's disapproval at this turn of events, especially since the Enterprise is being used as a taxi to a man such as Kent.  During this trip we are introduced to Payton's mental augment; she has an implant which allows her to record everything she experiences for her records - this of course goes down a treat with Kirk, already not in the greatest of moods.  While on route to Starbase 12, the Enterprise is confronted by a Klingon starship, the captain of which claims that the Federation have been the perpetrators of attacks on Klingon vessels and responsible for their subsequent disappearance.  The easily dislikable Kent refuses to confirm or deny a weapon's existence to the Klingons.  A truce is eventually brokered and the Enterprise continues on its way, Kirk still in the dark as to the purpose of the journey.

On reaching Starbase 12, it is revealed that the Enterprise is to firstly engage in the testing of a new shield configuration designed by the reclusive Professor Omen (who also designed weapons such as the photon torpedos)  and then go search for the weapon (with Omen's help) which has been causing not only Klingon ships to disappear but also Federation and Romulan ships too.  Payton also is required to come along on the expedition in order to record the mission with her device and write report for Kent.  Naturally nothing goes to plan and the Enterprise is drawn into a trap, causing the Starship and crew to be thrown into another empty universe which they have to escape in order to stop a madman from sending the crews of hundreds, perhaps thousands of starships into other, unknown universes. 

I actually don't want to give too much of this one away, because it's one of those books which will be a pleasure to read and discover yourself.  The Starship Trap is probably more story development orientated than character development, but it is a good balance and Mel Gilden's writing is really uplifting and enjoyable to read.  The twists and developments in the story aren't incredibly obvious and I was kept guessing as to whether some characters had more information about the big bad than they let on.

Kirk and Payton are the strongest characters in The Starship Trap.  The way the narrator presents Kirk's narrative is humourous and his slightly off colour mood just really works.  I think I just really wanted a Kirk-centric novel, and this fit the bill!  Aside from the narration of Kirk's thoughts, I did like a particular section where Kirk wants to be involved with looking for a solution, only to find that he simply can't be involved.  Payton is an unusually strong original character who is well developed and is actually useful!  I particularly like the use of her augment, and how it is used as a way to develop her emotionally.  It was also nice that she was out of reach for Kirk (she had absolutely no interest in him and is engaged to another man), which meant they develop a better relationship.  By the end of the book, I was sorry to let the original characters go, I would happily meet them again in another outing (even Kent!)!

Mel Gilden just does a seriously good job with this book, and part of me isn't happy just seeing this in print.  I think it would have made a really good episode, which I don't think is accidental.  Mel Gilden has written a huge amount of TV scripts as well as four Star Trek novels, but it's clear he has a mind for television, the scene changes are often sudden but they are just in the right place to cut out any time wasting dialogue or actions.  At one point Gilden introduces us to an alien race in an alternate universe called the 'Klingee', they are of course that universe's Klingons, but their ships are a dusky pink and they are less warriors and more playground bullies who are easily manipulated into retreating.  The Klingee just felt very in keeping with the humour of TOS, again television friendly, and aren't we reading these novels because we love the television series so much?

4/5 - Yes, the poem does relate to the plot!