</I am now convinced I am being haunted by Margaret Armen. I keep running into her just after I think I’m finally rid of having to square away her influence for good. All that said, she has indeed cropped up once more so it’s time to look at her work yet again. I have to say, invoking Margaret Armen in any capacity other then “vehemently trying to pretend her scripts didn’t happen” is always going to seem a bit suspect to me. Nevertheless, she was one of the most seasoned and experienced writers of the period of Star Trek history, and considering she contributed almost as many stories to the Animated Series as she did to the Original Series it would seem D.C. Fontana was considerably more enamoured of her work than I am./>

Beneath the surface of Loren 5, Kirk and the Enterprise away team discover what Sanderson and his team had found while mining for Dilithium and what Kor’s crew was after: A sprawling underground city that seems ancient and deserted, and yet built around scientific and technological concepts far beyond the comprehension of any of the major galactic powers. As they search the site for clues, Kirk and Spock eventually locate what is likely to be the source of the city’s power and import: A gigantic Preserver obelisk, much like the one that stripped Kirk of his memory back in “The Paradise Syndrome”. Oh dear.

</The best way to approach this, or at least the only way I can think of that’s not horrible and soul-crushing, is to presume Fontana saw something in Armen’s work that I don’t, and that this is why she brought her back time and time again and why she gave her a nod in this story along frankly far more deserving candidates like Gene Coon and Nicholas Meyer. Armen was, of course, the only other regular female writer on either the Original Series or the Animated Series. This didn’t have to be the case: Both shows had very promising talent in people like Joyce Muskat, Joyce Perry, Jean Lisette Aroeste, Shari Lewis and Judy Burns who were, for whatever reason, never asked to come back despite many of the absolute best and most beloved episodes of either show being their work. And that’s not getting into the rabidly loyal and obscenely talented people in the fanfiction community, any of whom Fontana could have cherry-picked for the Animated Series in a heartbeat at any time. But be that as it may, the only significant female voice we get on “official”, “canon” Star Trek apart from D.C. Fontana until the 1980s is Margaret Armen./>

I know “The Enterprise Experiment” is a massive bit of fanwank, but of all the people whose work Fontana could have pulled from, I’m at a complete loss to explain why one of them had to be Margaret Armen, a writer whose track record on Star Trek can charitably called “disastrous”. I’ve never understood why “The Paradise Syndrome” was considered such a beloved episode of the Original Series (well, actually I do, but I try to pretend I don’t to preserve my enthusiasm for this franchise and project, not to mention my faith in humanity in general): One could, I suppose, read the Kirk/Miramanee love story as an early version of the much more famous, and, for all its other faults, frankly better, manifestation of this kind of story in Carol and David Marcus in the Original Series movies.…

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Commander Kor is not happy. He sits soliloquizing on the bridge of his battlecruiser reflecting on his humiliating defeat the the hands of the Organians and the Federation three years ago, a defeat which brought shame and dishonour upon his house. Decoding a message from Starfleet Command about a rich Dilithium deposit and mysterious and ancient archaeological ruins discovered on Loren 5, Kor sees this as the perfect opportunity to test the resolve of the Organians and the Federation both and moves to launch a full-scale invasion of the mining colony.

</As if the brutal fistfight between Captain Kirk and a Klingon on the cover of this month’s Star Trek: Year Four-The Enterprise Incident wasn’t a tip-off, the Klingons are back because of course the Klingons are back. In particular Kor, and in particular the pacifism debates from “Errand of Mercy” and “Day of the Dove”. But even so, what little we see of Kor in this issue is indicative of a minor, yet significant, reconstruction effort Fontana seems to have pulled. He’s behaviour is naturally very much more in keeping with the post-“Heart of Glory” or “A Matter of Honor” Klingons (or I suppose it’d be more accurate to say post-“Blood Oath” as Kor himself was featured so prominently in that one) rather than the Original Series Klingons, though do recall “Day of the Dove” proper had laid a lot of this groundwork already. But what’s more interesting to me is Kor’s desire to test the resolve of the Organians and the Federation:/>

Of all the Klingon characters to bring back from the Original Series, Kor seems like the best choice for the story Fontana seems to want to tell. “The Enterprise Experiment” is very much going down the road of problematizing Star Trek’s fixation, or perceived fixation, on valour and militarism, and that sort of critique takes us right back to “Errand of Mercy”. From the perspective of the Organians, who will likely go on to play extremely significant roles in the resolution of this story, Kirk and Kor were effectively representing the same viewpoints. Unlike as was the case with both Romulan Commanders though, we’re *not* meant to feel sympathetic to the captains in “Errand of Mercy”: These were not ordinary people who were victims of time and circumstance, these were people who committed reprehensible acts in the name of their respective empires and forced a third party to intervene and put an end to their warlike predilections. Bringing Kor back here is in fact significant, and reinforces the positive light the Romulan Commander was cast in last time.

</This is very much the kind of thing warriors do to people they consider equals, or people who they wish to see if they can consider equals. Kor is issuing a warrior’s challenge to Kirk (he hasn’t met Kirk yet in the story, but we all know that’s who he’s thinking of) and the Organians to see if they can earn the right to be called worthy adversaries.…

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We open on a flashback explaining how the Romulan Commander managed to escape “processing” in “The Enterprise Incident”. It seems she was involved in some form of prisoner exchange that was part of negotiations between the Federation and the Romulan Star Empire. Sarek makes a brief appearance, expressing hope that the Romulans and the Vulcans would come to some sort of understanding given their shared lineage, but doubtful given the Romulans’ capacity for deception. Back in the present day of this story, the Commander remarks that it’s a appropriate she would find Kirk attempting to test a Federation cloaking device based on the one he stole from her.

</We open with another pointless continuity reference. Sarek’s presence at the exchange is obviously intended to foreshadow “Unification”, and as a result cheapens it by removing Spock’s personal desire to see the Vulcans and the Romulans reunited, and thus his primary motivation. Attributing this to Sarek not only diminishes Spock by attributing his character’s defining aspiration in the latter half of his life to “following in his father’s footsteps”, it also makes no sense because that dream was very much meant to come from Spock *himself*: It’s his own life experiences and view of the Romulans that grants him this positionality, and it’s this that allows him to take on a totally unsanctioned mission. Furthermore, Sarek’s comment about the Romulans’ capacity for “paranoia and trickery” is entirely out of line, and I’d’ve expected D.C. Fontana of all people to catch that: The Romulans were far from paranoid and devious under her tenure./>

From there we get what is frankly an utterly brilliant scene as Kirk and the Commander trade barbs across subspace. Kirk complains she’s violating the treaty agreement, she counters by saying she’s no more in violation than he was when he crossed the Neutral Zone, provoked attack and stole her cloaking device. The Commander then requests Kirk surrender or she’ll destroy the Enterprise and Kirk tries to bluff her by saying there’s an entire armada cloaked behind him ready to strike if she makes a move. The Commander immediately calls him by casually stating that this is an obvious lie because her ship intercepted the distress beacon Scotty and Arex had sent out in the last issue in hopes of letting Kirk and Spock know of their condition and, oh yeah, Kirk left the shuttlebay hangar doors open. This results in an exchange so utterly golden it could only come from D.C. Fontana:

</What is brilliant though is how Fontana handles the Commander and her crew. As soon as we return to the present day, the story quite boldly gives the moral high ground to the Romulans, and more than once in succession: The Commander rightfully points out that Kirk is in no position to complain about her violating treaty and that none of his signature poker bluff diplomacy is going to work on her this time. What’s also really intriguing is the thematic progression between the first few pages: We begin with Sarek’s comment about inherent Romulan duplicity, and then the story goes on to show the Federation, and not just the Federation, but our supposed *heroes*, acting incredibly duplicitous and untrustworthy.…

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It’s such a perfect idea one wonders why it wasn’t done sooner. D.C. Fontana was the script editor for the lion’s share of the Original Series and had worked on the show since the beginning. She penned a number of the most popular and best-received episodes of the show and played a large part in shaping Star Trek into the form we now recognise. Even without taking into account reprising her role for the first season of Star Trek: The Next Generation, contributing to Star Trek: Deep Space Nine with Peter Allan Fields and writing three video games, Fontana is simply a no-brainier to handle Star Trek: Year Four: It’s obvious, really-excepting the deceased Gene Coon, she’s without question the heir apparent to carry on the mantle of the Original Series.

</Although not D.C. Fontana’s first Star Trek work since The Animated Series, “The Enterprise Experiment”, a five-issue miniseries from 2008 that was a part of IDW’s Star Trek: Year Four line of titles, is at least the first to explicitly interact with this era of Star Trek’s history. For this project, Fontana reunites with her longtime collaborator Derek Chester, a comic book and video game writer otherwise known for his work on Lois and Clark: The New Adventures of Superman and with whom she also worked on Star Trek Bridge Commander, Star Trek: Legacy, and Star Trek: Tactical Assault. />

“The Enterprise Experiment”, as you can probably guess, picks up in the aftermath of the third season episode “The Enterprise Incident”, where Kirk engages in diplomatic subterfuge to steal the Romulans’ prototypical cloaking device. Kirk and Spock are adrift in a shuttlecraft, trying to locate the Enterprise, which has cloaked itself using said device as part of an experiment to test its functionality as a potential asset on Federation starships. The cloaking device the Enterprise is using is a variation of the original Romulan design cooked up by Starfleet Intelligence and has, hypothetically, alleviated all the problems the Romulans had with its predecessor. However, it soon becomes apparent that not quite all of the bugs have been worked out, as the Enterprise fails to respond to Kirk and Spock’s hails. Presuming something has gone wrong, Spock opens the shuttlebay hangar doors with what basically amounts to a garage door opener (which is pretty funny) and the shuttle returns to the ship on its own. Climbing aboard, however, Kirk and Spock find it seemingly abandoned, with not a single crewmember in sight.

</The upshot to this is, of course, that it is deeply and bitterly ironic that D.C. Fontana ends up writing for a series set during the same time period as her *own* Star Trek series that everyone seems ready to forget actually happened. IDW editorial in particular twists the knife rather egregiously, whether intentionally or not, in their interview with Fontana that preceded this series: Every other question they ask for her thoughts on the “canonicity” of the Animated Series, leading to an especially revealing exchange where she lays into the character of Sybok in Star Trek V: The Final Frontier, saying that it annoyed her because it flatly contradicted the backstory she personally established for Spock in “Yesteryear” (namely that he was an only child) capping it off with the equal parts wry and loaded statement “Apparently it’s not canon if I write it”.…

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