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Star Trek: Strange New Worlds — The Seeds of Salvation TPB (Review)
Christine Chapel leads a rescue mission into an ancient prison hidden beneath the frozen world of Poilant in Star Trek: Strange New Worlds — The Seeds of Salvation. Robbie Thompson delivers a thoughtful horror-flavoured Star Trek adventure with strong character work, impressive artwork, and a satisfying Trek conclusion, even if a mid-book art change and a few familiar tropes stop it short of greatness.
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Star Trek: TOS – The Corbomite Maneuver (S01E10)
There’s a small moment early on that tells you more about this episode than the plot ever does. Spock looks at Balok’s face on the viewscreen, a snarling oversized puppet built to terrify, and instead of flinching he says one word: fascinating. Leonard Nimoy was still refining Spock at this point, and director Joseph Sargent reportedly told him to be different, be the scientist, be detached. That single word is where the Spock we all recognise really starts to emerge. It’s a quiet decision, and it tells you everything about what this episode is doing underneath the space bluff and the countdown clock.
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Star Trek: TOS – Dagger of the Mind (S01E09)
A plastic dome hangs from the ceiling of a treatment room, a small light turning inside it. That is the entire neural neutraliser, the device the whole episode is built around, and on paper it is nothing. A prop the art department could have thrown together in an afternoon. By the closing minutes it is one of the most frightening objects the original series ever put on screen, and the distance between the first impression and the last is most of what makes “Dagger of the Mind” worth talking about.
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Star Trek: TOS — Miri (S1E08)
The children are heard before they’re seen. Voices carry down an empty street, a playground chant bounces off buildings nobody has lived in for centuries, laughter arrives with nothing funny behind it. Spock describes them scurrying away “like animals,” and for a stretch in the middle of it, “Miri” is one of the genuinely unsettling things Star Trek made in the 1960s. Long before zombies became a genre anyone could phone in, TOS built a dead suburb full of feral children and trusted the silence to do most of the work.
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The Art of Star Trek & Defiant — The Bright and The Stolen Ships
Flip from the Star Trek half of this book to the Defiant half and you can feel the temperature drop. One minute you are looking at Ramón Rosanas’s clean, sunlit bridges, the kind of art that makes the 24th century look like somewhere you would actually want to live. The next you are in Ángel Unzueta’s painted murk, where a crew of rogues aboard a stolen ship glower out of the shadows like they have somewhere worse to be. The Art of Star Trek & Defiant collects two years of comics that ran side by side, and the cleverest thing about it is that it never once pretends they were the same show.
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Star Trek: TOS – What Are Little Girls Made Of? (S01E07)
There is a profound gulf between a clean, mid-century sci-fi concept and the messy realities of a weekly television production schedule. Robert Bloch, the mind behind Psycho, hands over a script packed with meaty questions about identity, transhumanism, and the exact boundary where a machine begins and a human ends. It is a fantastic template. What the production does with it is more complicated.
