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Spoilers TOS: The Captain's Oath by Christopher L. Bennett Review Thread

Rate TOS: The Captain's Oath

  • Outstanding

    Votes: 27 45.0%
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    Votes: 25 41.7%
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    Votes: 2 3.3%
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    Votes: 4 6.7%

  • Total voters
    60
I guess because it's not as obvious to the common moviegoer. Probably a lot of the audience had no idea the center of the galaxy should take the Enterprise decades to get too.

Which I see as a failure of our educational system. These things are not that hard. I understood them before I was 10. And space is cool, so why don't we teach more about it?

Besides, science fiction is a great educational tool in itself. I've learned a ton about real science from the SF I've read. So instead of "People don't already know this so we can be lazy and make up inane nonsense," I wish more screen SF creators would think "People don't already know this so let's enlighten them about it." Star Trek has actually been pretty good about that at times, especially in early TNG ("Evolution"'s portrayal of a periodic nova is so good you could use it in an astronomy class), but never in the movies (except for the whale stuff in TVH, to a degree).

So they sort of 'get away' with it there. Whereas if they did something like but the Golden Gate Bridge in Moscow, most people know that is wrong.

But that's my point -- to give you a sense of how it feels to people like me who do know it's wrong. I'm saying, imagine how much those errors of Earth geography would pull you out of the film, and that's how screen SF makes me feel all the damn time. It's really frustrating.

The problem with basing your decisions on what "most people" will be ignorant of is that it's ignoring the needs of that part of your audience that does know those things and will be bothered by them. Fairness does not mean screwing over everyone who isn't in the majority. It means trying to give an equally satisfying experience to everyone, regardless of their differences from one another. A dedicated storyteller will not use the appeal to the majority as an excuse to be lazy and blow off doing their homework. A dedicated storyteller will put effort into the details, even the details that most viewers/readers will never notice. Because some of them will, and you want them to enjoy the experience as much as everyone else.


Well, in all honesty, I doubt the writers of TFF even considered the animated series at all. They probably didn't even recall "The Magicks of Megas-Tu" had a center of the galaxy story.

Yes, that's the point. TAS was treated as "optional" well before the Arnold memo. There was never any official policy regarding its use; it was up to the individual creator to decide whether to count it, if they were even familiar with it.


Well, there was have a case where you are more forgiving than I. I thought they were atrocious, even at the time. I was like, these special effects are awful.

I just don't see it. Sure, to audiences who'd come to expect ILM-level effects in Trek movies, they were a letdown. But I didn't think they were any worse than what you'd see in the average non-ILM movie of the day. They conveyed what they were meant to convey, you couldn't see visible matte lines on the ships, etc. Okay, I think there was one shot where the Enterprise noticeably slid across the screen as a 2D image, and one where a reflection in the shuttle window was recognizably a transparency affixed to it, but other than that, they just seemed unexceptional to me.
 
Which I see as a failure of our educational system. These things are not that hard. I understood them before I was 10. And space is cool, so why don't we teach more about it?

A dedicated storyteller will not use the appeal to the majority as an excuse to be lazy and blow off doing their homework. A dedicated storyteller will put effort into the details, even the details that most viewers/readers will never notice. Because some of them will, and you want them to enjoy the experience as much as everyone else.

I agree with you. I would prefer smarter sci-fi. I don't exactly give them a pass on TFF. There are other reasons for it being 13/13 of Star Trek films that just the special effects. The story does have something to do with it as well. At the time I too wondered about the distance involved and how they got there so quickly (though I was still a pretty new fan, 3 years at that point and I didn't yet know how fast warp speed could go--I probably wouldn't guess it would take decades, but I figured it would take a lot longer than it did in the film). When Voyager came out in particular, that really exacerbated things for TFF. I think that's when fans in general started thinking 'hey, if it takes Voyager about 80 years to cross the galaxy at maximum warp, shouldn't it have taken the Enterprise years to get to the center of the galaxy (probably longer since the Enterprise-A's cruising speed was not as fast as Voyager's).

It's just with the type of other films I also enjoy, I just weigh things like that a bit differently. If I can enjoy other things about the film it'll help me, I'm not sure of the word, I don't exactly overlook it, but I guess you can say I'll move on and focus on the things I did like. I have TFF and usually watch it when doing a movie series rewatch. It's definitely one of the weaker Star Trek films. But there are still things I do like about it.

But what you cite is one major reason I love TMP. That is a pure sci-fi film, and probably the most pure Star Trek film, IMHO. I acknowledge, and might even agree with some criticisms of it. But I loved it nonetheless. The story, the ship looked amazing in that movie (I loved the bright interiors, the lighting), the music, and the special effects were well done for 1979 (and frankly I still think they look good today). The directors edition was even better--not so much for some of the new effects shots--but because it fixed some of the pacing problems I did notice about the extended edition (believe it or not, I actually never saw the original theatrical version; I keep hoping the directors edition sees a Blu-Ray release--come on Paramount, how bout a 40th Anniversary Directors Edition ;) , I have that version on DVD and the special longer version on VHS).

I just don't see it. Sure, to audiences who'd come to expect ILM-level effects in Trek movies, they were a letdown. But I didn't think they were any worse than what you'd see in the average non-ILM movie of the day.

Hmm. I suppose they set the standards rather high in the earlier films. But you don't need ILM to do at least decent effects. I thought TMP, Insurrection and Nemesis all had at least decent to great special effects and none of those used ILM. The only effects shots I liked in TFF was the Enterprise parked near the moon (that was actually a pretty well done shot) and the other was on Nimbus 3 after the shuttle landed and you saw the moons over Paradise City. I thought the moons maybe were a bit too bright possibly, but otherwise it was a very nice shot. The rest, ugh, a huge step down. The Klingon ship at warp when they tried (and failed miserably) to copy TNG warp streak effect--my favorite warp effect BTW. It just looked like a cheap B-style sci-fi film. That is one element of TFF that can be fixed and I wish they would. I really think there'd actually be a market for that and in this day and advancements in CGI I don't think it would cost them much. Hell, fans can probably create better effects for free ;)
 
I thought TMP, Insurrection and Nemesis all had at least decent to great special effects and none of those used ILM.

ILM's founder John Dykstra worked on TMP, though, during the period between SW and TESB when ILM was dissolved. And of course ILM wasn't the only source of great FX; Douglas Trumbull's work was right up there too. But what I'm saying is that by the late '80s, ILM had become the gold standard for top-notch FX, and while there were some other houses that could work at a comparable level or nearly so, there were plenty of films putting out more mediocre work, and of course some films that had awful FX. My point is that if you considered every VFX-heavy film that came out in the late '80s, TFF would probably be more in the middle quality-wise than at the bottom.

And INS and NEM don't count, because they were 10-14 years later. I'm talking about the state of the art in the late 1980s and where TFF falls in that bell curve.
 
And INS and NEM don't count, because they were 10-14 years later. I'm talking about the state of the art in the late 1980s and where TFF falls in that bell curve.

Ok, it was probably a bit unfair to include Insurrection and Nemesis. I omitted the Abramsverse movies and I should probably omit TNG movies as well for the same reason.

But between TMP and TUC, TFF definitely falls well below the standard of the other Star Trek films. Maybe compared to other contemporary sci-fi films they were passable. But I compare TFF to the other Star Trek films, and compared to the other 5 films they are a big step down. It sticks out like a sore thumb among the first 6 films. Which is a reason I'd love to see them at least bring it up to the standards of the time.
 
But between TMP and TUC, TFF definitely falls well below the standard of the other Star Trek films.

Yes, I've already acknowledged that, so it's pointless to restate it. Obviously, yes, if you compare TFF exclusively to other Star Trek films, it holds up quite badly. That's already stipulated. But my point is that such a limited, biased sample is an objectively bad standard to judge by. To get a more informed and accurate opinion, you need to take a more representative sample into account. Since Trek FX were usually by ILM, the best in the business, that means they were collectively well above average for the day. Therefore, "the worst effects in a Trek film" does not equate to "the worst effects of all time" as fandom's hyperbolic complaining for the past 30 years would have it. They were just okay, and it's being spoiled to denounce "just okay" as "the worst thing ever."
 
Yes, I've already acknowledged that, so it's pointless to restate it. Obviously, yes, if you compare TFF exclusively to other Star Trek films, it holds up quite badly. That's already stipulated. But my point is that such a limited, biased sample is an objectively bad standard to judge by. To get a more informed and accurate opinion, you need to take a more representative sample into account. Since Trek FX were usually by ILM, the best in the business, that means they were collectively well above average for the day. Therefore, "the worst effects in a Trek film" does not equate to "the worst effects of all time" as fandom's hyperbolic complaining for the past 30 years would have it. They were just okay, and it's being spoiled to denounce "just okay" as "the worst thing ever."


Awe, come on. I don't want to be fair. That's no fun at all :nyah:

In all seriousness though. I believe in my own personal complaints about TFF's effects, I've only noted in comparison to the other Star Trek films. I don't recall ever saying they were the worse ever in all movies. I don't recall ever comparing it to other outside films or series. Only just the worse of the Star Trek movies, and at times I might have said I've felt some of the original series effects were better (ok, maybe I was half joking on that one :razz:).
 
In all seriousness though. I believe in my own personal complaints about TFF's effects, I've only noted in comparison to the other Star Trek films. I don't recall ever saying they were the worse ever in all movies.

But plenty of people have said that over the past 30 years, and I've always found that puzzling. As I said, I only found them run-of-the-mill, neither great nor awful. It's not like there were huge obvious matte lines around the ships or like the matte painting of Mt. Rushmore was done in crayon or whatever. They were adequate at depicting what they were meant to depict.
 
But plenty of people have said that over the past 30 years, and I've always found that puzzling. As I said, I only found them run-of-the-mill, neither great nor awful. It's not like there were huge obvious matte lines around the ships or like the matte painting of Mt. Rushmore was done in crayon or whatever. They were adequate at depicting what they were meant to depict.

You know, you made me realize something. I never really compare Star Trek to other sci-fi (other than maybe Star Wars--but usually only to point out Star Trek is sci-fi and Star Wars is more fantasy/space opera).

I only ever compare Star Trek to, well, Star Trek. I generally only think of it in terms of one Star Trek production in comparison to another. I never really thought to compare the special effects of TFF to outside sci-fi productions. I only ever thought of it compared to the other Star Trek films.

It's amazing for me to think of that now. It never even occurred to me to go outside the Star Trek family when thinking of any of the Star Trek shows, movies or books. I may compare TWOK to an episode of DS9 say...but I can't say I've ever compared it to some other show or movie in some other franchise.

And I'm not sure why....the only reason I can think of is with all my interests, Star Trek is my favorite. Maybe I just felt nothing else compared as a result, I don't know. :shifty:

It's almost like when you go to a video store (well, when there used to be video stores) and you have the different genres. For me there might be horror, action, sci-fi, drama and Star Trek, a genre unto itself.
 
I don't know, I kind of figured that the Iotians have great potential. They are credited as intelligent and good at mimicking. They can pick up on new cultural ideas fast. I know it's from a comedy episode, with a punchline ending, but still. Cultural mimicking the way they can? They'd be great cultural chameleons. Imagine them as part of the Federation, when caught up technologically. They would be great for infiltrating and evaluating pre-first contact cultures. On an evaluation team, they might be better at not drawing attention to themselves by blending in with the culture being evaluated, if they had to interact with individuals of that culture.

to the Worlds of the Federation or Marvel Star Trek Unlimited version that shows them changing their culture wholesale to mimic Starfleet.

IIRC, that was also a story idea pitched for DS9's TOS Anniversary episode.
 
I really liked this book. I voted it as "outstanding." Maybe I'm a little biased, but Kirk is my favorite character in the franchise, so there were major points in favor already. I thought the "voice" of Kirk, particularly the "early" Kirk we came to know in WNMHGB and in early S1, was written perfectly. It seemed there was a great deal of effort to show formative experiences of Kirk's in his early Command days that led him to the values he displays in the series.

Some random notes:

1. People who say Trek shouldn't be pew-pew and space battles don't get Trek.Star Trek is GREAT at space battles, and they definitely have their place, when they are done like this...written, filmed, or otherwise. The battle here against the Agni has creative tactics and an enemy with unique offensive and defensive capabilities / techniques. It's not just ships flying around and shooting at each other. It's smart, tense, creative and engaging. That's what a Trek battle should be.

2. I really liked the plot with the Agni, particularly when they get to Regulus and the Sacagawea crew need to negotiate with them in an "Arrival" heptopod-inspired exchange. Again, here we have the written format being used to its fullest advantage, by exploring an alien race of beings who truly are alien...not just biped humanoids with weird foreheads and noses that were seen too often in the series.

3. The mission with the Nacmorians literally felt like an episode of TOS from S2 that didn't get filmed / aired. I could see it in my mind's eye just like it would have been in 1967...music and all. Very nice.

4. I rarely get emotional with books...but the crippling of the Kongo during the battle with the Agni, and the death of Kirk's former first officer, Cmdr. Egdor, actually brought a tear to my eye. It was a great moment...well written, and particularly poignant given that it meant the survival of the Pike-commanded Enterprise at that moment.

5. The characters of Diaz and Sherev were well realized and engaging. I liked and cared about both of them...and that's usually hard for me when I read a Trek book...becuase I'm all about Bones, Scotty, etc.

6. I appreciated seeing Kirk's relationships with other TOS captains we'd seen. You can see why Commodore Wesley would give Kirk the benefit of the doubt in "The Ultimate Computer," given their experiences together in this story. Even better was the mild forshadowing of the type of man Ron Tracy really is. I loved that element of the story...and it played well without being too heavy-handed or obvious about it.

7. You could also see the seeds of how Mitchell might be so easily corrupted in WNMHGB here. Again, very subtle...but consistent and well-done.

8. I might have just been tired as I was finishing the book, but I don't think I understood what was going on at the end as we see the Enterprise getting assigned to explore beyond the "galaxy's edge." It read as though a subspace tunnel of some sort had been discovered that wold allow a ship to get there quicker (great explanation as to how/why the journey could reasonably take place)...and there was some talk about a "discontinuity in the medium" that interstellar dust couldn't get through but stars could. I'm assuming this is the Galactic Barrier, but I'm having trouble visualizing what this is referencing. I love WNMHGB...so I'm really interested in this set-up, but I think I just didn't understand it well. I also really liked the idea that they are more trying to "pop up above the galaxy rather than literally traveling "lengthwise" to the "edge."

Anyway, it's been a while since I'd read a Trek novel. This was definitely a good one.
 
I really liked this book. I voted it as "outstanding."

Thank you!

I thought the "voice" of Kirk, particularly the "early" Kirk we came to know in WNMHGB and in early S1, was written perfectly.

I don't really have to think about how to write in Kirk's voice. It's been burned into my brain since childhood, so it just sort of happens.


1. People who say Trek shouldn't be pew-pew and space battles don't get Trek.Star Trek is GREAT at space battles, and they definitely have their place, when they are done like this...written, filmed, or otherwise. The battle here against the Agni has creative tactics and an enemy with unique offensive and defensive capabilities / techniques. It's not just ships flying around and shooting at each other. It's smart, tense, creative and engaging. That's what a Trek battle should be.

Thanks. Most filmic space battles bore me because they are just shooting and explosions; the only ones that interest me are the ones with creative strategy and such behind them. So I always try to find ways to do something novel when I have to write a space battle, just for the sake of my own interest.

2. I really liked the plot with the Agni, particularly when they get to Regulus and the Sacagawea crew need to negotiate with them in an "Arrival" heptopod-inspired exchange.

Honestly not a conscious inspiration. Rather, it grew out of the nature of the Venus-type environment they came from and the story reasons for needing a person mediating the translation process.


3. The mission with the Nacmorians literally felt like an episode of TOS from S2 that didn't get filmed / aired. I could see it in my mind's eye just like it would have been in 1967...music and all. Very nice.

Yeah, I figured that if I wanted to show a typical mission of Kirk's first command, it should be in a similar vein to a typical mission from his second.


4. I rarely get emotional with books...but the crippling of the Kongo during the battle with the Agni, and the death of Kirk's former first officer, Cmdr. Egdor, actually brought a tear to my eye. It was a great moment...well written, and particularly poignant given that it meant the survival of the Pike-commanded Enterprise at that moment.

I didn't plan on that death until I got to that point in the manuscript and realized I needed to pay off the character arc for Egdor that I'd set up earlier. I'd always planned to have Pike and the Enterprise involved there, but bringing back Egdor and having his fate be about saving the E added a lot to that part.


8. I might have just been tired as I was finishing the book, but I don't think I understood what was going on at the end as we see the Enterprise getting assigned to explore beyond the "galaxy's edge." It read as though a subspace tunnel of some sort had been discovered that wold allow a ship to get there quicker (great explanation as to how/why the journey could reasonably take place)...

Both the 1980 Star Trek Maps and the TNG Technical Manual posited that the effective FTL velocity of a given warp factor varies depending on local space/subspace conditions and is faster in some parts of space than others. It's a way to handwave the inconsistent warp speeds in the show, but it's useful for the idea of "space lanes" where conditions make warp travel faster (a concept also mentioned in Star Charts).


and there was some talk about a "discontinuity in the medium" that interstellar dust couldn't get through but stars could. I'm assuming this is the Galactic Barrier, but I'm having trouble visualizing what this is referencing.

It's my attempt to rationalize the nonsensical concept of an "edge" to the galaxy. Where is the edge of a cloud? Not to mention that the stellar disk is really just the "pit" at the center of a much vaster "peach" of dark matter that makes up the bulk of the galaxy's mass, so the realistic "edge of the galaxy" would be centuries away at high warp. The anomaly also helped explain what the point of the mission was. Both of Samuel Peeples's Trek episodes (TOS & TAS) involve a mission beyond the farthest star of our galaxy, meaning into the relatively empty intergalactic void, so what's the point of going out there?


I also really liked the idea that they are more trying to "pop up above the galaxy rather than literally traveling "lengthwise" to the "edge."

That's the only interpretation that makes sense because of the relative distances, as well as the direction of the Andromeda Galaxy.
 
Thank you!



I don't really have to think about how to write in Kirk's voice. It's been burned into my brain since childhood, so it just sort of happens.




Thanks. Most filmic space battles bore me because they are just shooting and explosions; the only ones that interest me are the ones with creative strategy and such behind them. So I always try to find ways to do something novel when I have to write a space battle, just for the sake of my own interest.



Honestly not a conscious inspiration. Rather, it grew out of the nature of the Venus-type environment they came from and the story reasons for needing a person mediating the translation process.




Yeah, I figured that if I wanted to show a typical mission of Kirk's first command, it should be in a similar vein to a typical mission from his second.




I didn't plan on that death until I got to that point in the manuscript and realized I needed to pay off the character arc for Egdor that I'd set up earlier. I'd always planned to have Pike and the Enterprise involved there, but bringing back Egdor and having his fate be about saving the E added a lot to that part.




Both the 1980 Star Trek Maps and the TNG Technical Manual posited that the effective FTL velocity of a given warp factor varies depending on local space/subspace conditions and is faster in some parts of space than others. It's a way to handwave the inconsistent warp speeds in the show, but it's useful for the idea of "space lanes" where conditions make warp travel faster (a concept also mentioned in Star Charts).




It's my attempt to rationalize the nonsensical concept of an "edge" to the galaxy. Where is the edge of a cloud? Not to mention that the stellar disk is really just the "pit" at the center of a much vaster "peach" of dark matter that makes up the bulk of the galaxy's mass, so the realistic "edge of the galaxy" would be centuries away at high warp. The anomaly also helped explain what the point of the mission was. Both of Samuel Peeples's Trek episodes (TOS & TAS) involve a mission beyond the farthest star of our galaxy, meaning into the relatively empty intergalactic void, so what's the point of going out there?




That's the only interpretation that makes sense because of the relative distances, as well as the direction of the Andromeda Galaxy.

Thanks a lot for your answers and insights, and thanks again for a very entertaining read!
 
The “space lanes” I think were an analogy to how airplanes might use the jet stream to get from point A to point B faster, while still running the engines at a normal speed, or how with commercial shipping in the old days, sailboats would use specific lanes because of distance from land masses but also because of the prevailing winds. And even now, if you are in a sea lane, if you are going with the wind and waves then you are getting a push from nature, whereas going against you are using more fuel to fight the waves.
 
^That's not an analogy that occurred to me, but it's a pretty good one! It's not that spacetime is actually "flowing" in any way that boosts warp speed so much as that it's got more of a natural distortion of its own due to the concentration of mass and energy, so that a space warp is proportionally more "warped," in a way. But in terms of being natural features that make it easier to go faster with the same amount of engine power, that analogy works pretty well.
 
Finally finished it! I found it overall an likable, entertaining book. It reminded me of Judith and Garfield Reeve-Stevens's novel Prime Directive, although I'm not sure why.

I remember being baffled by the name of Kirk's ship before Enterprise, and a lot of early stumbling over the name, Sacagawea. By the end I gotten used to it, and the pronunciation flowed easily in my mind everytime my eyes passed over the name. I know it might not be revisited again, but now I'm quite sold on the adventures of Captain James T. Kirk of the starship Sacagawea. I hope that it opens that time period up for future stories, and is included or incorporated in other novels. Flashbacks to moments on the Sacagawea! Or a novel that has the first third set there, with the remaining two-thirds in the more conventional voyages of Enterprise setting (like Peter David's The Rift). Or even a whole novel set on board the Sacagawea. If it never happens, I'm glad that we still have this book.

Follow-up commentary regarding the time-jumps. (Sorry!)

I said earlier I found the time-jumps towards the beginning of the novel mostly easy to follow, because there are strong transitions at the end of each section before any given jump, and I stand by that. The post-Vega run of the Sacagawea's adventures is conspicuous for it's more linear presentation, compared to the pre-Vega adventures. The post-Vega adventures feel more satisfying in the sense that the jumping around settles down, and works well as I got the sense of Kirk's adventures leading to something bigger that seals the deal for him to move up in the world as a captain. The linearity of the second half of the Sacagawea's storyline makes the early parts seem alarmingly destabilized, in retrospect.

I seem to recall seeing that the novel was originally structure more chronologically. I don't know if that goes even to having all the Enterprise's 1st voyages under Captain Kirk all together at the end of the book. Even if TCO had been reordered more chronologically, I do think the back and forth between Sacagawea and Enterprise under Captain Kirk was the right choice. Those time-jumps work well, and were satisfying for me as a reader.

Having read the book with my eyes, now it will be nice to revisit it in audiobook format. This is how I usually prefer to do it, eyeball-read, then listen when I want to re-experience the story. For this one, I'm toying with the idea of making notes of each section, and on a second listen-through assembling the pre-Vega content in linear order to see what the is like.

The Continuing Voyages of Sacagawea.

Had a grand old time with these. I found the Chenari rescue a very moving storyline, reflecting well on Kirk's ability to interpret General Order One in a generous way that allows for a more humanitarian approach. It works well to counteract the sour note at the end of the Nacmor incident. I like how it shows character growth right away, and shows that Gary makes a good case for something Kirk wasn't able to see in how he's supposed to make decisions. It's nice to see that Gary has this positive influence in Kirk's life, made the friendship seem more believable and likeable.

It was interesting to see that Egdor had an important role in saving the Enterprise; even though I knew the outcome, the Enterprise somehow felt more vulnerable at that moment. I was actually worried.

The captain's log entry about the Xenylon-eating parasites is the funniest log entry I have ever encountered. Have other people already said that? It's also impressive how a string of three short log entries effectively covers three additional adventures for the Sacagwea's crew in record time. It doesn't need more, we can use our imagination to fill in the blanks, and especially with the Xenylon-eating parasites it's better this way.

Kamisha Diaz

Given how we are set up to expect the good times on the Sacagawea to include Sherev, Gary Mitchell, and Dr. McCoy, it's surprising that Diaz is more of an anchor point for what I as a reader see. Although I know this is just the effect of which adventures we see unfolding, because the adventures we are expecting are the ones that show Kirk evolving as a starship captain towards the next level.

So we have Kamisha Diaz as a point of stability on Kirk's crew, after Sherev is put out of commission, and McCoy seems to flake out. I was a little disappointed that McCoy leaves as soon as he does, but it's made worthwhile for insight about the Federation/Starfleet's other humanitarian projects.

Diaz felt like a more effective look at a guest character who usually only appears in one episode of the television show. In that one story they appear in, the situation makes or breaks them, and they move on. It's funny because Diaz has only appeared in this one novel, yet she's a notable presence in several of the stories within the book, creating the illusion that she is a more firmly established character. It's helped by the Nacmor incident, which gave me as a reader context: this is what an old-school TOS episode looks like within the overall scope of the rest of the novel. In short order it's very easy to see her as this rising star in Kirk's crew, and it's great to see an affirmation of Kirk's habit of enabling members of his crew to “learn by doing.” I spotted it out in a couple episodes when I watched TOS in production order, small moments here and there. I'm really happy it's emphasized more here in this novel.

It makes the endgame for Diaz's overall story arc more effective when it comes to fruition in the final situation that deals with the Agni. At least, that's how I experienced it as a reader. Nice set up, very effective payoff. A satisfying modern answer to the constraints of TOS's older mode of storytelling, but I'm not meaning to demean TOS by saying that. I'm glad that the end result isn't a complete break-it thing for Diaz, her circumstances will change for a while, but she could be seen later on, back along the path she wants to walk.

The Agni

Wow, they are really quite an effective alien race. I think maybe they are what make me think of the Prime Directive novel, because of the exploration of a life-form that needs more work to try and understand. Their presence throughout the novel effectively unites all the stories contained in the book into an overall novel that builds toward something bigger. When they first appear, they made me think of the Borg or V'ger, a strange, unfathomable threat. It seems like a situation is going to escalate, except for the little hints and clues that gradually emerge throughout. I like how they give the sense of Starfleet working on long-term problems in between one-off incidents elsewhere that are always so different.

The veiled secret of the Agni is very effective in flipping perspective of the situation completely around. I like how Kirk is initially on the warpath, and his first officer Adebayo is this quiet voice of reason who sows the seed for Kirk to come to his senses. That's very like Kirk in the show, ready to jump to the wrong conclusion, yet also ready to shake it off and recalibrate his approach. He's a flawed character, but he has the right people around him to help his perspective, and he always emerges stronger because he is flexible enough to change his mind when its important that he does so. I've always like the character of James T. Kirk; somehow he seems more likable in this book even though there no sense that he is being characterized in any contradictory way.

Reflecting Current Times

The Agni, and the situation with the Aulacri and the planet Karabos II show nicely how TOS continues to work great as a storytelling format for parables of modern day issues. The Nacmor incident has that, too. The situation of Karabos seemed particularly thoughtful, the hardest one to see (for me), it makes sense that would be the one to show Kirk as a captain dealing with challenges on a new level.

Action

I think there's a good balance of action throughout the book, to mix well with the ideas the stories delve into. There's good innovation with some of these sequences, and none of the action overstays it's welcome. I particularly like a moment during a fight on an extremely low-gravity comet between Starfleet officers and an opposing party. The image of Kirk being pulled back toward the surface on a grappling line while stunning adversaries with his phaser is way cool.

Endings and Beginnings

The book ends well. The epilogue had a wobble moment over the technical details of what they are being sent to investigate, but it's only one moment of technobabble that made my head swim, and since this is a Star Trek novel, I know that technobabble is something that comes with the territory. I'm just glad that the rest of the book had more manageable levels of technical detail.

The last two lines are great! Absolutely nailed it. Very clever, where it leads to. We can all finish that sentence, and know exactly what story we can revisit after finishing this book. Many books, good and bad, end with a weary sense of satisfaction for me. I always feel a little drained. It's fun that after all the struggles and conflicts and adventures shown in The Captain's Oath, the end of it is really just the beginning of something else that is so very familiar. A new set of voyages that we never knew about, that leads us back home.
 
Reflecting Current Times

The Agni, and the situation with the Aulacri and the planet Karabos II show nicely how TOS continues to work great as a storytelling format for parables of modern day issues. The Nacmor incident has that, too. The situation of Karabos seemed particularly thoughtful, the hardest one to see (for me), it makes sense that would be the one to show Kirk as a captain dealing with challenges on a new level.

I thought the way the present-day metaphor was established was very TOS-y. First, have an explicit parallel that shows it's not a problem in the enlightened future (specifically, the part where the slavers Kirk stops tries to bluff that he's smuggling undocumented refugees until Kirk points out that you don't need to jump through hoops to emigrate to the Federation), and then have a sci-fi take on the situation where the characters can learn the lesson for themselves when it has to be applied in a more fantastic situation. I got a big Sulu/Chekov, "Oh, right, I remember racism from history class" vibe from that first scene, though not nearly as blunt.
 
I seem to recall seeing that the novel was originally structure more chronologically. I don't know if that goes even to having all the Enterprise's 1st voyages under Captain Kirk all together at the end of the book.

No, it would've still had a frame and flashbacks, but my plan was for the flashbacks to be in straight chronological order, instead of having flashbacks within flashbacks. I did write it in chronological order rather than chapter order for my own benefit, though.


So we have Kamisha Diaz as a point of stability on Kirk's crew, after Sherev is put out of commission, and McCoy seems to flake out. I was a little disappointed that McCoy leaves as soon as he does, but it's made worthwhile for insight about the Federation/Starfleet's other humanitarian projects.

McCoy's departure was necessitated by "Friday's Child," which established that McCoy had visited Capella IV sometime before his time on the Enterprise, while Kirk apparently hadn't.


In short order it's very easy to see her as this rising star in Kirk's crew, and it's great to see an affirmation of Kirk's habit of enabling members of his crew to “learn by doing.”

She's sort of the forerunner of Dave Bailey, I guess -- the young officer in whom Kirk sees his past self reflected.

Thanks for the detailed analysis!
 
The linearity of the second half of the Sacagawea's storyline makes the early parts seem alarmingly destabilized, in retrospect.

Yeah, the time jumps were actually the one thing that kept me from rating the novel as 'excellent'. There were a few times when reading it, esp. some of the early chapters, where I was just a bit lost as to what was going on. I was able to reorient myself but it briefly took me out of the story. Sort of like "where were we again" moments.

I understand why Christopher wrote it the way he did. Overall it makes sense. But it was just enough to pull me out of the story from time to time.

But overall I loved the story, the aliens, Kirk's depiction in those early days, and a new, WNMHGB consistent first Enterprise adventure. Perhaps the only other things that maybe bothered me a bit is I wish there was a bit more separation between that 'first' adventure and WNMHGB. It seemed in TCO that WNMHGB will take place soon after. I kind of wish there was more time separating the two. I kind of thought WNMHGB was more in the 6 to 9 month range after Kirk took command (I admit I'm colored a bit by prior novels--like My Brother's Keeper for instance, that suggest WNMHGB was closer to a year later). One thing I liked about TCO (and MBK which was more overt about it) was the hint that the 5YM started after WNMHGB. It was subtle in TCO as Christopher previously noted at the editor's request. In MBK it basically spelled out--Friedman used a refit at Earth to explain the change in appearance of the Enterprise in "The Corbomite Maneuver" and the change in crew as being necessary before it embarked on the 5YM. I guess it was different editors back then :).
 
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