Star Trek: Deep Space Nine

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Television series
German title Star Trek: Deep Space Nine
Original title Star Trek: Deep Space Nine
DS9 Title.svg
Country of production United States
original language English
Year (s) 1993-1999
Paramount Pictures
length 45 minutes
Episodes 176 in 7 seasons ( List )
genre Science fiction , political drama , action , anti-war drama , adventure
Theme music Dennis McCarthy
idea Rick Berman ,
Michael Piller
based on Star Trek
by Gene Roddenberry
production Peter Lauritson,
Steve Oster,
Hans Beimler,
René Echevarria,
Robert Hewitt Wolfe,
Peter Allan Fields
music Paul Baillargeon,
David Bell,
Jay Chattaway ,
Dennis McCarthy ,
Gregory Darryl Smith
First broadcast January 3, 1993 (USA)
first broadcast
January 28, 1994 on Sat.1

Star Trek: Deep Space Nine is an American science fiction - television series that was erstausgestrahlt 1993-1999. It is an offshoot of the television series Starship Enterprise - The Next Century , the commercial success of which was decisive for its creation, and - taking into account the animated series The Enterprise - the fourth television series to be set in the fictional Star Trek universe. Ira Steven Behr , who was showrunner from the third season, played a major role in the development of the series . Mainly in fan circles, the series is abbreviated as DS9.

In a total of 176 episodes that are spread over seven seasons, Deep Space Nine tells of the events in which the crew, residents and visitors of the space station of the same name located in the Milky Way are involved. The series is an essential part of a conflict between the United Federation of Planets and of shapeshifters run Dominion -Imperium. The conflict comes to a head over the course of the seasons and escalates into an interstellar war, which is the subject of the last two seasons.

Deep Space Nine differs from the other Star Trek productions mainly in terms of the departure of the main location from a spaceship. Characteristic of the series are also the deviation from the Star Trek- typical ideal of a peaceful and war-free future, a darker and more conflict-ridden atmosphere, the more serious approach to religion, a large number of recurring minor characters, as well as the storyline, which is increasingly cross-episodic. The stories told show intended parallels to global political conflicts of the 1990s and National Socialism, among other things .

In the United States, the series was a success for the broadcasting television stations despite falling audience numbers. In German-speaking countries, with the exception of the pilot , it was only broadcast for the first time in the afternoon program and received little attention outside of fan circles. She received 32 nominations and four awards for the Emmy Award , among other awards . Like the other Star Trek series, it was adapted for numerous merchandising products, including novels, comics and toys, and thus carried the wave of enthusiasm for Star Trek in the 1990s. The more recent part of the more than 80 novels continues the plot of the television series after its end , partly as a crossover with other Star Trek novel series.


→ Main article: Seasons 1 , 2 , 3 , 4 , 5 , 6 , 7


Time of action
Season Sidereal time year
1 46XXX 2369
2 47XXX 2370
3 48XXX 2371
4th 49XXX 2372
5 50XXX 2373
6th 51XXX 2374
7th 52XXX 2375

The first two-digit number of the sidereal time increases by 1 per season or year.

Milky Way divided into quadrants

The plot builds on the previous Star Trek productions. In the 24th century, a large number of planets belong to the United Federation of Planets , an alliance co-founded by humans in the 22nd century and ruled from earth . The planets are in the alpha and beta quadrants , the common border of which runs through our galaxy, the Milky Way . The Starfleet used the Federation for space exploration, but is also used for defense. The Klingons , Romulans , Ferengi , Cardassians and Bajorans , among others, do not belong to the Federation . The Cardassians, with whom the Federation signed a ceasefire agreement in 2367 after a long war , have been plundering the raw materials of the planet Bajor and violently suppressing its inhabitants for decades.

Within the main Star Trek timeline , the action of Deep Space Nine begins , flashbacks disregarded, in the year 2369 and thus during the action of the sixth season of Starship Enterprise: The Next Century . It takes place in the period up to 2375. A common time measurement variable in the series is the sidereal time . It is only mentioned in part of the episodes and mostly in the context of entries in the computer log with which one of the main characters - above all Benjamin Sisko - informs the viewer as the narrator .

In the opening credits , the camera glides through a comet's tail and approaches, passed by oncoming runabouts - usually called shuttles in the German dubbed version - the space station Deep Space Nine, which then orbits it. The space station is in the top view is circular and comprises a central, rounded member including the command center and the promenade deck, with two it is connected enclosing rings, namely that provided for living quarters Habitat ring and the docking ring, can apply to the spacecraft. The latter has three upper and three lower, inwardly curved pylons . The opening credits - with the exception of the pilot film - in the episodes of the first three seasons ends with another of the runabouts, which are used by the station crew to overcome long distances, flies into the nearby, opening wormhole . From the fourth season, instead, the viewer sees the newly introduced spaceship USS Defiant flying to the wormhole.

Pilot film

In 2369, the Cardassian occupation over the Bajorans ended, also as a result of ongoing Bajoran resistance. The previous occupiers are withdrawing from the Cardassian space station Terok Nor, which is located near Bajor, on which they previously operated ore processing using Bajoran forced laborers . In order to ensure political stability in this area of ​​the universe and to help the Bajorans in creating the conditions for joining the Federation, Starfleet moves into the station, which from then on is called Deep Space Nine and is co-operated by the two powers. The command is given to Starfleet officer Benjamin Sisko , first officer and liaison officer of the Bajoran military to Starfleet will be Bajoran Kira Nerys . Because the divided Bajoran people of Sisko hope to unite the Bajorans with one another, they are chosen by the "prophets", the gods of the Bajorans, to discover the "Temple of Heaven" as a "messenger" according to a long-standing Bajoran prophecy. A little later, with the help of his crew, Sisko discovers an artificial, stable wormhole near Bajor that enables time-saving travel to an area 70,000 light-years away in the so far barely explored Gamma Quadrant. The wormhole or the temple of heaven is inhabited by beings who live apart from spatial and temporal existence and who are venerated by the Bajorans as the prophets. After Sisko has convinced the beings in the wormhole that the Federation has no bad intentions, they grant all spaceships safe passage through the wormhole.

Political and religious power struggles

In part of the episodes of the first three seasons, the political and religious conflicts between the Federation, the Bajorans and the Cardassians are at the center of the plot. After the Bajoran Kai, the religious leader of her people, was incapacitated, the power vacuum on the planet widened. Taking advantage of this, the scheming, orthodox Bajoran woman Winn tries to kill one of her rivals for the leadership succession with an assassination attempt. Also in order to gain power, in early 2370 she supported a Cardassian-influenced, Bajoran fundamentalist group who wanted to drive the Federation from Deep Space Nine, but ultimately had no lasting success with it through the efforts of the Federation and Bajorans. Due to the voluntary resignation of her competitor Bareil , she is later elected to the quay. Nevertheless, in 2371 Bareil succeeded in persuading the Cardassian government to sign a peace treaty with Bajor. The Cardassian secret service Obsidian Orden tried by sabotage to prevent the continuation of the peace treaty, but it was unsuccessful. After the sudden death of the Bajoran Prime Minister also interim head of government become Winn risked one to consolidate their power civil war , but they are not a candidate for fear of the Publik If their behavior during the elections.

In six other episodes of seasons 2 to 5, the confrontation between the Federation and the Maquis is at the center of the plot. This resistance movement, supported by settlers and partly made up of renegade federation members, is directed against the Cardassian rule over federation colonies in the border strip of both worlds and therefore fights against the federation as well as against Cardassia, among other things with terrorist actions. This jeopardized the peace agreement between the two powers at the end of 2370. Two years later , Starfleet officer Michael Eddington, previously stationed on Deep Space Nine, deserted to the Maquis. He has the atmospheres of two Cardassian planets poisoned in order to make them uninhabitable for Cardassians. In return, Sisko begins to poison planets inhabited by Maquis colonists, he forces Eddington to face Sisko. In 2373 the Maquis was largely destroyed by the Dominion after continuing fighting.

Threat from the Dominion

After the wormhole has been discovered, there is increasing contact between the station crew on both sides of the passage with representatives of previously foreign species from the gamma quadrant. At the end of 2370 or in the final episode of the second season, station residents in the Gamma Quadrant also meet members of the Dominion . The Dominion, which includes the bellicose Jem'Hadar, regards invading its territory as a hostile act. To seek out the founders who run the Dominion and convince them that the Federation poses no threat to them, Sisko is given then the command of the war spaceship Defiant, which is equipped with a cloaking device. The search, which was largely driven by the shape changer Odo, who belonged to the station crew , shows that the founders are also shape changers who call themselves "changeling". To ensure their safe existence and to create order in the universe, the founders once began to subjugate the other inhabitants of a part of the Gamma Quadrant. The confrontation of the station crew with the Dominion forms the determining plot background for part of the episodes for the rest of the series. Some of them, in turn, deal with the major turning points in this confrontation or tell of the essence of the Dominion, such as the Jem'Hadar's dependence on the drug Ketracel White, with which the founders make them compliant.

The third season is about the fact that the Alpha Quadrant is exposed to the threat of attack by the Dominion. For example, the Romulan secret service sends its own spaceships to the side of those of the Obsidian Order in the Gamma Quadrant in order to destroy the Dominion with a preemptive strike. However, their plan fails and turns out to be a trap of the Dominion with the purpose of militarily weakening Romulans and Cardassians. Sisko and his team can prevent the completion of a shape-shifter's plan to drive the Federation into war by replacing, among other things, Federation officers and thus weaken it militarily.

Season four begins with the Klingons believing that shape-shifters have infiltrated the Cardassian government in order to gain control of the Alpha Quadrant. So they plan to raid Cardassia and eliminate the government there. Since the federation represented by Sisko wants to prevent this plan to avoid war, the Klingons terminate their peace treaty with the federation and attack Deep Space Nine - but ultimately unsuccessfully - with a war space ship fleet. In the period that followed, there were further Klingon attacks against Cardassian and Federation targets. At the beginning of the fifth season, the viewer learns how members of the station team unmask a changeling in the Klingon government, which on behalf of the Dominion significantly advanced last year's Klingon strategy.

Meanwhile, shape-shifters' presence on Earth causes fear among the world's population that the Dominion will attack soon. Fueling this fear, a Starfleet Admiral would like to replace the democratic earth government with military rule for the purpose of better defense possibilities . Because this coup attempt supports the Dominion's intention to destabilize the Federation, Sisko and his station crew stop him.

In season five, the Dominion begins deploying fleets of Jem'Hadar starships in Cardassian territory. The Cardassian Gul Dukat, commander of Deep Space Nine at the time of the occupation, reveals that Cardassia has joined the Dominion at Dukat's efforts in order to restore his empire to its former strength, weakened by attacks by the Klingons and the Maquis. Dukat, also named Cardassia's new ruler, demands that the Federation also join the Dominion and that the space station return to Cardassian rule. Since the Klingon Empire also sees itself threatened by the alliance between Cardassia and the Dominion, it not only restores the peace treaty with the federation, but also becomes its ally .

Dominion war

In the final episode of the fifth season, the viewer learns that the Romulans and other races of the Alpha Quadrant have made non-aggression pacts with the Dominion. Triggered by this situation, Starfleet leaves the wormhole mine and thus make impassable to prevent the Dominion further strengthened its presence in the Alpha Quadrant and increases the hazards it poses. Knowing that the wormhole blockade would provoke war, Sisko prompted the Bajoran government to sign a non-aggression pact with the Dominion. A little later, a navy fleet of Cardassians and Jem'Hadar attacks and takes the station, which has now been almost completely evacuated and abandoned by Starfleet. Cut off from supplies from the gamma quadrant by the blockade of the wormhole, only one individual remains of the founders, usually in the form of a woman, in the alpha quadrant.

In the Alpha Quadrant an interstellar war breaks out, in which the Dominion wants to expand its power and weaken its opponents by conquering foreign territories. As Starfleet and Klingons react to the Dominion's expansion efforts, they lose several dozen spaceships in the numerous attacks and retreats. One of the missions of the Defiant is the destruction of a sensor station in the Dominion's hand. Meanwhile, Bajoran military members remaining on Deep Space Nine want to influence the course of the war to the detriment of the Dominion with a newly established resistance cell and sow discord between Cardassians and Jem'Hadar. When the Federation Alliance threatens to lose the war, it implements Sisko's plan to retake Deep Space Nine and wages a battle with the Dominion with hundreds of spaceships on both sides. As far as Deep Space Nine, Sisko is able to convince the prophets to destroy the fleet of Jem'Hadar spaceships approaching the station's wormhole. In view of the lack of reinforcement, the Dominion is forced to retreat from the station, with Dukat becoming a prisoner of war of the station crew who have now returned. As a result, Dukat's previous adjutant Damar becomes the new Cardassian ruler.

Lack of supplies from the Gamma Quadrant, the Dominion is strengthening its military power in the Alpha Quadrant by building new ships and through the breeding of new Jem'Hadar soldiers. In battles against the Dominion, Starfleet suffers thousands of war victims . To oppose the Dominion in the face of greater resistance, Sisko wants to get the Romulan Empire to go to war against the Dominion. To do this, he ensures that several legally and morally questionable steps are carried out and gets the support of the exiled Cardassian Garak , who lives on the ward , to whom he largely leaves a free hand. As a result of an intrigue initiated by Garak , in which Garak also ensures the death of a Romulan diplomat - from the perspective of the Romulans caused by the Dominion - Sisko's intention is ultimately fulfilled. A little later leads Sisko, chosen to plan the invasion of Cardassia, one consisting of Starfleet, Klingon and Romulan task force in an ultimately both sides lossy battle against the Dominion. The Chin'toka planetary system located in the Dominion Territory is captured .

In 2375 the Dominion strengthens itself, prompted by the founder, weakened by a degenerative disease, by entering into a new military alliance with the Breen . Because Damar was not involved in this decision and he is concerned about the Cardassian independence, he founds a resistance movement to free Cardassia from the Dominion. Sisko's officers help him build up the movement. Meanwhile, the Breen recapture the Chin'toka system from the Federation Alliance, damaging the Defiant so badly that Sisko has no choice but to abandon the ship; a little later it explodes.

Section 31 is a secret organization belonging to Starfleet, but officially concealed from it , which also carries out illegal missions for the purpose of protecting the Federation. With the unofficial support of a Starfleet admiral, for example, she ensures that the credibility of one of her agents in the Romulan government is strengthened - also to prevent the Romulans from switching sides during the Dominion War. After symptoms of the disease also show up in Odo, ward doctor Dr. Bashir found out that Section 31 was to blame for the infection three years ago. The intention of Section 31 was to let Odo transmit the pathogen to the founders and thereby exterminate the founders. As a result of this knowledge, Bashir succeeds in producing an antidote through illegal procedures and in healing Odo.

To finally gain control of the Alpha Quadrant, and to regroup, the founder has all Dominion forces retreat to Cardassian territory. Reacting immediately, spaceships of the Federation Alliance, including a ship under the command of Sisko for the first time and of the same name as the Defiant, attack the Dominion positions around Cardassia Prime. When Cardassian ships, prompted by a revolt of the Cardassian people, begin to side with the Federation, the founder commits a genocide of the Cardassians, killing millions of them. In exchange for the Dominion's complete surrender , Odo heals the Founder by bonding with her. A little later, the founder and representatives of the Federation, Romulans, Klingons and Breen sign a joint peace agreement that ends the war that killed several hundred million people. By connecting with his fellow species in the Gamma Quadrant, Odo finally heals his people from the disease as well.

Pah spirit cult

According to a Bajoran legend, the so-called Pah spirits were once themselves wormhole inhabitants , but were expelled from the wormhole by the prophets and have since strived to take their former place again. In contrast to the prophets, who communicate with them through the artifacts called "rotating bodies", believers get access to the Pah spirits by letting them take possession of them. The pah-ghosts are an important part of the plot for the last two seasons and the end of the series.

After the death of his daughter, Dukat falls into delusions, which also lead to the realization that he deeply hates the Bajorans. Determined to kill them all, he escapes from federation captivity in 2374. A few months later, Dukat lets a Pah spirit take possession of himself in order to remove the connection between the Bajorans and Sisko and the prophets and weaken the federation militarily. This will seal the entrance to the wormhole. By finding a rotating body, Sisko got in touch with the prophets again at the beginning of 2375, who then drove the Pah spirit out of the wormhole and reopened its entrance. Sisko also learns from the prophets that it was they who once caused his birth. Dukat also rises to become the leader of a Bajoran sect who worships the Pah spirits as the true gods of Bajor, but escapes from this position in 2375 when he is convicted of cheating on the sect members.

A few months later, Dukat is surgically transformed into a Bajoran farmer and visits Kai Winn in this form. In his visit she sees an announcement by the Pah spirits, which she mistakenly perceived as the prophets, to come true, according to which they are jointly destined to lead Bajor into a time of renewal . Although Winn soon realizes his true identity, Dukat succeeds in his secret intention to move Winn to turn away from belief in the prophets and to believe in the Pah spirits, since Winn comes to the conviction that this is the only way to gain their power could get. Implementing their common plan, Winn begins a little later in Dukat's presence to free the Pah spirits imprisoned by the prophets in a cave system on Bajor. After she succeeds, Dukat kills Winn because he no longer needs her help. In order to keep the spirits trapped in the cave, the Sisko Dukat, who has meanwhile become aware of what is happening - and himself too - plunges into an abyss. In the Temple of Heaven, Sisko learns from the prophets that they still have many tasks in store for him.

Individual fates

Against the background of the political and religious plot, personal stories unfold, in which, in addition to Sisko and his senior officers , other individuals from various species , some of whom live on the ward , are involved. Many episodes are each focused on one of the main characters and sometimes also secondary characters, so that the other characters are often only involved briefly, sometimes not at all.

Benjamin Sisko, initially with the rank of commander and later a captain, falls in love with the spaceship commander Kassidy Yates some time after the death of his wife. Their relationship suffers from Yates' involvement in Maquis activities, but solidifies again as the plot progresses until they finally marry. Sisko tries unsuccessfully to convince his son Jake to pursue a career with Starfleet. Instead, Jake becomes a writer and also reports on the Dominion War as a journalist . His almost the same age friend Nog , a Ferengi , is a thief at first and later joins Starfleet. As an ensign , he was badly wounded in the Dominion War, but soon returned to service.

The shapeshifter Odo , who is responsible for security on the station, remained the only one of his kind on board for a long time. The viewer only gradually learns fragments of his past, in which he was abandoned as a child by his people to explore the galaxy on their behalf . As punishment for killing another changeling, his people will temporarily transform them into human beings and deprive them of their shape-changing abilities. In the company of the Federation members, the Bajorans and later the hologram Vic Fontaine, he learned human and social skills such as making friends and gaining trust. He falls in love with Kira Nerys , the first officer on Deep Space Nine. As a devout Bajoran and former resistance fighter, she harbors deep mistrust of the Cardassians - especially their intimate enemy Gul Dukat. Towards the end of the Dominion War, however, she participates in the Cardassian resistance against the Dominion.

Like most of his kind, Ferengi Quark , who runs a gambling casino with a restaurant on board the station, is profit-oriented and is often involved in illegal business such as smuggling and is therefore under special observation by Odos. Sometimes he is involved in solving political and economic problems on his home planet and in his mother's love affair with the Great Nagus Zek , the Ferengi chief. Quark's brother and initial employee Rome , Nog's father, frees himself from Quark's dependency, becomes a station technician and ultimately becomes the Great Nagus. As the highest-ranking technician, the engineer Miles O'Brien , who used to work on the spaceship Enterprise , is mostly involved in the repair and maintenance of the station and Defiant. Parallel to his marriage, he maintains a friendship with Julian Bashir , the ward doctor. It soon becomes known about Bashir that he was previously genetically enhanced. Since he therefore has an above-average intelligence and extraordinary physical abilities, Section 31 tries to recruit him several times.

The science officer Jadzia Dax as a symbiotic Trill creature, consisting of the hostess Jadzia and the symbiote Dax, occasionally deals with the past of her previous hosts and the symbiote. She falls in love with the Klingon and Starfleet officer Worf , who used to work on the Enterprise and is now responsible for strategic operations. He is temporarily ostracized by his people for refusing to support the Klingon offensive against Cardassia and the Federation. He sometimes serves on board the Klingon warship Rotaran under its commander Martok , who represents the Klingon Empire on Deep Space Nine and ultimately helps Worf to achieve the role of Klingon ruler. After Worf's marriage to Jadzia, she is murdered by the Gul Dukat, who is possessed by a Pah spirit. As a result of her death, Dax is united with the new landlady Ezri. Ezri Dax now works on the ward as a psychological supervisor. With Worf, she is captured by the Breen and Dominion for a while, but becomes aware of her love for Bashir.

Garak works as a tailor on Deep Space Nine. It soon becomes known that he was working in the Cardassian secret service at the time of the occupation. The members of the station crew make use of the special knowledge he acquired in the process several times. Garak's true intentions and loyalty often remain mysterious and contradicting. Weyoun is the name of several identical Vorta individuals who were cloned by order of the founders and who worshiped them as gods . Several of Weyoun's clones act in turn as border ambassadors for the Dominion.

Further plot

One episode each of seasons 2, 3, 4, 6 and 7 is about the parallel universe that was created in the episode A Parallel Universe by Spaceship Enterprise and in which the story took a different course. In it, the rebels, including people known as "Terrans", fight against the "alliance" of often barbaric Bajorans, Klingons and Cardassians, including the merciless intendant, Kira's counterpart. Among other things, Benjamin Sisko of this universe is temporarily kidnapped into the mirror universe to support the rebels.

Some episodes are about planned or unintentional time travel . The two-parter Captured in the Past ( Past Tense , Season 3), for example, is about uprisings by socially disadvantaged people in San Francisco in 2024, in which station officers were caught by a transporter malfunction. Other time journeys lead to the time of Captain Kirk and Roswell in 1947 . Other episodes, including flashbacks, take place during the Cardassian occupation. They address the tyrannical rule of the Cardassians and the role of Gul Dukats on the station. Three more episodes take place on the Empok Nor space station, which is identical to Deep Space Nine. Several episodes of seasons 6 and 7 take place as part of a holosuite program in a club in Las Vegas in the 1960s and deal with the emotional worries of the station residents. Two episodes of the last two seasons are about Sisko's visions in which he is in the role of Benny Russell, an Afro-American science fiction writer who, in the 1950s in the United States, told his story of a space station that was followed in the distant future by a black captain is commanded, wants to publish and is confronted with racist prejudice.

Format and staging

Theme music

Lerner (2013) found that at least the theme music used in the first three seasons of Deep Space Nine - in keeping with the location of an immovable space station and compared to that of The Next Century - should suggest something less propulsive. According to Lerner, the last phrase of the fanfare with which the theme music begins alludes to the previous series by reformulating the pitches of the last phrase of the theme of The Next Century . The main theme that follows develops the same arpeggio motif as in The Next Century , but with a much more sparse ensemble . With the trumpet solo, the main melody also appears similarly isolated and reflective as Aaron Copland's composition Quiet City . The version used from the fourth season onwards adds a stronger bass line to the melody .


In addition to science fiction , Deep Space Nine - like the other Star Trek television series - can be assigned to the sub-genre Space Opera . Wenger (2006) mentions social fiction as a further sub-genre in relation to the increased thematization of personal issues compared to the previous series , also because the discussion of series ideology and other typical, scientific Star Trek elements are neglected. Accordingly, some episodes such as are Prodigal Daughter ( Prodigal Daughter , Season 7) as a soap opera classified. Individual episodes are also assigned to other genres. Regarding the variety of genres, showrunner Ira Steven Behr commented when the series closed in 1999: “Every week we gave them [the fans] a different TV series. They didn't know if they were getting a comedy series , a space opera, a socially relevant episode, or a quiet character episode. ”On a number of episodes, including The Maquis ( The Maquis , Season 2), The Front (Homefront) and Paradise Lost ( Paradise Lost , both Season 4) is, even taking into account their sources of inspiration (see also section scripts and script development ) to political thriller . Episodes of higher seasons belong to the genre war film . The episodes The Battle of Ajilon Prime ( Nor The Battle To The Strong , Season 5) and The Siege Of AR-558 ( The Siege Of AR-558 , Season 7) are anti-war films .

Action structure

The first seasons consisted mostly of single episodes and only some told of the framework story. With increasing series length - the third or fourth season is often cited as the beginning of this development - there was a stronger link between the content of the episodes, stories told in earlier episodes were now more and more continued. The higher seasons - mostly the last two are mentioned - were referred to in this context as a sequel story and as serialized, in contrast to the previous, predominantly episodic structure. However, the sixth and seventh seasons also contain some stand-alone episodes. Within Star Trek , the narrative style as a sequel story was a novelty. Although there are several storylines in The Next Century that shape the main characters across the seasons, Starship Enterprise and Starship Enterprise - The Next Century have an episodic plot structure, each of which is Episode - apart from individual two-part pieces - is dedicated to a separate mystery, conflict or riddle and at the end of which the status quo ante is restored. With the narrative style increasingly dominated by multi-episode and cross-season arcs, some authors came to believe that the science fiction television series Babylon 5 was a role model for the writers and producers of Deep Space Nine .


Compared to the staging of the first two seasons and that of The Next Century , which appears predominantly in light, pastel-colored tones, from the third season, according to Ordway (2003), there are more shadows and contrasts in Deep Space Nine , the color scheme is darker and the images, in keeping with the plot, looked darker. Wulff (2003) wrote that , compared to the previous series and also alluding to the space battles shown in the higher seasons, Deep Space Nine relocated in part to the show values ​​and effective dramaturgies of the cinema and gave up the “poorness” of classic staging methods.

In the scenes in which Benjamin Sisko meets the prophets as an emissary, the Temple of Heaven is depicted as a white level of light or as a room overlaid with golden, diffuse light , as described by Sennewald (2007) . The lighting effects create an unreal atmosphere and the scenes are magically and religiously charged. The unearthly light illustrates Sisko's religious function of mediator between prophets and humanoids .

In the episode The visit ( The Visitor , Season 4) techniques used flashbacks and voice-over went back to the intention of Ira Steven Behr, in the fourth season increased alternative narrative forms try. The cinematic means also - as in the episode Badda-Bing, Badda-Bang (season 7) - occasionally used slow-motion scenes . Flashbacks to scenes that have already been shown are only available to a significant extent in the final episode , What You Leave Behind - Part 2 ( What You Leave Behind (2) ).

History of origin

The budget for the pilot was $ 12 million, which was the highest of any pilot in a dramatic television series at the time. For the first season, it ranged from $ 32 million to $ 40 million, depending on the source, with the start of the third season it increased. In 1997, Space View magazine named the financial investment for the series as not comparable to any other contemporary science fiction series.

In addition to the actors, an average of 170 people were involved in the production per episode.

Idea and concept

The television series Spaceship Enterprise - The Next Century had developed into a great financial success for the film studio Paramount Pictures in 1991 . Seeing the dangers of creative burnout, rising production costs and falling revenues, the studio decided to develop another television series set in the Star Trek universe. The possibility of being able to reuse sets, props and costumes in a cost-saving manner was also important. The deliberations of the studio included the ideas of a series about the Klingon Empire and a series set on a colonized planet, both of which were discarded because the costs were too high. George Takei , who played Hikaru Sulu in Spaceship Enterprise , promoted a series based on his character, but unsuccessfully because Paramount insisted that the series be set in the same time period as The Next Century . A space station was also considered as the main location, similar to the starbases previously featured in Starship Enterprise and the Star Trek movies. The studio estimated the dramatic potential associated with a space station to be particularly high and expected it to be more rich in conflict than a spaceship would allow. Brandon Tartikoff , chairman of Paramount Pictures, concretized the idea and described it as a kind of "rifleman in space" , referring to the main character of the western series West of Santa Fé . This means that the setting should be a location very close to the border to an unexplored area. Tartikoff brought the idea to Rick Berman , executive producer of The Next Century . Together with the lead screenwriter Michael Piller , Berman developed the concept further. Berman and Piller intended to use the element of standing still to give a deeper, closer look at the United Federation of Planets and the Star Trek universe than was the case in the previous series. In order not to bring the conflicts between the characters into the stories from outside - as in The Next Century - they decided to also include characters who do not belong to Starfleet , so that conflicts between Starfleet members both among themselves and with other characters are possible would.

As early as 1989, the author and producer J. Michael Straczynski tried unsuccessfully to sell his detailed concept for the science fiction television series Babylon 5, which was also set on a space station, to Paramount Pictures . Shortly after Warner Bros. finally agreed to produce Babylon 5 , Paramount announced the production of Deep Space Nine , with the new Star Trek series televising seven weeks before Babylon 5 . For Straczynski it was clear that the development of Deep Space Nine must have been influenced by Babylon 5 . In 1996 he expressed suspicions in an Internet forum. Straczynski was in 2001 in a Usenet entry convinced that the Paramount Chiefs "wanted to co-opt what we were doing with B5" (German: "what we just did with B5, co-opt wanted") . In an interview published in 2011, Rick Berman said that the implication that he and Piller had stolen Straczynski's idea in whole or in part was completely untrue, and that he, Piller and Tartikoff created Deep Space Nine with no knowledge of Straczynski's concept for the series.

Scripts and story development

Instead of the Jadzia Dax, another figure was initially planned, which comes from a planet with low gravity and is therefore dependent on a wheelchair with a drive. For cost reasons, this idea was rejected again, but was adapted for a secondary character in the episode The "Melora" problem ( Melora , season 2). The model for the name of Morn, the regular at Quarks Bar, whom the viewer never hears speaking - with one exception in the German dubbed version - was the character Norm from the sitcom Cheers . The role model for the recurring role of the singer Vic Fontaine in seasons 6 and 7 was Frank Sinatra . The Cardassian secret service Obsidian Order , initially referred to as Obsidianisches Kommando and later as Obsidianischer Orden , was originally to be called the Gray Order . The scriptwriters changed the name, however, to avoid any resemblance to the government organization Gray Council ( Gray Council ) from Babylon 5 .

Some of the scripts that were written for The Next Century but never filmed there were adapted for episodes of Deep Space Nine . Even manuscripts were adapted, but it intensively reworked. This also includes the idea for the framework plot for the three-part sequel story at the beginning of the second season. In contrast to The Next Century , far fewer stories and manuscripts were created for Deep Space Nine , ultimately not filmed. According to Robb (2012), a potential reason for this is a lack of new ideas after many of them had already been adapted or played through for the mother series. The authors, who, in contrast to most of the other television series produced at the time, also included freelance writers , also served as a source of inspiration or template for numerous stories and scripts , as well as novels and feature films of various genres and predominantly of American origin. These include Casablanca , The Seven Samurai , Restoration - Time of Sensuality , The Wretched , Broken Chains , By a Hair's Width , The Rewards of the Brave , Rio Grande , The Fantastic Journey and Catch-22 - The Evil Trick . Plays have also been used for episodes, including A Midsummer Night's Dream and Waiting for Godot . As in other Star Trek series, events in the 20th century served as sources of inspiration for other episodes . One example is the two-part episode Der Maquis (The Maquis) of the second season, which is largely based on events of the Middle East conflict . First broadcast in April 1994, it served to characterize the Maquis resistance group , which had already been introduced a few weeks earlier in The Next Century , and thus help viewers understand the plot of the spin-off series Star Trek, which started in January 1995 : Promote spaceship Voyager .

Ira Steven Behr

Screenwriter Ira Steven Behr was a writer and producer on season three of The Next Century . But he was dissatisfied with this work, above all the plot was too low in conflict and he was bothered by the technical solutions for a lot of problems. In Deep Space Nine he became a showrunner and executive producer after the second season due to the departure of Michael Piller, who - like Rick Berman - devoted himself to the development of spaceship Voyager from now on . As a result, Behr and Ronald D. Moore gained more influence and were able to expand the Dominion plot, which was originally only to be themed in a handful of episodes of the third season, to the central story arc of the series. As a source of inspiration for the Dominion, the authors used the Foundation trilogy by the science fiction writer Isaac Asimov , which is part of the Foundation cycle he created . Together with Robert Hewitt Wolfe and Hans Beimler , Behr wrote the scripts for most of the Dominion-centered episodes. Much of the Ferengi-centered episodes were also from Behr. The scriptwriters expanded the framework story continuously; in contrast to Babylon 5 , for example, it was not fixed from the start. After the end of production of The Next Century in 1994, some staff members who had previously worked there moved to the Deep Space Nine production team . This also included the screenwriter René Echevarria .

A number of publications indicate that the authors' decision to introduce the war spaceship Defiant into the plot at the beginning of the third season served to increase audience ratings. However, Wolfe explicitly denied this representation, saying that the decision served to improve the series. The intention was to be able to send more crew members than before on trips to remote areas of space and to be able to better defend the station against the newly introduced Dominion.

In 1995, the Paramount film studio asked the producers and scriptwriters to revise the series in such a way that the interest of the audience is increased. With the beginning of the fourth season, they decided to integrate the Klingons, which the viewer already knew from previous Star Trek productions, into the plot, now as enemies of the Federation. They also brought the character Worf, known from The Next Century, as an additional leading role in the series. Further measures to comply with Paramount's request included changing the hairstyle of actor Avery Brooks , which should now signal more determination, and the revision of the opening credits, which from now on shows the space station together with the Defiant and with more extensive external activity. To introduce the audience to the changes, was The Way of the Warrior (The Way of the Warrior) created as a pilot for the fourth season, which is also referred to as a second pilot episode of the series due to the changes. Originally, the scriptwriters planned to end the third season as a cliffhanger and start the fourth season with the sequel story consisting of the episodes The Front (Homefront) and The Lost Paradise (Paradise Lost) . However, the story was postponed twice, also because of the innovations at the beginning of the fourth season, and ultimately implemented in the middle.

The sixth season begins with six episodes in which the Dominion occupies the space station and is at war with the Federation Alliance. The scriptwriters conceived these episodes as a coherent story arc. They intended to do better justice to the complexity of the Dominion plot, and found a serialized series format, in which the episodes are more closely linked, to be more suitable for the large number of recurring supporting actors than the previous, episodic format with mostly completed episodes. The process of creating these episodes was marked by significantly more interaction among the scriptwriters compared to both the previous seasons and the previous Star Trek series. In order to complete the series plot and to bring the multitude of storylines to an end, the last ten episodes of the seventh season were also designed as a coherent story arc - the final double episode was taken into account. Since Paramount demanded that the final episode should not be about war, the writers let the act of war end in the penultimate episode.

Cast and German dubbed version

The actors Marc Alaimo, Armin Shimerman and Colm Meaney (2009)

At the casting , a number of African American actors were shortlisted for the role of Benjamin Sisko . These include Tony Todd , Michael Clarke Duncan , Eriq La Salle , James Earl Jones, and Carl Weathers . Avery Brooks eventually got the role and starred as the only actor in all 176 episodes. All other leading actors did not play in some episodes - despite being mentioned in the opening credits - for Cirroc Lofton this even applies to more than half of all episodes.

Several actors continued their roles already played in The Next Century . These include Colm Meaney as Miles O'Brien, Michael Dorn as Worf, Rosalind Chao as Keiko O'Brien, Robert O'Reilly as Gowron and - in the pilot - Patrick Stewart as Jean-Luc Picard. Michelle Forbes was also slated to resume her role as Ro Laren, but this time as the main character. Forbes refused, however, so that the role of Kira Nerys was created for Nana Visitor in close association with that of Ro Laren. Famke Janssen was initially intended for the role of Jadzia Dax, but she also declined. The role was eventually cast to Terry Farrell , and only after filming of the pilot was well underway. Farrell did not extend her contract, which expired with the sixth season, at her own request and was replaced by Nicole de Boer , who played the character Ezri Dax in the seventh season. Armin Shimerman , Max Grodénchik and Marc Alaimo are also among the actors who have already appeared in Spaceship Enterprise - The Next Century . All three were already seen as Ferengi and Cardassians, but sometimes in different roles. The role of Michael Eddington played by Ken Marshall was introduced in the third season to replace Colm Meaney if he should no longer be available due to other acting activities. For the role of singer Vic Fontaine played by James Darren , the singers Frank Sinatra junior and Steve Lawrence were originally intended. Jeffrey Combs played the recurring roles of both Weyoun and Brunt in later seasons, having played the guest role of Tiron in one episode of the third season.

The German dubbed version was produced by Arena Synchron in Berlin. The dialogue book for the pilot wrote Ulrich Johannson , for all other episodes Boris Tessmann , who also dialogue director was.

Overview of performers and voice actors for recurring roles
The table lists the actors, their role names, their affiliation with the main cast (●) or with the supporting and guest actors (•) per season, the total number of episodes with performances and their German voice actors . The season articles offer a larger selection of actors.
actor Role name 1 2 3 4th 5 6th 7th Number of
German voice actor
Avery Brooks Benjamin Sisko 176 Jörg Hengstler
Nana Visitor Kira Nerys 174 Liane Rudolph
René Auberjonois Odo 173 Bodo Wolf
Terry Farrell Jadzia Dax 148 Maja Dürr
Alexander Siddig Dr. Julian Bashir 172 Boris Tessmann
Colm Meaney Miles O'Brien 166 Jörg Döring (up to Ep. 90, Ep. 92)
Roland Hemmo (Ep. 91, from Ep. 93)
Armin Shimerman Quark 160 Peter Groeger
Cirroc Lofton Jake Sisko 085 Tobias Müller (Season 1)
Julien Haggége (seasons 2–7)
Michael Dorn Lt. Cmdr. Worf 100 Raimund Krone
Nicole de Boer Ezri Dax 026th Bianca Krahl
Judi M. Durand Cardassian computer voice 049 Heidi Weigelt
Majel Barrett Federation computer voice 023
Lwaxana Troi 003 Inken Sommer (Seasons 1, 3)
Evelyn Gressmann (Season 4)
Wallace Shawn Zek 007th Joachim Röcker (seasons 1–2)
Werner Ehrlicher (from season 3)
Hana Hatae Molly O'Brien 012 Jill Schulz (from season 6)
Louise Fletcher Winn Adami 015th Regina Lemnitz
Rosalind Chao Keiko O'Brien 020th Iris Artajo
Max Grodénchik Rome 037 Wilfried Herbst
Marc Alaimo Ducat 037 Tilo Schmitz
Anjohl Tenan 003
Andrew Robinson Elim Garak 039 Friedrich G. Beckhaus
Aron Eisenberg Nog 048 Fabian Schwab (seasons 2–7)
Mark Allen Shepherd Morn 091 no speaking role
Philip Anglim Bareil Antos 007th Peter Reinhardt (seasons 1–3)
Stefan Fredrich (Ep. 132)
Felecia M. Bell Jennifer Sisko 004th Elisabeth Günther
Salome Jens Founder 016 Alexandra Lange
Penny Johnson Jerald Kasidy Yates 017th Joseline Gassen
Chase Masterson Leeta 017th Melanie Hinze (except Ep. 174)
Antje von der Ahe (Ep. 174)
Robert O'Reilly Gowron 008th Jan Spitzer
Ken Marshall Michael Eddington 009 Walter Alich
Andrea Martin Ishka 001 Renate Danz
Cecily Adams Ishka 004th
Jeffrey Combs Brunt 008th Norbert Gescher
Weyoun 024 Udo Schenk
Casey Biggs Damar 024 Thomas Nero Wolff
JG Hertzler Martok 026th Andreas Thieck
Cyia Batten Torah Ziyal 002 Carola Ewert
Tracy Middendorf 001
Melanie Smith 006th
Brock Peters Joseph Sisko 006th Werner Ehrlicher
James Darren Vic Fontaine 009 Klaus-Dieter Klebsch
Barry Jenner William J. Ross 013 Klaus Nietz
James Otis Solbor 003 Wolfgang Thal (Ep. 168)
Hasso Zorn (Ep. 169–170)
John Vickery Rusot 003 Bert Franzke

Production design, costume design and masks

The estimated budget for the sets in 1992 was $ 4 million. The shape of the space station was based on a gyroscope . At least four different models of the space station , designed by production designer Herman F. Zimmerman , were used; they were up to 2 meters tall and were used depending on the camera perspective and the scene. To make the station appear as large as possible, it was filmed with wide-angle lenses . As role models for the Lichtgebung the station exterior were pictures of the space shuttle of NASA . The space station's promenade deck set was expanded at the beginning of Season 2 to provide more space and redesigned with the intent to make it look busier and busier. One of the models used for the Defiant spaceship was about four feet tall. The Defiant Bridge set was reused for other spaceships after production ended in Star Trek: Spaceship Voyager and Enterprise .

Occasionally, costumes and sets from The Next Century and Spaceship Voyager, and the films First Contact and The Insurrection have been reused. Robert Blackman was mainly responsible for the costume design . Many of the costumes made for rogue roles , including the black leather clothing of Section 31 agents, were inspired by the looks of SS and Gestapo members and other National Socialists .

Because René Auberjonois , actor of the shape shifter Odo, was hired so late that his mask could not be finished in time, the mask was adjusted several times during the first season. The speaking roles of other shapeshifters appearing in the series were given differentiated partial masks, while actors without speaking roles were given full-head masks made of latex .


The shooting of the pilot began on August 18, 1992, the series finale ended on April 20, 1999. The average shooting time per episode lasted seven to eight days, each day of shooting at least 13 hours.

In order to emphasize the gloomy atmosphere of the space station, unfiltered light was often used, which makes the sets appear particularly dark. Specially designed ceilings and mirrors installed above were used to illuminate the sets . By adjusting the lighting and changing the interior design, the same sets were used for the quarters of different crew members. In the first two seasons, camera lenses were often used to isolate the characters from their surroundings. This was changed with the beginning of the third season in order to be able to convey more information on the screen.

A total of 34 directors were deployed over the course of the series, including some who also directed other Star Trek series and some of the leading actors. The most active directors were David Livingston (17 episodes), Les Landau (14), Winrich Kolbe (13), Allan Kroeker (13) and LeVar Burton (10) (→ main article: List of Star Trek directors ) . Executive producer Ira Steven Behr decided to employ new directors who had not yet been used in the series with the beginning of the fifth season with the aim of keeping viewers interested. In addition to Kroeker, these included Victor Lobl , John Kretchmer , Jesús Salvador Treviño , Gabrielle Beaumont and Michael Vejar . As a cameraman came Jonathan West (118 episodes), Marvin V. Rush (45) and Kris Krosskove (20) are used.

In the final episode, the team of scriptwriters and some actors in no costumes were usually only seen wearing masks.

Special and visual effects

At the beginning of the series, most of the exterior shots of spaceships and stations were made using motion control photography . In the course of the series, there was an increasing trend towards producing spaceship and space scenes with CGI technology, so that in the last two seasons almost all of these scenes were created using CGI. The reasons for the increasing use of CGI were an increasing quality and decreasing financial expenses. The usability of CGI was a major reason why fleets from several dozen spaceships could be shown as part of the Dominion War.

The relatively few CGI effects included in the first five seasons, including the morphing scenes Odos, were produced by VisionArt . The CGI recordings of spaceships, three-dimensional effects, space battles and aliens in seasons 6 to 7 come from Foundation Imaging , which was previously poached from Babylon 5 by Paramount , and Digital Muse . The LightWave 3D software was mainly used to produce the CGI recordings . The company Rhythm & Hues was also involved in the special effects, including the generation of the wormhole . For example, matte paintings were produced for landscape pictures of planets , in which the company Illusion Arts was also involved. Some of the originally planned special effects could only be implemented to a limited extent due to budget cuts in favor of other episodes, including in the episodes The Front (Homefront) and The Lost Paradise ( Paradise Lost , both season 4).

As with The Next Century , the optical effects were not recorded on negative film , but on video to save time and costs (→ main article: Spaceship Enterprise - The next century ) .

On the occasion of the 30th Star Trek anniversary, the episode Always the Last with the Tribbles was produced for the fifth season . Deep Space Nine figures were inserted into reused scenes from spaceship enterprise episodes using digital image processing ( → main article: Season 5 ).


The soundtrack of each episode consists of up to 30 different, individual recordings. In addition to the music and the actors' dialogues, this includes off- screen voices , including computer voices , and noises such as tricorders , phasers and opening and closing doors. The soundtrack of every scene playing on Deep Space Nine contains drones - subliminal, deep tones - which are intended to give the viewer the impression that the characters are part of a machine that is in operation. For the blend of acoustic elements and the Automatic Dialogue Recording in was Hollywood -based firm Modern Sound responsible. A digital audio workstation from Sonic Solutions was also used to set the episodes to music .

Dennis McCarthy and Jay Chattaway composed the music for the majority of the episodes . The other composers are David Bell , Paul Baillargeon , Gregory Darryl Smith and John Debney . Most of the songs sung by Fontaine actor James Darren in the last two seasons are interpretations and cover versions of songs by well-known singers, especially Frank Sinatras . The pieces include That Old Black Magic , It's Only a Paper Moon , Sophisticated Lady , I've Got You Under My Skin , The Way You Look Tonight and Night and Day .

Dennis McCarthy also composed the theme song . Jerry Goldsmith was originally scheduled to replace him, but he canceled due to lack of time. McCarthy revised the theme song as part of the visual redesign of the opening credits with the beginning of the fourth season.

Television broadcast

Like the other Star Trek productions, the series was dubbed for other languages ​​and broadcast in numerous countries.

United States

Overview first broadcast USA
Season Number of
First broadcast Rating
1 20th 0Jan 3, 1993 - June 20, 1993 11.1
2 26th 26 Sep 1993 - June 12, 1994 08.8
3 26th 26 Sep 1994 - June 19, 1995 07.7
4th 26th 0Oct 2, 1995 - June 17, 1996 06.6
5 26th Sep 30 1996 - June 16, 1997 05.8
6th 26th 29 Sep 1997 - June 17, 1998 05.0
7th 26th Sep 30 1998 - June 2, 19990 04.6

The first broadcast of Deep Space Nine started in the USA on January 2, 1993. It took place on a weekly basis and syndicated , that is not through a certain television network , but through regional television stations. With around 12 million viewers or 18.8 percent market share, the pilot film became the most-watched premiere episode of syndicated television series to date. The first season reached an average of 8.7 million households. The target group relevant to advertising was young, male viewers. The ratings of the third season were about 20 percent higher than those of the then strongest competing series Baywatch . By the final season, the number of regular viewers dropped to an average of 4.5 million. At least from the fourth season onwards, the increasing competition from other fantastic TV series such as Hercules and Xena reduced the ratings for Deep Space Nine ; This is one of the reasons why the series did not achieve nearly as high ratings as The Next Century, which was also broadcast syndicated .

German-speaking countries

In German-speaking countries, Deep Space Nine was first broadcast by Sat.1 in January 1994 . Up until then, the first broadcast of The Next Century had only progressed to the middle of the fourth season, which is why German viewers had not yet seen the plot elements on which Deep Space Nine is based. The pilot film ran for the first time in the evening program on January 28, 1994 and was seen by around 4.4 million viewers in Germany. The other episodes of the first season ran in the winter and spring of 1994 at a weekly rhythm on Sunday afternoons with an average audience of 1.7 million viewers, with only the first three episodes having more than 2 million viewers. The second season ran in the late summer and autumn of 1994, Monday through Friday (five times a week). Sat.1 broadcast the third and fourth seasons in 1996 from Monday to Saturday (six times a week). The broadcast rhythm was retained for the fifth season, which first aired in 1998. The episode Always the Load with the Tribbles (Trials and Tribble-ations) , created for the Star Trek anniversary, ran for the first time in December 1997. Seasons 2 to 5 reached an average of between 1 and 1.5 million viewers when they were first broadcast. The majority of seasons 6 and 7 were shown on Saturdays from 4 to 5 p.m. from 1998 to 2000, with the exception of Bavaria , where a window program was broadcast at the time . In Bavaria, the episodes of these two seasons - with a few exceptions - were only shown in the nightly repetition. The audience numbers dropped to an average of just under a million per episode. When the first six seasons were repeated on Sat.1 in the 1990s, some episodes achieved even higher ratings than when they were first broadcast.

The series was also repeated on Kabel Eins , Tele 5 and pay TV .

Overview of the first broadcast on Sat.1
Season Period Range GermanyGermany Market share GermanyGermany
1 (pilot) Jan 28, 1994 4.43 million 13.3%
1 (Ep. 3–20) Jan. 30, 1994 - June 5, 19940 1.67 million 09.8%
2 Aug 29, 1994 - Oct 3, 19940 1.03 million 13.8%
3 Feb 15, 1996 - Mar 15 1996 1.20 million 14.5%
4th Oct 15, 1996 - Nov 12, 1996 1.26 million 15.8%
5 (Ep. 104) 0Dec 6, 1997 1.56 million 17.8%
5 19 Feb 1998 - 25 Mar 1998 1.40 million 12.1%
6th 0May 9, 1998 - Nov. 7, 19980 0.81 million 08.9%
7th 04th Sep 1999 - Mar 25 2000 0.92 million 07.9%

Comment on the columns reach and market share: These are mean values ​​from episode-specific audience ratings of the Society for Consumer Research .

Other forms of publication

Home theater publication

Overview VHS publication
Season date
1  Feb 1995 -  Nov 1995
2  Jan. 1996 -  June 1996 (Ep. 21–32) ,
 July 1997 -  Feb. 1998 (Ep. 33–46)
3  Sep 2001 -  October 2002
4th  July 1996 -  June 1997
5  March 1998 -  April 1999
6th  May 1999 -  June 2000
7th  July 2000 -  Aug 2001

In the United States, Paramount began publishing the episodes on video cassettes in 1996 , but broke it off again in 2002 after the fifth season. From 1996 to 1999 the first 60 episodes were also published on Laserdisc .

For the German market, all seven seasons were dubbed in German on VHS between 1995 and 2002 . Most of the time, CIC released a new cassette with two episodes every month. The second half of the second season was only released after the fourth season, the third season only after the seventh season. With the release of the fourth season, CIC began in 1996 before it was first broadcast in Germany.

All seven seasons were released in the USA ( region code 1) and in the German-speaking countries ( region code 2) in 2003 in DVD boxes at intervals of several weeks.

The boxes intended for the German market are distributed by Paramount Home Entertainment and contain sound tracks in German, English, French, Italian and Spanish. The DVDs that were first published in hard plastic boxes are now available in stores at significantly higher prices than the later editions. All seasons were re-released in April 2009, now in 14 boxes, each with one half of the season on three or four DVDs. The first half of the seventh season is approved by the FSK for ages 16+, all other halves of the season for ages 12+. Deep Space Nine was released in full in December 2012 in a complete DVD box. In this edition, some buyers reported playback problems.

The DVD editions with the region code 2 have the same content throughout Europe. In order to avoid a release from 18 years of age by the BBFC in Great Britain , the footage of the episode Die Abtrnigen was censored and slightly shortened compared to the original version for the European DVD release ; the episode Sons and Daughters was shortened by 26 seconds for the same reasons. German free TV broadcast these episodes uncut.

The series is also available from various video-on-demand providers, including Amazon Prime Video and Netflix .


Ira Steven Behr raised money for a documentary called What we left behind through crowdfunding . The title refers to the last double episode. Ronald D. Moore, Renè Echevarria and Robert Hewitt Wolfe were also involved in this documentary. With the exception of Avery Brooks, all of the former leads participated in the documentary. Over $ 570,000 has been raised. This made it possible to extend the duration of the documentation to 90 minutes and to incorporate further advantages.


The music label GNP Crescendo Records released the soundtrack for the pilot film and the theme song in 1993 on two separate audio CDs . Music from the series has also appeared in various albums that contain pieces from various Star Trek series and films, for example in the album Music from the Star Trek Saga (2013). In 1999 Concord Records released the album This One's from the Heart with 17 songs that James Darren had recorded for his appearances in the last two seasons.

In 2013 the label La-La Land Records released the CD box Star Trek: Deep Space Nine Collection , limited to 3000 copies , which contains a selection of episode-specific compositions and different versions of the title melody on four CDs with a running time of over five hours .

For example, at there is the soundtrack as MP3 - Downloads . The score of the title melody is available for purchase online as a digital print , for example through . At least the title melody was performed at concerts alongside other Star Trek compositions , for example in 2008 in the Roy Thomson Hall in Toronto .

Themes, interpretations and motifs

Politics, Terrorism and War

With the pilot, Michael Piller intended to give the series a statement about the coexistence and coming together of people. For this he was inspired by the destruction caused by the riots in Los Angeles in 1992 with regard to the cannibalized, devastated state of the space station . Gregory (2000) was convinced that the participation of Starfleet in the operation of the space station and its mediating role in the conflict between Bajorans and Cardassians the course of the United States corresponds in many political situations that Starfleet will insofar as "peace-makers" , as Peacemaker, portrayed. Robb (2012) saw it similarly and spoke about the station crew from a “United Nations-style peacekeeping crew” , a peacekeeping team similar to the United Nations . With this initial constellation, according to Geraghty (2009), the series clearly remains true to the positive future vision that shaped the previous Star Trek series and in which the Federation in particular was characterized as progressive, integrity and optimistic. Yet Deep Space Nine deviates from this message in some ways. This can be seen, among other things, in coping with the Bajoran-Cardassian post-war period, a political issue that has repeatedly been taken up in the course of the series, and with it in the fourth season of Kira's recognition of the humanity of her former Cardassian oppressors. According to Gregory (2000), the series agrees with the need to change the attitudes of the two contracting sides in order to cope with post-war conflicts and to secure real peace. In this respect, the series reflects the current political reality, for example in Northern Ireland , South Africa , Yugoslavia or Lebanon . The series also moves beyond the idealistic but simplistic left-wing liberalism of Gene Roddenberry in the earlier Star Trek productions.

There are similarities between the Cardassian Empire and Nazi Germany . According Nolton (2008) they were clearly at the crew of the Cardassians on Bajor and the labor camps , where the Cardassians Bajoran prisoners, similar to the Nazis, among other Jewish prisoners in concentration camps , forced labor could do. That the authors intended these parallels is clearly shown in the episode The Inscrutable Marritza ( Duet , Season 1), which speaks of a Holocaust and which was inspired by the feature film The Man in the Glass Booth (1975), which the Reflects on the history of Adolf Eichmann . In relation to the parallels, Booker (2004) also called the Cardassians “outer-space Nazis”, “space Nazis”. One of the authors used the Gestapo as a source of inspiration for the Cardassian secret service Obsidian Orden . Carney (2013) compared the representation of the Bajorans with the Vichy regime and the French Resistance . Production designer Herman Zimmerman described Cardassia as a military state made up of numerous opposing interest groups and as spartan , uncompromising and ruthless. For the design of Cardassian architecture, he oriented himself on the 1984 novel . Referring to the parallels between the novel and Cardassia, Hahlbohm (2003) interpreted Cardassia as a totalitarian surveillance state , because the screens with talking rulers, which are sometimes displayed, clearly show the basic attitude of the Cardassian empire, which is concerned with absolute control over its citizens.

According to Putman (2013), the terrorist actions of the Maquis reflected the growing threat of right-wing domestic terrorism in the United States in the early 1990s , particularly through the militia movement . Examples are the conflicts at Ruby Ridge in 1992 and between Davidians and officials of the Bureau of Alcohol, Tobacco and Firearms in 1993. The Maquis members resembled the extremists involved in such conflicts. They had also given up and felt threatened by an expanding, powerful government that gave some the impression that it was giving up American independence in favor of a New World Order such as the United Nations. Fittingly, the scriptwriters for the episode On Your Own Cause ( For the Cause , Season 4) were inspired by the reactions of the American public to the 1995 bombing of the Murrah Federal Building in Oklahoma City , the height of the violence by the Militia movement.

The stories told in seasons 3, 4 and 5 and about the Dominion conflict are shaped by the element of paranoia . The reason for this paranoia lies in the federation's fear of infiltration by the founders, who, unlike Odo, can transform themselves into perfect imitations of the human body. The measures taken by the Federation in response to the threat posed by the Dominion, such as the stationing of the Defiant warship or the armament of the space station, are perceived by the Dominion as a danger that it subsequently tries to eliminate through the alliance with Cardassia . Also, because at the end of this escalation there will be a war, it can be regarded as a classic security dilemma . For Raum-Deinzer et al. (2000) it was clear that a number of changes to the framework of seasons 4 and 5 were inspired by the plot of Babylon 5 , including the alliance between the Dominion and the strengthening Cardassians, which is reminiscent of the pact between Centauri and Shadows . The Dominion War was understood as a replica of the First World War , which can be seen in the costly military alliances and extensive lists of victims.

The Dominion War is in stark contrast to Gene Roddenberry's dream of a peaceful universe with which he tried to shape the previous Star Trek series. An example of this contrast is the episode In the Pale Moonlight ( In The Pale Moonlight , Season 6), the Romulan Empire moved in the Sisko to enter the war. For Sisko, according to Raum-Deinzer et al. (2000) sanctified the end as the means, and because of the war, pragmatism was more important to him than moral considerations. The fact that moral ideals are difficult to maintain in war was interpreted using the example of this episode as the central theme of the series.

Another example of the contrast to Roddenberry's dream is the existence of the Starfleet Intelligence Service Section 31. Explaining his intentions regarding the introduction of Section 31, screenwriter Ira Steven Behr said that the earth in the 24th century was a paradise because it was with Section 31 give someone to watch over it and do all the dirty things no one is willing to think about. An article in The Atlantic magazine in 2013 recognized this aspect as something in common with the NSA , which operates the top-secret PRISM surveillance program. A difference between the two secret services is that the NSA is at least monitored by the United States Foreign Intelligence Surveillance Court , while Section 31 is not responsible to any body. Raum-Deinzer et al. also suspected the authors' intention in introducing the secret organization into the plot to swim along in the wave of mystery productions such as the X-Files that emerged in the 1990s .

Culture, relationships and changes in characters

The actors of Kira Nerys and Odo, Nana Visitor and René Auberjonois, at the Star Trek Convention 2011 in Las Vegas

The darker drawing of the characters intended by the creators has been recognized by several authors as a key difference to The Next Century . For example, Mason (1993) interpreted this aspect as follows: “While 'The Next Century' projects a utopian community into space, 'Deep Space Nine' suggests a society of loners, rebels, outsiders, hooligans and cynics. There are a few exceptions, but most of the characters hold a grudge. Anger and egoism motivate a figure here with just as much probability as honor and courage can do in 'The Next Century'. "

Geraghty (2003) emphasized that families or family-like relationships - in marked contrast to Spaceship Enterprise - have a permanent important meaning in the series. Episodes like The visit ( The Visitor , Season 4) The Time Portal ( Time's Orphan , Season 6) and the final result of that which you leave (What You Leave Behind) illustrated the strong, the whole series by pulling bonds of family, marriage and parenthood . With its strong focus on interpersonal relationships , Deep Space Nine resembles contemporary television series from the 1990s such as Friends , the author said in a later publication (2009).

According to Carney (2013), typical values ​​and characteristics of Germans are reflected in the culture of the Cardassians. As shown in several episodes, cleanliness, obedience to orders, punctuality and efficiency are typical for the Cardassians, as well as for the Germans. The Cardassian public service, which becomes clear in statements by the Cardassian Garak in the episode Das Implantat ( The Wire , Season 2), is comparable to the Prussian culture of the 18th and 19th centuries as well as the National Socialist beginnings. Referring to the cultural parallels, director Winrich Kolbe interpreted the Cardassians as “the Prussians of the universe ”.

Piller and Berman described the Ferengi as "ugly, sexist, greedy, little aliens who are only interested in profit and in getting their hands on whatever they want." Sennewald (2007) called them because of their appearance and their behavior as " caricatures of the 'greedy capitalists '". Cowan (2010) cited Gordon Gekko, the unscrupulous financial investor in the Wall Street drama, as an example of such a capitalist . Followers of the series like Winn (2003) saw in this characterization strong similarities with common anti-Semitic stereotypes. Pareles (1996) described the Ferengi in the New York Times as "Shylocks of space" and compared them with the Jewish, usurious moneylender in the Shakespearean comedy The Merchant of Venice in terms of their capitalist disposition .

Winn (2003) saw in the character Nog and his transformation from a "low and despicable" Ferengi into an honorable Starfleet officer an example of intercultural problems in the series. In the first three seasons, Nog behaves in a way that is stereotypical for Ferengi by lying, cheating and stealing, and thus like an enfant terrible . From the third season, in which Nog begins to change with his decision to attend the Starfleet Academy, he seems to be adapting the values ​​and morally honest behavior of more respectable Star Trek races such as humans, since he is now atypical for Ferengi Goals works. Important examples of his development in this regard are the episode The Siege Of AR-558 ( The Siege Of AR-558 , Season 7), in which he risks his life in the fight for the Federation and with loss for it, without any prospect of financial profit paid his leg, as well as his later promotion to lieutenant . In Deep Space Nine, the intention is expressed that Nog's conscious decision to adapt the mainstream culture of the Star Trek universe was noble and desirable. In this regard, the series upholds racial stereotypes and promotes assimilation into a mainstream culture as the right path for the existence of the ethnicized "other".

Other characters also change over the course of the series. Vedek and Kai Winn, for example, have, according to Raum-Deinzer et al. (2000), developed from an arrogant woman who desperately hopes for visions of the prophets but always wanted the best for Bajor, to an uncontrollable, devious murderer. Booker (2004) characterized Dukat, who like Winn is an antagonist, on the one hand as a brutal racist , as a completely unscrupulous political manipulator and as a man who - including torture and mass murder - is ready to go to the extreme in pursuing his ambitions . On the other hand, he is a loyal family man who sometimes helps the other main characters, and sometimes it seems like he himself is a victim of circumstances. Dukat's facets and depths would not be matched by any villain in the other Star Trek series.

The episode Reunited ( rejoined , Season 4) is Trill culture of the taboo in that it is forbidden united Trills, starting a relationship with a partner from a previous life. Among other things, the united trills Jadzia Dax and Lenara Kahn kiss in it. Kahn is one of Dax's previous wives. By choosing a female host for Kahn, the scriptwriters intended to take up the then taboo topic of homosexuality . After the US premiere of the episode in October 1995, the kiss led to an excessive number of, but divided reactions from viewers - some were outraged, others enthusiastic. Since then, the kiss has been received by fans of the series and in literature as the first same-sex kiss within Star Trek .

According to Stengel (2005), the taboo of reunification serves to portray sex as dangerous, but friendship as vital, which is also evident in other social relationships within the series. Keiko O'Brien, for example, spends less and less time with her husband Miles during the course of the series, but he spends more time with Julien Bashir. Miles O'Brien, Stengel said, didn't rely on his wife to maintain emotional intimacy . Instead of a social decline through a failed marriage, this situation is a strengthening of social cohesion on the space station. Inferring from these examples, among other things, Stengel considers it worrying that in the idealized future of Deep Space Nine, people cannot safely live out their primary intimacies within their romantic or sexual relationships. For example, there is a risk that generations of young men will grow up who distrust their partners and are unwilling to communicate emotionally outside of platonic friendships . Geraghty (2003) stressed that the friendship between Bashir and O'Brien was a 1990s response to questions about the near-homosexual relationship between Kirk and Spock , that it restores balance and love for each other through love replace their partner and family.


In the previous Star Trek series, religion and money were mostly portrayed as unnecessary and underestimated, mainly because Gene Roddenberry, as part of his rational , humanistic vision of the future, was convinced that these were primitive elements that humanity in the 23rd . and the 24th century long ago left behind. Ira Steven Behr disagreed on this, also because he saw the deep space nine's story structure, which differs from the previous series and which spans more episodes, than enables religion and other, more profound topics to be treated as an integral part of life in the future.

Several authors compared the topics around the "envoy" and the Pah spirits with the Bible stories . Cassidy (2003), for example, recognized parallels with Jesus Christ in Sisko's role as an envoy . Just like Jesus, Sisko sacrificed himself for the redemption of all, went willingly to a terrible death, was saved through divine intervention and was physically transported to a heavenly kingdom where he had much to learn. The depiction of the Pah spirits is similar to the Christian understanding of the devil , for example in the Gospel according to Matthew . Lamp (2010) discovered differences and wrote that the messianic representation of Sisko in comparison to the portrayal of Jesus in the New Testament in the series falls noticeably, because Sisko is all too human and - although a descendant of the "prophets" - not with extraordinary moral, religious or equipped with spiritual senses. Sisko fulfills the wishes of the "prophets" not out of obedience or in order to submit to divine will, but for reasons that are considered appropriate in his role as Starfleet officer. Linford (1999) was also of the opinion that Sisko gave non-religious purposes precedence over religious beliefs, and believed to see therein a "marginalization of religious truth".

The religious themes in Deep Space Nine also include the rites shown in some episodes that are part of the Klingon religion, including the ritual suicide that Worf's brother Kurn performed in the episode The Sons of Mogh ( Sons Of Mogh , Season 4) tries. Another religious theme is the idolatry of the founders by the Vorta and the Jem'Hadar. Because the founders use genetic engineering for this purpose, Cowan (2010), among others, came to the firm belief that the founders can be regarded as false gods . The capitalist philosophy of the Ferengi has also been interpreted as religious on several occasions. For Ferengi, commerce is religion, thought Cowan. This is shown by their belief in transcendence into the “great material continuum” and into the “heavenly treasury” and resembles real religious traditions, including those of the ancient Egyptians , who provided burial objects for their deceased afterlife .

Despite Linford's interpretation, Deep Space Nine represents a clear departure from the secular , rational values ​​of the previous series, mainly because of the more serious and far less disparaging approach to religion . According to Barret and Barret, the episode Beyond the Stars ( Far Beyond The Stars , Season 6) with the story about Sisko alias Benny Russell told in a completely different, representative style to a high degree exemplary. Wenger (2006) saw the paradigm of the Star Trek world, shaped by reason, relativized with the religious themes of the series .

The portrayal of religion in the series is not without its flaws. Cowan, for example, remarked that it was filled with non sequiturs , logical inconsistencies and open questions. Johnson-Smith (2005) pointed to the plot that was not planned in advance as the reason why Sisko, although he was completely unknown to the wormhole creatures when they first met, turned out to be their child in the seventh season.


Contemporary criticism

At the beginning of the US premiere, the New York Times criticized the fact that Deep Space Nine, along with other, then new series such as Time Trax and Space Rangers , did not live up to expectations of science fiction because they lacked focus on the future. Instead of a step forward from the more than 26-year era of spaceship Enterprise , the series conveyed a kind of déjà-vu and, beneath their futuristic surface, offered well-known premises and actions, mostly borrowed from earlier TV series and feature films. The producers of the new series would have repeated the Star Trek concept and its military model, in which the main characters are hierarchically linked, so "slavishly" that they would have missed the chance to explore other types of social organization. At least, according to the paper, Deep Space Nine is good enough to oppose ethnic prejudice because of the large variety of species on the space station .

The scriptwriters and producers received criticism from fans by post or during conventions . For example, during the US premier of the second season, the fans criticized stories with philosophical and intellectual subjects such as religion and politics and expressed a desire to have the station crew interact more closely with outsiders, travel more and expose them to more dangerous situations.

Showrunner Ira Steven Behr said at the end of the series in 1999 that Deep Space Nine received too little attention from the media and viewers when it first aired. Probable reasons for this are the concentration of many critics on the Star Trek television series broadcast at the same time and the story arcs that span episodes and seasons, which have made it difficult for new viewers to understand. Robb (2012) and Owen (1999) also spoke of such a lack of attention. In Germany too, the criticism's attention was limited during the first broadcast. At least the TV magazine Gong commented on the pilot film in 1994 and criticized it as "lengthy" and "pseudo-intellectual".

In a circa 1997 survey of US television magazine TV Guide , the episode was the visit ( The Visitor , Season 4) for the best Star Trek chosen episode of all time.

Among other things, the choice of episode titles was criticized for the German dubbing. For example, the German title Der inscrabare Marritza for the episode Duet inappropriately sounds more like a “cheap comedy of confusion”, according to Raum-Deinzer et al. (2000). It was also criticized that some names are pronounced incorrectly. One example is the character Winn, who is mistakenly called Wunn for the first two seasons.

Later reviews

In 2013, the Internet newspaper highlighted the topic of human diversity, because in 1993 it was a "triumphant balancing act" compared to today's television series that Deep Space Nine had made clear that race and ethnicity were only part of the uniqueness of each character be. "Revolutionary" it was with Avery Brooks an African American to occupy as protagonists of a series that is not primarily aimed at an African-American audience. With Alexander Siddig possibly the first Arab descent main character in the drama genre of the US prime time to occupy -Fernsehens, was "groundbreaking".

Some critics, including authors of Time Magazine (2012) and the Milwaukee Journal Sentinel (1999), considered Deep Space Nine to be the best Star Trek television series. The latter sheet stated, among other things, that the continuity - for example through the large number of recurring supporting roles - was much more pronounced than in the previous series. With its long story arcs, the series offered its regular viewers a level of realism and credibility previously unmatched on Star Trek . In 2004, the Austrian newspaper Die Presse emphasized the intense development of the characters and clearly drawn arcs of tension as a reason. In addition, the dialogues between Odo and Quark were among the most amusing that the authors have ever generated in the Star Trek universe. The Webzine The Internet Review of Science Fiction assessed the ensemble of figures in 2008 as the most interesting of the five live-action film - Star Trek serials. Because of the Dominion War, the series including holding "much of the richest and most exciting drama" of Star Trek - franchise . In addition, despite conceptual similarities with Babylon 5 , the series has retained its distinctiveness.

Ian Johnson-Smith, in his book American Science Fiction TV (2005), praised the questioning of the hegemonic ideology of Starfleet in higher seasons as "refreshing". However, he complained that the series was not effective enough because it was completely centered on the characters: The war against the Dominion and Cardassia was thematized exclusively in the form of the individual experiences of the protagonists and antagonists and not in its larger meaning; the series does not seek to leave the personal or individual experiences of a small group of officers. In contrast, Space View magazine (1998) praised the scriptwriters for dedicating themselves to the subject of war with the corresponding “epic breadth”. The characters “obviously don't 'enjoy' the war” and the changes brought about by the war, such as despair, hopelessness and anger, are extremely subtle and therefore implemented “convincingly and haunted”. Space View also praised the series for the “unusually large number” of mainstream elements, such as the characters' personal relationships (1997); for the set, which was "probably the most imaginative and elaborate" of the series at that time (1998); and for the "breathtaking special effects".

Author Johnson-Smith (2005) criticized the series for investing a lot of time in stand-alone, lightweight episodes that distracted from the overarching plot that revolved around the Dominion war rather than developing it in any way. For example, as prisoners of the Breen and Dominion, Ezri Dax and Worf spend more time talking about their relationship than about resisting their abductors.

The longtime editor of the US-American Star Trek magazine, Brian J. Robb, ruled in 2012 that the series was too complex for episodic television and may have followed too many storylines and characters, the world of Star Trek without Deep Space Nine would have been far less interesting. The series dared to undertake an “interesting anti-Star Trek experiment” with a “relentless” narrative style and serialization and for this reason - in contrast to spaceship Voyager and Enterprise - became creatively successful.

For the first DVD release in 2003, reviews of the seasons appeared on relevant review websites . DVD Talk, for example, praised the continuity of The Next Century , because the series benefits from taking up existing storylines instead of inventing new aliens, at least in the first season . Apart from a few episodes, there was little approval for the first two seasons from DVD Center, and DVD Verdict. DVD Verdict, for example, spoke of a “inconsistent patchwork of topics and course corrections” about the second season . The side also criticized the solution of astrophysical problems in the series as often too simple, for example when Kira and Bashir escape the mirror universe by using the same course and the same speed. Seasons 3 , 4 and 5 received praise from DVD Talk and DVD Center for the greater concentration of many episodes on the Dominion framework and the continuation of existing storylines, while DVD Verdict in the fourth season saw the weakest so far due to many inconsistent episodes Adding the character Worf to the cast felt unnecessary. The site also stated that Avery Brooks' "exaggerated, dramatic acting" was beginning to make sense in season three as Sisko was stressed more often now. Of all seasons, the sixth season received the most positive response. According to DVD Talk, the season combines all of the series' strengths, namely "excellent storytelling" through a cohesive story arc, well-developed, three-dimensional characters and a willingness to face all the nuances that would create difficult ethical problems. While the reviewers were divided about the introduction of the character Ezri Dax in the seventh season , DVD Verdict complained that too many things happened in too short a time in the final, 10-part story arc and that the quality of the scripts was at the expense of the series ending.


Deep Space Nine has been nominated for numerous prizes and has won several awards, mainly in technical categories. There were a total of 32 nominations for the Emmy , one for each season in the categories make-up and hairstyle and several times in the categories artistic direction , music, visual special effects and costume design . There were four awards, including one for the theme song and two for the make-up in the episodes Tosk, the Hunted ( Captive Pursuit , Season 1) and Faraway Voices ( Distant Voices , Season 3).

In addition, the series received the ASCAP Award for best television series five times . There were eight nominations for the Saturn Award , four of them in the category Best Syndication / Cable TV Series . There were also two nominations for the renowned science fiction prize Hugo Award .


Adaptations by other Star Trek productions

The two-part episode Secret Mission on Celtris Three (Chain Of Command) of season six of The Next Century first aired in December 1992, a few weeks before Deep Space Nine began . In order to ensure continuity in terms of content, it introduced the viewer to the Cardassians' retreat from the planet Bajor and was originally planned as a crossover with Deep Space Nine . One such was implemented a few months later with the two-parter The Moment of Knowledge (Birthright) , which takes place on the space station and is also about Deep Space Nine characters. The pilot film Der Fürsorger (1995) from Star Trek: Spaceship Voyager is also a crossover, which also includes the space station as a location. This is another reason why spaceship Voyager is a spin-off from Deep Space Nine . In the movie Star Trek: The First Contact (1998) the spaceship Defiant also plays a role; the film's scriptwriters originally planned to have it destroyed in the plot. The prequel series Star Trek: Enterprise (2001-2005) tells of the prehistory of the Starfleet Intelligence Service Section 31 in several episodes. Section 31 is also mentioned in the prequel movie Star Trek Into Darkness (2013).

After the end of the first broadcast of Deep Space Nine , the episode Valiant (season 6) and a crew of Starfleet cadets similar to the crew shown in it were included in the considerations for a new Star Trek television series.



The television series was adapted for over 70 novels, which were published by the US publisher Pocket Books , an imprint of Simon & Schuster , from 1993 onwards. In the 1990s, about five to seven titles appeared per year. About 60 percent of the novels were also published in German. At the beginning of 1993 - and thus before the start of the German first broadcast - Heyne Verlag published most of the German translations of the volumes that had appeared in English up to 1996. The sales success for Heyne in Germany was unsatisfactory, which is why the publisher temporarily stopped the first publication of German translations in 2000, and the last volume (Section 31: The Abyss) appeared in 2002. VGS Verlag published three volumes for the first time in 1995 and 1996. The publishing house Cross Cult continued the German first publications in 2009. Heyne publishes reprints and new editions.

With a few exceptions, the novels, first published by 2000, take place during the action time of the television series (2369–2375). Initially, mostly novels with a completed plot appeared; from the end of the 1990s, more and more multi-parts were added. Eight novels are retellings of episodes of the television series that are particularly significant for the framework plot, including the first two episodes of the first, third and fourth seasons and the final double episode. In the novels Lost Peace and End the War! it is a retelling of the seven episodes 124 ( To Arms , Season 5) to 130 ( Victory or Defeat?, Season 6), which take place during the siege and the recapture of the space station. Both novels belong to the four-part novel miniseries The Dominion War , which is a crossover with the Star Trek: The Next Generation novel series and the other two parts of which contain the Enterprise-E as the main plot. Pocket Books also published twelve novels aimed at young readers and mainly centered on Jake Sisko and Nog; Heyne published eight of them in German under the series title Starfleet Kadetten (German first publication) and Starfleet Academy (higher editions).

In some novels in the television series in which is Star Trek - universe introduced section 31 further addressed, in addition to Bashir also recruited other genetically upgraded persons. The novels mainly include those contained in the miniseries section 31 , which, as a crossover series , creates links to the series of novels by Raumschiff Enterprise , The Next Century and Voyager .

Novels based on episode 176

More than 30 novels are now part of the so-called relaunch . This is a collective term also used by Simon & Schuster for stories that continue the plot of the television series after the last episode. Marco Palmieri, at least until 2005 editor and editor at Pocket Books, designed a narrative framework within which the stories take place and which - in contrast to most of the previous novels - links most of them together to form a sequel. Most of the novels belonging to the relaunch were published in German by Cross Cult, translated by Christian Humberg . Cross Cult numbered 13 novels - suggesting an eighth and a ninth season of the television series - with 8.01 to 8.10 and 9.01 to 9.03. The start of both the relaunch and the so-called eighth season was the two-part novel Revelation , first published in 2001 , the plot of which begins three months after the end of the final double episode , What you leave behind .

The novels belonging to the continuation of the television series introduce some new main characters and move other Star Trek minor characters into the center of the action. The Bajoran Ro Laren, who once defected to the Maquis at the end of the TV series The Next Century , will be the new security chief on Deep Space Nine. Elias Vaughn becomes first officer on the station and commander of the Defiant, with whom he leads a research expedition into the Gamma Quadrant. The novels So the Son (8.09) and Unity (8.10) are also about the rediscovery and return of the envoy Ben Sisko. The novels also deal with the preparations for Bajor's admission to the Federation.

The relaunch of Deep Space Nine also includes the novel miniseries Destiny (3 novels, English 2008, German 2010), Typhon Pact (8 novels, English 2010–2012, German 2013–2014) and The Fall (5 novels, English 2013, German from 2015). They are crossovers with other Star Trek novel series, in particular with The Next Generation and Titan . In terms of content, the novels build on one another as well as on the novels that continue the television series Deep Space Nine and The Next Century . The starting point for the stories they tell is a devastating attack by the Borg on numerous worlds in the Alpha and Beta Quadrants, causing widespread devastation and over 60 billion deaths. The power structure in these quadrants is shifting to the effect that the alliance "Typhon Pact" is created, which includes the Romulans and the Breen and which is an opposition to the Federation. Members of the Typhon Pact destroy the space station Deep Space Nine in the novels Visitation and Shadow , whereby Starfleet subsequently builds a new, technically advanced station of the same name. In 2013 and 2014, four volumes of the series The Fall were placed in the “Paperback Mass-Market Fiction” category, which includes 25 places, on the New York Times bestseller list ( → main article: Star Trek fiction ).

Short stories

Pocket Books also published several anthology volumes containing short stories. The following anthologies have not yet been published in German. The volume The Lives of Dax , published in 1999, contains ten short stories with biographies of the Dax symbionts and a frame story that takes place after the end of the plot of the television series, which is why the band is counted towards the relaunch . Prophecy and Change appeared with twelve short stories in 2003 on the occasion of the 10th anniversary of the first broadcast. The volume Tales of the Dominion War , which did not appear in the main series Deep Space Nine , also tells in twelve short stories of the effects of the Dominion War on the Federation and other worlds, with the crews from other Star Trek novel main series and television series also focusing become. In the ten-volume anthology series Strange New Worlds , which contains 209 Star Trek- related short stories, there are at least 26 centered on Deep Space Nine .


The US publisher Malibu Comics published Deep Space Nine- related comics from 1993 to 1995 . This includes a series of issues in 32 numbers, mostly monthly, with mostly one story each, sometimes with two or three stories each. The first four issues were published in German by Robert Gabor Verlag in 1994 and 1995 with the subtitle Fascinating Space Adventure . Malibu also released some one-shots and comic mini-series, centered on the Maquis or Worf, for example. Four issues from 1994 and 1995, two of which were published by Malibu and two by DC Comics , represent a crossover between Deep Space Nine and The Next Century ; Carlsen Verlag published these comics in German in 1995 in the volume Die Wurmloch -fallen .

The US publisher Marvel Comics published the monthly comic book series Star Trek: Deep Space Nine (15 issues) and Star Trek: Starfleet Academy (19 issues), which had not been published in German from 1996 to 1998 . In the latter series, Nog is a main character. The US publisher Wildstorm (2000/01) and German translation by Dino Verlag (2002) published the four-part miniseries N-Vector , which takes place after the end of the plot of the television series, and Divided We Fall (German: Symbiose ), which a Crossover with The Next Century Forms. The mini-series Fool's Gold , published by IDW Publishing in 2009/10, has not yet been published in German (as of April 18, 2015).

Other literary adaptations

The content of the series was not only processed in narrative literature . This includes two books, also translated into German, which deal with the 285 rules of acquisition of the Ferengi.

  • The acquisition rules of Ferengi ( Heyne Verlag 1997), by Ira Steven Behr, contain all acquisition rules.
  • The Myths and Legends of Ferengi ( Heel Verlag 2000), by Behr and Robert Hewitt Wolfe, is a collection of stories and philosophical considerations about the rules of acquisition.
  • The technical manual (Heel 1999), by the production designer Herman Zimmerman as well as Rick Sternbach and Doug Drexler, contains knowledge about the technology of the space station and Defiant.
  • Cap'n Beckmesser's guide to Star Trek Deep Space Nine (Heyne 2000), by Phil Farrand, is a collection of errors, inconsistencies and glitches, at least from the first four seasons.

The non-fiction books that deal with several Star Trek productions include The Visual Encyclopedia: The Whole World of Spaceship Enterprise ( Dorling Kindersley 2013).

From 1993 to 1998, The Official Star Trek: Deep Space Nine Magazine was published in 25 issues in the USA , and from 1996 to 1997 a poster magazine was published in 15 issues. The series was also an important topic in magazines dealing with Star Trek or science fiction productions in general.

Fans of the series published self-written stories on fan fiction websites. On alone , the largest of these platforms, over 1300 stories are available that tell of Deep Space Nine (see also: Star Trek Fan Fiction ) .

Computer games

Both in English and in German published four video games ranging from Deep Space Nine act. The platforms for which the games were published in German are given.

  • Crossroads of Time is an action adventure released in 1995 for both Sega Mega Drive and Super Nintendo in which the player, in the role of Benjamin Sisko, has to clear up various mysterious incidents on board the station.
  • Harbinger is an adventure game for DOS from 1996 in which the player has to solve a murder on the space station as the diplomatic ambassador of the Federation.
  • The Fallen is a third-person shooter for Microsoft Windows from 2001, in which the player, as Benjamin Sisko, Kira Nerys or Worf, has the task of finding the lost rotating bodies of the Pah ghosts.
  • Dominion Wars is a real-time strategy game for Microsoft Windows from 2002, in which the player commands up to six spaceships at the same time and takes part in the war against the Dominion.

Parts of the series were also processed in other Star Trek video games, including the MMO-RPG Star Trek Online . The browser game Star Trek: Infinite Space , released in 2010 and developed by Keen Games , is chronologically and thematically located during the fourth and fifth seasons. The studio gave up its development in 2012 after a successor for the publisher Gameforge had not been found.


English speaking

German speaking

Web links

Commons : Star Trek: Deep Space Nine  - Collection of images, videos and audio files

Individual evidence

Unless otherwise stated, episode references refer to the German dubbed version.

  1. a b c The episode counting is based on that of , according to which the 90-minute pilot films of the first and fourth seasons as well as the final double episode are counted as two individual episodes each, resulting in an episode total of 176.
  2. a b c Full cast and crew for "Star Trek: Deep Space Nine" , in: IMDb , accessed on March 8, 2013
  3. Star Trek: Deep Space Nine (1993–1999) , in: IMDb , accessed March 31, 2013
  4. cf. Ep. 1/2: The Emissary ( Emissary , Season 1)
  5. cf. Ep. 13: The Prophecy ( Battle Lines , Season 1)
  6. cf. Ep. 21: The Homecoming ( The Homecoming , season 2)
  7. cf. Ep. 20: Blasphemy ( In The Hands Of The Prophets , Season 1)
  8. cf. Ep. 21: The Homecoming (The Homecoming) , Ep. 22: The circle (The Circle) , Ep. 23: The Siege ( The Siege , all season 2)
  9. cf. Ep. 44: The Choice of Kai ( The Collaborator , Season 2)
  10. cf. Ep. 59: The Spark of Life ( Life Support , Season 3)
  11. cf. Ep. 61: Trekor's Prophecy ( Destiny , Season 3)
  12. cf. Ep. 70: Shakaar ( Shakaar , season 3)
  13. cf. Ep. 40/41: The Maquis , parts 1 and 2 ( The Maquis , season 2)
  14. cf. Ep. 94: On Our Own Cause ( For The Cause , Season 4)
  15. cf. Ep. 111: For the Uniform ( For The Uniform , season 5)
  16. cf. Ep. 121: gloss of fame ( Blaze Of Glory , season 5)
  17. cf. Ep. 6: Tosk, the hunted ( Captive Pursuit , Season 1)
  18. cf. Ep. 46: The Plan of the Dominion ( The Jem'Hadar , Season 2)
  19. cf. Ep. 47/48: The Search , Parts 1 and 2 ( The Search , Season 3)
  20. cf. Ep. 66/67: The mysterious Garak , parts 1 and 2 ( Improbable Cause and The Die Is Cast , season 3)
  21. cf. Ep. 72: The adversary ( The Adversary , season 3)
  22. cf. Ep 73/74. The Way of the Warrior ( The Way Of The Warrior , Season 4)
  23. cf. Ep. 99: The apocalypse looms ( Apocalypse Rising , season 5)
  24. a b cf. Ep. 83: The Front (Homefront) , 84: Paradise Lost ( Paradise Lost , both Season 4)
  25. cf. Ep. 112: Die Schatten der Hölle (In Purgatory's Shadow) , 113: In Lichte des Infernos ( By Inferno's Light , both season 5)
  26. cf. Ep. 124: To arms! ( Call To Arms , Season 5)
  27. cf. Ep. 125: Time to Stand ( A Time To Stand , Season 6)
  28. cf. Ep. 128: Behind the Lines ( Behind The Lines , Season 6)
  29. cf. Ep. 129: A Bold Plan (Favor The Bold) and 130: Victory or Defeat? ( Sacrifice Of Angels , both season 6)
  30. cf. Ep. 133: Statistical probabilities ( Statistical Probabilities , Season 6)
  31. cf. Ep. 138: The Tiny Spaceship ( One Little Ship , Season 6)
  32. cf. Ep. 143: In Pale Moonlight ( In The Pale Moonlight , Season 6)
  33. a b cf. Ep. 150: Tears of the Prophets ( Tears Of The Prophets , Season 6)
  34. a b cf. Ep. 168: Until death do us part ('Til Death Do Us Part) , 169: A strange combination ( Strange Bedfellows , both season 7)
  35. cf. Ep. 170: In the Face of Evil ( The Changing Face Of Evil , Season 7)
  36. cf. Ep. 166: The laws are silent under arms ( Inter Arma Enim Silent Leges , Season 7)
  37. cf. Ep. 172: Fight by all means (Tacking Into The Wind) and 173: Extreme Measures ( Extreme Measures , Season 7)
  38. a b cf. Ep 175/176. What you leave , Parts 1 and 2 ( What You Leave Behind , Season 7)
  39. cf. Ep. 135: The good and the bad ( Waltz , Season 6)
  40. cf. Ep. 151: Image in the Sand (Image In The Sand) , 152: Shadows and Symbols ( Shadows And Symbols , both Season 7)
  41. cf. Ep. 159: Decision on Empok Nor ( Covenant , Season 7)
  42. cf. Ep. 65: Through the Looking Glass ( Through The Looking Glass , season 3)
  43. cf. Ep. 104: Always the burden with the Tribbles ( Trials And Tribble-ations , Season 5)
  44. cf. Ep. 79: Little Green Men ( Little Green Men , Season 4)
  45. cf. Ep. 28, 106, 141
  46. cf. Ep. 144, 160
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This article was added to the list of excellent articles on July 27, 2013 in this version .