Star Trek: Nemesis, One Generation’s Final Frontier
Let it be known that I missed the release of Star Trek: Nemesis because, in 2002, I was busy shepherding the next generation of science fiction fans into this wondrous, weary world. Eleven years later, I finally have the time to rectify that deficiency.
If the initial appeal of Star Trek (the TV series) was interstellar adventure coupled with wear-it-on-your-sleeve humanism, the long term attraction has proven to be much like that of visiting extended family, the kind of affable clan where reunions are always a treat. Even if the vehicle in question is a stinker (Star Trek: The Motion Picture et al), a certain pleasure remains simply in spending a few hours in the company of trusted, far-flung friends.
Sure enough, good company is the chief pleasure of the Next Generation’s final outing. Nemesis proves to be a convoluted, shadowy film that trots out any number of sci-fi standbys (baddies in stiff vinyl costumes, fearsome ships much larger than the Enterprise, and diplomatic missions fraught with duplicity and danger), but it’s not by any means a disaster. Gone are the bright scarlet and black uniforms of old; now that the crew has aged a bit, a more somber black-and-heather-blue attire holds sway. Perhaps this is metaphorical? More than a few of our old friends do seem to be feeling the miles. Two exceptions: newlyweds Deanna Troi and Will Riker both look better than ever. Actors Mirina Sirtis and Jonathan Frakes are lucky people; age has brought out a rugged sturdiness to their familiar faces.

Late last October, the first issue of Sandman: Overture reached comic store shelves. The start of a new bimonthly six-part story, with art by J.H. Williams III, it’s a prologue to writer Neil Gaiman’s widely-acclaimed Sandman series, which ran for 75 issues (plus a special, some spin-off miniseries, a novella, and a collection of short comics stories) from 1988 to 1996. The series built in popularity as it went on and seems to have continued to find an audience in the years since its conclusion. It’s sustained a level of commercial appeal — perhaps as much as any single comic series, it helped to create the contemporary market for trade paperbacks — while also drawing critical praise, both inside and outside of comics. Issues or storylines of the main series were repeatedly nominated for the British Fantasy Awards, and once for the Stoker, while one issue won the 1991 World Fantasy Award.





