Star Trek: Deep Space Nine – Season 3, Episode 14 – “Heart of Stone” – Forging a Separate Identity

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  This is a review that was inspired to honor the life of Aron Eisenberg, who died September 21st, 2019 of this year. I know him largely because of his role as Nog, who is easily one of the most well rounded character in “Star Trek” to have one of the most well developed arcs. I’m grateful I got to hear more of his story and the lives he touched in the “What We Left Behind” Documentary. Aron was amazing in this role and his podcast he formed after is amazing too. The world lost an amazingly talented individual this year and my heart goes out to his family. I chose this episode because of how well it captures the arc Nog goes through and the choice he makes as well as the sheer range of Aron Eisenberg had as an actor. Before I get into spoilers, this is a good episode you should watch.

The episode was directed by Alexander Singer and written by Ira Steven Behr and Robert Hewitt Wolfe.

The story follows Odo and Kira as they pursue a Maquis Raider leading to Kira becoming trapped in a collapsing cave, as on “Deep Space Nine” Nog wants join Starfleet and finds himself up against his past and Federation prejudice.

SPOILERS ahead

The Pros:

The Odo and Kira Plot – The Odo and Kira plot is really an exploration of Odo and one of the core reasons why he hasn’t rejoined his people in the Gamma Quadrant. It is here we see it is due to his deep friendship and love of Kira. At one point when he believes she will die he stays with her, willing to risk his own life because being with her matters that much. We can see how much their relationship has grown over the years too, as the episode starts out with them bickering like a married couple. It is a well done plot that is only made less by the reveal and us having to wait for the true payoff later.

Nog and Starfleet Prejudice – The B Plot involves Nog and his coming of age. It begins with him in Ferengi custom giving his earnings to in Ferengi society would be his mentor to train him in whatever art of business he is seeking. In this case Nog gives his gold pressed latinum to Commander Sisko. Sikso at first doesn’t believe him and it isn’t just him. Even Jazdia who is one of the more open minded members of the crew even doubts now genuine Nog is and it not being some trick. It is sad given that Federation prejudice is so strong that even a culture that is open minded isn’t trusting someone who is giving everything to be a part of them. For Commander Sisko this is explored deeper as we learn that the reasons behind Nog wanting to join Starfleet is because he wants a future and he knows he “doesn’t have the lobes” for business, like his father Rom. After this confession he is accepted and Nog’s story in Starfleet begins.

Forging a Separate Identity – The theme of this episode is one of forming a separate identity beyond what is forced upon you. The Founders want Odo to join but he constantly rejects them. It is here where the reveal is Kira was never in danger is discovered and it was the Female Founder all along. Odo’s denial of his people’s desire to control and his attachment to solids is the point of his arc, where in the case of Rom it is his rejection of Ferengi business society and him seeking to be appreciated for his talents for the greater good are there. He forges a separate path, but unlike the Founders who reject Odo’s path…Rom is proud of Nog for the path he chooses.

Nog and Rom – The best arc in this episode is Nog’s arc as we see someone already judged for the mistakes he made as a child and for being a Ferengi opening up and forging his own future. He is the first Ferengi to join Starfleet and this is the episode where it happens. All of this is driven by his father. Rom is abused by his brother Quark and though he is a genius when it comes to tech. Quark doesn’t admit or see it at this point. Nog, is the only one who does and in turn Rom sees the potential that exists in Starfleet for Nog so supports his choice. It is a small scene but the scene Nog and Rom have together when Rom supports his choice is just as powerful as when Commander Sisko does after Nog tells him why he wants to join in the first place. This is the heart of the episode and what makes it so great.

Okay:

The Reveal – The Founders do so much manipulation and this felt like another base Founder Plot. It wasn’t bad but they must have known that Odo cared for the crew as his family too. Making the love for Kira makes sense given what we saw in prior episodes but I fail to see how that is useful to the Founders unless they are going to use Kira to bring Odo back to them. During the “Occupation of Deep Space Nine,” I didn’t see that level of thinking things through. Kira was used but it seems like Odo staying played a bigger factor in them influencing him than Kira. That is why this reveal is fine, but it isn’t great. I would have preferred Kira saying she loved Odo being real. Once you have that confession it just gets weaker when it is the real thing. Don’t do fake outs in shows unless it means you’ll do it in a better way.

If you are a fan of “Star Trek: Deep Space Nine,” you probably loved this episode. This is a great ensemble piece that develops Odo and Nog as well showing that the Federation has prejudice that this episode never really addresses. Why can’t a Ferengi join Starfleet? It makes me think that Worf probably experienced similar prejudice because of the Klingon and Federation Wars. I enjoy episodes that critique the Federation and show that it still needs to grow. This is true to human nature and part of what made “Deep Space Nine” work is because of how it did call out xenophobia, racism, sexism and other forms of bigotry, even as the show itself was still maturing in that growth and did vary by writer. The progressive future of “Star Trek” is one of hope and where I hope someday humanity can be, even if won’t be within my lifetime. “Star Trek” is about the goal of the better future and within the show we see that in the individual fights our characters face, such as what Nog faced in joining Starfleet.

Final Score: 9.4 / 10 This was a great episode in “Deep Space Nine.”

R.I.P. Aron Eisenberg. You touched so many lives and this review is to honor you and the amazing life you lived.

“Death Note” Season 1 – An Amazing Deconstruction of “The Ends Justify the Means”

   “Death Note” is one of those animes that comes along, like the first “Gundam” that takes the premise it exists within seriously. This show knows that it is arguing a premise, “Do the ends justify the means?” and does it in such a compelling way that one can’t be helped to be drawn in due to the compelling complex characters and the cat and mouse game that drives the plot as each of them argues the core main premise “Do the ends justify the means in regards to the killing of another?” The ends of course are justice in both cases and it is L (and his proteges) against Light. Light argues on the side of it being justified (he is given a Death Note which can literally bring about just that) and L who argues it is not justice and the one who becomes a vigilante is nothing more than a killer who must be held accountable to the law, to catch someone like that, you can go up to the line (like Batman and make your subject uncomfortable, but do not kill).

My goal is to argue a different premise than what has been argued before and what I got from the series. If you want to see another approach to some of the many themes of “Death Note,” checkout Wisecrack’s The Philosophy of Death Note. It is amazing.:

The premise and story of “Death Note” (Manga created by Tsugumi Ohba, and anime by Madhouse and Tetsuro Araki) is Light Yagami finds a Death Note that the Shingami Ryuk drops into the realm of humanity. When he discovers it’s power to kill anyone whose name is written upon it, after he knows their face he decides to become “Kira,” a God of justice to punish all those who commit crimes. This sets authorities on him lead by L who seek to end his reign and stop the killings.

SPOILERS are ahead. It is hard to argue a premise if I can’t get into the details of the premise given so much of how the line being crossed of killing to achieve justice, whether to end a vigilante or punish criminals is shown by what happens in character deaths.

In what I mean in, “Do the ends justify the means?” Or to narrow it down for the sake of argument within the series, is killing ever justified bring about a just society, or bring another to justice? The existence of the Death Note and Light’s argument is that it is justified. L stands on the other side of this, even though he pushes this premise as much as he can and it is only when he and Watari are about to pass the line of denying another’ consent that they meet the ends of all those who take life for granted in the series. In the end the show doesn’t care about the reasons the characters want to kill, killing will always lead to death and it is the closest thing the show has to an answer on morality beyond it simply being bad. To end another is to eventually end yourself, and I’ll explore this through the different characters in the show.

The first type of exploration of this premise is in our Kiras. For the sake of definition Kiras are those who want to punish criminals and corrupt people in order to bring about a just society. Mikami as the Hand of Kira and Kiyomi as Kira’s voice are good examples of this. Misa also adopts this role too, though her primary motivation is love for Kira, not justice so she falls into the next category we’ll be exploring. The followers of Kira and Light who are driven by their drive to punish bullies and criminals (Mikami is a prosecutor before Light chooses him) want a world that has no crime and wars and by the time we get to the end of the series Light has largely succeeded as wars have stopped and crime has been reduced 75%. His Task Force is even questioning whether bringing down Kira is now the right thing to do. In the end we get a clear answer though, Kiyomi is made to kill herself by Light when he puts her name in the Death Note and Mikami kills himself too when Light is revealed in the finale to be Kira, before he also meets his end. In the end their deaths show that in this instance the ends do not justify the means. The motives to bring about a just society cannot be built on murder is what we are lead to be believed and even if the ideal is peace, murder for ideals and a greater world will only lead to your own end.

One of the primary motives to kill that the show doesn’t forgive, is killing out of love or to protect another. We first see this in Misa Misa, who is the second Kira and follows all of Light’s wishes out of love for him. She never truly ends up with him though and with his end it is implied that she follows behind, killing herself because of his death. Killing for love is the primary motive of Rem as well who is protecting Misa from L, Watari and the police force. Even though she is a God of Death even she can’t survive this as by killing Watari and L she dies as it is the consequence of a Shinigami killing a human. The other person who kills for love is Light’s father who is in charge of the Police Task Force to take down Kira. When he goes to rescue his daughter from the mafia and is killing the members who are protecting Mello, he dies as a consequence (also a consequence of making a deal with Ryuk for the Shinigami eyes so that he can better kill). Love as a motive to kill could argueable be seen as moral, but that isn’t how the show views it. These characters end up dead even though they only kill to protect others and care nothing for themselves.


The other way we see killing used is in a similar way as Light, a means to an end in order to draw Light out. The people we see do this are Watari and L when they use a criminal to test out how Light can kill and again when they are testing out the fake 13 Day Rule that Ryuk wrote in the Death Note to trick L and the Task Force and bring suspicion off of Light and Misa. They die for doing this, as does Mello who teams up with the Mafia, who kill so that he can bring Light out of the shadows. It is only when he is willing to sacrifice himself that we see justice begin to happen in this world and in turn show us that the way you go about stopping a criminal is even more important than the criminal and his or your own motives. Mello pays the price as he loses himself and his friend for the deal he made with the Mafia and his willingness to kill to lure Kira out.

Near’s motives are to be better than Kira and to “win” the battle of wits against him. He at first sees L as a loser for losing to Kira but we see a difference between him and L right off the bat. Near doesn’t use killing in order to lure Kira out. He lets those around him be responsible for their actions while he himself never crosses the line. He never murders and even orders the Task Force not to kill Kira if they are given the chance. This is the closest thing we get to a clear moral answer. Killing is wrong even if it is to stop a wrong. Near manipulates people but everything he does is to protect others and keep life from being lost. This is the moral statement I found within “Death Note” and how the story executes it is why it is one of my favorite animes of all time.

I was discussing this premise with a friend who introduced me to Wisecrack’s deconstruction which inspired me to go into as much depth as I could with my premise. I love how great stories can do that as this is a series that covers so many themes that I had to narrow myself down to one to explore.

For my score of this anime series: 9.6 / 10. I don’t consider it perfect as Misa and Kiyomi lose their agency on multiple occasions and they are the only women in this series who get any exploration outside of Light’s sister and mother who are more of a presence rather than fully fleshed out characters.  If these issues had been solved I’d have given this series a 10 / 10. Regardless I highly recommend it. This was one of the shows that got me into the storytelling medium of anime in the first place, along with the “Ghost in the Shell” series.