[EDITOR'S NOTE: Derived from the Episode by Episode analysis of 'The Metamorph']
Date: Tue, 16 Jun 1998 20:31:16 From: David Welle (dwelle@online.dct44.com) Subject: Space1999: Maya = Saturday Morning? (was Re: The Metamorph) At 10:23 AM 06/16/98 +0000, Petter Ogland wrote: >While I basically feel that the introduction of the metamorph character Maya >was a very bad move, Hmmm, I thought it was a very good move. The effects weren't always up to par (even though there was no "morphing" effect as we know it, they should have used the "fade in/out" effect -- or having Catherine/Maya "act out" the animal's "persona" before transformation -- more than that "eye" bit), but the fascination of the idea still caught my attention, and the character and actress were wonderful. I've seen other transforming characters in a variety of contexts, including Odo from /Deep Space Nine/, but none came as close to grabbing my attention as Maya. Most transformers before her were either "simpler" forms (human-to-bat or human-to-wolf; i.e. only one or two forms available to an individual), or were evil characters; Odo, after Maya, comes close to being as interesting, but to me, Maya really broke ground, and was an engaging character besides. >i.e. Freiberger's move towards towards the Saturday >Morning audience, Eh? Maya = Saturday Morning? Freiberger = Saturday Morning? I surely doubt that was anyone's intent, and I don't think that was even the result. Far from a Saturday morning character, I thought Maya was one of the most intriguing and well-rounded character I've ever seen. Robert has stated on several occasions that there were missed opportunities with her character, and I have to agree; but that does make for writing opportunities, and there was more than enough there, for me at least, to find fascinating, or I would have never been interested in the first place, much less to write more about her. Helena, on the other hand, at least in Y1, seemed the most poorly-developed character to me, so little that I have no interest in exploring her Y1 character any further. I find her warmer, more complex persona of Y2 a lot more useful in writing, but it was hard for me to forget her Y1 character, and Maya still beat her out either way. This is getting away from the "Saturday morning" sub-topic, however. Besides Maya, the rest of the characters in Y2 (except Yasko, who had essentially no development at all, in my opinion) are are still far more interesting than any Saturday morning fare could hope to be, and the stories are also a lot more interesting too, and without most of the scientific blunders, plot holes, often flat characterizations, and sometimes absurd stuff that bothered me in Y1. I'm curious, too, what sort of Saturday morning fare you're comparing S19's second season to. "Scooby Du?" "X-Men?" "Bugs Bunny?" "Banana Splits Adventure Hour?" Even at six, I thought "Bugs Bunny" was nothing more than fun silliness to relax with for an hour (much like "The Three Stooges" are to many adults), I never liked "Scooby Du" (or is it "Scooby Doo?"), and can't remember "Banana Splits" at all except that it was hideously -- not humorously -- silly, akin to what "Barney the Dinosaur" looks like now) but never thought that of S19's Y2. Curiously enough, I sometimes think that Year One is silly at times! Not in the Saturday morning or childish sense, but in other ways. Year Two is occasionally silly too, sometimes humorously, sometimes not, but I can't see how it compares to Saturday morning at all. Even the adventure angle doesn't imply Saturday morning: many primetime series could be labeled adventures of some sort or another, and many are good. I realize Petter wasn't arguing that adventure = Saturday morning, but I think others have drawn the comparison in the past. My 1.999 cents, ---- David Welle
From: "Petter Ogland" (petter.ogland@dnmi4tag.no) Date: Wed, 17 Jun 1998 10:01:52 +0000 Subject: Re: Space1999: Maya = Saturday Morning? (was Re: The Metamorph) Accepting the format changes advocated by Freiberger and others, although I would have been more pleased with a second season more close to the style of early Year One, I think the way the transformation was handled was quite good. In THE METAMORPH much of the transformations seem pretty pointless, from a lion to a dove etc., but I can also accept that Freiberger wanted to have as much transformation as possible in order to manifest the character, and perhaps on a more subtle level, as we've discussed, the transformation makes interesting reading within the context of father-daughter. > Eh? Maya = Saturday Morning? Freiberger = Saturday Morning? I surely > doubt that was anyone's intent, and I don't think that was even the result. > Far from a Saturday morning character, I thought Maya was one of the most > intriguing and well-rounded character I've ever seen. What I was thinking about here was Freibergers mention of his experience as a writer with Hanna Barbara, apparently working on shows like THE NEW SCOOBY DOO MYSTERIES and JOSIE THE CAT IN OUTER SPACE, and saying that this gave him the right kind of creativity for handling the SPACE:1999 concept. My impression is that Maya is very much a influence of STAR TREK's Spock and Hanna Barbera. The ability to transform in a physical manner as with Maya seems like a very natural concept in writing for cartoons. The more I think of it, the more I get the impression that Freiberger wanted to change the series in order to direct it at a younger and greater audience, those who enjoyed Saturday moring cartoons and perhaps some slightly older. This was a change, I believe, from Gerry Anderson's original family entertainment concept with elements of horror and aliention often with emphasise on philosophical or religious aspects. Much of the changes apparent in the transit from TESTAMENT OF ARKADIA to THE METAMORPH seem cartoonlike to me, the change in type of music, the focus on bright colours in visual design, the simplification of characters, the focus on action as oposed to drama and so on. It is difficult to be sure of what Freiberger wanted, however, or to what degree this kind of change is apparent. To me THE METAMORPH is an episode that seem very much oriented at this market, other episodes include adult themes, THE EXILES is a good example, which make them interestingly novel, I feel. > Helena, on the other hand, at least in Y1, seemed the most poorly-developed > character to me, so little that I have no interest in exploring her Y1 > character any further. I find her warmer, more complex persona of Y2 a lot > more useful in writing, but it was hard for me to forget her Y1 character, > and Maya still beat her out either way. This is getting away from the > "Saturday morning" sub-topic, however. If I've understood correctly, Barbara Bain is supposed to play a 29 year old doctor in the second series, according to Freiberger's notes. I find it hard to see how this could be achieved, and I assume that Freiberger would actually prefer someone younger for the role as he would also prefer somebody else in the role of Koenig who is now supposed to be 35. To me Helena was not a poorly developed character in Year One, quite to the contrary actually. I will not go about with RING AROUND THE MOON now, even though I find this to be an episode that really defines her character, but episodes like BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN are all very good, I feel, at explaining her type of character. In both BREAKAWAY and BLACK SUN there are sequences where the nervously action oriented Koenig is facing the rationally cold mind of Helena. Some of these scenes really sparkle, I think, not at least the first meating between John and Helena in BREAKAWAY and the "we don't need heros" dialogue later in the episode. This later dialogue is more or less reprised in BLACK SUN. MATTER OF LIFE AND DEATH is a very emotional episode, of course, with very much focus on Helena, her loss of previous husband Lee and how she comes to terms with this. Quite fascinating, I think, and very beautiful. I also find the scenes in THE TROUBLED SPIRIT and FORCE OF LIFE where she does paper work and chemical analysis very good at illustrating her stubborn, not too intelligent, but yet very intellectual way of life. In fact, I think Helena was one of the most fascinating characters I agree with you however, David, when you say that Maya dominates completely the female lead. I believe this was exactly the kind of thing that Barbara Bain wouldn't like to happen, and may perhaps be some of the reasons Year Two director Val Guest reported having such a difficult time working with Barbara. > Besides Maya, the rest of the characters in Y2 (except Yasko, who had > essentially no development at all, in my opinion) are are still far more > interesting than any Saturday morning fare could hope to be, and the > stories are also a lot more interesting too, and without most of the > scientific blunders, plot holes, often flat characterizations, and > sometimes absurd stuff that bothered me in Y1. I don't know who it was who first used the term "porno-disco" to describe Derek Wardsworth sound score, and it is not a term I would prefer to use actually. On the other hand, I've also got the impression that at times only minor adjustments could have been made in order turn some episodes or elements of episodes into "XXX adult" movies, the double Helena sequence in THE EXILES come especially to mind. This would certainly not be the kind of thing one would like to network on Saturday mornings. Specifically, the series was, as I understand, not aired on Saturday mornings until after the middle of its run in the US. Petter
From: "Simon Morris" (simes01@global43net.co.uk) Subject: Re: Space1999: Maya = Saturday Morning? (was Re: The Metamorph) Date: Wed, 17 Jun 1998 12:22:07 +0100 Yes, I certainly quoted the term "porno-disco" in a previous posting. I can't remember where I first heard the term but it was certainly by a person who was a fan of the Y1/Barry Gray/Symphonic approach as opposed to the totally different Y2 feel. A similar term was also discussed on the "Rec.Music.Movies" newsgroup postings where at one time (about the time the Y2 promotional CD appeared) the Y2 v Y1 score was the subject of considerable debate. Along with others on the List,I believe that Derek Wadsworths score was the single most positive change to the Space:1999 format. I too enjoyed the Barry Gray score and was initially very disappointed that he did not return for Y2. However I quickly came to enjoy the jazz-rock score of Derek Wadsworth in Y2 and agree with David Acheson that no other score then or since has really sounded quite like it,such was its originality. Surely you would agree Petter that a Barry Gray score along the lines of the Y1 style would have been totally out of place in Y2(indeed as much as Wadsworths score would have been out of place in Y1 though I am not sure about that....). The Y2 music fitted the action,improved the pace,underlined much of the excitement,and also underpinned much of the more humourous and emotional scenes (such as where Koenig and Maya discuss their past in "Rules of Luton",or where Zarl dies in "One Moment of Humanity",and in the humourous epilogues such as in "The Exiles". Speaking of THE EXILES,this brings me to Petters second point. "XXX Adult" movies????!!!! C'mon Petter,its absolutely ridiculous to state that only minor adjustments needed to be made to turn episodes or elements of Y2 episodes into XXX Adult material. The term "XXX Adult" I have always equated with hard core pornography and even the sequence you mention in THE EXILES is light years from that!!!!!! Its not even mildly tittilating....merely being a light hearted interlude in what is otherwise a fast paced and hard driving storyline(whatever you might think about the merits of this type of humour in Y2). To me,the "double Helena" sequence in THE EXILES was merely a way of illustrating the trusting and stable relationship that John and Helena have,of showing the "pixies sense of humour" possessed by Maya,and showing that Koenig is cunning,amusing and capable of enjoying himself when the pressure is off. Nothing more and nothing less.....and certainly with no conotations of "XXX Adult"! Anyway....I've calmed down now :-) Sorry to drift off the schedule a bit (I haven't got round to watching THE METAMORPH yet but will make a few short comments at the end of the week) but I did just want to address Petter's above comments :-) Simon Morris
From: "Petter Ogland" (petter.ogland@dnmi4tag.no) Date: Wed, 17 Jun 1998 11:47:34 +0000 Subject: Re: Space1999: Maya = Saturday Morning? (was Re: The Metamorph) > However I quickly came to enjoy the jazz-rock score of Derek > Wadsworth in Y2 and agree with David Acheson that no other score then or > since has really sounded quite like it,such was its originality. I like the term "jazz-rock". This is the term I have previously been using in regard of the Year Two musical style. > Surely you would agree Petter that a Barry Gray score along the > lines of the Y1 style would have been totally out of place in Y2 [....] > The Y2 music fitted the action,improved the pace,underlined much > of the excitement,and also underpinned much of the more humourous and > emotional scenes I agree Simon. Although the original episodes of STAR TREK used a symphonic score, very different from Barry Gray of course, perhaps more within the jazz idiom of the sixties, the Wadsworth score is fitting, I feel. It emphasizes the action, pace, humour and so on, I agree, even if this is action and humour of a very different style than Year One. The music emphasises that this is a different SPACE:1999 than the year before, which is okay, I feel, as I agree that the series is indeed very different. > [....] certainly with no conotations of "XXX Adult"! > > Anyway....I've calmed down now :-) He-he. I believe the term "XXX Adult" was not the right one to use here. What I was thinking about was more the style of Just Jacklin's EMMANUELLE (1974). I don't know how to categorise that film, but the version I've seen, dubbed into English, came immediately into mind when watching THE EXILES. The camera work, the seductive music, the way Barbara uses her voice and the whole concept of the scene was very reminicent of the tennis scene in EMMANUELLE. I wouldn't suggest showing EMMANUELLE on Saturday mornings between the cartoons. > Sorry to drift off the schedule a bit (I haven't got round to watching THE > METAMORPH yet but will make a few short comments at the end of the week) > but I did just want to address Petter's above comments :-) Look forward to more comments, Simon. Petter
From: "Petter Ogland" (petter.ogland@dnmi4tag.no) Date: Wed, 17 Jun 1998 14:02:35 +0000 Subject: Re: Space1999: Maya = Saturday Morning? (was Re: The Metamorph) HeleneF@aol.com wrote: > Petter, we all endured your ring around the moon comments. Are you starting > all over again? Barbara Bain being the hard core queen of season 2 - whose > leg are you trying to pull??? I hope I haven't hurt anyones feelings, it is difficult to see if you were smiling or not when you were writing what is quoted above. I hope it is intended to be humourous, as I only tried to point out an interesting observation myself, not saying anything about anyone being anything or whatever. Anyway, obviously I was wrong about the "XXX adult" theme, EMMANUELLE was a much better comparison. I have the LP at home with music by Pierre Bachelet. The title track was a big hit in Europe at the time (1974-75), and the musical style is not unsimilar to Wadesworth, I think. By the way, I just got a privat letter from somebody on the list who had a CD version of the EMMANUELLE soundtrack and said I was spot on! I'm happy to not the only one who has pointed this out. I like the EMMANUELLE music very much though. Very nice. Petter
From: djlerda@juno4tag.com Subject: Space1999: Re: The Metamorph) Date: Wed, 17 Jun 1998 18:21:48 EDT Yes, I must confess, 'twas I who announced that one of the Vic Elms scores from the RCA sound track ("Death's Other Dominion", I believe - even though it had nothing to do with that episode) appeared as background music in a pornographic movie. I mention this only as trivia. PLEASE do not bombard me with emails flailing me for my "hatred" and "degredation" of women like happened last time. (This happened off-list). I mention the topic ONLY as a matter of interest (and not of the prurient kind). David J Lerda
From: jcg@vh4tag.net Date: Wed, 17 Jun 1998 20:56:21 -0400 Subject: Space1999: Converting to Porno? This idea that certain episodes could easily be porno. I would remind everyone what Tom Lehrer sang on the subject: "When correctly viewed, everything is lewd. I could tell you things about Peter Pan, And the Wizard of Oz...there's a DIRTY OLD MAN!"
From: "Petter Ogland" (petter.ogland@dnmi4tag.no) Date: Thu, 18 Jun 1998 08:04:14 +0000 Subject: Re: Space1999: Re: The Metamorph) > Yes, I must confess, 'twas I who announced that one of the Vic Elms > scores from the RCA sound track ("Death's Other Dominion", I believe - > even though it had nothing to do with that episode) appeared as > background music in a pornographic movie. I find this interesting as the title "Death's Other Dominion" never appeared in any of the SPACE:1999 episodes. You can't remember the name of the film you are referring to. Do you believe I was an ITC production? I don't suppose you remember year of release and director? According to David Acheson, confirmed by others as well if I remember correctly, the title "Black Sun" from the RCA album, also composed by Vic Elms, but never used in SPACE:1999, appeared in an episode of RETURN OF THE SAINT. RETURN OF THE SAINT was produced by ITC 1977-78, I believe. Perhaps unused material by Vic Elms from the SPACE:1999 sessions went into ITC's music library? Petter
Date: Thu, 18 Jun 1998 18:28:20 -0500 From: Mike Lynch (Mike-Lynch@big44foot.com) Subject: Re: Space1999: Maya = Saturday Morning? (was Re: The Metamorph) I would have to agree with David, that the introduction of Maya was a favorable choice on the part of Freiberger. The loss of Bergman called for a "replacement," though I can't honestly call Maya a Bergman calculating, naive, as the other is more serious, contemplative, and at times blinded by science. Maya was one of the few, of not only, constants throughout the second season that tied together nearly every episode. With the reasons behind the alleged MUF from the first season revealed a new common thread needed to be established - the introduction of Maya in THE METAMORPH took care of that. I do, however, disagree and feel that the transformation sequences were at there best when we zoomed in on Maya's eye, and then pulled back to reveal the changed woman. I feel that some of the weakest transformations are when we see Maya fade into, or out of, a creature (such as she did at the end of THE METAMORPH as she returned from her "gorilla" state). Another poor example would be when we see the screen blur. only to come back into focus with Maya transformed (as in THE DORCONS). And to have Maya take on the persona of the intended transformation prior to the actual change would have seemed fake, and unnecessary. Given the technology available for handling a situation like this I think zooming in on the eye was the best and wisest choice. Aside from the special effects stand point, the eye shots offered more than mere eye candy - they offered a glimpse into Maya's mind as she concentrated on her goal. We see Maya's thoughts as she visualizes her intended transformation. The close-up of the eye doesn't necessarily represent the staring point for the transformation, but the mental projection within the mind prior exerting itself to a physical reality. Simply superimposing images and fading from one to the other, or blurring the screen do not convey the mental ability and concentration needed for the act of transforming. Because we now have the technology we can see Odo manipulate his body into another form - the concentration and abilities are conveyed through the stable yet shifting mass of translucent matter as Odo "morphs." So we no longer need to "look" in to the mind of the metaporh, but simply watch and the understanding is made manifest. Mike
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Fri, 19 Jun 1998 09:23:07 +0000 Subject: Re: Space1999: Maya = Saturday Morning? (was Re: The Metamorph) Mike Lynch wrote: > I would have to agree with David, that the introduction of Maya was a > favorable choice on the part of Freiberger. The loss of Bergman called for a > "replacement," though I can't honestly call Maya a Bergman calculating, naive, > as the other is more serious, contemplative, and at times blinded by science. Thinking of Maya as a replacement of Bergman in this sense makes sense with me. There were discussion as to whether Barry Morse should take part in Year Two, I understand, but I also get the impression that Freiberger did not find his character especially benefitial within the new format of the series. I think he had decided for not having Bergman on the team as a part of his first ideas for a redesign of the series. Your comparison of Maya and Bergman, Mike, is interesting in many ways, I feel. While Bergman was mostly serious and contemplative, he did at times show off a childlike fascination with gadgets and the possibility of learning something new. His optimism in the beginning of VOYAGER'S RETURN is quite illustrative, I think, almost more naive than Maya he seems to appear at times. Some of the more contradictory and therefore very interesting information about Victor I find in RING AROUND THE MOON, especially his sentence "Knowledge is perhaps not the answer after all then..." shows a very interesting aspect of his character, i think, a sentence which seem to contratict his whole personality and at the very same time indicate some of the reasons for his manic positivistic views, being blinded by science as you call it. To me this gives the impression of Victor being a person who is not all that sure whether a life devoted to science is a meaningful life, but at the very same time compensates his feeling of lost reality, his loneliness as a bachelor or widower perhaps, with devoting his life to scientific research. In many ways I wish they had made even more out of his character in Year One, as he, from my point of view at least, was one of the psychologically complex and, hence, interesting characters. The two episodes where Barry Morse was given the oportunity to give the most insight to him was in BLACK SUN and RING AROUND THE MOON, I think, and, in fact, I wish more of the episodes had been more like these two. Mind you, I think he did a very fine job in most other episodes too. Even such an episode like DEATH'S OTHER DOMINION where he comes of as a totally gullible childlike character, it gives insight to a fascinating and fragile soul, I feel. In spite of Maya having very little of the tragic qualities of Victor, there is a hint of tragedy in her life too, personally perhaps finding DORZAK more interesting in this respect than THE RULES OF LUTON and THE DORCONS with their more blunt references to her past. > Maya was one of the few, of not only, constants throughout the second season > that tied together nearly every episode. With the reasons behind the alleged > MUF from the first season revealed a new common thread needed to be > established - the introduction of Maya in THE METAMORPH took care of that. If not all that happy with the MUF point of view as an arrow of time of Year One, feeling that this emphasises the complete oposite of the general feel of the first season, I do agree very much with Maya being in the centre of development for Year Two. THE METAMORPH and THE DORCONS as the first and last episode of the second year illustrates this nicely, I think, and both being written by Johnny Byrne helps giving a more uniform frame to the second season. There seems to be not very much doubt that Byrne didn't like the metamorph character very much. I think this is quite prevailent in many of his comments and interviews, not at least in the corresondence notes that were added to Robert's METAMORPH analysis. In THE METAMORPH I feel we witness the birth, more or less, of the Maya we know as she is forced to renew her views on Mentor, Psychon and hence herself. In THE DORCONS, the last episode of the series, she pleads of being killed off in order to make Alpha live. I suspect that this was ment ironically by Byrne, as he was getting totally fed up with Freiberger at this time, and perhaps realised that the focus of second year SPACE:1999 had moved from Alpha to Maya. For Byrne there was obviously no way of getting back to Alpha of Year One as long as Maya lived, and, in fact, Byrne's predictions turned out to be right. SPACE:1999 did not make it into a third season, unless one is willing to read Byrne's and Penfold's contributions to ALL CREATURES GREAT AND SMALL as continuation of the writing for SPACE:1999. In many ways I think this would make sense, actually, remembering ALL CREATURES very well from childhood as a series not unlike SPACE:1999 in many ways. Well, this was the last letter from me to this group for the present. I am now preparing for holidays in Paris and hence unsubscribe. It has been fun, I feel, writing more or less daily to this list for over a year, meeting and discussing with a wide varety of very interesting people. I will have a break now, however, so take care all. Petter
[EDITOR'S NOTE: Relevant portions only...] From: "Robert Ashley Ruiz" (cybrarian@cybrary1999-4tag.com) Date: Fri, 19 Jun 1998 12:34:39 +0000 Subject: Space1999: Marketing Space: 1999 After Mr. Scherri's e-mail is Jerry's input on the idea of Maya originating from a Hanna-Barbera cartoon. (Remember, Jerry has been in touch with Fred Freiberger since organizing the campaign.) >On another subject... I have been reading the mailing list archives >and came across the theread of MAYA= Saturday Morning Cartoon. Well >this is actually true. I had assumed that it was common knowledge that >the character of Maya was inspired by a saturday morning >cartoon.Freddy called up some pals at HB and asked what they had as >far as potentially exciting characters were concerned. He was told >that for an upcoming season of the Superfriends, two aliens with shape >changing powers (Zan and Jayna the Wondertwins)were being considered. >The idea struck him as interesting so he used it.The rest is >history.Maya was indeed inspired by a Saturday Morning Cartoon.So pass >that along to the list if you like. > >Take Care > >Jerry >jscott@dsuper4tag.net
Date: Sun, 21 Jun 1998 23:05:53 From: David Welle (dwelle@online.dct4tag.com) Subject: Space1999: Re: Maya Transforming At 06:28 PM 06/18/98 -0500, Mike Lynch wrote: >Another poor example would be when we see the screen blur. >only to come back into focus with Maya transformed (as in THE DORCONS). I didn't like this method either. It seemed shoddy, like someone lost grip of the camera or something. >And to have Maya take on the persona of the >intended transformation prior to the actual >change would have seemed fake, and >unnecessary. Guess I liked it when she snarled in "The Metamorph" and "The Exiles" before becoming a dog and cheetah(?), respectively. It really startled me the first time, and still looks remarkable for this beautiful woman to take on such an expression. She even seemed pantomimed a leaping action in one episode, IIRC. Taking on the character of the animal seemed a natural way to transform when she was feeling intense emotion as when she was trying to get past Koenig to save her father. >Given the technology available for handling a situation like >this I think zooming in on the eye was the best and wisest choice. Aside from >the special effects stand point, the eye shots offered more than mere eye >candy - they offered a glimpse into Maya's mind as she concentrated on her >goal. We see Maya's thoughts as she visualizes her intended transformation. Never thought of it that way. I mean I knew it was a process that took concentration, so maybe part of my "understanding" was from the eye shots, in the sort of way you suggest. Now that I'm conscious of that, maybe it won't seem as hokey. The part that *is* still the silliest -- and maybe the main reason I disliked the method -- was the music used at that point. Reminded me of that "bionic" sound from one of those bionic person shows. One S19 episode used a different sound, more like the fragment of other music, which worked much more nicely. I forget which episode that was in. >The close-up of the eye doesn't necessarily represent the staring point for >the transformation, I never thought it did either -- probably another reason it annoyed me. I guess I took it too literally, whereas >but the mental projection within the mind prior exerting >itself to a physical reality. it could be interpreted symbolically instead. >Simply superimposing images and fading from one >to the other, or blurring the screen do not convey the mental ability and >concentration needed for the act of transforming. True, but a few more fade-outs/ins wouldn't have hurt from the perspective that a variety of "methods" of showing her transform would have given several perspectives, instead of repeating the same one. >Because we now have the >technology we can see Odo manipulate his body into another form - the >concentration and abilities are conveyed through the stable yet shifting mass >of translucent matter as Odo "morphs." So we no longer need to "look" in to >the mind of the metaporh, but simply watch and the understanding is made >manifest. Good point. ---- David Welle
From: "jhon" (jhon@pottsville.infi4tag.net) Subject: Space1999: Maya Date: Mon, 22 Jun 1998 07:37:16 -0400 I really enjoy Maya in year 2, but I never understood the 1 hour as a morph thing. Did Psychon use Earth time? I thought Maya had to convert earth science concepts into Psychon before doing anything. To my understanding, time measuered in 24 hour units is NOT universal. If this movie or series return project ever gets off the ground ( and it will, or else... ) let's remove the 1 hour thing. I'm sure we can think of another reason why Maya cannot stay in another form for too long. jhon http://mh101.iinfi.net/~jhon
Date: Mon, 22 Jun 1998 07:51:20 -0400 (EDT) From: Ens Melissa Crane (magneto@bc.seflin4tag.org) Subject: Re: Space1999: Maya I just figured it meant, Maya could only stay in another form for a certain length of time (whatever that was in Psychon terms). That Psychon time length's closest Earth equivalent was one hour, hence the one hour bit...
From: South Central (Tamazunchale@web44tv.net) Date: Mon, 22 Jun 1998 09:22:58 -0700 Subject: Re: Space1999: Maya The same concept is used on DS9. Odo has to revert to his gelatinous state every 16 hours. Mateo