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In the mirror universe , Vulcan was conquered by the Terran Empire between and In that year Vulcans were among the slave races participating in a large-scale rebellion against the Empire, and T'Pol feared that if Jonathan Archer became the Terran emperor , he would use the USS Defiant to crush the uprising and lay waste to Vulcan. DIS : " Vaulting Ambition ". In the alternate reality created by Nero 's temporal incursion , the planet Vulcan was destroyed by the Narada in , rendering the Vulcan race an "endangered species.
Uhura mentions Spock's homeworld, making the earliest aired reference to the planet. Spock 's homeworld was originally to have been Mars. At a time when Vulcans were known as "Vulcanians", their home planet was to have been named "Vulcanis". Although that episode does include mention of the planet, it isn't cited by name on that occasion with Elizabeth Dehner instead referring to it simply as "your planet" in conversation with Spock.
Whereas the first-produced mention of the planet was in "Where No Man Has Gone Before", the first aired episode to reference it was " The Man Trap ", which firmly established the planet's name as "Vulcan".
Rumors that the planet would feature in an episode of the series' second season leaked to the fans while the first season's episodes were being rerun. That episode turned out to be " Amok Time ". The Star Trek Compendium , 3rd ed. Star Trek Memories , ed. During the writing of "Amok Time", NBC executive Stan Robertson decided he wanted more of the planet Vulcan to be demonstrated than was depicted in the episode's original story outline.
A memo he wrote about his reactions to that story treatment thus included the statement, " The planet Vulcan [ Some viewers wanted it to feature a Vulcan city portrayed with new sets and matte paintings. However, these expectations were mostly unrealized, one example being that the episode instead begins aboard the USS Enterprise. Fontana , who contributed to the writing of "Amok Time", remembered, " We realized we couldn't show a lot of Vulcan; one of the stipulations for the script was that it be in a relatively tight area, so that we just get a flavor, a feeling.
Although the first appearance of Vulcan in "Amok Time" is a view of the planet as seen from orbit, the planet is excluded from the equivalent version of the scene in the episode's revised final draft script, which instead details two consecutive flybys of the Enterprise alone. The script continues with a turbolift scene in which scripted dialogue concerning the planet was ultimately eliminated from the episode, including Spock implying to Kirk that — due to his biology — he can instinctively sense when he is nearing Vulcan.
In the first scripted description of an orbital view of the planet, Vulcan is characterized as "a 'hot' planet Depictions of Vulcan as seen from orbit in the original version of "Amok Time" featured a reuse of a globe that was often used to represent class M planets but was also frequently reused as various other planets — in which case, it was tinted in a variety of hues, either by an optical printer or by a color timer.
The globe's reuses included Deneva in " Operation -- Annihilate! In both versions of "Amok Time", the surface of Vulcan is introduced with a view of a desert area.
The episode's script states, " This area of Vulcan is a landscape of drifting sand stretching away to a distant saw-toothed line of mountains jutting up at the edge of the far horizon. Views of Vulcan ceremonial grounds in the original version of "Amok Time" took their cue from writer Theodore Sturgeon imagining Vulcan culture as highly advanced but with an evolved appreciation for craftsmanship as opposed to high technology.
The Vulcan setting was therefore devised as a primitive-looking area resembling Stonehenge, with numerous handmade artifacts such as gongs, bells, and wind chimes. Sturgeon's method of realizing Vulcan was not only planned to be cost-effective but also emphasized the otherworldliness of the planet.
Rocks around the edges give a half-natural, half-artifact aspect, as if the wind or rain had curved something like a Stonehenge, or reduced a Stonehenge to something like this. Within this rock area is a Vulcan-made 'open temple.
There are two high arches of stone, a level stone floor an open fire-pit toward the 'rear' as we look at it. Theodore Sturgeon's approach to representing Vulcan inspired Matt Jefferies to contribute such embellishments as patches of glistening sand on the ground. Though the setting of the Vulcan temple was much cheaper to show on-screen than a city would have been, it was still considerably expensive, owing in no small part to the fact that most of the rocks and other structures of the faux landscape had to be fabricated from scratch; few of them could be reused from other planet sets.
All of the episode's Vulcan set was built on Paramount Stage 32 , which incorporated deep red stage lighting to emulate Vulcan's sky. Unfortunately, the extensive use of the set to depict Vulcan was extremely evident, even to the extent that overhead spotlights illuminating the area were accidentally shown. I hated that thing. No background of Vulcan, no definition, just a red curtain, " he remarked. I had a friend sketch the idea that this arena of rock had two natural stone bridges that connected it to mountain chains on each side.
The background, encompassing the city, was a painting, whereas the foreground was done by Max Gabl as a three-dimensional render and painted over. Coincidentally, at around the same time Star Trek was establishing Vulcan in late , the British series Doctor Who featured a story arc, entitled The Power of the Daleks , which featured a planet named Vulcan as a setting.
Vulcan's characteristics of a higher gravity but thinner atmosphere than Earth were inspired by the fact that Spock was already established as having both greater strength and keener hearing than a typical Human. News that a second Star Trek episode would feature Vulcan was announced at a convention wherein "Amok Time" was first shown to fans. Most of the fans in attendance reckoned that the story would be set mostly at Spock's family abode on Vulcan.
Fontana's " Journey to Babel "; for the first time, a city on the planet was planned to be shown. The creation of a matte painting was considered to be prohibitively costly, however. Babel 5; Enterprise Incidents , number 11, p. In the filming script of "Journey to Babel", Vulcan is described as a "hot yellow-orange planet". However, in the episode's final version, the planet has a deep red tint.
Vulcan was intended to serve as the primary location of an ultimately undeveloped Star Trek series that would have been centered around Spock and was, shortly after the cancellation of the original Star Trek series, proposed to Gene Roddenberry by Paramount. Having found the task of bringing the planet to the screen in TOS to have been fraught with difficulties, D.
Fontana realized a promising means of showing more of the planet. Second, sets built on the stage suffered from the slightly artificial look all such sets suffer — and we could only afford one major set of this kind. Thus, scope was also limited. Animation, however, would allow us to show the planet Vulcan any way I saw fit.
Although it had been established in 'Amok Time' that most of the planet was desert, I wanted to depict other aspects of Vulcan. When Vulcan is first shown in "Yesteryear", the script describes the planet as having a cloudless, "orangy red" sky, and implies that the lack of clouds is due to the thinness of Vulcan's atmosphere, though what is actually shown in the episode is more of a yellowish brown sky, with many clouds. The script also states that some flowers were imported to Vulcan from other planets, instructs that dust demons were to have been shown, and comments, " While Vulcan is an old planet, its thin atmosphere keeps erosion to a minimum.
A reference to a "family shrine" in "Yesteryear", regarding an area associated with Sarek and Spock's relatives, was meant as an allusion to the Vulcan ceremonial grounds shown in "Amok Time", but this wasn't established on-screen.
In retrospect, D. Fontana speculated, " Vulcan could probably have been visualized both with locations and on stages [in 'Yesteryear']. Star Trek Magazine issue , p. In that story, Vulcan featured in a limited fashion, with the Enterprise simply taking Spock aboard from the planet. Vulcan played a much more central role in another treatment, written later that year by Jon Povill. This treatment involved an ancient psychic cloud — designed on Vulcan as a weapon to elicit discord amidst an opposing army and released from the planet during its final war, centuries ago — causing the Vulcans who now resided on their homeworld to revert to the aggressive moods and other negative emotions of their ancient ancestors, and the Vulcan population consequently choosing to break the planet away from the Federation.
The Enterprise traveled back in time to Vulcan's violent past, obtained the psychic generator from a secret compound near the planet's southern pole and returned to Vulcan's present, moments before an all-out war was initiated between Starfleet and the Vulcans, in orbit of the planet. An emotionally positive-charged psychic cloud from the generator aboard the ship prevented the war and Kirk theorized the second cloud had been responsible for the historical change in temperament on Vulcan, though Spock explained that this was not the case.
Later drafts involved the planet Vulcan to a significantly lesser degree. A third treatment penned in , this time by Gene Roddenberry and Jon Povill, was set in an alternate timeline wherein not only did the Enterprise transfer Spock on board from the planet but also no contact between Vulcan and Earth had ever been made.
Star Trek Phase II: The Lost Series In a meeting that convinced Nimoy to participate in the movie, however, Gene Roddenberry informed him of having had the idea of depicting the Vulcan setting much as it is shown in the film, with Spock having returned there since the ending of the original series. Star Trek Movie Memories , p. In the shooting script of The Motion Picture , the scenes on Vulcan are said to be set during daytime, yet the theatrical cut of the film consistently shows the planet with black, starry skies.
As scripted, the planet was to have been introduced with the camera moving through thick, steamy clouds before the planet's surface would have been shown. The script details the mountainous Vulcan landscape as having "harsh, strange angular peaks and rock formations," and the planet itself as being "barren" as well as "legendary". Although the film itself shows Spock moving between two different areas, this does not happen in the shooting script, which instead describes only one location; Spock was to have been located atop a stone platform or ledge amid ruins, "facing a semi-circle of three similar platforms" for the trio of Vulcan masters , with "gigantic ancient Vulcan statues and ruins" in the background.
Ancient temple ruins in a remote area of Turkey were at one time seriously considered for use as Vulcan. A venture to such exotic locales was considered to be too expensive, though, so this idea was scrapped. Matthew Yuricich creating a matte painting of Vulcan featuring an orange sky. All the papers we deliver to clients are based on credible sources and are quality-approved by our editors. Fast Turnaround.
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