The Roddenberry Archive is a multi decade collaboration with The Roddenberry Estate, OTOY, and iconic 

artists Denise and Mike Okuda, Daren Dochterman, and Doug Drexler to collect significant documents and art from Gene Roddenberry’s lifetime of work, beginning with the 

, and to make them accessible through innovative means of presentation. The project aims to preserve this information for those studying his career in the future, for those who appreciate his work, and to provide accurate information for those involved in future productions and other projects based on Roddenberry’s work.

The Roddenberry Archive seeks to honor the work and career of Gene Roddenberry by documenting, preserving, and presenting key aspects of his work, including 

This portal features some of the latest work from the Archive team, allowing visitors to virtually explore the complete history and legacy of every bridge of the 

 - as 1:1 scale “in-universe” experiences.

 bridges are currently in this archive portal (with more on the way) - from the first 1964 concept artwork for the 

Please be sure to visit the archive Youtube’s channel and blog posts for a deep dive on the work being done behind the scenes - and incredible interviews with cast and crew - including William Shatner, Terry Matalas and many more.

All ship animations and CG film scene recreations are original work created by the artists of OTOY / The Roddenberry Archive.

Eugene “Rod” Roddenberry

Jules Urbach

Roddenberry Archive Executive Producer

Daren Dochterman

Doug Drexler

Denise Okuda

Mike Okuda

Roddenberry Archive Leadership Team

Mark Spatny

Roddenberry Archive Virtual Art Department Supervisor

Rob Bryan

Dave Clark

Tadeo D’Oria

James Hibbert

Geoff Holman

Andrew Jarvis

Adam Leader

Richard Leech

Lewis Niven

Bertie Siebrits

Neil Smith

Donny Versiga

Roddenberry Archive Art Team

Alan Bunese

Roddenberry Archive Programmers

Mike Ashton

Phillip Gara

Sarah Gillespie

Chris Hekman

Sajja Johnson

Apryl Krakovsky

John Lee

Ethan Teller

Charlie Wallace

Kristina Wallace

Sam Witwer

OTOY Team

Credits

Directed by: Roger Lay, Jr.

Produced by: Roger Lay, Jr., Denise Okuda, Michael Okuda

Director of Photography: David de Vos

Gaffer: Julian Terry

Camera Operators: David de Vos, Julian Terry, Eric Carnagey, H. Sean Miller

Camera Assistant: Jack M. Barrie

Grip: Bradley den Dulk

Production Sound Record Mixer: Martin Kittappa

Editor: Roger Lay, Jr.

Post-Production Sound Editor and Mixer: Mike Solis

Documentary Narrator: John de Lancie

Documentary Films

Cast: Lawrence Selleck, Mahé Thaissa, Adam Hagenbuch

Director: Carlos Baena

Writer: Jules Urbach

Director of Photography: Leonidas Jarmaillo

Orbital Studios, Studio Head: AJ Wedding

Unreal Operators: Wilder Herms, Emir Cerman

Tracking Operator: Mark Poletti

Gaffer: Hunter Laizure

1st AC: Mac Myers

2nd AC: Theo Malkin

Key Grip: CJ Colace

Dolly Grip: Matt Corder

Art Team: JJ Palomo, Neil Smith, Aaron Westwood, Caleb Westwood

Sound: Ashley Maria

DIT: Colin Mack Nair

Production Assistant: Krí Schafer

Hair and Makeup: Emma Croft and Kyrsta Morehouse 

Costume: Mio Guberinic

SFX Makeup: Hamer FX

Practical Effects: Studio Gillis

Music by Johan Söderqvist

765874: Regeneration

Cast: Lawrence Selleck, Mahé Thaissa

Director: Carlos Baena and Jules Urbach

Director of Photography: Kellen Malloy

1st AC: Richie Truman 

2nd AC: James Choi

LED Screen Operator: Luis Martinez Miller

Steadi-cam Operator: Justin Wilson

Key Grip: Tyler Maynard 

Best Boy Electric: Dylan Krause 

Additional Grip: Josh Birdsel, Abraham Luciano

G&E Swing: John Donadeo 

Production Assistant: MacKenzie Lee

Standard Vision, Production Coordinator: Madison Ziegler

Standard Vision, Production PA: Katie Sherwood 

Standard Vision, Stage Manager: Vaughan Larsen 

Standard Vision, Lead Stage:  Alex Seymour

765874: Memory Wall

Cast: Mahé Thaissa

1st AC: James Choi

2nd AC: Alex Alarcon

Key Grip: Adrian Ramirez

G&E Swing: Colin Pitt

Gaffer: Ryan Apley

Hair and Makeup: Emma Croft, Kyrsta Morehouse, Brigitte Reiss- Anderson 

Standard Vision, Stage Manager: Alex Seymour

Covid Compliance Officer: MacKenzie Lee

765874

Roddenberry Archive Film Cast and Crew

Randall Anderson

Marc Bell

Dave Blass

Matt Boardman

Chris Cushman

Daniel Deleske

Paul Dobson

Lee Hoffman

Serin Jameson

Lora Johnson

Daniel Korican

Alexander Klemm

Justin Lee

Thomas Marrone

Ryan Norbauer

JJ Palomo

Marta Polanska

Mark Rademaker

Tobias Richter

Annibale Siconolfi

Diogo Vincenzi

Aaron Westwood

Contributing Artists

Jaret Sears

Contributing Editor/Writer

David Harper

Russell Meyers

William Smith

Special Thanks

Roddenberry Archive Contributors

About

The Prime Timeline refers to the primary continuity of events related to the 

, launched in 2245 by the United Federation of Planets.

The Prime Timeline is the point of origin used to reference several other quantum realities chronicled within this archive. These collectively are part of a larger “Alpha” Multiverse of notable and interconnected parallel universes, which include the “Mirror Universe,” ” Kelvin Timeline,” and the "Alternate Future of 2395”.

Beyond the “Alpha” Multiverse exists a similar but distinct “Beta” Multiverse, and an infinite myriad of parallel realities, each with their own 

 at the center of a branching local multiverse.

The “Prime Timeline” and “Alpha” Multiverse are used to refer to the main continuity of events depicted in the 

 television and film series. It is distinct from the continuity and mythology of 

 stories appearing in other licensed media such as books or video games, which the Roddenberry Archive considers to take place in a separate “Beta” multiverse also worthy of record - especially when these materials later influence or establish details in the Prime Timeline - or are written by Gene Roddenberry himself.


The Roddenberry Archive lists several unrealized “Roddenberry” 

) in the Prime Timeline section. For Gene Roddenbery, these ships represented the primary universe version of the 

 for film and television at the time of their conception, even if they were never released in a finished production.



Prime Timeline

The Kelvin Timeline is a quantum reality that is similar, but not identical, to the Prime Timeline, causally linked as the result of temporal incursions that destroyed the 

 in 2233 in this alternate reality. Ambassador Spock - from the Prime Timeline - traversed to the Kelvin Timeline in 2258 and died in 2263 at the age of 161 on New Vulcan.

Kelvin Timeline

The Mirror Universe is a parallel quantum reality, where events, entities, and societies may somewhat mirror those of the Prime Timeline in the 21st - 23rd centuries, but often with antithetical and inverted outcomes. Notably, the Federation does not exist in this reality; instead, the Terran Empire rules in its place with extreme brutality and ruthlessness.



Mirror Universe

Alternate Timelines typically share an identical past or future history with the Prime Timeline, but splinter into a new independent quantum reality at a single temporal branching event - often the result of time travel - occasionally allowing temporary traversal and exploration of possible futures or past outcomes that diverge from the Prime Timeline.



Alternate Realities

Beyond the original Prime Timeline’s ‘Alpha’ Multiverse of traversable quantum realities (The Mirror Universe, Kelvin Timeline, Alternate Future of 2295), there exists an infinite set of parallel myriad realities, each with its own 

The now defunct “First Splinter Timeline”, part of a larger ‘Beta’ Multiverse, was one notable example of a myriad reality that was causally connected and aware of the Prime (Alpha) Timeline. In another reality, James T. Kirk was resurrected after his apparent death on Veridian III. 

The Roddenberry Archive considers officially licensed literary works and stories - sometimes referred to as “Beta” canon - to be an important aspect of the 

 mythos. While not directly crossing over into the “Alpha” timelines of the films and television series, they nevertheless represent a significant subset of 

 mythology, and often are the source of events and details later adapted in the film and television series. 

 series of novels published by Pocket Books (with crossovers through multiple comic series and publishers including Marvel Comics, IDW Publishing, DC Comics, and others) began in 1979, with Gene Roddenberry’s first and only published 

Subsequent Pocket Books novels and inter-connected comics that follow Roddenberry’s novelization form a parallel “literary” multiverse which shares key events with the Prime Timeline, while diverging from it in others. These modern era 

 novels ultimately established a decades-long coherent continuity in books published from 2002 through 2021. In the novel series “Coda”, this literary universe was revealed to be a splinter timeline that resulted from the events of 

A separate reality depicted in the novels (and DC Comics special) “Ashes of Eden” and “The Return”, in which Kirk returned to life after the events of 

, is colloquially referred to as the “Shatnerverse”, named after the novel’s author, William Shatner. Mr. Shatner reflected on his experience and intent in writing this story in his video testimonial for the Roddenbery Archive.

The Roddenberry Archive chronicles realities and continuities established in video games, role-playing games, and other mediums, notably the alternate timelines established in FASA, Last Unicorn Games, and 

 inspired the canonical version of the ship a decade later. Events in 

’s primordial continuity are also depicted in IDW Publishing’s “Countdown” comics. Later 

storylines establish that the events and realities depicted in its ongoing continuity are distinct timelines unique to 

Rod Roddenberry has tasked the Roddenberry Archive team to also note important contributions from fandom that exist outside of licensed works. This “Gamma” continuity of stories and art includes 

 (which Rod Roddenbery helped produce) and 

Myriad Realities

Notable ships, vessels, stations, crafts, and structures that exist in the Prime Timeline, including those with historic ties to the 

 or its crew, as well as vessels on display in the Starfleet Museum, and early NASA probes such as Voyager 6 (1999).

Prime Timeline - Historic Ships and Structures

Ship

Deep Space 9 was a space station originally constructed as a uridium mining station during the Cardassian occupation of Bajor. In 2369, when the Cardassians ended their occupation, the Federation Starfleet assumed control of the facility at the request of the Bajoran provisional government. When the station, at the order of commanding officer Benjamin Sisko, was moved to the terminus of the Bajoran wormhole, Deep Space 9 became of vital strategic importance to the entire region and played a key role in the victory of the Alpha Quadrant powers in the Dominion War.

Promenade

The Promenade was the center of commerce and a major hub of social activity on the space station Deep Space 9. Located in the station’s upper core section, just below the Ops module, the Promenade was home to a large number of stores, service providers, as well as a wide range of dining and recreation facilities. Prominent among these was Quark’s Bar, which provided not only food and beverages, but also offered entertainment in the form of gambling, as well as a wide range of holosuite experiences.

Infirmary

Located on the lower level of the Promenade of Deep Space 9, the infirmary served as the station’s primary medical facility, where Starfleet personnel, Bajoran residents, and visitors alike could receive medical care. The infirmary was under the supervision of the station’s chief medical officer, Dr. Julian Bashir, during the time in which the station was commanded by Benjamin Sisko. The facility was compact but well-equipped, featuring an examination biobed with state-of-the-art diagnostic equipment, and also housed a pharmaceutical storage unit with a full supply of treatments and medications. As a station that frequently saw action due to its proximity to the Bajoran Wormhole, the infirmary was often busy treating injuries from combat situations, alien diseases, and exposure to unknown environments.


Quark's Bar

Quark's Bar, Grill, Gaming House and Holosuite Arcade was a central fixture of life aboard Deep Space 9 during the station's early years as a Bajoran and Federation-administered outpost. Located on the Promenade, the establishment was owned and operated by the Ferengi bartender Quark, who turned it into a vibrant social hub frequented by Starfleet officers, Bajoran citizens, merchants, and travelers from across the Alpha and Gamma Quadrants. Quark's Bar offered a wide variety of services designed to appeal to a variety of species and taste. The main floor bustled with patrons enjoying synthehol, exotic interstellar cuisine, and various games of chance including Dabo and Tongo, with several holosuites on the upper level. Quark himself was not above bending the rules, occasionally skirting Federation law and dabbling in smuggling, arms trading, or black market transactions, all while claiming plausible deniability. Despite its questionable ethics, the bar became an unofficial meeting ground for station personnel and visitors alike. 

The Deep Space 9 filming model was designed by illustrator Rick Sternbach. The model featured three massive “docking arms,” which gave the station its distinctive shape, emphasizing the station’s role as a center of interstellar commerce. The model was designed by Tony Meininger, and it was filmed at the Image G visual effects facility under the guidance of visual effects supervisors Rob Legato and Dan Curry.

’s Promenade set was built on Stage 17 at Paramount Pictures under the direction of production designer Herman Zimmerman. The massive set, one of the largest interiors ever built for any 

 production, featured a distinctive alien architectural style. Zimmerman, who had supervised the design of the 

, strove to give the Promenade – and all the station interiors – a strange, vaguely threatening atmosphere, a deliberate departure for 

Deep Space Nine’s infirmary set was designed to reflect the grittier, more utilitarian nature of the Cardassian-built station. The set was relatively small compared to the sickbays seen on 

, reinforcing the idea that Deep Space 9 was not originally intended as a Federation facility but was instead adapted from its Cardassian origins. The set featured distinctive curved Cardassian architecture and dim lighting, contrasting with the bright, sterile appearance of Starfleet sickbays. The infirmary set was located on Stage 17 at Paramount Studios, alongside many of the core sets of 

Quark's Bar was one of the most iconic and frequently used sets on 

, serving as a narrative centerpiece for the show's diverse range of stories. The set was built on Stage 17 at Paramount Studios and was one of the largest and most detailed environments on the show. The bar featured a serving counter, gaming tables, and a second level balcony that housed the holosuite entrances. A third level was planned and designed, but never fully realised, although spiral staircases were constructed to allude to its in-universe existence. Quark’s Bar became a favorite among cast and crew not just because of its visual appeal, but because it often served as a social crossroads for the characters, allowing for ensemble scenes, comedic moments, and emotionally resonant exchanges. From a production standpoint, the bar also symbolized 