"Жүздер" эпизодының жасалу тарихы

"Faces" was pitched by writer Jonathan Glassner, and was later revised by executive story editor Kenneth Biller. In an interview with The Official Star Trek: Voyager Magazine, Biller said that the only similarity between the original pitch and the final copy was that the episode deals with the character B'Elanna Torres being split into two parts. In the episode's first draft, aliens used a machine to separate Torres into human and Klingon halves as part of an experiment attempting to achieve purity within a species. Executive producer Michael Piller described the draft as originally focusing on "somebody's idea that this could be the result of a hideous concentration camp kind of experiment, that is, genetic demonstration of some sort". Biller and executive producer Jeri Taylor were critical of Glassner's pitch; Biller found it to be "very melodramatic and hokey", and Taylor called it "a tired idea" and "too on the nose for B'Elanna". Biller attributed his interest in the episode's concept to his personal experiences with his younger, adopted brother's struggle to understand his biracial identity. Even though Biller was initially critical of the pitch's melodrama, he felt that his version had the melodrama expected of a Star Trek episode. Biller incorporated the Vidiians into the episode, believing that their technology would present a conceivable method by which Torres could be separated. The Vidiians were featured in an earlier season one episode titled "Phage". Biller explained that Klingons were shown to be more resistant to disease than other species in previous Star Trek installments, and reasoned that a Vidiians scientist would view them as a promising way to discover a cure for the disease. Biller viewed the interactions between Sulan and the Klingon version of Torres as being inspired by the fairy tale Beauty and the Beast. He considered a Klingon's strength to be the ideal beauty for a Vidiian, and that Sulan would develop an attraction to Torres. Biller said that the Klingon version of Torres was more manipulative than Beauty from the fairy tale because she uses her sexuality to convince Sulan to follow her demands. The character was introduced in the preceding episode ("Cathexis") so that he would be a familiar face to the viewers. Rob LaBelle, who was a close friend of Biller, was cast as an unnamed Talaxian prisoner but he concealed the connection during his audition to avoid preferential treatment. LaBelle later appeared in the series as the Takarian servant Kafar in "False Profits" and Talaxian settler Oxilon in "Homestead". The sets for the Vidiian mines were constructed on Paramount Stage 18. Materials used to create security consoles in the Vidiian laboratories were previously used for the construction of Klingon starships. The prosthetics and make up for the Vidiians were handled by make up supervisor Michael Westmore. The episode (with the rest of the first season) earned a nomination for the Primetime Emmy Award for Outstanding Individual Achievement in Makeup for a Series for the 47th Primetime Emmy Awards, but lost to Star Trek: Deep Space Nine. Cast members have commented on their performances in the episode. Robert Beltran, who played Commander Chakotay, said he felt uncomfortable acting in the facial mask worn for his character's Vidiian disguise. He described the prosthetics as "that raw, wounded face, which made me feel very vulnerable as a person", and viewed it as an acting challenge. Garrett Wang, who portrayed Ensign Harry Kim, said that his role in the episode was restricted to technobabble. Robert Picardo, who played the Doctor, appreciated the interactions between Torres and his character as they represented how he was originally "just a functionary doing his job". Picardo added that his scenes showed that it was too soon for his character to understand the importance of his operation on Torres, or to develop any sort of relationship with her.

Actress Roxann Dawson was initially doubtful about the script, believing that the concept was occurring too early in the series for her to understand the character well enough to play two separate people. Dawson said: "I was able to delineate these two sides that up until then were just metaphors." She reasoned that the episode provided an opportunity "to personify two aspects of this character". Dawson was given two versions of the script, one labeled "The Klingon" and the other "The Human". The scripts treated the human and Klingon forms of Torres as two separate characters, emphasizing their flaws. Dawson observed that Human Torres lacked strength and courage, while Klingon Torres lacked logic and control. She felt that the Klingon should receive more attention, especially when Torres struggles with that side of her identity throughout the series. She also wanted the episode to capture Klingon Torres' respect for Human Torres. Dawson added that the episode's central theme was "learning to respect the parts of one's self that make up the whole person". Actress Joy Kilpatrick was cast as Dawson's photo double. Dawson described having a great working relationship with her stand in. Discussing Kilpatrick, she said, "I was about to tell her what I was going to be doing so she could give me the beats that I could react to properly" and found her to be supportive and intuitive. Kolbe noted that the episode used a lot of visual effects, specifically to create the illusion of the two versions of Torres. To save time reapplying the make up and prosthetics repeatedly, each day's shooting would concentrate on one of the two characters, and switch the following day. Dawson compared the experience to repertory theatre.

"Faces" was first broadcast on May 8, 1995, on UPN at 8 pm Eastern Standard Time in the United States. The episode received a Nielsen rating of 6.1/10 ratings share; this placed it in 77th place overall for the week. This marked a drop in viewership compared to the previous episode "Cathexis", which had earned a 6.4 rating. The episode was first released for home media use on VHS in the United Kingdom in 1995 as part of a two episode collection with "Cathexis". This was followed by a release in the United Kingdom in 1996, which was re released the following year. It was first released on DVD as part of the first season release on February 24, 2004, in the United States. The episode was also available on numerous streaming video on demand services, such as Amazon Video, iTunes, Hulu, and Netflix.

The episode was positively received by the cast and crew for its representation of Torres' internal conflict over her half human, half Klingon identity. Biller identified the episode as his favorite of the three scripts he wrote for the show's first season; he also wrote "Elogium" and "Jetrel". He viewed the scene depicting Torres' realization that she was human as one of the best from the episode. Taylor and Beltran praised Dawson for her ability to play two contrasting characters; He enjoyed the completed version of the episode, but was disappointed with its ending. Harrisson praised the episode for having "some fine character work from Roxann Dawson" and appreciated how it helped to establish "Voyager's most successful romantic pairing" (Torres and Paris). Some reviewers were critical of the episode's story. TrekToday's Michelle Erica Green praised "Faces" as an effective character study of Torres and felt it showcased Dawson's abilities as an actor. However, Green criticized the plot an unoriginal take on the evil twin trope and said the science was unbelievable in the context of the show. Tor. com's Keith DeCandido identified "Faces" as the worst episode of the first season. Although he enjoyed Kolbe's direction, DeCandido dismissed the script as being "a hoary premise that nonetheless could have been used for good character development". He praised Dawson's "subdued and anxiety ridden" performance as the Human Torres, but criticized her tendency to over enunciate her lines as the Klingon Torres, likely due to her prosthetics. Critics and fans responded negatively to the episode's final sequence. Taylor described getting adverse fan mail about the lack of sympathy expressed by Voyager's crew members for Torres in the ending. She clarified that Chakotay's response to Torres was intended to be unresponsive rather than cold, and acknowledged that he should have "put his arm around her and show[n] some warmth" as suggested by fans. Allen Kwan also cited the episode's final scene as a negative commentary on race in his article "Seeking New Civilizations: Race Normativity in the Star Trek Franchise". He wrote that Torres' desire to be completely human was a "tacit acknowledgement of the racial normativity inherent to Starfleet and the Federation". Susan De Gaia argued in her article "Intergalactic Heroines: Land, Body and Soul in Star Trek: Voyager" that the separation of Torres into her Klingon and human halves positively addressed diversity. De Gaia felt that the episode communicated that "a strong woman is created by incorporating the human with a stronger race, the Klingon, and by affiliation with an independent group". In her book American Science Fiction TV: Star Trek, Stargate and Beyond, Jan Johnson Smith categorized "Faces" as one instance in which the Star Trek franchise has tackled "[i]ssues of individual difference" and compared it to the combining of Tuvok and Neelix (Ethan Phillips) in the second season episode "Tuvix". Elisabeth Anne Leonard also discussed Torres' epiphany about her identity in her book Into Darkness Peering: Race and Color in the Fantastic. Leonard wrote that the ending of "Faces" acts as Torres' "acceptance of a Creole self" as opposed to her "incipient destruction of a Creole identity" such as in the episode "Dreadnought". In the chapter "Femme Noire" from the book Goddesses and Monsters: Women, Myth, Power, and Popular Culture, Jane Caputi and Lauri Sagle called "Faces" one of the "more thoughtful Virgin/Cannibal narrative structures"—a literary device that they invented and defined as "push[ing] the envelope of the classic virgin/whore paradigm". Caputi and Sagle approached the episode as a "metaphorical tale of mestiza experience and conscious" given Torres' Spanish last name. They connected the character's difficulty with her identity to Gloria E. Anzaldúa's theoretical work, interpreting Torres as crafting a new "inner and outer face" for herself.