VOY Season 3 Summary . Season three begins with the departure of the Kazon , and with them a story arc pivotal to the progression of the previous two seasons . The Doctor undergoes perhaps the largest change of any of the principal characters in season three , when he gains freedom from Sickbay in , by way of an autonomous mobile emitter . The same episode also has Harry Kim taking command of " Voyager " for the first time when the four ranking bridge officers beam to 1996 Earth , an important development for the character as an Ensign who cannot be promoted . However , the most important moment of the season , and possibly the entire series up to that point , takes place within the seemingly innocuous episode , when " Voyager " enters the Nekrit Expanse . Not only does this area of space mark the farthest extent of Neelix ' knowledge , and the end of his usefulness as " Voyager " s guide to the Delta Quadrant , but the ship ' s entry into the expanse draws a line in the sand between what went before , and what was still to come . Three episodes later , features a brief introduction of the Borg to the series , the inclusion of which was to have serious and far - reaching ramifications for the franchise from this point onwards . " Blood Fever " also introduced the very real possibility of a romantic interest between Tom Paris and B ' Elanna Torres , a relationship of singular importance not only to the development of the two characters involved , but also to the other crucial evolutionary step taken by the series in season three – the crew of " Voyager " as family . It is towards the end of that Janeway , while disciplining Neelix , first mentions this notion of familial allegiance . " " I ' m prepared to leave the ship , captain . " " " " Oh no , it ' s not that easy . You can ' t just run away from your responsibilities because you made a mistake . You ' re part of a family now , and you have obligations . " " It is also around this midpoint in the season that other , more subtle changes were being made to the overall look and feel of the franchise . Stage lighting underwent significant changes , most notably in where for the first time , darkened or blacked out set pieces were used to add tension to scenes . Prior to this , " Voyager " s decks and corridors were always largely flood - lit except in times of emergency . While attending a Sacramento , USA Convention in 2003 ( uploaded onto YouTube ) , Kate Mulgrew commented that by early Season three , she felt as if she had successfully married the actress to the character , to the extent that the writers were able to " " back - off . " " " " And when they finally allowed Mulgrew to inhabit Janeway , she took off . I ' d say that was about the end of the second / beginning of the third season . . Every nuance that I could give to her , all those subtle endowments that were mine , that Mulgrew brought to Janeway . That ' s when you fall in love . I couldn ' t do it without her , and she couldn ' t do it without me " " . : – Kate Mulgrew It would therefore appear that the writers , producers , and performers had begun to find a direction and with it came a developing continuity . The Borg , introduced in , popped up again in , and throughout the remainder of the series . John de Lancie returned as Q in providing continuity back to the suicide of Quinn in the second season episode , . Also , the events of linked not only , but also the season two finale . Writers also used events to tease the audience with what was to come in season four , namely and the . Possibly most significant is the season three finale , which sees " Voyager " entering a war - torn Borg space . As " Voyager " came of age , audience figures leaped through the roof , and within half a season the show ' s writing and cinematography was largely unrecognizable from its previous seasons . Certainly , once " Voyager " entered the Nekrit Expanse in " Fair Trade " , and later traversed Borg space in " Scorpion " , the franchise was never the same . Line Producer : Brad Yacobian Credits . Crew . Creative Consultant : Michael Piller Theme By : Jerry Goldsmith Associate Producer : Dawn Velazquez Story Editor : Lisa Klink Director of Photography : Marvin V . Rush , A . S . C . Production Designer : Richard D . James Unit Production Manager : Brad Yacobian Second Assistant Director : Arlene Fukai Original Casting By : Nan Dutton , C . S . A . Casting Executive : Helen Mossler , C . S . A . Costume Designer : Robert Blackman Set Decorator : Leslie Frankenheimer Visual Effects Producer : Dan Curry Scenic Art Supervisor / Technical Consultant : Michael Okuda Senior Illustrator / Technical Consultant : Rick Sternbach Make - Up Designed and Supervised By : Michael Westmore Assistant Art Director : Louise Dorton Visual Effects Assistant Editor : Elizabeth Castro Visual Effects Associate : Cheryl Gluckstern Script Supervisor : Cosmo Genovese Special Effects : Dick Brownfield Property Master : Alan Sims Construction Coordinator : Al Smutko Scenic Artist : Wendy Drapanas Junior Illustrator : Jim Magdaleno Video Coordinator : Denise Okuda Hair Designer : Josee Normand Wardrobe Supervisor : Carol Kunz Sound Mixer : Alan Bernard , C . A . S . Camera Operator : Doug Knapp , S . O . C . Chief Lighting Technician : Bill Peets First Company Grip : Randy Burgess Music Editor : Gerry Sackman Supervising Sound Editor : Bill Wistrom Supervising Sound Effects Editor : Jim Wolvington Visual Effects Assistant Editor : Elizabeth Castro Production Coordinator : Diane Overdiek Post Production Coordinator : April Rossi Production Associate : David Rossi Pre - Production Coordinator : Lolita Fatjo Stunt Coordinator : Dennis Madalone Science Consultant : Andre Bormanis Post Production Sound : Modern Sound Filmed with PANAVISION® Cameras and Lenses Motion Control Photography Image G Digital Optical Effects : Digital Magic Special Video Composting : CIS , Hollywood Editing Facilities : Unitel Video Computer Generated Effects : Foundation Imaging