Perhaps the most memorable thing about the
Klingons is that they are simply unforgettable. From the moment you first see them, either in the
Original Series or
Star Trek: Enterprise, they imprint themselves on your consciousness. During the run of the Original Series, Klingons were portrayed as evil, unfeeling antagonists. To be called a Klingon on the school playground was usually an insult; you were the baddest of the bad guys. However, over the course of the various shows and movies, the Klingons have evolved into a more sympathetic race with layers constantly added to their culture and personalities. At the root of a Klingon's being lies a sense of honor above all else; they fear the loss of honor greater than death itself. This fearless-opponent aspect has provided
Star Trek audiences with great storylines over the years that feature a sometime nemesis, an occasional ally and, most importantly, a complete warrior.
Today, the idea of Klingons and Klingon culture is more accepted. Although they have evolved far from their TOS-styled metaphorical Soviets, Klingons are still defined by their obvious strengths and weaknesses. Interestingly, they are an inspiration to a whole generation of humans. Some groups of people will — to a degree — emulate their culture and dress sense, learn their language and adopt a virtual Klingon
Weltanschauung, or way of looking at life. Different strokes in infinite diversity. Or something like that. But whatever it is about Klingons, there is a reason why so many people know of them and their culture. They have, in a sense, achieved a pop-culture equivalent of
Sto-Vo-Kor.
But just how did the Klingons become so popular? As many a Klingon spotter can attest, they came to know the world of Star Trek and this race at different times, some with the Original Series, others on the latter shows. Each show provides its own unique perspective, but if the Original Series is Klingon 101, then The Next Generation begins advanced studies of the culture. Here we take a look at some of the key moments, not in Klingon history per se, but those that, over the years, have shaped, defined, re-defined, sharpened, or simply opened us up to another way of looking at the universe: The Klingon way ...
The Klingons made their debut, as any fan knows, in the episode "Errand of Mercy." With the contribution of episode writer Gene L. Coon and actor John Colicos as "Kor," Star Trek had a new template of villain that would echo throughout the rest of every series and beyond.
The Klingons had obviously done something right: They inspired fear. In the episode "Friday's Child," the mere appearance of a Klingon amongst the Capellans leads a young, inexperienced Enterprise crewman to draw his phaser. Sadly, the Red Shirt is dispatched with a swift kligat to the chest that kills him. The warrior-like Capellans, in this sense, seem to have more in common with the Klingons than humans. They too are fighters and earn Klingon respect. The Red Shirt's demise is a ruthless and quick one, but it highlights the fact that the mere existence of Klingons is enough to evoke a sudden and hostile reaction from a highly trained Starfleet crewman.
On a lighter note, in "The Trouble with Tribbles," we forget about phasers and weapons and see members of the Enterprise crew duke it out with a visiting Klingon delegation. Although more comedic than threatening, the Klingons once again show that they are always a force to be dealt with and do not take insults lying down. Then again, neither does Scotty, but that's another story.
In the third season, the Klingons make a couple of appearances, the most extensive in "The Day of the Dove." The episode's climax features one of the first signs of cooperation between humans and Klingons when the two groups call a truce and laugh a hostile entity that feeds on negative energy right off the Enterprise.
In the Star Trek movies the Klingons return once again, only this time they have had some "work" done. With bigger budgets come bigger, more menacing visages and longer hair. Not to be confused with Gene Simmons of KISS, the new look only serves to highlight the aggressive side of the Klingons. However, the first Klingons we see in "Star Trek: The Motion Picture" meet a sticky end courtesy of the galactic destruction-derby that is V'Ger.
One of the most devastating attacks, certainly from Kirk's point of view, is in "Star Trek III: The Search for Spock" when his son, David Marcus, is killed by Klingons on the Genesis planet while he gallantly tries to protect Saavik. For this cold-blooded act, Kirk holds Klingons in contempt. This is in evidence later in "Star Trek VI: The Undiscovered County" when he refers to them as "animals." When Gorkon's delegation boards the Enterprise for a diplomatic meal, Kirk — the man who has faced death a thousand times — is noticeably uncomfortable. Later, when the scene shifts to the Klingon ship, who can forget the murder scene in zero gravity with globules of Klingon blood floating across the screen only to splat on the floor of the ship when gravity is restored.
Flash forward 70 years. The time frame for Star Trek: The Next Generation was far enough into the future where it was conceivable that things between the Federation and the Klingons were at least at a nice comfortable d?tente; a Klingon could easily be a member of Starfleet. The character of Worf, the first such member, proved to be the perfect catalyst for stories revolving around the obvious conflicts he would face, plus it meant the writers could finally fill out that lengthy and extensive Klingon backstory that fans were clamoring for.
The Klingon story arc that continues throughout TNG was extensive and encompassed a civil war, changes in leadership and some strategic alliances. We catch glimpses of the Klingon homeworld, historical arcs that cover the discommendation of the House of Mogh (powerfully shot with the Klingon council turning their backs to Worf in "Sins of the Father"), the death of K'mpec and the dealings with the High Council, the revenge killing of Duras, the constant duplicity of the Duras sisters, to the vision of Klingon opera as interactive art seen in "Firstborn."
Like many great alien characters on Star Trek, we are drawn to their humanity. Worf is no exception. When dealing with his adoptive parents in "Family" he reveals a vulnerability rarely seen in a Klingon. His relationship with his brother Kurn is also poignant, most notably in "Sons of Mogh" (Star Trek: Deep Space Nine) when his sibling has his memory wiped and is rechristened "Rodek" rather than commit a ritual suicide brought on by his depression over the discommendation of their family House. He leaves Worf not even knowing who his brother his. This could seem a tragedy to some, but Kurn/Rodek remains alive and, as far as Worf is concerned, still able to reach Sto-Vo-Kor in the afterlife — which he would not, had he carried out his original intention.
Virtually every Worf storyline sheds some light on what it means to be Klingon. From the dishonor of his House to his relationship with the half-human, half-Klingon K'Ehleyr, to the father/son dynamic explored with Alexander, we see a Klingon at pains to retain his cultural identity while passing on these traditions to his son who lives primarily in a human world. The episode "Ethics" provides us with potential heartbreak when Worf, paralyzed in an accident, requests his life be taken rather than to live as an invalid. When his son Alexander is faced with the prospect of taking his father's life, not even the stoic Worf can face this grim reality for his son.
On a more lighthearted note, Worf would actually provide some of the series' best rejoinders, from the "nice planet" remark in "Justice" to the "what a beautiful race" comment about the strange-looking Antedeans in "Manhunt." But perhaps his most famous line remains, "Captain I protest. I am NOT a merry man" from the episode "QPid." And let's not forget "Assimilate this!" in "Star Trek: First Contact." That movie also provided one of Worf's most serious, if Shakespearean, moments when confronting Captain Picard: "If you were any other man, I would kill you where you stand." Poetic, to be sure, but it also signifies that he is still a Klingon to be reckoned with and not yet completely tamed by the values of human compassion.
Worf's story, romantically at least, hit the highwater mark when he courted, married, rescued and ultimately lost the love of his life, Jadzia Dax. These moments, collectively, provide us with a clear idea of what makes this humanized Klingon tick: his sense of Klingon ceremony in "You Are Cordially Invited," the moral character that emerges in "Let He Who Is Without Sin" and his duty to his wife vs. his duty to Starfleet in "Change of Heart."
The history of Worf is almost a shadow history of Klingons; one of his final and memorable moments is the killing of Gowron in "Tacking Into the Wind."
Other Trek characters, like Dax, forged deep relationships with Klingons. As Curzon Dax, the Trill knew Kor, Koloth and Kang and had sworn a blood oath with them against the murderous Albino. In "Blood Oath," we get a new look at old Klingons originally seen in the Original Series. The slight disconnect audiences may have is that they now appear with the new makeup, with no explanation given. Over the course of the episode, many key moments occur; Dax wielding a bat'leth, and the climactic battle that ultimately claims the lives of Kang, Koloth and the Albino. Historic, epic, and bound to recounted in song on Q'onoS for years to come.
B'Elanna Torres, a half-human half-Klingon woman, is traumatized both by her own past and upbringing and her conflicting heritage. Her moments are numerous, notably her time on the "Barge of the Dead" when she experiences Klingon "hell." Her rocky relationship with the very human Tom Paris also highlights the cultural, physical and emotional gaps between Klingons and humans.
In space, of course, no one can hear you scream, nor does the smell of fear exist; at least not to the Klingons. In ship-to-ship battle, the Klingons excel. Their fearlessness when faced with overwhelming firepower is legendary. For many viewers, these battle scenes make for a fine collection of memorable moments. Whether it be the Klingon bird-of-prey uncloaking for the first time, a battle cruiser taking aim, or an attack cruiser arriving for action, their ships are every bit as menacing as they are. A great moment of Klingon de-cloaking took place in "The Defector" when the Enterprise, surrounded by hostile Romulan ships, is suddenly saved when three Klingon ships decloak and level the playing field. Not only a great twist, but a fine visual as well.
For Star Trek: Enterprise, the Klingon moments have been few. But the few that have occurred have been interesting. Of course, it was the crash-landing of Klaang on Earth that gave the NX-01 its first mission in "Broken Bow." We saw somewhat cowardly Klingon marauders in the aptly titled "Marauders," and in each of those instance we get a new look at old, pre-Kirk era Klingons that now make the TOS Klingons the odd ones out. At least appearance-wise.
In the episode "Judgment" we get to see the somewhat disgruntled counselor talking about the old days and how nowadays "the kids" only want to be warriors. This suggested that a lot of the Klingon culture and warrior mentality was a fairly recent (200-300 years) development and as a cultural choice it also means that other choices were (and are) possible. What this shows us is that the Klingons are at least consistent in their inconsistency and their belief in their own consistency ...
Through it all — the good, the bad, the indifferent — we have the greatest, most interesting and complex race on Star Trek. Be they a reflection of ourselves, or what we once were, they are, and always will be, Klingon. They are, in a word, unforgettable.
