Killua and the Power of Wishes
Okay going to try and make this coherent because the amount of wish association all through Killua's character development makes me want to chew plaster.
As a fair warning, this analysis ended up being long as hell, and I didn't even include everything I could've said. This is also just one lens to analyze Killua's story arc with, and I feel there are other valid interpretations of some of these moments. This is just one of mine, so keep that in mind please.
One last warning that this analysis does discuss emotional manipulation and abuse, as is par for Killua's background.
Let's set the stage with one important piece of info: Killua's birthday.
Killua's birthday is July 7th, the same day as Tanabata. Tanabata is a folklore-rich festival where according to legend, the two lovers, weaver Orihime and cowherd Hikoboshi, represented by the two stars, Vega and Altair, are allowed to reunite once a year after separation. A popular custom of Tanabata is to make wishes by writing them down on tanzaku, then hang it on a bamboo tree so that the wish might one day come true.
Tanabata is also known as the Star Festival. Please keep this in mind, because I'm going to come back to it.
To finish setting up the lens for this analysis, I'm going to need to dig into the game-changer scene for Killua's early characterization - his confrontation with Illumi at the end of the Hunter Exam, and specifically, the exact nature of Illumi's manipulation of him.
I say "game-changer" because it really is - up until this point, it's kind of fair to not fully know what to think about Killua. Certainly, he seems excited to hang out with Gon (he approached him first, after all) and he's friendly enough, but he's also arrogant and claims to be motivated mainly by boredom. For all intents and purposes, Killua seems set up to be Gon's dangerous yet charismatic rival... but then this scene happens and it completely turns it all on its head.
Because Killua may have mentioned his family was controlling before, but he seriously downplayed the severity of it - likely because he has no point of reference for how awful his situation actually is other than it makes him feel bad and trapped. Illumi's appearance immediately shifts our understanding of Killua from runaway murder kid with annoying murder family to straight-up victim of emotional abuse, and dissolves his cockiness instantly to terror.
What does all this have to do with wishes? Glad you asked. Let's look at some of Illumi's dialogue.
[ID: A screenshot from HxH episode 20 of the 2011 anime. Killua looks up, sweating and conflicted, as Illumi tells him "You don't want anything or wish for anything." End ID.]
This is the crux of Illumi's (and the family's) control. Killua's desires do not align with the family trade. They must be excised from him.
When Killua insists that he does have something that he really wants, Illumi says "Tell me what it is you want", in a mockery of a certain other sibling who would have helped fulfill this wish - Illumi asks only so he can completely dismantle it. And Killua isn't even really surprised at Illumi's words, just heartbroken. You can tell this isn't the first time this sort of thing has happened.
Killua states his wish quite fervently; he really means it. But his words are not rebellious, nor cathartic. Instead, he answers Illumi quietly, as if fearful or ashamed, almost reminiscent of a sinner's confession.
[ID: Two screenshots from HxH episode 20 of the 2011 anime. In the first Killua looks down with a troubled expression, saying "I want to become friends with Gon...". In the second, his face is hidden as he stands with hands clenched at his sides with a spotlight on him. He says "I'm sick of killing people..." End ID.]
It's such an innocent, simple want.
And Illumi proceeds to make him feel like even something so simple is harmful and selfish of him... not to the family, but to Gon.
In a matter of a few minutes, Illumi breaks down Killua's wish by:
Acknowledging this desire, but twisting it into something that will inevitably fade over time, thereby causing Killua to doubt his own conviction and feelings -> "Gon is a novelty, a radiant presence who has piqued your curiosity. No more than that."
Acknowledging that Gon is someone important to Killua, and undermining this by telling him that by his very nature, he will eventually bring harm to Gon, which makes him feel as though Killua cannot trust himself to be a good friend -> "If you try to be friends with him, you will one day want to kill him... because you are, by nature, a murderer." (As a... delightful... bonus, this is also apparently how Silva and Illumi justify their treatment of Killua to him - "This is the essence of your existence and we taught you accordingly." Like they adapted to Killua's nature, instead of them molding Killua into who they wanted him to be.)
Delivering an ultimatum - to fight Illumi and win, or else Gon will die - that Killua is doomed to fail due to his upbringing and the needle in his head. Since Killua doesn't know about the needle, he assumes this is his own personal failure, something Illumi feeds into -> "You're just not qualified to make friends."
And it's the last point that breaks him. The first two shoot down Killua's present wish, but the last proceeds to shatter any hope he might've had of wishing for anything similar in the future - he has told him that his desires are weak, temporary, inherently dangerous to those around him, and worst of all, aren't enough on their own for him to deserve friendship and love from others. And the clincher: Killua feels like all of this is his own fault, that there is something inherently dangerous and wrong with him!
So, it doesn't even matter to Killua anymore if he fails the Hunter Exam. To him, he just failed the only test that mattered.
10/10 manipulation, Illumi. Fuck you, seriously.
Killua's character arc is mainly his quest and struggle to refute Illumi's arguments and to shake off the manipulation and the ways in which his family have molded and controlled him. And by far, the most difficult part of his conditioning to shake off is this idea that he is undeserving of anything more than what he is already given.
It's almost like the family has drilled it into him that wishes are dangerous. How interesting.
Thankfully, however, there are two parties to Killua's wish here - Gon, too, is a part of it, and it is not simply his reciprocated desire to be Killua's friend that saves him, but also his recognition of Killua's situation for what it is (notably, when no one else correctly identified the true issue).
"You know it wasn't his choice. You manipulated him, kidnapping his spirit!"
The ensuing Zoldyck family arc emphasizes that Gon is 100% correct: the main hold Killua's family has on him isn't physical - it's all emotional.
Killua breaks one of his shackles when Milluki threatens to have his new friends killed, but he only breaks the rest when Zeno tells him he's free to go. So, if Killua could break loose at any point, was this still a rescue like Gon said?
Well, yes - just because he absolutely could've broken out physically at any time, that does not mean he could just leave. That's the nature of situations such as this - it's not as simple as "just leaving". Support is necessary, as is actually having something tangible outside the situation to go to - otherwise there is little point to leaving at all. Gon (and Kurapika and Leorio) showing up to free Killua showed him that his wish was reciprocated and allowed him to break one cuff - this is the start of his journey, but he still has a long ways to go. Notably, he again hesitates and closes off when Silva asks what he wants.
[ID: Three panels from HxH chapter 42. In the first, Silva asks Killua "...would you like to see [Gon]?" Killua's expression is complicated in the next panel - he's closed off and uncertain. Silva continues "Be honest, Kil... what do you want?" End ID.]
Killua will backtalk and casually break his shackles and death glare his family... but he's too fearful to voice his wants aloud.
And once again, asked by his father what he wants, he is subtly set up to fail. His wish is granted, but made conditional - "Do not betray your friends", something Killua is regrettably set up to do by virtue of the needle in his head that he, again, doesn't know about. Silva fully expects him to fail and come back home, disillusioned, believing it's his own fault due to his "nature", and trusting in Silva still as a "reasonable" figure in his life.
This condition placed on his friendship is what drives much of Killua's fear and insecurity with regards to Gon for much of the series - the idea that Killua has to earn his right to friendship, and that if he doesn't, he will lose it, one way or another.
It really makes me wish that Killua had actually gotten to hear Gon's views on friendship from the beginning of the Zoldyck Family arc, because it entirely refutes this entire philosophy. He even outright refuses to go through the Testing Gates at first, purely because he thinks the sentiment of needing to prove yourself just to be friends is completely outrageous - he only relents because there is no other way.
[ID: Two screenshots from episodes 21 and 22 of the 2011 HxH anime adaptation. Gon looks up at Illumi and firmly states "[Killua] doesn't need to earn the right to be my friend!" In the second, Gon's face is seen in profile and close up as he asks "Why would you test your friends?" End ID.]
I doubt it would've truly prevented Killua's insecurity from manifesting even if he had heard this, to be honest - his issues with usefulness are very deep-rooted in his upbringing - but still, it would've been nice for him to hear, I think.
However, that's not to say that this exact sentiment doesn't come through in their interactions.
Gon, as Killua's friend, cares about what Killua actually wants and wants to make sure Killua knows that - and that's part of what makes the Whale Island conversation between them really important.
[ID: Two images, both of the same scene from HxH chapter 64, and episode 37 of the 2011 anime. In the manga panel, Gon has turned his head to look at Killua directly, who looks shocked and taken aback, to say "I like hanging out with you." In the anime screenshot, Gon has turned his whole body to face Killua, and says "I think it's fun to be with you." End ID.]
I see a lot of people chalk this up to just Gon being Gon, but it reads to me as much more deliberate than even his usual honesty. He's turned so he's looking directly at Killua, which is a sure way to make his words come across clearly. The lead up to this is Killua, again, not knowing or being able to vocalize what he wants. He doesn't have a goal to work towards like Gon, he only knows what he doesn't want - he's a mix of envious and admiring towards Gon, who knows what he wants and simply goes for it.
But this conversation makes it clear that they have a shared wish - they both want to be friends, and they'd both like to stay together. It's not about earning, to Gon, it's only about if they both want the same thing - mutual, not conditional. There's a nice almost call-and-response type dialogue here, where Gon asserts that he likes spending time with Killua (very directly lol), then shares that Killua is the first friend his age he's had. This prompts Killua to say that Gon is his first friend ever, and that he does have fun with him. And just like that, Gon replies "Then let's stay together!" and pointedly includes Killua's desire to find a goal in their, now shared, upcoming journey.
Overhead, a shooting star appears in the sky. A mutual wish is granted.
[ID: A panel from HxH chapter 64. The night sky is full of stars. In the centre is a shooting star. End ID.]
Hm. Stars. Remember how I told you to keep that in mind, all the way back at the beginning? Their association with Tanabata, making a wish on a shooting star, etc. etc.?
Well, buckle up because this star is going to make you experience so much sadness now.
[ID: Panels from HxH chapter 286. The first is a conversation between Killua and Meleoron where Killua asserts he intends to "go down in flames with [Gon]". When Meleoron looks concerned, Killua brushes off the declaration as a joke. In the second image, Killua is turned away, his outline pale, as Meleoron thinks "Why... did you looks so sad... back there?" The last image is a cloudy night sky filled with stars. At the centre of the panel is a shooting star. End ID.]
Yeah, it makes its reappearance directly after Killua has "jokingly" resolved to die with Gon if it comes down to it, after "since it means nothing to you".
I am assured, in Japanese, the word choice here is 心中 (shinjuu), the word for double suicide, where the intent is to die at the same time in the same manner in order to be reunited in the afterlife. The implication here is that Killua, having increasingly grown insecure in his place by Gon's side but unable to voice this, knowing that Gon is hurtling down the path of no return, thinks back to their conversation under the stars where they both mutually wished to stay together and, because he believes that it is no longer possible for him to help Gon, has resolved to stay by his side in death, and after it.
...holy shit, kid.
[ID: Two screenshots from the 4th ending of the 2011 anime. In the first, Gon and Killua stand back to back as meteors fall around them. In the second, they stand facing away from the audience towards a body of water under a night sky filled with stars - Gon throws a stone, which flashes in the air like a shooting star. End ID.]
And of course, here's the shooting star again in the 2011 anime's Nagareboshi Kirari ending, as well as it being the subject of the song itself and rather explicitly referencing that wish to go on a journey together, to stay together, because... Madhouse hates us. I guess. :'(
What started off as a simple wish for a friend deepened into a wish to always stay by Gon's side. This is largely good at first! Killua is able to explore and experience genuine friendship, to get a taste for freedom, and use the power of his fervent wish to protect his dear friend in order to rid himself of Illumi's needle. However, the more Killua wants, the more he traps these wishes in monologues within his own head and does not voice them aloud. Part of it is that he already feels he's been given much more than he deserves - seeing himself as a creature of darkness and Gon as light - but a greater part of the issue here is not that Killua is afraid to wish for things, but that he is afraid wishing without "compensation" will inevitably lead to horrible repercussions - namely, losing who he loves.
In order to feel worthy of staying with Gon, of earning his friendship, Killua works hard to help Gon achieve his goals, taking on the role of wish grantor, growing to do practically anything needed to support him for seemingly nothing in return - but that's not 100% true. Killua wants at least some appreciation, whether he admits it or not - it's a security thing, and it also clearly makes him happy, even if he's not great at accepting it. He insists in Chimera Ant arc that friends don't need to thank friends, but this declaration always read as very sudden to me or like a rationalization, and it's relevant to remember that this is at the peak of Gon isolating himself and self-destructing before his eyes, and Killua's own insecurity regarding his importance to him.
Killua might not mind doing things without thanks, but that doesn't mean he doesn't like to hear that Gon appreciates him. He clearly does appreciate verbal confirmation of their bond! We know this.
[ID: Two screenshots from the 2011 anime. The first is from episode 61. Killua smiles down at the ground with his hands in his pockets, the colours having gone soft and bright. The second is from episode 70 during the dodgeball match. Gon smiles determinedly in the foreground as Killua looks shocked next to him. End ID.]
Keeping all this in mind, Killua's story, or at least this part of it, couldn't have concluded in a better way than his rescue of Alluka, the wish grantor.
Now, I could probably write an entire other analysis on Alluka and Nanika alone, but for the sake of not making this any longer than I already have, I'm going to go through only a few points. Alluka is incomprehensible to her family because they make no attempt to understand her, with the exception of Killua. The only thing they do seem to understand, when explained to them, is the demands made after Nanika grants a wish - this, of course, fits neatly into their own predetermined views on "earning" and "punishment". However, beyond this, they make no attempt to understand her, and since her power is deemed dangerous and uncontrollable, she is locked away.
They are worried, first and foremost, that Alluka will bring harm to the family, and there's two ways in which this could be true:
As a function of failing to fulfill her requests, of course
Because she, just by existing, threatens the family's status quo
I stated at the beginning that Killua's desires do not align with those of the family business, and he's always apparently been more open to understanding others - he asks Alluka and Nanika questions to understand them, and treats them with respect, while his family are more so focused on subjugating anything that might be a threat. This is what Illumi tried to drill into Killua after all; never fight a superior opponent - everything is about assessments of relative strength, which leaves no room for open-mindedness or getting to know people.
Faced with a daughter who is clearly incomprehensibly powerful, and a son, the would-be inheritor of the family trade, who is showing a disturbing amount of willingness to befriend instead of retreat from her, the family made the decision to excise Alluka not just from where she could "harm" the family power-wise, but also likely to secure their control over Killua, who they then set about practically programming to not have any more wishes for himself, or at least to not be able to vocalize them without fear of loss or retribution.
The family's nickname for Killua is "Kil" or "Killu", which is deeply fascinating to me as a reader - nicknames are expressions of endearment, typically, and I actually don't doubt that here. Killua's family does love him, but their love comes with conditions. He must be molded into the perfect son, and every part of him that doesn't fit must be excised.
So: Killua's memories of Alluka are suppressed with the needle, and she is further cut from his life by dropping the "a" from his name (the Zoldyck children are named like a game of shiratori - Illumi -> Milluki -> Killua -> Alluka -> Kalluto). The nickname is also like a command or order "to kill", which is of course what they want him to do.
Saving Gon through saving Alluka and Nanika forces Killua to have to face down the last and hardest of Illumi's manipulations to shake, and that's the notion that a wish, that kindness and friendship and love, cannot be unconditional without severe repercussions - where the people he cares about get hurt because of him, something he cannot envision being forgiven for.
It's a little sad to me that after spending most of the series struggling against his family's teachings that they didn't lead to Killua betraying Gon at all, as he'd feared... but to him betraying Nanika, by sending her away.
Here is this little girl with a bloodstained past, incredibly powerful and dangerous and capable of amazing feats, treated as some evil thing by those who fear her. But she is kind at heart. Her true strength lies in healing, not killing. And she only takes commands from Killua.
Illumi thinks this is because Killua is the only one with control over her. Killua believes this is because she wants praise. They're both partially correct, but this is not the full reason Nanika does what Killua asks of her.
[ID: Two screenshots from episode 146 of the 2011 anime. In the first, Nanika smiles and says "I love Killua." In the second, Killua looks at her, stricken. End ID.]
Nanika loves him. Everyone has been trying to figure out all these complicated rules and conditions on her wish granting and why Killua is the one exception, but the answer is exceedingly simple. She loves him, and wants to do nice things for him so he can have his wishes granted. It's the only way she knows to get the love that she wants in turn.
Just like her brother, Nanika makes herself useful to earn love and appreciation from someone who accepted her when no one else did.
Even though he knows Nanika just wants to help, he still sees her presence as a danger to the person he sees as pure and innocent who must be protected. He sends her away because her "nature" is to be a threat to Alluka's safety, even if she doesn't intend to be. Killua's fear of Illumi and repercussions causes him to make a horrible mistake.
And Alluka tears into him for it.
[ID: A set of panels from HxH chapter 336. A furious Alluka glares and asks Killua if he made Nanika cry. When Killua stutters, she demands he apologize to her. End ID.]
You tell him, girl.
Oh hey, this looks a little familiar, huh?
"Apologize to Killua!" says Gon to Illumi after Illumi sends Killua away.
Nanika should not be the one punished for the actions of those trying to control her. She certainly shouldn't be forced to leave those she loves, or have to earn love from them.
And neither should Killua.
[ID: Three panels from HxH chapter 336. Alluka yells, tears in her eyes, "If you're going to protect me... you have to protect Nanika too!!" Killua looks shocked, then his eyes widen. End ID.]
It's interesting to me that this is the line that snaps Killua out of his fear enough for him to properly speak with Nanika and apologize. One party cannot receive all the protection, nor can the other only give and give limitlessly.
Killua makes it clear to Nanika when speaking with her that he will protect her, and that she doesn't need to earn affection from people by granting their wishes. He promises they will both be there for each other - Killua will praise her whenever she wants, and not just when she does something for him, but he also doesn't refuse Nanika's desire to grant his wishes. It's mutual, not conditional.
And on the heels of this "betrayal", Killua asks for what he never thought he could receive - forgiveness. And even though Nanika is clearly still very upset...
[ID: Two screenshots from episode 146. In the first, Nanika and Killua face each other, both of them teary. Nanika says "Kay." In the second, he has pulled her into a hug. Nanika is teary, her fingers gripping Killua's back tightly. End ID.]
...she doesn't even have to think about it.
I do think Killua still has a ways to go, but he is in a position right now to learn from his relationship with his sisters about balance - that love is not just selfless devotion, but also allowing those who love you to help you and make you happy too. I think that's what unconditional love is, in a way - supporting and working together with the people you love to make each other's wishes come true.
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hey remember that caramel-carmel Fake Script i was writing? yeah it's technically not done but i'm tired of tinkering with it so here it is! we'll just say it's a uhhhh uncovered partial script or somethin
this is not in any way official! it's a 100% unaffiliated fanwork & i am Just Fucking Around for Funsies
~
BARNABY: oh, I love carmul!
FRANK: [long, disgusted pause] …what?
BARNABY: Carmul! You know, those tasty little treats you’re holdin’!
FRANK: You mean caramel?
BARNABY: That’s what I said.
FRANK: [scoffs] No, you didn’t. You said carmul.
BARNABY: We’re sayin’ the same thing here.
FRANK: We absolutely are not!
JULIE: [giggles] You really aren’t.
BARNABY: Carmul, caramel, tomato, tomahto! What does it matter!
FRANK: [flustered, stammering] It - it matters! Julie, you agree with me, don’t you?
JULIE: Well… I don’t know, Frank! I think both are fun!
FRANK: You’re both wrong, then! Wally, you agree with me, don’t you?
WALLY: [hesitant] …I say carmul.
FRANK: No! Not you too! How could you poison him like this, Barnaby?
BARNABY: Don’t look at me! I’m innocent, honest!
FRANK: Ha! So you admit that carmul is the wrong pronunciation!
BARNABY: [groans] ah, geez… throw a dog a bone!
FRANK: I’d be delighted to if you’d just-
[distant yelp as Eddie trips off-screen]
FRANK: Eddie! Thank goodness, finally someone who can put an end to this debate!
EDDIE: [nervous laugh] Oh no, what did I stumble into this time?
BARNABY: Hold on a tic, Frank. Hey Ed, take this. What do you call that tasty treat?
EDDIE: [with a tinge of fear] A… caramel?
FRANK: [triumphant] a-HA!
SALLY: [approaching] Did someone mention carmul?
FRANK: AGH!
BARNABY: [delighted] Perfect timing, Sally!
SALLY: What, for a delicious morsel? Hand it over, thank you!
FRANK: You’re all wrong, and I’ll prove it! We’re going to go around the neighborhood and - wait. [under his breath] One two three four - [returns to normal volume] we’re taking this to Poppy’s!
BARNABY: Then Home, then Howdy, yeah yeah - might as well ask the daisies, too.
JULIE: Oooh, and the butterflies!
SALLY: While we’re at it, we should phone everyone in the book, just to get the widest audience input.
FRANK: [unamused] You all think you’re so funny.
EDDIE: Well, you gotta admit it’s… it’s…
[brief, tense pause. Eddie clears his throat]
EDDIE: It’s perfectly sensible!
[Frank makes an affronted noise]
FRANK: Poppy will see sense.
-
POPPY: I’d be delighted to have a cah-mehl, but I’m afraid it-
FRANK: [aghast, truly astonished] You’re joking. You have to be joking. CAH-MEHL? Does no one in this town have sense?! Besides Eddie, of course. And Julie - on a technicality.
EDDIE: [oddly pleased] Why thank you.
POPPY: My goodness, did- did I say it wrong?
BARNABY: [gleeful] Not in the least, Pops!
SALLY: As far as I’m concerned, you added an extra layer of… pizazz to the word. In fact, I may adjust my own pronunciation accordingly!
POPPY: [flustered] Oh, well, I didn’t - don’t change on my account -
SALLY: Take the compliment, Poppy.
POPPY: [meekly] Thank you.
[Sally wanders from the group, practicing the slightly adjusted pronunciation]
WALLY: I’m not sure I understand. What’s wrong with carmul or… care… mul… carmel…
POPPY: Don’t strain yourself dear, you’ll get a migraine.
FRANK: What’s wrong is that it’s ENTIRELY incorrect! It! Is! Pronounced! Caramel!
JULIE: Aww, Frank, I’m sure Home and Howdy will agree with us! Team Caramel, WOOO!
BARNABY: [barely restrained disbelief] Boy, won’t they!
POPPY: I’m not sure what the fuss is about… there isn’t much of a difference, is there?
[Frank makes a high pitched, frustrated noise and stomps off. He can be heard calling Home’s name in the background]
JULIE: Oop, there he goes!
POPPY: Oh - oh dear. I didn’t mean to rile him up.
BARNABY: Don’t twist your beak about it - Frank’s just bein’ Frank. Now if you’ll excuse us, I wanna see how it goes with Home.
WALLY: [quietly, thoughtful] But Home doesn’t talk like us…
POPPY: If you’re sure… Do let me know how it goes.
SALLY: [swaying back to the group] I’ll phone you post-haste! Or even better, I can come by for one of your delicious muffins and regale you with the whole escapade, in detail.
POPPY: [audibly pleased] That sounds - well that sounds like a wonderful idea! I have some fresh from this morning-
BARNABY: Sounds great! See you around, Poppy.
-
FRANK: Home, I have an important question to ask you. Is the correct pronunciation for this candy ‘carmul’, or ‘caramel’? One creak for caramel, two for the incorrect carmul.
BARNABY: Talk about a bias…
[Home stays silent. Sally yawns.]
FRANK: One creak for caramel, two-
[Home slowly shuts their curtains]
FRANK: Hmph! The nerve… well, I suppose a house that can’t speak shouldn’t have a say, anyway.
WALLY: Home can speak. He just does it differently.
BARNABY: And I’m pretty sure they just agreed with me, Walls, an’ Sally.
JULIE: They did not!
BARNABY: Looked like it to me!
SALLY: I have to agree with Julie. Home just declared itself a neutral party, and so the vote can’t be counted either way. On to Howardson!
JULIE: Yes! Howdy! Our last hope!
FRANK: He may have terrible taste in company, but he’s a sensible businessman. Poppy and Home have let me-
JULIE: Us!
FRANK: -us down, but surely Howdy will back us up.
BARNABY: [faux-serious tone, knows something they don’t] Absolutely. Without a doubt.
-
[store bell chimes]
HOWDY: Howdy-do - [brief pause, a tinge of surprise] everyone! My my, what brings the entire neighborhood to my bountiful bodega? Finally decided to clean me out for good?
BARNABY: [snorts] With how fast you restock? I think I’d break my funnybone!
FRANK: We have important business.
HOWDY: [mildly curious] Do we? That’s news to me! But I’m letting you know now that I don’t deal in bugs, Frankly. It’d be hypocritical.
FRANK: Believe me, I wish I were here to talk insects. Unfortunately, I need to settle a score. Mr. Dear, if you would?
EDDIE: If I would what?
SALLY: [stage-whisper] Barnabello gave you the, ah, parcel earlier?
EDDIE: The…? Oh! Oh, right - I have it right here, just… give me a second… which pocket…? There we go.
[sound of a small, hard candy placed on the countertop]
HOWDY: A carmul all for me? You shouldn’t have! No, really, you shouldn’t have. I’m on the clock.
BARNABY: [loud bark of laughter] I knew I could count on you, pal! So what’s the tally, Frankie?
[Frank mutters something inaudible]
BARNABY: What was that? I couldn’t hear you over the sound of me bein’ right!
FRANK: [explosive] You’re all wrong! The correct pronunciation is caramel, CARAMEL! You’re all - you’re all just - heathens! Heathens, I say! I’m taking my company elsewhere!
EDDIE: Mr. Frankly…
JULIE: [overlapping, following] Aw, c’mon Frank!
[the door jingles. Julie and Frank’s hushed arguing in the doorway underlies the dialogue]
HOWDY: It sounds like I missed quite the context! Mind filling me in?
BARNABY: That was pretty much it; a real potato potahto argument.
HOWDY: If you say so, Barn. Speaking of potahtos-
[the background argument abruptly cuts off, the door jingles again as it's closed]
FRANK: [rapidly rejoining the group] Hold it! You don’t really say potahto, do you?
BARNABY: [under breath] Here we go again…
SALLY: [deeply amused] Where on Earth did you pick up such a butchered pronunciation? I must have missed the sign on my tour down from the heavens.
EDDIE: [baffled, underlying the dialogue] I’ve never heard anyone say it that way.
JULIE: Oh! Is it a joke? Like, Barnaby says potato-potahto, and then you jokingly say potahto to make us laugh?
HOWDY: It’s not a joke. That’s how it’s said.
FRANK: [genuinely disturbed] No - no one says that. It’s potato.
HOWDY: Well I say potahto, thank you very much! And if you ever want one from my store again, you’d do well to accept that.
[Various grumbles of reluctant acceptance]
HOWDY: Good. Now, can I get any of you a refreshing drink after such a squall? You must be parched!
WALLY: I wouldn’t mind a glass of mulk.
[Horrified silence. A pin drop would be deafening]
[Sudden uproarious and overlapping argument]
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Klingons & Racialisation - the Long Post
This post is an overview of the racial coding of the Klingons from their first appearance to the present day, illustrated by quotes from Trek writers, actors and crew members taken from the Memory Alpha article Depicting Klingons, with my own interjected summaries and explanations. It is by no means comprehensive (I likely missed some stuff), and does not offer critical analysis of the quotes provided, but nonetheless is intended to demonstrate irreproachably the open fact that Klingons have always been intentionally written and designed as non-white -- something that fandom consistently fails to take into account when perpetuating racist stereotypes and reiterating racist canon content. I recommend reading the whole article for a more in-depth understanding of the subject, as well as seeking out the existing writing of fans of colour. This post is primarily for reference purposes so I've tried to limit my own analysis and opinions, but I do post those in my Klingon tag as well as more general headcanons and worldbuilding and I'm happy to answer any (good faith) questions this post may raise.
As always, if I have overstepped in any way as a white fan in making this post, I am grateful to be informed and will make any required changes.
Content warning for outdated and offensive language under the cut.
The Original Series
"There is some suggestion that the Klingons represent a Cold Warrior's view of China in the 1960s – swarthy, brutally repressive." (Star Trek Magazine issue 153, p. 66)
"And I think he was basing a lot of it on the kind of attitude of the Japanese in World War II...." ("Errand of Mercy" Starfleet Access, TOS Season 1 Blu-ray)
The script of "Errand of Mercy" introduces the Klingon look by saying, "We see the Klingons are Orientals,"
"Spray my hair black, give me a kind of swamp creature green olivey mud reptilian make-up, and we'll borrow some stuff from Fu Manchu, and put a long moustache and eyebrows on me." ("The Sword of Colicos", Star Trek: Deep Space Nine - The Official Poster Magazine, No. 8)
"I think the makeup was called 'Mexican #1 or #2.' That was the name of the original makeup foundation – they actually had kind of racist names at the time, like 'Negro #1' and 'Mexican #2' – which was the basis for the original Star Trek makeups." (Star Trek Magazine issue 172, p. 59)
"In the original series, all they wore was a dark face and their black hair," Michael Westmore observed. ("Michael Westmore's Aliens: Season Two", DS9 Season 2 DVD special features)
The Klingons' appearance changed within the original Star Trek series; although dark makeup and heavy eyebrows were the norm, the Klingons of "The Trouble with Tribbles" were much lighter-skinned and more Human-like in appearance.... He noticed that they are not only less like Mongol warriors by having less of a swarthy appearance but also by being slightly not as fierce... ("The Trouble with Tribbles" Starfleet Access, TOS Season 2 Blu-ray)
"...they were meant to represent the Communist foes of the United States specifically during the Vietnam War, which was being controversially fought at that time. (Star Trek: The Original Series 365, p. 222)
"...let us never set up a situation whereby those adversaries of ours [Klingons] give any indication of ever being anything but highly aggressive and self-seeking opponents." (These Are the Voyages: TOS Season Three)
Here it is explicitly stated that the Klingons were based on various Asian cultures, with the USSR also being mentioned heavily in the article. This influence and the use of "yellowface" is covered more comprehensively in this youtube video Klingons & The History Of Racial Coding. However, the video has some notable gaps which I hope to cover in this post.
Post-TOS (movies)
The Star Trek III portrayal of Klingons took inspiration from Japanese history. "Harve [Bennett] had the notion that the Klingons were like Samurai warriors," explained linguist Marc Okrand. (Star Trek: Communicator issue 114, p. 27) Robert Fletcher agreed with Bennett, later saying of the Klingons, "I always liked to think of them as authoritarian, almost feudal, like Japan had been." (The Making of the Trek Films, UK 3rd ed., p. 52)
Regarding the make-up, Michael Westmore observed, "Until now, Klingons were brown. Some had a bony ridge running down the middle of their foreheads, long black wigs and facial hair." (Star Trek: The Next Generation Makeup FX Journal, p. 28)
"I thought it was an ideal way for us to have our closure too, because the Klingons for us have always been the Communist Block, the Evil Empire. It just made sense to do that story." (The Making of the Trek Films, UK 3rd ed., p. 100)
"Gene was really bothered by the Klingons in VI [....] [They] were, in his words, 'too civilized, too decent, too much of the good guys in the story.' [....] [The Klingon detente] was not the way Gene would have handled it. He would have reversed it, he would have had the Klingons being the ones who couldn't handle the peace, with the Federation saying, 'Come on, let's try and work this out.'" (Star Trek Movie Memories, hardback ed., p. 289)
"The story never explored the Klingon culture the way I'd hoped it would [....] I was hoping for greater insight into the Klingons." (I Am Spock) Nimoy hoped, in specific, that the movie would provide some important insight into why the Klingons had "always been so angry, such nasty, vicious murderers." Nimoy wanted the insightful knowledge to be an intellectually transformational force, changing the thinking of Kirk and the audience. (Star Trek Movie Memories, hardback ed., pp. 287-288)
In an interview in the DS9 Season 7 DVD, Robert O'Reilly observed that a long-running joke among actors who have played Klingons is that they do not want to appear in the Star Trek films as, he believes, the only purpose of a Klingon in one of the films was to be killed off.
Although these last three quotes may not seem relevant, I believe they highlight an important facet of the racialisation of the Klingons. It reads as though Gene Roddenberry was against depicting the Klingons in a more sympathetic light than the Federation, and considering that the Klingons are intended to be non-white, refusing to give depth or motive to their anger in favour of keeping them "nasty, vicious murderers" comes across as fairly racist, especially when these kind of reductive and harmful stereotypes could've been challenged as Nimoy suggests. The treatment of Klingons as disposable villains is also concerning in this context.
The Next Generation
African-American actors were often cast as Klingons in TNG and subsequent Star Trek productions. This practice wasn't racially motivated but was instead carried out because it lessened makeup time, as the performers already had a brown complexion without having to have their skin painted that color. (Stardate Revisited: The Origin of Star Trek: TNG, Part 2: Launch, TNG Season 1 Blu-ray)
Tony Todd, who portrayed the recurring Klingon character Kurn, stated, "I don't look at the Klingons necessarily as African-Americans, but it's about tapping into something–they're certainly an alienated people, so maybe that's why African-American actors can identify with those characters. But that doesn't mean it's exclusive to them." (Star Trek: Communicator issue 116, p. 54)
Michael Westmore actually changed the Klingon facial design in numerous ways, though. He stated, "I added a Shakespearean style of facial hair and a forehead bone structure based on dinosaur vertebrae and I was able to modify motion picture Klingons for television." (Star Trek: Aliens & Artifacts, p. 59)
In "A Matter Of Honor", the Klingons were intended to be used to shed some light on a common social problem prevalent at the time of the episode's making. This was, namely, what it was like to be the only person of either white or black skin coloration while surrounded by people of the other color. The Klingons were selected to illustrate this theme as a spin on the usual arrangement of a predominantly Human crew serving aboard the Enterprise-D alongside Worf. (Captains' Logs: The Unauthorized Complete Trek Voyages, p. 176)
Two historical societies, the Samurai and Vikings, served as other inspirations, Moore perceiving about Klingon culture, "There was the calm, elegant reserve associated with the Samurai but there was the 'party-down' like the Vikings." (Star Trek: Communicator issue 114, p. 58)
"I stopped thinking of the Klingons as the Cold War adversary," he explained. "I didn't think it fit [....] The place where the Russians were when I was doing the Klingon shows just wasn't as relevant any more." (Star Trek: The Magazine Volume 1, Issue 19, pp. 64-65)
"The Klingons are not evil, tyrannical pirates bent only on pillage and plunder. They have a strict, almost unyielding code of ethics and honor and take their responsibilities as rulers seriously." Following a description of the Klingon homeworld, the memo continued by saying, "Klingon society could most closely be compared to that of Sparta or feudal Japan." ("Sins of the Father" audio commentary, TNG Season 3 Blu-ray)
Having recently seen the film Malcolm X, he imagined the Klingons in the "Birthright" duology as metaphors for black people. (Captains' Logs: The Unauthorized Complete Trek Voyages, p. 274; Star Trek: Communicator issue 105, p. 16)
"There's a certain way you have to carry yourself. You have to really be able to project the violence and the anger [....] All you have to do is think of the Spartans. They say, 'They'd rather have you come home dead on your shield than come home a coward.' [18]
This is where I feel the video essay previously mentioned falls short -- in the next gen era, Klingons are now explicitly black-coded. While some Asian cultural influences are still cited, they learn more towards the historical and are intermixed with other historical European influences (Spartans, Vikings, Shakespeare) rather than being fueled by contemporary prejudices towards the political enemies of the US as they were in the TOS era.
Deep Space Nine
Fields also generally based the Klingon group on American Western prototypes from the film The Magnificent Seven or, to a lesser extent, Japanese prototypes from The Magnificent Seven's movie source material, Seven Samurai. (Star Trek: Deep Space Nine Companion (pp. 131-132))
"So, the hair [...] was permed. So, it had more of a curl instead of the straight type look, and by perming it, they were able to kind of give them larger, bigger hair, so it was more like a mane." ("Michael Westmore's Aliens: Season Two", DS9 Season 2 DVD special features)
"I don't know how you could equate Klingons with what's going on in the world today," he admitted. "I think the intention was to make them like samurai. That hairdo they gave them is very much a samurai hairdo. A lot of the fight sequences, the moves with the bat'telh, are very much taken out of the Asian martial arts [....] It's very romantic you know, these three old guys, the Klingon over-the-hill gang." (The Official Star Trek: Deep Space Nine Magazine issue 15, pp. 17-18)
"It was different for them to get into this makeup, because [...] [the makeup was more elaborate and] the beards were bigger, and they were greyer, and they had curls to them, and the moustaches, they had the Fu Manchu look to them. So, they weren't used to sitting that long to be a Klingon." ("Michael Westmore's Aliens: Season Two", DS9 Season 2 DVD special features)
For recreating some old-style Klingons in "Trials and Tribble-ations", the Klingon-playing actors had to be made up with the same swarthy, shiny brown makeup as used in the original series. (The Magic of Tribbles: The Making of Trials and Tribble-ations)
...he had them unite in song, thinking this was "just the kind of thing that Klingons do" because they are, in his opinion, similar to Vikings. (Star Trek: Deep Space Nine Companion (p. 449))
"I always saw the Klingons as a combination of Japanese Samurai who haven't had their morning coffee (or tea!) and African Zulu warriors." [25]
In DS9 the only inspirations cited seem to be historical, once again leaning towards feudal Japan and the Vikings. Interestingly although the Klingons here are predominantly dark-skinned, I don't think that J.G. Hertzler, who is white, had his skin significantly darkened to play Martok (at least, not compared to the obvious brown makeup worn by other white actors playing Klingons). Having a white actor play a Klingon without dark makeup could've set a precedent decreasing the use of such practices later on, but no one seems to have picked up on it.
Enterprise
The Klingons of ENT: "Sleeping Dogs" were based on the crew of the Russian submarine Kursk. "For me," said Dekker, "the point was to acknowledge the Klingons as 'people' – to find them in a clear position of distress [....] The idea to 'humanize' their plight was mine, and it wasn't anything I thought about as far as canon. It just seemed right." (Star Trek: The Official Starships Collection, issue 41, pp. 10-12)
In the final draft script of "Affliction", the altered Klingons were initially referred to as "fierce-looking aliens" and were further described thus; "The aliens have a swarthy complexion, and dark facial hair... they could easily be mistaken for Humans. We'll eventually learn these are Klinqons... but their cranial ridges have disappeared."
At this point in time it seems the Klingons had essentially done a 180 from one-dimensional villains to sympathetic fan favourites, while still retaining the skin-darkening aspect of their makeup and "barbaric" characterisation. Although this is not mentioned in the article's section on the Abrams films, the images provided do demonstrate a level of skin darkening for the Klingons' brief appearance in Into Darkness.
The final section of the article is incomplete, meaning I don't have a lot of information for Discovery's redesign of the Klingons. The sources I can find cite ancient civilisations such as the Byzantines as well as Islamic architecture as inspiration for the set design, with a baroque influence on the costumes. I have heard rumours that the crew of Discovery have cited North African cultures as their inspiration for the Klingons but I can't currently find a source for this. Despite the lack of direct quotes, it's visibly clear that the Klingon makeup is still darkening the skin of white actors, although this time also to non-human blue and purple colours, as well as altering certain features in a racialised way. To elaborate: Mary Chieffo, who plays L'Rell on Discovery, is white and has a very thin nose and small lips, but in costume these are broadened in a way that seems imitative of African ethnic features.
As of the making of this post (early August 2023) I haven't seen any of Strange New Worlds, but from some cursory research its latest episode (Subspace Rhapsody) seems to have put a white actor (Bruce Horak) in brown makeup to play a Klingon. I am deeply disappointed that on a television set in 2023 people can still be darkening an actors skin like this without questioning the racial implications of what they're doing.
Thank you for reading to the end of this post. Please feel free to link to it if you found it useful enough to cite in another context. I would like to reiterate that I am white and while this is an issue I care deeply about it is not one I have an emic understanding of, and if anything I've said here is inappropriate I would be very grateful to be made aware.
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