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The Perfect Villain: An Analysis of the Borg

KlingonCereal

Lieutenant Commander
Red Shirt
Hello friends, this is an article I wrote for my Star Trek blog, which you can find here: https://boldlygo.blog! I am pasting the full contents of the article below to facilitate discussion. I would love to hear y'alls thoughts on the topic, and feel free to check out my other articles if you are interested :)
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Next to the Enterprise, the Borg Cube remains one of the most iconic ships in all of Star Trek. The collective species has similarly found itself engrained within western culture. From uniformly chanting “Resistance is Futile!”, to creative and passionate cosplays, Hollywood parodies, and more – the Borg have captivated the world. This species remains just as terrifying, entrancing, and culturally relevant as ever. As I rewatched The Best of Both Worlds for the billionth time, I felt a nagging urge to write about this wonderful, horrifying collective. What is it that makes them so memorable?

Failed Villains
Across all of storytelling there exists no shortage of captivating villains, both historically and literarily. A villain can be insane, enraged, intelligent, greedy, realistic, outlandish, and on and on and on! So what makes us decide one villain is great whereas another is not? That’s a question which could be pondered and argued until the end of time. As a result, I wish to establish common ground on what I feel constitutes a poor villain.

Villains draw us into the world, help us relate to the protagonist, and carries the plot forward. For this to work, there must be a significant challenge to the protagonists. Recurring villains can lose their excitement when we know exactly how they can be defeated. This results in viewers feeling less immersed in the narrative conflict. Most writers will tweak their antagonist just enough to combat this. When a villain fails to experience growth upon their return I simply lose interest. I believe the Daleks from Doctor Who to be a good example of this failure. This species has been in the series for decades, but each appearance their impact feels more and more forgetful.

Relating to the antagonist of a story creates deeply emotional and complex journeys. It also establishes a unique opportunity for viewers to introspect onto their own lives. Admittedly, this is not a set-in-stone requirement to be considered a good villain. Plenty of great villains exist who are entirely deplorable. This is, however, a personal preference of mine and will be discussed later on.

Honey I Shrunk the Borg
One word immediately comes to mind when you see or hear of the Borg – Collectivism. The hive mind is an immediately terrifying thought to ponder. What makes this species particularly unique is the origin for each and every member. On a grand scale there exists a singular Borg, but on an individual level there is an endless abyss of enslaved humans. This fact alone offers a unique level of sympathy toward the villain. After all, they did not choose to become this way – they were simply assimilated.

Every time we are presented with the Borg, we see those two halves clash in spectacular ways. We fear the collective, but sympathize with the individuality found within. Within Star Trek canon there are a few notable moments of exploration surrounding this concept. The first being the infamous Locutus of Borg, when Picard succumbs to assimilation and joins the collective. Not only was this a monumental event for television at the time, it was followed up by Picard’s emotional breakdown with his brother. We were shown the fear, guilt, and self-hatred that the beloved captain endured as a result of his assimilation. Seven of Nine‘s introduction within Voyager allowed for a more prolonged exploration of this topic. Here we see beyond the trauma Seven endured and gain a glimpse into the difficulties of escaping the collective overtime. Decades later, her complex character remains just as captivating in Star Trek: Picard.

This is one of the core pillars of what makes the Borg such a captivating antagonist. The development of prolonged trauma surrounding the species only further exacerbates an already terrifying villain. It allows for their presence to be explored without even showing up, while also maintaining the same level of immersion. After all, who among us are fearless toward the prospect of losing one’s self?

Adapt and Overcome
The Borg have a unique weapon in their arsenal – the Hive Mind. Whenever they face a formidable foe they quickly adapt and counter their advances. From a lore perspective, this means characters are forced into a creative life or death encounter each and every time. On the narrative side, however, this is nothing short of pure genius.

As a result of the antagonist’s core design they are ever-changing. This forces writers to be creative in how they go about incorporating the Borg. For viewers, it means that same level of fear and captivation remains present each time. Their design inherently combats villain fatigue while also encouraging creativity.

Think of it like Superman‘s kryptonite. It ultimately renders the potential of villains because we know what they must do in order to win. On top of that, we have also seen Superman survive these attacks countless times before. The result being a dwindling connection with both the antagonists and the protagonist.

The Academy Taught Me
My final point is a very simple one that has less to do with the villain’s design and more to do with how they were handled. Because the Borg are designed to be an ever-changing threat to the Federation, there can only be so many successful encounters before viewers feel disconnected from the protagonist’s struggle. In other words, they cannot become as common as Klingons.

In the decades following the Borg’s introduction, the writers have been very thoughtful in how they bring everyone’s favorite collective back. Despite literal hundreds of hours being added to canon since then, the Borg remain a rare and creative sight to behold. This level of restraint has kept the iconic species alive across three generations of Star Trek fans.

Permission to Speak Freely
There is no shortage of literary exploration to be done in regards to the Borg. The topics I have examined are what I believe to be most impactful to me as a fan. The horror of losing one’s individuality, the trauma that comes with being assimilated, the ever-adapting force set out to destroy humanity, and the dedicated team of writers who worked to ensure it remains fresh.

You will love the Borg. Resistance is futile!
 
I do not love the Borg. They did well enough in TNG but it took on an interesting twist in Voyager because they actually became more individualized. Rather than the nebulous "other" of a untold voices they became singularly focused on an abstract idea of perfection. They were interesting at their introduction, but they failed in the long run.
 
The writers of Voyager couldn't even figure out that an ensign is supposed to make lieutenant. You think they could do justice to an epic villain race like the Borg?

I know I use that expression a lot, but sadly, it serves to explain a lot of why Voyager struggled at times.
 
I'm not a fan of the Borg. Specifically, the whole "If they don't see you as a threat, they won't mess with you" nonsense. The Borg are supposed to assimilate other species, so if they show up, board the Enterprise and start assimilating random crewmen who point a phaser at them, but you just act non chalant and stroll past them like you're on a Sunday stroll (Picard and Lily), then they just leave you alone???
Also, the Borg were great when they were frightening, and seemingly beatable. Voyager really watered down anything that made them mysterious and interesting.
 
Big bads tend not to remain so for too long, because they're hard to defeat - and harder to re-defeat without their losing their big bad sheen. TBOBW was magnificent and refreshingly low key in how they did it, but that can't be kept up indefinitely either. The trick is getting around it in a way that doesn't feel like a cheat.

VOY, IMHO, did best when it did one or more of these things:

a) Keep the main focus on secondary characters, who refer to the rising or shadow of the Borg as a looming threat (e.g. Seven's character, episodes like Child's Play, Hope and Fear, etc)
b) Find an aspect not yet discussed and really dive into it well. (e.g. Seven's and others' recovery)
c) reflect on its own continuity and causality
d) not cheaply disarm the threat, since that reduces their credibility (and this one is VOY's biggest goof. As fun as it always was to see the galaxy's gory foes again, rarely were they actually scary.)
e) recognize that both Federation and Borg will both do their share of developing technology, but also that the approaches will be heuristic and thus be more readily adaptable. Phasers can only operate within a certain frequency range. They can probably get outside and extend the gamut, but it's still something that looks like a gun that goes pew pew so a different frequency should still be partially or completely blocked. A shield should be able to handle the entire range just as well, so that trick shouldn't have worked after TBOBW (but did a thousand times anyway and there's no sign of power drain from continued use to block the entire range either.)

VOY had a knack of keeping little with continuity for the occasional crowd-pleasing bit, though STFC was the first to raise a finger at "continuity" to begin with - if not TBOBW since "Q Who" suggests Borg are all organic from the start but they don't assimilate others, only technology (like Pakleds!). After traveling the galaxy and it's only humanity that gets them to want to assimilate humanity and its assortment of less-efficient technologies, oddly, save for replicators that it clearly had no comprehension of... but I digress as well as hinting at how augmenting or bending continuity can be a boon on top of everything else, especially if it's woven in adequately.

While it is true that continuity can be a problem, continuity also prevents a baddie from getting to do anything on a whim, which in turn keeps them remaining credible and that seems far more important, especially if they're a good one.

All things said, continuity and the chucking thereof can work if it's not too strongly adhered to - or if not broken with all abandon without good reason or explanation. Especially when "Dark Frontier", with a couple minor tweaks and scene changes, could have had its cake as well as eating it in regard to remembering how the Borg came about along with their trying to adapt in ways other than the ones they're programmatically accustomed to. Its plot holes are too numerous and flagrant to swallow; ignoring how the Hansens seem to mix up "theory" with too much known fact ahead of time, note how their arm bands that mask their bio-signatures being reused decades later is the story's worst offense : the Borg would be looking for such a thing the very second they see "NCC"-anything approach any of them, because they've adapted and know all the tactics (just as when Picard was abducted and there's no Riker with a new plan that's based on their knowing their knowing their tactics and their knowing of it, or not.) But the Borg do lose substance in that regard as a result here, since they knew of the arm belts and never bothered to look again as the crew were able to use them (or how no Borg noticed their presence via means other than sensors (e.g. staring at them point blank; they're not wearing personal cloaking devices) and I doubt Queen B would have let them escape with a coil as part of the big plan to recapture Seven even though she is not the first Borg to be deborgified...

...and yet the story's discussion of life, individuality, conflict between Seven, Janeway, and Queen B. manage to make up for and more what shatters like a glass vase dropped onto the floor by your lovable evil cat. Especially as the Borg appear to be struggling to find new ways to adapt in that story and it almost works...

...but it's a debate whether or not "Dark Frontier", the episode everyone was waiting for, was the crux as to why the Borg were becoming more individualized to begin with: STFC already put this in motion, with Scorpion attempting to eschew that a year later, and then no longer bothering to try to be free of Queen B.

If not STFC than it's a remnant of "I, Borg". Deliberately or otherwise, let's scribble in "Okay, so Picard made Hugh and Hugh went back in and caused a commotion and after Lore picked them up and made a worse mess, they came up with a Queen to put them all back tog--" wait, that doesn't work because the Queen turns on "cheap B-movie mode" in STFC and states how humans are "limited by three-dimensional" thinking as to how she escaped (read: "Queen B.S."), so that little retcon puts the kibosh on better ways to show antagonists' development more credibly. Yup, when all else fails, gaslighting the victims (e.g. the audience) is a possible panacea of refuge. Except it's not.

That aside, VOY first acted as if the Queen did not exist (Scorpion) and it would have been neat if the Queen was never brought back. Then she does. There's no hint either real way as if she's the same one from STFC or a different one and "different one" makes more sense, which makes we may as well say she's the same one who flitted off just like how she did at the end of TBOBW :rolleyes:.

But I won't kid myself: VOY also had barrel scrapings like the five kid borg manhandling their tactical cube... VOY has its share of total clunkers that almost elevate TNG's worst outings since I didn't cringe as much when I rewatched "Justice". Okay, I laughed out loud more, contemplated how many bottles of massage oil were used, how many visits to the clinic for shiny new cases of infection occurred after filming, why the Edo's blue and pink outfits weren't worn uniformly (something I believe TV Tropes would cite as "beneath the radar trope" since viewers can decide all sorts of nice things about that if they're wanting and able), but that's about it.

And with all that said, most of VOY's Borg outings still have a spark of intrigue and sense of threat that "Decent" onward couldn't begin to muster, that "I, Borg" sacrificed far more and far worse in terms of character actions to suit a half-baked premise (and Walter Koenig complained how Chekov was misused for the Eden story!), and how STFC was so frivolous about... well, pretty much everything that it's beyond a joke. Talk about putting continuity into the shredder for a cheap fanwanky moment... "But it's the Borg! On the big screen! In color! And Stereo 800.1 surround sound! Everybody musty love it!" I think of that too every time I lick the icing off the cake but not take a bite out of the almost-healthy plot of wheat'n'egg mixture therein.

Give me Voyager, warts and all, any day, where - despite the warts - felt more sincere than latter-era TNG ever would.

Voyager also had put in decent incidental music tracks and not the wallpaper muzak o' the farting frogs that TNG just couldn't get away from.

The Borg were also created as a mirror parody of the Federation. Not "parody" as in "ha ha funny" but a distortion using the identical themes. And the Federation clearly allows its citizenry to be individuals and have personal time and moments, despite everyone still being there for a common, shared goal. (It also exemplifies how patterns can recur at a base level regardless of species or application. )

I'll bring some No-Doze next time... :guffaw:
 
Then they had three perfectly acceptable options.
1. Write him off the show a la Tasha Yar.
2. If you don't like the character, make revisions (such as make him an alien) so that you do like him.
3. Consign him to background character status the way they did, but for crying out loud, follow the rules of the fandom.
 
I can forgive the show for a lot of things, but the biggest and unforgiveable crime of VOYAGER was how they completely defanged the terror of the Borg. Even being assimilated was treated as just another day at the office, thanks to "UNIMATRIX ZERO".

They were used too often and Voyager got away each time with no consequences. Truthfully, there's really only three instances where if the Borg were not used, they would still be a terror and a big threat. "DARK FRONTIER", "UNIMATRIX ZERO", and "ENDGAME". As for their other main appearances...

"UNITY" was actually a good episode, and while it did deal with liberated Borg, it almost isn't a Borg episode because we don't actually encounter the Collective.

The "SCORPION" two-parter was also really good. I love the idea of a villain even more powerful than the Borg, because there's always going to be a bully bigger than the current one in the schoolyard.

"DRONE"... the only reason Voyager survived was because of One, so the Borg are not defanged here. Just beaten by a much better drone.

"SURVIVAL INSTINCT" was a great episode, and showed just how horrible living like a drone is. Picard and Seven are supremely lucky they didn't end up like these three, because it certainly looks like once you are assimilated, you are done for good. (Unless you are part of Janeway's 'Borg Action Plan' in "UNIMATRIX ZERO"...)

"COLLECTIVE"... while I can see many people calling this a terrible use of the Borg, it did provide some insight into what happens to assimilated children. Though the writers completely dropped the ball by never mentioning the baby again.

"CHILD'S PLAY"... truthfully, they shouldn't have been able to get away. Or at least, the Borg sphere should have been pursuing them afterward. Had they gotten Icheb out before the sphere appeared, this would not have been another 'easy escape'.


All the rest of their appearances are basically visions and memories. Had VOYAGER kept to just these Borg episodes, it's very likely we never would have heard so many people say the Borg were defanged.
 
1. Write him off the show a la Tasha Yar.
They were going to. The original plan was to kill Harry off in season 4 to make room for Seven of Nine to join the cast. That's why Harry got attacked and infected by Species 8472 in Scorpion Part 1. But then People Magazine named Garrett Wang one of the most beautiful people currently on TV in spring 1997 causing UPN to step in and force Berman to keep him on the show. So they had to revise their plans and have Harry survive Scorpion Part 2 and Kes was removed from the show instead.

So from season 4 onwards Harry was a character the writers didn't like, played by an actor the producers didn't like who was only on the show due to studio demand on account of his good looks. Which is why Harry was never promoted. The "someone has to be the ensign" line was just a soundbite for publicity.
 
It might have been intended as an insult to Harry, or the actor who played him... but it was also an insult to us: clearly, they thought we were too stupid to notice the inconsistency. Near the end if the series, they got bold enough to rub our noses in it.
 
More like, we don't care so they don't care. Studios greatly underestimate the hypervigilance style obsessive nature of fans to find all these little details, inconsistencies and seeking explanations.
 
More like, we don't care so they don't care. Studios greatly underestimate the hypervigilance style obsessive nature of fans to find all these little details, inconsistencies and seeking explanations.

esp. Sci-Fi fans as that genre can garner a large number of fans from the Science/Engineering fields who tend to pay attention to detail.
 
You have to think like a studio exec. i.e. Viewers are morons, they won't notice.

Except some of us are not. And if they think we are, who are the morons then?

More like, we don't care so they don't care. Studios greatly underestimate the hypervigilance style obsessive nature of fans to find all these little details, inconsistencies and seeking explanations.

And they should have learned long ago not to do that with Trekkies. It's people like us who wrote the English-Klingon dictionary, for crying out loud.
 
esp. Sci-Fi fans as that genre can garner a large number of fans from the Science/Engineering fields who tend to pay attention to detail.
And they should have learned long ago not to do that with Trekkies. It's people like us who wrote the English-Klingon dictionary, for crying out loud.
I guess this is my view-it's a matter of importance. Execs are juggling so many different projects that if it isn't important to them then it must not be important to others. Sounds a bit self-centered but I think it is more where they can direct their attention.

And even if some execs have learned this not all would have.
 
I agree with the idea that VOY generally turned the Borg into just another run-of-the-mill villain of the week, removing any real sense of threat surrounding them.

Kor
 
It might have been intended as an insult to Harry, or the actor who played him... but it was also an insult to us: clearly, they thought we were too stupid to notice the inconsistency.

I've gotta say...I've been on this board for nearly 20 years. Some of them as the VOY Moderator.

In all that time, I've heard some jokes about it, but I have never run across a poster who cared this much about Harry Kim and his lack of promotion. Not even close.

You might consider that while you may feel "insulted" you're probably not speaking for the rest of us.

I would bet 90%-95% fit in the "who gives a shit?" category.

:shrug:
 
On Harry;
Personally I just think the character just wasn't interesting and the actor wasn't very good, even in scripts where he got more to do.
And honestly, if people wouldn't talk about it I would have never noticed that he never got a promotion. I mean; who cares? I'm not watching Star Trek to count the rank pips on the costumes.
 
I agree with the idea that VOY generally turned the Borg into just another run-of-the-mill villain of the week, removing any real sense of threat surrounding them.

Kor
Largely because they could be defeated so easily. If Voyager had time where they were on the run, constantly battling back the Borg it would maybe work for them as a threat. It would also steer dangerously close to BSG territory, which I don't want. But, because the Borg became like you said, villain of the week, it pretty much depowered them, because a single ship operating alone without resources is hard to believe it can defeat the predominant power.
 
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Harry didn't get promoted and it was annoying in-universe and for Garrett Wang's sake but it didn't insult me. I'm used to bridge officers in Trek not getting promoted during the runs of their respective series. Nobody in the main cast of ENT gets a promotion between 2151 and 2161 except for T'Pol and her promotion is to an Earth Starfleet rank.
 
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