Running head: FROM KLINGON TO HUMAN

                               From Klingon To Human:
                   An Analysis of Character Shifts and Value Change
                                  Cliff A. Randi
                       Western Connecticut State University


Abstract

The popularity of a television program is often determined by the strength 
of its characters.  Extensive studies have been completed to determine what 
values make a character appealing to the show's audience.  This study 
suggested that a shift in character also represented a shift in the character's 
value system.  The use of motivational analysis allowed a closer look at the 
changes in a specific character's values that may have occurred as a result of 
a producer's quest to make that character easier to identify with.  The results 
of this study showed that the character in question underwent four changes 
in the program's seven seasons.  A pentadic analysis was performed on 
each of the phases so that differences in motivation could be examined.  
each analysis displayed additional characteristics that make this character 
more appealing to viewers.  Results showed that the later the episode, the 
more identifiable the character became.

                               From Klingon To Human:
                  An Analysis of Character Shifts and Value Change

Television is a medium that has become a very prominent piece of 
our society.  Every night people stuff the dirty dinner dishes into the sink 
and race for the family room where they reach for the remote control and 
take command.  Often, they will channel surf to a station that is 
broadcasting a particular show that they enjoy.  This enjoyment is usually a 
result of a favorite character or group of characters that make up the story 
lines to that particular program.  As they watch, they feel a certain 
compassion for that character and are comforted if that character is dealt a 
handful of problems that are similar to ones they have to face.  The viewer 
is encouraged by a character with a similar value system.  This gives rise to 
the probability that a program is likely to be successful if the characters are 
easily identifiable and not above normal human inadequacy. This being the 
case, it is also likely that an unpopular character may undergo shifts in his 
or her system of values in an effort to become more "human".  Professor 
James Cheseboro suggests that "Our attitudes and behaviors are typically a 
reflection of the values we have acquired" (1978, p.17).
	In 1978, Cheseboro took a look into the value system of the general 
viewing public.  He explored the avenue that the producers of popular 
television shows selectively dramatize certain values in their process of 
entertaining.  He uses the once popular series The Waltons as an example of 
this.  He equates the show's success to the fact that it represented a return to 
ethics and family values, which was something that the average viewers of 
the time period were hoping to return to.  The remainder of his study 
functions to determine "the communication strategies employed on 
television series to convey and to reinforce selective values" (1978, p.18).  
Cheseboro recruits the usage of four simple questions to acquire the 
answers to his analysis.  They are as follows:
1.  What patterns, types, or kinds of human relationships are 
    portrayed in popular television series?
2.  How are human problems and difficulties resolved in popular
    television series?
3.  What images or character references are portrayed in popular 
    television series?
4.  How have popular television series changed, particularly in the 
    last four years?
Cheseboro answers these four questions by outlining the 57 some odd 
series that appeared in the 1977-78 season for plot lines, minor characters, 
and ideas expressed in each episode.  Using what is referred to as "a theory 
of logical types" (1978, p.18), which simply "allows the critic to make 
some coherent or logical sense out of this barrage of messages" (1978, 
p. 18), he was able to develop a classification system that could explain 
symbol-using in popular television series, aid in identifying major types or 
forms of communication in everyday situations, act as a grid for classifying 
television series, identify the changes in character nature and communication 
patterns, and classify image and character references (1978, p.18-19).
Several years later, Thomas Schatz (1985) explored the similarities 
and differences in the "ensemble" series St. Elsewhere and its predecessor, 
Hill Street Blues.  He details the background and the situation regarding the 
rise of St. Elsewhere and the fall of Hill Street Blues and notes that one of 
the biggest differences in the two series are the characters.  His study 
identifies that by the 1983 season of Hill Street Blues, the characters were 
often "reduced to caricature and its plots (were) edging ever closer to the 
cop show conventions that it had so carefully avoided in its earlier seasons" 
(1985, p. 91).  Soon it became the first of many in producer Steven 
Bochco's hall of failures.  Schatz goes on to suggest that the loss of the 
identifiable characters may have been one of the reasons for the show's 
demise.  Viewers expected St. Elsewhere to follow in the footsteps and be 
Hill Street Blues in a hospital.  They expected that NBC executives would 
exploit the setting as a source of jeopardy in the series (i.e., for action and 
violence), the heart of the series--like those of its characters--was much too 
soft for that kind of conflict" (1985, p. 91).  Schatz's study proceeds to 
compare the characters of St. Elsewhere with those of Hill Street Blues and 
explains what makes them different.  He briefly describes each character 
and, through example in some cases, identifies certain values that make a 
specific character more or less human (1985, p. 91-95).
	Similarly, also in 1985, Christopher Anderson explored the appeal 
of Magnum, P.I.  An obvious fan of the series, Anderson proceeds to 
explain what it is that makes this private eye series so much stronger than 
any other in the history of television through comparative and contextual 
analysis.  Anderson states that "commercial television depends on placing 
its texts within familiar contexts . . . Many people who reject the possibility 
that Magnum, P.I. is a great work immediately assume that it is simply 
another 'beefcake' show like those that premiered in the early 1980's to 
showcase attractive male heroes" (1985, p. 114).  Anderson suggests that 
Magnum, P.I. is, in fact, similar to those shows but with a difference.  He 
goes on to submit that part of the difference is that the main character does 
not have the answer to every problem.  He does not always have a weapon 
hidden on him.  He cannot fight his way out of any battle.  He is often 
beaten up, dragged down, abused, and left for dead.  "He (Magnum) is 
often confused and vulnerable" (1985, p. 117).  The show has appeal in the 
fact that Magnum is not super-natural.  He makes mistakes and often suffers 
for them.  His system of values makes him easily identifiable and human 
(1985, p. 117-122).
	Cathy Schwichtenberg (1984) took this type of study a few steps 
further and went on to explore how weak characters can function to weaken 
a particular program.  In her study she went on to pick apart and criticize the 
early eighties series The Love Boat.  Schwichtenberg holds that "audiences 
and critics alike need to be more critical of a show such as The Love Boat 
which is usually designated as innocent, mindless entertainment" (1984, p. 
 27).  She proceeds to argue that this show has a greater ideological power 
than it is given credit for because of what she refers to as its "packaging".  
The Love Boat superficially sells 'things', that is, cruises, clothes, 
exposure, star-following, while underlying these themes the show really 
sells an ideology based on the promise of personal transformation" (1984, 
p. 129).  In other words, when you buy a ticket to the Pacific Princess, you 
are buying a ticket for personal salvation in your romantic life.  Each crew 
member functions as a guide or a counselor and will help you to place your 
life back on the right track.  Schwichtenberg points out that this type of 
situation is not likely to exist in real life and that these types of characters are 
shallow and fake.  She points out that it is shocking how long the series 
lasted given the shows weak characters.  Her study goes on to explore why 
the show has remained through content analysis and cultural criticism 
(1984, p. 129-135).
	Elihu Katz and Tamar Liebes (1984) performed a cross-cultural 
tudy on the popular series Dallas.  They explored what it was about this 
eries that made it a world wide success.  "A common sense reply might be 
hat such programs are so superficial that they are immediately understood 
y all:  they portray stereotyped characters, visualized conflict, and much 
epetition.  But this cannot be the whole of it" (1984, p. 420).  They 
nitiated an empirical approach and assembled 50 groups of three couples 
ach to view a second season episode of the series and discuss it with them.  
hese focus groups were made up of lower-middle class people with high 
chool education or less.  They also used ten groups each of Israeli Arabs, 
ew immigrants from Russia, first and second generation immigrants from 
orocco and Kibbutz members.  These groups were considered to be a 
microcosm" of the worldwide audience of the show (1984, p. 421).  Katz 
nd Liebes attempted to sample the interaction of small groups of different 
anguages and cultures during and after the viewing of the program, "in an 
ffort to identify the ways in which meaning and possible relevance is 
scribed to the program" (1984, p. 422).  In the many discussions that were 
ecorded for the purposes of this study many observations were uncovered.  
n one discussion, viewers questioned the wisdom and values of a male 
haracter who was uninterested in taking the responsibility for his unborn 
on.  His character was viewed with great disgust from the group of 
ouples.  Several discussions also resulted in debates surrounding the 
alues of the characters, and their choices and motivations.  Katz and Liebes 
ound that, in many cases, the viewers would reject characters or favor 
haracters based on the values that they presented in the series.  They also 
ound that, over time, a shift in the values of an unfavored character made 
he couples more sympathetic and concerned (1984, p. 422-427).
Arthur Asa Berger (1988) performed a semiotic analysis of the long 
unning television sitcom Cheers.  In his study, he investigated all of the 
ignals in the show that make it appealing to so many viewers.  He took 
ach character and probed the traits that made them so appealing.  Berger 
uggests that the color of Diane Chambers's hair is one of the things that 
akes her character work.  He holds that "for some women blond hair color 
s a means of escaping their ethnic identity, or, in some cases, their age" 
1988, p. 91).  Berger also points out the clichÈ that gentlemen prefer 
londes.  Berger takes this study far enough into the context to examine the 
eaning behind the names of the characters.  Focusing, again, on Diane 
hambers, Berger points out that another name for Diane in mythology is 
rtemis, a virgin huntress associated with the moon.  "Thus she is well 
amed, for her basic role in the series as that of an object of sexual desire, a 
child'/woman who becomes embroiled in the battle of the sexes with the 
ero, Sam Malone" (1988, p. 92).  This study goes on to explore the 
haracters of the series and what it is that makes them so appealing.  Using 
emiotics extensively, Berger picks apart each character from their 
ppearance to their deepest inner emotions.  He also presents that the show 
ffers a variety of characters for the audience to identify with.  If an 
udience member finds Diane unappealing because of her blond hair, 
eight, class, and ethnic background, they might identify with Carla 
ecause she is the complete opposite (1988, p. 93-95). 
Denise Kervin (1990) performed a study on the controversial FOX 
etwork sitcom, Married . . . With Children.  The text of the study goes 
nto extensive detail on why the FOX network has kept the show running 
nd why it is successful.  Based on the article, it seems that Married...With 
hildren is geared to produce its highest ratings among men and woman 
ighteen to thirty-four years old, having its highest success ratio in the 
rban markets.  FOX claims that their research determines that the show 
ppeals to its target audience.  Kervin's study proceeds to evaluate the 
ambivalent pleasure" that the viewer gets from watching the program.  
ervin suggests that the reason for the shows success is that it focuses on 
conflicts and contradictions arising from families, class positions, and 
ender roles" (1990, p. 213).  The viewer in the target audience has two 
asic choices.  The first is that he or she can look at the character of Al 
undy and say, "at least my life isn't that bad." or he or she can look at Al 
undy and say, "here is someone who understands what I am going 
hrough."  Once again, it seems that this study also equates to the idea that 
dentification with a specific character's values plays a large part in the 
uccess of a given TV show (1990, p. 213-219).
Rowe (1990) examines Roseanne Arnold, star of the sitcom 
oseanne, and explores how an "unruly woman" became a "domestic 
oddess" (1990, p. 202).  Rowe suggests that "our pleasure in Roseanne's 
how arises not so much from narrative suspense about her actions as hero, 
or from her one-liners, but from the economy or wit by which the show 
rings together two discourses on family life:  one based on traditional 
iberalism and the other on feminism and social class" (1990, p. 203).  The 
tudy sustains that Roseanne becomes a hero to the target audience because 
he faces and deals with situations in life that are very real, from teen 
regnancy and abortion to marital difficulties.  She becomes a hero in the 
act that she is such a down to earth, everyday, average woman taking on 
ach day as it comes.  Rowe suggests that this normality with the character 
akes her into somewhat of a domestic goddess to those who follow the 
how (1990, p. 203-211).
Suzanne Williams (1987) brings up interesting issues in her study 
n values in the characters of animated cartoons.  She compares several 
ifferent cartoons over the last fifty years or so and notes the changes in 
alue that have occurred in the characters over these many years.  She 
oints out that the characters of most of the cartoons in 1945 mostly live and 
ct alone (except Donald Duck and Little Lulu).  Several characters have 
ogs as pets (Donald Duck, Little Lulu, and Andy Panda), and two sets of 
haracters are roommates (Gandy Goose lives with a cat named Sourpuss, 
nd two mice, Babbit and Catsello, live together).  "However, rarely do 
hese characters work together to defeat a common opponent.  Generally 
ne character sends the other to do the work, one character plays tricks on 
he other, or each acts separately against a common foe" (1987, p. 209).  
he value of self-reliance seems to be prominent in these early cartoons.  
illiams advances into the 1980's with her study to evaluate the emphasis 
n a child-only audience for cartoons.  According to the study, this 
mergence brought about a "didactic" approach, in which the characters will 
ake direct statements of value within the dialogue.  This is evident in such 
eries as The Smurfs and Hulk Hogan's Rock 'N Wrestling.  Williams goes 
n to offer the idea that characters of these cartoons who act alone often 
ave to be rescued by other members of the group.  "These characters are 
ften nonconformists who are brash or self-centered and generally not the 
ost attractive of characters.  This particular study traces a value shift that 
as occurred in cartoons over several years (1987, p. 208-215).	
Communication theorist Kenneth Burke formulated the theory of 
ramatism to aid in the interpretation of the motivations of a particular 
haracter.  Burke goes on to describe how a strong television show with 
trong characters is based on a principle of persuasion.  Persuasion is not 
ossible without identification.  He divides motivation into a five part 
cenario that is referred to as the pentad.  His pentad consists of the act, 
hich is essentially what was done, the scene, which is where and when 
he act was performed, the agent, which is the person who performed the 
ct, the agency, which is the means that the agent used to "do the deed" 
Griffin,1994, p. 312), and the purpose, which is the stated or implied 
oal.  The theory of dramatism will be explored in more detail later in this 
aper.

ethodology
	The studies that have been listed in the previous section of this 
aper all have something in common.  Their purpose was to explore the 
ffects that popular television characters can have on the viewing public.  
ach goes into detail on how the values of a particular character reflect how 
opular and well liked that character may be.  Each reflects upon the fact 
hat a character must be easily identifiable in order to be successful.
The following study remains in similar territory by consisting of the 
nalysis of character values.  The character of Worf in the epic science 
iction series Star Trek:  The Next Generation has undergone several 
hanges or shifts in his character over the Enterprises' seven season 
ission.  Distinctly, there are almost four completely different versions of 
his character.  Each shift results in a character that is closer to human and 
ess alien or animal-like (Nemecek, 1992, p.10-40).  The following study 
ocuses on answering the question, "Do character shifts reflect a change in 
haracter values?"  The study will accomplish this by using the theory of 
ramatism and performing a pentadic analysis on the four different phases 
f the character of Worf.  By determining his motivations and comparing 
he differences, an accurate analysis as to the current state of his values 
hould be easily attainable.  In this case, a difference in character motivation 
ould be interpreted as an example of a difference in values.  
Dramatism
Symbolic communication theorist Kenneth Burke beleives that 
language is a strategic human response to a specific situation" (Griffin, 
994, p. 308).  Burke's theory perpetuates the idea that the critic's job is to 
igure out why a writer or speaker selected the words that he or she is using 
o convey his or her message.  "The task is ultimately one of assessing 
otives" (Griffin, 1994, p. 308).  He describes the process of determining 
hat goes on when people "open their mouths" as dramatism.
One section of Burke's theory involves a form of motivational 
nalysis referred to as a pentad.  The pentad consists of five parts that 
oosely resemble the who, what, where, when, why and how in a 
ournalism standard opening.  Burke's pentad takes motivation and 
easoning one step further to determine which element provides the best clue 
o the speaker's motivation.  "The pentad offers a way to determine why the 
peaker selected a given rhetorical strategy to identify with the audience" 
Griffin, 1994, p. 311).  The five elements are broken down in the 
ollowing table:
	Act
Scene
Agent
Agency
Purpose
The action that was performed.
Where and when the act was performed.
The person or people that performed the act. The agent can also exist
    as an idea or state of mind.
The means that the agent used to perform the act.
The implied goal that the agent hoped to achieve.
	E. M. Griffin provides an analysis and critique of Burke's theory 
f dramatism in which he provides an accurate and simple example of the 
se of the pentad.  This example was used by Burke to analyze the pre-
orld War II rhetorical strategy utilized by Adolf Hitler.  He proposed the 
ollowing example:
	Act	Hitler's propagandistic speeches.	
Scene	Post-World War I turmoil.
Agent	Hitler, the prophetic leader.
Agency	Mass rallies.
Purpose	Unification of Germany.
Based on this analysis, Burke concludes that Hitler's motivation was to 
hand over his infirmities to a vessel, or 'cause' outside the self, one can 
attle an external enemy instead of battling an enemy within" (Griffin, 
994, p. 314-15).  In other words, Burke concludes that Hitler's motivation 
as to unify Germany by turning his own internal angers into weapons 
gainst his enemies.  In a simple statement, the pentadic analysis boils down 
o this.  During post-World War I turmoil (Scene), the prophetic leader 
dolf Hitler (Agent) used mass rallies (Agency) to make propagandistic 
peeches (Act) in an attempt to unify Germany (Purpose).
What the heck is a Klingon and who is Worf?
	According to the Star Trek calendar, the Federation of Planets 
ncounters a race called the Klingons in the year 2218.  First contact is not 
xtremely promising for one reason or another and eventually, by the year 
223, relations deteriorate and conflict become inevitable.  The situation 
ecomes very tense between the Federation and the Klingons.  Much later, 
n 2292, the alliance between the Klingons and another race called the 
omulans collapses and the two former allies become bitter enemies.  In 
293, a moon in the Klingon solar system called Praxis explodes and the 
lingon's chief energy and production facilities are destroyed.  This leaves 
hem totally incapable of defending themselves.  Against the general opinion 
f their citizens, the Klingon leaders come to the Federation for help and a 
eace treaty is signed, ending over fifty years of hostility between the two 
aces (Okuda, 1993, p. 27-78).
The Klingon character named Worf pops up in the Star Trek 
niverse in the year 2340.  He is born on one of the Klingon home worlds 
eferred to as Qo'noS to his warrior father Mogh.  Several years later in 
346,  Mogh follows a member of the powerful Duras family to a Klingon 
utpost called Khitomer, suspecting that he is plotting with the Romulans.  
ontemplating that this will be a short trip, Mogh brings along his wife and 
lder son, Worf.  During this visit, the Khitomer outpost is attacked by 
omulans who have somehow been given access to secret Klingon defense 
odes.  Four thousand Klingons are killed in the massacre including Mogh 
nd his wife.  When a Federation ship arrives at the remains of the outpost, 
orf is found buried under a pile of rubble by a warp field specialist named 
ergey Rozhenko.  Rozhenko adopts the six year old Klingon and raises the 
oy on his home world of Gault.  In 2351, Worf and his family move to 
arth where he continues his education and participates in normal Klingon 
rowing rituals.  In 2357, Worf becomes the first Klingon ever to enter into 
tarfleet Academy.  In 2359, Worf meets a half Klingon, half human female 
amed K'Ehleyr.  The two participate in a romantic relationship that ends 
ithout resolution.  These events serve to shape Worf's beliefs, values, 
emories, and characteristics.  These happenings make Worf into the 
haracter we see when we watch Star Trek: The Next Generation (Okuda, 
993, p. 70-94).
The Episodes In Question
The first phase of Worf's character is best displayed in the opening 
eason episode "Heart Of Glory".  In this particular episode, the Enterprise 
rew encounters the remains of a transport ship.  Three Klingon survivors 
re found on board the ship and rescued.  Intrigued by having members of 
is own race on the ship, Worf is enthusiastic to help.  The wounds of one 
f the Klingons are severe and he dies in the presence of his companions in 
he ship's sick bay.  When the two Klingons initiate a death chant, Worf is 
ascinated and joins in.  Shortly after, Worf begins to spend time with the 
wo Klingons, finding it comforting and intense to be around people of his 
wn race.  They tell him stories of Klingon glory and elaborate upon the 
erils of Worf's father.
Eventually, they raise the question to Worf as to whether he has 
ecome more human than Klingon, after having spent all of these years in 
he laxidaisical human lifestyle.  Worf begins to question his identity and 
ttempts to honor his heritage more so than in the past.  At one point, the 
wo Klingons express to Worf their disapproval of the alliance between the 
ederation and the Klingon Empire and unearth a plot to overtake the drive 
ection of the Enterprise.  Appealing to Worf for his help, they lure him in 
ith Klingon rules of honor and pressure him by saying that he has become 
oo human and that he is not a true Klingon warrior.  Eventually another 
lingon cruiser approaches the Enterprise and explains that the three 
escued Klingons are actually renegade criminals.  The two remaining 
lingons are detained and one is killed in their attempt to escape.  The 
emaining Klingon finds his way to the warp intermix chamber and 
hreatens to destroy it unless he is given control of the drive section.  Worf 
omes after him and is, again, asked to join with this renegade Klingon.  
hen Worf refuses, he is hit with a volley of insults.  Eventually a physical 
onflict breaks out between the two and Worf stands victorious (Nemecek, 
992, p. 52). 
During the working of the second season, Worf is given a 
romotion from acting security chief to full time security chief.  He is also 
iven "a twenty-pound 'baldric' sash (Nemecek, 1992, p. 64) to add to the 
ppearance of his character.  The next major shift in Worf's character is 
pparent in the second season episode "The Emissary".  A more human side 
f Worf is revealed.  The Enterprise is visited by Ambassador K'Ehleyr.  
he accompanies the Enterprise crew to meet a Klingon sleeper ship that 
as put into hyper-sleep before the initiation of the Klingon/Federation 
lliance.  In order to prevent any unwanted conflict, the mission is to make 
t to them and explain the situation right away.  It becomes apparent that 
'Ehleyr and Worf have a romantic history and the two end up arguing on 
he ship's holodeck.  Eventually, the two find themselves in each others 
rms.  After consummation of their relationship, Worf asks her to take the 
ath of marriage.  She becomes agitated, refuses, and storms off of the 
olodeck.  In order to complete the mission, Worf and K'Ehleyr are forced 
o work together to appear as commanders of a Klingon-only ship.  After 
uccessful completion of the mission, Worf privately sees K'Ehleyr off to 
er shuttle where they both agree that neither of them would be complete 
ithout the other (Nemecek, 1992, p. 90-91).
In preparation for the third season's productions, the writers and 
roducers decided to give Worf a slight touch of humanity and make him 
ore vulnerable (Nemecek, 1992, p. 98).  This change is apparent through 
pisodes in this season, but, perhaps, more significant changes occur in the 
ourth season.  The producers and writers thought they might have Worf 
ace some truly human situations and see how this alien, charismatic, 
owerful character could handle it.  They really pinned him with it in the 
pisode "Reunion".  This episode brings the return of K'Ehleyr.  She has 
eturned not only to inform Captain Picard that Klingon leader K'mpec has 
een poisoned by one of two prospective successors, but with a little 
urprise for Worf.  Apparently, their last encounter produced a child.  Worf 
efuses to acknowledge that the child is his because he was born outside of 
he oath of marriage, and it would dishonor his family name.  K'Ehleyr 
nvestigates the poisoning of K'mpec and finds evidence incriminating the 
uccessor named Duras.  Duras learns of this evidence and attacks and kills 
'Ehleyr.  Finding his beloved slain, Worf becomes vengeful and engages 
uras in combat, killing him quickly.  It is soon after that Worf decides to 
ake responsibility and accept his child into his life.  Unable to raise the 
hild with his duties and obligations, he sends the little boy to Earth to be 
aised by his adoptive parents (Nemecek,1992, p. 146).
Through the next two seasons, the writers and producers expand 
ore on the success of making Worf more human.  They tone down the 
idges in his forehead a bit as well as give him more emotional reactions to 
arious situations that they throw at him.  With K'Ehleyr, we saw Worf as 
ore of an animal, and the behavior of the two in romantic situations was 
ore like watching two animals mate (Nemecek,1992, p. 173).  This is not 
he case in the seventh season episode "Parallels".  In this episode, while on 
 trip back from an olympic style competition, Worf encounters a temporal 
ift and his time signature is shifted to a point where the many varied 
utcomes for his actions become mixed.  He finds himself in situations of 
hich he has no idea of the events that have led up to them.  In several of 
he altered realities, he finds himself married to Counselor Deanna Troi.  
he relationship that we see is a very tender, casual, and human interaction.  
hen Worf explains to Deanna that he does not remember any of this, she 
ecomes upset with him but still understanding.  As the situation moves 
urther along, he begins to truly feel for her.  Eventually, when a sequence 
f events returns him to his normal temporal region, he tells the Counselor 
f their relationship in his alternate reality.  She does not dismiss the 
ossibility and the two embark slowly on a romantic journey that took all 
ext Generation fans by total surprise.
Results 
In this section, we will present the results from an examination of 
nstances from the four previously mentioned episodes and perform an 
nalysis using Burke's pentad.  Through this form of analysis, motivations 
ill become clear.
Season 1 - "Heart Of Glory"
	
ct	Worf attempted to become more Klingon.
cene	The Enterprise.  Stardate 41503.7.
gent	Worf's insecurity and his lack of confidence in his ability to behave
     like a true Klingon.
gency	Worf participated in various Klingon rituals for the first time.
urpose	To prove to himself that he had not become more human than Klingon.
Season 2 - "The Emissary"
Act	Worf animalistically mated with K'Ehleyr.
cene	The Enterprise holodeck.  Stardate 42901.3.
gent	Worf's and K'Ehleyr's attraction and unresolved passion for each other.
gency	The attraction and passion that the two felt for each other.
urpose	To tie up loose ends in his history with her and to attempt to enter
     into a future together.

eason 4 - "Reunion"
Act	Worf kills Duras. 
cene	Duras's ship.  Stardate 44246.3.
gent	Worf's rage and vengeance.
gency	A Klingon Bat'telh
urpose	To avenge the senseless death of his beloved K'Ehleyr.

eason 7 - "Parallels"
Act	Worf tells Deanna of his growing feelings for her.
cene	The Enterprise.  Stardate unavailable.
gent	Worf's respect and admiration for her.
gency	Worf uses examples from his relationship with her in the alternate
    time lines.
urpose	To begin a relationship with Deanna.

iscussion
	When Star Trek: The Next Generation premiered on syndicated 
elevision, fans of the old series were shocked to see a Klingon on the 
ridge of the Federation flagship.  This Klingon, Worf,  was threatening, 
mpulsive, and very animal like (Nemecek, 1992,  p. 27-40).  He was 
asically seated at the right hand of the chief of security.  Eventually he 
ecame chief of security and through the seven season journey of the 
.S.S. Enterprise, Worf's character became less like the animal that 
ppeared on the bridge in the first season, and possibly more human than 
ny member of the crew.
Just a quick glance at the results previously mentioned in this paper 
ill reveal a tremendous change in Worf's motivations and values.  In the 
Heart Of Glory" episode, Worf strives to become more animal-like and 
chieves this through spending time with those like him and imitating their 
ctions.  The pentad broken down into several simple sentences yields these 
esults.  Due to Worf's insecurity and lack of confidence in his ability to 
ehave like a Klingon (Agent), Worf attempts to become more Klingon 
Act) by participating in various Klingon rituals for the first time (Agency), 
n the Enterprise (Scene), to prove to himself that he has not become more 
uman than Klingon (Purpose).
This almost sounds like an example of peer pressure.  In this 
ituation, Worf allows himself to become insecure because of the opinions 
f two other Klingons.  It is clear that his motivations are based on his own 
nsecurity and lack of belief in himself.  He tries to achieve what he is 
ooking for through imitation and experimentation.  He is led around the 
hip by these two Klingons and he plays for their every need in an attempt 
t acceptance.  This represents a weak or conflicting system of values.  
erhaps, that of a young child or a dog.  It is definitely hard to identify with 
 character like this and equally hard to admire him.
Possibly, this became apparent to the show's writers and producers 
uring pre-production of the show's second season.  They made a few 
mall changes in Worf's appearance, such as the sash he wears over his 
houlder, longer hair, a more ominous appearance, and a few somewhat 
izable changes in attitude and values.  The pentadic analysis put into clear 
entences results in this.  As a result of Worf's attraction and unresolved 
assion for K'Ehleyr (Agent), Worf animalistically mates with K'Ehleyr 
Act) on the holodeck of the Enterprise (Scene) to tie up the loose ends in 
heir history and to make an attempt to enter into a future together 
Purpose).  This is made possible by a mutual attraction and passion that the 
wo have for each other (Agency).
Although Worf is still portrayed as animal like in his mating rituals, 
e are treated to a look Worf's love for K'Ehleyr.  We see that he is not 
bove human feeling which is a major step toward making the character 
ore human.  Worf's objective in this situation is to resolve his existing 
eelings for K'Ehleyr and evaluate the possibility of a future together.  He 
isplays the desire for companionship and love and becomes very 
dentifiable.  He becomes vulnerable and in need of help.  This is odd when 
he viewer is accustomed to seeing an animal on the screen.  This particular 
haracter shift definitely represents a shift in Worf's values.  
omparatively, he has gone from being motivated by the desire to be more 
nimal like, with the desire to be primal and run with the wolves like his 
ellow Klingons, to being motivated by the desire to share special moments 
ith someone and having real desires for love and companionship.  The 
ifference in the value system behind these two instances is nearly night and 
ay.  Comparing one to other is like looking at two different characters.  
his is quite a leap and quite a necessary change for America's favorite 
lingon.
The producers of the show may still have felt that Worf was not yet 
 complete character.  Over the next two seasons much change took place.  
n physical appearance, they gave him slightly longer hair and toned down 
he ridges on his forehead, again.  Once again, though, the real changes 
ook place in the personality and values of Worf.  Here is the pentad broken 
own into sentences.  Worf's rage and vengeance (Agency) drives him to 
ill Duras (Act), on Duras's ship (Scene), with a Klingon Bat'telh 
Agency), to avenge the senseless murder of his beloved K'Ehleyr 
Purpose).  
In this instance, Worf displays the very human emotions of anger 
nd rage.  Although this instance may seem primal and animal-like and 
ould even be viewed as a regression, it is important to note Worf's 
otivations for his actions.  He finds that someone he cares for deeply has 
een unjustly murdered.  He becomes enveloped in his rage and wastes no 
ime making himself as bad as the killer.  While this may seem immature 
nd even wrong, Worf lets his emotions get the best of him and he acts on 
hem.  This is a quality that is all too human and may make him seem even 
ore identifiable.  Possibly, this may even make him seem like a hero to the 
verage viewer because he had the courage and the drive to retaliate.  
iewers may identify by venting their frustration and vicariously living the 
oment through Worf.  This sort of identification parallels the study by 
owe about Roseanne Arnold that is mentioned previously in this paper.  
owe cites in her study how Roseanne becomes a hero because of the way 
he deals with her situations.  She is able to tackle and compromise certain 
ituations that the basic housewife type might run from or not have the 
ourage to deal with (1990, p. 208).  Roseanne becomes a hero to that type 
f viewer as Worf becomes a hero in a similar light.
From "The Emissary" to the "Reunion" episodes, Worf's character 
as shifted dramatically.  In "The Emissary", Worf's motivations and 
ctions were based on the very human emotions of love and desire.  In 
Reunion", Worf is still motivated by those things, but there is an addition 
f loss, vengeance, and anger.  The viewer now sees the once in-human 
haracter of Worf displaying more human emotion than anyone on the 
how.  He acts on his emotions and what he finds to be important has 
ecome clearer.  His behavior, based on this new system of values, now 
uggests that he is a strong willed, devoted, vulnerable individual.  A far 
ry from threatening, impulsive and animal-like.
The producers continued to have their fun with Worf, and certain 
ard-core fans of the series may suggest that they took it a little too far, but 
y season seven, Worf had basically become a big teddy bear.  The episode 
alled "Parallels" depicts this accurately.  Physically, they made Worf look a 
it less threatening, giving him longer, lighter hair as well as lightening his 
acial hair, all of which started out black and were now a lighter shade of 
rown.  The motivation and value changes in Worf are pretty significant as 
ell.  The pentadic analysis reveals a much more gentle character with a 
ery well thought out approach.  One might even suggest, after seeing the 
pisode, that he is somewhat romantic.  Broken down into sentences, the 
entad reveals this.  Because of his respect and admiration for her (Agent), 
orf tells Deanna about his growing feelings for her (Act), while on the 
nterprise (Scene), using examples from the relationship they had in an 
lternate time line (Agency) in an attempt to begin a relationship with her 
Purpose).
In the alternate time line, Worf is surprised to find that he is married 
o Counselor Troi but he is not shocked.  This is apparent to a regular 
iewer of the series because his admiration and respect for her has been 
isplayed in previous episodes.  Once he realizes that one path he could 
ave taken, somewhere along the way, would have led him to this situation, 
e begins to appreciate the situation and become comfortable with it.  When 
e returns to his regular time line, and he is no longer involved with Troi, 
e decides that he wants to make an effort to arrive at that situation in this 
ime line.  The viewer sees a side of Worf that is almost shocking.  This 
motional change in Worf may almost have been too abrupt.
This character shift definitely represented a shift in Worf's values.  
he pentadic analysis shows us that Worf's motivations have changed from 
hat of human desire for love and companionship to that of romance and 
andlelight dinners.  He has gone from just having desires for love and 
ompanionship to actively pursuing a very human, romantic relationship.  
his is definitely very distant from the animalistic scene on the holodeck in 
The Emissary".  His motivations have obviously changed and his 
spirations have become much different in nature.  It is quite possible to 
ssume that he has gone from being a warrior to the warrior of love.  This 
hift definitely opened the character of Worf to a whole new set of viewers 
hat had not paid much attention to him prior to these changes.  His values 
ent from passionate and vulnerable to being romantic and teddy bear-like. 

onclusion

           Do character shifts reflect a change in character values?  The results 
f the previous study certainly seem to suggest that the answer is yes.  Worf 
tarted out as a mindless animal with no self confidence and no 
ndividuality.  His values were limited and unformed.  By season two, 
orf had shifted into a more charismatic character and was faced with a 
ituation in which he had to deal with the return of a past love.  The 
haracter itself had shifted into a more identifiable role and was closer to 
uman than before.  This certainly enabled the writers to build this sort of 
lot around him.  This shift also represented a change in values.  All of a 
udden, this animal is capable of love and devotion.  He has some morale 
alue.  From there, Worf's character shifts into something even closer to 
uman.  Someone who acts on their impulses and lets their emotions get the 
est of them.  Someone who acts in defense of himself and his love for 
thers.  This represents additions to a value system that had begun growing 
n the previous example.  In the final example, we see Worf's character shift 
nto someone that is a far cry from someone who acts on rage and 
engeance.  Now the value of control seems to have crept in there.  In his 
inal character shift, it seems that the values of control and patience and the 
bility to be gentle and loving have become prominent pieces of the 
haracter of Worf.  
It seems as though the underlying theme among all of these studies 
s that a character's success is based on how well a viewer can identify with 
im or her.  It also seems obvious that a producer of a television program 
ould alter characters who are not popular and possibly holding their show 
ack.  Evidence of this was found in Anderson's study of Magnum P.I. 
here one of the largest reasons for the show's success was in the fact that 
agnum was not above human.  He was easy for the average viewer to 
dentify with (1985, p. 114).  Evidence was also found to support this in 
atz and Liebes's study on Dallas.  They found that the viewers favored 
haracters whose value systems they could identify with.  They found that a 
hift in those values could push a viewer one way or another as far as how 
uch they liked a particular character (1984, p. 422).
A future study of this nature would certainly be important to 
roducers of popular and unpopular television shows.  They would be able 
o monitor their program's characters and compare their values and 
otivations with that of their target audience.  If they can arrive at a match, 
hey might be able to sell their show or achieve a greater success ratio.  This 
orm of analysis may even be applicable in some of the more dramatic 
ommercials.  All of the previously mentioned studies seem to point to the 
dea that if a viewer can identify with the actor or actress's needs, they are 
uch more likely to buy the product.  In addition, an analysis of this sort 
ay provide advertisers and manufacturers with ideas for change if a 
articular product is not selling as well as expected.  
Worf is an example of a character modified by producers to become 
ore popular.  Nemecek's book suggests that the role of Worf was weak at 
irst and was written in and out of the pilot episode several times, but when 
he producers saw what Michael Dorn was capable of doing while playing 
he role, they decided to keep the character and see how it went (1992, p. 9-
7).  They took it slowly but each season they developed Worf more and 
ore until he became a solid enough character.  They ended up making him 
loser to human than some of the other cast members who are supposed to 
e human.  The final product of Worf is one that will always be 
emembered by Trekkers and will always have a place as the head of 
ecurity in the theater in our minds.           

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