As with Future’s End, Part I and Future’s End, Part II during the third season, these two two-part episodes are very much larger-than-life archetypal Star Trek storytelling. While Future’s End, Part I and Future’s End, Part II riffed on Star Trek IV: The Voyager Home, and Year of Hell, Part I and Year of Hell, Part II borrowed liberally from Star Trek II: The Wrath of Khan, The Killing Game, Part I and The Killing Game, Part II draw from a broader pool of franchise iconography for a Star Trek: Voyager spectacular.
As with Future’s End, Part I and Future’s End, Part II or Year of Hell, Part I and Year of Hell, Part II, The Killing Game, Part I and The Killing Game, Part II are very much concerned with themes of memory and history. Much like Henry Starling or Annorax, the Hirogen are presented as villains waging a war upon history. They have no history or culture, usurping that of the crew and distorting it to serve their own whims and desires. Of course, The Killing Game, Part I and The Killing Game, Part II features no literal time travel, merely holographic.
However, The Killing Game, Part I and The Killing Game, Part II is more than just archetypal Voyager. These preoccupations with memory and history are wrapped up in a whole host of broad and iconic Star Trek idea. Although the two-parter features a number of different plot threads, including the recreation of a classic Klingon conflict, the bulk of the action unfolds in a holographic simulation of the Second World War. Once again, the Star Trek franchise returns to that conflict as a formative and defining moment.
Indeed, the two-parter even makes a point to weave the franchise’s core humanism into its sprawling epic pseudo-historical conflict. As much as The Killing Game, Part I and The Killing Game, Part II are driven by spectacle, writers Brannon Braga and Joe Menosky are careful to integrate classic Star Trek themes into the episode. While the story begins with the Voyager crew defeated and subjugated by the Hirogen, it ends with a peaceful settlement. Janeway grants the Hirogen a chance to save their people. Coexistence seems possible.
As such, The Killing Game, Part I and The Killing Game, Part II feels like an intentionally broad smorgasbord of Star Trek themes and iconography. It feels very much like the culmination of the journey that Voyager has been on since the start of the third season, with the production team aspiring to produce a show that might not have its own distinct texture or identity but which retains an archetypal “Star-Trek-ian” quality.