Whenever a creature gives in to the pleasures of sensuality and excess so does the master of pleasure of pain share in it as well, for they are the ruler of al sensation big or small. Slaanesh is the master of excess in al things, as well as the architect of the destruction and removal of al things decent and prudent from the universe.

The birth of a god

We have in Slaanesh a clear and decisive origin, both in time and space. The master of pain and pleasure was created as a direct result of the decadence of the Eldar race. As the Eldar grew more and more obsessed with pleasure, knowlage and the arts, did their collective society gravity towards more and more cruel and brutal practices. At the peak of a specificity debouchures murder orgy on the Eldar capital, did the slumbering giant known as Slaanesh wake up, and in doing so creating a tear between the warp and the Materium, this hole would be known as the eye of terror. The entirety of the heart of the Eldar empire was swallowed in to the this stable hole in to the warp.

Because of the fact that the Warp exists outside of both time, space and causality, to their fellow, have Slaanesh simultaneously always existed, and never existed. (Games Workshop. 2016)

The mind of the Eldar

In order to fully understand Slaanesh and what they represent, must we fist quickly discuss the species that created them. The Eldar is a race of ancient highly advanced hominoids, with powerful psychic powers. There exists clear thematic connections between the Elder and the Tolkien trope of an Elf. The Eldar are often described as highly mystical and spiritual in nature, their culture is built on magic as much at is is on science.

One defining feature of the Eldar race is their heightened senses compared tp the other sentient races of the galaxy. The Eldar also possesses “Highly additive personalties”, and they risk loosing themselves very easily in one task or pleasures experience if they are not careful. At the Apex of the Eldar Empire has the majority of the Eldar species fallen to such obsessions, be it drugs violence or sensual pleasures, they were ceaselessly driving each other and themselves to deeper and deep acts of thrills and depravity. It is from this obsession that Slaanesh, or “she who hungers” was born, a physical manifestation of a species endless need for sensation and pleasure. Furthermore do they represent the fear that every Eldar carries with them, the fear of loosing themselves fully to a specific sensation or pleasure, forever losing their sense of self to the experience. (Games Workshop. 2016)

The deadly sins

The palace of Slaanesh is surrounded by six areas, each dedicated to one of the seven deadly sins of the Christian faith. Greed, gluttony, lust, pride, envy and sloth are al represented in the lands of the Prince of excess, here each moral are trapped in an ironic prison of their own making, each mirroring their specific sin. The seventh sin, that of Wrath is as already discussed represented by the god of war Khorne.

For example is the land of gluttony an endlessly rich banquet of food, where the members of the feast can never sate their ravaging hunger, and greed are represented by halls full of gold and jewels, where mortals forever count endless amount of gold in stacks, only to have the stack topple over and their work go to waste. (Games Workshop. 2016)

In the 40k narrative is forbidden pleasure often tied directly or indirectly with some form of violence. The sensation of personal pleasure is often directly tied to some sort of extreme pain for someone else. Murder and torture is often described as the height of euphoric pleasure for the perpetrator, and one that seemingly stays when al other losses its lustre.

Demons of pleasure and excess

The daemons of Slaanesh are a representation on their masters psyche and mood, for they, the god and the realm they live in are al the same.

The demons of Slaanesh is described as being both simultaneously unimaginably repulsive, and unfathomably enthralling and attractive to the eye of mortals and fellow demons alike. Each of them are described as being otherworldly fast, well coordinated and dexters, and every single one of them revels in the pain and suffering of others.

Keeper of secrets

The master of the armies of Slaanesh is described as one of the most horrid and grotesque creature of the warp, multiple limed humanoids who hides their true form behind lavish masks. These creatures are highly intelligent, masterful warriors and skilled mages al. Their most interesting trait tough, is their supposed knowlage of al mortals most inmost and shameful desires. The demons uses these secrets against them, to gain power and influence. (Games Workshop. 2016)

Deamonettes

Heralds, messengers, guards and pleasure servants of the Dark god Slaanesh, these creatures lives to serve their god in every way imaginable. These daemons will go to any length to secure more prestiges place, closer to their deity, and murder, backstabbings and plotting is not unusual in the courts of the god of pleasure and pain, for the Deamonettes are just as fickle, sadistic and egocentric as the god that created them. (Games Workshop. 2016)

Beasts of Slaanesh

The god of pleasure and pain also has a number of strange and onerous beasts that roams their realms and takes care of any unwanted intruders. These creatures are able to secrete scents and sounds that hypnotizes and captivates their pray, despite their outwardly grotesque appearance. (Games Workshop. 2016)

The search for pleasure, and their consequences

The followers of Slaanesh seek sensation and pleasure in al of its myriad forms, for the galaxy is vast, and the ways to experience it seems endless. The gifts of Slaanesh allows their followers to experience these pleasures in an even more detailed and intimately they could ever do on their own. Such is the power of these gifts tough, that even the most powerful drug or erotic experience soon looses its value, as the individual grows resistant to its effects. AS a result are the followers of the master of pleasure and pain forced to find more and more powerful drugs to feed their heighten senses, until the entire world becomes a grey background noise, where only Slaanesh tempting words seems real. This mad rush to self destruction pleases their patron god greatly, for they feel every sensation, and their anguish is just as sweet as their eustacy. (Games Workshop. 2012)

Conclusions

The god of pleasure and pain possesses a few qualities that puts them aside from the other chaos gods. First and foremost are they not created from the pains and fears of the human race, but instead a direct result of the decadence and obsessions of the Eldar race. We will discuss the rise of Slaanesh and the fall of the Eldar more closely in a future chapter. Secondly is Slaanesh seemingly not interested in entering and concerning real-space in any tangible way, instead they are content in letting mortals come to them to be enthralled and captured by their powerful grace and guile. (Games Workshop. 2016)

To follow Slaanesh, just as it si to follow any other chaos god, is to see destruction at your own hands. Slaanesh promises sensation and euphoria beyond imagining, but their gifts burn so bright, that even the strongest spirit is soon a burnt out husk, for which al the pleasures of the universe are but misery and endless anguish. (Games Workshop. 2012)

References

Codex: Chaos daemons (7th Edition), Games Workshop, 2016

Codex: Chaos Space marines(7th Edition), Games Workshop, 2012

For every murder, for every sentient being struck down in fear, anger or vengeance, there is a corresponding ripple in the warp, Khorn is the culmination of al those sensations. Every time a life is taken in anger, is the power of Khorne increased.

Skulls for the skull throne

No other of the chaos gods are as direct and apparent in his iconography as the god of skulls. The saying of his followers “blood for the blood god, skulls for the skull throne” is beyond a doubt the more iconic and well known of the franchise.

His realm very much reflects his straight forward nature and philosophy, might is right, and but one single rule “blood must flow”. Khorns realm is a land of red deserts and large volcanic mountain ranges, it is rage and fury made manifest. (Games workshop, 2016)

Here Khorne sits upon his throne brooding over al of his domain. His throne is a huge brass monstrosity, that stands in a mountain of al the foes that has consciously or unctuously been slain in his name. Here the skulls of his champions lays next to their former victims. The land itself is made out of blood and bones of the fallen, and under large volcanos are those warriors who died in their sleep, and a as a result, is not even a peaceful death an escape for those who has once taken the life of another. Here they are forced to toil for al eternity forging weapons for the Blood gods armies. (Games workshop, 2016)

An uncaring god

The truth is that Khorne do not care from where the blood flows, and yours are as good as any other. The god of murder do in other words not care for winners or losers in wars, or why they are fought. Khorne only care that blood is being spilled.

The single goal for Khorne is to one day see al life in the galaxy destroyed and turned in to corpses in front of him. In other words is there no saving, even for the followers of the blood good, for they to must perish for their masters ultimate wish to be fulfilled. To become a champion of Khorne, and his ideals is in other words, also becoming a future inevitable victim to the same deity you yourself serve. To die in the service of Khorne is simply speeding up the inevitable. As mentioned before will not even a peaceful save them from the servitude of the Blood good. (Games workshop, 2016)

Disciples of bloodshed

Every warrior and soldier, every murderous thug and mercenary, knowingly and unknowingly pays homage to Khorn,for his worship is done solely by the spilling of others blood. Every time war breaks out, or another sentient being is struck down in anger, be it from a murder of passion, to a genocide of an entire planet, does Khorns power grow. (Games workshop, 2016)

The blood gods servants perfectly mirrors the straightforward and dogmatic mentality of their patron god.

Most if not al of Khorns personal daemons takes the shape of muscular horned red skinned creatures or slavering monsters hunting dogs. These beasts and creatures, just like their creators lives for little other then battle, murder and bloodshed. They sally forth from the warp killing and maiming everything in their path at the behest of their ever vengeful master. (Games workshop, 2016)

Of al the daemons of the warp we have discussed so far are those of Khorne the closest in appearance to the traditional Christian daemons. Khorne also, much more then his rivals, represents a clear Christian vice, more specificity one of the seven deadly sins, that of wrath. This theme is strengthened by the fact that Khorne is also the patron god of murder and murderers. (Games workshop, 2016)

The concept of Khorne being the embodiment of the Christian sin of wrath also fits well in to our earlier comparison between the Imperial Creed and the catholic church (see The Ecclesiarchy).

War in fiction

As the name of the franchise (Warhammer 40.000) insinuates is war indeed a large part of the setting. This fact comes partly from the origin of the franchise, namely the tabletop wargame forms the basis of the franchise. With this fact in mind do Khorne almost seem inevitable, a representation of raw fighting and combat, a simple narrative justification for the endless war and strife that goes on in the universe, making sure that every players army always have a reason to fight any other players army. He is a obvious and easily understood metaphor for endless and inevitable war. This is indeed a fine read of Khorne, but I believe that we can dig deeper, and find more nuances in the narrative then a simple justification for war. (Games workshop, 2016)

The many faces of war

As we will see as we continue our exploration of the various factions will we find that Khorne is far from the only icon, or even god, of war. Many factions have their own ideas and deities dedicated to war, and each of them corresponds to their specific beliefs regarding war. From the Ork gods Gork and Mork, who revels in the thrill of close quarters combat, and the thunder of guns just as much as their subjects, to Khaine the vengeful avatar of war, destroyer of the unworthy. This leads us to the next question, to who do Khorne belong? (Games workshop, 2016)

The god of human warfare and death

Most readers will not find this answer surprising, but I will argue that Khorne, like the previous Chaos gods, are Khorne the representation of humanities fears of war and senseless murder. As we described in the Nurgle episode are most of humanities lives full of strife and death, from the endless front lines of the many war fronts of the Imperium, to the endless factories and mines that keeps the Imperium alive.

As we have described earlier is the Imperium of man, an empire of endless warfare, for their xenophobic and dogmatic faith and politics allows no coexistence and no peace. Its understandable that humans living under these conditions would start and see death and war as an inevitability, as a grinding and careless machine of blood and broken bone. (Hill 2016) I argue that Khorne, are the culminations of these fears and notions that are deep in humanities collective continuousness. (Games workshop, 2016)

Conclusions

Khorne might at the first glance seem like a very straightforward and simple god to analyse, but I would argue that he represents a lot of themes within the 40k narrative, that we will definitely return to in the future. The seemingly endless and needless warfare and strife is a constant theme in the narrative, and one of the driving motives when it comes to the narrative hopelessness and cosmic horror of the universe. Next time will we discuss the last chaos gods, and one that is not so directly tied to humanity, the deity of pleasure and pain, she who thirsts, the bane of Eldar, Slaanesh.

References

Codex: Chaos daemons (7th Edition), Games Workshop, 2016

Codex: Chaos Space marines (7th Edition), Games Workshop, 2012

Hill, J.D. (2016). Astra militarum. Games Workshop. Lenton, Nothingham.

Whenever a human lie to another, or schemes against them, Tzeentch hears, and uses them as a puppet on a string. The changer of ways sees and hears al, the ultimate master of manipulation and trick. He is the patron god of politicians, generals and scholars, for he promises his followers endless knowlage and power.

The weaver of fate

The god of change sees and knows al, present and past, and he uses this to navigate the many possible futures towards one that is most beneficial to himself. It is inportant to note that Tzeentch do not see the future, only the present. What this is, can no mortal say, and it is possible that Tzeentch himself do not know.

The masters of change plans are complex, varied and seemingly endlessly contradictory, a yarn that seems to spin deeper and deeper as it gets more entwined with itself. It is hinted in the text that these schemes has no end, and that if the schemer would ever fulfil his scheme, there would be no need for him, and he would cease to be. (Games Workshop, 2016)

Warp and time

As I have hinted at before is time and space a strange concept in the 40k Narrative, especially when the warp is involved (which is usually is).

We have already discussed the fact that the Warp exists outside of time, space and classicality, which could explain the seeming randomness of the Changer of ways plans, as he is seeing the universe out of order, or arranged in different constellations then those in the material plain. To further complicate this concept, can certain races such as Necrons or Eldar travel in time, and change the course of certain events using magic and or technology. The concept of an al seeing and all knowing mastermind seem to falter here a bit, a point we will come back to later. (Games Workshop, 2016)

Master of magic and mutation

The changer of ways are also said to be the originator and creator of al magical powers, as well as a representation of the mutating power of the warp. The most powerful mages and sorcerers are unattainably found amongst the followers of Tzeentch.

We must here go back to an earlier chapter and discuss what exactly magic is within the 40k narrative. We have seen that the line between psycic powers and magic is strenuous at best, and that the concept of magic changes depending on which race describes and uses it.

Mutation is not something that is the clear preview of Tzeentch, but it non the less falls within his domain. It is very possible that, just like Nurgle is not the representation of death and decay, but rather the human fear of it, is Tzeentch the representation of human fear over the future, faith, power and knowlage. (Games Workshop, 2016)

Lands of change and chaos

Within ever changing labyrinths and glass mazes of the changers of ways lands, lays the grand library, where every single written word is collected and reviewed by the master of magic himself.

The surrounding lands are beyond the comprehension, as every single possible reality is shown simultaneously within the mirrored walls, as time and spaces looses al meeting within Tzeentch realm. Only Tzeentch himself can navigate the endless pathways to reach the secret library within.

In Tzeentch is every single written word ever created stored and archived by an army of daemons known as red and blue horrors.

Demons of magic

The daemons of Tzeentch are by far the most intelligent, and also the most magically gifted.

The servants of the changer of ways hate the predictable mundane and secure, and do their best to topple lives and change futures in to new and unpredictable paths. To chive this goal do they use al manner of manipulation and schemes, preferring diplomacy to open confrontations. (Games Workshop, 2016)

The lords of change are the greatest of Tzeentch demons is the changer of ways, creatures of great mind stunning intelligence, they use this power to change one stable planets and societies by breaking them down and building them anew, for there is little more that these daemons hate then mundanity and letting the galaxy taking the predictable path, for they crave renewal and change above al things. (Games Workshop, 2016)

The lesser creatures of Tzeentch is known as pink and blue horrors, they are manifestation of pure magical energies, and as a result a pure representation of Tzeentch power. Pink Horrors are happy and juvenile, telling jokes and doing cart wheels as they frolic in to battle, and peppering the enemy with magical energies. The daemons put on dazzling light shows for each other, often leading to the death of any nearby enemies, something the daemons find immensely amusing. (Games Workshop, 2016)

Blue horrors are created when a Pink Horror is split in twain, these daemons are the polar opposite of their cousins, being sombre, sad, and spending most of their time arguing on which fault it was that they one again lost their pink form.

Flamers of Tzeentch represents in many way, the pure chaotic and mutating power of the Warp, and Tzeentch himself. Their bodies move and contort in ways beyond human comprehension, as they constantly shift and change. They bellow forth magical fire, the pure essence of the mutating power of the warp. These flames are known to do anything from heal their victim, to grow them new limbs, sometimes these flames keeps the body unharmed, but instead changes and shifts the very soul of the victim. Much to the shock of the victim, and unbridgeable joy of any nearby horrors. (Games Workshop, 2016)

The last demons we will discuss today is the Screamers of Tzeentch, beasts that prowls the warp in search for things to consume, they seem to not be directly affiliated with the changer of ways, but serves as a good example of the other daemons and denizens that inhabits the endless void of the Warp. (Games Workshop, 2016)

Followers of Tzeentch

Politicians, generals and researchers of al kinds are drawn to Tzeentch, as he is in turn, drawn to them. Great power and knowlage are promised those that follow Tzeentch, but just as with any of the Chaos gods, is the price both high and heavily ironic.

The followers of Tzeentch gains immense knowlage, as well as magical power, which they use to achieve their own goal. This power comes with a great price tough, for they are now forever bound to the magical power and will of their patron god, and he only helps those that serves his schemes, and have no qualm about sacrificing his own pawns, if it means getting an upper hand against his rivals. (Games Workshop, 2016)

Conclusions

Tzeentch is by design full of enigma and contradiction, for he is that which humanity can not, and should not know. I have here but given a small taste of the many things worth exploring related to the changer of ways as I wish for my reader to continue exploring on their own. I will at the end of this chapter provide a few examples on how to continue their reading in this much interesting and strange subgenre of horror, but first, a short conclusion of the things we have discussed today.

Cosmic horror

The term Cosmic horror (or Lovecraftian Horror), is usually reoffered to and related to the fear of the unknown, or the unknowable, of the vast spaces of time and space beyond human comprehension, about fate, life, death and our part in it.

Tzeentch is the representation of humanities fears of the future, past, and their ability to change their place and path within these things. It is not surprising then that Tzeentch design borrows so much from the grandfather of cosmic horror, H.P Lovecraft.

Fate and the future

Tzeentch represents humanities fear of the future, and their own ability to control it. Just as with Nurgle, is Tzeentch the actual source or controller of the things humanity fear, but as humanity spreads throughout the galaxy, so does their fears, and as a result the power of their manifestations in the warp.

Tzeentch do not in of itself control the future, or the individual humans part in it, but as Tzeentch power grows, so does his ability to do just that. To join Tzeentch is to give up once own goals and dreams, to become a pawn in the great schemers plans. (Games Workshop, 2016)

The unreliable narrator

This will be another point that we will take up time and again as we deep dive in to the other factions of the narrative. This will become more and more apparent as we start to look at the narrative from the other factions point of view. So far we have seen the narrative from only one point of view, but the statements made about the chaos gods (as well as any other faction), will very much be put in to question here. I take this up now, for it is worth to keep the supposed all knowing nature of Tzeentch (as well as the powers of the other gods) in mind as we move forward.

Uncertainty as well as the almost myth like structure of the storytelling in Warhammer 40k is partly what makes it both frustrating and interesting topic to read and study. (

References

Codex: Chaos daemons (7th Edition), Games Workshop, 2016

Codex: Chaos Space marines (7th Edition), Games Workshop, 2012

Every advanced emotion felt by enough sentient species is reflected within the warp. No feeling is so universal, and so often felt then the fear and relief related to the trails and tribulations of death and disease. It is these emotions, these fears, hopes and dreams that fuels Nurgle, the god of death and suffering, but also the god of hope, life and rebirth.

Introduction

We will begin our series of the Deities of the 40k narrative, by looking at the most contradictory, and ambiguous of al the strange inhabitants of the Warp. Nurgle is said to have been a part of the fate of humanity since the very start, or maybe, even before that. The fear of rot, decay and death has always been prevalent in the human psyche, tough revered by some, most try their best to repress and ignore the sinking feelings of the inevitable, it is in these notions that Nurgle truly thrives. (Games Workshop 2016)

The gods of death and plague is one that can be found in most if not al major human faiths, as it has been a large part of human history, al from the start. Just like decease rot and death has been with humanity from the start, so has Nurgle been there, walking besides us. Few things has caused as much fear and dread in human society as the slow extinction at the hands of a malignant disease or plague. One of the more common faces of disease in the west is that of pestilence, one of the possible identifies of the four horsemen of the apocalypse.

Nurgle is not, as one might think, a sombre spirit, or even one of malice or contempt, he is rather a figure full of life and lustre, full of the wishes to organize, create and educate. To understand Nurgle, one must understand the constant contradictions that he, even more then the other chaos gods represent. (Games Workshop 2016)

Nurgle is a grand example on how the Warhammer 40k narrative uses dramatic irony to create a sense of dread and hopelessness. Dramatic irony, as we have discussed earlier, is the practice of making the audience preview to more information the the characters in the text has. In this case are the readers fully aware of the immense pain and suffering that Nurgles “gifts” wreck on the sentient life of the galaxy, as well as the seemingly loving and well-meaning spirit of Nurgle himself.

A creed of duality

The domains of Nurgle are the duel domains of life and death, decay and rebirth. For every spore, every cell of a disease is new life and from every corpse grows new and fascination life forms. Life leads to death, which leads to new life. It is this cyclical nature that Nurgle represents. His fascination has always been chiefly with life, and its many struggles. (Games Workshop 2016)

Nurgle shares his plagues and diseases as gifts and blessings to a seemingly uncaring universe. He watches with fatherly pride as his minions spreads his foul contingents, and the deaths and pains that they spread throughout the galaxy. (Games Workshop 2016)

To ally once self with Nurgle is to accept this endless cycle and embrace the gradual decay of al things. In return will Nurgle give you immunity from the pains and discomfort related to eutrophy, and can as result conformably enjoy Nurgles great work. (Games Workshop 2016)

The garden of rot

Nurgles lands within the Warp manifests as an enormous bloated swampy garden, beautiful and terrifying in equal measure. Great vine trees reach to the sky, and colourful toxic mushrooms, some the size of humans or taller, fill the ground, spreading colourful spores across the lands. (Games Workshop 2016)

One can not survive Nurgles lands uninvited, for only he can protect you from the various illnesses and parasites that inhabits Nurgles forests. Many invaders and unwelcome visitors has learned this the hard way, as they have become a permanent resident in one form or another, to the gardens of Nurgle. (Games Workshop 2016)

Within this garden lays Nurgles Manor, it is described as rotten overgrown and creaking, yes fundamentally strong and immovable at its base. Driving home the theme of gaining strength from weakness and life from death.

The daemons of Nurgle

The daemons of Nurgle can roughly be categorised in one of two categories, the sombre and serous and the playful and mischievous. This further drives home the idea of the duality that exits within Nurgle himself. (Games Workshop 2016)

The playful beasts

Amongst the many beasts and creatures that serve Nurgle, is few as obvious and the duality of Nurgle as the Plauge beasts, large slug like creatures that are abhorrent to visit, and is highly toxic to touch. They pair this abhorrent physical appearance with the temperament, energy and personality of an attention star puppy. They do not see the enemy combatants as foes to slay, but rather new friends to play. The beasts are blissfully unaware of the fact that their touch are fatal to every living creature, and gets genuinely upset when their latest victim don’t want to play along. This is until another hapless mortal catches their eye at least. This is another clear example of the dramatic irony coming in to play. Both the attacker and the attacked misses vital pieces of information, only at the preview of the reader. The attacked is not aware of the beasts intention to simply play, and the attacker is not aware of the fatal outcome for their new playthings. (Games Workshop 2016)

The Nurglings, small creatures, looking like miniature version of the grand god of rot himself. These small creatures are born from the Great unclean once, and spend most of their time fighting for attention from either the larger daemons, or Nurgles faithful follower. (Games Workshop 2016)

The legion of research

The second category of daemons are in one way or another representation of Nurgles wish to educate and research. Chief amongst these are the Plague bearers, mortals that has consumed to the plague known as Nurgle rot, and reborn in the Garden of Nurgle as one eyed, bloated version of themselves.

These creatures are now tasked with cataloguing, spreading and researching the effects of Nurgles so called gifts. They are also tasked with carrying out Nurgles will, and making sure his feat work do unchallenged. The tasks of these tally-men are an endless one, for Nurgles creations are always changing morphing and transforming, even as they take its course on the helpless victims. This bothers the plague bringers little, as they find great enjoyment in this seemingly monotonous and endless task. (Games Workshop 2016)

These two subsets of daemons are seemingly always at odds with each others, and the Plaguebringers see the Nurglings as nothing else but painful distractions from the endless work of helping their master achieve his goal of creating the ultimate illness.

Followers of ruin

The followers of Nurgle are legion, for the church of the fly is open to everyone, and turns no one away, for after al, Nurgle will embrace al in the end. Amongst the more eye catching are the members of the Adeptus Astarties that at one point or another abandoned the Imperium of man and embraced the Plague father. Chief amongst the many children of Nurgle is the Death Guard. hailing from a planet of plague and disease, did the death guard see themselves as immune to such maladies, and were often sent in to the most toxic environments, that was until one day they were stricken down with one of Nurgles finer creations, and left stranded in the warp, they turned to the only thing that could save them, the Plague father himself. The Death Guard of the modern imperium are great rotting monstrosities, a fusion of armour and rotten flesh, blessed with the absence of any pain and discomfort from their dread father. Stricken down by the very thing they saw themselves the masters of, they now server the very being that brought forth their downfall. (Games Workshop 2012)

Beyond spreading death and disease wherever they travel, do these fallen Astartes also take pride and joy in the Masters great work, either indirectly by cataloguing and tallying the victims of his many plagues, or directly in one of many laboratories and research station located on the Death Guards home planet. (Games Workshop 2012)

Origins of the plagues

I will here raise an inportant question, one that will follow the rest of our investigations in to the deities of the warp. Did the existence of Nurgle, create the first plague, or did humanities fear for dying this way, lead to the birth of Nurgle? The evidence I would say supports the second interpretation, but this raises another question. How did Nurgle go from a representation of the fear of death and disease, to an actual creator of these things? This is a question we will come back to in a later chapter, and one I am note sure I have an answer to myself.

Conclusions

Nurgle is an interesting and complex character within the 40k narrative, and a good example to the inherent paradoxical nature of the warp and the creatures that lives within. The fear and dread that Nurgle creates in his followers are in a stark opposition to the demeanour and mannerisms of the god himself. he calls his followers his children, and see his creations not at curses, but rather blessings and gifts that he sends out on the material plain.

Lastly, to follow and embrace Nurgle is to embrace the inevitable, to accept the death of al things, and in the process be freed from the more physical distresses that comes with such entropy. It is also to internalize the dual nature of Nurgle, to grow strong as the rest of the world grow weak. To take suffering and rot, and make it your power and life. This is a trait that we will find with the followers of al the chaos gods, and one that further drives home the horror of these creatures. In order to become free, you must embrace that you fear the most.

References

Codex: Chaos daemons (7th Edition), Games Workshop, 2016

Codex: Chaos Space marines(7th Edition), Games Workshop, 2012

Introduction

Warp travel is a large and mostly deliberately obfuscated topic within the 40k narrative. This is partly because of the first or second hand accounts the writes often uses to describe the world of Warhammer (link here). In other words, does the Imperium for example know very little about warp travel, and how their own processes to navigate function, as a result, will the readers not be made preview to this information either. Note that in this chapter, due to the lack of information, will I need to go to earlier and later editions of the codex’s to paint a bigger and more interesting picture. I will in the references clearly label witch book is from witch edition, so you can clearly see witch lore is old and witch is new.

The Imperium of man

We will once again begin with discussing the Imperium, as a way to contextualize the rest of this chapter. This will then help us further understand how the warp travel of the other factions works. The warp and the factions relationship to it, plays a large role in how each faction function on both a large and small scale. This is partly due to the fact that the immense size of the galaxy in Warhammer 40k is a large part of the overall setting, and the ability to travel this vast space is a huge component in how narratives are presented and unfolds.

Galler field generator

The technology of the Geller field is poorly understood by those that uses it, technology from a long lost dark age of humanity (Adeptus Mechanicus).

The geller field creates a bubble of real space (or Materium) inside of the warp that the ship can travel inside, with relative safety. This bubble is the only thing that stands between the ship and utter destruction as the forces of the warp rips material object to shreds.

The navigators

We discussed in the last chapter of the psycic mutants known as the Navigator, these feared and hated individuals that held so much sway on the Imperium, despite their mutated state (The psyker). The navigators are the only humans with the ability to see the ebbs and flows of the warp, and be able to navigate their way trough it.

Warp lanes

As we discussed in our chapter on the warp, does the Imaterium exists of swirling pools of purse emotion and toughs and desires of mortals. The warp do have more stable areas then others, manifested as rovers or streams of warp energy. Following these streams are a lot safer and faster then trying to navigate the more hostile areas of the warp. These warp lanes are heavily used by the Imperium to travel between planets. These warp lanes has a huge impact on where humanity do and do not settle. This leads to the Imperium`s habited planets, are like cities in ancient the real world, located mostly along rivers and coasts that enables commerce.

Warp gates

We discussed in the previous chapter, the numerous rifts between the Imaterium and the materium, and the danger it poses to any living creatures nearby. There exists stable portals between the two worlds, these are known as warp gates. It is uncertain if these structures are artificial or naturally formed. Most Warp Gates are large enough for space ships to pass trough, but a few rare once are not larger then a doorway.

These gates do have a very inportant purpose tough. There do exist stable warp rifts, that always leads to the same place in the warp, and they are usually tied to specific warp lanes. This makes warp rifts indispensable when travelling trough the warp, as the ability to arrive at the same time, and in the same place each time is immensely inportant both for commercial and military travel.

The Tau

The Tau is the youngest of the space faring races (at least of those that play a major role within the narrative). They are presented as a strictly feudal society, living their entire lives in one of for casts, with no ability to travel between them. The Tau started as a highly aggressive race, almost at the level of the Orks, and almost destroyed themselves, if it weren’t for the arrival of the Etheirials, today they focus al their energy on the betterment of the lives of the community. This “greater good”, has been risen to the status of religion and dogma, as everything is made of the betterment of the larger community. as always, this will be discussed in more detail in a later chapter. (Games Workshop 2105 1)

The Tau do not travel in to the warp itself, as they do not have psykers ins the more traditional sense, that allows them to breach the wall between dimensions.

Gravitic Drives

As the Tau lack psyker they are unable to properly enter the warp, this is due to the fact no amount of pure power or technical know-how will let an individual or space ship enter or leave the warp without a connection to the other side. This link is most often found in a pyker. The Tau did on the other hand manage to enter an in-between realm of the Imaterium and materium, before being spit out in to realspace. This pocket of inbetween is still effected by the warping abilities on space and time from the Imaterium, and it is as a result possible to use this as a way to move vast differences in a very shorty amount of time. Th Tau ships travel to and from the Imateirum, much like a stone skips over the water, each time it touches the water its propelled forward. (Games Workshop 2105 1)

The Eldar

The ancient and mysterious race of Eldar used to be the major influence on the Materium as well as them Imaterium. We will discuss this race of creatures in their own series later. They are one of the oldest races in the galaxy, and is slowly declining in numbers and power. Several allegories can be found between the Eldar, and the High Elves of the Warhammer Fantasy narrative, as well as other high fantasy Elves. The most striking one being their long pointy ears and slender build. The Eldar also plays the same role as Elves usually do in fantasy narrative, that of the distant and mysterious mentor/ally/enemy, representing ages long gone by. (Games Workshop 2105 2)

The Webway

The Eldar has in the past, with the help of their creators the Old Once (a topic for a later day), created stable corridors and rooms within the warp, as well as gates in to these corridors. These corridors let safe and unhindered travel to take place from specific points in the materium. After the fall of the Eldar has these webways fallen in to disrepair, and most lead to dead ends, or in to rifts in to the warp itself. The Emperor himself managed to access these webways, with disasters end results. (Games Workshop 2105 2)

Webway gates

These are small stable portals the Eldar uses to access the web-way. These are usually the since of individual Eldar, or small vehicles. These wabways are the most common ways the Eldar travel trough space, as their fortress ships they call home are often equipped with at least one heavily guarded webway gate. The Eldar can send troops from these portal to far flung parts of the galaxy, and in doing so, making sure they never have to put their own home at risk in the conflict. (Games Workshop 2105 2)

The Orks

The Orks are once again the most difficult to explain,as they by design defy the logic and rules set up by the wider Warhammer 40k narrative. They are a race of genetically engineered soldiers, made only to conquer and fight. It is hinted that they, just like the Eldar, were created by the Old once. Unlike other species, that grow weaker from war and strife, do Orks in a very real and litteral sense grow stronger from it, as Orks that have survived combat for a long time, is visibly larger and stronger, that Orks that have spent time away from combat. (Games Workshop 2014)

Gork and Mork

The Gods of the Orks are as direct and violent as their subjects, they clearly and fully embody the values of their worshippers. These creatures are monsters of pure muscle and unbridled joy for combat and excitement, it is explained that they are so powerful that they easily shrug of any attacks made by the other gods. This is partly due to the fact that the Orks are by far the most numerous of the races in the galaxy, and as a result do they cast the biggest shadow in the Warp. (Games Workshop 2014)

Space Hulks

There are enormous space ships travelling trough the void of the warp, these hulking masses are amalgamation of asteroids, ice and destroyed space ships. These enormous monstrosities drifts out of and in to real space at seemingly random intervals. The Space Hulks are notorious for being infested with al sorts of monstrosities, as well as priceless ancient technology. The lack of any form of steering mechanisms also makes the ship almost impossible to control, made even worse by their tendency to randomly disappear in to the Warp. (Games Workshop 2014)

The Space Hulk is the primary transport of the Orks, as they genuinely do not care where or when they arrive, as long as there is a fight waiting for them, any previous inhabitants of the space hulk also serve as a nice distraction form the boredom of space travel. (Games Workshop 2014)

The shock attack gun

No discussion about Orks and the warp would be complete would complete without the mention of the Shock Attack gun. This device is a perfect example of the vast instinctual mechanical knowlage of the Ork species, as well as their utter inability to use it for anything then warfare and short sighted destruction.

The Shock Attack gun works much like an Eldar Webway only on a much smaller scale. This device has the ability to create a (relatively) stable tunnel trough the warp, from the entrance of the gun, to wherever the wielder is holding. This technology is not used to revolutionize space travel, or improve logistics, but rather its used to fire Snotlings (small Orkids), in to the armours, tanks and or bodies of their enemies. (Games Workshop 2014)

The Necrons

The ancient species of the Necrons do not use the warp as the rest of the factions in Warhammer 40k do. These ancient creatures are made entirely out of living metal, their bodies forever locked in the limbo between life and death. The Necrons do not have psykers within their ranks, and can as a result either enter the warp, or navigate its invisible currents, they are as a result forced to use other means of transportation. (Games Workshop 2011)

Inertialess Drive

This seemingly arcane piece of technology allows the Necrons to travel faster then light without expending endless amount of energy, or expanding endlessly in mass. Making it possible for the Necrons to travel short distances in much faster speeds then the younger races of the galaxy. (Reynolds, 2014) The inertless drive has been used in other fictional universes such as Triplanetary and Lensman series of novels. Michael Pedler claimed to have created such an intereteller drive in the late 90s. He supposedly did this troguh his company called Inertialess Drive Corporation Limited, this company foreclose for bankruptcy in early 2007.

Dolmen Gates

As their war with the Eldar continued, did the Necrons manage to squire access to the biggest advantage available to their enemies, the Web way. Using the technology of living metal, were they able to boar holes in to the web-ways itself. It is interesting to not that the Web way is described to be somewhat sentient, it is as a result, capable of detecting and shutting down these breaches in to its system. The Necrons needs to quickly leave and exit the web-way as a result, or be trapped forever. Even with this disadvantage, does the Web way allow the Necrons to travel far faster then any other race, apart from the Eldar themselves. (Games Workshop 2011)

Discussion

I have here presented a number of Factions within the 40k narrative as well as how they travel trough vast distances of space. The ways the civilizations travel to space partly explains how the different civilisations function.

The Psyker

The Psyker is a vital part of travelling trough the warp, as well as accessing the powers of the warp. A civilization that do not have access to psykers, do not have access to the Warp. Races like the Tau and Necrons that lack a psychic link al have different ways around this fact. Their solution and mentality towards this problem is also indicative on how the overall philosophy of the species works.

Technology and the Warp

Warp travel is both a mechanical and magical procedure. The warp, and any procedure related to the warp are by far the area where the two mix the most. As I have tried to show in this and previous chapters, are the lines between science and magic often highly fuzzy within the the narrative of the 40k narrative. Terms like Alchemy is almost interchangeably used, and concepts like miasma and neurological diseases, can be used to describe the same thing. In no other area is this as clear as the navigation of the Warp, as its partly a mechanical procedure, and partly a mystical ritual.

Now with a basic understanding on what the warp is, and how it is used, will we move on to some of the denizens of the warp, beginning with the human centred pantheon.

Referencer

Codex: Necrons (5th Edition), Games Workshop, 2011 pp. 6, 8, 27

Codex: Tau Empire(7th Edition), Games Workshop, 2015 1

Codex: Craftworld Eldar (7th Edition), Games Workshop, 2015 2

Codex: Orks (7th Edition), Games Workshop, 2014

Shield of Baal: Exterminatus, Joshua Reynolds, 2014