This chapter will discuss how the Orks points of view turns atrocities and horrific events into darkly comedic situations using context and dramatic irony. The primary role of the Orks, besides their use as a constant antagonist to the major point of view factions humanity, do they also serve as a form of comic relief. The Orks are often featured in comedic cartoons and comics, and the narrative that follows them as the major point of vire characters are always centered around comedy and more often than not, slapstick.
The Ork mentality and War
I discussed in earlier chapters that the Orks are not affected by warfare and strife like any of the other races are. To them mortality is not something to consider or worry about, and war is nothing but a fun and exhilarating adventure. This mentality allows the reader to temporarily join the Orks in this mentality via suspension of disbelief. Note that this narrative form seems to mainly be used against other Orks, where both sides of the conflict are equally as unfaced by injury, trauma or death.
The Orks are furthermore described as having little to no empathy for the suffering of others, and when they do show concern for another, or even save another of their kin, it is always a close friend, and the interaction is soon forgotten. Lastly, are the Orks shown to be irredeemably violent, destructive and by most definitions evil. This description makes it easier for the reader to laugh at the struggles that the Orks suffer and are subjected to. Games Workshop primarily uses the Orks as a comedic foil in this manner when they are facing other military forces, or other foes that are capable of fighting back in one way or another. An Ork act of genocide of civilians or any similair atrocities are mostly described as the tragedy it is, and the image of the comedic relief is instead replaced with that of a faceless, remorseless murderer.
For an Ork, there is little to no difference between besieging a planet, and fixing the rear axle of a truck, both are equally pedestrian in the lives of the Orks. This, if anything, shows the mundanity that warfare takes up in the lives of the Orks.
Enthusiasm and slapstick
The Orks are given an eternal can-do attitude, and endless energy. They are not describe as being dumb, just short sighted and overly eager. The first solution is always the best, and that solution is often poorly thought out, dangerous and most importantly, funny. It is easy to draw parallels between the Orks shortsighted plans of, for example ramming a rocket in to the side of a wall before firing it “to make sure it hits”, and the convoluted antics of Tom from Tom and Jerry, or the Calories from Loony Toons. The audience’s knowledge of the inevitable failure, contrasted by the character’s ignorance is where a lot of the comedy comes from in this form of comedy, and the buildup is just as important, if even more so then the finale.
One example of such logic comes from the Ork campaign in the game Dawn of War 3, where the Orks after building an enormous gun, realized they had no way to bring it back. After realizing that the gun was not properly secured and would violently jump every time it was fired, the logical solution was to simply shoot it all the way back to the base!
This kind of mentality and the situations they create is at the base of much of the comedic relief that the Orks bring to the setting. By approaching each task, regardless of how bloody, painful and pointless with a sense of pure enthusiasm, do the Ork work as a great contrast to the otherwise bleak, hopeless and dread filled setting of Warhammer 40k.
Dramatic irony
The concept of dramatic irony pertains to the idea that the reader understands things that the characters in the narrative do not, or have information they are not allowed to have. This allows the reader to make connections that the characters in the text are robbed from making. This narrative device is often used to underscore tragedy or tension.
Much of the comedy, as well as the drama relating to the Orks lies in the fact that the Orks can never truly understand the pain and suffering they are bringing on to the rest of the universe. Likewise are the rest of the races in the franchise unable to grasp the logic and emotions behind the Orks’ seeming acts of random and unprovoked violence. This tension between viewpoints, and the lack of information that each faction has about their opponents is what drives most of the drama of the setting, and as I have shown with the Orks, also the comedy.
Final thoughts
By presenting the Orks in the way that Games Workshop does, can they inject an element of comedy, if not a decisively dark one, without sacrificing the grim and depressing tone that permeates most of the franchise as a whole. It can be argued though that the series of Warhammer 40k has gotten less deliberately comedic and more serious in tone as the franchise has gone on.
The flexibility of the Ork depictions allows them to be used as both a comedic foil, and as a horrifying threat as the narrative needs it. I am aware that the Orks are far from the first, or the only way that slapstick and dark humor has been used this way. The Orcs in the Peter Jackson films for example both play the role of primary antagonists, and foils much of the movie’s comedy. While many of Warhammer 40,000’s characters and themes can become comedic by the nature of their grandness and extremeness, I would argue that the Orks is the only place where this is done fully intentionally.
Next chapter will conclude this part of the series, as I will combine all the parts of the Orks as a narrative device and set of characters, and combine them into a unified whole.
Modern facism is intrinsically linked with futurism in their love for violence and glorification of warfare. Power and the subjugation of the week are also concepts that both movements share. These are ideals that can be found amongst the Orks.
I will not dive too deeply into either of these movements in this chapter, and I will mainly show enough evidence to present certain similarities between the Orks in Warhammer 40k and the aforementioned movements.
I want to start with specifying that my arguments here are somewhat of a simplification of the movements and their motivations. There is for example, an anxiety over economic and cultural values being diluted that exists within facism that have little or no direct links to the Orks. Futurists, and fascists alike like to point towards a corruption in the current system and a need for change that is not present in the Orks, as the Ork society itself is already in constant flux and change.
Futurist Orks
Depictions of Orks tend to reflect some elements of Italian futurism. Italian futurism was founded and spearheaded at the beginning of the 1900s by Filippo Tommaso Marinetti and some like minded artists in order to escape the decadence and corruption they saw in their society. They believed that the past had forever entrapped their nation in a state of stagnation and decay. They saw ruins of ages past, and museums dedicated to old masters and they despaired. The Orks do not make history, and have no interest in preserving their own or others. (Games Workshop. 2014, Rye. 1972)
The futurists, as their title entails, praised the future and a forward motion, and despised the past and traditions. A purist futurist would burn all the world’s museums and exhibits, and would expect their followers to do the same. The new world was one of automation, speed and war, of thrills, fast cars and big guns. The future was for the bold, strong and young. The Orks are likewise obsessed with guns, fast machines and loud sounds. (Games Workshop. 2014, Rye. 1972).
Machines and cars
The speed and novelty of the car and motorbike is something that tends to appear in Futurist art. Futurist art tends to display the glorification of these machines, and most specifically for the speed it provides. One needs only to look at the Futurist manifesto to find several examples of the joy of speed and the allure of industry. The power that comes from driving a large, fast or powerful machine, or from the heavy industry that takes part in its manufacture, the Orks are likewise obsessed with speed and machinery. (Rye. 19722)
The thrill of speed and loud engines is something that fascinates the adrenaline hungry Ork. The Speed freaks are the most prevalent example of the Orkish need for speed and the allure of the reave of engines and the smell of gasoline. Like many other of the Ork, and Futurist obsessions does the love of machines steam from the sensation of adrenaline, danger and power that they exude. This is particularly true for large, fast or otherwise dangerous machines. (Games Workshop. 2014)
Guns and war
The Futurists despised pacifism, moralism and what they weakness in any form. Many times this was professed through their love of weaponry and war. It was only through the conquest and killing of the weak that the strong may rule. But more importantly, the act of wanton destruction and violence was in and of itself, an expression of art and freedom. (Rye. 19722)
The links to the war hungry and weapons obsessed orks is not a difficult one to make. Just like the futurists, the Orks also seek war for its own sake, and destruction for the joy of it. The act of shooting a gun, or burning down a building is very much seen as expressions in and of themselves, and acts that are enjoyed not for the outcomes they bring, but rather for the joys of performing them. (Games Workshop. 2014)
Kill the past!
A grand statement of the Futurists was their object hatred of the past. To burn down the libraries and museums of the past, to let the foundations of the old cities were seen as ultimate expressions of freedom, and a way to lead humanity into the future. The Futurists lived for the future, yes, but more importantly they lived in the present, and they embraced the fact that one day they too would be discarded for the future generations. (Rye. 19722)
While the Orks do not have an outspoken hatred for the past, they do not spend much time or energy in preserving it. Besides some storis and legends carried by the Runtherders, an Ork profession dedicated to slavery, are they not described as creating any lasting monuments, cities or works of art. An average Ork is described as being a creature of the present, rarely having a plan further than to his next meal. They live purely for the moment, and for the violent and turbulent experiences of the present. (Games Workshop. 2014)
Orks often end up destroying and burning the past of other races in their conquests, many of who have their own relationship to their past. The Eldar as described earlier are representations of a bygone age, of the glory of the past, a trope depicted by the Elves first in Tolkien’s works, and then in later fantasy novels that followed in his wake. Humanity is depicted as being in fear and reverence of their past in equal measures, and the Necrons are creatures of the past brought into the present. In other words, does the Orks not necessarily follow the Futurists hatred for the past, or their wish for its destruction, but their actions non the less leads to these goals. They are an expression of Futurist goals, if not intentions. (Games Workshop. 2014)
The asexually reproducing warrior
It is impossible to speak of the Futurists without mentioning gender. As the astute reader have already noticed does the interests of the Futurists, and the Orks fall within activities that would in the 1910s, as well as today, fit into a stereotype masculne stereotype. The love of war and guns, the need for speed and industry are all traits that are labeled as masculine. The hatred of the femenine and as a result, the queer is something you once again only need to look at the Futurist manifesto to find. To detest women and feminism is clearly and overtly stated as one of the primarily goals of the Futurists. Womanhood and femininity is seen as weak, nurturing and pathetic. One of the Futurists dreams were to device a way for many to be able to reproduce asexually, without the need of women. Creating an unbroken line of voulent, adrenaline hungry men. (Rye. 19722)
While the Orks are not openly antagonistic towards women, they are described as despising many of the traits stereotypically related to women. Empathy, emotions and softness are traits that are often given to the Orks enemies, by the Orks. More importantly are the Orks all depicted as masculine, being referred to, and referring to themselves as He. The Orks also reproduce Asexually, once agian expressiong Futurist goals, if not intentions. (Games Workshop. 2014)
Facism and the right of might
Many of the same questions and goals that drove early Italian Futurism also came to drive both German and Italian facism during world war 2, and beyond. The ideas of facism has been discussed in the Imperium of man segment at large, but I will go over some of the points again here, as I relate them to the Orks.
The hierarchy of might
One of the founding tenets of facism in its many forms has always been, the fact that might, gives the right to rule. While this might be physical in the case of the Orks, this is not always the case. This might come from perceived breeding, intelligence or ideology. The important part is that a group uses a perceived superiority to control another, and that it is the fate of said group to be ruled by their supposed supperiors. (Nathan Crick. 2022)
The Orks, as I have shown, is a highly hierarchical society that uses violence and intimidation to keep those under them in line. It is quite literally the rule of the strong. Orks do not care for intelligence, carisma or vision in their leaders, only strength, brutality and fearlessness. The Orks are described as being instinctively receptive to follow the biggest, meanest and strongest of their kind. (Games Workshop. 2014)
Us and Them
In order to have a society of might, you must have clear definitions of a we, and a them. In order to have a superior class of rulers, there must always be an inferior one to be ruled. This distinction is the basis of many alt right movements, the Italian fascists included. In order for the ideology of facism to truly work, there must be an eternal enemy, an eternal theme that We can show superiority ovcr. For a facist narrative to work, they must first present an in group of the We. Most often is this we took the shape of a nation state or a specific political organization (Nathan Crick. 2022).
Facism often grows in the wake of discontent and worries. The facist arguments works by taking these negative emotions, and forcing them on a real or projected other. Immigrants, national or religious minorities, social and medical others are all common targets for this other (Nathan Crick. 2022).
When it comes to the orks is this distinction is twofold. Firstly there is the distinction of the Orks and the rest of the universe, then there is the distinction between the Orks of different clans, and even Orks within the same clan. Though not ideologically driven most of the time, the Orks seem to primarily use this us and them mentality as a justification to start fights with everyone around them. (Games Workshop. 2014)
The eternal war
As mentioned before, does facism in its many forms need an enemy to show its superiority over. This always necessitates an eternal war or struggle against this other. In order to unite the we, there must, scoring to facist rhetoric, be a they to unite against. To be superior, there must be an Other than can be inferior. Facism can not last without an enemy to fight. There can, in other worlds never be a peace, as peace would imply that there is no longer an Other to use to put the self in relationship to. If an external enemy can not be found, I would argue that an internal one needs to be created, something that we have examples off in Nazi Germany, but also Stalinist Russia.
The Orks are quite literal in this sense, as they can not thrive, quite literally, without being at war. The concept of peace is not only undesirable, but utterly outside of the Orks world of understanding. Life is strife and war, and fighting, there exists no peace, only periods where there is currently no fighting happening. (Games Workshop. 2014)
When the Orks can not find an external enemy to fight, they are more than happy to fall upon each other in civil wars, vendettas and enslavements and destruction. Due to the ways that the Orks are described to work, does this lead to a net positive for the Ork society as a whole. The Orks are in other words proof that, at least for them, the Facist doctrine does work, war and strife, where the strong survive, is truly the only way towards success as a civilisation.
Divine destin
A grant part of the facsit mythos is the idea of a divine, or preordained destiny, of the We. A destiny to rule all others. For example did the nazi ideology in based on the concept that the Germans were the rightful inheretor of the Arian race, and are destined to rule al of the Euriasuan continent. Divine destiny is something we have discussed before, and I indeed dedicated an entire chapter to the concept when discussing the Imperium of man. Many movements, be they religious, like the Crusades, or secular like the European colonial projects, have used the justification of a divine or otherwise preordained plan to justify their atrocities. (Nathan Crick. 2022)
The Ork version of this is known as Ragnarork, the myth that one day we’ll all of the galaxy be covered in war and strife, and on this day the Ork gods will materialize into the moral realm and lead their children to ultimate victory. The Orks, as most of the other factions in the franchise, see themselves as the galaxy’s true and justified ruler. (Games Workshop. 2014)
Conclusions
As I have attempted to show in this chapter, do the Orks follow or live up to many of the Facist and Futurist aspirations, while not always having the same motivations. The Orks live the life of a warrior and destroyer, while existing within a deeply structured and hierarchical society. Many core concepts liek asexuality and eternal conflic ois something that is fully, and intricate built in to the Ork society, and the Ork as an individual.
My second goal with this chapter was to introduce the reader to a deeper understanding of both Facism and Futurism, as well as to point to how these two movements are linked with each other. As facism, and its justification is a big part of the Warhammer 40k setting, especially when it comes to the Orks and to the Imperium of man, is it vital to have at least a surface level understanding of these concepts.
References
Games Workshop. (2014) Codex Orks 7th Edition
Nathan Crick (2022). The Rhetoric of Fascism [Elektronisk resurs]. University of Alabama Press.
This chapter is meant to be an introduction to those of my readers new to the franchise. This series will focus on the seventh edition Orks, to keep with the rest of the series continuite. These Orks do look a bit different from their modern counterparts. This notroduction will be crucial to understand the rest of my arguments in this series. I will make plentiful references back to this chapter throughout this mini series, so feel free to return back here whenever you need it.
Nature and nurture
The Orks are some of the primary antagonists of the Warhammer 40k setting, an ever present evil that forever threatens the other races with their warfare and raiding. Described to be one of the oldest races of the galaxy, the Orks were with the Necrons and the Eldar at the beginning of the beginning of the history of the Warhammer universe. The Orks are described as being genetically engineered by the Old Once, woh created the Orks toghter with the Eldar to fight the tyrannical Necrons. The Old Once play the role of the predecessor trope, common to many sci-fi settings, as well as conspiracy theories. Notable examples are the Alien series by Ridley Scott, and the Old once in HP Lovecrofts series, a source of inspiration I have mentioned earlier in this series.
The Orks are described as being musculair built with very little body fat, no hair, and with a height that would outstrip a human if they “would just stand up straight”. They have small red eyes, almost non existent noses and the huge sharp teeth of a predator. Everything in the descriptions of the Orks physical appearance aims to convey the sensation of a creature breed to kill. The are for all intent and purpose, purebred killing machines. The Orks are secribed as reproducing asexually, and reproduce by relesing spores in to their environment throughout their lifetime.
Furthermore the Orks are depicted to get stronger from the strife and pain they endure. More specifically, Orks grow stronger, bigger and tougher from the act of violence, be it a bar room fight with another Ork or a prolonged firefight with an alien army. All these sensations of violence are described to be highly beneficial to the Ork in question. Even the act of preparing for a violent act, such as making weapons or preparing once armor is described as beneficial to the Ork. The fact that the Ork, unlike most of the galaxy, requires this form of activity to remain strong and healthy, is the basis for much of the setting’s conflict, as Orks has no real choice then to seek out conflict wherever they can.
Warfare as culture
As mentioned above, are Orks dependent on a steady diet of foolhardy violence much in the same way as a human is in need of food and sleep, and will go to great lengths to acquire this stimuli, including taking any opportunity to start a brawl with a fellow Ork. These acts of random bloodshed would make the Ork society highly self destructive if it were not for their toughness and positive reactions to violence, as well as their instinctive desire to follow those bigger and stronger than themselves.
The Ork society is deeply rooted in the notion that might makes right, and it only seen as natural that the bigger has the right to boss over the smaller. In the hierarchy of the Orks, there is almost always someone smaller than you to bully. For each large Ork there is a smaller Ork, and for each smaller Ork, there is a Gretchin etc etc.
Much of what an Ork knows, and believes, he gets directly from his DNA. An Ork is predisposed to have certain traits, such as a need to go fast, or have an unquenchable thirst for looting, depending on what faction that each individual Orks grew from. Ork experts, such as engineers and medics are also born with a rudimentary knowledge of their craft, that they can later improve by experimentation. While the Orks have specialists, the most prominent fields being engineering, and medical care, much of their advances in technology and science are described to be due to their ability to will a certain reality into existence.
Mind and matter
I have discussed in earlier chapters the concept of the Warp, and the psychic energies that flow from there. While humans and Eldar are able to directly affect and direct these energies, are the Orks not as much in control of psychic energies, as they exude them. The Orks are described as creating a sphere of energy around themselves that subtly changes reality to what the Ork in question believes it to be. For example, does many Ork guns work, partly because the Ork wielding it believes it to work.
The Orks are in other words projecting their own reality onto the “objective” reality around them. The extent of this ability varies from edition to edition, and writer to writer. In some cases is this psychic power able to make any form of machinery work as long as they roughly look the right shape. In other cases does this ability simply provide the last push needed to get a barely functioning device or weapon to work.
A large quantity of Orks has the ability to draw others to its kind, if they happen to be part of a particularly intense battle, or if a particularly powerful leader is preparing an invasion. This combined invasion, colonization effort and sacred war is what’s known in universe as a Waaagh!. Many narratives are started, or fully driven by the arrival of a Waaagh! on a planet, or in a star system.
The kingdom of shrooms
Lastly, I will spend a little time discussing another point that makes the Orks such an interesting antagonist and driving force of the Warhammer 40k franchise. I mentioned before that the Orks reproduce by leaving spores to create new Orks, but this process creates far more than just Orks.
At first this process will only create more mushrooms, large fields of them in caves and other shaded areas. These mushrooms will form the basis for the Ork diet, as well as provide everything from fuel to medicine to alcohol. Next comes the Snotlings, weak miniature Orks whose only purpose is to tend to the mushroom fields and the squigs that form alongside them. Squigs are aggressive reptilian creatures that form all manner of functions in the wider Ork society, from food to tools, these creatures make the backbone of the Ork ecosystem.
Following the Snotlings and Squigs are the Gretchin, larger creatures that share many of the tropes of a fantasy goblin (source), in that they are malicious, greedy and not very smart. The Gretchin function as the slave class, making everything from builiding shelters and carrying supplies to making breakfast and shining boots.
Lastly does the Orks emerge, taking the longest to form. When they do emerge, they do so to an environment custom tailored to their comfort and approval, with food, medicine and servants enough to focus all their time and energy on waging war on anyone in their reach. The Orks are in other words, not only designed perfectly to fight, but their entire society grows organically to make sure they can spend all their time doing so.
Conclusions
The information in this chapter will form the basis of my analysis into the world of the Orks in Warhammer 40k. This chapter is not meant to be exhaustive by any means, and as usual if you wish to get the full experience I suggest you go and read the source for yourself. This rundown is simply meant to give enough background that a reader with no prior knowledge of the setting will be able to follow along with my reasoning and discussion.
Next chapter will focus on the ties between Facism and Futurism, and how both cultural movements can be seen within the depiction of the Orks in Warhammer 40k.
This chapter will serve as an introductory chapter to the Orks as well as to the concepts I will discuss in this part of the series. Because the Orks are the ever present antagonist of the franchise, as well as somewhat of a comic relief, I have decided they are worthy of their own series altogether. Each of the topics presented in this chapter, will have their own fully fleshed out chapter later. The reader is free to jump to whatever chapter they find the most intesteresting, but they are written to be read in order.
The nature of the beast
In this second chapter I will outline everything needed to be able to follow along with the rest of the augmentations I will make in this series. If you are already familiar with the setting of Warhammer 40,000 you may want to skip this chapter, as I will be retreading a lot of familiar ground.
This second chapter will focus on the in universe description of the Orks physiology, history, society and quirks. Their faith and strange abilities to seemingly warp reality will all be covered here. The Orks are described as power hungty, murderous monsters who lives only to kill, burn and destroy in the other factions narratives. In their own narratives they are described as being driven by pure need for adrenaline and action, for fast cars, guns and violence, something that I will show ties them closely to futurism.
The Orks furthermore are driven by absolute certainty in their own greatness and invulnerability. Each individual Ork is fueled by an absolute sense of self, and the deep rooted belief that he alone is the greatest, not only amongst his kin, but amongst every species in the galaxy. The Ork race as a whole see themselsves as the true masters of tue universe, and this belif justifies them subjecting and murdering as they see fit, a traits they share with the Imperium of man, even tough their flavour of facism is somewhat different.
Futurism and facism
Facism is a common theme within the Warhammer franchise as a whole, as seen in my series on the Imperium of Man, a militaristic empire run on cruelty and xenophobia. Facism, being the ideology that the mighty and the strong have intrinsic rights to rule over the weak, for if the weak were strong enough to rule themselves, they would not have been subjected. The ideology of might making right is something that is deeply tied to the Ork narrative of Warhammer 40k.
One of the defining features of facism, and similar movements, is the need for an Other. The concept of the Other is one I have discussed several times before on this website. In short teams, the other here is defined as something or someone that exists outside the self, and can as a result be used to define what self is not. If the othter for example is weak, the self is strong, if the other is dumb, the self is wise.
The artistic tradition of futurism is one that fascists of Europe lashed on to, arguably at least at the beginning of the 1930s, before they became too rebellious for the status quo of the ruling parties. For, as I will discuss later in its dedicated chapter, is futurism, at its heart, an ideology of change. Formed out of the frustrations of stagnation and cultural and political corruption in 1920s Italy, Futurism aimed to throw off the old, scorch the land, and build the new on the burning ashes, only to have their predecessors repeat the cycle.
Comedy and the importance of narrative points of view
As mentioned before, does the Orks often serve as dark comic relief to the rest of the otherwise melancholic setting. The Orks provide a dark variety of slapstick and brutal comedy, often in the form of dramatic irony. As I have hinted before is the Ork presented in their own texts, rather different then the one presented in the other races narratives.
This is predominantly down to dramatic irony, a narrative device where the reader of a text knows more than the characters in said text. In this case, the irony comes from the fact that the reader knows that the Orks, and the rest of the characters see the universe radically differently. The Orks have no concept of mortality and death, they feel very little pain, and grow stronger, smarter and overall healthier by fighting, much in comparison to any other species, who rarely comes away from a prolonged fight without losing something.
The eternal antagonist
In the last chapter before the conclusion I will shortly discuss the idea of an eternally irredeemable foe in fiction. Be it the droids in Star Wars or the zombies in Night of the living dead movies, are vital for the genre of action to function. The audience needs an unambiguously evil force that the protagonist can dispatch with impunity. Tolkien mentioned in his letters that he struggled with his rendition of the Orcs, wanting to give them humaninsing traits, but yet seeing the need for a foe that the heroes could strike down in vast numbers, without becoming villains themselves (Tally, 2010).
The Orks with their monstrous physique, absolute lack of empathy and morals, as well as their obsession with violence and guns makes them a perfect foil. The fact that the Orks themselves do not suffer in any real way from being hurt, or even killed, furthers their role as a perfect fodder for the protagonists of the franchise as a whole.
Next chapter
The next chapter will give the reader an in-depth presentation of the narrative threads and important characteristics of the Orks within the wider franchise. This will allow me to present more deep and nuanced topics, without needing to pause to explain context.
Tally, Jr., Robert T. (2010) Let Us Now Praise Famous Orcs: Simple Humanity in Tolkien’s Inhuman Creatures, Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 29 : No. 1 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol29/iss1/3
Ancient Egypt has for decades inspired modern man with their mystery, and seeming fixation with death and reincarnation. The mystery hieroglyphs and monuments of this long lost civilisation has inspired fantasy, horror sand sciense fiction writer since the early 1800s. In this chapter will we delve in to the origins of these tropes, as well as some examples of the tropes that eventually led up tot he modern interpretation of the Necrons in the 7th edition of Warhammer 40k.
Ancient Egypt
until the discovery of the Rosetta stone was the texts of the ancient Egyptians a total mystery to the western researchers and archaeologists, as well as the general public. The strange animal headed gods, the mummified remains and the ominous structures and tombs awoken something in the public consciousness of the general public of the time. The text The tomb by Edgar Allan Poe, as well as numerous texts by HP Lovecraft al played on these new fears and fascinators.
The pop cultural fascination with ancient Egypt have not waned since then, and lived on trough several movies, comic books and physical and electronic games. Most relevant to this text is the faction the Tomb Kings, found in the Warhammer Fantasy franchises, also published and produced by Games Workshop, the creators of Warhammer 40k. This faction draws some clear and obvious inspirations to real life Egypt, as well as many of the theories of earlier theories of Egypt. Much of the faction, as the title suggests is based on the Egyptians connection with death and mummifications, as they are a faction made fully out of undead retextures, and hailing form a civilisation that is described as being obsessed with the quest of overcoming death. Note that these are themes that can be found in the Necrons as well. The Tomb kings are worthy of their own text eventually, as they share some interesting ties to real life events, as well as old cultural fears of orientalism and the great Crusades. The Tomb Kings, as well as the Necrons both play with the idea that some secrets are best left in the earth, undisturbed.
Let the dead rest where they lie
The idea of forbidden or dangerous secrets being buried by ancient lost civilisations is far form a new idea. From aliens and interdimensional creatures, to mycological monsters and fey, it seems that the idea of predecessor civilisations and deities have seemingly haunted the human imaginations for as long as ruins could be found. A well known myth is the idea of the pharaohs curse, once again originating in Egypt, where the texts found inside tombs of pharaohs believed to be wards designed to cure intruders. These texts were later translated and found to be used to primarily ward off evil spirits, and not mortal invaders.
Arriving on an alien seminally deserted planet, only to later find out that it is indeed filled with ruins, and possible remnants of a possibly malicious alien race is a common sciences fiction trope. The Necrons follows in this reach cultural tradition by presenting them as a poorly understood, and previously overlooked danger from the past. As discussed in the Adeptus Mechanicus chapter, the world of Warhammer 40k is one full of buried dangers and secrets bet lost in the past. The Necrons furhter cements the universe as a cold, pitiless and dangerous place for humanity to explore.
Necrons and the other races
The the human factions the Necrons has, at least until the ninth edition (a topic for a later time), been seen exclusivity as an unknowable foe. This role is not their only one tough, and I will here present the main uses that the Necrons fall in to in the wider narrative of the Warhammer 4k universe.
The old foes of the Necrons still live across the stars, most predominately the Orcs and the Eldar. Both of these factions are seemingly created by the Old once with the direct purpose of stopping the Necrons, something they were inevitably unable to do, but of vastly different reasons. The Eldar of the 41th millennium is constantly vigilant against the arrival of their old foes, and will sacrifice much to make sure that their burgeoning empire is safe from these terrors. The Orks on he other hand see them as just another foe to fight, tough just as with the Eldar, they find their technology to digest and complicated to properly loot and incorporate in to their own designs.
From the Necron point of view, these are just another hurdle to overcome, another plague of life that needs to be eradicated form the face of the universe. Many Eldar tales and myths tells about the return of the Necrons as the ancient foes. Many stories centring on the Eldar is indeed focused on fighting the deathless once.
For the races of humanity and Tau, the Necrons are an unknowable nightmare of death and destruction. Humanity in particular, as a result of being the galaxies most prominent inhabitant has met most of the Necrons ire. Humanity has had several traumatic experiences with the Necrons, often leading to the utter destruction of the hapless human populations involved. When victory is achieved it is always at a great cost for the humans involved (Games Workshop 2015). It is easy yo draw parallelises between the use of the Necrons in the Warhammer 40k franchise, and a similar faction from the Start Trek franchise, namely the Borg. Both are positioned as unimaginably advanced mindless creatures with no other interest then to subjugate and destroy their human adversaries. (Paramount Pictures 2002)
One of the more interesting facets of the 40k universe is indeed the sense of intermitted destruction, only held at bay by other, equally catastrophic forces of destruction. The rise of chaos is for example directly at odds with the goals of the Deathless Necrons and the every consuming Tyranids. (Games Workshop 2015)
Conclusions
In this chapter I have presented you to a small number of inspiration and tropes from real life as well as previous fictional works. We have also discussed how their role as an ever present unknowable evil can be understood in relationship to the rest of the narrative. We can see how the mysteries of ancient Egypt, as well as tales of death and resurrection has been an inspiration for fantasy and existential horror, and how these themes eventually found their way in to the Necrons of the 7th edition of the Warhammer 40k franchise. Next chapter of this series will conclude our discussions on the Necrons for now, before moving on to the other existentialist horror of the franchise, the Tyranids!
References
Games Workshop (2015) Codex: Necrons. Games Workshop
Cavendish, R. (1983). The Black Arts: A Concise History of Witchcraft, Demonology, Astrology, and Other Mystical Practices Throughout the Ages. TarcherPerigee
Paramount Pictures. (2002). Star trek, the next generation.
The ancient enemy of the Eldar, and the Old once, they gave their souls in return for endless life. The Necrons represents an ageless, unknowable evil in the Warhammer 40k setting, their technology so advanced, they seem to have magical powers.
Introduction
As always will I begin my series with a quick rundown on the major topics series, as well as giving a general overview of what the faction is about. I want to in this series use the Necrons to discuss a few topics, chief amongst them being, the individual and the collective, death and rebirth, the Necrons complicated relationships to their gods.
Source: Necrons codex 7th edition, Games workshop 2015
War and sickness
The story of the Necrons is one of suffering and strife, like many narratives in the 40 universe. Plague and war are themes that runs trough the factions narratives, I will begin this text by giving a short summery of the Necrons in universe history.
The age of the Necrontyr
The Necrons was once a mortal race, made out of flesh and bones, known as the Necrontyr The race of the Necrontyr is described as a warlike race which short life spans full of suffering and illness. This fate has lead them to developed a burning obsession with death and immortality. They searched outwards towards the starts to find the secrets to life and death. As their armies expanding ever outwards, their kings and priests devoted their times to gain mortality via rituals, research and the great acts of fame and infamy. As their empire grew, the Necrontyr eventually fell to infighting, and it was this division that eventually forced the Necrontyr rulers to find an external enemy to fight. They chose for their foes was the immortal Old Once, the future creators of the Eldar race. The Necrontyr despised that the long-lived and tranquil Old Once refused to share the secret of immortality with the long suffering Necrontyr. (Games workshop 2015)
War of the heavens
The Necrontyr greatly underestimated the power of their foes. In an hour of desperation their ruler, known as the Silent king made a deal with ancient and all-powerful gods, known as the C’tan . He offered the the servitude of his entire races, for the gift of immortality, as well as the power to smite their foes. The C’tan offerd the Necrons the secrets of a process known as the biotransferences. This arcane procedure transformed the Silent kings subjects from the mortal Necrontyr of flesh and blood, to immortal Necrons of steel and plasma. This king, known as Szarekh, later realized what he had done to his races, and lead the Necrons against their former masters, managing to break doen the seemingly immortal C’tan and enslave the remaining shadowy forms of their former gods.
In the end, both the C’tan, and the Old Once lay defeated, but the Necrons were to wounded and scattered to continue properly rule their new empire. The silent king Szarekh ordered al his subjects to go in to hibernation, and return only once the galaxy was once again ripe for conquest. (Games workshop, 2015)
The awakening
the Nercons awaken decades later to find a galaxy infested with new adversaries, as well as old foes. The Necrons awoke scattered, disorganized, and in some cases, quite mad. One of the more intriguing facets of the Necron narrative, is what the passage of time has done to them during their cryosleep, as endless aeons have not left them without wounds. Despite these early setbacks, the Necrons have managed to slowly retake more and more of their former empires Their technology vastly outshining anything that the other races have to their disposal. Here is where the cosmic horror of the Necrons comes from. they are portrayed as an ancient, sleepless race of death machines who have managed killed their own gods. It is not a question of if the Necrons will return, it is a question of when. (Games workshop, 2015)
Death, reincarnation, and the individual
The Necron society is represented to be built on honour, war and a strict cohesion to hierarchy. The overlords and kings at the top being able to freely pursue any agenda they see fit, while the lowly Warrior and scarabs are little more then an automata, with only middling consciousness remaining.
Gods and masters
The C’tan, being the architects of the Necrontyrs transformation in to the Necrons was first lorded as gods by their followers, the Necrons. In return for immortality and power, the Necron would swear endless servitude to their new gods.
The highest members of the Necron society, the priests, researchers and rulers are the only individuals that were allowed to keep their personality, autonomy and memories intact when the when trough the biotransference. In fact, the codex descries how, not only these individuals persevered by their new bodies, and their ambitiousness now freed from mortal fears and desires greatly enhanced their powers.
Many of the Necron worlds are described to have been lost during the season of cryosleep, and even those who have remained intact, have come out changed. Their vital programming irreversibly damaged, and the inhabitants have often awoken with a strained grasp on reality, at best. The dichotomy of madness, and soulless logic is one of many opposing themes that can be found within the Necron narrative. (Games workshop, 2015)
Slaves and servants
The lesser casts of the Necrontyr were not deemed worthy of being fully transformed, in the same manner as their masters were. Instead only the tiniest bit of each individual was preserved within each Necron Warrior. These Warriors are now traded, stolen, and discarded much like any other commodity would, and the Necron lords regard them with as little empathy as the weapons they carry.
Following betrayal of the C’tan, these once world ending deities split up were, enslaved turned in to mere tools to the pragmatic and power hungry Necrons.The masters had effectively become the slaves. The C’tan of the 41th millennium is used as glorified energy sources for al manner of twisted and horrendous war machines, much to the joy of their Necron captors. (Games workshop 2015)
Science and magic
We once again return to the topic of sciense and magic within the world of Warhammer 40k. We find the same common trend of mixing the terminology of magic, with that of the scientific. Note that much of these descriptions comes from the viewpoint of the enemies of the Necrons, who see their advanced technology akin to mysticism and arcane wonders. (Games workshop 2015)
Techno-sorcery
The levels of technological mastery of the Neconrs is has allowed them to bend the very laws of physics to their whims. They are able to slow down down time, travel to time and space in an instant, or to service possible futures. This power is at once decried as mystical and purely scientific. Nowhere else is this duality made more clear as in the term for the arts of the Necron Scientist use, “techno sorcery”.
Just like with the Humans and Dark Eldar of the Warhammer 40k universe, is technological and scientific know-how bound to a specific, often secretive group of individuals, in the case of the Necrons, the Cryptek. The names of the individuals can either derive from the word crypt, as in the funeral complex, or the term cryptic, as well as the term technology or technician. Furthermore, the rest of the (sentient part) of the Necron society seems to be fully or partially apathetic to how these scientific marvels function, only that they do so. (Games workshop 2015)
The blending of science and magic, as well as limiting knowledge and wisdom of al things scientific and mechanical to a certain small group, often referred to in some form of arcane society, are themes that will return over and over again trough out the Warhammer 40k series. The apparent apathy of the wider societies of Necrons, Eldar and Humans alike, is also a theme that will continue to return again and again. We have already seen the same pattern a few times with the human Tech priests, and the Dark Eldar Homunculi.
Prophesies and magic
The most apparent trend of mixing magic and sciense, when it comes to the Necrons comes in their use of astrology to try and perceive future events, and if possible change them to their liking. The use of astrology is another theme that we have seen both in the Eldar properties, as well as in the Emperors tarot used by human scholars. Despite the Necrons being described as a fully scientific and logically based society, they still follow the arcane rules of astrology. In most occult traditions is this rule known by the phrase “as above, so believe”, referring to the idea that the starts, and the lives of mortals are inexplicitly linked. The happenstance of one will directly relate to the other. The starts guides the life of mortals, just as much as the mortals guide the paths of the stars (Cavendish 1983).
Conclusions
In this chapter have I presented some base concepts relating to the Necrons, as well as some of the thematic Thematic elements they share with the rest of the 40k universe universe. I have presented the themes of strict hierarchies that can be found within the Necron narratives, as well as an ever present focus on life, death and immorality. Like many other factions is the Necrons also a faction of endless war and strife, a fact we will discuss further at a later date. Lastly have I here tied the Necrons to a tradition of deliberately mixing and mystifying technology and sciense, by blending it with images of the occult and mystical.
The Necrons themselves presents an unknowable threat to all life in the universe. An unfathomable ancient spectre that has returned to exterminate all life, and reinstate their proper rule over all. I will in the next Necron chapter discuss some of the Necrons real life inspirations, as well as how they fit in to the wider narrative traditions of sciense fiction.
References
Games Workshop (2015) Codex: Necrons. Games Workshop
Cavendish, R. (1983). The Black Arts: A Concise History of Witchcraft, Demonology, Astrology, and Other Mystical Practices Throughout the Ages. TarcherPerigee
Our final segment of this series will describe a faction, that unlike any other Eldar sub faction do not have a direct connection to any fantasy trope per say, but is instead related to a much larger trope, that of the trickster. In this chapter will I once again give a comprehensive overview of the Harlequin Eldar as a faction. Furthermore will I present the trope of the trickster, as well as the role of the Harlequin within the concept of medieval theatre.
The trickster trope and the god of tricks
To properly understand these strange and erratic Eldar, must one first understand the trope that they are build upon. The idea of the trickster is one that can be seen in numerous cultures and myths. In Norse mythology we have the great shapeshifting Loki.
Trickster deities
The trickster exist in one form or another within numerous faiths across the world. Sometimes in an antagonistic form, sometimes as a protagonist, but mostly they seem to switch roles as their mood changes. From pop culture we can also find examples of trickster deities, such as Sheagorath from the Elder Scrolls series. Many of these spirits or gods tends to really on their wit and intelligence, and often strive to show up their fellow gods as well as high and might mortals by tricking or pranking them in some way. The trickster gods tends to be morally ambivalent in their actions, and often simply work towards their own amusement. (Haase 2007)
The trickster gods are often the embodiment of transgressions of norms and rules, often mixing and disregarding bounders between feminine and masculine, good and evil, homosexual and heterosexual, wise and foolish etcetera. (Haase 2007)
The character of the trickster
A trope that can be found within a large set of cultures and their written and oral traditions. Many myths and legends from the African hero Anansi the spider, to Loki of north mythology and more modern examples such as the Doctor from the series of Doctor who, and the Joker from the batman comics. (Haase 2007)
The trickster is often portrayed as a jester, clown, thief or prankster, seemingly working for no real goals other then for their own amusement. In folk lore they are often seen physically weak characters that wins the day trough their natural wit and sense of humour. (Haase 2007) They are sometimes presenters as heroes, but other times seems to live only to create chaos or acts fully for their own amusements. The tricksters roll in many narratives is to make fun out of established routines and power structures, and causing even the mightiest to fall.Fans of the Elder scrolls series are most likely familiar with the race of Kajiit, a catlike folk that in many ways honour and respect the many aspects of the trickster archetype, something we will discuss further in an upcoming series on the Elder scrolls universe! (Bethesda 2016)
The Harlequin in history and pop culture
Taking on many forms during the ages, but the version I will primarily look at today is the Harlequin of the Italian comedy school known as the commedia dell’arte. The role of the Harlequin was primarily to provide acrobatic amusements besides the more comical antics of the Joker and the clowns. Besides the acrobatic antics of the harlequin where they seminally also famous for sharp whit and mixing high and lowbrow humour.
The Harlequin was, just as the rest of the trope, incredibly colourful dressed, often wearing a full or partial mask, as well as large patterned uniforms. One of their more common unifying features being their black masks. The most inportant tropes of the harlequin are seemingly to be to be able to combine wit with absent-minded, elegance with clumsiness, to internalise both qualities at once.
The Harlequin Eldar
As we have discussed in the introduction, are the Harlequin Eldar seen as strange and mysterious, even by their own kind. These individuals travel in troupes or small theatrical societies, and dedicate their lives to the perseveration of the cultures, myths and knowlage of the ancient Eldar empire.
The laughing god
Amongst the only one of the Eldar deities that escaped destruction at the hands of Slaanesh. Cegorach or the laughing god hides within the Webway, where he plots and schemes, and leads his followers from the shadows. The followers of Cegorach are unique amongst the Eldar, for they seem to live fully without fear for their souls. It seems as the trickster god has managed to ferry away the souls of his followers, away from the hungry eyes of Slaanesh. (Games Workshop 2015)
Cegorach plans and schemes from within the Webway, always looking for new ways to make a fool out of the great enemy, and at the end of times, the laughing god will reveal his greatest trick, and perhaps even manage to save the Eldar race. Cegorach shares many traits common to other trickster gods, both in pop culture and in ancient myths. Cegorach relies primarily on his wit and sense of humour rather then strength or magical abilities, and while the laughing god are happy to help his followers, as well as play pranks on their greatest enemy, does it seem that he is equally fine with spoiling the plans for anyone that are to high and might and sure about themselves, one would amuse that this would also entails fair amount of Eldar Far seers. (Games Workshop 2015)
The elder trickster god is not to be confused with the Necron god The deceiver. This ancient entity is seemingly the cause of the Necrons transformation in to the metallic undead creatures they later become. It is worth noting that both of these warring factions each has their own version of the trickster myth. While the Eldar god is benevolent to his followers, and uses his trickery to help them, the god of the Necrons are rather the opposite. Note that this fact does not contradict the trickster character, as they are often morally anbivilant or agnostic, and are in may ways the embodiment of such contradictions. (Games Workshop 2015)
Roles and masks
Much like a medieval theatre, and classic Greek play, are the various characters of each myth and play, represented by colourful masks and costumes. Each troupe member has at least one character dedicated to playing each inportant roll, both off and on stage. Because of the addictive and hypersensitive minds of the Eldar, will the players personality inevitably start to blend with the rolls they play. (Games Workshop 2015)
The masks themselves are constructed ins such a way that the enemies greatest fears are projected back at their enemies. In reality does these masks convey the face of whoever the Eldar is assigned to playing. (Games Workshop 2015)
Nowhere is this more true then with the Eldar that plays the role of Slaanesh themselves. The actor that plays the great enemy is revered, feared and pitted in equal measure. These individuals lives outside of even the Harlequins fractured society, appearing only when their role is needed, either on stage, or at war. (Games Workshop 2015)
The troupes of the Harlequins follows one of tree paths, dark, light and twilight. These paths inform the philosophies the Eldar follow both in and out of combat. The light path is focused primarily on the telling of grand heroes and triumphant adventures, where the dark troupes focuses on tragedy, villains and darkness, the twilight seeks to convey transitions between the paths. (Games Workshop 2015)
It is not difficult to find visual cues tying the Eldar harlequin to their historical counterparts. Both parties wear full masks, as well as colourful large patterned clothing. While many of the roles played by the Eldar are tied to the traditional roles of the Harlequin, that of acrobatics and speed, will the harlequin Eldar play every single role of the traditional French comedy troupe. (Games Workshop 2015)
War as art
Even more so then then their cousins the Dark Eldar and Craftworld Eldar, does the Harlequins see conflict and warfare as another stage upon which to perform their craft. Each fighter knows their own role, and the others in their troupe fully, and completely, both when it comes to their combat roles, and their specific parts of their play. (Games Workshop 2015)
Acrobats perform daring stunts in melee, and dark jesters bring death to the enemy in the most ironic and tragi-comical way possible. Often tying each death to some sort of poetic irony, they take out their foes from afar. (Games Workshop 2015)
Al of the harlequins war machines, and specialised combat units are riddled in myths and latened with symbolic meaning. This once again ties in to how close art and war are tied, not only in harlequin performances, but in the Eldar society as a whole. (Games Workshop 2015)
The role of the trickster is one that both Cegorach and his worshipers follows rather well, as their actions are guided by tricking and fooling their enemies as much it is to defeat them. (Games Workshop 2015)
Conclusions
The harlequin Eldar is a highly interesting faction, and one that ties the other Eldar together, both figuratively, and within fiction. There are several truthiness that can be found throughout the Eldar factions, and most, if not al can be found with the harlequin Eldar. Just like the Exodietes do the Harlequin Eldar do their best to keep the old ways and traditions alive. The harlequins are endless wanderers, just as their cousins, the Craftworld Eldar, and just like the Dark Eldar do they see war more as an expression of art, then a means for survival or conquest. Note that the Harlequin Eldar seems to take their role as storytellers as seriously as they do their duties on the battlefield, and more often then not are the two closely interwoven.
The close ties to the medieval French theatre form, in many ways makes the Harlequin Eldar stand apart from the previous factions we have looked at so far. Other then perhaps the Sisters of battle have no other faction been so closely tied to such a specific cultural concept. In the Eldar harlequin we can also see ties medieval European cultures, a trend we saw time and again within the Imperium of mankind, but then from a mainly British point of view.
The role of the trickster is one that both Cegorach and his worshipers follows rather well, as their actions are guided by tricking and fooling their enemies as much it is to defeat them. (Games Workshop 2015)
References
The elder scrolls V Skyrim. (Special edition). (2016). [Rockville, Md]: Bethesda.
Donald, Haase. (2007). The Greenwood encyclopedia of folktales and fairy tales
Te Velde, H. (1968). The Egyptian God Seth as a Trickster. Journal of the American Research Center in Egypt,7, 37-40. doi:10.2307/40000633
Codex: Harelquin Eldar (7th Edition), Games Workshop, 2015 (2)
The Exodite Eldar was the first to leave the Empire, and the first to start their new lives away from the horrors and debauchery of the old Empire. The Exodite chose to settle down on planets that had been seeded aeons ago, to become new paradise worlds for the Eldar. We will use these Eldar to discuss and analyse two concepts, the trope of the “wood elf”, as well as the concept of nature versus civilisation.
The Exodites
This faction will be the first one we analyse that do not have an army, or a codex of its own, this means we will unfortunately have a lot less material to work with then we usually do. When mentioned in the Dark Eldar and Craftworld Eldar codexes are they usually done so as an “other”, those that has chosen another path. With that said will we do our best to puzzle together a picture of this faction from what we have.
Being the first one to leave the encroaching madness and sadism of the Old empire, can the Exodites very well be seen as an expression of keeping on to old ways and traditions. Their names being a play on the term Exodus, or mass emigration. The Exodite lives on what is called “paradise worlds”, and while very sparsely and contradictory described, are they represented as the last hope for both a bright Eldar future, as well as the preservation of the Eldars glorious past. These worlds were colonized and terraformed in the glory days of the Eldar empire to one day become the homes of rich and power full Eldar elite. One of the few defining features we get in the Exodite Eldar in the 7th and 6th edition Eldar Codexes is that of the world tree. Working much as the infinity circuit of the Craftworlds their cousins use, a World tree is where the departed souls of the Exodite Eldar go to rest, and be at once with its ancestors. The theme of a world tree is one that can be found in numerous narratives, one of the most recent example being David Cameron’s Avatar series. The concept of the world tree or the life tree is one that is worth its own chapter in the future. A few examples of the World tree in mythology would be Yggdrasill, as well as the tree of life in the Kabbalah mystic teachings.
The Eldar and nature
The themes of nature and the unnatural can be found in both the Dark Eldar and Craftworld Eldar codexes. The way that nature is described, as well as how it is used, can tell a lot about these factions, as well as how they function narratively. I have chosen the Eldar as a base for this discussion because of how their different relationships to their surrounding nature helps shape, and is shaped by the kind of society they inhabit.
Commanding nature
The Craftworld Eldar, just as their predecessors seems to have vast powers to change their surrounding to their will. In their glory day was the Eldar able to “create and destroy suns at their whims fancy”. Their ships and tools are described as being grown rather then built. These tools and structures are described as being as much organic beings, as they are inanimate constructs. The Bonesingers are described as using music to coax and lead the Wraith-bone they use in to the desired effect.
Defying nature
Much of the Dark Eldar themes circle around power, and defiance of power. The freedom of the strong to impose their will on the weak. The dark Eldar has the same mentality when it comes to dealing with al manners of natural phenomena, be it the imprisoned suns that power their city, or their constant struggle to escape entropy and death at any cost.
the most striking example of this would be the several suns that the Dark Eldar have captured and toed in to their realm, for energy and warmth. The codex makes it clear that the inhabitants look at these suns with destain, as nothing else then a tool, to be used and then discarded.
Living beside nature
The Exodite Eldar are described to have been hardened by the tough life on the Paradise worlds, and are as a result a lot more pragmatic and practical then their cousins. The paradise worlds are at once described as a harsh land full of dangers, and as a paradise, free of disease and predatory creatures. Here these Eldar lives in peace together with their, al be it genetically engineered nature. As a result can it be argued that the worlds of the Exoidets are just as artificial and constructed as the rest of the Eldar species.
Defining nature
In order to properly discuss the Exodite Eldar, must we discuss the concept of nature as a narrative and literary tool. The study of nature in literature is a branch of literary criticism known as ecocriticism, and it concerns itself partly with how nature is described in fiction, and what kind of roll and agency it is given within a certain narrative. By analysing how nature is portrayed in fiction and art, can we learn more about how the cultures that made it, view, or is made to view the concept of Nature. Ecocriticism wishes to question the very concept of Nature, and prove that it is indeed a construct. More specificity is the concept of nature meant to function as a counterweight to the idea of civilisation and the Human domain.
The pastoral
The pastoral is a trope that is found in much of modernist and later western literature. An idyllic view of the countryside the sleepy life of a fisherman and shepherd, living at the border between nature and civilisation. Here is where the “simple life” can be found, and humanity is free to live “as they should”, away from stress, smog and the evils of civilisations, while still not becoming fully “wild”. The Shire, home of the Hobbits in Tolkiens Lord of the Rings series is a great example of such a pastoral environment.
The pastoral is an other as well, one set up against the normalcy of city life. A pintoresque image, with very little, if any base in contemporary reality. The refuge where the modern man can escape from the corruption and vice of the modern world. (Tenngart 2008)
The wilderness and the walled garden
One idea of how to define nature, is to define what it is not. One way is to describe it as, “the land beyond the control of humans”. To put nature at the place where civilisation and humanity ends, and something else begins. Nature is in this sense presented as the other, the wild and strange, and sometimes, the lesser. The garden next to the woods is a good example of this dichotomy. Imagine a hedge, on one side is a neatly cut lawn, a well planned out pond with fish, and beautifully arranged flowerbeds. On the other side of the hedge is the woods, this also full of grass, flowers, and lakes full of fish. Both ingredients exits in both worlds, the only difference being that, on one side do humanity have control, on the other, they do not. (Tenngart 2008)
Some ecocriticical researchers argue that the underlying deviation between the wilderness and the walled garden is to glorify the one over the other. The philosopher Rousseau sought to uplift what he saw as the “wild and savage” indigenous human as more natural and free then the stifled and corrupt human that lived in the walls of civilisation. More materialist inclined thinkers would argue that the wilds are dangerous and savage, and it is the right, and even the duty of humanity to tame it, and save it from itself whenever possible. Both arguments have been used against marginalisation and mistreatment of marginalised groups, and used to justify colonisation and similar atrocities. (Tenngart 2008)
Nature and the feminine
Nature has also often in art and literature, especially in the west, been described as feminine. The emotional and wild, set against the masculine ordered and logical. The phrase Mother nature or Gaia perhaps comes to mind. This ties in to a wider discussion of the duality of feminine and masculine in popular myths that we unfortunately do not have time to dive in to here, but is one we will return to in the future.
This field of study falls under the term Ecofemenism, and it has as a goal to discuss how gendered rolls appears within descriptions of nature. One example would be that nature is framed as passive, against the more active civilisation, a dichotomy that is pointed out between feminine and masculine in much of feminist theory. (Tenngart 2008)
The wild Elf
The last part of our discussion will look at the trope of the Wood elf in a number of incarnations. We will once again primarily use the same texts for our basis as we did in previous Eldar texts, those being Tolkien’s Lord of the rings, Bethesda’s Elder scrolls series, Wizard of the coasts Dungeons and Dragons franchise, as well as Games Workshops Warhammer fantasy works.
The deep woods
One of the defining features of al the elves analysed is that they live in the wilderness, specificity a western European idea of the wilderness, the deep woods. The deep wood is a classic setting in many classical European myths and stories, as it was indeed a dangerous and foreboding place, full of brigades and wild animals. These areas are often seen as both hellish, as well as paradisical, where none of the normal laws of civilisation applies, at lest, not to the same extent.
The Murkmire of the Lotr, the Deepwood of the Warhammer fantasy battles franchises, and Valenwood of the Elder scrolls series al fall within this description rather nicely. Al of these areas are full of dangerous flora and fauna, and al are generally avoided by more “civilised” people and cultures.
The wild once
Another shared theme amongst al these texts, are that the Wood Elf is seen as wild, and or unpredictable. In Warhammer fantasy can we find this theme in the form of the Wild hunts. Where the wood Elves ride out and indescribability hunt humans and beasts. The Elder Scrolls Elves are described as fighting constantly with their wild selves, being represented as the ability to shape shift in to animals and other beasts. Furthermore are al of these cultures and peoples, in one way or another set as the Other. In order to be wild, there must be a civilised for one to compare themselves against. Note that the difference between civilisation and wilderness, carries different connotations in different works. (Bethesta 2016)
The Wood elves in Warhammer fantasy battles are similarly described as wild, unpredictable and violent. They are described as going on “wild hunts”, whee they attack anything and anyone in their path, murdering them indiscriminately. (Games Workshop 2013)
Children of nature
The last theme that these Elves have in common is some sort of bond with the woods they live in and off, the most extreme being the green pact of the Elder Scrolls series. The wood elves, or Bosmer, has sworn of eating any form of plant life, as well as deliberately harming any living plant. As a result do they only eat meat, and just like the Craftworld Eldar, do they sing their buildings in to existence, growing them and guiding them using magic. In return is the Bosmer given everything they could ever need. (Bethesta 2016)
The Elves in Warhammer fantasy battles also work in close proximity with the woods they live in, being sworn protectors of the woods, and in return, are allowed to use the Deepwoods as a sanctuary from the evilds of the world beyond. (Games Workshop 2013)
The Exodite and nature
Here we will combine al that we have learned so far, and try and position the Exodite to these already existing tropes and themes. Note that due to the small amount of text we have dedicated to the Exodite Eldar, compared to the other factions, can we only draw rather broad and general connections. As before will be forced to rely on the other Eldar Codexes for detentions of the Exodite Eldar.
It is worth to once again here note that the worlds that the Exodites live on are for all intents and purposes genetically and geologically engineered to be the best possible inhabitation for these civilisations. In other words can the same dichotomy between Eldar and nature not be found here, as it can in the Elven examples I presented earlier.
Conclusions
In this chapter has I introduced the reader to a series of concepts regarding nature and how it relations to fantasy, and science fiction. I have tried to further tie the Eldar race of the Warhammer 40k series to a grander trope of the Elf or Elven creature, as a symbol of the together and the mystical. I have also in this text introduced some inportant literary tools that will be useful as this series continues. The next chapter will present the last sub faction of the Eldar we will take a look at this series, the enigmatic Harlequin Eldar.
References
Tolkien, J.R.R. (1968). The lord of the rings. 1, The fellowship of the ring. (2. ed. 3. imp.) London: Allen & Unwin.
Wizards of the Coast (2014). Dungeons & dragons Player’s handbook. Renton, WA: Wizards of the Coast LLC.
The elder scrolls V Skyrim. (Special edition). (2016). [Rockville, Md]: Bethesda.
Warhammer Armies Wood Elves (8th Edition), Games Workshop, 2013
Codex: Craftworld Eldar (7th Edition), Games Workshop, 2015 (1)
Codex: Harelquin Eldar (7th Edition), Games Workshop, 2015 (2)
Codex: Dark Eldar (7th Edition), Games Workshop, 2014
Kelly,P. Troke, A .Codex: Eldar (6th Edition), 2012
Tenngart, P. (2008). Litteraturteori. (1. uppl.) Malmö: Gleerup.
The dark reflection of the once proud Eldar empire, and the second to escape its rotting core. The represents the full indulgence of the dark and hedonistic sides of the Eldar. Living in an unimaginably large fortress city located somewhere in the vast web-way, the Dark Eldar constantly raid the galaxy for new slaves and resources, seemingly safe from any reprisal or attack.
The dark once
the first thing we will discuss in this chapter will be the Dark Eldar themselves. The Dark Eldar is in many ways described as the polar opposite of the Craftworld Eldar. This dichotomy is, as I have mentioned before, is far from exclusive to the Eldars in the Warhammer narrative?
In the case of the Dark Eldar, this differentiation comes in the form of completely and utterly oneself to the pursuit of selfish pleasures and hedonistic violence. This would be to the contrast to the Craftworld Eldars rigid and ordered lifestyle.
A slow death
The Dark Eldar did manage to escape from the initial devouring at the site of Slaanesh birth, seemingly safe within their grand Webway cities. Instead of a fast death, was the Dark Eldar instead subjugated by a much more slow and painful one, as their souls are described to be slowly and painfully being dragged in the warp by “She who thirsts”. (Games Workshop 2014)
This will slowly and painfully age the Dark Eldar, and eventually kill them, if they are not able to find a way to replenish their strength. The theme of the darker elements of the Eldar race being physically corrupted in some ways is also one that can be found in many fantasy narratives. The Orcs in Tolkien’s series is described as tortured and malformed Elves, taking the “purest” of creatures and turning them in to the most base and primal. The Dark Elves in the Elder Scrolls series can also be described in a similar tough a lot less extreme way. The Dunmer, or Dark Elves has had their skin turn grey from the volcanic grey from the lands they inhabit, and their eyes have turned jet black or blood red. (Games Workshop 2014)
The Dark Eldar has managed to find one thing that will hold Slaanesh at bay, and replenish their shrivelling bodies and souls, this substance is pain. More specificity intense pain, fear and agony, by psychically absorbing the suffering of others are the Dark Eldar able to replenish their rotting bodies and keep Slaanesh at bay, if only for a short while. The more painful and honorific cruel the torture, the more nourishing will the screams of psychic pain be to the Eldar. (Games Workshop 2014)
The Dark Eldar is able to use this ability to keep their bodies young and healthy, but seemingly not their souls, as they are described as being a horrifying rotting mess of stitched together body-parts, if viewed by one with mental abilities. (Games Workshop 2014)
The concept of the Dark Eldar feeding on pain is one that is echoed in the Warhammer Fantasy Dark Elves. They to keep themselves young and powerful with the use of the suffering, in this the case the blood, of their enemies. (Games Workshop 2014)
Dark Eldar and Slaanesh
Feeling her constant grasp on their necks is it not strange that the Dark Eldar might fear She who thirsts most of all. To this end have they banned any use of psychic powers by any inhabitant of their realm, as doing so would bring the interest of Slaanesh themself. (Games Workshop 2014)
Many of the oldest members of the dark Eldar race had a direct hand in the Eldar Empires downfall, and even tough they are spared from the more direct annihilation, might they simply have traded it for a longer and more painful one. (Games Workshop 2014)
A city of nightmares
The city of Commorragh is the home of the Dark Eldar, huge beyond imagining, and twice as cruel. The city works as a good parallel to the Dark Eldar civilisation as a whole, and also one of few places in the 40k narrative that we have such distinct and details and descriptions, sometimes to specific areas of the city. Considering the nature of its inhabitants, and the similarities in its names, it is very possible that the city is at part, a reference to the Biblical city Gomorrah, one of the two cities that was destroyed by god due to their extremely sinful ways. (Games Workshop 2014)
The geometry and shape of Commorragh is one that exists without the grasp of mortal understanding, and trying to examine it to deeply will only lead to madness. The Webway exists, partly in and around the Warp, and is as a result free from the laws of physics found in the Materium. This means that the city was free to grow outwards in every direction, including in and around itself. The city can be described as a series of satellite realms, tiny bubbles in the huge roaring sea of the Warp. Tied with portal and gateways, can these realms be travelled to in the matter of seconds, while they in real space would take many light years to reach. (Games Workshop 2014)
The unimaginably large size, as well as the contradictory and otherworldly geometrical build-up Commorragh follows the themes of scale as well as a focus on the maddening and otherworldly to create a sense of existential dread and cosmic horror. (Games Workshop 2014)
The spectacle of suffering
The main power of the Dark Eldar economy is, without a shadow of a doubt, the pain and suffering of others. The city has many ways of providing the grotesque spectacle to any Eldar with enough capital or clout. The most common form that the average citizen are myriad of gladiatorial games and public slave executions that are held at the vast number of arenas and cities trough the city.
These venues allows the richer Eldar to be able to soak in some suffering, and spectacle, at a relatively safe distance. This is not to say that most any Dark Eldar would be above getting their hands dirty, as acts of terrorism, civil war, murder and wanton destruction are some of the most common pastimes in Commorragh.
Layers of power
The Dark Eldar culture is strictly hierarchical and complex in its levels of organization. While the system is incredibly violent and cut-throat, is it also absolutely fair. Anyone can rise to power, regardless of how lowly they started, as long as they are strong, smart and ruthless enough. No once part in the hierarchy is secure, and everyone is fair game to overthrow. (Games Workshop 2014)
The Kabals
The current ruling system of the city. The Kabals present ample opportunity for employment for al that have proven themselves to be skilled and ruthless enough. To be a part of a Kabal grants one of the most sought after luxuries available in Commorragh, protection and a small ounce of security. To attack one member of a Kabal, is to wage war on them al, and the revenge if often swift, painful and completely without remorse. (Games Workshop 2014)
Wytch cults
The gladiators and performers of the various venues throughout the grand city. Here Dark Eldar fight each other as well as strange beasts from across the Materium and the Imaterium for the amusements of the citizens of Commorragh. The term wytch is taken, unsurprisingly from the English word witch. In this context is the witches, and the witch cults, another references to the Warhammer Fantasy Dark Elves: The witch cults of the Dark Elves are responsible for the numerous sacrifices to their dark go Kain, as well as keeping the more prestiges and powerful of their ranks young and beautiful. This is a topic we will cover in much greater detail in the future. (Games Workshop 2014)
Haemonculus covens
The secretive cults of the homunculi are responsible for some of the worst atrocities enacted by the city of Commorragh. These individuals specialise in extracting as much pain as possible from their victims, as well as creating horrid monstrosities of death and suffering. (Games Workshop 2014)
The most favoured test subject of the Haemonculi is not seldom, themselves. They are more often then not genetic and mechanical modified beyond recognition, becoming something al together different then their fellow brethren. (Games Workshop 2014)
The term haemonculus, bears a striking similarity to the term Homunculus. A homunculus in the context of western alchemy refers to an individual created partly by the means of magical science. A common trope in fantasy and science fiction, as well as other contemporary media. A homunculus in Dungeons and Dragons is a servant to an alchemist, (Wizards of the Coast 2014) created by his talents, and several sub plots in the manga Full Metal Alchemist centred around the creation and destruction of homunculi. It is interesting to note that in al these contexts is the terms referring to the creation, while the Warhammer term referrers to a creator, tough it can be argued that the haemonculus can be seen as both. The term haemonculus, as well as referring to their trade to alchemy, once again draws a clear line between the Eldar, and a concept of the mystical or occult. (Games Workshop 2014)
Mercenaries and Xenos
There are many more then simply Eldar that lives in Commorragh, for the town is described as a haven for the depraved, desperate and outcast. Several xeno races can be found in the slums surrounding the great cities spires. Here they live a life of urban warfare and constant strife, waging war for the lucrative contracts of the Kabals. (Games Workshop 2014)
Many of the great Kabals hires mercenaries to do their dirty work for them. The inclusion of these cities and towns of alien mercenaries gives the Dark Eldar another interesting point of contention with their Craftworld counterparts. The Craftworld Eldar loathe to deal with “lesser species”, and would never. (Games Workshop 2014)
Slaves
The most numerous inhabitants of the dreaded city of Commorragh are the slaves gathered in the numerous raids of the Dark Eldar. These slaves are used in everything from factory work, to the creation of morbid art. Most importantly are they used to sustain the youth and power of the Dark Eldar. These slaves are kept without chains or cells, for escaping their compounds would only mean a more painful demise elsewhere. (Games Workshop 2014)
Pain and slaves
The Dark Eldar goes to war for two things, to collect slaves, and to cause suffering, and they have grown incredibly proficient in both. Like the other members of their species does they Dark Eldar rely on speed and skill to win their fights, relying on fear and shock tactics to take their pray by surprise. These similarities would make it highly difficult for an enemy to be sure what kind of Eldar they are being attacked by, and it is described in the Eldar Codexes, that most humans see no distinction at al between the separate factions. (Games Workshop 2014)
Due to the fact that the Dark Eldar destains and distrust psychic powers in al their forms, are their forces made to rely fully on their martial skills. This has lead them to become brutal and efficient combatants, both at range and in close combat. (Games Workshop 2014)
Raiders from the void
Only the most skilled and favoured of the many fighters and murderers of Commorragh are picked for the raids in to real spaces. The raiding fleets are manned by a kabals most skilled and seasoned troops. One again does the Dark Eladar work as a dark Shadow to their Craftwold cousins. Where the craftworld Eldar see it as their duty to protect their home and loved once, does the citizens of Commorragh consider it a privilege to get a chance to torture and enslave the foes of their fair city, using their bare hands. (Games Workshop 2014)
Machines of suffering
Like much else of the Dark Eldar war machinery, are they first and foremost created to induce fear and hopelessness in their foes, sometimes seemingly forgoing practicality in favour of spectacle. With that said is the machinery equally, if not even more deadly then those of their Craftworld counterparts. (Games Workshop 2014)
Some of these machines are manned and maintained by the same Kabals that lead the raids, others are taken in from allied Haumunculi covens and Wytch rings. The machines of the Haumunculi in particular is the stuff of nightmares. (Games Workshop 2014)
Performers of torment
Like the harlequins, and the Craftworld Edlar, do their darker cousins see warfare partly as a form of art. The Dark Eldars performances is not a show of mastery of skill and the beauty of perfecting a strategy, but rather sheer spectacle. Their goal is to create as much as pain and suffering in as many of their victims as possible, before escaping with large quantities of slaves and loot. By waging war in this way, can the combating Eldar feed on the essence of their fallen foes, and grow stronger from it. (Games Workshop 2014)
No other troops in the Dark Eldar army represents this doctrine better then the gladiators of the Wytch cults. Well practised in the art form entertaining jaded Dark Eldar nobles with strange new forms of cruelty, are they more then suited to work their same skills on the battlefield, sowing fear and pain wherever they go. (Games Workshop 2014)
Conclusions
As mentioned already in the introduction is the Dark Eldar the darker and repressed side of the Eldar species. They represent hedonism, debauchery and shameless indulgence. At the same time do they also represent a society of absolute fairness, no one is safe, and everyone is a fair target. Anyone, at least as long as they are Eldar, can rise to the top of the food chain, as long as they are clever and underhanded enough to do so.
Next chapter will be dedicated to the wood elf allegory in the 40k world. I will take this time to introduce you to the study of nature in literature, and how a work describe nature, can tell us a lot about the work, as well as the context in which it was written.
References
Tolkien, J.R.R. (1968). The lord of the rings. 1, The fellowship of the ring. (2. ed. 3. imp.) London: Allen & Unwin.
Wizards of the Coast (2014). Dungeons & dragons Player’s handbook. Renton, WA: Wizards of the Coast LLC.
The elder scrolls V Skyrim. (Special edition). (2016). [Rockville, Md]: Bethesda.
Warhammer Armies High Elves ( 8th Edition), Games Workshop, 2017
Codex: Craftworld Eldar (7th Edition), Games Workshop, 2015 (1)
Codex: Harelquin Eldar (7th Edition), Games Workshop, 2015 (2)
Codex: Dark Eldar (7th Edition), Games Workshop, 2014
Kelly,P. Troke, A .Codex: Eldar (6th Edition), 2012
The first factions we will take a look at is the stoic and noble Craftworld Eldar. The Craftworld Eldar follows a strict rules of life, in order to try prevent the past from repeating itself. The Craftworld Eldar stands for an age gone by, and the glory of the long lost past. This chapter will compare the themes and myths of the Craftworld Eldar to that of the high Elf and other “high born”, fictional civilisations and races. (Games Workshop, 2015)
Discipline and honour
The sense of duty, honour and discipline is something that permeates throughout the Craftworld Eldar narratives. These themes can partly be tied to the idea of the high elven tropes we discussed. These themes are also tied rather closely to many of the myths and stories surrounding the samurai. This discipline is what chiefly separates the Craftworld Eldar from their darker counterparts. (Games Workshop, 2015)
The paths of discipline
To stop themselves from ever again falling to their base needs and desires, does the Craftworld Eldar follow a strict code of conduct, and living. These rules takes the forms of several different paths that an Eldar individual can take. These, as mentioned before, ranges form the artistic, to the philosophical to the practice of warfare. (Games Workshop, 2015)
The ways of the paths are an endless routine for the Craftworld Eldar, for as soon as one is masters, must it be discarded in favour of another one. This way the Eldar mind is always occupied, always training and engaging. Without this constant rigour and measured stimulus would the hyperactive mind of the Eldar slowly turn to decadence and obsessions as the decades of their thousand year old lives carries on. (Games Workshop, 2015)
The artistry of war
The paths of the Eldar are varied, and many of them train in martial as well as civil and artistic matters. This is partly shown in the ways that the Eldar wages war. The ideas of art and war being closely tied together, is far from unique to the Warhammer narrative. The Japanese shogunate samurai was for example said to serve with the pen in one hand and the sword in the other. (Games Workshop, 2015)
While looking at much of the war gear and clothing of the Craftworld Eldar is it not hard to tie further comparisons to that of Shogunate Japan. The back mounted flags being particularly telling. (Games Workshop, 2015)
Perfection in mind and body
The physique of the average Eldar is leaps and bounds above even the most well trained of humans. Their slender yet strong builds capable of moving faster then the human eye can react. Their minds recording and analysing in such speeds that lesser creatures like humans seems to move and talk in slow motion. (Games Workshop, 2015)
Their tall slender build, not to mention their pointy ears further tying them to the Elves we are comparing them to. The Elves, both in Tolkien’s work, and in many of his predecessors, is the elves, especially the “high Elves”, described as otherworldly slender and beautiful, almost beyond mortal comprehension.(Tolkien 1968)
The masters of the stars
The Eldar used to be the undisputed rulers of the stars, the masters of faith and destiny, of life and death. They held ultimate power, and just like the old adages goes, it corrupted them ultimately.
Glory of old
The Eldar, along with the Necrons and the Orks, are the oldest and most long lasting of al the civilisations in the Warhammer 40k narrative. Just like the High Elves of the Lord of the Rings and Eldar Scrolls series Ayleid Elves, are described of being advanced beyond mortal understanding. Their arts and wisdom so advanced that it is completely alien to the human and other mortal species of the narrative. In the case of the Eldar is this fact represented by giving the Eldar technology a distinctly arcane and magical aurora to it. (Games Workshop, 2015 Bethesda, 2016)
Eldar and the other races
Beings of great power, as well as arrogance, doe they once again make a great mirror to the high Elves of many contemporary High Fantasy texts of the time. Their long lives and mastery of the higher sciences and arts putting them, in their own minds, above the lesser races of the world. (Games Workshop, 2015)
This sentiment is echoed al across the Eldar codex, as other races, especially humanity is seen as nothing but an annoyance, or in the best case, a tool to be used and discarded. A telling passage explains how the Eldar would gladly sacrifice the life of hundreds thousands of humans if it meant saving the lives of a single one of their own kind. In other words, for al their nobility, civility and high standards, do these not extend outside of their own ranks. With that said, has the Craftworld Eldar come to the aid of humanity on several occasions, but seemingly only when it serves them directly. This disdainful acceptance of the existence, and sometimes even the help of humanity, is another trope we can find in many fantasy narratives Elves. (Games Workshop, 2015, Bethesda 2016)
A dying star
To follow the same line of comparison, are the Eldars narrative one of falling from grace, and seemingly destined to fall in to obscurity. They represent the Old power that needed to fall before a new one, humanity, could rise. In the Narrative of Warhammer 40k is this turn of event taking place rather literally, as the birth of Slaanesh, directly lead the disappearance of a Warp-storm that has kept humanity trapped on Earth. In other words, the cataclysmic event that brought the Eldar to their knees, was the same that allowed humanity to sally forth and conquer the galaxy. (Games Workshop, 2015)
The myth of humanity inheriting the world from an ancient and more powerful and wise race, is a theme we can see again and again, both in myth and populator culture. One of the more well known examples of this is the emigration of the Elves during the war of the rings, to leave the lands of Middle Earth, to leave it to the mortal races (Tolkien 1968, Games Workshop, 2017).
Magic and myths
the Eldar, and especial the Craftworld Eldar are extremely closely tied, thematically to magic and mysticism in many of its myriad forms. Here more then in any of the other factions and races of the Warhammer narrative, are the concepts of magic and science so closely knit.
The world ships and wraith bone
The massive space faring vessels, known as Craftworlds, are the sole home for the Craftworld Eldar, as well as from where they take their namesake. These massive interstellar vessels are home to billions of Eldar, and comparable to many continents in size. (Games Workshop, 2015)
These massive ships are not built, but rather grown and moulded from a substance, that is called wraith bone. As the name implies is this material described to be organic in nature. It is the material form which al Craftworld Eldar structures, tools and weapons are created. The wraith bone itself is described to function much like living tissue, and the Craftworld ships are very much sentient in their own right. They are not commandeered, as much as they are guided and ordered.
The infinity circuit
The last safe-haven for those Eldar souls that has departed their mortal forms. These are the resting places for the departed, after the warp become a hunting ground for She who thirsts. The souls of the Eldar, are collected by their spirit stones, and then released in to the infinity circuit to join with the collective unconsciousness of the Craftworld. In this way will their memories and wisdom, as well as their sentience live on, until a time where it is safe for them to return to the warp, and be reborn. (Games Workshop, 2015) The concept of returning to the world soul, and then being reborn is one that can be found in both LoTR as well as D&D mythos of the high Elves. (Tolkien 1968)
Runes and song
The wraith bone itself is gown, tended to and moulded by artisans and engineers known as Bonesingers. Using their innate psychic abilities are they able to mould and shape the Wright bone to their own wishes. By its very name does the Bonesinger timidity draw a number of associations to mind in the reader, the bone, here reoffering to the Wraith bone that the artisans work with conjure the idea of death, life, the organic. It conjure ideas of otherness and a certain sense of an organic symbiosis. The term singer is a great way to present how the Eldar thinks of themselves as well as their creations. They are not mere builders or engineers, they are artists and creators, the very act of creating is in and of itself comparable to a artistic performance. (Games Workshop, 2015)
The runic magic of the Eldar is a theme that we have discussed in earlier chapters further ties their race to mysticism and magic. Note that we have seen, for example with the Adeptus Mechanicus the link between highly advanced science and magic, is one that runs trough much of the Warhammer 40k narrative.
Conclusions
S mentioned before does the Eldar serve as the mythical other in the narrative of 40k, the wise fore bearers, the olden once that came before. They neatly work many of the same roles as the High Elves, or simply elves do in many High Fantasy narratives. Be it mysterious allies, guardians of the past or terrifying enactment opponents, do the Eldar fit many of the same needs for an alien, yet familiar counterpart to humanity, this being specificity true in the form of the Craftworld Eldar.
The trifecta of the Elves is a topic defensibly one that we will return to, and in the meantime I suggest the amazing work Light-Elves, Dark_elves and Others; Tolkien Elvish Problem, buy T,A Shippey. Next chapter will we dive in to the Craftworld Eldars supposed dark mirror image, the Dark Eldar.
References
Tolkien, J.R.R. (1968). The lord of the rings. 1, The fellowship of the ring. (2. ed. 3. imp.) London: Allen & Unwin.
Wizards of the Coast (2014). Dungeons & dragons Player’s handbook. Renton, WA: Wizards of the Coast LLC.
The elder scrolls V Skyrim. (Special edition). (2016). [Rockville, Md]: Bethesda.
Warhammer Armies High Elves ( 8th Edition), Games Workshop, 2017
Codex: Craftworld Eldar (7th Edition), Games Workshop, 2015 (1)
An Unused Frequency 