Warhammer 40k an in depth analysis: Part 3, The Eldar: part 6, The followers of the Laughing god.

27 December, 202017 July, 2023 ~ SamRandom ~ Leave a comment

Introduction

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)

Source: https://cdn.mos.cms.futurecdn.net/dJu7rxbHZqi4ikc4EgtzaR.jpg

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)

Female Harlequin Player Midnight Sorrow — 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.

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)

Warhammer 40k an in depth analysis: Part 3, The Eldar: part 5, Nature and the old ways.

6 September, 202017 July, 2023 ~ SamRandom ~ Leave a comment

Introduction

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.

Iovino, S., & Oppermann, S. (Eds.). (2014). Material ecocriticism. ProQuest Ebook Central https://ebookcentral.proquest.com

Warhammer 40k an in depth analysis: Part 3, The Eldar: part 4, Dark Eldar, The dying shadow.

5 July, 202017 July, 2023 ~ SamRandom ~ Leave a comment

Introduction

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)

DEWarrior — Source: https://warhammer40k.fandom.com/wiki/Drukhari

Feeders of pain

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)

PortofLostSouls — Source: https://warhammer40k.fandom.com/wiki/Commorragh

Architecture of madness

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.

Dark Eldar Gladiators — Source: https://warhammer40k.fandom.com/wiki/Commorragh

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)

DE Haemonculus — Source: https://warhammer40k.fandom.com/wiki/Haemonculi

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

Warhammer 40k an in depth analysis: Part 3, The Eldar: part 2, Craftworld Eldar, glory of the past.

24 May, 202017 July, 2023 ~ SamRandom ~ Leave a comment

Introduction

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)

Eldar autarch iyanden by diegogisbertllorens — Source: Source: https://warhammer40k.fandom.com/wiki/Eldar

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)

Eldar Warlock — Source: https://warhammer40k.fandom.com/wiki/Eldar

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)

Craftworld | Warhammer 40k Wiki | Fandom — Source: https://warhammer40k.fandom.com/wiki/Craftworld

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)

Warhammer 40k an in depth analysis: Part 3, The Eldar: part 1, The children of the Old once

11 May, 202017 July, 2023 ~ SamRandom ~ Leave a comment

Introduction

In the world of Warhammer 40k does the Eldar represent the largest amount of mystical and arcane undertones. This is partly due to their many distinct ties and references to the Elves found in Games Workshops other series, Warhammer fantasy. We will start this series by describing some of the simulates, as well as differences between the two. In this chapter I also give a quick introduction to the different Eldar factions we will go tough in this series, starting with the Craft-world Eldar.

A rose by any other name . . .

In order to understand the Eldar, we must first take a quick detour in to the realm of Warhammer Fantasy, upon which many of the early narratives and themes of Warhammer 40k was built. The Elves in the Fantasy setting followed more or less the same tropes set forward by works such as Lord of the Rings and Dungeons and dragons. Elves are magically gifted, ancient and seemingly superior in most ways to the other mortal races, only their arrogance and pride holds them back.

Like in in other fantasy settings are these Elves also grouped in to tree distinct sub factions, that I will quickly describe below.

High Elves

The most noble and pretty of the elves, most gifted in magic, but seemingly also the most aloof and arrogant. The concept of the high elf can be found in many contemporary fantasy worlds, from the Regal elves of the Lord of the Rings (Tolkien 1968) series to the pompous elves of Sunerset Isle in the Eldar scrolls series, the idea of the “higher” or “cultured elf seems to carry trough. These Elves are often tied to sophistication, class, and high skill in the arcane arts. These elves are often painted as dismissive of others at best, and downright racist at worst (Bethesda 2016).

These ideals and themes are certainty to be found in the Warhammer fantasy setting, and their traits can certainly be found in the Craftworld Eldar as well. Note that the same trope can arguably be found in the narrative of the series Star Trek, where the race of Vulcan’s fills a similar roll of “space elves”, down to the inclusion of pointy ears (Games Workshop, 2017).

Wood Elves

The Elves of the forest, often described of living next to and of the lands. These Elves are often described as a combination of “pure” and “savage”, depending on how that specific texts looks on the concept of Nature. These Elves can in many ways be seen as the general themes and myths related to nature and civilisation. If nature is framed as pure and benign, then these elves tends to be framed in the same light (Bethesda 2016). If on the other hand, nature is painted as something dark and savage, then the Wood Elves take on these traits instead (Tolkien 1968).

Dark Elves

The evil and corrupted “other”, the dark and incus side of the Elven culture. The amount of Darkness or evilness very much vary from setting to setting. The Dark elves in the Elder scroll series for example are generally a more cynical and competitive kind, then their cousins, but not downright evil (Bethesda 2016). This would be in contrast to the Drow (or dark) elves of the Dungeons and dragons world, where they are very much described as ruthless, soulless killers most of the time (Wizards of the Coast 2014).

It is worth noting that just as Star Trek had their own version of the High Elf the Vulcan, do this series also have its own version of the Dark Elf in the shape of the Romulan.

The factions of an Empire

The rough simulates between the factions of the various fantasy narratives, and the factions found within the Eldar. Note that I do not mean to say that there is a direct correlation between the two, but enough simulates exists to be worth analysing and discussing. Each of these factions will get their on chapter later in this series. I will begin by giving each of them a small introduction, as well as introducing the reader to a few key aspect of each faction.

Craftworld Eldar

Remnants of the previous intergalactic Empire, the Craftworld Eldar live on enormous ships known as Craftworlds. These ships contains entire nations worth of individuals and their possessions. The Craftworld Eldar were amongst the few that fled the madness, and subsequent destruction of their Empire. The Craftworld Eldar of the current universe are set on trying to rebuild the glory of the old empire, or failing that, shine brightly al the way till the end. (Games Workshop, 2015 1)

The paths

Each Craftworld Eldar will walk down at least one path in their long lives, most will walk past several. A path is an identity, a way of life and a roll that the Eldar in questions chooses, by (sometimes quite literally) putting on a costume of a certain role. These rolls varies in scope and magistrate, and varies from chefs, to artists, to scientists and warriors. The Eldar in question will walk this path, at the expense of any other, until they have masted it completely. Upon its completion will a new path be chosen and followed until completion. This way the otherwise obsessive and highly addictive mind of the Eldar be kept in check by rigid protocols and teachings. (Games Workshop, 2015 1)

The aspect shrines and its warriors

The path of the warrior is one that take many shapes within the Eldar society, for war is simply another form of artistry and science that needs to be perfected. These paths are followed as rigidly as much dedication as any other path. Each shrine follow one of many grand Eldar heroes of old, emulating their feats and fighting styles. To join one of these aspect shrines is to take on the role of one of these warriors. These paths are one of the more prestigious an Eldar can attempt, but also one of the most dangerous, for it is here that the Eldar runs the biggest risk of loosing their own identity to that of the Path, never to be able to recover. (Games Workshop, 2015 1)

Spirit stones and the infinity circuit.

Al souls are eventually drawn in to the warp after the individuals death, if not prevented to do so by outside means. At the height of the Eldar Empire was this not a problem, as the many deities and guardian spirits of the Eldar pantheon was there to protect and guard the souls of the diseased Eldar, but today there is only “She who thirsts“, and she thirsts the most after Eldar souls to capture and torture.

To prevent this fate has the Eldar devices a psychically enchanted gemstone, designed to trap the deseas43ed individuals spirit, sparring it from the tortures of the warp. These crystals would later join the rest of the diseased inhabitants of the Craftwold in what is known as the Infinity circuit. This enormous construction holds al the spirits of the departed. Here they rest, safe from the clutches of Slaanesh, until a time where it is once again safe for them to return to the warp. (Games Workshop, 2015 1)

Exodite Eldar

These Eldar would be the closest we have to the Wood Elves of fantasy. They were the first to leave when the Eldar Empire turned their ways on their gods, and the old ways. (Kelly 2012)

The Exodite Eldar do not have a codex, or playable army of their own. There is as a result a lot less written about them. I was once again forced to go back to the 6th edition of Warhammer 40k, for this segment. (Kelly 2012)

The Exodite Eldar are those that left their dying empire first, to settle on worlds that had been terraformed aeons ago, for this very purpose.

Maiden Worlds

The Eldar started the creation of perfect worlds for themselves aeons ago, before the fall of their empire. These planets are now populated by the Exodite Eldar, their rough conditions makes it easier for the Eldar here to keep to there minimalist and stoic freestyle. These planets are described as “primal” and “savage. Terms that we found in the descriptions of Wood Elves we discussed earlier. As the Craftworld Eldar live in symbiosis with the infinity circuit, so does the Exodies live in harmony and symbiosis with what is known as the World spirits of the planet. (Kelly 2012)

Living pure

The Exodites more then the other Eldar rejects pleasure and abundance in al form. The Codex specificity mention that they follow the philosophy of Asceticism, the abstaining from sensual pleasures in al their form. Since the Exodiets were the first to rebel against what they saw as “a foulness that was corrupting their empire”, does this make full narrative sense. (Kelly 2012)

Dark Eldar

Of al the Eldar, the Dark Eldar represents those that was the most deeply changed by the birth of Slaanesh. These Eldar fled the catastrophe of the brought of “she who thirsts”, by escaping in to long forgotten areas of the Webway. (Games Workshop, 2014)

The city of pain and darkness

The Dark Eldar escaped in to the Webway permanently, creating a home for themselves amongst its labyrinthian passages and hideaways. As a result were they safe from the psychic maelstrom that was the birth of She who thirsts. This impossible large city exist in multidimensional, and its architecture defies logic and reason. Sitting at the heart of the Eldar Webway, it is a dark opposite to the Eldar Empire of real space. It is from this nightmarish realm that the Dark Eldar sends out raids for resources and slaves(Games Workshop, 2014)

Enslavement and torture

The dark Eldar still follows the way of sadism and decadence, feeding on the suffering of others to grow their powers, sate their hunger for sensation, and most importantly, keep Slaanesh at bay. The Dark Eldar are slowly being drained by Slaanesh, slowly turning in to soulless husks, there is a solution, to this blight, to only a temporary one, by feeding on the suffering of others, can the Eldar in question replenish their souls, and in turn, reverse the effects of Slaanesh slow pull on their soul. Pain and death is the finest arts to the dark Eldar, and one that they have dedicated to themselves fully and wholeheartedly. This very much follows the trends we saw in many of the Elven having a corrupted or “darker” counterpart, tiding the Eldar closer to a already established fantasy trope. (Games Workshop, 2014)

Harlequin Eldar

Breaking the preset mould, are the Harlequin, the most strange, and unique of the Eldar. These Eldar works as messages, diplomats and bards, travelling all across the various Eldar cultures, reminding them of the old days, and the old gods. No Eldar is born a harlequin, it is rather something that one becomes. The process of someone becoming a harlequin is still a mystery to all but the harlequins themselves.

The masquerade

The harlequin Eldar performs the stories and myths of the old Eldar Empire, hoping to keep the memories of their olden gods and heroes alive. These performances are carried out at al the disrepute and fractious corners of the Eldar society. They hope to, in dosing so to keep a loose semblance of consistency and connectivity between the different sub-factions. When al others have forgotten or turned their backs on their old gods, do the Harlequin troupes still fight to keep their memory alive. (Games Workshop, 2015 2)

War as art

The harlequins see no difference between warfare and art, and they approach both in similar ways. To them the battlefield and the open stage is the same, and a violent conflict and the theatrical arts serve the same purpose, to re-enact the tales of the lost and doomed Eldar empire of old. (Games Workshop, 2015 2)

The Harlequin do not fight as a normal standing army, and have no set hierarchy. Instead they act like an acting troupe, and each individual knows their rolls, and the roles of everyone else in the trope. That way they can act in perfect synchronicity, without the need of a strict structure of leadership. The troupes movements, actions and tactics might seems chaotic, random and at sometimes even counterproductive, but each move is premeditated, planned and m choreographed, all of them carrying with them a certain symbolic meaning, and is al a small part of a much grander narrative. (Games Workshop, 2015 2)

The black library

A Craftworld said to hide within the Webway itself. This Craftworld itself is vast beyond imagining, and contains the Eldars collected knowledge on the Warp and the forces of Chaos. The library is filled with forbidden and forgotten lore, as well as cursed artefacts from the time of the fall of the Eldar. Not surprisingly is this library focused on the combating of Slaanesh, the great enemy. (Games Workshop, 2015 2)

The laughing god

The only one of the Eldar gods said to have escaped the birth of Slaanesh, he is said to hide within the Webway itself. Cegorach is the god of trickery, performance and the bane of baseless pride. Gods and mortals alike has been targeted by the schemes of Cegorach. It is these feats of great wit and comedy that the Harlequins aims to emulate. Like their god, they aim to punish hubris and baseless pride in al forms. (Games Workshop, 2015 2)

Concussions

The goal of this chapter has been twofold. Firstly I aimed to give my readers a very brief introspection to the numerous topics this series of chapters will conation. Second of did I want to try and show that the Eldar, just as everything else we will analyse in this series, does not exist within a vacuum, but is part of a rich and complex history of stories and narratives. In this chapter have I one so by tying the tropes and themes central to the Eldar race and its narratives, and compared it to those presented to belong to Elves in a series of famous fantasy works.

Next chapter will focus on the Craftworld Eldar. We will look at the often used fantasy theme of Elves as a dying or lost race of old. One that has, or will have to make way for humanity to rise up and take its place.

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

Warhammer 40k an in depth analysis: Part 2, The Warp: part 7, Chaos: Conclusions

12 April, 202017 July, 2023 ~ SamRandom ~ Leave a comment

Introduction

This will mark the last of the chapters dedicated to the topic of the Warp for a while. We have now gone trough the entire human pantheon of deities, both evil and benign. We will return to the Warp periodically across the series as we explore new factions and explain how these unique civilisations Interact with, and influence the Warp.

Chaos Undivided | Warhammer 40k | Fandom — Source: https://warhammer40k.fandom.com/wiki/Chaos_Undivided

A creation of mortal minds

The chaos gods, with the exemption of Slaanesh are al described as mainly a human creation, as well as a human adversary. I would argue that there is ground in this reading, as the warp is formed by the thoughts and feelings of the Mateirum, and humanity is the most prevalent sentient species in the galaxy would it make sense that they left the largest footprint on the Immaterium. We will also see in later chapters that, when the Eldar was described as the leading race in the galaxy, the warp was very much formed by their desires, hopes and fears. (Games Workshop, 2016. Games Workshop, 2012)

Fears and hopes

If the chaos gods are to be understood as the fears of humanity, (once again, exuding Slaanesh), can we learn a lot from how this fictional society works and how the outlook of its citizens appears. The three main fears we have discussed in this series would be as follows, the fear of violence, the fear of disease and the fear of the future. In such a dystopian, highly ridged society as the Imperium, and in such a war and pestilence ridden world as the 40k narrative, would al these fears be rather understandable. The are also fears that many readers can most likely relate to on one level or another. Since pain, sickness and the future are al things many of us struggle with in our daily lives. The majority of the citizens of the Imperium lives in object squallier, and the death from diseases and violence is ever present in their lives. Due to the rigid class system of the Imperium is it also very unlikely that any of these individuals stands any chance of ever escaping their terrible lives, at least if they do not wish to break the imperial creed. (Games Workshop, 2016. Games Workshop, 2012)

It is worth noting here that the cults dedicated to Slaanesh are almost exclusivity found in the upper circles of human society, where resources are abundant, and many individuals are required to do little other then making sure a steady supplies of war materials to the Imperium`s many wars continues to be produced and shipped out. In such circumstances is there no surprise that decadence, lawlessness and boredom strike the souls of many of its members. Some of these get bored of even the most extravagant pleasures available to them as the elite of the elite, and starts searching for more forbidden and esoteric pleasures. We have already discussed the birth of Slaanesh and the possible fears and dreams that they build upon, the fear of loosing once self to the draw of temptation and the endless hunger of the Eldar psyche. In texts relation to humanity has Slaanesh ben portrayed more as a representation of everything forbidden, dirty and perverted, everything the citizens of the Imperium is trained to repress and avoid. (Games Workshop, 2016. Games Workshop, 2012)

Giving in

There is another uniting factor, other then the representation of fear, that is how one becomes free from said fears. That is, the only way to truly join one of the chaos gods, and gain their blessings, one must embrace the very thing they represent. In order to become free from the pains of sickness, must one become a carrier of said disease. In order to gain the favour of the changer of ways and ultimate knowledge of the future, must one surrender their faith fully to this new master. The chaos god Khorns blessings comes with the implicit understanding that you as well will one day die by someone else hand, for the blood god do not care for where the blood flows, and yours are as good as anyone else. The followers of Slaanesh are presented with pleasures and experiences beyond their wildest imaginations, only to have every singly one of them become stale, grey and mundane, forcing them to search for mo0re and more ext ream ways to satisfy their needs. The god of pleasure and pain savours each of these emotions, and the suffering and anguish of their followers is just as rewarding as their pleasures. (Games Workshop, 2016. Games Workshop, 2012)

The idea of becoming a a servant of the very thing you are afraid of, makes an interesting contrast to the concepts of Imperium heresy we have discussed before, where the Space Marines, as well as the Tech priests needed to free themselves from the ridged systems of the Imperium to regain their humanity. Seemingly neither side, neither the loyalists or the heretical chaos worshippers gains true freedom in the end, and they are pawns in one system or another.

Conclusion

The aim of this series have been to explore how the 40k narrative uses the concept of the duel dimensions of the Materium and the Immaterium in order to form its narrative, as well as to present its mayor themes of hopelessness, fear and dramatic irony. The warp serves a duel nature in the Warthammer 40k narrative, as it presents a number of answers to certain questions, such as how space travel, and communication between planets works. Unlike some other such explanations, like faster then light travel does the Warp serve as a driving force in the narrative. The very existence of this Other dimension is a constant thereat to the denizens of the “normal” world, but it is also something none of them would be able to live without.

The cyclical nature of cause and effect between the warp and the material realm is also a very inportant part of the narrative. The fact that the Warp exists outside of space and time give the writers an endless opportunity to experiment with causality, time and space, as well as giving them a good explanation for why certain inconsistencies exists between the small army of writers tasked with writing and carrying on the narrative of Warhammer 40k. This topic is one that we will return to later in the series, as we discuss how the different factions create their own gods and demons. It will also play a large roll when we finally dive in to the rich library of novels, comics and short stories set in this setting. But before that we will continue to outline some of the basics of the narratives, presented in the Codex’s of the various factions.

Next part will present a new faction, the ancient and mysterious species of the Eldar, we will take a look at the themes, narratives and real life inspirations of this civilisation, as well as discuss how they help to further the Warhammer 40k narrative as a whole.

References

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

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

Warhammer 40k an in depth analysis: Part 2, The Warp: part 6, Chaos: Slaanesh, Master and mistress of excess

2 February, 202017 July, 2023 ~ SamRandom ~ 2 Comments

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

Source: https://warhammer40k.fandom.com/wiki/Slaanesh

The birth of a god

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

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

The mind of the Eldar

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

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

The deadly sins

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

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

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

Demons of pleasure and excess

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

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

Keeper of secrets

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

Deamonettes

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

Beasts of Slaanesh

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

The search for pleasure, and their consequences

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

Conclusions

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

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

References

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

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

Warhammer 40k an in depth analysis: Part 2, The Warp: part 5, Chaos: Khorn, The father of murder and war

26 January, 202017 July, 2023 ~ SamRandom ~ 1 Comment

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

Bildresultat för khorne symbol — Source: https://warhammer40k.fandom.com/wiki/Khorne

Skulls for the skull throne

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

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

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

An uncaring god

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

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

Disciples of bloodshed

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

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

https://vignette.wikia.nocookie.net/warhammer40k/images/1/17/Bloodthirster_by_columbussage-d47j02l.jpg/revision/latest?cb=20120117042500 — Source:https://warhammer40k.fandom.com/wiki/Bloodthirster

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

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

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

War in fiction

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

The many faces of war

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

The god of human warfare and death

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

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

Conclusions

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

References

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

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

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

Warhammer 40k an in depth analysis: Part 2, The Warp: part 4, Chaos: Tzeentch, Master of magic and schemes

5 January, 202017 July, 2023 ~ SamRandom ~ 1 Comment

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

Source: https://warhammer40k.fandom.com/wiki/Tzeentch

The weaver of fate

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

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

Warp and time

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

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

Master of magic and mutation

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

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

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

Lands of change and chaos

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

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

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

Demons of magic

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

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

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

https://vignette.wikia.nocookie.net/warhammerfb/images/9/97/Warhammer_Lord_of_Change.png/revision/latest/scale-to-width-down/300?cb=20170226092645 — Source: https://warhammerfantasy.fandom.com/wiki/Lord_of_Change

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

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

Warhammer Daemons of Chaos Pink Horrors — Source: https://warhammerfantasy.fandom.com/wiki

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

Warhammer Daemons of Chaos Flamers — Source: https://warhammerfantasy.fandom.com/wiki

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

ScreamerofTzeentch — Source: https://warhammer40k.fandom.com/wiki/Screamer

Followers of Tzeentch

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

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

Conclusions

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

Cosmic horror

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

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

Fate and the future

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

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

The unreliable narrator

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

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

References

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

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

Warhammer 40k an in depth analysis: Part 2, The Warp: part 3, Chaos: Nurgle, the god of death and rebirth

22 December, 201917 July, 2023 ~ SamRandom ~ 1 Comment

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

Source: https://vignette.wikia.nocookie.net/warhammer40k/images/c/c1/Nurgle_mark.png/revision/latest?cb=20050727104008

Introduction

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

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

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

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

A creed of duality

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

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

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

The garden of rot

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

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

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

The daemons of Nurgle

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

The playful beasts

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

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

Nurgling closeup — Source: https://warhammer40k.fandom.com/wiki/Nurglings

The legion of research

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

Source: https://warhammer40k.fandom.com/wiki/Plaguebearer

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

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

Followers of ruin

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

Plague Marine battle — Source: https://warhammer40k.fandom.com/wiki/Death_Guard

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

Origins of the plagues

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

Conclusions

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

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

References

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

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