“In the replicas of Kanohi from the period of late Metru Nui, a particular motif can be found, one that is shared by most of the known specimens. It consists of a circular element with a smaller circle inside intersected by an oblong shape. I believe this motif to represent either a piece of additional technology that was integrated into the masks, or a common design pattern that became a leftover from said technology, after it stopped being implemented.
If we inspect the placement of the components that have said motif, it becomes apparent that they are most commonly located once on each side of a mask, near areas where the audio receptors of its wearer would usually be. Furthermore, a replica of Kanohi Ruru from the same period appears to have a similar yet complementary shape, like a negative, located at the mouth section. This leads me to form a theory that those components, in their original form, were responsible for enhancing audio properties of Oropi who wore Kanohi modified this way. Masks containing the convex shape would enhance hearing of their users, while the ones containing the concave shape, like the mentioned Ruru, would enhance their speaking.
The only Kanohi replica that has the hearing enhancement component placed somewhere different than on the sides is that of a Komau, which has a single component located on the top surface. This particular mask is said to depict the version worn by Toa Metru Onewa, who during his time as a Matoran was a Po-Metru carver, so a configuration like this one could have enhanced his awareness of sounds coming from up top, like those of rocks falling down, which would be useful for Onewa's profession.
Similarly, we can compare the Kanohi Ruru from this collection to its alleged historical wearer, Toa Metru Whenua. He, in turn, used to be an Onu-Matoran archivist, known for giving tours around the Great Archives, so a modification that enhanced voice strength would have allowed him to be heard better by the tourists he spoke to.
An interesting observation is that amongst the commonly known replicas representing Kanohi worn by the last Toa Metru in their state as Toa Hordika, only Mahiki Hordika of Toa Matau retains the discussed components from its regular form, unlike Hordika mask worn by Toa Vakama, Onewa and Whenua. If we were to believe the theory that the components could have been merely design leftovers, it isn't outside the realm of possibility that from all the mentioned Toa Metru who had those kind of designs in their Kanohi, only Matau had actual enhancement components and so they retained their form even when the mask underwent Hordika mutations.”
“Sketches based on depictions found in one of the first instances of the Witnesses’ Art, showcasing equally primordial times. Those engravings depict brutal battles fought by powerful warriors, amongst themselves as well as against mighty beasts that bear a resemblance to Rahi. Though some of those warriors seem to wear coverings that share likeness to Kanohi masks, others appear to possess exposed heads with jawbone structure, and instead choose to adorn themselves with particular markings on their foreheads. There are many mysteries to the meaning of those engravings and the nature of the beings depicted on them. Currently, the only lead lies in the presence of waters possessing transformative properties, something that is consistent with the power of the mystical Silver..”
“Throughout my search for the Truth about the Great Legend, I have visited many ancient sites related to the Matoran Universe. Most of those structures, though, were not created by the Oropi themselves, but by the Witnesses, as a form of recreating the original locations. Those installations are often made for the purpose of potential exposition and viewing by their visitors, so they might present a somewhat inaccurate picture, but all of them contain some crucial information about the civilizations of these Worlds. For that reason, together with a fellow Toa Ankut known as Aikuru (whose help in understanding the designations of those structures was invaluable), we’ve come to call them Vala Vahiki.
Amongst those Vala Vahiki, there are particular three collections that have intrigued me the most, all originating from the group of Witnesses known as Dehi-Mongai. The sources say they all are to be depicting the island of Voya Nui, but I have my doubts about that. Information contained in them is quite contradictory, compared to each other, other Vala Vahiki of Voya Nui and the knowledge we have from written sources. That is why I believe there to be something more profound than a record of just one island. The region of Udogawai that would become Voya Nui was located directly above the Heart of the Universe, and in that manner, Vala Vahiki of Voya Nui may contain the key to knowledge about the entirety of the Matoran Universe. I believe the Witnesses included fragments from different parts of the Oropi worlds, trying to store as much information about those civilizations in these three complexes as possible, thus creating this Triconvergence.
Each of these Convergences is generally divided into six distinct regions, one for each primary element, along with some additional locations (and in the case of the Second Convergence, a secret seventh region). This division in a way matches Voya Nui, as it is a land where particular elements have a stronger influence in certain areas, akin to islands like Mata Nui or Metru Nui (and as such I will occasionally refer to those regions as Wahi).
According to the adjunct sources, each main Wahi in every Convergence is governed over by one member of the Pyrakak, a group of Skakdi that took control over Voya Nui in the legendary tales. The Pyrakak were what could be described as an Elemental Team, as each member was affiliated with one primary element, tying again to Elemental Islands and the Toa teams that watched over them.
That said, there is an interesting occurrence, as in some cases the domains assigned to Traidaka and Avakra have traits that conventionally would relate to the other element. I will explain my reasoning in detail when analyzing the individual locations, but for now I’ve decided on the following categorization:
Traidaka’s sectors in the First and Third Convergence - Po Wahi
Traidaka’s sectors in the Second Convergence - Onu Wahi
Avakra’s sectors in the First and Third Convergence - Onu Wahi
Avakra’s sectors in the Second Convergence - Po Wahi
Whether that interconnection is a form of a Horizontal Enjambment, or a hint at the nature of those elements in the Skakdi culture, it remains to be seen..
Below is a list of all the sectors and their individual sites:
🟦First Convergence
Korakhu Matoran
Alvala Pyrakak
Ata Avazon
🔵Ga Wahi - Padaru Vazaaka
Nua Pyrakak
Elik Hunatu
Ura Ikhi
Gauvo Vazaaka
🔵Onu Wahi - Hauhi Avakra
Sorahi Guuri
Akha Galya
Havala Kro
Kardakha Avakra
🔵Ko Wahi - Nuhuru Troko
Aui Gavoki
Vua Nuhu
Hui Koakaua
Onolu Troko
🔵Po Wahi - Toro Traidaka
Opahu Toro
Tanokha Hura
Onahu Boko
Hauhi Traidaka
🔵Ta Wahi - Ranuru Vhakann
Onu Taha
Vua Ranuru
Aiamahi Taha
Nukhu Vhakann
🔵Le Wahi - Boahi Zaksas
Paha Ikhibo
Boahi Boko
Suva Okhinu
Valaku Zaksas
🟩Second Convergence
🟢Le Wahi - Kini Hua
Olu Vouna
Koloa Nui
Gahtu Boko
Onahu Ivohu
Hauhi Hua
🟢Onu Wahi - Akha Boko
Valaku Rhotu
Rovu Akha
Wahi Akanga
Hauku Elek
Valaku Karda
🟢Ta Wahi - Karda Ranuru
Ka Nui-Taha
Gala Taha
Aiamahi Rana
Dahta Koha
Malta Ruku
🟢Ko Wahi - Hui Kopa
Okoka
Olu Kokaua
Vala Koha
Gakhua Koha
Opahu Koahi
🟢Po Wahi - Hauhi Poha
Olu Hauhi
Akuvala Ikhi
Havala Khu
Vala Vonua
Baraua Ataku
🟢Ga Wahi - Elik Voya Nui
Omalu Gaanga
Gawa Vazon
Valata Gavoki
Gaaka Odek
Okhu Gaha
🟢Kra Wahi - Ila Makuta
Ikhi Kordak
Gala Khui
Gaaka Taha
Khu Koka
Guru Aku
Havala Okhinu
Apua Aga
🟧Third Convergence
🟠Ko Wahi
Vura Koha
Hauhi Nuhuru
Vala Troko
🟠Po Wahi
Toro Hura
Vala Rode
Opahu Traidaka
🟠Ga Wahi
Elik Voya Nui
Elik Auga
Okhu Vazaaka
🟠Le Wahi
Hai Boavo
Hauhi Hua
Kini Zaksas
🟠Onu Wahi
Omalu Nui
Vala Amaja
Baraua Avakra
🟠Ta Wahi
Gala Rana
Nuhuru Valamai
Suva Vhakann
Kini Avo
I already have some theories as to which lands of the Matoran Universe these Vala Vahiki are meant to represent. The first theory points to the Southern Continent, as it is a natural extension of the island of Voya Nui. The second is Zakaz, the homeland of the Pyrakak. The third theory relates to the Vassals of Voya Nui, another group of Oropi in adjunct texts who were assigned to the Wahi in the First Convergence. They each stem from different parts of the universe, but some were never heard to set foot on Voya Nui and that is why I believe their inclusion to be a sign pointing toward the Triconvergence representing a greater number of Worlds. My last theory connects to the “Fortress of Dreams” and the enigmatic Azorann that led the Skakdi in the new age. That is a matter of grave mystery, delving into the secrets of the power of Gold and the meaning of the Golden Graph..
I will journey into those Vala Vahiki and document what I see, both the architecture and the more minor objects and artifacts. I may not find all the answers immediately, but this research could prove to be crucial for future studies, done by me or other Toa Ankut. A great journey awaits us, for this is the way of Ankut Nui.”
“In the Art related to the event known as the Kaita, a particular flower caught my attention. I suspect that its meaning relates to the symbolism in the Magnan culture. Hope, rebirth, someone's final wish fulfilled or maybe respect to those that have fallen fighting for this land.“
Last month, two fans known as Wolk and Joint Dogg discovered a portfolio website of Bo Torstensen, an artist who worked with LEGO in the 90's on visualizing concepts for different lines, including BIONICLE. On one of the pages we can see some concept sketches for it, including the earliest look at the interiors of the Great Spirit Robot.
As you may know, Matoran's work of keeping Mata Nui alive used to be more literal in the early lore, as originally they were to be service workers maintaining the Robot’s systems, with Toa acting as security guards. While that concept evolved over time, the idea of GSR’s “backrooms” survived in some form, as can be seen in the Mata Nui Saga or The Legend Reborn.
I encourage you to check out Torstensen’s portfolio (found here) for yourself as it features other concept pieces with many interesting details. But that will be all for today, take care and see you next time on the second Greg Farshtey Recap!
From the Chronicles of a Toa Ankut:
“The armor worn by the members of the Brother of Makuta is one with a great potential of artistic insight into the cultures of the Matoran Universe. One Makuta could honor the lands they watch over by stylising their plating to the likes of the covering worn by the Oropi of that region. But in order to understand which motifs belong to those cultures, we first need to determine the aspects that originate from the very aesthetic of the Brotherhood. Throughout my study I have found a couple of similar patterns shared by various pieces of equipment related to the aforementioned group, which could potentially link to the mentioned design language.
The first pattern I have observed came from the similarity between the arrow-like shape engraved into the mask worn by the Kra-Matoran Kirop and the symbol seen on the Kraata slug in its first stage of evolution. Another engraving that could potentially be an example of this motif can be found on the armor of Makuta Teridax himself, though in a quite modified form. And speaking of his equipment, one of the depictions of the Kanohi Kraahkan (apart from also possibly resembling an arrow) features what is in my opinion the next essential pattern: a series of triangular cuts, quite similar to those seen on Rahkshi armor. It is important to remember that the body of a Rahkshi is made from a Kraata slug, which features triangular patterns as well. In conclusion we can suppose that said creatures, being of the most natural origin, are the original source of inspiration to all of those motifs.
Another finding worth mentioning here is one of the portrayals of Toa Matoro’s Kanohi Tryna, which surprisingly features the same style of cuts as the Rahkshi armor. The mask grants abilities that are considered immoral by many, and thus is associated with the Makuta, who favor Kanohi with dark powers. Could it be that this depiction of Ko-Toa’s mask was meant to symbolize its nature? Or perhaps the motif came from the very work of the Kanohi Ignika, whose creative secrets are still a great unknown.
This is but a brief entry to the subject, identifying some key aspects that could work as a basis for future findings. I see there being much more to learn from those artifacts, as well as from what we know of Makuta’s role in the universe. There is always more to learn, for this is the way of Ankut Nui.”
Welcome back to the Greg Farshtey Recap, where we’ll be looking through every available Q&A session and forum thread featuring the author of the BIONICLE comics, story serials and majority of the books, in order to understand what’s really important about those threads. Today we continue going through the BZPower interviews preceding the Official Greg Discussion Topic. Without further ado, let’s get to it!
“Q: How do the Toa/Tohunga/Turaga(etc) eat and drink and breathe?
A: Well, we know they breathe, and I assume they breathe the same way all the rest of us do. I don't know if they eat or drink at all.”
While in MNOG the Matoran were seen eating (for example in the scene where Matoro gave Takua some Bula berries), that appears to not have been officially determined by the story team, as many creative decisions in the aforementioned game came directly from its developers. About a year later, a confirmation would be presented in "Tales of the Masks", which outright shows Onua and Whenua having a snack during one of their adventures:
Later, the Toa and the Turaga sat in a small cavern and shared a meal from their packs.
-Tales of the Masks
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“Q: How long do you see the Bionicle biz to keep going?
A: Well, let me put it this way. The BIONICLE storyline is divided into "books" by the heads of the story team. The books are different lengths, and I believe that at end of this year we will only have completed one. There are at least 7 books that I know of in existence, possibly more. So as long as there is an audience for it, we have stories to tell.”
This would be the first mention of the famous “Seven Books of BIONICLE” (from which only three got to be told), if not for the fact that in an earlier interview someone already asked a question using that terminology:
“Q: Would you call this "Book" (2001-2004), the "Book of Makuta"? If so will this be the ultimate end of makuta? Or is this just the beginning of what Makuta has got in store for us?
A: Well, I don't know what I would call the book... I do know the movie will offer some resolution to the conflict with Makuta, but I honestly cannot say whether that will be the last time he appears. At this point, I know the story plans through '04, but not much beyond that, and I know there are plans that go well beyond '04.”
It’s speculated that the first mention of the Seven Books actually happened when Greg initially explained that the BIONICLE line wasn’t being discontinued in 2003, as this was the main reason he came to the BZP boards in 2002 in the first place.
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“Q: Will there be any type of "before time" story of the krana and every other creature? (krana could of been an intelligent race but were turned into small masks and lost there free will because of the bahrag)
A: That's possible, but I don't think it will happen in the immediate future.”
Once again, when Greg doesn’t deny something there’s a reason for it. In this case it’s most likely in reference to the prequel Books, as at this point the Metru Nui story was already in development, and we know from the author of the concept of Books, Bob Thompson, that the next prequels would go back in time even further. Another interesting thing is the backstory for the Krana proposed here by the fan, as it brings to mind the Zyglak, who were a byproduct of the Great Beings making Krana. I doubt that the suggestion was used years later, especially since Greg wasn’t allowed to read fanfictions so he couldn’t be accused of stealing someone’s idea, but it’s an interesting coincidence nonetheless.
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“Q: In the video of the "New Invention Saves Onu-Koro" update on Bionicle.com it says that when a Bohrok looses it's Krana it can't move, but in the first Bohrok comics Vakama says that if a Bohrok looses its Krana it can be humbled, can you clear this up?
A: In some cases, Bohrok who lose their krana aren't moving, but that's usually because they have been stunned (making it easier to get their krana out of them). Bohrok with their krana removed do not freeze up and shut down... they basically become like cars still in drive with no drivers. They wander aimlessly until someone comes along who can essentially reprogram them and give them direction again.”
That is a surprisingly thoughtful detail, and most importantly one that would play a role in the story, as after the defeat of the Bahrag, the Kranaless Bohrok get reprogrammed to help Matoran rebuild the villages. The relation between the Swarm, Krana and Matoran is a very interesting one and there will be many more questions that will give us a chance to explore it.
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“Q: Why are the Toa having trouble overcoming their differences? Didn't they already do that?
A: Yes and no. They have been forced to work together, because they weren't powerful enough individually to stop the Bahrag, or Makuta, etc. But some, like Kopaka, really don't like working in a team. And after months of constantly being together, they are starting to get on each others' nerves. Add to that suddenly they have this new power and think they don't need each other anymore, and it makes sense they would split up. (After all, you probably have some good friends, but do you want to be around them ALL the time?)”
This is something that the fans argue about to this day, and personally I’ve always shared the interpretation given here. It feels more relatable that you don’t always learn a lesson or grow past your flaws in just one adventure. Sometimes, it takes time and many tries (especially here, given how polarizingly different personalities some Toa have).
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And with this we conclude the second entry in our recap series! Like the first time, let’s quickly go through what we have learned from each question about the state of things in late 2002/early 2003:
-eating and drinking by the Matoran wasn’t determined yet, even with MNOG showing the former
-some fans were already familiar with the concept of the “Seven Books of BIONICLE”
-Greg didn’t deny the possibility of flashback stories
-Losing Krana on its own didn’t cause the Bohrok to freeze
-Greg saw Toa constantly splitting up as something that would make sense for those characters
Once again, shoutouts the The Great Archives and I’ll see you again (hopefully) on Ankut Nui day, with something quite special...
Welcome to the first Greg Farshtey Recap, where we’ll be looking through every available Q&A session and forum thread featuring the author of the BIONICLE comics, story serials and majority of the books, in order to understand what’s really important. We’ll be starting with a series of BZPower interviews that ran from late 2002 to early 2003 and were a predecessor to the Official Greg Discussion Topic.
Without further ado, let’s get to it!
“Q: Have you worked with LEGO on other projects besides BIONICLE? How did LEGO originally approach you to work for them?
A: I am on staff at the LEGO Company, employed in the Creative Center in Enfield, CT. I write the LEGO Magazine, some web content, the BIONICLE comic, the GALIDOR comic, and whatever else anyone asks me to do. I started in October 2000, and got the opportunity to write the BIONICLE comic based on some sample script pages I submitted.”
This question is a good reminder that Greg worked for LEGO already before BIONICLE (and continues to do so to this day). It’s also interesting that he only got to write the comics based on script submissions. That is because he originally wasn’t supposed to do them but ended up replacing the original writer. Greg talks about it more in the final episode of the Gathered Friends podcast
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“The Toa Nuva stay armored at all times in the storyline”
This comes from a BZP news post with highlights from an interview that unfortunately seems to have been lost to time. That small tidbit implies that the Nuva armor is something that can be detached, which fits with its later portrayal in the books:
Then he removed his Nuva armor and tossed that aside as well. “There. No mask. No weapons. No extra armor. [...]”
-Onua in Dark Destiny
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“Q: Will there be any more toa?
A: Possibly, but not for a while yet.”
It’s very interesting to see that the answer wasn’t a “No” or “Cannot be revealed yet” (though I suppose the second one would imply that there definitely is something planned). The idea of there being more Toa has always been pretty strong within the fan imagination, as seen with the legendary Toa Voriki, or even many Toa concepts that appeared in the Zany Brainy Mask Contest. Another thing to remember is that at the time of this interview, the “Mask of Light” movie was already in production so Greg would most likely be aware of Takanuva.
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“Q: What is a Matoran? In other words, is a Matoran just a new name for the Tohunga, or does it consist of everyone. Hafu, Huki, Onewa and Pohatu are all Po-Korans. Does this mean that these four are now Matorans, or only Hafu and Huki?
A: "Matoran" is only used to refer to the villagers, although technically a Turaga is a Matoran who has ascended to a leadership role. But when we use it, we mean villagers.”
This question addresses something that is still a bit undefined to this day: a unified name for the Matoran/Toa/Turaga species. The description Greg gives here for the nature of Turaga is reminiscent of the Protectors from G2, which are just chosen Okotans. This reinforces the early hierarchy which went as: Matoran>Turaga>Toa, as the one we are used to knowing from Legends of Metru Nui onward (Matoran>Toa>Turaga) wasn’t developed yet. I highly encourage checking out Mister N’s article about the early role of the Tohunga and Turaga if you want to learn more about this subject.
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“Q: how long does it usually take to come up with story elements for the toys?
A: The story team works way ahead of time on the story.. we are in the process of putting together 2004's story now and getting it concept tested.”
Nothing much to say, just very important to always keep that fact in mind while going forward into the future questions
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“Q: Are there plans for the Shadow Toa to return in the future?
A: Not that I know of. However, the overall planning for the BIONICLE storyline is done by the BIONICLE team in Europe and America, so they may have things in mind for the future that I am not aware of yet.”
I initially thought that the first mention of the Shadow Toa happened with their first official appearance in the 2003 novel, “Tale of the Toa”, since the videogame in which they were originally meant to debut, “BIONICLE: the Legend of Mata Nui”, was cancelled. It would appear that actually they were officially mentioned in a short recap included in the first comic from the Bohrok Saga, and that's why we’re seeing them being asked about already in 2002.
“Finally, they overcame shadow versions of themselves and achieved a great victory over Makuta!”
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And that will be all for today! To do an even shorter recap, in late 2002:
-Greg have worked for LEGO before BIONICLE
-Nuva armor was already considered to be something detachable
-Greg didn’t deny the possibility of more Toa
-Turaga was considered to be a higher Matoran
-The story team already worked on the 2004 line story
-People were asking about the Shadow Toa, though there weren’t any plans yet for their return
Big shoutouts to The Great Archives, the website hosting all of archived conversations with Greg (which of course I used and will be using for all the recap posts). See you next time on the Chronicles of Ankut Nui!
