Chronicles of Ankut Nui

From the Chronicles of a Toa Ankut:

“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. 

From the Chronicles of a Toa Ankut: 

“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.”

On this day one year ago, I started the journey with this blog and although I’m still yet to reach the momentum of work I’d be happy with, I am proud of what I have managed to accomplish during that period and extremely thankful for everyone that found interest in it. Today, I’d like to lay my foundations for the future by starting a YouTube channel called “Lorem Ipsum”, dedicated to discussing the lore of many different fictional universes, one of them being BIONICLE. That isn’t to say that I’m stopping the work on this blog, as the BIONICLE content on the YouTube channel should be treated as an extension of what I do here. I explain more about it in the introductory video which you can already watch here:

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

—————————————————————————–

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.

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 next Chronicles of Toa Ankut text has been taking a bit longer than expected but it should be done very soon. In the meantime, here's a small teaser of what the topic might be.

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 ------------------------------------------------------------------------------