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sepublic · 2 years

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Secondary Elements make no sense

The introduction of secondary elements beyond Light and Shadow (which are framed as existing on a whole different level anyway) is weird, because it kind of breaks the lore on Protodermis seals. They’re first introduced at the end of 2002, when the Toa combine their elements to defeat the Bahrag; In MNOG, Whenua describes protodermis as the ‘stuff of life’, and it’s what all living biomechanicals are made up of.

Thematically this makes sense; The idea that all of the elements come together to create the very matter that living beings are made of. The Toa/Turaga/Matoran, who are themselves made of Protodermis, are essentially channeling a facet of this substance in the form of one of its component elements. You can even add in some refraction symbolism and compare it to Light, how it can refract into different colors as Protodermis splits into and combines from different elements, each associated with a color; It further props up Takanuva on an aesthetical and thematic level, because Light is symbolically the united culmination of the six elements, hence Takanuva being the one to defeat Makuta, hence Light being associated with Mata Nui, whom our Toa protect. It makes sense that what is essentially a Christ-figure would also bear the same element of the lore’s God, and the Toa Nuva in turn serve Takanuva; It’s all about being more than the sum of its parts, befitting the Kaita and Lego medium.

But then comes Sound and Gravity; Sound is technically the first to be canonized, but in terms of story appearance, doesn’t show up until after Gravity’s mention in Time Trap. In the story, Lariska gives an anecdote of how she killed a Toa of Gravity by preparing for his powers, and then later Krakua himself shows up. This suddenly messes up the worldbuilding and thematic lore for Protodermis; Isn’t it supposed to be the representation of all elements, of life itself? So why can it be made without Gravity, or Sound??? Then we get other elements, and it’s suddenly eight secondary elements, outnumbering the primary six. The existence of secondary elements is baffling;

Suddenly, the way Protodermis seals are created is rather arbitrary; It’s not all of the elements that represent nature being combined, but rather any combination of six separate ones, out of fourteen possible options. You can have two teams, each of six entirely different elements, and yet they still create the same Protodermis…? The lore is suddenly messed up and it raises questions… Furthermore, why is Metru Nui, the most important place in the universe, not including Matoran of these secondary elements? Why is there even a distinction of some elements as ‘secondary’ in the first place, shouldn’t they all exist on the same level??? Why are there only Toa Mata for six out of fourteen elements, that’s less than half; These are the Toa meant to save Mata Nui, they should represent all of the elements!

It’s just freaking weird. And it doesn’t help that most of our lore and actual story content on the secondary elements is downright minimal; Sure we have Word of God from Greg, but with how the secondary elements are so hardly fleshed out and barely appear, what’s even the point of including them if it breaks the lore that way? And it’s such a casual, offhand inclusion that isn’t really necessary, especially when the element itself isn’t actually used; Zaktan doesn’t need to have killed a Toa of Plasma, because he never uses his power of Plasma. Hakann and Vezok don’t need to encounter a Toa of Plantlife, because he never uses his powers anyway.

They could be Toa of any of the previously-established elements and it’d make sense, and NOT mess with the worldbuilding. It’s bizarre. Why open such a huge can of worms that is a new element (and thus a type of Toa/Matoran), for something so frivolous; Why do that if you won’t actually follow through on and commit to this? Why turn this power into a fully-recognized Toa element??? It makes a lot of sense from a meta perspective for these elements to exist, but the way they’re incorporated later on into the actual story, thus interfering with established canon, is downright baffling. All this does is create and highlight a painfully obvious absence in-universe, which is more of note than their actual existence to begin with.

#bionicle #toa #elements #takanuva #worldbuilding #greg farshtey #protodermis

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tiredspacedragon · 3 years

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BIONICLE Retrospective

2001: Quest for the Masks

Part 6.1: 8534 Tahu

Here's a fun fact about me: I deeply enjoy analyzing character design. To me, picking apart a character's physiology, clothing, and general aesthetic can be just as fun and can tell me just as much about a character as analyzing their thoughts and actions in-story. Hence why, for the purposes of this retrospective, I have chosen to count sets as canon story material. With that in mind, here he is, folks, the first of the Bionicle: Tahu, Toa of Fire

(More below the cut)

The aesthetic of early Bionicle is certainly...unique. Tahu, and by extension the other Toa Mata, is clearly a person of some kind, but there is something intrinsically alien about him. Obviously part of it is that nearly every inch of his body is covered in complex mechanical detailing, but even then, he doesn't look fully robotic. Whether it's the bright colours, or the gangly proportions, or the sword and tribal-looking mask, or maybe just my own bias, there is something about this design that feels distinctly alive. The Toa, and in fact all the sets of 2001, remind me of something out of the movie 9, like they are post-apocalyptic machines that have pulled themselves together into human and animal-like shapes and willed themselves alive. And given the nature of the Toa's arrival on the island of Mata Nui, this appearance is all too appropriate.

Unfortunately, the figure is rather static. No knees, no hips, no elbows, no neck articulation, nada. CGI lies, kids. However, credit where credit is due, because though the limbs and torso are all solid, unmoving pieces, they do look like they could move. By looking at the various molded pistons and implied swivels, you can see where and how each piece would move, so while the lack of functionality here is disappointing, it is somewhat compensated for by excellent form. The neck has no such compensation, though, and is easily the biggest downfall of all the Toa Mata sets. If you have any available, I'd recommend swapping out the neck axle with some Lego flex tube. The personality of the sets increases exponentially when they have the ability to move their heads :P

Thankfully, even without such modification, the set is not completely static. The limbs and appendages have a limited degree of posability, but mainly I'm talking about the gear function. On a set with such little articulation, the function adds a lot of fun to the set and establishes a classic precedent. It can interfere with posing, but it's pretty easy to deal with. Just squeeze the two bushings on either end of the main axle together and you should get all the friction you need to hold a pose.

When it comes to Tahu specifically, he pulls off the fire motif spectacularly. His flame-shaped Fire Sword, a beautiful piece that combines tribal and technological elements, sends the message especially well, and is backed up by an excellent colour scheme. The bright red and orange are lively, and give Tahu the appearance of living flame, with the black accents providing a solid contrast.

Speaking of the Fire Sword, how do those of you who have the set have Tahu hold it: point facing backward or point facing forward? Promotional material has shown both, so it's really a matter of interpretation, but having the tip face forward has always seemed (literally) backwards to me. Curved swords put the outward side of the curved edge forward because that increases cutting power. Even recurved blades curve back at the point for the same reason. So why have Tahu hold his sword in the less efficient position?

Anyway, one of the black accents is the ball piece on Tahu's chest. It exists for the sake of the Toa Kaita combiner model, but on Tahu himself it serves little purpose. It doesn't seem to armour or equipment of any kind; is it some kind of decoration? At this point, though, the ball is an iconic part of the design, and I've just come not to question it.

Like many of the Toa, Tahu sports an asymmetrical design. His left arm is the same piece as his legs, and features a large, two-fingered hand, while his right is an entirely different piece designed to hold his Fire Sword. I'm not entirely sure what purpose this asymmetry would serve in-story, or even if it is strictly speaking canon, given that his left hand is supposed to be a normal hand. I guess Tahu was always doomed to be right-handed :P Though I will say that the asymmetry does add to the makeshift, cobbled together aesthetic of 2001, which I very much appreciate.

Tahu's shoulders are connected in the default wide orientation, giving him a broad-shouldered, traditionally heroic silhouette. However, Tahu is no beefcake. His midsection is slim, making him appear lean more than bulky. He appears strong, but also agile and quick, good traits for a swordsman. I imagine Tahu as a surprisingly acrobatic fighter, moving more quickly than most opponents would expect. I think of him wielding his sword similarly to how a Jedi handles a lightsaber, flowing cleanly between offense and defense. The fact that he can heat his blade to the point that it can melt through stone does not hurt the lightsaber comparison :P

Tahu wears the Great Kanohi Hau, the Mask of Shielding, which allows him to project a force field around himself at will to guard against any physical attack. The mask's design is iconic and certainly earns its place as Bionicle's mask-cot (ha), but more than that, it is an excellent mask for Tahu himself. Its simple, smooth design stands out against his greebled body, and its trademark scowling browline suits Tahu's personality perfectly. His reddish pink eyes shine through it, giving him a stern look.

But even more than its appearance, the Hau's power fits Tahu well. At first, it may seem strange. Why would the aggressive, sword-wielding, seemingly offense-oriented Toa of Fire have such a protective power? The answer is because aggression is not Tahu's core, selflessness is. Tahu is not a glory-seeker, nor is he inherently violent. He is reckless, but that recklessness is born of a desire to protect those around him from harm, to be a hero, which this mask allows him to do. The Hau only shields him, though, meaning that to protect others, he must throw himself in front of them. This is part of what ultimately makes Tahu a good leader. He doesn't charge ahead out of a thirst for battle or personal glory, but because he is, in his own misguided way, trying to look out for his team.

Tahu's design is simple, but, dare I say it again, iconic. Every detail is well thought-out, and yet the finished product still carries a feeling of strangeness. He is appealing, yet mysterious, combining the familiar and the bizarre and establishing an aesthetic I love to this day. He fits right in at the front of the line as the Toa's fiery leader, a fine first impression for the world of Bionicle.

Sidenote: Bionicle's mid-size set packaging was incredible. Incorporating the packaging into play is genius, and I'm amazed it isn't more common. The Toa's cans are literally their Toa Canisters, and the lids are their Suva. I know we all know that at this point, but it still deserves to be gushed about.

Next up: 8533 Gali

#bionicle #bionicle retrospective #bionicle setrospective #tahu #i'd really appreciate feedback on this one #i generally know what i'm doing when it comes to literary analysis #but toy reviewing/character design analysis is something i have much less experience with #and i'm not quite sure i've got it nailed down yet #so let me know if this one is too long #or puts too much/too little focus on any particular aspect #thanks guys

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the-hydroxian-artblog · 3 years

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I love the Marilyn Monroe vibes I got from Kaita's latest depiction. I think it's the hair. It's very nice hair. And make-up. (...Do robots need make-up...?)

She very much has some pride in her aesthetic sense, and takes at least some inspiration from 50s fashion. She pledges not to live up to the rumors of Monroe being a slob, though, so there's that.

Also, any robot that wants to set themselves apart from everyone else can't just rely on mother nature making them funny-looking or conveniently attractive; from hair to make-up to even a face itself, it's all deliberate choices on the robot's part. Kaita is just a metal skeleton/wolf-terminator without her face, hair, and casing, which were all custom-made.

She's also from a setting like ours but in the future, so most see her as a hyper-retro hipster of sorts for choosing that aesthetic. She swears it's making a comeback, though, and she might not be wrong.

#moaccyrk

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takarumatsuoki · 7 years

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10 DAYS OTP CHALLENGE WITH THE GAZETTE

OTP LOCKSCREEN + OTP AESTHETIC

3\10

REITA x KAI

#the gazette #kai #reita #challenge #otp challenge #kaita #reixkai #lockscreen #swag #sassy #aesthetic #otp aesthetic #my edit #gazetto edit #gazette pairings #pairing #moodboard #3\10 #reita\kai

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starshipmatanui · 4 years

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Year 4 Large Sets

Karzahni, Lord of the Deep: A powerful and gigantic figure, oft mentioned by the undersea denizens but rarely seen. It is they who rule over the empire the Barraki carve out for them, and they who created the mutagen used to turn biomechanicals into sea creatures, based on a variant of Visorak venom. Claims to have once been a Turaga of water. Partially mad and a worshipper of Annona. They have powers over water and ice, telepathy and teleportation, not to mention their control of the mutagen and drones that deploy it. The set resembles a mix of the original set Karzahni of 2007 mixed with Nocturn’s aesthetics. Should have a mix of all the Barraki’s features. Comes with Dekar and a mutagen drone.

Matoran Submarine: The Matoran beginning to settle and repair the underworld will not sit back while their Toa heroes risk their lives to awaken Ekimu. They continue to produce marvelous vehicles to aid the Toa in the fight against the strange creatures of the world. Resembles a mix of the Toa Terrain Crawler and the Stinger Whale playsets. Comes with Defilak, Idris, and Sarda.

Hydraxon: A mysterious warrior opposed to the Barraki and distrustful of the Toa. Loyal to Ekimu and desires their reawakening, and eventually is convinced to aid the Toa. They reveal the location of "the Core” that must be used to awaken Ekimu. Has elemental power over earth. The set resembles the original, though with orange highlights and a few body features borrowed from Brutaka. Comes with Rheysa (a Ko-Matoran now) and Gar.

Maxilos: A mysterious figure, whom Hydraxon insists is dead. The Set resembles the original, though with slightly more skeletal features. Was once a guardian of the same kind as Hydraxon. Now they’re a mysterious figure taking a strange interest in Matoro. Is revealed to be possessed by Makuta, still working to undermine the Toa. Has all the Makuta’s powers, but is only publicly using elemental fire.

Master Builder Set: This mysterious underground sea is home to all sorts of creatures. Apparently all mutants, some were once Matoran or Turaga, or Rahi or Visorak. Now they are a vast collection of strange aquatic monsters. With this set, you can build the whole kitten caboodle of them, and more if you’re imaginative.

Karzahni tells the truth when they claim to be a Turaga of water. Like Roodaka and Keetongu they were wooed over by Makuta to help them overthrow Ekimu, and was upgraded into a powerful new form for their loyalty. Unfortunately for Karzahni, when the Visorak turned against them Karzahni found themselves webbed up and bound. The resulting mutation was a water breather, and it was only by luck that Karzahni was able to get to a cooling line and survive. From there they plotted revenge. Operating from the fluid portions of the GSR, Karzahni kidnapped Visorak and created the aquatic mutagen, as well as the drones that would deliver it. Forcibly creating an army, Karzahni orchestrated the great leaks that would flood the lower portions of the GSR.

Hydraxon and Maxilos were once part of a team of six super Toa, called Kaita, that protected the most important sections of the GSR. Maxilos was drowned in the great flood. Hydraxon was able to modify themselves and survive under the water, where he continues to carry out his duty of guarding the Engineering Section. Hydraxon believes themselves to be the only surviving Kaita, and is probably right.

#year 4 #large sets

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