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#matoran universe
toacody · 2 months
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Krekka (2015)
As seen on film.
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Creator: FeroxJ
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musuvivalistguide · 15 days
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So because I'm still working on refreshing my memory on things in the Bionicle fandom, looking through the reference books is quite the treasure trove of little nuggets.
In Bionicle World, a book written to seem like Helryx is writing it based on information collected by OoMN agents, I happened to notice something in the Metru Nui chapter.
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Now, according to the wiki, it's not unheard of for the characters in Bionicle to use family terms such as brother and sister. But for a species that can't reproduce, I find it interesting that this term pops up--from Helryx nonetheless!--as though they know what parents or mothers or fathers are.
This makes me wonder if--since she's the first Toa that was made--she might have learned about these terms from the Great Beings? After all, even when there's fighting going on all around them while the planet is getting ready to shatter, I'd find it hard to imagine that she hadn't noticed any Agori or Glatorian children running around or hiding (protective Toa instincts activating and the Great Beings having to stop her from rushing off to save them? 😂). Perhaps even one of the Great Beings we've heard nothing about had a kid of their own and had to do what they could to keep them safe from the fight by bringing them along!
I certainly have memories of when I'd go to work with my parents, so it's not hard to imagine this happening. But if Helryx understands this concept and the family terms are in their programming...would everyone else in the Matoran Universe have any comparison to understand what paternal means, or would they attribute it similarly to how Turaga (specifically the Mata Nui Turaga since we know them best) would treat and protect their villagers?
Would Toa develop a similar role/pattern of behavior as their Turaga, and it's like the Matoran have two sets of parental figures? Or would it be a clash of "Toa, can I do this?" "Ask the Turaga." "Turaga, can I-" "No." ?
And would Makuta refer to themselves as the mother/father of the krataa they create from their bodies, or would they refer to themselves as their creator? Considering that Teridax literally calls his krataa/rahkshi his "sons", it feels like a term he'd just throw around even though he literally commanded a horde of them to die to Sentrakh in Time Trap. >.>
I dunno, it's late, and my brain is getting tired 😂 Would love to hear a second opinion or two, though!
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rahiwatching · 6 months
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I’ve been thinking about the location placement in the MU (I may or may not be trying to re-jig the official map to get all the islands to fit inside the shape of the GSR) and this particular piece of trivia is really throwing me:
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Now, this is based on the Destiny War serial rather than word of Greg from answered questions, so it was probably written around the same time that Greg was giving the instructions on how the MU map should be drawn. Given the description, it sounds like the only island this could be is the one circled in red here:
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Now, at first glance, this does indeed look like it’s just a short distance from Nynrah, until you remember that this island is in the GSR’s leg, while Nynrah is in the arm, meaning that from Nynrah you would have to go all the way up the arm then all the way down the torso to get there, which would be quite a journey.
Greg probably just wasn’t looking at the map when he wrote the line in Destiny War about this, but how do you think in canon this can be explained?
My current thought is that the MU is designed in such a way that some of the sea gates are actually Olmak style portals which help link the islands in the arms with those in the torso, and potentially the ones in one leg with the ones in the other. The idea is that these would be constantly activated, and so large that they just seem to the inhabitants to be a regular gate.
That’s the only way I can think of fixing this discrepancy anyway, but I’d love to hear everyone else’s thoughts on it.
I think this would help in keeping Artakha hidden too, as this way you wouldn’t have to sail past it each time you wanted to go to any of the islands in the western chain.
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dougielombax · 15 days
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I find it fascinating how the bulk of the Bionicle stories take place in the last few thousand years of the Matoran universe.
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mugbearerscorner · 10 months
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Saw a post on the Dash discussing how the Matoran Universe folks don't have the concept or losing a job and I thought about my Technorealm AU and my OC Kikao who was literally made for one job and he never got to perform it becuase his set of skills was no longer needed by the time he finished his basic education.
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systemsearcher · 2 years
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Random Bionicle Thought
When you think about it, the Matoran Universe would've been better off if the Mask of Creation was given to Karzahni instead of Artakha.
The latter is already a master craftsman, he'd have been a tad worse off but overall not really crippled. However, for Karzahni, it would've proven to be a rather useful crutch tool, one that would've allowed him to actually be an effective repairman. As such, it would've kept his island afloat. As such, he wouldn't have gotten isolated and left to stew in his own frustration and envy. As such, he wouldn't have gone mad warlord, and a solid chunk of the later plot issues would've been prevented.
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outofgloom · 27 days
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I noticed that theres no word exactly for universe in matoric, even though the concept of a universe and even a multiverse or alternate timelines is known to the matoran through the Kanohi Olisi and Olmek. There a reason why this is the case?
The closest term for what you described would probably be one of the following:
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Whether or not Matoran and other MU inhabitants would properly distinguish between their world and alternate universes/timelines as separate and distinct "universes" is an open question, I think. I could imagine them viewing the different realms made accessible by the Olmak as simply extensions of their world, for example--just places housed in "another dome".
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randomwriteronline · 4 months
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One night, when all is over, when all can rest; when Kiina sleeps listening to the waves, Berix nursing the newest still unfinished project, Gresh not having any new scars to count, Click barely batting a wing; Ackar hears the voice of Mata Nui smile with such infinite love, and wakes up.
He sits up and listens again: if he strains his ears, if he forces himself to shut down the frantic beating of his heart, he thinks he can hear that voice again. He could swear he is talking, maybe humming, so close and yet so impossibly far away, even further than the resting place of the Ignika but somehow right next to him, tone filled with mournful joy, with an affection that brings one to tears.
Someone is out there, outside.
Someone is singing, outside.
He leaves.
One night, when all is over, Ackar forces himself to stumble out of town and into the cold, into the slowly receding desert which is giving way to life once more; he follows beneath the starlit sky barren of blue or green moons the sound, the song, the voice, an enthralled sleepwalker chasing desperately after a lucid dream he knows cannot be and yet so desperately wants to find, a spellbound seaman bewitched by a cannibal siren's serenade dragging his ship against the jagged cliffs upon which the object of his desire perches with monstrous arms outstretched so lovingly towards him.
He chases after the sound, the song, the voice: he could swear it's the same, the same deep and comforting sound upon whom he once laid his hand on to call 'friend'; he could swear it's the same, so sweet and so heartbroken, and his throat twists tight into a knot as he knows he will not see what he wants, yet he wants so badly.
He chases after the sound, the song, the voice: it splits but does not shatter. Like the hairs of a braid its pieces join together, tangle gently, form a harmony that no mouth can replicate.
He stops.
He looks.
One night, when all is over, Ackar watches and listens.
He knows them, he recognizes them: the twelve of them arranged in two concentric circles, only six of them singing, only six of them silent, their language so far beyond what his anatomy could comprehend or hope to produce, and yet he understands.
He understands from the inner circle's tight fists, their shaking shoulders, their shuddering chests as they struggle to breathe. He understands from the outer circle's solemn pronounciation, the anguish in their shining eyes, their longing and trembling voices.
He understands and hushes, and listens to their mourning song.
One night, when all is over, the Toa Mata mourn who they were fated to protect and instead failed.
One night, when all is over, the Toa Mahri mourn who they could not hold back from the choice of fate.
One night, when all is over, Toa Takanuva mourns all who he will never accept he could not die in the stead of.
Six voices raise, six lights like an aurora across the sky - two figures, mighty and wise and yet so powerless, dancing in their dirge with bodies composed of mourning songs harmonizing together - warriors burying a king, a peer, a friend, a stranger. Six more join, louder to the point of wailing, no composure, burning stars bursting as violently as their destructive end allows, children crying inconsolable the death of a hero, a peer, a friend, a sibling.
The Toa howl like wild hounds into the empty desert night in which no bloody star shines, in the heartbroken artificial language of their manufactured living people.
One night, when all is over, Ackar looks and listens.
In their twelve voices he hears yet another, at once earth and sky, enormously strong yet as light as the birdsong.
In their thirteen voices he hears Mata Nui.
In their thirteen voices Mata Nui smiles.
He smiles with such infinite love.
One night, when all is over, Ackar whispers: I love you.
One night, when all is over, the Toa scream: I love you.
One night, when all is over, Matoro booms: I love you.
One night, when all is over, Mata Nui smiles: I love you.
Ackar cries.
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artmanguy · 1 month
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Mazaex X Murai sketch
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Mazaex and his Ko-Matoran boyfriend!
Still thinking on the story behind this. an odd couple for sure, even for the Matoran Universe. But the love behind it is genuine
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toaarcan · 4 months
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AU where Chirox's Shadow Leech hit Tanma instead of Gavla at the outset of the Karda Nui arc.
Gavla watches her only friend turn into a monster in front of her, and is left as one of the few survivors of the Makuta's attacks, forced to fight against the one person she previously sorta tolerated.
I think in this case, Lewa and Gali's roles wouldn't be swapped too, as there's not really a sensible reason to send Lewa into the swamp full of water and keep Gali in the sky, so maybe Gavla has the first fusion with a Toa when she sees Lewa reaching for the falling Leech and panics, jumping onto him to stop him touching it because it's all she can think to do to stop him.
A bond between them could be interesting, with Lewa drawing on his past as a loner to try and bring Gavla out of her shell a little more, and help her connect with others a little better.
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crystaltoa · 4 months
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You know how 2008 Takanuva was a large/Titan set? I personally headcannon that getting shadow leeched somehow made him taller?
Is that the actually canon reason why the set is so big? Probably not. But it would be funny if one of the possible side effects of getting shadow leeched was becoming taller.
Canonically, it was the weird energy field of Karda Nui that caused this effect on him, it also affected the Av-Matoran to a lesser extent, but that would be a very funny explanation, especially if the Makuta didn’t know it would happen when they leeched him and just went “ ohhhh shit”.
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toacody · 4 months
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Karzahni
The mad ruler "in his prime".
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Creator: TLROsborne
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musuvivalistguide · 2 months
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Something that bothered me the other day when I was trying to sleep (before remembering today) is: how do the Toa actually know specifically what their destiny is, and how do they know they've completed their destiny in the first place?
It would be a fair and possibly safe assumption that the Toa from any part of the Matoran Universe are destined to protect the Matoran/those who cannot defend themselves. That's great and all, but...at what point do they feel they've achieved this? For the Toa Metru, it was fairly easy to know because the sacrifice of their powers helped revive the Matoran and what would eventually lead to the Toa Mata to arrive on the island via Toa Stones.
But not every Toa--or Toa Team for that matter--is going to have some grand event happen then decide, "I have fulfilled my duties and now pass this on to the next generation" or just keep going as a Toa for several thousand years or so longer...right?
So who actually tells them what their destiny is and who decides when they've completed their duty? Is it the OoMN again guided by the will of Mata Nui? Probably not considering how many Toa there would have to be to keep track of, and it's not like they wouldn't let a Toa or Matoran die if it didn't serve somehow to keep Mata Nui on track.
And even if they had completed their destiny, who is to say they don't decide they wish to continue and claim it as their duty even if there are potentially new Toa recruits who can take their place?
Or what if they become so world-weary that they just don't want to be a Toa anymore? Would they be able to give their power away so they can become a Turaga, or would the effect not take place because their inner programming (if that's what's dictating this) won't allow it?
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rahiwatching · 2 years
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Thought Process of the Great Beings Regarding the Design of the Great Spirit Robot
This post is going to be a long one, so buckle up. Hopefully my ramblings below make sense to you all.
I’ve been thinking lately of the design of the GSR and how at first glance it doesn’t seem to make any sense. The Great Beings had two problems that they built the GSR to deal with:
Fixing the Shattering of their home planet into 3 pieces
Figuring out how to avoid the cataclysmic war that led to the shattering of the planet in the first place.
So, they build the GSR, a giant mechanical system that had the power to fix the planet (once the pieces stabilized and with the help of another mechanical) and could go out into space to observe other cultures to see how they deal with war. However, beyond that, the questions about why they made the GSR the way they did keep building up:
Why make it a giant humanoid robot? Wouldn’t other shapes be more efficient for the completion of the task?
If the nano-machines inside the robot that kept it running (the Matoran) were never meant to be sentient, why give them a universe inside the robot with diverse islands, seas, skies and wildlife for them to inhabit? Wouldn’t it have been simpler to just build the sections required to keep the robot running and then place service corridors etc. for the Matoran to travel between areas?
Why are there species inside the robot other than the Matoran when it appears that it’s only the Matoran that are essential to the functioning of the robot?
Why are the Toa needed at all? They are there to protect the Matoran and ensure they can keep working, but the Matoran Universe is a closed system, so why create a universe that would have dangers that the Matoran would need protecting from in the first place?
Why, when observing alien cultures, does the robot land in their world’s oceans and disguise itself with an island over its face? Surely observing them from space would be more efficient. Also, if you are wanting to observe their culture as it is, why introduce to their planet a very noticeable new landmass basically overnight? Wouldn’t that cause a massive disruption to the very culture you were trying to observe?
However, I think there is actually a very sound logic to all of this, and its all linked in with the secondary mission of the GSR – observing and documenting other alien cultures.
I think that nearly every non-Matoran / Non-Rahi species within the Matoran Universe (with notable exceptions such as the Makuta) are a biomechanical representation of one of the alien species that the GSR encountered along its 100,000-year journey through space, created within the Matoran Universe to act as a physical storage medium for the data gathered, as well as acting as a way of simulating that species and its culture for further study and experimentation once the GSR leaves their planet. This would explain why there are so many different species within the Matoran Universe, each one is a different alien observed by the GSR (I know canonically that the different species were all pre-programmed into the GSR by the Great Beings to be created later, but this could have easily just been the Great Beings loading the already known information about these species into the GSR for it to build upon later with actual observations). This would mean that the Vortixx, Skakdi etc., all exist in some form out there in the wider galactic universe, with biomechanical copies now also existing within the GSR.
If this were the case, it explains why the Matoran Universe needed to be an actual universe – it was not for the benefit of the Matoran at all, but instead so that the GSR could create a better simulation of the natural habitat of the copied species for their biomechanical representations to inhabit and thereby enabling further study to be as accurate to the real thing as possible. Mata-Nui can manipulate the universe inside the GSR to have any landscape or conditions that he wished, which means that each island can be shaped perfectly to match the conditions of the planet that species was copied from, allowing for a better simulation of the species going forwards. This can also explain why there was such a preference for islands within the Matoran Universe – each island in its own dome, linked by the silver sea, was analogous to planets in space. Each species (other than the Matoran and the other exceptions) was largely restricted to one island, but the potential for travel and mixing between the species was possible via sailing the silver sea, representing the possibility of these cultures developing space travel and going to each other’s planets. That way, Mata-Nui could simulate what would happen if these alien cultures were ever to meet and interact, something that would provide further valuable insight: would they go to war with one another? How would those wars be resolved?
This, by extension, explains the need of both the Rahi and the Toa. Rahi were created to better the simulations, filling these recreated worlds with wildlife and therefore making them more realistic and making the simulations more accurate. Toa were needed to make sure that the Rahi and the newly simulated species did not interfere with the work of the Matoran in keeping the whole GSR and Matoran Universe running. Though, the other species were still allowed non-disruptive interactions with the Matoran as this allowed for some simulation on how these other species might interact with the Agori society that the Matoran were based off of.
This mission to observe other cultures I think also explains why the GSR landed on planets and created an island above itself. The island didn’t just act as a way to disguise the face of the robot, but it also allowed for an extremely valuable research tool that wouldn’t have been available from other observation methods: a controlled environment. The sudden appearance of a large new island practically overnight would entice the populace of the planet being observed to travel to it to investigate it. They would likely also settle it as new land to expand into due to it being a new source of resources they could use. We already know from the canon that the island created by the GSR’s camouflage system can be fully manipulated as we saw Makuta Teridax do just that during the ’01-’03 storyline to create storms, earthquakes, volcanic eruptions etc. to challenge the Toa Mata with. So, Mata-Nui could use the exact same system to create situations for the newly settled alien cultures on the island to deal with and observe how they handle them, with all this feeding into the data gathered and being used to create their simulations within the Matoran Universe buried beneath them.
Because the island can be manipulated as Mata-Nui see’s fit, it can also be used to generate a situation that would allow him to re-create the starting conditions of the Core War, minus the Energized Protodermis. For example, if Mata-Nui observed that this planet/culture was lacking in a particular substance, he could manipulate his systems so that the island had an abundance of it. Once this was discovered, he could observe how the natives reacted – would they go to war? If so, how was the war resolved? If not, how was it avoided? By using the island as a controlled space from which he could manipulate certain aspects, Mata-Nui could experiment on the native population to gain insights into the answers he required, rather than just passively observing them and hoping the situation would come up (this is rather morally questionable of course, purposely starting wars and all, but hey, the Great Beings aren’t exactly known for their ethics).
All in all, while it may seem strange at first glance, a logic as to why the Great Beings made the GSR the way they did can be seen if you dig deeper. Did the story team intend for all of this to be the underlying in story reason for why things were they way they are? Almost certainly not. But its still fun to think about nonetheless.
And as for why the Great Beings built the GSR as a giant humanoid robot? Well, I think that the answer to that one is far simpler.
It’s rad as hell.
That’s why.
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dougielombax · 1 month
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I wonder if the Great Spirit Robot had something like a black box.
You know. A flight data recorder containing all the data and information concerning its journeys, work, and research, among other things.
I mean it all had to have been backed up SOMEWHERE!
Right?!
Just something to think about.
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voidaspects · 12 days
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Hey so like… I’m not sure if this is ever thoroughly clarified, but like… how exactly does the matoran language work, within the context of the storytelling of bionicle?
Iike, okay, it’s very soundly defined that words like “matoran” “toa” “kanohi” “rahi” and so on are definitive words in the matoran language, that makes sense.
And it’s also said that, within the realm of the story, the dialogue we’re reading that’s spoken by Matoran universe characters is actually the matoran language in story, but translated for our benefit. This immediately raises the question of what the words like the above are doing untranslated, but it’s not too hard to accept that some words are presented authentically for emphasis.
But then there are more complications. Like… most of those above words are not just stated matter of factly, they’re a designation and a specification. “Toa” is considered the matoran word for warrior/hero, but it’s not used as such, it’s a specific thing, and the words warrior and hero still exist. “Kanohi” is the biggest example. Not only is it super common to refer to kanohi as a mask, interchangeably, but a kanohi is also a specifically defined type of mask. Like, masks that aren’t kanohi, like Hydraxon’s, are not an abnormal thing. A kanohi refers to a type of mask and not masks as a whole.
It reads like matoran is a seperate language being used for additional terminology, like Latin naming, but within the text, matoran is just… the language they’re speaking?
Am I missing something here? How does the talking in bionicle actually work?
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