Concept of Morality in Horus Rising:

The seeds of heresy are sown

Quentin Davis

University of Tampere

School of Language, Translation and Literary Studies

Degree Programme in English Language, Literature and Translation

BA Thesis

September 2015

TABLE OF CONTENTS

1. Introduction ...................................................................................................................................... 1

2. Background: Warhammer 40,000 .................................................................................................... 2

3. The Grotesque .................................................................................................................................. 5

3.1. Positive Grotesque ............................................................................................................... 5

3.2. Incongruence and Disharmony ............................................................................................ 7

4. Superstition .................................................................................................................................... 10

5. Concept of the Ego ......................................................................................................................... 12

6. New Historicist Reading of Horus Rising...................................................................................... 14

7. Conclusion ..................................................................................................................................... 19

Works Cited ....................................................................................................................................... 21

Appendix ............................................................................................................................................ 22

1

1. Introduction

In this BA thesis I will explore the concept of morality in Horus Rising: The seeds of heresy are

sown by Dan Abnett. I selected this particular novel because it is the first of many novels in the

Horus Heresy series, based in the Warhammer 40,000 universe. It provides the reader with an

overview of the turning point of the Great Crusade, which would eventually lead to the Horus

Heresy. Furthermore, it provides a detailed insight into the nature of the Imperium of Man in the

31st millennium. There are many instances of questionable morality in the text. Each of the features

that will be analysed in this thesis affects our perception of morality and forces us to re-evaluate our

understanding of the concept.

It is important to explore the concept of morality in Horus Rising, as it gives us an alternate

reading of the text. Moreover, the comparisons made between events in the text and real life

examples are intended to enable the reader to apply the arguments raised in this thesis to current

topical events, thereby encouraging them to re-evaluate their understanding of morality.

It is unlikely that there has been previous academic research on this text, let alone on the

thesis topic question; this enables an expansive interpretation of the text, providing numerous,

varied readings of Horus Rising. However, for the purposes of this thesis, only the concept of

morality will be analysed. The objective of this thesis is to generate a completely new reading of the

text and generate a constructive breakdown of Horus Rising into the four interpretations of morality

that will be the basis of this thesis: the grotesque, superstition, the concept of the ego and a New

Historicist reading of Horus Rising.

2

2. Background: Warhammer 40,000

The following background details are included for the reader’s benefit as the starting point of my

analysis. They can be accessed at the Lexicanum, the online encyclopaedia for the Warhammer

40,000 universe. Each paragraph ends in a reference to the respective web page.

Warhammer 40,000, or 40K for short, is originally a tabletop miniature wargame, created by

Games Workshop in 1987. The game world of the Warhammer universe is based on the Milky Way

Galaxy. The science-fantasy setting has easily recognisable features of the Gothic. There are

various key features of historical eras intertwined in the universe – most notably, World

Wars, Imperial Rome and The Spanish Inquisition. There are seven different races in the galaxy,

none of which are inherently good. The humans are the dominant force in the universe.

(http://wh40k.lexicanum.com/wiki/Warhammer_40,000)

Amongst the vanguard of the imperial forces are the Adeptus Astartes, also known as Space

Marines, who operate as mobile strike forces, used to carry out the most dangerous and highly

sensitive missions. The events in Horus Rising take place during the Great Crusade. The Great

Crusade (beginning c. M30 and continuing for around two hundred years) was a brief age of

rebuilding and reunification following the complete regression of mankind during the Age of Strife.

It was a time when the Emperor still lived in the conventional sense and led his race in person.

(http://wh40k.lexicanum.com/wiki/The_Great_Crusade)

Garviel Loken (see Appendix) was the Captain of the 10th company of the Luna Wolves

Space Marine Legion during the latter half of the Great Crusade. After distinguishing himself in

battle, he was inducted into the Mournival, the advisory council to the Warmaster Horus, and from

this position was a first-hand witness to the series of events that would result in Horus’ damnation

and the beginning of the Horus Heresy. (http://wh40k.lexicanum.com/wiki/Garviel_Loken)

Horus (also named Lupercal) was one of the twenty Primarchs created by the Emperor in the

earliest days of the Imperium, just after the end of the Age of Strife. Like the other Primarchs,

3

Horus was sucked from Terra by the Gods of Chaos (see Primarch Project for further information)

and was placed on a far-away world in an attempt to prevent the coming of the Age of the

Imperium. Despite being the favoured son of the Emperor, he was eventually corrupted by Chaos

and initiated the Horus Heresy against the very Imperium he helped build.

(http://wh40k.lexicanum.com/wiki/Horus)

The Mournival was the advisory council of four captains of the Luna Wolves Legion, the

authority of its members second only to Horus himself within the legion. Even so, it carried no

official weight, was considered to be outside the official command structure and was a position

purely internal to the legion. At the end of the Great Crusade, it was composed of Ezekyle

Abaddon, “Little” Horus Aximand, Tarik Torgaddon and Garviel Loken.

(http://wh40k.lexicanum.com/wiki/Mournival)

Imperial Iterators were public speakers, and masters of manipulating crowds and altering

public opinion. The Emperor appointed them to spread the Imperial Truth (also known as empirical

truth in the novel) among his people, for example, the rejection of the religions and petty squabbling

which had brought about the Age of Strife. They were most prevalent among the fleets of the Great

Crusade, where they would not only lecture and rally the Imperial troops and Astartes legions, but

also educate the vanquished human civilisations on the values and virtues of the Imperium.

Warmaster Horus admired the Iterators’ work, so much that he asked them to also tutor his Captains

and Legionaries; Horus believed that, once the Great Crusade was completed, there would be an

end to war and the Astartes would need to find a peacetime vocation. The most famous iterator of

the Great Crusade was Primary Iterator Kyril Sindermann, who served aboard Horus’s flagship, the

Vengeful Spirit, at the head of the 63rd Expeditionary Fleet.

(http://wh40k.lexicanum.com/wiki/Iterator)

The Remembrancer Order was a group of poets, journalists, imagists and writers that were

sent to accompany the Imperial forces during the later years of the Great Crusade, once the Emperor

had returned to Terra. The remembrancers were tasked by the Emperor to record, for posterity,

4

mankind’s greatest triumph, the Great Crusade. However, they were generally disliked by both the

regular troops and the Astartes. (http://wh40k.lexicanum.com/wiki/Remembrancer#fn_1)

Horus Rising forms the first part of a narrative trilogy which describes the events of Horus’

fall to Chaos. The events in the novel explain how the build up to the greatest tragedy in human

history took place. The Emperor of Mankind has conquered the galaxy in what is known as the

Great Crusade, in the 31st millennium. At the peak of the Great Crusade, the Emperor retires from

the frontlines in order to demilitarise the government of the empire. This fact, coupled with the

resentment amongst the Primarchs regarding the promotion of Horus to Warmaster, planted the

seeds of heresy in their minds.

The authoritarian nature of the Warhammer universe provides the perfect environment to

analyse the concept of morality. For the purpose of this thesis, morality will be defined as a set of

principles that discern between the perception of right and wrong or good and bad behaviour. The

issues raised within the text are loyalty, honour, duty and sacrifice, each of which are required to

contribute to the nascent Empire of Man. However, dissidence creeps into the picture when the

Emperor retires from the Crusade in favour of forming a civilian government. Subsequently,

jealousy and disregard formulate between the legions after the selection of a new Warmaster from

the Luna Wolves, one of the Emperor’s twenty legions of genetically enhanced warriors. Arguably,

the moment the Emperor abandons the Great Crusade, the tide of the universe turns. The Primarchs

become disheartened at the prospect of the Emperor abandoning them for his secret project on

Terra, leaving mere mortals to rule over them. I will now begin my analysis of the novel.

5

3. The Grotesque

The reason the grotesque affects morality is because it alters what is natural and “correct” with

unnaturalness and blends elements that do not fit together (Perttula 2011, 35). This makes such

occurrences distasteful to the reader. In the Warhammer 40,000 universe, we are dealing with issues

of technological advancement and bioethics, which cause wariness, disgust, revulsion and a fear of

maltreatment of others.

3.1. Positive Grotesque

The reaction of the vanquished foe on the planet Sarosel, to name one example, fits in with

Bakhtin’s notion of the carnivalistic. This concept is the combination of “the grotesque with the

joyful and comical” (Perttula 2011, 24). In the novel, “compliance” is a strange, obtuse event which

was clearly a point of joy for all of the inhabitants of Sarosel. “After compliance, the citizens held a

great carnival of celebration” (Abnett 2006, 172). The citizens of Sarosel are part of “the folk

culture of laughter” (Perttula 2011, 24) because they wore hats “as broad across as my span”

(Abnett 2006, 172) and because Loken is bemused by the obscurity of the event:

I do not know how they balanced them, or suffered their weight, but day and night they

danced along the inner streets of the main city, these garish forms weaving and bobbing

and circling, as if carried along on a slow flood, quite obscuring the human figures

beneath (Abnett 2006, 172).

It is evident that “compliance”, on the planet Sarosel, is a positive and festive event. There had been

no hostility shown towards the invading Astartes and therefore, no bloodshed. The implementation

of “compliance” on the planet of Sarosel is an adequate representation of the “folk culture of

laughter” (Perttula 2011, 24), associated with Bakhtin’s theory of the carnivalistic.

In terms of morality, one could argue that seeing as the citizens of Sarosel were so genuinely

joyous at their subsequent subjugation, the Astartes, in conquering the planet, did a great service to

6

them. The Astartes enforced their version of “empirical truth” on the planet and thereby, uniting

them as part of humanity under the protection of the Emperor of Mankind. Therefore, one could

argue that the bloodless conquest of a planet is a good thing.

A real life comparison, reflecting Bakhtin’s view of the carnivalistic grotesque can be drawn

from the public executions of various countries (namely Britain) during the 18th and early19th

centuries. These morbid executions were often described as a “carnivalesque spectacle” which

became festive outings for the regular public. “‘Hanging days’ often created a carnival-like

atmosphere that drew huge crowds” (Miethe and Lu 2005, 39). Such public hangings that were

“designed for both retributive and deterrence purposes” (Miethe and Lu 2005, 39) often had only a

limited effect in terms of striking fear in the public and deterring them from committing crimes.

In contrast, the attitude of Saul Tarvitz, whilst fighting the megarachnid on the planet Murder,

illustrates the “introverted, individual and dark” (Perttula 2011, 24) aspect of the grotesque. This

aspect of the grotesque differs from the “positive grotesque”, in the sense that it is an expression of

an “individualistic world outlook” (Perttula 2011, 24), concerned with the “dark side of the human

mind” (Perttula 2011, 24). Saul Tarvitz’s opinion of the megarachnid, “a true rival, of considerable

strength and fortitude. Only against such a rival can our prowess be properly measured” (Abnett

2006, 207), is based less on his duty to serve the Imperial agenda, but more so a striving to satisfy

his individual desire to hone his martial prowess against a worthy foe. Saul Tarvitz appears to be

involved in combat for his own personal gain, as opposed to his obligation to fight for the Emperor

of Mankind.

The twisted old equerry, Maloghurst, fits Bakhtin’s concept of the “carnivalistic grotesque”

(Perttula 2011, 24). Maloghurst’s physical appearance, “[h]is back bulged with a kyphotic

misalignment” and “waddings of synthetic skin-gel covered gashes upon his throat and the left side

of his head” (Abnett 2006, 122), is both “comical and tragic” (Perttula 2011, 24). Maloghurst’s poor

physical condition allows him to gain status amongst his peers and to live up to his derogatory

nickname, “Maloghurst the Twisted” (Abnett 2006, 125). Maloghurst is viewed as an astute

7

character. “Maloghurst’s talents for intrigue and intelligence ideally served him in that role, and had

long since earned him the title ‘twisted’” (Abnett 2006, 125). Maloghurst’s request to retain his

title, “My body is broken, but my mind is not. I would take offence if the name was to be dropped”

(Abnett 2006, 125), reinforces Bakhtin’s view that laughter and terror never truly override each

other in the carnivalistic and the terrible grotesque (Perttula 2011, 24).

3.2. Incongruence and Disharmony

The vivid literary descriptions of grotesque elements in the text affect meaning and enhance our

perception of the depravity of the warring factions in Horus Rising. The “Emperor’s” comments on

Loken’s appearance, “You are some imposter, some evil daemon-” and “You are an imposter. Made

like a giant, malformed and ugly” (Abnett 2006, 38), do not create a positive image of Loken. In

some respects, this description reinforces the perception of the Astartes as draconian oppressors, as

opposed to the mighty defenders of humanity that they are commonly perceived to be. Furthermore,

we have to consider the purpose behind the creation of these super warriors. “A prospective

Astartes had to be sturdy, fit, genetically receptive, and ripe for enhancement. A chassis of meat and

bone upon which a warrior could be built” (Abnett 2006, 56). In general, people fear advanced

technology, such as cyborgs and robots. The idea of genetic enhancement is a sensitive topic in

current politics and such a concept does not appeal to most people. The basis of this fear lies in the

concept of grotesque incongruence. Grotesque incongruence entails the blending of elements that

do not normally belong together, the dismantling of elements that are supposed to be inseparable

from each other or even just excess of any sort; as is the case with the Astartes. This is part of the

concept of norm-breaking corporeality, in the sense that “generally any kind of excess, mental as

well as physical, is characteristic of the grotesque” (Perttula 2011, 28). Grotesque incongruence

includes elements that are no longer “normal” and can arouse negative feelings in the reader, such

as distress or anxiety.

8

Grotesque incongruence is made up of three categories. The first category, “the norm-

breaking combination of human and animal or human and an inanimate, distinct physical object”

(Perttula 2011, 36), can be somewhat exhibited using the example of the megarachnid found on the

planet Murder. Although these creatures are not a combination of human mixed with animal or

technology, they are in fact, the perfect combination of beast and technology. In many respects,

therefore, they can still be viewed as the archetypal grotesque manifestation in the text, as they are

“the combination of heterogeneous, disparate elements that do not belong together” which has been

“persevered as the defining structural feature of the grotesque” throughout history (Perttula 2011,

35):

Even after he’d slain a fair number of them, Saul Tarvitz was still unable to say with

any certainty where the biology of the megarachnid stopped and their technology began.

They were the most seamless things, a perfect fusion of artifice and organism. They did

not wear their armour or carry their weapons. Their armour was an integument bonded

to their arthropod shells, and they possessed weapons as naturally as a man might own

fingers or a mouth (Abnett 2006, 207).

The megarachnid are certainly creatures of nightmares and one cannot help but suspect that they

were created for war. It is not specified where these creatures came from or why they are present,

but it is possible that their sole purpose is to reap destruction upon any living thing they meet. The

fact that they have weapons and armour does not indicate that they have ever been peaceful

creatures. Ironically, the megarachnid can be seen as a parallel of the Empire of Man. They are both

technologically advanced and strive to eradicate everything that does not belong to their own

species. The brutal single-mindedness of the megarachnid in their unrelenting goal to eradicate all

sentient life on Murder draws a close comparison to the Empire’s inexorable drive to wage war in

the galaxy. In terms of morality, the reader should ponder whether the actions of the Empire are

any better than the seemingly mindless destruction caused by the megarachnid.

The second feature of grotesque incongruence includes collisions in genre, such as between

“the realistic and the fantastic” which serve to “illustrate how the essence of grotesque is not

harmony, but disharmony. Different levels of presentation “repel” each other and deform each

9

other, and the reader may not know how exactly to react” (Perttula 2011, 36). The mixed sentiments

of atheism (as an aspect of the realistic) and spiritualism (as the realisation of the fantastic) in the

dialogue between Loken and his dying foe, highlight the conflict in their respective ideologies and

creates an atmosphere of disharmony, not only between the characters but also within the reader of

the text:

’Bless me...’ the man whispered.

‘I can’t.’

’Please, say a prayer and commend me to the gods.’

‘I can’t. There are no gods.’

‘Please... the otherworld will shun me if I die without a prayer.’

‘I’m sorry,’ Loken said. ‘You’re dying. That’s all there is.’

‘Help me...’ the man gasped.

‘Of course,’ Loken said. He drew his combat blade, the standard-issue short,

stabbing sword, and activated the power cell. The grey blade glowed with force. Loken

cut down and sharply back up again in the mercy stroke, and gently set the man’s

detached head on the ground (Abnett 2006, 163).

In terms of morality, this excerpt could be difficult for a reader to comprehend. Loken clearly

has some sense of pity as he stops to console the wounded man. However, his words do not

correspond with normal, human, empathetic disposition. We are troubled by the fact that Loken

refuses to bless his enemy. He would bring the man peace of mind by granting him this final wish.

However, instead of consoling the insurgent, he imposes his own truth on the poor soul and

dispatches him according to his own ideology. We are left wondering why Loken had to remain so

adamant in his views and not concede to the vanquished foe in his final moments of life. In refusing

to bless the man, Loken did not diverge from his own strict moral convictions, therefore, one could

argue that he forfeited a significant portion of his humanity.

The third feature of grotesque incongruence, is the “incongruence between content and form,

what is portrayed and how it is presented, the subject and its representation, or story and discourse”

(Perttula 2011, 36). In lay terms, it is the depiction of a dramatic event using an inappropriate

register, not commonly associated with the specific context in which it is used. Ekaddon’s reaction

after detonating the elderly man’s ribcage in the “Emperor’s” tower and thereby committing

“regicide”, is highly inappropriate judging by the gravity of his actions. “‘I’ve never killed an

10

emperor before,’ he laughed” (Abnett 2006, 41). Loken had made special provisions for the

“Emperor” to surrender with dignity. “I request you surrender to me, sir” (Abnett 2006, 39).

However, Ekaddon gave no thought to the dignity of his foe and instead revelled in his act of

slaughter. This is in stark contrast with Loken’s accommodating actions in this instance. Even

within the Legion, therefore, there appears to be variation between the Astartes in terms of their

moral disposition towards the enemy.

To sum up, the concept of the grotesque can be split into two distinctive, contrasting features

in relation to morality. The first feature, the positive grotesque, focuses on the positive aspects of

subjugation by the Astartes and the joy felt at being conquered. The second feature of the grotesque,

incongruence and disharmony, explores how the paradoxes in belief systems strain our logic and

causes an inherent sense of futility in the reader.

4. Superstition

Superstition will be defined in this thesis as the excessively credulous belief in and reverence for the

supernatural, which affects morality both in real life and in the text. The issue with religion or

superstition is that it creates in the believer a certainty that “I am right; you are wrong” (Tolle 2005,

69), which is detrimental to society when it is applied to the extent that it “perpetuates separation

and conflict between human beings” (Tolle 2005, 125). In reality, we can see this happening with

the current conflicts in the Middle East, fuelled by religious differences, just as conflicts have done

for centuries in human history. Such fundamental differences can be found throughout the fictional

universe portrayed in Horus Rising.

The ethos of the groups mentioned by Eckhart Tolle, popular writer and public speaker, via

the attitude of “I am right; you are wrong” (Tolle 2005, 69), is exemplified by Loken’s comments to

a subordinate officer: “Superstition. We know this world has temples and fanes. They are dark-age

in their beliefs. Bringing light to that ignorance is part of why we’re here” (Abnett 2006, 155).

11

Furthermore, with this belief in mind, Loken orders his men to destroy the shrine dedicated to the

chaos daemon, Samus. “‘They’ve been deceived,’ Loken said. ‘That’s why we’re here. Destroy

this,’ he instructed and turned away” (Abnett 2006, 164). Loken’s dedication to “empirical truth”,

the belief that the “true purpose of mankind is to bear the torch of truth aloft and shine it” and that

the Empire of Man is duty bound to share its “forensic, unforgiving, liberating understanding with

the dimmest reaches of the cosmos” (Abnett 2006, 60), has given him the moral authority to

infringe on others’ beliefs, thereby perpetuating the separation and conflict between human beings

that Eckhart Tolle warned of. For example, the “Emperor” highlights the contradiction in Loken’s

actions in his reply to truth being amoral, with “in serving your fine truth, invader, you make

yourself immoral” (Abnett 2006, 39). This justifies the claim that Imperial Truth is “considered

more important than human life” (Tolle 2005, 70).

The macabre can be defined as a type of superstition – it is an attitude towards death that

plays a central role in Horus Rising. For instance, the creation of an empire would typically be met

with resistance. However, the Astartes are built for war and this fact is well understood. Whilst

scrutinising the text, it became evident that the Astartes are sometimes blasé towards death

“‘Durellen’s dead. So is Martius,’ Lucius announced casually” (Abnett 2006, 211). In other

instances, the concept of death causes distress amongst the warriors. “‘There have been deaths

today. Six brothers of Brakespur squad, including Udon. Another barely clinging to life. And

Hellebore... Hellebore has vanished, and I fear they are dead too’” (Abnett 2006, 186). Aside from

the initial horror at the prospect of one of the Astartes killing their own men, a concept which is

unheard of amongst the ranks of the Adeptus Astartes, “Astartes do not fight Astartes. Astartes do

not kill their own. It is against all the rules of nature and man. It is counter to the very gene-code the

Emperor fused into us when he wrought us” (Abnett 2006, 186), there is also the effect of

superstition on the Astartes’ perception of death. When a warrior falls in battle under conventional

circumstances, his brothers understand that it is just a consequence of warfare. In contrast, the

distress caused by the deaths at the hands of one of their own Astartes, Jubal, is believed to be

12

caused by a supernatural influence, Samus. “No mistake. I saw him do it. He was a madman. He

was possessed.” And “He was possessed. He claimed he was Samus” (Abnett 2006, 186). Loken’s

fears are based mostly on his ignorance regarding the suspicious circumstances surrounding the

deaths of his men. “An Astartes draws his weapon and kills his own, whilst claiming to be a

daemon from hell? Rationalise that, sir” (Abnett 2006, 187). Loken has been bred to live using

logic and science and yet he is faced with the possibility of daemonic possession, which challenges

the absoluteness of the “empirical truth” he so fervently believes in.

To sum up, superstition in Horus Rising is a realisation of Eckhart Tolle's warning of a clash

of collectives, highlighting the fact that morals are principally dependent on belief systems. The

unwavering adherence to the belief systems of both parties in the conflicts analysed in this section

cause nothing more than friction, conflict and death.

5. Concept of the Ego

The concept of the ego plays a large role in The Horus Heresy. Eckhart Tolle holds the view that the

ego is part of a collective, and this is how it shall be defined in this thesis. There are many instances

throughout the text where characters are offended or displeased. It is their reactions in these

circumstances which highlight the strong egos of the Astartes. For example, whilst being questioned

by Mersadie Oliton, Loken airs his offence at the fact that the Warmaster is not referred to by his

official title. “He is Warmaster Horus. You’re a remembrancer. Remember that” (Abnett 2006, 44).

Loken is offended not so much because the reference itself bothers him, but because a member of a

lower, subordinate class, a remembrancer, dared to refer to his leader as anything other than by his

formal title. Moreover, Loken is no longer concerned with his personal ego, but is now obsessed

with the collective mind of his brothers in arms. “A collective ego manifests the same

characteristics as the personal ego, such as the need for conflict and enemies” (Tolle 2005, 125).

13

The collective purpose of the Astartes is to wage war without question and to fight and die at

the whim of their commanders. During Expedition 63, the Astartes met an enemy with an almost

identical ethos as themselves and therefore, just as Tolle predicts “sooner or later, the collective will

come into conflict with other collectives, because it unconsciously seeks conflict and it needs

opposition to define its boundary and thus its identity” (Tolle 2005, 125).

Furthermore, Tolle’s claim that the members of collectives “will then experience the suffering

that inevitably comes in the wake of any ego-motivated action” (Tolle 2005, 125), is evidently

supported by Loken’s reaction “‘And so,’ Loken would sigh, ‘we made war upon our brethren, so

lost in ignorance’” (Abnett 2006, 44). The outcome of this analysis raises the question, would it not

be better to take no action whatsoever than to engage in conflict with other collectives and

therefore, harm both parties involved? We can see from the aforementioned example that neither of

the collectives involved in the conflict came out of it any better than before it started. In fact, the

informal discourse between Loken and the iterator Sindermann, after his briefing with the other

iterators, raises multiple arguments that question the morality of the Empire they fight for. The first

and most important issue, is why the Astartes could not leave their enemy alone. The false

“Emperor” stated that “if our philosophies are so much at odds, you could have passed us by and

left us to our lives, unviolated. Yet you did not. Why?” (Abnett 2006, 39). The fleet found “Terra”

or planet Sixty-Three Nineteen by chance and could have easily ignored it. Instead, the Astartes had

to force their “truth” onto the inhabitants of the planet. One cannot help but wonder how such a

course of action could be justified.

The final issue raised in Loken and Sindermann’s conversation, is the concept of “empirical

truth”. The empire scours the galaxy preaching their “truth” and bringing worlds into compliance

with their views. The “Emperor’s” statement and Mersadie Oliton’s reiteration of the fact “Could

we not have just left them alone?” (Abnett 2006, 44), highlight the clear lack of moral conscience in

the Empire’s doctrine. Loken shows some humanity by admitting to Sindermann that this question

has been plaguing his mind ever since the interview with Mersadie Oliton in his private arming

14

chamber. “If we encounter a person, a society in this cosmos that disagrees with us, but is sound in

itself, what right do we have to destroy it?” (Abnett 2006, 64). The Astartes could have let the

citizens of Sixty-Three Nineteen live their lives in peace, as they had been doing so before the

arrival of the expedition. It is difficult to morally justify the conquest of Sixty-Three Nineteen,

especially as the only argument for bringing them to “compliance” is a spurious argument:

Mankind has a great, empirical truth to convey, a message to bring, for the good of all.

Sometimes that message is spurned and denied, as here. Then, and only then, thank the

stars that we own the might to enforce it. We are mighty because we are right, Garviel

(Abnett 2006, 65).

Sindermann’s words give no indication of what exactly is the “empirical truth” that the Empire is

supposed to convey. Similarly, he does not give any explanation as to why their message is “for the

good of all” or why they should enforce that message. At this point in the novel, the reader is posed

with the question, is this so called “empirical truth” truly justification enough to threaten, attack,

dominate and ultimately subjugate all species and cultures in the known galaxy?

To sum up, it is made evident in this section that the concept of a collective ego is destructive

by its very nature. The Astartes' constant need for conflict and enemies reflects the ego-motivated

actions of collective egos which Eckhart Tolle warned of. The need to impose their "empirical

truth" on unwilling, civilised societies is a physical manifestation of the Imperium's egotistical

agenda.

6. New Historicist Reading of Horus Rising

For the purposes of this thesis, I will use Peter Barry’s definition of New Historicism as “a method

based on the parallel reading of literary and non-literary texts, usually of the same historical period”

(Barry 2002, 172). The Mỹ Lai Massacre, in terms of morality, is an appropriate New Historical

non-literary text to compare to Horus Rising, due to its complicated nature and relevance to the

15

issues raised in this thesis. The massacre brought to the light the moral question; to what extent are

military personnel responsible for their actions under orders?

The idea of New Historicism as being “resolutely anti-establishment, always implicitly on the

side of liberal ideals of personal freedom and accepting and celebrating all forms of difference and

‘deviance’” (Barry 2002, 175), could not be more apt in regard to criticising governments, both

fictional and factual. For example, we are able to apply such theory to the following moral question,

why are the Astartes not encouraged to think for themselves? To name one example, Sindermann

advises Loken not to think for himself but to act simply as ordered, as he is seen as merely a

weapon of war to be deployed by his superiors:

You are a weapon Garviel, an example of the finest instrument of destruction mankind

has ever wrought. There must be no place inside you for doubt or question. You’re

right. Weapons should not think, they should only allow themselves to be employed, for

the decision to use them is not theirs to make (Abnett 2006, 64–5).

This raises a moral dilemma. If the Astartes are the finest instruments of the Imperial war machine,

given the power to decide between life and death on the battlefields at the vanguard of the Empire’s

galactic conquests, why then are they not allowed to have even the slightest say in where and when

they will be deployed to fight and potentially die for the Empire that covets them as their most

prestigious weapon of war? This restriction on their freedom of action is specifically stated in the

fifth and final tenet of the Imperial Creed, which reads “It is the duty of the faithful to

unquestionably obey the authority of the Imperial government and their superiors, who speak in the

Emperor’s name” (http://warhammer40k.wikia.com/wiki/Imperial_Cult). Astartes are bound by

Imperial law to follow orders without question. A contemporary readership is likely to feel that it

cannot be moral for someone to be employed to obliterate worlds at a whim, without the right to

question the reasoning behind their actions.

In comparison, in a non-literary context, in modern Western armies the right to question your

superiors is not usually acceptable. In this sense, one could argue that it is not surprising that the

authoritarian regime in Horus Rising does not accept insubordination in its military. Then again,

16

this does not release the Imperium of Man from its moral accountability, just as contemporary

armies are not exempted from theirs. The Mỹ Lai Massacre in the 1960s is a fitting analogy for

Loken’s dilemma. Some of the soldiers who took part in the massacre claimed that they were just

following orders. Many were acquitted in their trials because of the Nuremberg defence which

could be summarised by the phrase “orders are orders,” and thus reducing the accountability of

soldiers following controversial orders.

For example, the 1st platoon commander, 2LT William Calley, claimed during the massacre

that his “chief defense was that he was merely following orders” (McCarty 2013). Sindermann is

actively persuading Loken to have the same mentality as Calley and to clear his conscience of all

responsibility. Alternatively, the retired American Brig. Gen. Ronald Holdaway further clarifies

“but you can’t defend orders which, even if given, weren’t legal” (McCarty 2013). In terms of

morality, Loken’s actions on Sixty-Three Nineteen are comparable with those of 2LT Calley during

the Mỹ Lai massacre and some could argue that he should be held accountable accordingly and

court marshalled for his actions on the planet.

Similarly, the iterator Karkasy escaped his armed escort in order to view the conquered planet

freely: “He was alone, properly alone for the first time in over a year, and master of his own actions.

It felt tremendously liberating” (Abnett 2006, 93). Karkasy was not under arrest but merely a victim

of strict Imperial security measures. He escaped his own escort, with the responsibility of acting as

his personal bodyguard, because concerns for his safety were encroaching on his need for personal

freedom. Such instances of freedom are restricted arduously by Imperial forces, even for its own

members. Just as the remembrancer Keeler, tasked with documenting the exploits of the Imperium,

is forbidden from taking pictures of the events she was charged with documenting. “‘I said no

records!’ Emont snapped, hurrying to her” (Abnett 2006, 139). In addition, the Foucauldian

statement that a “panoptic State, however, maintains its surveillance not by physical force and

intimidation, but by the power of its ‘discursive practices’” (Barry 2002, 176), stands true on

multiple levels in Horus Rising. First, the system of iterators is designed to preach their truth to the

17

masses of conquered planets, thus bringing them in line with Imperial thought. Secondly, tutorials

are scheduled with the Astartes, in order to further their understanding of Imperial doctrine and to

improve their motivation to fight. “Beyond their duties as iterators, senior counsellors like

Sindermann were expected to conduct programmes of education for the Astartes” (Abnett 2006,

62). Teaching the warriors Imperial doctrine acts as an insurance policy. If they face an enemy who

can challenge their moral judgement, the Astartes will be “enlightened” enough to counter any

logical argument against their cause. Thirdly, once a planet has been brought into full compliance,

a governor of note is then selected to preside over the planet and ensure its servitude to the Empire.

Another curious example of the parallel between fact and fiction is shown through the concept

of the cyborg, a somewhat horrifying fusion of man and machine. The concept of a cyborg, whilst

originally a mere fictional invention, is in fact increasingly becoming a reality in the modern world.

There are several references to cybernetic humanoids in the novel, which are comparable to Donna

Haraway’s description of cyborgs.

A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of

social reality as well as a creature of fiction (Haraway 1991, 149). Contemporary

science fiction is full of cyborgs - creatures simultaneously animal and machine, who

populate worlds ambiguously natural and crafted (Haraway 1991, 149).

Her intuition that cyborgs are “hybrids of machine and organism” and “creatures simultaneously

animal and machine” is somewhat applicable to the Adepts of the Mechanicum (see Appendix), in

Horus Rising. These cyborgs are comparable to modern day military engineers. The character of

Regulus of the Adeptus Mechanicum, “the sort of being who could command the invincible Titans

into war” (Abnett 2006, 114), is a fitting illustration of the connection between humanity physically

fused machine.

The man, if it were a man, lurked at the rail of the strategium deck, gazing out across

the chasm of the bridge. He was a machine, it seemed, much more a machine than a

man. Vague relics of flesh and muscle remained in the skeletal fabric of his mechanical

body, a fabulously wrought armature of gold and steel (Abnett 2006, 114).

The Adept Regulus is not only, “a hybrid of machine and organism”, being “much more a machine

than a man” but he is also a functionary of the Imperial Army. In the New Historical sense, his very

18

existence supports Haraway’s claim that he is “a creature of fiction”, as he has been included in the

fictional text, Horus Rising.

Furthermore, some could argue that mechanical augmentation is the future of mankind. As in

many instances, machines possess superior abilities compared to mere humans. Arguably, the

perception of superiority of machine over man appears to have materialised in contemporary

military developments, such as is the case with the progression of the US military DARPA Warrior

Web program (see Appendix). This programme echoes the thoughts of Haraway in the sense that,

although the programme does not aim to create cyborgs per se, it does aim to improve the abilities

of soldier on the battlefield using physical mechanical and technological augmentation (McNally

2014). This subsequent augmentation turns the fictional concept of cyborgs into creatures “of

social reality”. The DARPA Warrior Web program is designed to improve soldiers’ performance,

creating a kind of super soldier who has improved strength and endurance as a result of mechanical

and technological enhancements to one’s body. Perhaps, therefore, we are just a few steps away

from creating fully integrated cyborgs. Some could argue that such a move could be an irreversible

tipping point in the sense that humanity is sacrificed in favour of technology. To what extent could

this ever be acceptable?

To sum up, as the finest of the Empire's warriors, the Astartes should be encouraged to think

and act independently. However, as the iterator Sindermann pointed out, this is actively discouraged

amongst the Astartes, who instead focus their efforts on resolute obedience and loyalty to their

mission and superiors. On a similar note, the increasing mechanisation of soldiers in the US Army

by DARPA raises concerns that soldiers' humanity will be increasingly sacrificed for technological

supremacy. Will human soldiers begin to strive for extensive cybernetic augmentation as fervently

as the Adepts of the Adeptus Mechanicus?

19

7. Conclusion

In conclusion, the concept of morality is a very wide and subjective one. It would be impossible to

limit morality to one single definition which would stand true in all circumstances and situations.

Despite this, however, it still a worthwhile pursuit to analyse literary works using alternative

perspectives in order to create innovative readings of the texts and further our understanding of the

core concepts in question. In this thesis, the concept of morality in Horus Rising, has become the

analytical lens through which this particular fictional literary work has been scrutinised. Whilst

morality is mostly subjective, the definition of morality used in this thesis – as a set of principles

which discerns between the perception of right and wrong or good and bad behaviour – is an almost

universally accepted interpretation of the term, and therefore it is a stable platform through which

the text can be analysed.

Elements of the grotesque help further our understanding of morality in Horus Rising, as the

reader is encouraged to take a more analytical approach to the text. When combined, the three

features of grotesque incongruence – norm-breaking combinations, collisions in genre and

incongruence between content and form – all affect our reading of the text. For example, the actions

of the Empire are compared with those of the megarachnid and criticised for sharing similar

destructive aims. Similarly, the collision between Loken’s dogmatic adherence to “empirical truth”

and his dying foe’s plea to honour his spiritualistic beliefs, could cause a conflict within the reader.

The situation in which this dialogue takes place creates the problem as to which interpretation of

morality would be most appropriate in that specific situation. One could consider whether Loken

should temporarily concede any of his “empirical truth” for the purposes of consoling a dying man?

The concept of superstition plays a large role in this thesis. In Horus Rising, the largest cause

of conflict in the text is based on the adherence to doctrine. The Astartes wage war on the galaxy in

a bid to spread their Imperial Truth, whereas, the opposition on Sixty-Three Nineteen were fuelled

to defend themselves due to their unflinching faith in their own superstitious beliefs. Arguably, if all

20

ideologies were not adhered to so ardently in the text, there would be few conflicts in the

Warhammer 40,000 universe. Therefore, adherence to strong beliefs, whether they are based on

superstition or the Astartes’ version of “empirical truth”, merely causes and prolongs conflict,

suffering and death.

The concept of the ego has an important role in Horus Rising. The Astartes are constantly

vying for power amongst each other and especially between other Legions. The pride of the

Astartes often clouds their judgement, either causing them to commit acts which are unnecessary,

such as the slaughtering of enemies purely to rack up a tally of victims. Alternatively, they may be

so blinded by their collective ego, as Loken is, that they fail to carry out their tasks in an ethical

manner.

The Mỹ Lai Massacre is an appropriate New Historical non-literary text to compare to Horus

Rising. The aftermath of the massacre and subsequent legal proceedings raised issues of

responsibility for soldiers’ actions during war. Such issues are not pondered on in the authoritarian

Warhammer 40,000 universe, except by the remembrancer Mersadie Oliton. Her questioning of the

Astartes’ principles caused Loken to question his own methods and beliefs, ultimately opening his

mind to the flaws of the “empirical truth” he strives to impress on his enemies.

Similarly, the progression of the DARPA Warrior Web program by the US military raises a

moral question: how far should humanity push the boundaries of physical, technological

augmentation? One could argue that the strive for human technological enhancement may lead to

the creation of dehumanised, mechanical cyborgs which could irreversibly lead to the downfall of

humanity as we know it and thus, the inevitable decline of human morals.

The combination of the grotesque, superstition, the concept of the ego and a New Historicist

reading of the text, all contribute to a unique and innovative exploration of the concept of morality

in Horus Rising, one which also encourages the reader to re-evaluate their understanding of

morality.

21

Works Cited

Abnett, Dan. 2006. Horus Rising: the seeds of Heresy are sown. Nottingham: Black Library.

Barry, Peter. 2002. Beginning Theory: An Introduction to Literary and Cultural Theory.

Manchester: Manchester University Press.

Haraway, Donna. 1991. “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the

Late Twentieth Century” in Simians, Cyborgs and Women: The Reinvention of Nature. [Internet]

New York: Routledge, pp.149–181. Available from http://www.egs.edu/faculty/donna-

haraway/articles/donna-haraway-a-cyborg-manifesto/ [Accessed 28 September 2015]

Lexicanum. “Garviel Loken”. http://wh40k.lexicanum.com/wiki/Garviel_Loken [Accessed 30

December 2014]

Lexicanum. “Horus”. http://wh40k.lexicanum.com/wiki/Horus [Accessed 28 September 2015]

Warhammer 40k wiki. “Imperial Cult”. http://warhammer40k.wikia.com/wiki/Imperial_Cult

[Accessed 16 January 2015]

Lexicanum. “Iterator”. http://wh40k.lexicanum.com/wiki/Iterator [Accessed 28 September 2015]

Lexicanum. “Mournival”. http://wh40k.lexicanum.com/wiki/Mournival [Accessed 28 September

2015]

Lexicanum. “Remembrancer”. http://wh40k.lexicanum.com/wiki/Remembrancer#fn_1 [Accessed

28 September 2015]

Lexicanum. “The Great Crusade”. http://wh40k.lexicanum.com/wiki/The_Great_Crusade

[Accessed 28 September 2015]

Lexicanum. “Warhammer 40,000”. http://wh40k.lexicanum.com/wiki/Warhammer_40,000

[Accessed 28 September 2015]

McCarty, Mary. March 16, 2013. 45 years later, impact from My Lai case is still felt. [Internet]

Ohio, Dayton Daily News. Available from http://www.stripes.com/news/veterans/45-years-later-

impact-from-my-lai-case-is-still-felt-1.212088 [Accessed 28 September 2015]

McNally, David. 2014. DARPA's Warrior Web project may provide super-human enhancements.

[Internet] RDECOM Public Affairs. Available from

http://www.army.mil/article/125315/DARPA_s_Warrior_Web_project_may_provide_super_human

_enhancements [Accessed 28 September 2015]

22

Miethe, Terance D. and Hong Lu. 2005. Punishment: A Comparative Historical Perspective.

[Internet] Cambridge: Cambridge University Press. Available from

https://books.google.fi/books?id=o2ovr4ZzIXsC&printsec=frontcover&dq=punishment:+a+compar

ative+historical+perspective&hl=en&sa=X&ei=_AL7VOH3B4qfygP9y4KABg&ved=0CB4Q6AE

wAA#v=onepage&q=punishment%3A%20a%20comparative%20historical%20perspective&f=fals

e [Accessed 28 September 2015]

Perttula, Irma. 2011. “The Grotesque: Concept and Characteristics” in The Grotesque and the

Unnatural. Eds. Markku Salmela and Jarkko Toikkanen. Amherst, New York: Cambria Press.

Tolle, Eckhart. 2005. A New Earth: Awakening to Your Life's Purpose. New York: Plume.

Appendix

1. Portrait of Garviel Loken

2. Adept of the Adeptus Mechanicus.

23

3. Planned DARPA exoskeleton