67 pages • 2 hours read
R. F. KuangA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warnings: This section of the guide discusses self-harm, drug addiction, racism, classism, colorism, explicit wartime violence, sexual assault, human experimentation, suicide, and genocide.
The brutality of war manifests in several different ways, but it is primarily tied to the dehumanization of one’s enemies. Both the Mugenese and the Nikara are taught to dehumanize each other—and the Speerlies—to make killing easier. This theme is tied to The Influence of Stories on Social Structures.
When Rin kills her first Mugenese soldier, she registers “temporary shock, then the grim realization that she needed to do this again, and again, and again” (242). Until this point, Rin has not given any thought to her enemies. When Kitay wonders what they look like, Rin says she doesn’t want to know, because “then [she] might think they’re human. And they’re not human” (232-33). She justifies this dehumanization with the Federation’s previous war crimes. The fact that Kitay asks the question at all—and often wonders what the Mugenese fight for and how they feel—shows that the Nikara are not educated about the Mugenese beyond biased history lessons.
Battle becomes more difficult when Rin is forced to acknowledge the humanity of Mugenese soldiers. On Rin’s first mission with the Cike, she is attacked by a Federation soldier whose face is “round and soft like a child’s” (311), which makes her realize that Nikan is not the only country to send its children to war. When Rin sees Mugenese soldiers up close, she is “disturbed that the Federation soldiers so closely [resemble] her people” (327). Seeing their similarities forces Rin to acknowledge that she must kill humans like herself—and if those humans are capable of atrocities, so are the Nikara.
The Brutality of War and the Dehumanization of the Enemy is most clearly shown in the Golyn Niis Massacre. Rin sees:
Corpses in states of incredible desecration, grotesque positions that defied human imagination. Corpses nailed to boards. Corpses hung by their tongues from hooks. Corpses dismembered in every possible way; headless, limbless, displaying mutilations that must have been performed while the victim was still alive. Fingers removed, then stacked in a small pile beside stubby hands. An entire line of castrated men, severed penises placed delicately on their slack-jawed mouths (414).
These explicit descriptions are based off of the war crimes committed during the Nanjing Massacre in World War II. They become a poignant commentary on what humans are capable of when they are taught to dehumanize others. Rin realizes the Federation soldiers’ logic: “[I]f your opponent was not human, if your opponent was a cockroach, what did it matter how many of them you killed?” (432).
Rin takes this logic into her genocide of the Mugenese people to cope with the horror of her actions: “The lives were so many that she ceased to acknowledge them for what they were. […] She thought of the flies that she had crushed under her finger. Those weren’t lives” (504). The parallel imagery of insects shows that Rin has become as brutal as the Mugenese she views as monsters. Just like at the beginning of the war, Rin refuses to humanize the Mugenese; this time, however, it is because she has committed incomprehensible violence. If she acknowledges how many individuals she killed with the Phoenix—including civilians, or even young women like herself—her mind will break.
Dehumanization of victims leads to acts of violence that, in turn, allow for the dehumanization of their perpetrators, creating a cycle of brutal war. Kitay points out this hypocrisy when Rin defends herself by saying the Mugenese were monsters. He argues that no race deserves genocide, no matter their crimes.
The Speerlies arguably suffer the worst of The Brutality of War and the Dehumanization of the Enemy, as they are dehumanized by both the Nikara and the Mugenese. Rin suspects that Nikan sacrificed Speer because “the Speerlies weren’t really Nikara at all. Tall and brown-skinned, they were an island people who had always been ethnically separate from the Nikara mainlanders” (53). Nezha cites racist pseudoscience to dehumanize Speerlies, implying they are uncultured, unintelligent, and predisposed to violence. Several characters mention the Speerly affinity for fire; it is eventually revealed that this stems from their connection to the Phoenix, but in present-day Nikan, such stories only set them further apart from the Nikara. The Mugenese also separate Speer from Nikan; Chaghan recounts the torturous medical experiments the Federation performed on Speerlies in attempts to uncover the secrets of shamanism, and Shiro states that Rin and Altan are “nothing like those pathetic Nikara” because they are “composed of such lovely material” (476). Shiro and other Mugenese doctors perform brutal experiments on Speerlies to obtain violent power for their own soldiers, at the cost of those they only view as specimens.
The theme of addiction is tied to the exercise of control. Rin has an addiction to praise and power, and she manipulates others to gain both. To control their gods, shamans use psychedelic drugs, which carry a high risk of addiction. Lastly, Nikan uses addiction to control populations it deems dangerous.
As a war orphan, Rin grew up without a stable authority figure. She has an addiction to praise and the sense of belonging it gives her: “[S]he felt about praise the way that addicts felt about opium. Each time she received a fresh infusion of flattery, she could think only about how to get more of it” (95). Praise, to Rin, is proof of her control in difficult situations. For similar reasons, Rin has an addiction to power. From the start, Rin views shamanism as a way to gain, and weaponize, power. Though her first contact with the Phoenix is frightening and painful, Rin immediately wants more, and she lies to Jiang to get it.
Rin’s desire for praise and power leads her to make questionable decisions, such as following Altan. The Phoenix reminds Rin that she “chose to follow [her] commander’s demands over [her] master’s warnings” (502). Rin rejects Jiang’s teachings after he disappears, favoring Altan’s ways of anger, violence, and power instead. She idolizes Altan for his strength; her desire for Altan’s approval blinds her to the horrors of his plans and makes her tolerate his abuse. Altan and Rin are parallels; Chaghan warns Rin that Altan was once “fed a steady stream of constant affirmation for being very good at destroying things” (378), but that his struggles as Cike leader are causing him to deteriorate. Altan grows increasingly desperate—not just to succeed and earn praise, but to enact his revenge on the Federation. Altan has an addiction to rage just like Rin has an addiction to power, and they perform brutal acts under the Phoenix’s vengeful influence.
While shamans use psychedelics to contact their gods, Enki says that addiction is “almost inevitable” (286). The more they use their powers, the stronger their gods become, until they lose themselves to their gods completely. The haze of addiction is the only measure of control they have over their minds, as they are only able to quiet their gods through drug use.
This addiction is enabled by the Nikara government. Shiro explains how Nikan “originated th[e] technique” of using “opium to control a population” (477). The Red Emperor sent Speerlies crates of opium to make them dependent and prevent them from using their shamanistic abilities against him. Altan’s masters also use this strategy, feeding “him opium for attacking his classmates and train[ing] him like a dog for this war” (390). By harnessing addiction as a weapon, Nikan subdues the Speerlies. This use of opium is a reference to the mid-19th century Opium Wars between China and the West, in which widespread opium addiction was weaponized—particularly by the British—in trading conflicts.
Classism, colorism, and racism are deeply entrenched in Nikan. Ideas about these social structures are perpetuated by stories told throughout the populace, whether they are histories, legends, folk tales, or propaganda.
Rin faces classism and racism early on. Tutor Feyrik explains that “[t]he Warlords like to claim that the Keju makes Nikan a meritocracy, but the system is designed to keep the poor and illiterate in their place” (40). The existence of the Keju displaces the subjugation of the lower classes away from the elite and onto a system supposedly external to class structures. The Keju enables systemic inequality by suggesting that if lower-class students fail, it is only because they are less talented and intelligent. In truth, they lack access to opportunities and resources. This leads most at Sinegard to treat Rin like an interloper; they do not believe she belongs at the Academy because they have always been told that “peasants” are beneath them. Jun expels Rin from Combat, saying, “[e]very year we get someone like you, some country bumpkin who thinks that just because they were good at taking some test, they deserve my time and attention” (84). His views are clearly shared by the Sinegard majority.
Even Kitay, Rin’s only true friend, lacks a nuanced view of their different upbringings. While Rin worked all day at the shop and studied at night with Feyrik’s secondhand texts, Kitay “spent his childhood in luxurious comfort, with nothing better to do than study for the Keju. For him, testing into Sinegard had been a pleasant surprise; a confirmation of something he’d always known was his destiny” (163). He teasingly calls Rin a “dazed peasant” when she visits his home because he has never been exposed to the poverty in the southern provinces.
Rin also faces colorism at Sinegard. The first thing Rin notices upon arriving is that the “women are so white” (34). Whiteness is the Nikara beauty standard, which Rin does not meet. Jiang says people at Sinegard dislike Rin because she’s “a dark little peasant brat who can’t pronounce [her] r’s” (117), tying colorism to classism. Even for a southerner, Rin is considered “a little dark” (5); she later learns that this is because she is a Speerly, not Nikara, which comes with an entirely new set of prejudices. Speerlies are severely dehumanized, particularly by upper-class Sinegardians. Nezha says that Speerlies are “more closely related to monkeys than human beings” (76), which reflects real-life rhetoric historically used against people of color. Speerlies, who were supposedly “good at fighting, but not much else” (76), were objectified and weaponized by Nikan. There are stories about their affinity to fire and shamanistic powers, but they are mostly dismissed as fantasy. Only through Rin’s own experiences with the Phoenix does she learn that they are true.
The Nikara government utilizes storytelling as propaganda. During the Summer Festival, Rin and Kitay watch a shadow puppet performance that recounts the legend of the Trifecta: “three heroic soldiers who had unified the Empire against the Federation. They were real [...] but their legendary martial arts abilities were the subject of children’s tales” (51). Just like the Speerly legends, Rin only learns that the stories of the Trifecta’s supernatural powers are true after Jiang reveals himself to be the lost Gatekeeper. For the majority of the populace, the stories about the Trifecta are meant to portray the country’s leaders as powerful legends, not dissimilar to the way royals claim divine authority for their rule. Su Daji has genuine control over the Warlords through her shamanistic abilities, but she weaponizes her identity as a legendary figure to maintain power and to garner support from the general populace.
Finally, both the Nikara and the Mugenese use stories to dehumanize each other. The Mugenese are taught to view the Nikara as “cockroaches,” enabling them to commit horrific war crimes. The Nikara are taught that the Mugenese are “monsters” who massacred Speer entirely of their own accord, when in truth, Nikan sacrificed Speer for victory in the war.
As the story progresses, Rin learns that much of what the Nikara have been told throughout their lives is biased or completely false. Whether children are taught that their Empress is a legendary shaman, or upper-class citizens are told that the lower classes are less cultured, Kuang shows how stories can be used as tools to influence the general populace.
By R. F. Kuang
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