Gregor and the Prophecy of Bane

“‘I can’t believe it,’ thought Gregor. ‘I can’t believe I have to go back down—there!’ Back into the strange dark land of giant roaches and spiders and, worst of all, rats! The thought of seeing one of those six-foot sneering, fanged creatures filled him with dread.”

Gregor’s reluctance and fear reflect his internal struggle as he returns to the Underland. His thoughts reinforce the portal fiction trope, wherein the protagonist is pulled into a dangerous, unfamiliar world. Gregor’s musings effectively show his discomfort and reluctance, not just physically but emotionally, adding depth to his character as he grapples with the challenges ahead. The mentions of “giant roaches and spiders” and “six-foot sneering, fanged creatures” are evocative bits of world-building, reminding readers of the series’ dangerous environment.

“But his mind snagged on one phrase that chilled him to the bone: Die the baby…Die the baby…Die the baby…Boots…”

The repetition of “Die the baby” creates a haunting, hypnotic effect, mirroring Gregor’s rising panic and fear for Boots’s safety. This phrase, directly from the prophecy, foreshadows the immense life-and-death stakes that define his journey. His immediate connection between the words and his sister prove his love and protectiveness. By fixating on this warning, Gregor reveals his overwhelming anxiety and his instinct to shield his sister from harm, reinforcing his role as both a brother and a hero.

“The Underland provided endless opportunities to renew his fear of heights.”

This line subtly reinforces the Underland’s perilous setting while highlighting Gregor’s fears. The phrase “endless opportunities” suggests that danger is inescapable in this setting, making courage a necessity. Gregor’s ability to push forward despite his fear ties into the overarching idea of bravery, illustrating that true courage isn’t the absence of fear but the willingness to face it.

“‘Greetings, Gregor the Overlander. We have heard much of your deeds and are grateful for your return,’ Howard said, civilly enough.

‘No problem,’ Gregor said, although his return was very problematic.”

This dialogue highlights the contrast between the Underland’s formal speech patterns and Gregor’s casual, modern diction. Howard’s polite and ceremonious greeting reflects the structured, almost antiquated way that Underlanders communicate, while Gregor’s relaxed response exhibits his status as an outsider. The humorous wordplay between “problem” and “problematic” adds humor and irony, since Gregor’s return to the Underland is anything but simple.

“If rats were in Regalia, they must have come for one thing: Boots!

‘Hurry, Ares! Please!’ said Gregor.”

This passage heightens tension and urgency as Gregor logically concludes that the rats’ presence in Regalia directly threatens Boots. The short, abrupt sentence structure mirrors his racing thoughts and rising panic, highlighting the stakes. His plea to Ares (in which the exclamation marks imply a desperate tone) reinforces his love for his sister and his protective instinct. In addition, the suspense underscores the constant dangers of the Underland and Gregor’s ever-growing responsibility as Boots’s defender.

“Now [Boots’s] little voice going, ‘Where Tick? Where Tick?’ sent jolts of sadness through him.”

Boots’s innocent question sharply contrasts with the harsh reality of Tick’s sacrifice, reinforcing The Impacts of War, Violence, and Prejudice as a theme. Her lack of understanding highlights her childlike innocence, making the loss feel even more profound when juxtaposed against Gregor’s (and the others’) awareness of war and grief from his adventure in the first book, Gregor the Overlander. The phrase “sent jolts of sadness through him” conveys how deeply Tick’s death still affects Gregor, emphasizing the exploration of loss and the emotional toll of violence—which Boots, as a toddler needing protection, can’t yet comprehend.

“When they had been on the quest to get his dad, Ripred had kept him alive because they had mutual need: Gregor needed Ripred to find his dad. Ripred needed Gregor to help defeat King Gorger so that he could be the leader of the rats someday. Ripred must still need Gregor for ‘The Prophecy of Bane.’ But when Gregor had stopped being of use to the rat, would he be expendable?”

Gregor’s reflection reveals his growing awareness of the complexities of war and alliances. In addition, it offers an analysis of Ripred’s unpredictable character. Since the Underland depends on mutual need rather than loyalty or friendship, Gregor’s thoughts emphasize the brutal pragmatism of war. The summary of past events provides important series context and shows how alliances shift based on necessity rather than trust. The final question—”would he be expendable?”—adds an ominous tone, emphasizing Gregor’s fear that his value is conditional and that, in a world ruled by strategy and power, he may one day be discarded.

“Nothing like one of Sandwich’s prophecies to put your whole world in perspective.”

Gregor’s wry observation highlights the immense influence of prophecy in the Underland while conveying his characteristic sense of humor. His casual tone contrasts with the heavy implications of Sandwich’s prophecies, emphasizing how Regalian society considers fate absolute. This moment thematically illustrates Prophecies Shaping Actions, since Gregor acknowledges the power that these predictions hold over his life. His sarcasm suggests a mix of frustration and resignation, reinforcing his internal conflict: He’s both bound by destiny and skeptical of it.

“She was so perfect, somehow, in that way little kids are perfect. So innocent. How did anyone think they were going to solve anything by killing her?”

Gregor’s reflection on Boots’s innocence highlights her purity and vulnerability, emphasizing the tragic contrast between her integrity and the barbaric world around her. His question, “How did anyone think they were going to solve anything by killing her?” challenges the justification of violence, which thematically links to The Impacts of War, Violence, and Prejudice. In addition, Gregor’s deep thoughts foreshadow his later decision to spare Bane, another innocent child, and reinforce his rejection of violence as a solution to conflict.

“In fact, if anything, he couldn’t stop hitting things. It was like something took over his whole being, something beyond his control.”

This passage conveys Gregor’s internal conflict as he struggles with an uncontrollable power, foreshadowing his eventual discovery that he’s a rager. The phrase “something took over his whole being” builds suspense, evoking questions about the origin and nature of Gregor’s abilities. The lack of explanation heightens mystery and tension, emphasizing Gregor’s uncertainty about his strength and the potential dangers of this ability that empowers and overwhelms him.

“He was nothing—a twig, a gum wrapper, an ant being carried along by the immense force of the whirlpool.”

Metaphors illustrate Gregor’s helplessness against the whirlpool. The imagery comparing Gregor to a “twig, a gum wrapper, an ant” emphasizes his insignificance when facing forces of nature. The choice of these objects, each light and easily carried away, reveals his struggle to maintain control and his sense of smallness in the chaotic Underland. The fast-paced, staccato phrasing mirrors the urgency of the situation, reflecting Gregor’s physical and emotional turmoil as he tries to save Twitchtip.

“‘A rager? What’s a rager?’ asked Gregor. It sounded like somebody who lost their temper a lot.

‘It’s a special kind of fighter. They’re born with great ability. While others may train for years to master combat, a rager is a natural-born killer,’ said Twitchtip.

It was absolutely the worst thing he could imagine anybody saying about him. ‘I’m not a natural-born killer!’ he gasped.”

Gregor’s aversion to violence is clear in his shocked reaction to being called a “rager.” The term, which usually implies an innate killer, clashes with Gregor’s values, making him fear that his inherent abilities might force him into a violent role he despises. Twitchtip’s function as a mentor contrasts Gregor’s reluctant heroism and the ferocious expectations of the Underland. Gregor’s emotional dialogue—”I’m not a natural-born killer!”—expresses his inner conflict and his fear that he might become an aggressive and heartless hero rather than his compassionate self.

“‘She [Pandora] will fly with you always. You know this. She will fly with you always,’ [Luxa said].

Howard buried his face in her lap. She leaned her cheek against the top of his head. And it was a long time before either of them stopped crying.”

As Luxa comforts Howard, her words, “She will fly with you always,” offer him a poignant metaphor for Pandora’s lasting impact, since the image of flight symbolizes both the freedom and enduring presence that are fitting for a bat. In addition, Luxa and Howard’s shared grief helps mend their strained relationship. She understands loss because of her parents’ deaths. Her tenderness and Howard’s vulnerability provide a rare, humanizing moment in a story often focused on survival, quests, and battle.

“Temp began nudging him in the back with his head. Gregor turned and saw the roach had a sword in his mouth.

‘Oh, man, thanks, Temp!’ Gregor said, grabbing the hilt with his good hand. He hadn’t even thought to bring it. Some warrior.”

Gregor’s sarcastic humor reinforces his antiviolent nature and helps thematically develop The Ethical Dilemma of the Empathetic Hero as he doesn’t even think to carry a weapon. Temp, consistently supportive and helpful, is a reliable ally through his actions. Gregor’s self-deprecating remark (“Some warrior”) emphasizes that, despite being hailed as a warrior, he doesn’t willingly embrace violence.

“With Luxa and Aurora gone, Ares would have no contact with anyone. He could probably sit in his hideout for years without anyone bothering to check on him. Gregor would go home, his heart dead, and Ares would be as good as banished.”

The lasting emotional toll of the quest is particularly evident for Ares, who faces isolation and abandonment. Gregor’s realization that Ares could remain in solitude for years underscores the deep impact of the journey’s events. The description of Gregor’s having a “dead” heart reflects his emotional devastation, illustrating that profound loss accompanies survival. Ares’s fate is especially tragic, evoking sympathy, because he faces a life without the companions who once gave him purpose and affection.

“Others twisted around like a corkscrew so that it took ten minutes to cover the distance you could’ve walked in one if the path had been straight.”

The simile comparing the labyrinth’s twisting paths to a “corkscrew” illuminates its disorienting and frustrating design. This imagery helps readers visualize the setting’s complexity, emphasizing how it slows progress and creates a sense of entrapment. The exaggerated passage of time—10 minutes instead of one to cover the same distance—adds to the sense of exhaustion and futility while heightening the tension.

“The rats broke up into fragments in his vision, as if he were looking at their reflection in a shattered mirror, but only certain parts were lit. He caught glimpses of an eye, a spot under a raised paw, a neck…and somewhere in his brain, he understood that these were his targets.”

Vivid imagery conveys Gregor’s rager state and heightened perception in battle. The comparison of his visual field to a “shattered mirror” emphasizes the fragmented yet hyper-focused way he views his enemies, suggesting an instinctive precision, and highlights the effects of violence. The phrase “only certain parts were lit” is especially significant, connecting to the broader symbol of light representing life, and implying its potential loss. This moment reinforces the power and danger of Gregor’s abilities: He easily identifies his targets with an eerie clarity.

“Gregor thought of Luxa, who would never be queen, of Twitchtip bleeding on the ground, of his dad crying on the phone, and of Boots…sweet, trusting Boots.”

Gregor’s overwhelming grief brings images that both reflect and summarize the events of loss. The repetition of “Boots…sweet, trusting Boots…” emphasizes his love for his sister, reinforcing her role as his uplifting anchor amid mayhem. Each memory he recalls represents a different kind of pain—Luxa’s lost future, Twitchtip’s suffering, his father’s brokenness—and highlights how deeply war and violence have affected him.

“He thought longingly of rich, fatty foods. Mrs. Cormaci’s lasagna, loaded with cheese and sauce and noodles. Chocolate cake with thick frosting. Mashed potatoes and gravy. He ripped off a stubborn piece of fish with a grunt.”

Gregor’s longing for comfort foods starkly contrasts his current survival-driven existence and the warmth of home—including the full-circle inclusion of Mrs. Cormaci’s home-cooked meals . The detailed, sensory descriptions of each dish emphasize not only his physical hunger but also his emotional craving for normalcy and security. His grunt as he rips the fish reflects the harsh reality of his situation: The Underland quest offers no comfort; it involves only the struggle to survive.

“He could sense that Howard, Ares, and probably Andromeda were already convinced they were guilty. If they got up on the stand, they might not be able to defend themselves. He, on the other hand, was absolutely bubbling over with the injustice of the whole thing.”

Gregor’s fiery indignation underscores the trial’s injustice, highlighting the Regalians’ faith in prophecy, fate, and determinism rather than in reason, empathy, and free will. While Howard and the bats feel defeated, Gregor’s passionate refusal to accept guilt emphasizes his strong moral compass and determination to fight for what’s right. In addition, his frustration reflects a major flaw in Regalian society: their rigid, unquestioning belief in prophecy, even at the cost of fairness. This moment foreshadows Gregor’s bold defense, portraying him as a defiant and justice-driven protagonist.

“‘The baby in the prophecy was never your sister, Gregor. It was the Bane,’ said Vikus.

‘The Bane? Why would it kill my heart if the Bane died?’ said Gregor.

‘Why did you not drain its light?’ asked Vikus.

‘Because it’s a baby. It’s just wrong,’ said Gregor. ‘It’s the most evil thing…I…I mean, if you can kill a baby, what can’t you do?’

‘So says your heart. So says your most essential part,’ said Nerissa.”

This exchange delivers a crucial revelation about the prophecy while reinforcing Gregor’s moral convictions. His reaction to the idea of killing a baby highlights his fundamental sense of right and wrong, setting him apart from the Underland’s ruthless warfare. The rhetorical question, “If you can kill a baby, what can’t you do?” underscores the slippery moral slope of violence and war, aligning Gregor with two themes: The Impacts of War, Violence, and Prejudice and The Ethical Dilemma of the Empathetic Hero. Nerissa’s affirmation (“So says your heart. So says your most essential part”) recognizes and reveres Gregor’s moral choice of tenderness rather than ferocity.

“‘And remember the gift you wanted to give me? The last time I was here?’ [Gregor asked].

‘Hope,’ whispered Vikus.

‘Yeah. Don’t give that up yet, okay?’ said Gregor.”

This exchange recalls a sentiment from the first book, reinforcing the idea that hope is a guiding force even in the darkest times. Gregor’s insistence that Vikus hold onto hope that Luxa is alive demonstrates growth and maturity: Despite all the conflicts he has endured, Gregor still believes in hope. The dialogue’s simplicity, especially Vikus’s whispered “Hope,” underscores the fragility of optimism in a world torn by war yet asserts that even dystopias must have hope.

“Well, yes. Gregor had worries wherever he was.”

This brief yet insightful line exemplifies Gregor’s constant burden of responsibility, conveying his thoughtful and caring nature. Whether facing life-and-death stakes in the Underland or grappling with his family’s struggles above, his worries follow him everywhere. The understated phrasing adds a touch of dry humor, but beneath it lies the truth that Gregor is never fully at peace, carrying many worries born of his sense of responsibility to help others.