55 pages • 1-hour read
Gregor and the Prophecy of Bane
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Themes
The Impacts of War, Violence, and Prejudice
Like its predecessor, Gregor and the Prophecy of Bane explores the grim realities of war, violence, and prejudice, intensifying the stakes through bloodshed and moral dilemmas. Boots’s kidnapping demonstrates the immediate dangers of the Underland. Gregor, already traumatized by past events, is consumed by fear, knowing that his baby sister could already be injured or worse. As the story unfolds, the prophecy makes the war’s consequences even more personal when Gregor is forced to consider taking a life: “‘I see,’ said Gregor. But he didn’t. That is, he couldn’t really see himself doing it. Killing the giant white rat. The whole thing was surreal” (123). His primary goal—to slay Bane before the gnawers can kill Boots—establishes conflict as the driving force behind the plot. Unlike battles in the Overland, this battle has no room for compromise. The Underland’s wartime mentality and dark prophecy shape every major decision, creating a central plot where violence isn’t only inevitable but seems fated.
The nature of the quest further reinforces this theme, since each character must endure physical and emotional hardships to survive. Facing tentacle beasts, deadly insects, serpents, and enemy rats, war demands that no one remain passive. Gregor struggles most with this reality because his empathy conflicts with expectations of his being the “Warrior.” Despite his reluctance, he can’t suppress his rager skills:
The greater world receded, and it was as if nothing but he and the tentacles existed. Around him, somewhere, there were voices, and thuds, and glowing green water being beaten into frothy foam. But all he was really aware of was the attackers. His sword began to move—not in a premeditative way, but with some instinctive precision and force utterly beyond his control. He hacked away at tentacle after tentacle (129).
His aggressive side emerges uncontrollably, frightening both Boots and him, even though self-defense is necessary. Unlike Gregor, the Underlanders are desensitized to violence because in their society, combat training is essential for survival. Their language reflects this ingrained mindset: Terms like “warrior,” “soldier,” “fight” and “battle” continually recur, emphasizing the inescapable nature of war. The novel illustrates this reality painfully when Pandora is killed in mere seconds: “A black cloud exploded out of the jungle and engulfed Pandora. […] In less than ten seconds they had stripped the writhing bat down to the bone. Her white skeleton hung for an instant in the air” (172). Pandora’s death reminds the group—and readers—that war isn’t just an abstract concept but a relentless force: “‘[N]o one here has been spared,’” Nerissa points out (285). Later, the group’s accumulating injuries, Mareth’s near-fatal wound, and the loss of Luxa and her party further reinforce the devastating cost of war.
Beyond the battlefield, prejudice deepens the effects of war by dividing characters who should be allies. Though the Underland’s species acknowledge a “mutual need” for unity, distrust and discrimination persist. Cockroaches, for example, are seen as inferior and often disregarded despite their kindness and loyalty: “‘Go, I would not, go,’ Temp said, but no one much ever listened to him” (170). Twitchtip’s mistreatment is even more striking: She aids the team yet remains an outcast. The deep-seated hatred of gnawers—fueled by years of war—leads some to abandon Twitchtip without remorse in the whirlpool scene. Everyone but Gregor is content to let her drown simply because she’s a rat. However, Gregor’s decision to rescue her highlights the moral dangers of stereotyping. Through Gregor’s defiance of prejudice, the story underscores the importance of questioning biases, of recognizing that not all enemies are as monstrous as they seem, and of choosing to show empathy and mercy.
The Ethical Dilemma of the Empathetic Hero
Heroism is repeatedly tested through Gregor’s ethical dilemma of having to navigate the fine line between duty and morality. His sense of responsibility is obvious in the opening chapters as he takes on work to help support his struggling family. When Boots is kidnapped, Gregor’s inner conflict deepens: He doesn’t want to leave his family but can’t abandon his sister. His decision to return to the Underland and embark on the quest highlights how heroism requires personal sacrifice. As the “Warrior” of prophecy, Gregor must embody strength and aggression to kill Bane (as the prophecy orders), yet his defining trait isn’t brute force but empathy. This internal struggle becomes especially clear when he denies his rager abilities, fearing that he’ll become a killing machine, and when he defends and saves Twitchtip in the whirlpool. His compassion challenges the traditional image of a hero, proving that true heroism isn’t about violence but about making the right choices despite the pressures of war.
Gregor’s actions throughout the quest continue to emphasize the complexity of heroism, particularly in moments where morality conflicts with survival. The whirlpool scene reinforces this struggle, since everyone else abandons Twitchtip without hesitation, but Gregor refuses to leave her behind and lashes out at their prejudice: “‘Ripred brought her [Twitchtip] for me. He brought her to help me, so I could help you guys and your whole stupid kingdom!’ he said. ‘That’s why we’re doing this, right?’ (150). His empathy sets him apart from the Underlanders, who see heroism as brute strength, while Gregor views it as protecting the vulnerable.
Gregor’s compassion extends beyond the quest: He constantly worries about his family back home: “Every day down here was a day his family had been suffering at home. […] …his dad’s illness worsening, his mother’s sleepless nights, his sweet grandma’s confusion, and Lizzie’s fear” (164). His thoughts often focus on his family and others’ needs, showing his selflessness and care for others. Even as Ripred trains him in echolocation, striving to improve his skills, Gregor’s heroism isn’t about becoming the strongest warrior but about learning, adapting, and making choices that align with his values.
The ethical struggles reach their peak in the novel’s climax, when Gregor faces his most difficult choice: to kill Bane or spare him. Though Bane is just a baby, the prophecy seems to foretell that he’ll bring destruction, making Gregor’s choice even more complex. His decision to disobey the prophecy and spare Bane is the ultimate act of heroism, emphasizing that he refuses to let war dictate his virtuous beliefs: “‘What am I supposed to do, Ares? Run my sword through its head? Look at the thing!’ […] ‘Ma-maa,’ it [Bane] whimpered. ‘Ma-maa.’ Getting no response, it pawed frantically at the dead rat’s face. ‘Ma-maa!’” (232). However, instead of recognizing his mercy as an act of courage, the Regalians react with outrage, branding his decision as treason. The very people who relied on Gregor to fulfill their prophecy turn against him, putting him and his team on trial as if he committed a crime. The hypocrisy of their reaction is striking: They’re so consumed by their rigid interpretation of fate that they see sparing an infant as more dangerous than the act of murder itself.
Nerissa’s intervention, however, clarifies the prophecy and proves that Gregor’s principles are just and that they fulfill the prophecy rather than defy it, sparing him and his team. This resolution emphasizes Gregor’s role as a hero—not because he followed the prophecy but because he had the courage to reject it if it demanded something morally wrong. Through Gregor’s defiance, the novel redefines heroism, proving that true strength comes not from prophecy or power but from the ability to choose mercy and empathy over obedience.
Prophecies Shaping Actions
Gregor’s empathy and the worldbuilding of Regalia links to the belief that prophecies are crucial and infallible. The interpretation of the prophecy drives the entire plot forward. The prophecy’s influence shapes the first act of the story, when Ares explains that the Prophecy of Bane is the reason for the cockroaches’ drastic act of kidnapping Boots to protect her from the rats, who are plotting to kill her. This prediction sets the stage for the plot and continues to push Gregor and the characters forward on their journey through its words of inevitable fate. From the outset, the prophecy functions as a catalyst, guiding not only the action but also the characters’ decisions and how they understand their roles. Additionally, the revered and unquestioned nature of prophecies in Regalia—where they’re carved into the walls of a room in the castle—highlights the weight they carry in Underland society. Prophecies (or fate) versus free will is a common fantasy trope, in which prophecies shape destinies and provide both guidance and burdens for characters like Gregor.
The prophecy dictates Gregor’s choices and his understanding of the world, particularly as he grapples with its implications for his heroism. In one key moment, Gregor and Nerissa interpret the prophecy, noting that only Gregor can kill Bane alone: “‘Kill it, Gregor,’ said Nerissa. ‘The Bane must die by your hand alone’” (100). This revelation adds immense pressure, conflict, and depth to Gregor’s journey. He must now wrestle with the burden of fulfilling a prophecy that promises not just danger but sacrifice and violence. Throughout the book, Gregor is haunted by the prophecy’s words, constantly reflecting on their meaning and his violent role. For instance, he recalls the prophecy at a crucial moment in the maze: “HEAR IT SCRATCHING DOWN BELOW, RAT OF LONG-FORGOTTEN SNOW, EVIL CLOAKED IN COAT OF WHITE WILL THE WARRIOR DRAIN YOUR LIGHT? Yes, he would. That was what the warrior had come to do” (226). This is a reminder of how fate’s design weighs on him and how this “fateful” responsibility to kill Bane is woven into his identity as the means to protect the Underland and to keep Boots safe.
As the story progresses, Gregor reaffirms his role in fulfilling the prophecy. For example, he reminds others of his duty and their steadfast belief in prophecies after the serpent battle: “‘It was mine to kill. That’s what your prophecy says, right? I’m the guy who’s supposed to kill it? In the end, it was always my job,’ said Gregor” (276). Gregor uses the prophecy to convince Howard to leave Mareth behind and trust him to handle the dangerous task of confronting Bane, highlighting that no one denies the prophecy. Ironically, Gregor soon thereafter defies the prophecy when he chooses not to murder Bane, an ethical and empathetic decision he defends. Though his empathy and sparing of Bane is the “wrong” move according to the prophecy, the trial brings new clarity to the prophecy’s intent when Nerissa reveals that Bane, not Boots, is the “baby” it refers to. This revelation challenges the rigid interpretation that the Regalians once clung to and shows how the Regalians’ resolute belief in prophecies almost led to a tragic misunderstanding, forcing Gregor to harm an innocent newborn and putting Gregor and his team at risk of death for treason. The near-deadly mistake is a reminder that prophecies can be misinterpreted and that the words’ power lies in their perception and interpretation.
In the final pages, prophecies set the stage once more for story structure. Before Gregor leaves the Underland, Nerissa gives him a copy of the prophecy to reflect upon. Though Gregor thinks it’s a copy of “The Prophecy of Bane,” her gift foreshadows his next adventure: When Gregor takes the paper out later, he’s surprised to see that its title is “The Prophecy of Blood,” setting the stage for the next book and creating suspense because he hasn’t yet read the scroll. The prophecy theme continues to play a pivotal role in the series, showing how prophecies drive action and shape characters’ understanding of themselves and their futures. As Gregor faces the realities of prophecy—its weight, its potential for misinterpretation, and its ability to define his identity—the novel ends with a cliffhanger, creating suspense about what “The Prophecy of Blood” will bring in the next installment in the series.
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