>>12457605
Nael fully realizes the Nietzschean will to power, as embodied by the eponymous tiger. The hyper masculine imagery compounds this with worship of the human body as divine or close to it, hearkening back to Grecian hero worship as he masterfully incorporates the rich eastern metaphysical symbology behind the tiger to branch western philosophical tradition with that of eastern spirituality. The famous yes/YES line is the epitome of the human struggle, wherein raw emotion ultimately sanctifies the individual and breaks the chains of over-conceptualized thought as developed in a high or post-industrial society.
On the other hand, Galko makes a pessimistic return to nature, wherein man falls into self destructive and cyclical sin (I blow on the lead/ And it hits me back). His egoist stance rejects the traditional family structure, and embraces absurdist reality by acknowledging true knowledge or meaning is ultimately beyond our comprehension (kids don't know everything). Ultimately, his Gothic, anti-transcendentalist stance was already covered comprehensively in the late 19th century, and doesn't do much to rival the revelatory synthesis of his contemporary Nael. If Galko can reorganize his thoughts in a more emotive and powerful form, perhaps he can create a post-gothic school behind him, but I doubt he will become a legitimate match for Nael even then.