The shaper caste was the caste that held the responsibility of crafting all items utilized by the Yuuzhan Vong.
Within the Yuuzhan Vong's societal structure, this class was seen as analogous to bioengineers and scientists. The shapers were the creators of everything, from the imposing Koros-Strohna down to the simplest garments. Their techniques were documented in instructional texts known as cortexes, of which eight existed. Access to information beyond the Fifth cortex was restricted to Masters; only they could grant access to the higher-level cortexes.
The shapers operated under stringent guidelines, and any deviation from these protocols could result in demotion to a lower caste, or even death. This stemmed from the Yuuzhan Vong's religious convictions, which held that knowledge could not be created independently, but was instead bestowed upon them by Yun-Yuuzhan through Yun-Harla's handmaiden, Yun-Ne'Shel. This belief system significantly stifled the shapers' capacity for innovation and originality.
Within the Yun'o pantheon, this caste specifically venerated Yun-Ne'Shel, the Modeler. In a similar way to how the warrior caste emulated Yun-Yammka, the shapers strived to emulate their goddess. As a result, they did not display excessive outward scarring, but instead made use of necessary ones. Consequently, they were often completely tattooed, wore close-fitting oozhiths, and donned special headdresses that indicated their basic emotional state, although they could sometimes control the display of the headdress's tentacles.
Upon reaching the rank of Adept, Shaper Initiates were obligated to offer sacrifices to the gods. This ritual took place in the Grotto of Yun-Ne'Shel, where they sacrificed a hand to an organic creature. The lost hand was then replaced with a Shaper hand designed to assist them in the creation of new organisms. Furthermore, they underwent the implantation of a Vaa-tumor, a process that caused pain over time but restructured their brain to accommodate the knowledge acquired during their training. It was believed that the tumor molded their brains to resemble the divine form of Yun-Ne'Shel, and its removal was mandatory upon becoming a Master Shaper. However, some individuals developed an emotional attachment to the tumor and felt a sense of sadness at its removal during the ceremony, though they were ashamed to admit it.
During the Yuuzhan Vong War, the invaders achieved numerous victories against the New Republic infidels, owing to their organic technology. However, as the conflict continued, their adversaries developed mechanical solutions to counter the Yuuzhan Vong's technology, while the Yuuzhan Vong empire remained stagnant in its technological advancement. This stagnation threatened their potential defeat if their enemies continued to progress.
The Yuuzhan Vong developed a profound interest in the Jedi after repeated encounters with them, intrigued by their perceived powers derived from the Force. Since all Yuuzhan Vong were Force-blind but witnessed its use by the Jedi, they regarded it as a threat. Consequently, several shaper sects were tasked with addressing the Jedi "problem". They eventually uncovered information about Emperor Palpatine, the dark side of the Force, and Wayland, seeking clues to eliminate the Jedi threat. This led to the development of various holy programs, including the attempted Shaping of the Jedi Tahiri Veila and the creation of the voxyn from vornskrs. Another scheme orchestrated by the Shapers involved the poisoning of the bacta supply on Thyferra.
As the invasion unfolded, Supreme Overlord Shimrra Jamaane enlisted the Shaper Adept Nen Yim, who had been found guilty of heresy due to the actions of her master, Mezhan Kwaad. She was secretly placed in a program focused on the development of new shaping techniques and the filling of the nearly empty Eighth cortex, a fact unknown to most Yuuzhan Vong.
The shaper caste played a significant role in the transformation of the galactic capital of Coruscant, reshaping it into a replica of their long-lost homeworld of Yuuzhan'tar. They were also involved in resolving issues that appeared to originate from the World Brain.
Following the war, the shapers joined their fellow caste members in a peaceful departure, settling on the living planet Zonama Sekot, which journeyed into the Unknown Regions. The Shapers eventually established contact with the New Jedi Order and were asked to assist in the Ossus Project, an initiative aimed at terraforming devastated planets. However, their efforts were undermined by the One Sith, and they were unjustly blamed by the galaxy's inhabitants.
Some shapers, living outside Yuuzhan Vong society on Sekot, used their skills to serve the broader galaxy. Despite the illegality of Yuuzhan Vong biots, enhancements performed by shapers were sought after by groups such as pirates and, on rare occasions, Imperial officers. Although shaping originated as a Yuuzhan Vong art, other species could learn to perform it with the appropriate training.
Greg Keyes, the author, has stated that the introduction of the shapers was intended to add complexity to the Yuuzhan Vong society for readers of the series. He explained, "Before that point, the Yuuzhan Vong had primarily been depicted as sadomasochistic. There was little about them that was relatable. We had only encountered a few of the castes; the shapers were absent. I believe the explicit goal was for me to develop aspects of the shaper caste. I suspect I was chosen because of my background with other cultures. Initially, after the initial shock, the aim was to make the Yuuzhan Vong more nuanced."
Keyes, himself an anthropologist, drew significant inspiration from the ancient Austronesians, as well as their descendants, the Melanesians and Polynesians, in further fleshing out the shaper caste. Even particular names of the shapers, like Mezhan Kwaad, were directly derived from the names and myths of Pacific origin. The tattoos and piercings of Nen Yim, as portrayed on the covers of Edge of Victory: Conquest and The Final Prophecy, also bear resemblance to those found among the indigenous cultures of Oceania; cover artist Terese Nielsen received guidance from Keyes in shaping the character's appearance for those covers.