The linnormanzi (which was, in all other ways, it was a softened shadow of its parent strain) made its presence clear by the color of its ink; white, and copious enough to bleach in full the harbors of the few but faltering cities in which it appeared. The imagined stark backdrop of this "bleach paint ocean" or "white plastic sea" has since lent itself to a range of both visual and written works, both before and after the flood.
One iconic appearance can be found in penultimate scene of the The Wishing Game, in which Carrie Sands (played by a young Bianca Cure), having recorded the conscripted duet, destroys the notes for the titular song in the bay's whitewash waves.
Of no less notability is the (albeit, fictional) duel between a linnormanzi and a linnormi depicted on the cover of Gutters #329 and immortalized in tribute through several large-scale public works projects. Certainly, it is not hard to see how the sharp contrast of the black and white tides, always churning and never mixing, became emblematic of the strife that would have marked the boundaries of these walltowns.
If the linnormanzi had been a part of the supposed riots, it would have been as a corpse, held up high on sticks; an emblem to the cause.