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leonawriter · 5 months ago

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Ayin, Carmen, and the Circles of Hell Project Moon's Works

First off, what I wanted to go over here is the assumption that at least someone must have started playing through these games without a full picture of who these important people are and what, exactly, is going on.

Part of what makes the games so special to me is the way that they're all narrated, in that... each and every single one so far (three games, but also the webcomics and webnovels so far) has been told by an unreliable narrator - either of the events they're telling, or of their own inner world.

In this post, I'm hoping to tie the games together in as objective way as possible, using as much game/official-backed fact as I can, but I can't promise to be an "unbiased narrator" myself, since there are certain stances I take and theories I back.

That said: expect spoilers for Lobotomy Corporation, Library of Ruina, Leviathan (Vergilius' backstory), and all currently released Cantos and Intervallos (so far, up to 7.5).

Okay.

To start off, I'm going to have to go right back to the beginning.

No, not the backstory of Lobotomy Corporation.

More like "What even is the City" - because unless we can understand that, we can't really say we can understand who these characters are, and why they're doing these things. The setting informs characterisation and cultural norms, after all.

The City is, basically, as those who've played or otherwise experienced Library of Ruina and Limbus Company will know, comprised of the Wings (districts) and then further divided into the Nests (where everyone wants to live, where it's safer), and the Backstreets (where no one really wants to live, but many have to). The main driving motivation for most peoples' lives is that they have to become employable to either a good organisation (legal or not) that will provide for them, as the moment they are not of use they will be fired and/or disposed of.

In other words, your life does not belong to "you." Your life belongs to "the City."

All of that stuff we hear all the time about "find work that you enjoy!"? Yeah, no, the most important thing is to a) stay alive at all, and b) find work that will enable you to stay alive. Being able to keep morals? That's a luxury.

The world (which as far as anyone is concerned here, IS the City) is run by people who do not care about the well-being of others, and "good" people get ground up by it, eventually learning to harden their hearts.

Now that we've got that out of the way...

I can actually go into who the characters are.

First off, and most importantly (and obviously, going by the title) we have Ayin, Benjamin, and Carmen. Later on in Lobotomy Corporation known as "A, B, and C."

We don't know much about them before a certain point. We can, however, easily see that all three of them were from a Nest, rather than the Backstreets; of the original Outskirts lab, only Kali (Gebura) was Backstreets, and both Enoch and Lisa were from the Outskirts. This means that all three must have scored highly in certain exams in order to stay inside their Nest (which ones, though, we don't know yet) as was brought up in an early chapter of Distortion Detective.

For all of Lobotomy Corporation, we see things through Ayin's eyes, and we really only see the events that lead up to the founding of the Facility that "X" (AKA, Ayin's future looped self) is running. Since we only see the worst moments, we aren't really allowed to see the good times. We're allowed to see some very relevant quiet moments, but other than that it's few and far between.

What we DO know, and that we can in fact take on board that is highly important, is that Carmen had a big dream of wanting to improve things for people, on an individual basis, and she was very good at pulling people around to her way of thinking. This is not an exaggeration, or a matter of bias; this woman would go on to recruit people from all sorts of backgrounds, from both the Nests and the Backstreets. She would walk more or less alone in the Backstreets, and as far as we know did not have a bodyguard (or adjacent) until she recruited Kali, a Grade 2 Fixer. Carmen's ability to recruit all sorts of people would later be compared to that of a cult leader in Library of Ruina, and by someone who knew a lot about the City.

(This isn't the only time Roland says something like that; he also brings it up with Netzach.)

Ayin, who would be Carmen's junior, followed after her, listened to her, paid her a lot of attention, did as he was asked, and as we see Angela later state, he would look at Carmen "warmly."

Ayin would also be the one who would end up being blamed for, or the cause of, the worst of what happened, for one reason or another. Much of this was, I would say, either 50/50 fault of the future Sephirot making bad decisions, and Ayin himself having no idea how to communicate with them in a way that would prevent such incidents, or outright being unable to.

Simply looking at him and the way that A describes things, as well as the way that Manager X would later respond to things, tells the story of someone who quite literally had trouble communicating and connecting with other people. After Malkuth's meltdown, when A is talking about and recalling Elijah, we see the line "It was only after a very long time that I realised giving praise every once in a while may have been a good idea." When introduced to Kali, it's pointed out that he seems to be "glaring" at her, and Carmen says that he "always has a serious look on his face."

There are other lines and aspects from other scenes, but going into how and why I see Ayin as autistic is for another post, really. The important part is that the game shows us that he is perceived as cold and distant by others, yet most often only figures out how to interact in a way that grants the social benefits he and others require once it is already too late.

There is also the fact that a lot of his reactions (both in the past, and in the present) are... very human. No one can give the perfect response of a hero while in a traumatic moment. Chesed actually outright states this during one of the flashbacks about himself.

So we have Carmen, whose dream was to have a "beautiful voice" that "everyone would listen to," and we have Ayin, whose dream we aren't privy to - he tells her, and she laughs it off.

I'm not making that up, by the way:

[Source: TeeQueue's LP.]

What we do know, however, is that... for most of his life really, he - as said - follows after Carmen. To the point that, in one particular flashback (during Day 48), she asks him, in advance, that "No matter what I may become, please finish what I started."

However, we can see from both Adam (the third of Ayin's fractured selves) stating point blank that the consequences of Carmen's Light would cause people to become abnormalities, and then in Library of Ruina seeing the direct result in reality... that the Distortion phenomena would begin because of her. Starting with one as big and destructive as the Pianist which destroyed most of an entire district, then the Reverberation Ensemble through the course of the game, and finally firsthand appearances in both Leviathan and Limbus Company.

Carmen truly does become the "beautiful voice" that everyone listens to; Leviathan goes as far as to have an entire conversation between her and a distorting Vergilius, in which we get to see what her perspective is, and... strap in, because this is why I explained what kind of place the City is in the first place.

Carmen, at her heart, wants the Children of the City to live for themselves. To be selfish, rather than living only for the sake of a City that does not care for them. To have their outside appearance resembles the self they keep inside. You can see, in the few times the reader/player is allowed to see what she's saying during a distortion, that she doesn't push people into distorting so much as she plays into their own pre-existing feelings and desires. Enabling them to feel that they are justified in everything that they feel.

The important thing to remember is that the root (ha) of Carmen's argument is not wrong. Remember: those born to the City are subject to the City, and exist only for the City. The City doesn't exist for the sake of the people, but only for itself. Therefore, the idea of someone suggesting "I want to make it so that you can be selfish, and live for yourselves" IS going to be incredibly tempting, and to many people. It's a subversive, inherently rebellious idea!

Even in the real world, we have countries that put a lot of stock into how well a country can function as a uniform system; Japan and China I know for certain put far more emphasis on the group than the individual, even now. Anyone coming from somewhere that doesn't may see this as a strange idea, but it IS a cultural mindset that exists in the present day, and it took certain movements ("egoism" for one, and Ango Sakaguchi's essay that is referenced in Bungo Stray Dogs is "Discourse on Decadence" for another) to get to the point we're at now.

The problem lies in the fact that the moment you start to only think of yourself, when you ignore everyone else you become a force of destruction, harming others, either on a small scale (only hurting those immediately around you) or a large scale (hurting many people as a result of your actions) without regret. You no longer care about the people you used to care about. The "self" is all that remains.

Carmen was/is a well-intentioned (by the City's standards) person, but who took her one good idea too far.

Judging by his reaction to Adam's revelations about the as-yet-unnamed Distortion Phenomena - and he DOES have a negative reaction to it, considering he answers Adam's religious fervour with Hokma's ability to "Face the past, build the future" and Binah's "Facing the fear, breaking the cycle," meaning that he saw Adam as wrong. I'd say it's a foregone conclusion that Ayin did not know that Carmen's idea meant what it did. Nor that it's likely that Carmen's idea was to distort people from the start.

This, then, leads to the fact that although we don't know Ayin's own wishes from way back at the start when they first met so clearly... we can at least say that he wanted at least some of the same as what she did; for people to lead happier, more fulfilling lives, which were not controlled fully by the City. He must have agreed with her on the fact that the City, in her terms, suffered from a "disease of the mind."

Their differences are where things get interesting, because in Leviathan it is stated that simply due to Ayin "joining [her] in the light" at all, the concept of also being able to form EGO instead of Distortion became a possibility. In fact, in that same chapter, Vergilius is shown to be suspicious of her brushing her "junior's" involvement off, in spite of Ayin being "involved in every cause and effect" (Vergilius' words, from the translation).

There is a certain irony, even, to Carmen causing rifts between the future Sephirot and Ayin when they first meet - saying things that could otherwise be playful teasing, yet in later context is, as stated above, rather dismissive-

Her telling Ayin "He's a bit pompous, so don't believe everything he says" about Daniel, and to Kali who, as stated above, asked why Ayin was glaring and was told "He just always has a serious look on his face." In another flashback, she wore him down until he could see no other option than what she gave him (about progressing the Cogito experiment); "What made me, us, so upset... was how much it hurt to listen to her put it so calmly, as if it were none of our business." As I pointed out earlier, she laughs at his dream, before carrying on.

And yet, because she entrusted the project to him, it's Ayin's fingerprints that are over all of Lobotomy Corporation, as well as how to activate EGO at all. "Face the Fear, Build the Future"? That's all Ayin. And yeah, he's hardly a saint; he still did everything that all of the flashbacks show us (and his present day self who is remembering/being shown). But the important thing is that people can be multifaceted, and half the point of Lobotomy Corporation, as I see it, is that people are capable of some truly horrendous things... but you are still capable of building from them and moving into the future if you want to try and be a better person.

That's literally the message that Ayin leaves people through the Light.

Which in turn, pushes us forward in to the later games, because the thing is, everything really does come back to those two.

In Ruina, the Sephirot - now the Patron Librarians - have to tiptoe around Angela, who only has negative feelings about Ayin due to him being the world's worst father by creating her and then refusing to look at her, and then sending her into an unending torture device. I can't fault her for being furious here. She has been given absolutely no reason to see him in a better light up to here, when she was created with the memories of someone who had fond memories of him.

However, that does mean that the Patron Librarians can't truly be said to be speaking their minds amongst themselves, and especially not with Roland. These are the people who came out of Lobotomy Corporation's loops changed for the better, and although you can still see their (metaphorical, psychological) scars, we can see through the things they say that "X" must have been talking back to them at various points, and specifically during and after their meltdowns.

I brought this up in another post, but here's Gebura in Ruina, stating "It's hard to take a step forward if there's no one around to give you honest advice," and that goes for both the Sephirot and also Angela. As they do point out, Angela never had that. Angela herself is very upset about it (which is an understatement).

I've theorised as well that the Patron Librarians would have talked more about Ayin at length, but they held off after Angela interrupted Malkuth.

After she says this, she's cut off, and Angela berates her. Given Angela is basically hearing what to her is her abuser being praised to high heavens by someone who was also harmed by him... it's no wonder she reacts like this, and given the way the Librarians are I wouldn't be surprised if they understood that - but it does mean that we don't see their true thoughts.

They'll talk around him, but rarely directly about him - and when they do, like Gebura above, she snaps at them. So we, the viewer, also do not get to see their full thoughts and feelings.

This isn't the end, however, since the endgame of Ruina throws a lot into perspective that is made rather blatantly clear in later materials such as Leviathan and Limbus Company: that is, the stances of Ayin versus Carmen, and expanding on how they're in opposition in a far clearer way than we had during Lobotomy Corporation.

Because Lobotomy Corporation's final days are full of unreliable narration and Ayin's other selves telling him how he felt (which... yeah, wasn't him saying how he felt), that wasn't as clear as it could have been.

Not anymore!

First of all, in order to get the full, true ending in Ruina, you have to have both Roland and Angela forgive each other and not keep that need for revenge. In other words, they have to face the past, and break the cycle. They've both gone through Realisations, with them venting out their feelings to the Librarians each time... much like how the Librarians themselves had to vent out their feelings to Ayin in order to cool off.

Once you've got that, Angela decides to sort out the Light, and gets one more Realisation/fight - this time something that Hokma had been warning her about. Interestingly, he's the only one who made her question where the ability to create Invitations and use the Library at all came from. He, while having faith in Ayin, makes her question her blind faith in Carmen. Because as it turns out, she has been leaning on the part of her that was built from Carmen quite a bit up to now.

This... doesn't last, now that she herself has The Knowing I.

Angela: As long as I'm part of this light, I'll do everything in my power to stop you.

Given how we know that Ayin's very presence in the light caused awakening EGO to be possible, it's not a stretch to assume that this is the same stance that Ayin has taken now that he knows what Carmen was actually after.

I'd like to add something that is implied by that statement that some might see as treading into headcanon territory here: that Ayin, after having dedicated his entire life, literally ten thousand years of loops, to following Carmen's goal, which entailed committing atrocity after atrocity both personal (putting his deceased friends into metal bodies and bringing them back time after time) and impersonal (the many, many canon deaths of the employees, and no matter how "S rank no death" run you try and make yours, a few Clerks will get themselves killed by something) - would feel horrendously betrayed by Carmen.

I do not see Ayin, when he sees her again after realising what she had been aiming for the entire time, greeting her as a friend.

There's an art I've seen someone do, of them meeting in the light, Carmen reaching out her hand, and Ayin refusing her for perhaps the first time, because he finally has the Will to Stand Up Straight, and the understanding that they're actually on opposing sides now. I strongly feel like that - or the vibe of it - is at least somewhat the intent with their characters.

This is backed up by how, when Angela has accomplished this, fought Carmen, finished what Ayin had been working toward herself (and most importantly, her own personal growth to get there), Ayin tells her "I'm sorry. And... good job."

So. That's Library of Ruina.

On to Limbus Company, and the Circles of Hell.

Because if anyone thinks that Ayin's influence stopped with Angela and the Library, they are dead wrong.

To start with, we have some purely meta things. The titles have the same initials, which makes them easy to confuse if you're used to just going "oh play LC-" because which one? Lobotomy, or Limbus? In the Project Moon interviews before the game was released, they would often refer to future games as "the sequel." First Ruina, and then Limbus. Limbus especially, given its initials, got called "LC2" at least once or twice.

So, Limbus Company is a direct sequel to Lobotomy Corporation, which deals with the aftermath of all the branches having shut down. Simple enough, right?

The next thing is the characters we meet.

So far, both Dante and each of the Sinners has something in common with Ayin. And almost every one of their respective enemies so far has something in common with Carmen.

Dante themself is the Manager. Instead of managing Abnormalities, they manage the Sinners, a group of twelve people who are brought down to the strength of the weakest among them because of Dante's ability to chain them all together- wait, that sounds... familiar?

"The person who learns to think about himself as Ayin will ascend to a spiritual world, where everything is the same and everything is equal."

[Source: Ayin and Yesh, in Hasidism, from Wikipedia.]

Oh, look who it is. Hello, Ayin. Or rather, the spiritual concept of Ayin.

Honestly, a LOT of things about Dante scream out to me as references to Ayin. As a person. If you wanna go look at all of them, my friend Kitty/ @strangefellows has a whole gdoc on it.

My own thoughts on it go from "If you change Dante's red uniform coat to a white lab coat and ignore their head, that is literally the same person and body language" to "Dante's inability to know what they're doing at first echoes how Ayin had no idea at the start of the loops, both of them suffering from memory loss," to "Dante, during the SEA event, sinks into the same sort of uncertainty that anything they say will make any difference that is so characteristic of Ayin's own silences," to "when exposed to a monolith, which induces distortion, Dante is said to remember more than they are capable of at the time and knows exactly what Peccatula are, which is something that Ayin would know intimately given his involvement," to "during the the time when Heathcliff is distorting, the screen flashes with a very specific image of Carmen lying in a field" - which should be familiar to anyone who's gone through Lobotomy Corporation since it's something that only Ayin remembers.

In short: there is a very high probability that we're going to see it confirmed at some point that Dante's past self (with memories) is actually Ayin himself. I personally do not see this contradicting any of the canon Limbus has given us, and it does in fact only build on it. You'll notice that when I talk about Ayin I use he/him, and Dante gets they/them - I personally love the idea that Dante's just gonna go "ooh, I get to play with more pronouns? Cool!" Collect 'em all, you funky tick-tock genderless dude.

(If you don't believe that, it's fine. I've only been listing off canon moments, however!)

Going back to "more than just Dante echoes Ayin, just as Ayin was similar to more than just the Keter," however, and... let's build on that.

Starting with Yi Sang.

Yi Sang is someone who was a researcher working alongside a small group of people, who created a technology that was meant to be a bright spot for pure enjoyment. However, a chain of events happened that had T-Corp's law enforcement coming down on them, forcing them to work for the Wings or scatter. He regains his ability to see that he still has a future, and that he can still attain "flight" (that is, his own ideal self) by working through his past and being proactive rather than simply letting it happen. A large part of his trauma lies in the League of Nine breaking up and him recognising his own loneliness, too, and as a result he can be later seen trying more than anyone else in the bus to stop the others from fighting and causing the irreparable rifts that torn his original friend group apart.

Yi Sang mirrors Ayin in that they are both researchers who were set apart from their friend groups, yet they both had a desire for friendship and to be closer to those people that they could not fulfil due to their own temperament.

Yi Sang also has the EGO "4th Match Flame" which...

If it weren't for the colour of his eyes, I'd outright call that Ayin.

Note that the Matchgirl's story is that of someone who burns themself out in order to gain a little more warmth, which fits both Yi Sang and Ayin.

Next we have Faust, who hasn't had her Canto yet, but we do know some things about her. She is very similar to Angela, in that she fills the role of "walking assistant and encyclopaedia" however as we see in MOTWE, she's also part of a collective, the Gesselschaft, and we do know that when she is disconnected from it she becomes a person who is keen on learning and investigating for herself, and Dante's attitude to her is very encouraging, even while they're having their own private panic/anxiety attacks over potentially being stuck in a 20k+ year dimension with (based on what we know from Canto 4) no certainty that they'll be able to forget. That isn't so much a direct Faust-Ayin comparison as it is a Faust-Angela and Dante-Ayin comparison, but it's still worth bringing up. I look forward to her Canto.

Next we have Don Quixote, whose entire Canto was about breaking free of her dreams and delusions to see how things truly were, but also - more importantly - it's about how one person with good intentions can try to push them onto other people, regardless of how much it hurts those around them. Of how, even if those dreams of a better world were good ones, because Sancho was never fully able to say "hey, maybe this is gonna not work?" they weren't held in check, so they do untold damage. How Dad Quixote sees what the other bloodfiends do to him as a form of "penance," with the sheer amount of time he is kept pinned to the wheel causing him to lose faith in his original hopes and dreams, not fighting back because he recognises that he is the one who caused them to lash out at him in the first place. Sancho-Don being the one to regain her dreams that had previously just been delusions, this time with her eyes open.

This one... barely even needs me to point out, really, but both Sancho and Dad Quixote are echoes of how Ayin and Carmen's best intentions could and did hurt many people, trapping them in Lobotomy Corporation headquarters/La Manchaland, and torturing themselves for their own inability to see the problems they'd cause. Sancho also ends up having locked her now amnesiac self in a very small room for roughly two hundred years, much like Ayin locking his amnesiac self in a small office for ten thousand years, with neither of them fully aware of the length of time that's actually passed. Both of them also are traumatised by witnessing a horrendous massacre of their home; Ayin by the Outskirts Lab, and Sancho/DQ by the sight of what La Manchaland became, and then by having to kill her remaining family.

Next on the list is Ryoshu, and... we honestly don't know much about her past or motivations since her Canto hasn't released yet and we haven't had as much focus on her yet. She so far (given my recent re-watch and read through of an LP) reminds me of Binah, since they both enjoy bloodshed and violence - and Binah herself tells A that she sees them as similar kinds of people, able to perform atrocities by looking the other way.

If we look at Ryoshu's source material, going into headcanon territory, we can see that the character she's base don had a child, who died horribly. One has to wonder how that's going to play out in Limbus. The idea of a parent and child storyline does make me think of Ayin's relationships with both Enoch and Lisa (both of whom died), and also with Angela, however.

Meursault currently doesn't have his Canto yet, but the similarities are plain and easy to see; they are both taciturn people who may seem blunt and/or harsh, and don't really... know how to people. Meursault is pointed at by many as being autistic, just as I've stated way up back in my description of Ayin that he seems to me. At the start of the story, Meursault doesn't seem attached to anyone, and merely does as he is told and not a thing more, yet by Canto 6, he is willing to activate his own EGO without having been told to, for the sake of the people he has grown to care about. Meursault is a lesson in "just because someone seems cold and aloof, does not mean they do not or are not capable of care."

Hong Lu's Canto is coming up in just a short while (it's in sight!) but he's honestly currently closer to having comparisons to Daniel, or rather, Chesed. Both of them are rich Nest boys. Chesed states that as Daniel he could have made it into even A Corp - that is, the Head - and he chose not to. They both have the same breezy yet confident way of talking (which, funnily enough, Dante and Ayin's ways of talking about Chesed and Hong Lu are very similar), too, and a similar trauma-based "I am past the point of caring" mindset, which others have talked about on Hong Lu's side at length on better than I could.

Heathcliff is someone who follows one woman, believes in her, and is the one who inherits her will after she dies. He also finds out that the one who he's been following and placing his faith in has turned her home into a laboratory, her body (dead or alive) is the power source, and she has looked into a mirror showing her countless alternate worlds full of might-have-beens that drove her mad from the revelation. He distorts from the grief and despair, is called back, and fights his evil alternate self at least three times before finally ending it all, with her deleting herself. He then re-engraves his weapon to state "REMEMBER" and in a later Intervallo is seen having taken on the role of assistant researcher.

....More than half of that could have been talking about Ayin. It is also within Heathcliff's "area" (T-Corp, more than just his canto) that we have the monolith introduced (which induces Dante to half-distort), as well as Heathcliff's own distortion (which causes distorted Lobotomy Corporation logos and Carmen's face to flash on the screen). This feels... relevant!

[Image: flickering, slightly distorted image of Carmen lying on the grassy field from after having played through 6-34. Her eyes are open and bright red. It is - other than the flickering - exactly the same as we see on LC1 Day 48.]

Also relevant is that so much of Heathcliff's entire Canto is about the consequences of miscommunication (much like many parts of the original Wuthering Heights). Because in Lobotomy Corporation, a lot of the Sephirot's problems were caused by the same thing. Either Ayin or them refusing or being unable to communicate effectively.

Ishmael's references are beautiful, in that hers is the second Canto where Dante is really getting into their stride as the Manager. I find hers to be so freaking important, because during SEA Dante is faced with Ishmael's mood regarding them heading into the Great Lake tearing the group apart, and when she snaps and tells them that she'll obey their orders but no more and no less from here on, Dante is... well.

The entire situation surrounding Ishmael's Canto goes deep into, first: how easy it must have been for someone like Ayin to fall into the rut of not wanting to say anything for fear of saying the wrong thing, because Dante almost falls into that, starting from SEA and even leading right up into Canto 5.

[Thanks to Kitty for the doc letting me just find stuff rather than go through the cutscenes through theatre!]

This is something that Dante is having to struggle with and overcome through the duration of the Canto - what does it mean when you want to fit in, but you feel that no one around you feels the same way? What to do when your best efforts to try and help only make things worse? Do you give up and stay silent, out of fear, or do you keep pushing forward while following your heart, hoping that this next time, you can help even at least somewhat?

And then there's how Ishmael during the entire Canto, but especially during the dungeon, has to overcome how she has been following in her Captain's footsteps to the point that she can't even see her own path anymore. It's only by listening to Dante (who refuses to sacrifice themself, and who also refuses to ever give up on her) that she's able to change her target at the last moment.

Canto 5 ends with Ishmael having recognised that she had become the mermaid to Ahab's Pallid Whale, following forever in her footsteps... until Dante reminded her of how she could choose her own path. Much like how Ayin and the crew of the Outskirts Lab followed Carmen's wishes and dreams no matter how awful her ideas to follow through on it were, with Ayin only able to break out at the very last moments, the last few days, where he recognised where she was going wrong.

Rodya is one of the two who didn't really get a full deep dive, and yet (especially with TKT) we do get a lot to read into of her. She wanted to be the cause of change, and yet in spite of joining a group that advocated for people having better lives, they... mostly sat in their chairs and talked about stuff rather than doing it, and seeing Sonya's people seeming to be doing things when she left a long time ago is part of why she's not doing so hot right now.

From my notes: Just like Rodion, Ayin tried to do something to change the world around him, only to (effectively) make things worse in the short term. Rodion killed the landlady, who had ties to the Middle; Ayin took over a wing, but that led to the collapse of both L Corps, the stigma of all L Corp citizens, and many people suffering.

Sinclair was originally just a normal Nest kid with well-to-do parents, who was led astray by a female classmate. He would be led further into the palm of her hand until she causes tragedy to strike, with the people Kromer had led into his home with his key having slaughtered his family. When he goes back to his home with the Sinners, he is finally able to face his past and his trauma, and become a more courageous person. Sinclair also has a male friend who tries to get him to follow the correct path back in school.

Personally, I find this easy to see as being the Carmen-Ayin-Benjamin effect, and we'll get back to that later.

Outis.... has not yet got her Canto, and given her military history it is almost certain that she was a participant in the Smoke War. In which case she would have known Ayin and/or Benjamin, no matter whether it's over the battlefield or in person. Given that she looks very similar to a character who should have known them, the latter seems more likely. She's also said some sus things on that.

I'm sure we'll get to know more about her as we go, but there was a moment during Canto 7 recently, where she's having a knee-jerk reaction to finding out that Don Quixote (read: Sancho) is actually a bloodfiend, and a lot of her objections are due to how many people Don Quixote must have killed. Partway through, it becomes clear that We Aren't Talking About Don Quixote Anymore, and Dante makes it clear that their support isn't just for one of them:

Outis "You don't know how many people she's killed by existing. will you embrace her still?" Dante <I will.>

Like, we don't know much about her for fact other than this so far (and she's started changing because of it since) but I feel like that assurance is going to come up for more than just Don Quixote and Outis. If nothing else, it's an extension of how in both Lobotomy Corporation and Library of Ruina, countless people are sacrificed in the name of the "greater good" - or one person's quest for revenge, or their own desire - and each one of the people who spearheaded those projects (Ayin, Hokma, Roland, Angela) could have this same question turned on them only too easily.

Gregor is an outcast, created by G-Corp, who has Sephirot symbols on the fabric covering his arm, and who participated in the Smoke War (on the side of the old L-Corp, against Ayin and Hokma). While serving in the war, he was the figurehead of his group; however, he was just as much a pawn of the military as any of them... much like how Ayin sure seems to be the one in charge and someone for those he's in charge of to look up to... only for it to turn out that he's just as trapped as the other Sephirot, and he had just as many issues as those in the Outskirts lab.

So. The Sinners as a group are cohesively tied to extrapolating on plot points and the characterisation of either Ayin or someone Ayin knew on a very personal level. The other point being "they may even have known him during the Smoke War, give or take."

The Ayin Narrative continues. It isn't about "his story is over," it's about "how do we further explain who he was, and why he did the things that he did." Even if you don't believe that Dante themself is simply amnesiac clock-headed Ayin, these are immutable facts.

Which then takes us on to the other side of the Cantos: the Bad Guys. The Villains. Sometimes even just The Opposition, as there isn't always a clear Good vs. Evil here, and this time I'll be going more in chronological order.

Hermann is Gregor's mother, and she was the one who was the head scientist of the old G Corp, and the head of the current antagonist group in Limbus to the Sinners. She's the one who "trained" Gregor -and when he encounters her in his Fathoms of Ego, it's by way of the manicured hands coming down to crush them, which they cannot escape, to the point that Gregor realises that the only way out is to let her catch them. It's more metaphorical than we'd usually get, but - he truly does exist in the palm of her hand, wouldn't you say?

Rodya's enemy is, really, the Syndicates of the Backstreets, and the system itself - she tries to fight against it, only for it to come back and crush everything around her, leaving her alive. Which is much like the way the Head came down on the Outskirts lab, isn't it? That said,

Sonya, who she had fallen in with, also wanted to change the world... although unlike Carmen, he never (at least, while she knew him) was able to move forward with any of his plans, meaning that people continued to get crushed under the system while he waited for the right time. What is like Carmen, is that he wanted all of the good effects of activism without dirtying his hands himself (Sonya can't argue that he simply let Rodya do her thing, and Carmen outright left the hard work to Ayin when she knew she wouldn't have the heart to go through with it).

Kromer is a religious fanatic who sees humanity as at its purest form when there is only flesh, no prosthetics whatsoever, and will use absolute violence against "heretics." She also isolated Sinclair from the one who would have been a good influence on him, and she used whistling to call to him. She was very attached to Sinclair, and wanted to make him into her own image - as seen in the mirror Identity "The One Who Shall Grip - Sinclair."

Kromer is basically an entire reference to how in Library of Ruina, Roland calls Carmen a "cult leader." Both Kromer and Carmen wanted something that is an unrealistic standard (humans into monsters/humans without any accommodations for disabilities etc) and both have a younger male character under their proverbial wing, in the palm of her hand.

The "bad guys" in Canto IV are not so much a single person or "evil organisation" as they are the Wing and the System of T-Corp, the breaking down of the League of Nine Litterateurs, and then the former members of his friend group coming back, yet this time in opposition to him... just as the Outskirts lab would fold in on itself, before being sold out to the Head, and the Sephirot holding everything against Ayin while he was managing the abnormalities from his office in a time loop.

Ahab of Canto VI is, like with many others, the woman who is so charismatic that she pulls an entire group of people along with her, and although she tells herself that she's doing this for them, and that they're dying in "glory" they... really aren't, and she's driving them off the edge, pulling them along in fanaticism. Ishmael refers to Ahab as her own personal Pallid Whale, recreating Ishmael in her image of endless hatred and violence.

Although Carmen isn't as outright violent as Ahab, she's more... indirectly violent. She knows that the experiments are going to cause deaths, and she sets them up regardless. She draws people in, and stops Ayin from being able to discourage them if they aren't ready. She is the pallid whale to Ayin's mermaid, following after her and becoming just like her. It's only due to the Seed of Light project having his fingerprints at the end that saves him from basically becoming "Adam."

Cathy... is someone who has Carmen's "weak heart," who "dies" because she gains the notion that something has gone wrong (Enoch's death/Heathcliff's absence and misery), who orchestrates events behind the scenes by being the emotion-powered generator of the lab and entire building that she'd altered. Sound familiar? We even have similar imagery there, given we have "Cathy in the coffin" and "Carmen [as] the Bucket."

Canto VII has Don Quixote (no, not that one) and Bari, who aren't even villains, and the bloodfiends, who... okay, kinda are, but the bloodfiends are acting on instinct, having been starved for far too long. Bari is someone who encourages a person who suffers from ennui to have something to look forward to, day after day. She tells him that he suffers from a "sickness of loneliness." He then takes what she's said, and creates an unrealistic dream from it, without thinking of the consequences and without thinking of how to make it a realistic reality.

In other words, Don Quixote (no, still not that one) has a grand dream that causes far more pain than he ever intended, to the point that in both the main world we play in and the mirror universes, the bloodfiends of La Manchaland rise up against him, having been suffering because of good intentions. Just like how Carmen had a grand dream, and because of it caused both her immediate team and then after them untold numbers of people to suffer, and to die for it.

Don Quixote sent Sancho (yes, that one) out on a journey to prove to him that his hypothesis (that bloodfiends and humans can coexist, that Sancho can have a grand adventure and come back better for it) only for Sancho to utterly break as a result, since she couldn't hold all of that on her shoulders on her own... much like after Carmen told Ayin to carry on her work after she was gone, Ayin also utterly broke.

So - not only do we get to see all of these different refractions of Ayin, but we also get to see each one of them faced with a refraction of Carmen. A possibility, a different circumstance,

The end result is that Ayin and Carmen are the threads that keep the Project Moon stories tied together. It is outright impossible to remove either of them from the narrative in any way that matters.

And going back to the title of the entire post:

This from Walpurgisnacht. The dev team and scenario/scriptwriters are well aware of what they're doing. Telling the stories of people who are fucked up human beings who are capable of falling face-flat on the mud and then getting up no matter how long it takes, and breaking their cycles no matter if it's even at the very last moment they could.

And the story of a Manager who keeps on refusing to let their people walk the wrong path.

In the really short:

"So, it's all Ayin and Carmen?" "Always has been."

#project moon #lobotomy corporation #library of ruina #limbus company #prjmn stuff #ayin lobcorp #carmen lobcorp #this took me... way too long

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