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ideas-on-paper · 8 months

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The mystery of P's skin

If there's one thing the entire Lies of P community can agree upon, it's probably that Pinocchio looks very, very handsome. Many people - including me - were enamored by his looks from the moment they first saw him in the trailers, by his soft locks, sweet freckles and big blue eyes.

However, even early on, I couldn't help but feel like there was something... odd about his features - more specifically, his skin. For a puppet whose outer shell usually consists of porcelain, wood, or some other artificial material, it looked almost too realistic.

Of course, it could just be very realistic looking faux skin (which, given Lies of P's 19th-century technology, would be kind of impressive), but after some careful observations, I get the feeling there actually might be more to it. And given some of the things I learned in my research about real-life automata, there might be a grisly, sinister secret behind P's innocent face.

[Massive spoilers for Lies of P]

[CW: skinning, violence to children]

The Lies of P character cards

The first time I noticed there was something strange about P's skin was when I was looking at the character cards Neowiz released back in 2022, as promotional material for Gamescom.

These cards feature high-resolution renders of the main characters, showing a lot of structural details of clothing, hair, and skin.

As for P's render, it looks like this:

One thing that confused me from the start was just how perfectly normal his skin looks. Most of the other puppets have porcelain skin, which creates a very distinct reflection when light falls onto it, as we can see with Polendina:

For P, however, we see no such effect, implying that his outer shell is not made of porcelain. Also, seeing how he occasionally squints his eyes on the character screen and how his skin squishes and stretches as a result, I think it most definitely consists of something else - because if I know one thing, it's that porcelain does not physically behave that way.

Instead, a lot of people (particularly fanfic writers) have come up with the headcanon that P has really realistic-looking faux skin. However, if that were the case, I would find it really puzzling just how many small impurities there are on his face. You would probably expect synthetically manufactured skin to look very smooth and clean, but in case of P, if you pay close attention, you can spot tiny irregularities giving the impression of skin pores, and even a bump above his left eye.

In comparison, P's skin actually looks surprisingly similar to that of the human characters from the game. For reference, here are the portraits of Sophia, Venigni and Eugénie:

See what I mean? There is virtually no distinction between the structure of P's skin and that of the human characters (to be fair, Eugénie's even looks a lot cleaner). Adding to this, these close-ups of P's face during the ending cutscene make it apparent that these small blemishes certainly, most definitely are skin pores.

Considering all of this, I've come up with a somewhat eccentric theory - that P's skin is neither made from porcelain nor some other kind of faux material, but real, actual skin.

Automata with animal skin and Vaucanson's "Flute Player"

Some of you may wonder: "But P is a puppet! How could he possibly have real, human skin?"

Well... this is where the disturbing part begins.

First off, we have to take a quick dive into the history of automata, the real-life clockwork machines providing the basis of Lies of P's lore. Originally, clockwork mechanisms took up an enormous amount of space, being used for huge clock towers in cities and large-scale moving sculptures. Over the centuries, the mechanical components became smaller, enabling clockmakers and artisans to produce more intricate crafts, including miniature reproductions of people and animals.

Clocks and music boxes featuring birds with real feathers were extremely popular, but there were also other automata coated with real animal skin: As early as the 17th century, we have a drumming bear with actual bear fur (located in the Mathematisch-Physikalischer Salon, Dresden) and a pair of lion table clocks (located in Skokloster Castle, Sweden) coated in the hide of lambs. From the 19th century, we know of a toy mouse by Gustave Vichy as well as a toy rabbit by Nicolas Théroude, both covered in real animal fur. In addition, there were various 19th-century dolls with leather bodies, and the company Jérôme Thibouville-Lamy even produced an miniature ensemble of monkey musicians with heads covered in soft leather, which could could move their lips to show their teeth.

However, we don't have any accounts that skin was used for human automata - except for one extraordinary case from the 18th century.

In 1738, the French inventor Jacques de Vaucanson presented an automaton called "The Flute Player". It was the size of a real-life human, and in contrast to all other automata of the time, it didn't use some kind of sound box to produce its music, but actual air flow. The inner mechanism consisted of a system of nine bellows, divided into sets of three, which were each controlled by a weight to regulate air pressure. Each set was attached to a pipe, three in total, which all joined up into a single one, similar to a trachea. This singular pipe continued up the throat, widening at the top to form the mouth cavity where the air flowed out. To correctly play the flute, the automaton was equipped with lips which could not only open and close, but also move back and forward to cover the holes. To better control the air flow and create pauses between notes, the automaton even possessed a movable, silver tongue.

Despite this virtually perfect imitation of the action of flute playing, Vaucanson had to realize that the automaton's metal fingers weren't pliable enough to cover the holes of the instrument correctly - so, for the automaton to be able to execute its task, Vaucanson had to glove the hands in real, actual skin.

It's speculated it was human skin, although I couldn't find any source decisively confirming this. Either way, despite Vaucanson being a quite controversial figure among his contemporaries, he was a fascinating personality: He was one of the first to construct automata that were not meant to serve as mere toys, but which could do labor, being credited with the invention of what we today would call household androids back in 1727(!), and chances are he was neurodivergent as well (coming from my own observations as a neurodivergent person).

However, as much as I'd love to write an entire essay about Vaucanson right now, let's get back to our actual topic.

The procedure

To put it bluntly, what I think actually happened is this:

Geppetto took the skin of a dead boy, treated it in some way so it wouldn't rot, and then draped the skin over a wooden puppet frame.

I think from a moral standpoint, Geppetto would definitely be able to do this - however, it would require him to have a good deal of experience with human anatomy. As someone who builds humanoid puppets, I think he would at least have a theoretical understanding of it, but still, he's an engineer, not a doctor.

There is, however, one group with excellent medical knowledge who certainly wouldn't shy away from dissecting a human being: the Alchemists. Although Geppetto's dislike of the Alchemists is well known, he himself admitted that "in desperate times, I broke my own rule" after the disaster at the Grand Exhibition, and I assume Carlo's resurrection would be more than good a reason for that as well. Basically, my suspicion is that Geppetto had help from the Alchemists - maybe even from Simon Manus himself. If this was the case, I imagine Simon probably demanded some kind of favor in return - perhaps Geppetto and Simon struck a deal, with the Alchemists giving Geppetto free rein to execute his little experiment with the Puppet Frenzy, while he agreed not to interfere with their own. This would support the Mad Donkey's statement that Geppetto and the Alchemists were "scheming together". (Also, if they were actually working together, I think things already started with the Nameless Puppet, Geppetto's first attempt at resurrecting Carlo. In the cutscene before the fight against the Nameless Puppet, we can see that Geppetto's left hand has been fitted with implants, having the same bluish complexion that is typical of people who have been "enhanced" by the Alchemists.) However, I don't think Geppetto ever really trusted the Alchemists, so he probably planned to betray them at some point - at the same time, I think Simon knew Geppetto was deceiving him (reading thoughts is such an op skill), so he didn't fully rely on him either.

Regardless whether Geppetto had assistance or not, completely skinning a human without damaging the skin requires an immense amount of care. Looking at P's skin (or at least what we can see of it), there are no visible seams anywhere, which would mean Geppetto did his best to keep it intact, probably including the hair as well. (As we all know, P's hair looks very soft and natural, and you can't see any outlines where it was glued on; therefore, I believe it was left rooted in the skin.) Nevertheless, if you want to skin a body, you have to make a cut somewhere. One possible option would be the hole in P's chest (where the P-Organ is inserted), as there would later be an opening anyway; also, given that the Legion Arm would later replace the left one, there would naturally have to be a cut at the left upper arm. However, both of these openings would most likely be too small to completely remove the skin. Due to this, my suspicion is that Geppetto made a third, larger cut down P's back. It would be big enough to take the complete skin off, and it would also be convenient if P had something like a cam storage in his back, similar to the Jaquet-Droz automata. (This has been a headcanon of mine for a long time, since these cam discs act as an analogue storage for a clockwork automaton's movements, which are engraved into the edge. Given that P's combat moves are quite complex, he'd need a lot of space for those; btw, my theory is that the amulets from the game are actually interchangeable cams, because they have "information and memories that are useful for movement" imprinted on them.) I would assume both the openings at the front and at the back are usually covered with skin, with a small seam being visible where the original cut was. Whenever Geppetto needs to do maintenance, the skin would be peeled back to give him free access.

As for the rest of the process, I suppose it would be kind of similar to taxidermy. As it happens, the Victorian era (which is around the same time period the game is set in) was actually the golden age of taxidermy, when mounted animals started to become more lifelike - there was even a trend among pet owners to let their deceased pets be stuffed, as a way to "resurrect" them. (Just why do I always manage to stumble upon the most cursed parallels?) Once the skin had been taken off, any remains of fat and muscle tissue would be removed, after which it would be either tanned or treated with preserving chemicals. Following this, the skin would be mounted on a mannequin, in P's case probably a standard puppet frame made from wood and metal. Of course, you need to take precise measurements of the original body beforehand, and since this is about his darling son, I imagine Geppetto would put extra care into the modeling. At the end, all you'd have to do is add glass eyes - and well, there you have it: a perfect, biomechanical imitation of a human being.

However, we do know there were some unexpected changes in P, even physical ones like his hair growing. Presuming that he indeed does have real skin, I wonder if this may be due to the Ergo "recognizing" the organic material in some way, causing these lifelike reactions. I could imagine a puppet with human skin is quite unprecedented, so this would likely be a first time occurrence - in that case, it might potentially give a whole new meaning to Sophia's statement that P is a "special puppet". (I could go into even more detail regarding my theories about Ergo and P's transformation into "another kind of human" here, but frankly, I think this topic deserves its own post.)

I think P is far from Geppetto's first attempt, however: We do know from the description of the Nameless Puppet's Ergo that the Nameless Puppet (which presumably is a Frankenstein version of Carlo) was the first to be equipped with a P-Organ, but after it turned out to be unstable, it was left abandoned and locked away. In that sense, I imagine Romeo was something like a "field test" - I don't think turning Romeo into a puppet was something Geppetto planned from the start, but when he came and asked him, he presented Geppetto with too good of an opportunity to pass up. When the transferring of Romeo into his puppet body, all memories and personality intact, turned out to be a success, Geppetto decided to take the next step with P. I assume he designed multiple versions of P until he was satisfied, which might mean that the broken puppet in the swamp (which also seems to possess a P-Organ and isn't bound to the Grand Covenant) is actually one of P's predecessors.

Still, as interesting and disturbing all of these speculations are, there is one question that remains: If P really does possess real human skin, who was the original owner of it?

The origin of P's skin

The first, most logical assumption would probably be that Geppetto used the skin of Carlo. Back in 2022, when everyone hypothesized Geppetto had a son but no one could confirm it, I also assumed he took the skin of his deceased son.

Now that we know the game's story though, we have a bit more information. First off, it's heavily implied that the Nameless Puppet is actually a Frankenstein version of Carlo, which would mean that the weird organic-looking parts - specifically the upper body, right arm and face - originally belonged to Carlo's body.

Given that they have the appearance of decaying tissue, it seems like Geppetto did his best to save as much of Carlo's body at first, but ultimately was unsuccessful in bringing him back to life. Considering this, it seems quite unlikely that Geppetto would remove the skin from his son's body if he intended to preserve it. Also, you can actually see a nipple on the right side of the chest, which probably wouldn't be there if the skin was taken off.

There's another thing that doesn't quite fit into this: When looking at Carlo's portrait in the game, he looks strikingly similar to P at the first glance (so much, in fact, that I was afraid my wild fan theory might turn out to be true after all). However, upon closer inspection, one can make out a few subtle differences in Carlo's and P's appearances: Carlo lacks P's trademark freckles, and instead of Carlo's doe-brown eyes, P possesses light blue ones.

Granted, Carlo could've gotten the freckles later during his life, and the blue eyes might be due to the Ergo's influence (which I also assume to be the reason for Sophia's blue colored hair). However, when Carlo gets revived during the Real Boy ending, the differences are still there, as his outward appearance is not identical to P's:

If the Arm of God has the ability to restore things to their original state (which is how I interpreted it), that would mean Carlo looked different from P at the point of his death, meaning that P's skin can't be Carlo's.

Of course, if Geppetto did use human skin for P, but not Carlo's, that would make things quite complicated, as it would be extremely difficult to find someone who looks almost exactly like Carlo. Nevertheless, there's one fan theory I'd still like to talk about: Someone on Reddit actually proposed that Carlo might have had a twin brother once, whose soul got transferred into the lamp by Sophia.

I actually had a similar theory about Gemini before the game came out, although I never shared it publicly because I couldn't find any support for it other than Gemini's name and his death in the original book. Basically, the gist of it was that Gemini is the soul of Geppetto's dead son, which got separated from its body and somehow encased in the lamp.

Although this assumption is definitely outdated since we now know that Carlo is Geppetto's son, we do have many left-over questions about Gemini. (Some character development for Gemini is actually one of the things at the top of my wish list for the DLC; as far as characters go, I felt like Gemini was the game's single weak point, and I wish they would've utilized him more.) In fact, it almost seems like there was originally going to be an amnesia subplot for Gemini, judging by some of his comments. For example, we've got the remark about the fairy tale book at the Hotel, but despite remembering there was a person who particularly adored it, Gemini can't recall who it was. Then, we have this very interesting comment down at the Relic of Trismegistus where Gemini remembers that "someone was dragged away from here", but again can't tell precisely who.

Unfortunately, the game never builds upon these comments, and they're pretty much left standing as they are. In fact, I can't help the impression that this might be part of a cut storyline - even Sophia says that Gemini is "unique" and "more than just a guide", and Gemini himself states that he's a friend of Sophia's, and that she "woke him up the last time she was there" - although, once again, he doesn't remember the exact circumstances.

Now, I've noticed that "P is Carlo's twin brother" AUs are quite popular in the fandom, but I'd like to mention there's nothing from the game that hints at Carlo having a twin brother (at least, to my knowledge). Still, it is quite an interesting theory - if the assumption that it was Carlo who particularly loved the fairy tale about the wooden puppet is true (based on Geppetto's comment during the fight with the Nameless Puppet that he should've taken more time to read him from his "favorite book"), it would explain why Gemini, his former twin brother, knows about it. However, if it really was Sophia who transferred Gemini's soul into the lamp, it prompts the question of the exact circumstances of his death. Given that Geppetto was willing to murder an entire city just for Carlo's revival, I wouldn't put it past him to sacrifice his other, perhaps not-so-favorite son for his endeavor - perhaps that's why P looks very similar, but not identical to Carlo.

Still, it's probably best if you take all of this with a grain of salt, as even compared to my original theory that P might have human skin, it's pretty exotic at best. Also, given that Gemini is directly mentioned in a memory scene that presumably takes place at the Monad Charity House makes this even more questionable. At least, I think it's highly unlikely that Gemini is Carlo's twin brother if he accompanied the mysterious Stalker - on the other hand, it seems a bit strange that Gemini would know about Carlo's favorite book if they only knew each other what appears to be such a short amount of time, especially when their relationship didn't start on good terms. Again, nothing is for certain, as we don't see Gemini physically appear in the memory scene - the only thing that seems to be confirmed is that Gemini also was a human once (at least I can't imagine what a cricket lamp is supposed to do against two unruly school boys).

Other possible alternatives

So, let's say Geppetto didn't actually use human skin for Pinocchio (which, to be honest, would be a relief) - why would he decide to make P look slightly different from Carlo?

One reason I can think of is that he designed P as a kind of "idealized" version of Carlo - judging by his comment before the final battle, Geppetto seems to have been discontent with Carlo's "mischievous" behavior, so maybe he used that opportunity to make him the "picture-perfect son" he always wanted.

Then again, given how rarely Geppetto saw him, I wonder if he even knew what Carlo looked like at the point of his graduation. When he retrieved his dead body, perhaps Carlo's face was disfigured beyond recognition, and all Geppetto had to work with were some old pictures/photos and his own memory.

If that was the case, it would make sense that P's outer appearance slightly differs from Carlo. Still, Geppetto was confident his plan would work out, that the resemblance would be enough to trigger Carlo's memories - but for whatever reason, it didn't, be that because of physical discrepancies or because Carlo was already gone.

Conclusion

In the end, no matter what Geppetto did, the fact remains that it was an insult - not only to Carlo, but also to P.

From the moment he first opened his eyes, P was forced to live in another person's skin (perhaps even literally), with no other choice being offered to him. His entire existence is essentially a lie, being expected to fill the role of someone he just isn't. Moreover, in trying to revive Carlo, what Geppetto actually did was soiling his memory - the mere notion that a living person can be replaced is beyond disrespectful, and to let innocents die in pursuit of this madness is an atrocity I have no words for. Even if Geppetto did all of this out of regret for having neglected Carlo and not spending more time with him, let me spell out one thing Nick Carraway already said in The Great Gatsby: You can't repeat the past.

However, what was given to you at birth is not everything you have to be, and what others expect from you is not what you have to become. In my own way, I love Pinocchio very dearly, but that love extends far beyond pretty looks. I relate to his struggle, and I would do anything to aid him in becoming his own person. Whatever choice he makes for himself, I will support it, and no matter if human or puppet, I'm going to love him just the way he is.

Resources:

Anette Beyer's "Faszinierende Welt der Automaten - Uhren, Puppen, Spielereien" ("Fascinating world of automata - clocks, dolls, playthings")

About Jacques de Vaucanson

On clockwork automata in general

#lies of p #lies of p lore #lore theories #lies of p pinocchio #lies of p carlo #lies of p geppetto #automaton #I feel dirty just writing about this #but I had this fan theory for AGES and finally had to get it off my chest #then again it's just Geppetto being an obsessive creep so nothing new under the sun

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