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melliae · 1 month

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Refraction Railway Line #2 Abnormalities Part 1 (Analysis)

The Möbius strip. The famous 2D manifold that has only one side, meaning that no matter how much you walk, you will always end up where you started. There’s no other path in front of you beyond that which endlessly repeats itself, forever.

Without escape, without release…

“Be still. Just be still, and do nothing more than breathe. For now, that’s how you must live. You cannot fly.” - ??? (Sang Yi), Chapter 48: Bud, Canto IV.

But only to the extent you allow yourself to be trapped in such a cycle, too afraid of soaring away and getting your wings hurt again.

“This is an adequate place to get off this train without getting lost. The refraction rate is already off the charts. For the first time since we embarked on this journey… I see a signpost. Maybe, this is where this railway line ends. Or maybe...this is where we meet our ends.” - Dante, Terminus: The Garden, Refraction Railway Line 2.

Nobody knows what lies beyond the known, familiar and soothing cycle, if there’s a dead end or true freedom. Nonetheless, you must walk towards it, for your and…

For Everyone’s Sake

“Are the talismans filling the room for a wish? Does this wooden doll wish for anything?” - Abnormality Encounter.

An effigy is, in essence, a sculptural representation of someone or something made with the express purpose of acquiring the dignity of that person/thing: whatever happens to the effigy, it will happen to its “model”. Yet one has to wonder what a stiff, featureless wooden doll represents? What kind of person can even begin to bear that quantity of curses on them?

No one.

No human can hope to be strong and resilient enough to carry all that hatred, despair, and sadness. Only a copy of one can do such a thing, especially crafted to be a faceless caricature that will never amount to anything more than that—no one.

It will be forever trapped in that room, bearing all the evils of the world because someone has to do it, and what better “person” to do it than the one specifically made to do so? It can’t wish to be anything but the nameless scapegoat of humanity, the star that weeps for everyone.

“When we look up at our sky… all we see is a pinch of muddled light. But here… I can see lone stars looking down at us. Since the city I can see from here is filled with cries of pain and despair… I’d rather… gaze down at people from the loneliness up in the sky and shed tears with them…” - Unknown Boy, Blossoming League of Nine Littérateurs, Canto IV.

I implied in my post about the RR3’s Abnormalities that Siltcurrent represents the experiences and memories of Mermaids at some level. Thus, it shouldn’t be surprising that the Tearful Thing, a human monstrosity with a boundless heart that cries for all misfortunes that befall people, can also participate in the creation of an Abnormality.

However, So That No One Will Cry (“STNOWC” from now on) is not only a manifestation of the Tearful Thing’s trauma and wishes; it’s also one for Yi Sang’s past conflict to an extent.

“Those were the kinds of achievements we accomplished in T Corp’s district. Which is why… I became more engrossed in the mirror. Untainted, unadulterated… I wished to immerse myself in the pure exploration of knowledge. So that… I wouldn’t have to take anything from anyone.” - Yi Sang, Blossoming League of Nine Littérateurs, Canto IV.

It isn’t a coincidence that its namesake skill, “So That No One Will Cry”, is Gloom-based: the expression of bottomless despair born from witnessing the evils of the world and those who one has caused. After all, who doesn’t know the bitterness of not wanting to do anything after doing or getting something wrong? The taste of the lies when someone asks you how you are doing? Those countless cases of martyrs for their loved ones? Maybe that’s why its mid-combat Event has Sloth advantage, because it keep things as they are and were, with the burden being too much to bear for the chosen Sinner.

At the end, someone has to cry, to purge all the accumulated pain, and you can't really be bothered with it.

… But as Project Moon does, things aren’t that simple: for some reason, all STNOWC’s remaining skills are Lust-based and give Cursed Talismans on hit. This last effect can be easily attributed to a mere side effect by the Abnormality’s attack or activity in general, as its mid-combat Event and Logs suggest. The Lust affinity, on the other hand, is a bit more tricky, though thankfully I already explained it in my RR4 post: Lust, in its most general form, corresponds to the Sin of love and passion, which is something STNOWC has in spades—an absolutely selfless love that leads it to carry countless curses.

“We start removing every single talisman in the room. The wooden doll paces here and there, uneasy and anxious. We ignore it and continue removing the talismans. As we were almost finished with removing the talismans, the wooden doll stands before the Sinners as though to tell them that enough is enough.” - Abnormality Encounter.

And like a great part of the Sin’s examples in the game, STNOWC is heavily attached to its role as a bearer of pain too, not wanting to abandon it by any means. This situation is repeated somewhat when you choose to remove the Doll’s talismans, despite the final ambiguity presented by Dante at the end. Personally, I think the Abnormality is ultimately afraid of someone else carrying the talismans.

“The wooden doll at the center seemed to be liberated from a binding force. It walked to you, offering an object.” - Abnormality Encounter.

Because even when you give it freedom through choosing to remove the room’s talismans, STNOWC decides to give you a copy of itself, as if to say that you should still use it to carry curses, brushing aside your sacrifice.

Such stubborn behavior makes the Sin advantages of the previous choice pretty ironic: you either don’t want the Doll to be trapped by your sins out of a slothful refusal to change, or, more importantly, because you hate allowing someone to bear all that suffering alone. And by that matter, the Abnormality’s weakness to Wrath is explained by that last part, because just as well have felt on some level the bitterness of hiding things from others, the frustration that comes from a loved one doing the same surely is familiar; but no matter how much you worry about them, if that loved one keeps ignoring or rejecting any and all help, only a wrathful worry can truly “save” them, and not more (misdirected) love (which in turn explains its resistance to Lust).

At any rate, the main idea should be obvious at this point, about how the answer to suffering isn’t to make someone carry it in complete solitude; that’s nothing but wishful and magical thinking. To stop the pain you must share it, just like the Talismans in both the battle and with Red Sheet Sinclair, lest everything becomes too heavy for anyone to bear.

Only when everyone shares their curses, truly no one will have to cry.

Refusing to Change

“Did the Steam Transport Machine return to when it was first produced? Leaving behind everything it’s gone through. The older the machine gets, the more of itself it will have to reconstruct.” - Mid-Combat Event.

By definition, meaning must exist in our lives. That’s not an idea anyone can argue against, because I’m not even speaking about any sort of metaphysical reality, let alone some kind of deeper, transcendental truth. It’s all a simple psychological fact: the drive to find (or construct, or whatever word you fancy) is an essential fundament of our psyche, of who we are as a species. We are literally programmed to see them anywhere, anytime, and we can’t function without one.

However, just as the outside world keeps on changing, so does our inner reality, and with it what we hold (or held) as true fades away. Thus, when confronted with the reality of our meaning—our life—disappearing to never return, despair sets in and we wonder what we will do. The answer, as most things in life, depends on the individual, but Steam Transport Machine surely shows what a sizable amount of people did and do.

“Hohmm… ‘twasn’t that it released tiny machines to repair itself; it was as though it un—did the damages that had already transpired.” - Don Quixote, Abnormality’s Observation Log #1.

To regress to the past. To act as if things haven't changed, or to try to restore them to what they were. That’s what the Accumulated Past mechanic is all about, being reflective of the work the Machine does and thus the turns the battle is taking, with a higher count indicating an increase in the use and degradation of its body; RR2 follows the same principle, though it was tied to the overall “time” (i.e., turns) the Sinners took.

Now, since the “past” is “accumulated”, asking where it’s stored is a natural question, and the Logs, the MD Encounter and the mid-combat Event give an obvious answer: Steam Machine’s past is 100% literally gathered in the nixie tubes (incorrectly called “vacuum tube” by Don) in its body. In fact, reducing the number shown by the tubes allows the Abnormality to return to a previous, less damaged state, as seen in its “Returning Past” passive. You can compare it to save scumming in a way.

Accumulated Past is so important for Steam Machine that it literally affects every other part of its kit, including its Poise or, as stated by Don in the Observation Logs, steam generation… or it should in theory.

While Don seems to be pretty sure about the relationship, there’s no gameplay element that reflects such a relation. The closest thing to it are how some of its skills do more damage based on the Machine’s Accumulated Past, and its RR2 exclusive passive, “Overlapping Past”, which grants it 1 Attack Power Up for every 80 Accumulated Past. It’s possible to make the connection between “more steam means more skills used, and more skills used means more turns”, but I don’t think the Logs referred to that…

At any rate, “Overlapping Past” is a curious name, because it implies that Steam Machine is somehow overlapping (duh) its past states within its current one to achieve greater strength in every attack. Something equally interesting happens with its other passive, “Metronome”, named for the instrument used to set a regular tempo by musicians and dancers to help maintain the rhythm in their work, which means the Steam Machine’s Accumulated Past helps it to set the “speed” of the fight, explaining the defenses and attack modifiers acquired through the tube’s numbers.

All of that clearly shows the Accumulated Past is not some sort of abstraction or symbol for something else; it’s an essential part of the Abnormality. Its past is a tangible reality to which it can not only return, but also clearly manifest in the present, and that ultimately controls it. In fact, one may say that the past is the thing that makes up Steam Machine’s own existence, as shown with the story presented through its skill set.

Beginning with the two “oldest” skills as indicated by their names, “853” and “5384”, these are Sloth-based and thus indicate the mindset the Machine had “back there”: a complete lack of zeal for its “work”, mindlessly carrying luggage without any deeper consideration about its existence. Such a state is as soulless and robotic as you get… or maybe not. Maybe that is its soul, its entire existence from which its very own sense of self and thus pride grew as defenses against its meaninglessness, as shown with the Pride skills, “6463” and “6753”.

“A purposeless machine is bound to lose the meaning of its existence, even if it is functional.” - Abnormality Encounter

But it doesn’t matter how many swords are used to defend one’s ego, everything inevitably has to change, especially within Steam Machine’s absurd lifespan. Thus, when confronted with that truth, what can it do besides raging against the world, as “6475384” demonstrates? It’s unknown if it was betrayed, abandoned or something along those lines, but its hatred is a real and dangerous thing; we all know the horrifying things people and even us can do in order to make our existences feel meaningful (again).

And finally, at the end lies “974569A”, the only possible destination a being that refuses to change can arrive at: envy for all those who can move beyond a monotonous existence, finding meaning within their selves that change with every step of their journeys. For the first time, the Machine finds itself broken in a way its ability can’t erase, for it has gone through an untold quantity of time trying to hold onto the only thing it has through reliving its past, all the while ignoring that single, insulting fact.

This understanding is reflected in its Sin resistances too, especially to Sloth since it’s touched upon when you choose “order it to do nothing” during its Encounter: because it was made with the purpose of carrying things and do work in general, Steam Machine will simply blow up when confronted against a situation in which it can’t do anything, unable to fulfill its only purpose. That’s to say, the Machine won’t give up on its meaning and core essence by any means, despite its own affinity for inertia and refusal to change, which in turn explains its resistance to both Pride and Gloom—it’s too stubborn and bitter to question its ways, let alone be distracted by the despair of losing its meaning.

Steam Machine will keep doing the same, over and over again, for all eternity. And you, the Player, are the only one who can free it from its self-created cycle.

“It was working ceaselessly. The machine has never stopped working since its pressurized, scalding hot steam turned its first gears. We must break the cycle in which it has long been trapped to continue on our path.” - Dante, Station #2: Servitude, Refraction Railway Line 2.

However, during its Encounter, you are also free to perpetuate it through your own indolence and needs.

“Machines exist for a purpose. You feel like you should give it an order.” - Abnormality Encounter.

That’s the reason behind the Sloth and Gluttony advantages in the “order it to carry luggage” choice, and why Steam Machine kind of “turns off” in case you fail the check: the order lacked a purpose, an actual need behind it. But that leaves the Envy advantage unexplained, because what does a Sinner’s envy has to do with the purpose of an order? The only answer I can come up with is that the advantage reflects a twisted desire to maintain the cycle out of fear the Machine might one day break it, to bring it down along with the chosen Sinner. And considering how susceptible and weak the Abnormality is to Envy, it’s plausible.

But if you, ignoring and tempering your own fears and necessities, decide to help it through destroying the cycle in which it trapped itself, there’s only one thing you must do: to break its nixie tubes. Only there, with its past misplaced and lost, out of the shadow of what happened, Steam Machine can truly begin to live in the present, unbounded by the refusal to let go of its past, creating its own life instead of endlessly repeating all it has done.

Maybe that’s why its mid-combat Event has a Gloom advantage, for it’s hard to suppress that desire to act as if nothing has changed. It’s a path full of despair and anxiety that most people fear. Nonetheless, you must walk towards the future and live in the now, because when you take the first, second, third step forward, you will realize it.

Changing isn’t as painful as you think it is.

Note: For those who still haven’t noticed it, all of the enemy debuffs during RR2 are inspired by the non-history Abnos + Fairy duo. In Steam Transport Machine’s case, the buff corresponds to “Hardening”, with the icon literally being the nixie tubes.

Umbrellas of Love

“There is no way to know why the fox remained buried under the umbrellas, but perhaps removing them all will inspire it to move to a different spot. The fox gently holds the old and worn umbrella in its mouth and yips at us, as though it did not want us to take it away.” - Abnormality Encounter.

Driftig Fox is an interesting Abnormality, because I believe is the only who has an excerpt of the Lobotomy Corp.’s original documents, and four different iterations of its EGO: Sunshower Yi Sang, Sunshower Outis, Lobotomy EGO Heathcliff, and Lobotomy EGO Dongbaek. It has a lot of material to analyze, to the point I really don’t know where to begin… So I think its overall kit is a good place to start.

Unlike the previous two Abnormalities, the Fox lacks any gimmicky status, making its fight quite straightforward. The closest thing to Talismans and Accumulated Past is its Gloom skill, “Cries Seeking Something”, that normally allows it to summon Old Umbrellas, which in turn have access to a single Gloom skill that inflicts both Rupture and Sinking. In RR2, the end result is the same despite the differences in mechanics.

From this, we can obviously deduce that hopelessness, despair, and the like are the core part of its existence, with even its defense skill, “Waiting”, reducing the Sinners’ SP through pity alone (apparently). That much is obvious, mentioned even by the Logs.

“In particular... it sometimes does nothing and waits, but the attack that comes after was especially powerful. ...Huh. The fox... sometimes cries. Looking at the sky, howling for long... as if it's laying bare some kind of sorrow into the sky.” - Sinclair, Abnormality’s Observation Log #2.

But that’s not all, because, just as the effect of its skill shows, the Fox focuses on its survival too. The RR2 version of the skill demonstrates it better, since it gives it the special status “Protection Umbrellas”, which grants it Protection scaling with the former’s quantity; that’s to say, the Old Umbrellas are meant to shield the Fox from the rain, apparently lodging into its body as answer to its cry. The normal version lacks the mechanic and directly summons the Umbrellas, though the overall meaning is kept the same.

This desperate desire for survival is represented by its two Gluttony skills, “Sorrowful Recoil” and “Sorrowful Torrent”, used only by its umbrella-perforated body: even if they are painful and make contact with others unbearable, causing it to recoil, the Fox “gladly” accepts such mutilations in order to survive. This behavior is reflected perfectly in the excerpt I quoted under the image, from the “take the gathered umbrellas” option, and in a couple of battle mechanics:

Its passive, “Last Struggle”, causes the Abnormality to desperately call for help every turn when it’s on its last legs (less than 15% HP), getting weaker and slower every turn. Naturally, those who answer will do everything they can to protect it (Umbrellas with 30% more HP).

Based on the name and effects, the Umbrellas’ “Scattering Sorrow” skill seems to represent how they try to perforate the Sinners and deflect the rain towards them, despite how tattered they are.

It doesn’t matter if one likes it or not, the Old Umbrellas are the only “shield” the Fox has and knows, and they will try their best to protect it… which makes Sinclair’s conclusion in the Logs much more horrifying.

“I, I see where it's coming from. We have to take away the worn umbrellas on that poor child, and embrace it ourselves. We-” - Sinclair, Abnormality’s Observation Log #3.

At first glance, it sounds perfectly fine and sensible, repeating the information given by the fragment of L Corp.’s document in Dongbaek’s Log. However, we know that Sinclair felt bad for destroying the Fox’s umbrellas (for a reason) thanks to the second log, and that removing them as well would have caused the Fox greater pain, as seen in many parts:

Its “Broken Umbrella” passive grants it 3 Fragile every turn once its umbrella-filled body is broken (during a normal fight; the RR2 version was modified to be harder I believe).

The Umbrellas actively hurt the Fox through applying “Umbrella Splinters” once they are destroyed. This happens with Sunshower Dongbaek too, but through degrading her mind with Sinking instead of applying Rupture to her body.

In the RR2 version, two unique Glooms counters were added to its kit, “Volatile Response” for the body and “Volatile Reaction” for the head. Taking into account their names, the Thorns they grant on use, and the previous mechanics, it’s quite obvious what they represent.

And finally, there’s the “pull out the umbrellas” option in the Encounter

“Those umbrellas seem to be causing it pain. When you pull them out with force, bits of its flesh come off with them. The fox yelped sharply and gave us a glare. Then, it smacked you with the umbrella in its mouth. It seemed to reprimand your attitude of pursuing resolution without forethought.” - Abnormality Encounter.

It’s quite telling that Heathcliff—the one who has the Identity with the Sunshower Lobotomy EGO—was the one that snapped (somewhat literally) Sinclair out of his “panic” state

Don’t misunderstand, though. There's no doubt about how the umbrellas harm and bring pain to the Fox, but living in such a state is much more preferable for it than being in pain and exposed to the rain simultaneously. In fact, this paradoxical, self-destructive drive to survive is also seen in Dongbaek’s kit—with two of her skills aptly named “Self-defense” and “Sink It All”—and Outis’ Sunshower, which, beyond her Gluttony affinity, has an interesting contrast between the Awakening and Corrosion voicelines

“I don't need... any pointless attention!” - Outis (Sunshower), EGO Awakening.

“Don't—leave me this time…” - Outis (Sunshower), EGO Corrosion.

I normally don’t do this, since EGOs are better reserved for a character analysis. But I’m going to do an exception for this version of Sunshower due to how well it translates the Fox’s ambivalence regarding the “affection” given by people: at its best, the Abnormality knows that the people called by its cry will only hurt it, notwithstanding their good intentions; at its worst, it accepts any and all attention without care of the resulting pain, as long as it can take refuge from the rain, however small it is.

At the end, it doesn’t matter how many people come to its help, Drifting Fox will forever remain out in the open, constantly assaulted by the rain as it wanders in dark and damp alleyways, for the umbrellas are too old and worn to be of any help. That’s why it will always be hungry for more, too scared and distrustful of people to not allow itself to be touched and thus satiated, explaining both its affinity and weakness to Gloom and Gluttony.

… But there’s something else regarding the Fox, something that doesn’t fit with its perpetual hunger for a place to rest: why does it keep on crying for help instead of just moving out of the rain? Why does it insist on roaming the darkest, most humiliating places? Those questions were implied in the first quote of this section (again), and then by the two Lobotomy EGO versions.

“Look. See how she is helplessly caught in the falling rain. She must have no intention of avoiding it. She is simply showering herself and all others in the rain…” - Yi Sang, Dogbaek’s Observation Log.

“But… When I'm done, the chill reminds me that I'm alone. I go back to wandering damp, dark alleys… Now I can hardly sleep anywhere else.” - Heathcliff, Lobotomy EGO Uptie Story.

Due to their circumstances in which they are, both Dongbaek and TLA Heathcliff are stubborn individuals trying to bring great changes to the City, with the latter even planning to “go back [somewhere] with pride” after creating a world without technology—to keep enjoying life. Yet, in the following quotes he states that he has no friends left and rejects all sources of possible comfort, sleeping in the cold streets, akin to how Dongbaek lets herself exposed to the rain without care.

What I’m implying here is that the Fox ultimately doesn’t care about stopping its suffering once and for all. Maybe it’s because it doesn’t know better, or because it finds comfort in the pain; there’s no way for us to know. Even so, it keeps on crying out loud for people as it refuses to move on from the circumstances in which it as abandoned, as seen with its RR2 exclusive passive “Vain Heart”, the source of the Protection Umbrella status and that which allows it to summon Old Umbrellas through its defense skill—through Waiting.

This unwillingness to change and simply move on is the last thing that characterizes Drifting Fox, as seen with Lobotomy EGO Heathcliff’s third skill and Sunshower Yi Sang, with their Sloth affinity. Naturally, it’s also reflected on the remaining skills of the Abnormality, all of them being Sloth-based except for the (RR2 exclusive) Gloom skill, “Pleading Cries”, though the name does fit with the Fox’s “vanity”… or better said, its pity-inducing nature.

That’s why all the Sloth skills inflict Sinking, for they are representations of the dangerous notion that one day the Fox is going to receive what it truly wants if it remains on such poor conditions, instead of more unwanted attention. Its last passive, “Ragged Umbrella”, lends the most on such “tactic”, allowing it to inflict more Sinking once the umbrella in its mouth (i.e., its head) is broken and rendered “useless”.

However, nothing really suggests that Drifting Fox is deliberately manipulating people. By definition it can’t due to its fully animalistic nature. If there’s someone to blame, it would be the people that are unable to stand the sight of ugly and miserable things tainting their day, just like when it rains during sunny days. Nevertheless, such events happen, and the solution isn’t simply to lash out against that ugliness without forethought (likely explaining its Wrath resistance), but to simply celebrate it—to share the love during the “wedding of the fox”.

“Its growl recedes. You stroke it once more, and it closes its eyes, pleased. You stroke it once more, and it settles on the ground, comforted. You stroke it once more, and it shrinks to become a statue.” - Abnormality Encounter.

When it finally finds what it wants, the Fox can rest in peace knowing it’s in good hands. That’s the reason behind the Lust advantage of the “pet the fox” option, with the Sloth advantage being its total opposite—utter apathy and indifference for its surroundings and appearance, lacking any judgment or reaction. The Pride advantage is similar to the Lust one, though much more self-centered for obvious reasons; less sensual and warm, but more confident in a way.

Now, beyond trying to comfort it, there’s also another method to confront the Abnormality, shown with the mid-combat Event, where the chosen Sinner is sent to approach the Fox and its Umbrellas. Since it has Gloom advantage, it’s easy to see how the identities who are most familiar with despair and pain are able to reach the epiphany the Fox lacks easier than any other: that its cries and thus the umbrellas are ultimately unneeded. That revelation is so shocking that it even causes the Old Umbrellas to lose 30% of their HP, representing their loss of meaning.

“The umbrellas look like they've been standing there for Wings know how long trying to protect the fox, but it certainly doesn't seem like they're doing a good job at it.” - Mid-Combat Event.

Although, things are a little more complicated than just “waiting for the rain to stop”, since the Fox is already waiting, isn't it? In fact, that mentality is its main problem, and what led Yi Sang to not do anything when Dongrang began to doubt himself.

“Some considered the assemblage to be mere noise… While some considered the commotion to be growth. As for me… I saw it slantwise as always. As heavy rain might pour for days after a spell of clear skies… I saw no meaning in attempting to fathom the caprices of the weather. Yi Sang: I would simply wait for things to calm, looking out for the day’s arrival.” - Rowdy League of Nine Littérateurs, Canto IV.

And we can’t forget K Corp. eagerly “awaiting” for the Tearful Thing to cry, nor the bitter conclusion of Dongrang right before the Fox’s battle, about how there was no need for him to do anything thanks to K Corp.’s ampules.

Waiting for the end of things you can’t change is good and all, but sometimes doing nothing can actively worsen things. So even if you can’t do much, you still must stand up and brace yourself to fight against misery, unless you want it to consume and rust you like it does with the “little world” that surrounds you.

“I ran off and roamed the Backstreets like a thrown away umbrella until they took me in…” - Heathcliff, Lobotomy EGO Uptie Story.

“We know, however, that the umbrellas piercing its body are not there for the rain. For the fox has not once opened them for itself.” - Dante, Station #3: Rainfall, Refraction Railway Line 2.

And naturally, what better way to confront the rain than through sharing an umbrella~?

Devouring Lives

“The fairy's smile stretches into an eerie grin. The strangeness didn't need to be pointed out for everyone to share the same sentiment. Even though we knew we shouldn't trust things by the looks, we still fell for it. We'll have to pay the price for it.” - Abnormality Encounter.

Everyone should know what kind of being are fairies within the British Isles’ folklore by now. It’s one of “curiosities you must know” repeated ad nauseam in every article, video or media that deals with them in any capacity, no matter how bare-bones the actual explanation is. Thus, there’s no need for me to explain in-depth those aspects, especially when you consider all the other fairy-related Abnormalities that Project Moon has created.

So to begin, Faelatern isn’t really that connected to Midsummer Night’s Dream beyond its tricky behavior, despite what the name of its first EGO gift, “Midwinter Nightmare”, may suggest. There’s a complete lack of commentaries regarding the play’s main theme, the fickleness and irony of love (or Lust, in Limbus), which seems to have been replaced by the predatoriness of the “fairy” itself, cunningly acting upon its gluttony instead of… any other goal, really.

However, a parallel with a certain character of the story can still be drawn: Puck, the servant of the fairy king Oberon. This is not solely due to his role as the one who charms and tricks the human characters of the play and queen Titania herself, but also thanks to one of his folkloric sources, the celtic púca/pwca/pooka.

The legends of the púca, as most stories, are varied, but they mostly focus on the fairy’s penchant to trick (mostly drunk) people during the night, shapeshifting into diverse animals to offer them a ride to their homes… just to lead them anywhere but there. Still, there’s a particular version I think is important to the Abnormality, the one that came from “British Goblins: Welsh Folklore, Fairy Mythology, Legends and Traditions” by Wirt Sikes:

“Pwca, or Pooka, is but another name for the Ellylldan, as our Puck is another name for the Will-o’-wisp; but in both cases the shorter term has a more poetic flavour and a wider latitude. [...] This form presents a peasant who is returning home from his work, or from a fair, when he sees a light travelling before him. Looking closer he perceives that it is carried by a dusky little figure, holding a lantern candle at arm’s length over its head. He follows it for several miles, and suddenly finds himself on the brink of a frightful precipice. From far down below there rises to his ears to his ears the sound of a foaming torrent. At the same time the little goblin with the lantern springs across the chasm, alighting on the opposite side; raises the light again high over its head, utters a loud and malicious laugh, blows out its candle and disappears up the opposite hill, leaving the awestruck peasant to get home as best he can.”

As far as I know, the equalization between the púca and the will-o’-wisp isn’t common, but it kinda fits at the end: both entities (commonly) lead astray people that decide to accept their help/follow them. One can even say the play supports this, with Puck claiming that he can appear like “fire” as he leads people through “bogs, bushes, brakes, and briers” during the third act, despite the more well-known domestic nature of the hobgoblin—an aspect that is present at some level in Faelatern’s illusion.

In more than one sense the Abnormality is a distorted mirror of the three fairies: while the púca, the will-o’-wisp and the puck/hobgoblin act during the night, either through helping people or causing (relatively speaking) harmless scares, Faelantern presents itself during the day as a homely and mysterious light that promises rest to people, with its true nature as a voracious abyss lying underneath the “fairy fire”.

If the púca/puck causes all sorts of pranks and tricks that, as the literary Puck said, are no different from dreams, then Faelatern is a nightmare that begins with a hypnotizing beauty whose true nature will soon be learned and never forgotten.

… And yeah, that’s the possible inspiration behind this Abnormality, and the hard part to analyze. The rest of it, like its skills and game mechanic, are quite self-explanatory:

“Snagged Lure”, “Burrowing Roots” and “Encroaching Stems” are all Gluttony skills to represent how survival-driven Faelantern is.

“Expanding Roots” is Sloth-based thanks to its Modus Operandi, resting and waiting in a single place until a prey appears.

The “Leading Lure”, “Evolving Lure” and “Charmed” passives explain how it works, continuously trying to “improve” its Fairy Lure to catch more people.

The “Broken Stump” reinforces the Gluttony affinity, with the Abnormality focusing on stealing the nutrients so it can (apparently) restore its broken body.

Lastly, and as curiosity, the “Fairy Dust” passive is an obvious reference to another fairy, Tinker Bell. But where her dust allows people to fly, Faelantern’s dust only makes them faster and more agile (i.e., Poise).

The only part of its kit that requires a higher level of interpretation is the passive and Pride skill that share the name, “Uncovered Abyss”. In tandem, the two elements likely point that, whatever higher thinking the Abnormality has, it’s more preoccupied with a self-absorbed appreciation of itself as an “abyss” that devours everything in the forest than with meaningfully improving its hunting tactics.

Another element that requires further analysis is, obviously, its weaknesses. While Faelantern’s resistances to Gluttony and Gloom should be obvious, being a monster that fully accepts its hunger and that genuinely doesn’t care about anything else, it being weak to Pride and Lust likely derive from how those dispositions can interfere with the Abnormality’s behavior: a pride that sees the Fairy’s “gift” as useless or irrelevant from the get-go, or maybe messing with its (lack of) love in a no so dissimilar way to Midsummer’s Puck.

And finally, there’s the mid-combat Event with Sloth advantage, implying that one needs to be “guided” by the Lure without question or care to destroy it along with the question given: Who will answer the bait?

I like to think that part shows the underlying meaning of the Abnormality, how it’s a symbol for an all-devouring thing that conceals itself through charm and light. It may be a person, an organization, or even an ideology; it doesn’t matter, because all it smokes and mirrors, a trick, a sick and twisted hoax. Faelantern doesn’t care about anything else but to satisfy the gaping hole of its “stomach”, unlike, say, Siltcurrent and Skin Prophet, who completely believe their own delusions.

You should always take care when you walk the (dark) forest of life, for no matter how bright it may be, disguised predators are bound to appear.

Note: Following the pattern I mentioned in Steam Machine’s section, Faelantern’s buff corresponds to “Inhaling”. The symbol likely represents the Abnormality’s stump/branches forming into a mouth to “steal nutrients”, which is also seen in its EGOs’ healing (beyond its own passives, of course).

Post-Commentary

This time I bring the first four Abnormalities of RR2. I began to write about them a couple of weeks after I finished the RR3 post, before RR4. However, since I only have one of the Abnormalities for the next part done (Shock Centipede), the second post will take some more time. Not much though, considering Wayward Passenger and Sign of Roses are on the easier side to analyze.

Anyway, in regards to some other thoughts I had while writing… I already commented how Steam Machine and Portrait of a Certain Day are similar on how they represent the weight of the past. The difference falls, I suppose, in that one is born out of love and nostalgia, while the other out of fear—Steam Machina lives to work, unable and fearful to imagine any other life beyond what it has done from its birth.

Another thing I wish to note is about Faelantern, since while I’m pretty sure about its meaning, it’s not so in the folkloric inspiration. In the first place I searched about the Will-o’-Wisp since the Lure acted like one in a way, and I found (in wikipedia, naturally) that the púca may be related to it. I lost a couple of days watching videos about it xD I wonder if Fairy Gentleman and Long-Legs will have a similar inspiration…

And since we are speaking about a “fairy”, I think it is funny that Drifting Fox is a trauma-related Abnormality and not a fairy-tale one, despite its EGO name’s origin. So instead of focusing on any folkloric element, I tried to see the meaning behind the colloquial names of sunshowers: the devil beating his wife (or doing anything undevil), or an animal’s wedding. I ultimately reached the conclusion it was because, just like animals or the devil don’t actually get wedded, there shouldn’t be a rain during a sunny day. It’s something that doesn't make sense.

#limbus company #refraction railway 2 #abnormalities #So That No One Will Cry #Steam Transport Machine #Drifting Fox #Faelantern

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