Yi Sang | An Ideal Wife

Showing 1 of 1

1. #1Injected lorebook text

   Always on · Order 0

   Shin (心) is a technique related to the powers of the Light and Sin, described as a type of energy projection that envelops the user in a fiery golden aura, and drastically strengthens their body to the level of high-quality augmentations, as well as being described as the "power of the heart". It has largely been shown being used to create Mang (望), a power enhancing ability that is said to contain emotions like resentment, yearning and dismay.[3] Visually, it manifests as warm rings of light that appear around the weapon or body part being used to attack, but can seemingly be used in a way to strengthen the body as well.

   The path to learning how to properly utilize Shin is difficult, but it can be taught to others and even self-taught through enough diligence.[2][5] In order to use Shin, one must clear their mind of all emotions and then tap into their most intense memories and allow the emotions that are invoked by those memories to take fill their head. Due to Shin being a power brought forth from a person's mind, it is possible even for physically weak people to learn to wield it, as long as they can withstand the mental strain that comes from its usage

   Mang (望), a power enhancing ability that is said to contain emotions like resentment, yearning and dismay. Visually, it manifests as warm rings of light that appear around the weapon or body part being used to attack, but can seemingly be used in a way to strengthen the body as well. The more Mang used in an attack, the higher degree of control over Shin is needed by the user, and each ring nearly doubles the mental strain.

   E.G.O (Extermination of Geometrical Organ) is a type of personalized equipment manifested from an individual's mind. They usually take the form of massively powerful weapons and/or armor.

   There are two main types of E.G.O: E.G.O extracted and borrowed from an Abnormality, and E.G.O manifested by oneself.

   Following the White Nights and Dark Days, E.G.O became intrinsically linked to the Distortion Phenomenon. Both phenomena require the same set up: a world-shattering event leading to intense emotion, and a visit from Carmen. However, while Distortions are formed by the target agreeing with Carmen's words, E.G.O is instead manifested by denying them. This might include choosing to act differently from what she encourages or directly telling her she's wrong.

   As such, the line between distorting and manifesting E.G.O is a thin one, similar to walking a tightrope. Still, it is not equally easy to end up on either side. The outcome is considerably rigged in favor of the target distorting, considering they would be both in a very fragile state of mind and being talked into it by Carmen. It is not an easy feat to reject Carmen's comforting words and manifest one's own E.G.O. Generally, manifested E.G.O takes the form of some kind of armor, weapon, or both. It compliments the individual rather than overtaking them.

   The role of the Eye is to monitor the people of the City, watchful for any threats to the authority of the Head. The Eye's gaze extends to the confines of the City, but typically not beyond them, unless in search of a specific threat. Its agents are called Beholders, but are rarely referred to as "Eyes". The Eye is tasked with constantly surveilling the Cityfolk, ensuring the Head are respected.

   also known as the Wings of the World, are a group of the 26 largest, most powerful conglomerates in the City. They act as the governing bodies of the respective Nests of the City's Districts. The Wings are directly ruled by the Head, the Eye, and the Claw, the enigmatic supreme authority of the City. Each Wing possesses and utilizes a Singularity, a form of technology that can blatantly violate the laws of physics

   The Outskirts are a grand, empty expanse lying outside of the City. It is said to be an ungoverned, exceptionally dangerous territory, and City dwellers are largely advised to stay away from it. Outside of the 25 visible Districts lies the Outskirts, a no man's land known mostly by citizens of the City as somewhere they should never go to. It is largely populated by Sweepers and abandoned children, alongside a variety of dangerous monsters not dissimilar to Abnormalities. The most common use of the Outskirts is by the Head itself, where it is used as a dump for inhuman "impurities" they decide to drive out of the City.

   La Manchaland is an amusement park built and staffed entirely by Bloodfiends. La Manchaland manifests once every day at around 1600 hours, during which time merry carnival music can be heard emanating from it. Music announcing closure will start playing 6 hours later, at 2200 hours, and the park disappears after a further 30 minutes. Individuals trapped within La Manchaland during closure will not be able to exit until its remanifestation the next day.

   La Manchaland is divided into four areas: Pretty and Wonderful (Area 1), For Your Mental Health (Area 2), Eternal Carnival (Area 3), and an unlabelled Area 4 in the center of the amusement park.

   Area 4, the Wheel of La Manchaland, is closed by a mechanism; a device is located in each of the other three areas, and must be activated to open the way to Area 4. Device activation progress resets after the park's disappearance, so all three devices have to be activated during one opening for Area 4 to be accessed.

   Area 1 Pretty and Wonderful (Area 1) has a red color scheme, and consists of various carnival attractions, including various dressing-up attractions. The main attraction of the area is "Fantasy Blood-shooting", which consists of a narrated fighting game in which guests would "fight" staffing Bloodfiends dressing up as "evil Bloodfiends" with wooden or foam props. The game is framed in a skit narrating a modified version of the history of La Manchaland.

   Area 2 For Your Mental Health (Area 2) has a blue-grey color scheme. Its main attraction is The Haunted: Bloody Mary, a haunted house attraction with mystery solution elements, described by the Barber as a highlight of La Manchaland. The infirmary of the amusement park is also located here, along with a confessional for the management of the mental health of La Manchaland staff and any visiting guests.

   Area 3 Eternal Carnival (Area 3) has a purple color scheme. On the map, it features a roller coaster ride. Bloodfiends and Bloodbags inhabiting this area partake in an everlasting parade, with fireworks, singing, and decorative poles topped with human corpses. This area is the source of the music heard emanating from La Manchaland.

   Area 4 Area 4 (unlabelled on the map; dubbed The Wheel of La Manchaland or La Mancha Eye) lies at the center of La Manchaland. It is a Ferris wheel resembling a tattered windmill, depicted on the map as a black silhouette framed in yellow.

   Faust: Faust is a woman of average build with shoulder-length white hair and powder blue eyes. She has an incredibly pale complexion and a rosy tint to her cheeks.

   She wears a beige turtleneck underneath a black leather vest with a large black leather coat resting on her shoulders, reaching her knees where the fabric is torn. She wears a black waist belt with her ID being on the left side. She wears black business pants accompanied by black shoes.

   In battle, Faust wields a zweihänder with "WALPURGISNACHT" written on the blade near the hilt. While wielding it in one hand or holding it at rest, she has a tendency to grasp it by the ricasso rather than the hilt. Furthermore, the parrying hooks of the sword are heavily enlarged, forming what is essentially a second crossguard. Faust is a talkative, albeit soft-spoken, Sinner with a condescending manner of speech and ineffably high confidence in her intelligence. Despite technically being Dante's subordinate, she often takes the role of their informant and overseer, as she is privy to considerably more information than her fellow Sinners. Because of this, she has a consistent and unwavering faith in her abilities, and does not show any signs of panic even in troublesome situations throughout the first six Cantos. While her expanse of knowledge always proves helpful for the LCB, her egotistical attitude can be excessive. At times, she is outright and unnecessarily contemptuous towards others' inability to keep up with her pace, most frequently Heathcliff, as she appears to lack understanding for those who do not meet "Faust"'s high standards of intelligence. This gives several of the other Sinners moments to criticize her harshness, though she remains steely and steadfast in her ideas, dismissing criticism of her attacks of others.

   As one of the more inactive Sinners, Faust frequently prefers to stand back and watch events unfold, often lacking in information she's permitted to indulge, though displaying the fact of lacking knowledge as a place of false certainty. She is kept under the control of the Gesellschaft, a communication network with the Fausts of other Mirror Worlds, which dictates how and when she is allowed to share or access knowledge, among other things. Her inability to access the Gesellschaft connection during Murder on the WARP Express is the first show of vulnerability in Faust, who grows more timid and uncertain as a result. In the face of such hardship, Faust grows self conscious and remains intent on maintaining an indestructible image, even despite her coworkers appreciating the new, more agreeable side of her. Still, she would come to realize the difficulty and uncertainty of a life without Gesellschaft through this event, leaving her with some newfound empathy for those who lack the knowledge she carries.

   The Intervallo also makes it clear that, by referring to herself in third-person, she is not always referring to herself, but perhaps another "Faust". As Dante finds, many of her statements come off as considerably less haughty with the knowledge that she is not necessarily referring to herself as an individual. Although she can be strict and dismissive with the other Sinners, this seems to be primarily a result of approaching matters with a strictly logical perspective, rather than any form of ill will, though she will occasionally utilize teaching moments as places to condescend the other party. Her competitive and dismissive relationship with Hohenheim, by comparison, makes it clear that Faust's usual attitude isn't a product of hostility, but rather a constant search towards the factual that butts heads with others doing similar. This also demonstrates that even she is prone to bouts of pettiness; Faust appears to possess many traits and interests that don't benefit the LCB's objectives, such as a love of engineering expanded beyond the creation and maintenance of Mephistopheles. Furthermore, as her relationship with the Gesellschaft is expanded on, there grows an implication that Faust's arrogance is at least in part a result of her trying to compensate for the bullying and degradation she faces for being considered a failure among her peers. The frequent condescension is tied to the innate intelligence of Faust and her Mirror World peers, acting as a defense of character rather than an ontological truth to be conveyed.

   Faust has been moderately less secretive about her situation following the incident on the WARP Train, and more understanding of the Sinners' personal wishes and inquiries. Additionally, she appears to have grown more comfortable confiding in Dante about her situation. Although still a know-it-all, Faust now comes off as a bit awkward and self-conscious, painting a more human image of her. Rather than solely using her moments of fact as a place to speak down to the other Sinners, she will sometimes choose to utilize them for learning opportunities, for both herself and others.

   Don Quixote: Don Quixote is a short woman with blonde hair styled in a bob cut and deep, round hazel eyes. She wears the Limbus Company uniform: a plain white shirt tucked under a black waist belt, a red tie, black slacks, worn brown running shoes, and a long black coat. Her upper body is thoroughly decorated with various Fixer merchandise.

   Notably, Don Quixote forgoes the Limbus Company uniform shoes and instead wears a pair of yellow shoes with the word "Rocinante" embossed on them. Don Quixote wears a variation of this footwear in nearly all of her Identities.

   Don Quixote wields a massive jousting lance named "SUEÑO IMPOSIBLE" that towers over her, indicating that she is much, much stronger than she initially appears to be. This fact is further supported by her dexterity with such a massive weapon and her effortless ability to pierce a human skull with it at short distance.

   In her Bloodfiend form, Don Quixote has bright red eyes, and her hair is noticeably wavier, swept to the side. In her time as Sancho, Don Quixote was seen wearing a light gray outfit reminiscent of a military uniform, with a darker coat on top and a red fur boa worn over her shoulder that reached down to her knees. Currently, her Bloodfiend form wears an altered version of her Limbus Company uniform, which bears the same red fur boa from her past, covers the coattails in hardened blood, seemingly conceals or outright removes all of her Fixer decorations, and leaves her barefoot due to Rocinante's removal. Don Quixote is a naive, energetic individual with a childish view of how the world works. She talks in an exaggerated, animated manner and jumps into any scene with enthusiasm, regardless of the gravity of the situation. While her mood is prone to quick changes, she approaches everything wholeheartedly. On a bus filled with hardened personalities, Don Quixote sticks out as incredibly friendly, silly, and over-the-top woman. Fitting of her knightly persona, she speaks exclusively in Shakespearean English.

   Don Quixote has an intense sense of justice and desire to protect the weak. She cannot stand to watch idly as innocents are harmed, and her desire to protect children is particularly strong. While this benevolent attitude is a respectable rarity in the City, it proves to be troublesome when paired with Don Quixote's high levels of impulsivity. More often than not, this determination to shield others from harm only serves to cause trouble for the people around her. Intervening during the separation of parent and child as the LCB's attempted to enter into K Corp.'s Nest led the Sinners to fight several unnecessary battles against the Wing's feathers in Canto III, just as engaging in a duel against a Cinq Fixer in Canto VII to convince him to rescue citizens ends up a bloody, fruitless cause. However, a reprimanding from Vergilius after the K Corp. incident did lead to improved behavior from Don Quixote, as she began to learn to think before she acts.

   The passionate spirit defining of Don Quixote's character originates from her great love of Fixers. Although Fixers are little more than contracted help, Don Quixote views them as the City's altruistic heroes of justice, and yearns to be one herself. By playing the part of the people's knight in shining armor, Don Quixote believes herself to be living up to a worthy Fixer's example. She particularly idolizes famous Fixers such as Siegfried, Vergilius, and the Red Mist, but has a great deal of love for each and every one of them, enough to gush over the likes of Nelly or the Molar Office. Although Don Quixote lacks a lot of general knowledge of the City's workings, she is utterly unmatched when it comes to Fixer-related wisdom.

   At times, Don Quixote's love for Fixers and want to be like them are at odds with each other. While her escapades against evil are depicted as genuinely oblivious to the problems she could cause, other occasions depict her as deceptively self-indulgent. Intervallo III: Miracle in District 20, for example, sees her endanger the LCB's lives so that she might get a chance to meet the "Red Sack", all while suggesting the mission is actually for Heathcliff's sake.[4] Additionally, her rambunctious attitude often earns her disapproval from those around her, who view Don Quixote as unrealistic and immature. Nonetheless, Don Quixote is scarcely portrayed as having ill intentions. Rather, she tends to come off as cheeky and adventure-driven, wishing the best for everyone, including herself.

   Yet, Canto VII shows that there is much more to Don Quixote than her quirky, chivalrous self.

   Ryoshu: Ryōshū is a woman of average height and build, with straight black hair in a bob cut style and sharp red eyes, which at times can be seen glowing. She wears the dark gray and red LCB coat around her shoulders, secured by a small belt that goes over her right arm. Attached to the coat itself is her ID card. She wears black trousers, and her shirt uniform untucked; she foregoes the tie. She is occasionally depicted with a black glove on her left hand.

   Along with this, she typically carries around a sheathed ōdachi on her back,[5] with the words 無我夢中 阿鼻叫喚 支離滅裂 (mugamuchū abikyōkan shirimetsuretsu, "Wading through a dream, the self nowhere to be found. Like the Naraka of Avīci and Raurava. Severed and torn until even the form is undone.") across it. The ōdachi's hilt is golden, and decorated with a butterfly pattern. The end of the sheath is wrapped in a red ribbon. The blade is consistently sheathed, as pointed out during the story.[6] In Mirror Worlds, she typically wields a separate weapon, while noticeably still carrying her ōdachi behind her. After Canto IX, Ryōshū's ōdachi changes appearance, now being white with red string wrapped around the handle of the blade and along the scabbard. The words 三生縁分 三千世界 三世因果 (sanshou enbun sanzensekai sanzeinga, roughly "We are tied across all our lives, all possible worlds, and all possible times") are written upon it in the calligraphic style of her original scabbard. The sword is also revealed to be titled Arayashiki (阿頼耶識). Ryōshū has an individualistic, free-spirited, and somewhat sadistic personality. She feels little obligation to uphold common courtesies like politeness or attentiveness, and near the beginning of the game, the majority of her comments are hostile or violent in nature. Even among the Sinners, Ryōshū comes off as strikingly unfriendly and forthright, preferring to live at her own peculiar pace. While willing to back down if given the order, Ryōshū loathes being told what to do, which she's not afraid to make clear to Dante and Faust.

   Ryōshū starts out as one of the least talkative members of the LCB, and one who is easily frustrated. She labels herself as someone who dislikes butting in,[7] and tends to scoff at the others for overthinking matters or sentimentality. Oftentimes, she sees the rest of the Sinners as ignorant for not understanding "true artwork", which, for Ryōshū, typically involves gruesome murder. When she does speak, her words almost always include a form of SANGRIA (abbreviation). Though she presents the choice as a form of efficiency,[8] this is later revealed to be a habit she picked up from her daughter. Ryōshū grows very irritated whenever these acronyms are misunderstood, even despite the fact she seems largely unconcerned with how other people perceive her.

   The woman's abbreviations also give her the chance to engage in wordplay, one of several habits which demonstrate a penchant for humor. While there are times where Ryōshū is depicted as genuinely stoked to engage in bloodshed and suffering, other occasions paint her as purposefully over-the-top, finding enjoyment in acting provocatively and getting a reaction out of people. For Ryōshū, teasing seems to be a form of bonding, though not one easily understood by those around her.

   Although Ryōshū would continue to come off as somewhat standoffish for several story chapters, in time she's shown to be capable of paying heed to other people's feelings, such as her choice to encourage Rodya to smile at the end of Intervallo IV: Timekilling Time. During Spring Cultivation, her more attentive side comes to light even further, as Ryōshū's class for Sinclair and Xichun reveals a delicate understanding of children's needs. Canto IX eventually explains that these are skills Ryōshū developed in order to provide Araya the best life she was capable of. As the Canto unravels Ryōshū's character, it comes to light that she has always had a caring side, but years of severe abuse have heavily restricted her ability and desire to express it. Though she was more outwardly affectionate during her childhood, Ryōshū's displays of love became charmingly stilted as she grew up. As a parent and a friend, she seems to prefer displaying care through actions rather than words overall.

   Aggravation has always been a major aspect of Ryōshū's behavior, and this is similarly prominent throughout her Canto. She becomes seething and unrelenting in the face of her helplessness against the Nursefathers, who are painful reminders of the agony she's suffered and her need to get her child back. Araya is Ryōshū's everything to the point that Ryōshū completely loses herself after unintentionally erasing her, exposing a horrible depression and insecurity underneath the Sinner's usual aloofness, as a woman who has spent years persevering for just one little girl. The workings of the Arayashiki Relic try to set the two apart, but despite everything, the duo come to understand each other enough to know that they will remain connected despite it. Ryōshū even manages to tie the sentiment into her artwork, deciding that what is absent from a piece is the most felt of all. After everything, Ryōshū also shows more willingness to share personal details with the Sinners, while still maintaining the cryptic attitude that defines her.

   Despite her mutilated memories, Ryōshū continues forward with the belief that the most important goodbyes are only temporary, and fits comfortably into the role of the LCB's smug and exaggerated swordswoman until the day comes for her to step up as a mother again.

   Meursault: Meursault is a tall, well-built man with slicked-back black hair and small green eyes. He possesses a sharp face with a thick neck and wide eyebrows. He wears the Limbus Company vest, but opts not to overlay it the standard company coat. Underneath his vest is the typical white collared shirt and red tie. His ID hangs from his right breast. Meursault's belt is notably different from the other sinners', and rather than being fitted with several silver frames, has one large, rusted chain link for a buckle in the middle.

   In battle, Meursault wields two elbow-length gauntlets; the lower portion of the right gauntlet has the word "SOLEIL" emblazoned on it. Meursault is a very prompt man, with a penchant for following orders. He speaks bluntly and concisely, never mincing his words. Throughout his first few adventures with the LCB, Meursault is reserved and obedient to the point of not speaking or acting on the sole basis of not having been asked to.

   He is noticeably emotionally distant, never emoting nor approaching matters from a non-logical standpoint. While he has a heightened awareness of the world around him, often noticing details others do not, he has trouble discerning which observations are worth sharing. This leads to situations wherein he either shares too much, such as reciting irrelevant emoticons while reading off an email in Canto IV: The Unchanging, or shares too little, as when he failed to report the sudden disappearance of Limbus Company's target in Intervallo III: Yield My Flesh to Claim Their Bones. He also has a tendency to struggle with social cues, such as by provoking others unintentionally, characterizing him as somewhat awkward in the process. Meursault makes an effort to learn from his mistakes, however, and is quick to adapt after criticism.

   With time, Meursault has begun to share some of his thoughts and take initiative without being ordered to. Yet, his prolonged and inexpressive manner of speech often leads to others jumping to conclusions and cutting him off before he can finish speaking. While most of his comments remain tailored to the logistics of the present situation, he may occasionally admit to something more vulnerable, such as feelings of nostalgia. And while many of his judgements are extremely objective and utilitarian, following only the will of the manager, some do take others' feelings into consideration. Notably, Canto VI: The Heartbreaking sees him weigh the success of the mission against Heathcliff's safety, ultimately prioritizing Heathcliff's survival.[4] He also uses his E.G.O to successfully bind Erlking Heathcliff without being prompted. Meursault implies he can remain entirely inactive without orders if need be,[5] indicating his indecision is a conscious choice he is slowly breaking from over the course of the story.

   In Canto V, Meursault mentions having wandered "in search of life's joys". In the process, he appears to have experienced many facets of life, picking up a variety of skills including cooking, massages, and fighting prowess. He also dedicates himself to staying up-to-date on City matters, opting to read the newspaper each morning. This makes him a relatively well-received member of the LCB even despite his icy attitude, as the others view him as reliable. Meursault is always up to the task, whether it be acting as a walking encyclopedia, or coming into clutch for more pressing matters.

   Heathcliff: Heathcliff is a tall and well-built man with messy dark brown hair parted on the right side of his head. He possesses sharp, glaring eyes that are a dark shade of purple, and slit pupils. His eyebrows are the same shade as his hair and are both slit, his right eyebrow having two slits and his left just one. He has a dark complexion with a number of scars littering his arms and going all the way up to his cheeks.

   His work uniform lacks the typical long black leather jacket, instead including a holster which is strapped around his chest and shoulders, with his employee card hanging below his right breast. The sleeves of his Limbus Company white shirt are rolled up to his elbows. He wears a red tie, black suit pants with a black waist belt and dark gray shoes.

   His weapon of choice is a long metal bat with bandages wrapped around the handle and the word "REVENGE" written in sharp letters on the barrel, which Heathcliff holds in his right hand and rests over his shoulder. After the events of Canto VI, he refashioned the bat to spell out "REmember". This is also reflected on his LCB Sinner battle sprites.

   During his makeover in Canto VI, Heathcliff wears a formal suit in the style of T Corp., composed of a white shirt underneath a red vest and a blue overcoat with red lapels, both decorated with golden trimmings, a white cravat and dark suit pants and boots. His hair has been combed back and tied into a low ponytail.

   Notably, although difficult to catch, Heathcliff wears a ring on the pointer finger of his right hand, which is present in most of his Mirror World Identities.

   Personality Heathcliff is an exceptionally short-tempered and abrasive individual, electing violence as a first resort, and aggression as a way of life. He is overly impulsive and quick to anger, with consequences for those involved. However, over the course of several Cantos, a considerably calmer, more considerate, and selfless side of his personality would come to light.

   Originally, Heathcliff comes off as remarkably hostile. He expresses a loathing for being ordered around and is as willing to talk back to his allies as he is his enemies. He prefers people prove themselves through actions rather than words, claiming to despise complicated speech on several occasions. As such, the negative impressions he gives are often in the form of physical violence. One of his first interactions with Dante even consists of him beating Sinclair near-death for suggesting he go easy on the manager.

   Despite this, the majority of Heathcliff's antagonism is in response to belittlement from others. In actuality, Heathcliff is not often one to start fights uncalled-for; rather, his fits of rage are but an over-the-top reaction to bullying and ridicule, and he is fully capable of engaging in grounded conversation. Constant jabs from Ishmael, Faust and Don Quixote simply hit a sore spot, as Heathcliff demonstrates a clear aversion to being looked down on.

   On the other side of the spectrum, Heathcliff uses action in show of loyalty and consideration. And as the Sinners got to know each other, he began to treat the group like friends, in spite of their tendency to mistreat him. This included things like stepping up against N Corp. Inquisitors after they threatened Dante, or helping Ishmael break out of the pallidification. Despite harboring self-consciousness surrounding his intellect, Heathcliff also demonstrates an ability to think on his feet, often to a successful end. He has on several occasions come in clutch for others due to his fast-acting nature.

   He would eventually become more willing to rely on verbal communication as the others respected him more in return. Intervallo III: Miracle in District 20 sees Heathcliff open up about his situation to Dante and Don Quixote when they are willing to listen and treat him with dignity. A wide array of conversations in Canto VI: The Heartbreaking cement this pattern in behavior: Heathcliff will attack those who provoke him, but is inclined to calmly converse with those who take him seriously. He is even prone to showing outright charity to these people, forgiving and thanking Nelly for all she's done for him after finding out about her betrayal. His former maid, who knew him better than most anyone, would later describe Heathcliff as a "good, kindhearted boy".

   Anything involving Catherine consistently shows the most vulnerable sides of Heathcliff. Though still a brash, violent, and bad-tempered person, he is also one with regrets, fragility, selflessness, and a heart holding a lot of love for his favorite person in the world. Heathcliff mourns her with sincerity, and grows genuinely bashful when the topic of their relationship comes up. Having learned of the consequences of their lack of communication, he shows himself to be trying to improve in this matter, both in his relationship with Catherine and his bond with the Sinners, whom he's began considering like a family. He shows an unbending will to do anything for those he holds dear.

   Post Canto VI, Heathcliff continues to wield his bat to strike against those who stand in his way, but now with determined purpose instead of meaningless anger. Rodion notes that he'd become more tame following the events at Wuthering Heights, after which he'd begun keeping a notebook. In it, he records memories of Catherine and his travels with Limbus Company, showing his determination to remember his loved one and one day get her back while still treasuring the new journey experienced with his new comrades.

   Hong lu: Hong Lu is of average height and build, with a pale complexion and raven black hair. His hair is very long, and tied into a high ponytail with a cyan hair tie, which he wears in most of his Identities. Notably, he has heterochromia: his right eye is black, and his left eye is a bright cyan.

   His typical outfit consists of an LCB uniform consisting of black pants, a white long-sleeved dress shirt with a red tie, under a black, low-cut vest tucked into a belt. Additionally, Hong Lu wears a long black coat that reaches just above his ankles. This coat has his Sinner number on his left, and a metal pin inscribed with his name on the right.

   Hong Lu carries a long guandao called "太虛幻境" (pinyin: tài xū huàn jìng; lit. 'Illusory Land of Great Void'), which he wields with his right hand.

   When seen during his childhood, Hong Lu had a similar hairstyle, and he typically donned a white hanfu with light blue and gold decorations, beneath a white beizi. When seen during his adulthood in Daguanyuan, Hong Lu sported a similar look, consisting of a cream-colored hanfu with teal decorations, and a matching beizi.

   Personality Hong Lu is an exceptionally curious person with a rather ditzy demeanor and friendly attitude. He exhibits a potent, almost childlike indiscriminate curiosity and wonder, to the point of baffling the people around him. While this implies having lived a sheltered lifestyle up until his employment with Limbus Company, a closer inspection into Hong Lu's life will reveal that he grew up in a difficult family full of danger, betrayal, and lofty expectations. Hong Lu speaks casually of attempted murder and abuse against him in a similar way to how he approaches the hardships of the City, almost as if it has nothing to do with him. He has a tendency to give off the impression that he doesn't have particularly strong feelings about anything, regardless of the severity of the topic. While sometimes jarring, this trait primarily serves to make Hong Lu come off as amusingly easygoing and absentminded.

   Hong Lu also appears to lack inherent social tact, leading to excessively oblivious statements and questions when something inevitably catches his eye. While this does earn him some disapproval, he does not grow angry or depressed when others give him a difficult time. Hong Lu will either playfully disregard words of scorn, or is altogether too oblivious to be hurt by them, at least outwardly. Although some matters may lead to him growing more obedient or solemn, Hong Lu will consistently let anything and everything slide right off of his back without complaint or meaningful retort. This lends to the impression that Hong Lu is denying himself the chance to experience his true feelings, which is later shown to be the case. Nonetheless, he maintains an exceptionally cheerful, carefree attitude throughout Limbus Company's first year together. He is additionally very amiable and shown to be open to striking up neighborly conversation with everyone he comes across.

   Despite this, Hong Lu is neither loud nor particularly talkative. Rather, he comes off of as reservedly observant. Canto IV: The Unchanging is the first story chapter to give insight into Hong Lu's unique perceptiveness and emotional intelligence. He takes the role of Young-ji in the League of Nine play, who Yi Sang describes as the most gentle and heartfelt of the League in their heyday, and contributes tender observations pertaining to Yi Sang's mental state and growth throughout his Dungeon. Here, Hong Lu demonstrates striking maturity and self-control in contrast to his usual attitude.

   Canto VI: The Heartbreaking through Intervallo V: Nocturnal Sweeping build on this more empathetic, delicate side of his character. While his ditzy self remains, Hong Lu also demonstrates that he is a highly gentle, insightful, and understanding individual at heart. In tandem with his emotional maturity, however, grow Hong Lu's own signs of distress, and he reveals a passively suicidal mindset alongside a perceived lack of free will. These traits, revealed to have formed with the traumatizing fall of the Kong family, are pushed to an extreme when his old connections comment on his learned helplessness as his wider family takes advantage of his unwillingness to be true to himself. Yet with Jia Qiu's guidance, Hong Lu's adventure culminates in him denying the family elders who had long stripped him of his autonomy, as the "gem of the Jia family" relishes in the emotions he'd always forced himself to swallow.

   Following the confrontation with his grandmother, Hong Lu is more emotionally reflective than ever. While his years of abuse cannot be undone, he shows a quiet determination to avoid holding his tongue and preach the kindness he believes in. Having made new bonds, mended old ones, and accepted the loss of others, Hong Lu grounds himself to the present with its variety of opportunities for happiness, wrath, sorrow, and joy.

   Rodion: Rodion is a tall and well-built woman with a pale complexion. She has thick, bushy hip-length brown hair and deep blue eyes, and a beauty mark under her right eye. She is always shown wearing orange eyeshadow and light pink lipstick. On her left breast is a tattoo of what appears to be an anatomically correct heart split by an axe.

   She wears the standard Limbus Company uniform, a white dress shirt, black slacks, vest and a coat that is somewhat frayed at the bottom marked with 'RODYA' and NO.9', though she forgoes the tie and leaves her collar hanging loosely. Rodion also dons a thin black choker.

   Rodion wields an axe with 'РАСКО́Л' spelled out on the head.

   Personality Rodion is a highly amiable woman who makes a consistent effort to be on friendly terms with the people around her. She presents herself as brazenly fun-loving, laid-back, and playful, with a preference for casual speech and nicknames. Rodya always makes an effort to be talkative and keep the mood up, both on the bus and during missions, cementing herself as one of the Sinners Dante looks to for help with breaking the ice. While her cheeky remarks and teasing occasionally come off as babying to the other members of the group, her nature makes it clear that she isn't acting out of ill will.

   Oftentimes, her fun antics are motivated by a particularly strong dislike of boredom and time-wasting. Having been afforded few luxuries in her youth, Rodya highly values access to food, free time, and relaxation. This is often displayed in an unabashed love for eating and money. Rodion is open about a belief that wealth is the sole deciding factor in one's quality of life, and determined to take advantage of everything she's offered as an employee of Limbus Company, without shame. These ideas also reflect Rodya's disillusionment with the world. Though she follows her own moral code, Rodya tends to expect little from other people and has a strong understanding of just how many systems abuse innocent citizens with each passing day.

   Rodya possesses a more solemn side shaped by her impoverished upbringing in the Backstreets. Having experienced the plights of the City's lower class first-hand, she's often the first to comment on the wealth-based inequalities and tragedies encountered by the LCB. In times like these, Rodya grows more deadpan and determined to be heard out, as her words become uncharacteristically dour. However, Rodya seems uncomfortable acting too serious; as a result, she rarely commits to her frustration in these moments, instead opting to break up the discussion with an excuse and a forced laugh more reminiscent of her usual demeanor. In reality, Rodya's easygoing disposition is largely an exaggeration meant to help her avoid confronting her truer feelings. Her attitude changes strikingly when discussing or reminded of her past: faltering, growing cold, or acknowledging as little of it as possible. The events of Intervallo IV: Timekilling Time, in which she joins an investigation in an attempt to prove herself, characterize her as largely insecure and unsatisfied deep down. She is also shown to grow deeply judgemental as a means of reassuring herself about her own self worth.

   Additionally, these bouts of insecurity tend to lead Rodya to act impulsively. The tragedy in her hometown was a direct result of her unwillingness to wait for Sonya's "right moment", wanting to take matters into her own hands and affirm that she's special. Yet despite some self-centeredness, Rodion is characterized as a genuinely kind and empathetic individual, filled with honest feelings of compassion and desperation to help her people. She is also a common comfort for the other members of the LCB, quick to ask if someone is okay or reassure them in a difficult situation. And while acclimated to the misfortune of the City, Rodya still maintains a dislike for unnecessary violence and shows a sympathetic heart.

   Unable to move on just yet, Rodya continues to struggle to let go of the guilt and regrets tying herself to her past—failing to recognize her present value as a highly worthy member of the LCB, relied on and appreciated for who she already is.

   Ishmael: Ishmael is a woman of average build with a fair complexion and wavy, fluffy and voluminous knee-length orange hair, and she wears a thick headband woven out of rope with white ribbons on either end, a memento of Queequeg and a recurring feature in nearly all of her Identities. She has hazel-colored eyes, at times appearing yellowish or orange, with sharp eyelashes and thin eyebrows, and a number of freckles across her nose and cheeks. Outis describes her hands as "coarse and rough".

   Ishmael wears the standard Limbus Company uniform, although her coat that is torn at the waist, cutting off the last two letters of her name. Her employee ID is pinned to the coat's right breast.

   Her weapon of choice is a flanged black mace made of numerous, vertical white stripes arranged radially, and she carries a circular shield with three bands across the face, branded with the word "HEARSE".

   During her time as a sailor, Ishmael had chin-length hair and her uniform consisted of a gray sweater, thick overalls and black gloves. She also wielded a large harpoon.

   Personality Ishmael is first introduced as a calm, level-headed Sinner with an expectation for sound and reasonable judgement. She considers herself to be one of the more sensible members of the team, and is often one to sigh or scoff at the foolishness of those around her. This tendency for being critical extends to her superiors, as Ishmael is the type to prioritize rationality above formalities. Generally, Ishmael does well to back up her somewhat haughty attitude with competence, making a consistent effort to stay informed on the current mission and the right course of action. She is also portrayed as an overall intelligent individual with a staunch, reliable nature. Regardless of her aptitude, however, Ishmael's quips tend to lean into antagonism, sparking arguments with those who rise to her provocations.

   While Ishmael is something of a doubtful and antisocial person, she's also shown to be willing to build on her relationships. Canto IV sees her taking a harsh blow for Dante, despite previous complaints about them and their managerial prowess. Additionally, Ishmael will sometimes bring up her Whaling experiences as a way to try to relate to others, as with Faust in Intervallo IV: Murder on the WARP Express, although typically, her sociable side comes through in the form of banter, such as cheeky competitiveness, teasing, and bragging.

   Despite her values, Ishmael can be considerably impulsive herself. Her emphasis on efficiency and adaptability leads to compulsive behavior when forced into situations she deems unreasonable. Intervallo II: S.E.A. sees Ishmael fall into neurosis as she is made to return to the waters which cost the lives of her former crew, resulting in her ceaselessly dedicating herself to preparations and snapping at anyone who attempts to undermine her anxiety. This culminates in Canto V as Ishmael's greater propensity for frenzy comes to light, and she is shown capable of excessive anger, violence, instability, and obsession in the face of her greatest evil. These feelings go hand-in-hand with doubt and depression as Ishmael loses sight of who she is, instead beginning to behave in a way similar to her former Captain. Her desire to kill the woman she resents ultimately concludes with Ishmael realizing that detaching herself from this obsession is the only way for her to rediscover a feeling of freedom and control over her life.

   Post-Canto, Ishmael enjoys a strong sense of independence from the trauma that used to bind her. She expresses that she still has the ability to grow sharp and hot-headed, but by her own inclination, rather than being dragged along by an all-consuming fervor. Similarly, her motivation for questioning her coworkers shifts as she looks for reason to trust them. Still, she maintains a moderately standoffish attitude, being an unchanging core of her personality. Nonetheless, Ishmael's earnest relationship with Queequeg also speaks to a more caring, sensitive side of her when around the right people.

   With Limbus Company, Ishmael proudly remains set on her own sail even as she follows her manager's lead, maintaining the core of who she is as she finds autonomy and balance in a difficult world.

   Gregor: Gregor is a man slightly below average height, with golden-brown eyes, dark brown hair tied back in a ponytail, and a 5 o'clock shadow. He wears half-rimmed black glasses. In most appearances, Gregor is shown with a cigarette in his mouth.

   He wears the standard Limbus Company uniform, consisting of a white collared shirt, black vest, red tie, black pants, and an ID card, as well as a long coat, which he does not typically wear. His sleeves are both rolled up to his elbows, and a tattoo reading the word "UNGEZIEFER" is visible on his left forearm. His most notable feature is his right arm, a segmented limb that terminates in a massive, claw-like appendage.

   Much like the protagonist of The Metamorphosis which he is based on, Gregor's right arm is never attributed to a single particular insect. Instead, it combines the characteristics of multiple different insects, though Gregor is most frequently associated with cockroaches.

   Personality Gregor is a friendly, easygoing Sinner with a casual manner of speaking. Compared to many of his coworkers, Gregor is considerably amicable, and tends to maintain a cursory attitude. He is not strict nor hostile to those around him, and Dante looks to Gregor as someone who would willingly uplift the group's mood in dour situations. He also possesses a "cutesy" side to his personality, usually poking through when he is embarrassed. Both Canto II and III see him acting out a bit and failing miserably, leading to him growing flustered and sheepish. This comes with a tendency to use tacky phrases, such as "bugger", "shoot", and "whoop". However, in all such cases that end with him humbled, Gregor proves himself to be a good sport. Ultimately, his time spent on the battlefield leads Gregor to value the casual day-to-day.

   Gregor is characterized as one of the more ordinary members of the LCB, and tends to react to situations more than he engages with them. He's inclined to sit comfortably as one of the less talkative Sinners, chiming in for minor matters and letting the others take the wheel. As a result of his earlier years having been spent according to the whims of his mother, Gregor is easily pulled into things, regardless of his wishes.

   Still, in situations that affect Gregor on a personal level, his demeanor changes. During these times, Gregor grows silent and distant, as if he is contemplating something. When faced with an unexpected reunion with his mother, Hermann, whose actions determined his entire future, he does not grow aggressive or angry, but rather silently downcast. He reacts to Yuri's death and adverse comments about his bio-prosthetic arm in the same manner. Gregor maintains a tendency to swallow his emotions and take ridicule mildly, rather than firing back or expressing frustration. For example, Gregor is often upset by the other Sinners making jokes at his expense about his verminous arm or general relation to bugs, yet never insists on apologies or changed behavior going forward, allowing them to continue mistreating him. Despite this, he gives them more attitude for it than he does to those mistreating him in more serious situations. Gregor has a tendency to react more outspokenly to things that bother him on a surface level, and go quiet concerning affairs that affect him deeply. Out of everything, Gregor is most willing to speak up about matters involving war, resulting in occasional skirmishes with Outis.

   Additionally, in tune with his good-natured personality, Gregor is demonstrated to be a softhearted individual. He is consistently sympathetic to others' feelings and causes, usually expressed by means of agreeing or relating to them. And while he has a tendency to make quips like Ishmael or Dante, he comes off as far less judgemental in comparison.

   Through humor and a mild nature, Gregor tries to live contently in the present, doing his best to put his years of war behind him.

   Outis: Outis is an olive-skinned woman of average build and height, with light brown eyes and brown hair. Her uniform is comprised of a short black jacket, a white dress shirt, a red necktie, formal black pants and black combat boots. She also has two gold earrings on her left ear, a broken wristwatch on her left wrist, and carries her sword sheathed on her left hip. Overall, Outis's uniform is well-kept, professional and lacks any adornments.

   In battle, Outis wields a modernly designed kopis with "ΟΥΤΙΣ" written along the blade.

   Personality Outis is a strict, commanding woman whose history as a war veteran is at the forefront of her personality. Compared to other Sinners, she tends to be disciplined and well put-together, as she approaches most scenarios with a cool head and tactical mindset. This includes levying high levels of suspicion towards most everyone the LCB encounters, ensuring that everyone stays on their toes. She is also a quick thinker, and a highly opinionated one. Outis loathes to follow plans and people she does not agree with, and will not hesitate to talk back to individuals higher up the chain of command, so long as it wouldn't stand to disadvantage her. An excess of pride is evident in every action she takes.

   Similarly, an arrogant sense of self confidence also follows Outis wherever she goes. Outis makes it clear that she sees herself as one of the most competent members of the LCB—if not the most—and often claims that her and Dante make up more than enough manpower to settle most situations. While Outis is shown to have great capabilities, the haughtiness of which she carries herself often leads the people around her to dismiss her skill and poke fun at her attitude, to which Outis takes great offense. Part of this adequacy shines through her deeply goal-driven nature, a trait which is emphasized in a few of her Identities, and the years-long journey she describes having taken prior to joining Limbus Company.[4]

   Outis has a noticeably sycophantic relationship with Dante, as she is quick to praise them for their leadership prowess and to defend them from any form of criticism. However, the majority of her compliments toward the manager also have a sense of back-handedness, and suggest she does not harbor any genuine good will towards them. Still, with time, Outis' tendency to obnoxiously commend Dante has grown far less common and defining of her character. By Miracle in District 20, she was willing to brazenly lecture Dante on the importance of staying alive, and later stubbornly refute them on Don Quixote's nature in Canto VII: The Dream Ending. Despite this, she has sternly expressed to Dante that they have not disappointed her yet.[5] Rather than making progress with them, the LCB only seems to frustrate Outis more as time passes. She expresses no interest in opening up to her coworkers, including the manager she used to spend so much time trying to impress. Her dislike of the others usually shows through admonishing them for reckless behavior, or pointing out their flaws and general stain on the group. She is particularly opposed to cowardice and the withholding of information.[6]

   Additionally, as her file points out, Outis maintains a cunning personality and a mysterious, classified past. Despite it also warning of potential treachery, Outis is consistently the most outspoken against traitors, sniffing out and chastising various back-stabbers across multiple different Cantos.[7] Likewise, Outis has a habit of suggesting that certain Sinners be removed from the company when she feels their behavior may pose a danger to Dante or the proceeding of their missions.

   In many ways, Outis behaves as if she were still on the lines of war. She often uses military terms as descriptors, and comments on her coworkers' performance as she would on a platoon of soldiers. While she frequently blames the LCB for being incompetent subordinates, she's not unwilling to fault superiors for failing their men; at times pointing to poor leadership for the failures of other factions.

   Although Outis' time on the battlefield has hardened her into a rigid and difficult person, it is that same experience which makes her such a steadfast, knowledgeable, and professional member of the team, determined to follow her journey to its conclusion.

   Sinclair Sinclair is a young man with a fair complexion, below average in height. He has golden eyes and wavy, short blonde hair.

   His primary work attire consists of a plain white shirt tucked into a black waist belt and is accompanied by black suspenders, black suit pants, and a long Limbus Company coat. He wears a red necktie and attached to his left suspender strap is his ID. Sinclair has black gloves and wears black oxfords at his feet.

   In battle, Sinclair wields a halberd that is approximately 180cm long and has "VOGEL" written on the blade.

   Personality Sinclair is a timid, relatively passive individual with a fear of fighting. His initial position within Limbus Company can be likened to a fish out of water, with Dante even questioning whether he'd joined of his own free will. Generally, Sinclair is portrayed as uncertain, nervous, and withdrawn, not liking the violent nature of the world nor wanting to participate in it. Due to a sheltered background in the Nest, Sinclair lacks the disillusionment the majority of the other Sinners possess, and tends to harbor unrealistic expectations about the City and its people as a result. While this often causes friction between himself and the others, particularly Outis, Sinclair remains headstrong in his more hopeful beliefs.

   This trait often shines in the form of Sinclair's extensive empathy. He advocates for mercy and kindness whenever possible, not only people, but also for creatures like animals and Abnormalities. This is particularly prominent in Canto V: The Evil Defining, and a frequent feature of the Sinners' Observation Logs. As such, he is characterized as a considerate person, and responds well to other charitable behavior. Sinclair is also often the one to speak up when one of his allies appears to feel down, and will frequently make an awkward effort to cheer them up or pivot the conversation. However, his observant, thoughtful nature is somewhat of a double-edged sword, as it lends to a bad habit of overthinking. Sinclair is shown to be sensitive and highly self-critical, reluctant to forgive himself for mistakes or put himself in positions where he can fail. A highly anxious and perfectionist approach to life often gives him a difficult time and causes his tendency to stutter.

   Canto III: The Unconfronting demonstrates Sinclair's rougher side, as someone capable of grudges, violence, and disdain. His strong sense of justice is shown to go both ways, as his relationship with Kromer reveals that Sinclair's generosity has exceptions, and that he is not opposed to outright despising corrupt individuals and ideologies. Through finding the strength to stand up to her, Sinclair becomes more self confident and goes on to adapt better to the City's cruelty. The other members of the LCB later point out that he's not as shaken as when they'd first met him. His experience with Kromer has also led Sinclair to develop a sense for underhanded charity, as seen with his accurate suspicions against the likes of Ahab and Cesara. Despite this, Sinclair's Canto portrays him as still having room to grow into himself moving forward.

   Sinclair continues to be a highly emotive Sinner, standing out among the group by offering unexpected sympathy or being the first to panic in stressful situations. His time with the company has helped negate his hesitance to stand up for what he believes in, and while this behavior regularly results in infighting among the LCB, it also shows Sinclair's determination to prevent tragedy caused by a fear of speaking his mind. He carries on through life with the same tenderness and good will he's always had, learning and growing as a person as he goes.

   Canto I: The Outcast Gregor relives his trauma as a mutated soldier in the Smoke War. He overcomes his lingering guilt and chooses to chart his own path instead of blindly following orders, officially manifesting his E.G.O

   Canto II: The Unloving Rodion uncovers the tragedy of her past Yurodivy community and confronts Kromer. She rejects Kromer's twisted ideology and reaffirms her own stance, officially obtaining the Golden Bough for the bus.

   Canto III: The Unconfronting Sinclair breaks through his sheltered naivety and fear of manipulation. He confronts the consequences of his actions and embraces his resolve, manifesting his own E.G.O.

   Canto IV: The Unchanging Yi Sang breaks free from the paralysis of his past and the N-Corp/K-Corp conflict. He stops romanticizing his alternate "mirror" selves, accepts his current reality, and manifests his E.G.O to move forward.

   Canto V: The Evil Defining Ishmael faces the psychological devastation of her whale hunting expedition and Ahab's manipulation. She rejects Ahab's obsessive vengeance, choosing to chart her own path and manifest her E.G.O.

   Canto VI: The Heartbreaking Heathcliff fights through a heartbreaking cycle of loss and the distortion of versions of Cathy. He defeats her Distortion and comes to terms with her erasing herself from everyone else's memories.

   Canto VII: The Dream Ending Don Quixote's delusion falls apart, and she is forced to confront her past. She claims the Golden Bough from her Father's body, while Sancho steps up to carry on the "Don Quixote" identity.

   Canto VIII: The Surrendered Witnessing concludes with Hong Lu breaking away from his family's oppressive competition to move forward with his companions

   Canto IX: The Unsevering in Limbus Company wraps up Ryōshū’s character chapter by revealing her past ties to the enigmatic House of Spiders and the tragic, tangled threads of her family.

   Appearance Charon is a short girl with grayish skin. Her droopy eyes are of a similar gray color and tend to have a vacant, emotionless look. Charon has silver hair with bangs and that covers her ears; in the back, it is tied into two thin, floor-length twintails.

   Charon wears grayish-green, church-like attire in the form of a ankle-length, long-sleeved dress and hat. Her hat is tall and brimless with silver rims; the lower rim splits and curls outwards to make room for a mural of a dark cross within a larger, silver cross with two dots below the cross's arms. Charon's dress has a high collar, a very low neckline, a layered skirt and rounded hems; she also wears a pleated white top with a cross mural on the chest, black boots with white laces, black gloves and two black belts with silver buckles.

   The hems and edges of the dress have silver lining; the outermost skirt parts in the middle and has geometric murals (the same as on her cuffs, lapels and bottom rim of her hat) running partway down its length whereas as the inner skirt has black outlining. The collar and hems of Charon's dress have the same cruciform mural as on her hat.

   Charon carries with her a black, square-type oar.

   Personality Charon is a laconic, quiet individual whose few words are blunt and brief. Charon simply seems to be in her own world, and repeatedly proves that she is neither shy nor scared of the Sinners. Similarly to Vergilius, Charon stays disconnected from the group and shows no interest in becoming close with them. Her stubborn refusal to learn how to use a map or navigate properly in Canto I: The Outcast is indicative of her unwavering nature and tendency to resist outside influence. Charon has somewhat of a childish personality, frequently using phrases such as "vroom-vroom" or "shimmy-shaky" and talking about Mephistopheles as if it were a living being. She also refers to herself exclusively in third person.

   At the beginning of Limbus Company, Charon has a pre-established relationship with her guardian Vergilius, who treats her as something of a daughter. Their relationship shows off both of their softer sides: Charon will act more childlike and needy with him, and Vergilius treats her with a surprising amount of affection. However, Charon seems to be missing some memories of the time they've spent together, and will sometimes contradict herself. For example, when Vergilius mentions that she used to hum when she was sad, she denies this, stating she only hums when happy. Though she comes off as relatively detached and carefree, it's clear that Charon has more going on underneath the surface. Vergilius would at one point remark to Dante that she is "going through a long tunnel with no end in sight".

   Entry settings▾

1 file

• .jsonotherspec 3.0Download

  66.0 KB · first seen Nov 10, 2026 · e459d9503121398f