#lore analysis

Well, that escalated quickly. Sorry for low quality ✌️

Anyways, I love batshit insane, bastard Thin Man. It's my favorite interpretation of him, and is actually what I believe him to be as in Little Nightmares 2. Let me explain.

At first, I liked the interpretation of the Thin Man wanting to save himself from repeating the same mistakes, only to be trapped in a time loop. This paradox is cool, but that's too hopeful for a game like Little Nightmares.

The world of LN is twisted, and cruel. Innocents turned guilty. Victims becoming abusers. Regular people becoming monsters. Children becoming Adults. And I think... The Thin Man is no exception to this rule. I think, he is most definitely a bastardized version of Mono.

A twisted view into what kind of monster Mono becomes, if he doesn't let go of his grievances; which, spoiler alert--he doesn't.

That older, more selfish version of the little paperbag boy who becomes so obsessed after his betrayal, that he was willing to kill his younger self for even trying to take his "friend" away from him. Similar to The Lady who hungers like her Guests', I think he is under the influence of the transmission's broadcasts like his own Viewers as well, in order to distract himself from the betrayal that happened to him.

After all, how do you sit in a chair for so long? The answer is by being distracted and preoccupied, of course. I think he doesn't allow himself to think about it entirely, because it'd make him spiral badly.

And when Mono finally opens the door to his room, that distraction is interrupted.

And while yes, I believe that he isn't even known to be real by the residents of the Pale City, I think he still influences them somewhat via the Transmission, and he is the blueprint on what makes every adult so monstrous and so one-track minded. His influence is just THAT strong.

Besides, he is the big bad of LN 2. You should feel sorry for the circumstances that lead him to why he chooses to remain in his seat, but not for the atrocities he commits because he's an adult that's purely powered by his instincts: which is to retrieve his long lost companion at all costs. Which, he doesn't even succeed at, seeing as to how he keeps snagging the wrong kid every damn cycle.

It's this neglectful nature that spurs on the generational abuse, and in turn, keeps the cycle going. Getting physical isn't the reason abuse exists, it's always been neglect; Physical only comes next either on it's own, or an after effect of neglect. Which is also why I've began to dislike the idea that The Thin Man has good intentions, the moment he is "set free" from his prison.

You can't expect a person to stay sane and clean after spending a lifetime in the belly of a huge beast that's constantly consuming him. And that, I think, is the case of The Thin Man; He is no longer the sweet little boy who just wants to keep his friend safe as much as possible, these intentions of his have been twisted to the utmost extent that he becomes obsessed. Possessive. Isolating.

Keeping his friend safe is no longer the priority, it's just keeping his friend by his side for as long as he can, whether she wants to or not.

He is a paradox caused by his own actions, and his inability to break free from this toxic mindset. After all, the adults of LN are all monsters in their own way. And the most normal looking ones? They're typically the most depraved.

Design Elements, Main Objectives

Design has four basic elements: Colour, Line, Shape, and Texture. In fashion, these elements are considered when creating clothes to communicate a "look" or message that they want to convey to the viewer.

For the Foundation, they have three objectives to represent in their uniform: Order, Balance, and Unity. We'll go through each element and how it achieves these objectives here.

Keep in mind that the Foundation is also heavily chess-themed, which will play a major role in the design choices of the uniforms. (This will be expanded later in regards to shapes)

Colour

The Foundation follows a monochrome palette, using black, white, and gray. Additionally, they use gold as a secondary color—a highlight.

It's a simple approach, the palette easily showcases balance, strength, power, and order. Gold adds a layer of prestige, and amplifies the themes of power.

Some characters that hold more significant roles (whether in story or in the organization), they'll use colors such as red, brown (i.e. the coats), green, and blue; they're often muted but noticeable. They hold some degree of symbolism too, but they're more personal to the characters themselves.

Line

Most if not all of the Foundation staff's uniforms are tailored to be straight. Straight linings, vertical lines, long jackets, etc. Sharp edges are also commonly seen, which make a more rigid but clean look.

All of these combined communicate order, strength, and resolve. The vertical lines also places emphasis on height, making the wearers seem taller and slimmer.

With these lines they also create pleats and crisscrosses. While pleats—found in masks and women's uniforms—are for sophistication, crisscrosses are found in laces. According to Ms. Moissan's description for her shoes, they indicate obedience.

Let's compare this to the SPDM uniforms. They primarily focus on using curved lines to present the students' soft innocence and youth.

Though, the lines are more highlighted in their undershirts as well as sharp cuffs in their sleeves and collars. They look more like angels or fledglings in that sense.

Shape

The uniforms uses geometric elements, primarily using squares, rectangles, and triangles. Squares and rectangles will represent strength and balance, and triangles addresses a hierarchy of power.

All of the characters' silhouettes will look imposing, stable, reliant, and strong. Razor here is a primary example. They can also express symmetry, but mainly with NPCs like Bernard and Pedra.

The brooch of the Foundation additionally possesses these 3 shapes. Despite it being difficult to discern what it exactly is, it's still recognizable.

Furthermore, the Foundation has two distinctive symbols that are integrated into their design, which are the checkered pattern and the stars. You'll see them on every Foundation member.

These two things are the trademark of the Foundation. It highlights themes of duality and guidance, so it can be said that the Foundation wants to serve to the people. It's similar to what I said two years prior, "The Foundation prides itself of being the beacon of balance between humans and arcanists."

This checkered pattern is also commonly associated with chess, and it's not the only feature that indicates it either. The Foundation uniforms tend to apply certain clothing choices that push that theme—from capes, pointed masks and round helmets, bishop sleeves, and even the occasional crown prints on collars. Overall, this chess theme easily captures the overall idea of the Foundation's system, hierarchy, ethics, and practices. That's where the uniform really sells on the objectives of their uniforms.

Texture

There isn't a lot to say about texture since this is still a digitally illustrated game, but it's still very much present! Given the rendering of the uniforms, they appear as very matte. This allows other accessories or materials to really stand out, such as metallic or polished surfaces (e.g. leather/rubber). The textures here mark down on professionalism and practicality while also ensuring the wearer's comfort, which fits all of the characters' line of work.

Reverse: 1999 mixes realistic painting techniques with the shapes and forms of the "anime" style, creating a semi-realistic art style that doesn't sacrifice its animated aspects (In other words, it doesn't take away the fact that it's still a gacha game lol). This element of design heavily benefits from it, with the art rendering allowing players to really see and feel the textures of the uniforms.

Afterthoughts

These uniforms are honestly an amazing refresher on fashion designs that are marketed in the gacha atmosphere, especially with fashion designs for in-game factions. The Foundation easily settles its uniforms as a very recognizable staple, even if our playable characters from that place wear garments that deviate from the standard. It's simple, straightforward, and realistic.

That's makes the characters feel very grounded; the Foundation staff look like people you would see in a corporate office every day, and that's thanks to their uniforms looking and feeling like actual clothes. This alone achieves the objectives mentioned earlier.

While I'm not a fashion student myself, design comes easy to creatives. There's more that can be said about these designs when you look at them in the lens of character design. I'll have some personal gripes, I'll have some personal favorites from these design choices.

But overall, the Foundation's fashion design does a good job at communicating its purpose through their characters. I hope that this and my earlier analysis can help people who want to analyze the Foundation's overall design or create Foundation-associated OCs.

Before reading this quote I had already often thought about why excessive alcohol was hailed as THE epitome of freedom when the results of intoxication are warped perception, loss of reality, and destruction when consumed too much too long (and let's be real, Mondstadters consume too much). When drinking too much, wine is used as an escapist tool to avoid pain (that will catch up to you after its effect wears off) but can never actually solve the problem of its origin.

Warped perception, loss of reality, destruction. That sounds pretty much like the abyss. It reminds me of OG Durin who was captured in the warped reality of his dream while wreaking havoc without realising it.

It poses the question if Mondstadt is not actually free but just trapped in a "dream" of happiness while actually being corrupted/numbed/bewitched by wine/abyss without their being aware of it. And they can only gain true freedom if they let go/break the curse of wine/the abyss.

(Perhaps a measure by the PO/the shards to keep them in check. Or an unwanted result by Venti somehow using abyssal power/becoming corrupted?)

All in all it feels like a strong foil to Khaenri'ah.

(A variation of this is that they have been poisoned with wine (and on some narrative level by the abyss?) to keep the harsh truth of Celestia's rule over them from them by "intoxicating" them with false happiness. So the wine is more of a means to an end which keeps them complacent. And in order to defeat Celestia they need to forsake this false happiness.)

And it's very interesting how different characters are connected to wine:

Kaeya who is most likely connected to the abyss in *some* way drinks excessive alcohol, most likely as a coping mechanism and his capability as a knight is canonically impaired by it. Metaphorically you could say the abyss threatens his ability to defend Mondstadt’s safety and freedom. Even though he pretends everything is fine you could say the wine corrupts him - like the abyss would.

I think it’s also noteworthy that his favourite drink is (based on) dandelion wine and has a time-based name: death after noon. I’m sure this also has a deeper meaning, esp. since Kaeya is thematically connected to time, fate *and* death (his cape/constellation looks like Ronova’s wings). Death after the sun has reached its highest point in its cyclical journey. Sun.. sun chariot… Nibelung… I’m sure there’s a connection somewhere.

As for dandelions I think it could imply that he seeks (false) solace particularly in the illusion of freedom (also expressed in his believe that he has left his fate behind him but it’s gonna catch up – just like the aforementioned pain you try to drink away catches up after you sober up again) but also perhaps in something “angelic” since I believe dandelions are implied metaphors for angels and there is a theory that Kaeya himself has angel heritage. So perhaps despite him hating and renouncing Celestia he still clings to some “higher” power, the angels that sided with humans and tried to bring them freedom. But just like the angels “fell” – got “corrupted” – when they were degraded into seelies, the degraded form of dandelions – dandelion alcohol/wine – can’t save him.

On the other hand dandelions in its original form might still be able to guide humans to true freedom which is why Jean as the “human embodiment” of a dandelion (and also the dandelion *knight*, the angel that *fights* for freedom) might be an important anchor for him.

Diluc doesn't drink wine at all but is the biggest supplier of wine for Mondstadt and its economic pillar. He doesn't want to expose himself to the risks that wine consumption brings but profits massively from selling it to the people (of Mond and beyond) - in turn making him so powerful he largely controls Mondstadt as the"uncrowned king of Mondstadt", a kind of shadow king...you could say a "vinster king" (as vinster sounds very similar to the German word "finster" which means dark).

It's like he supplies them with "forbidden knowledge" while being aware of the danger it poses, avoiding it himself. His relationship seems ambivalent because on the one hand he tries to make non-alcoholic drinks more popular but also doesn't seem to be willing to dismantle his empire. Perhaps because he knows Mondstadt's power/existence is tied to it. It's like a deal with the devil he inherited. What keeps you alive is also what poisons you and makes you sick. So he is stuck in this ethical dilemma.

He may not have drunk much wine before Crepus' death as he was a teen back then but via his lineage and the aftermath of Crepus' death triggered by the events surrounding the delusion you could say he was corrupted by "wine" (metaphorically) in the past (and since he used the delusion himself he might quite literally have been corrupted by the abyss) and now lives with the consequences.

(Crepus' death also marked the beginning of Kaeya drinking so you could say he was *also* corrupted.)

Crepus really feels like Nibelung in this context, a well-meaning father who himself was not powerful enough. So he turned to the abyss but got so corrupted his own offspring had to kill him, corrupting his successors in the process.

Then there is Jean who according to Diona doesn't drink either (yes, she has been shown with beer in an Oktoberfest art but I'll prioritise the ingame text here) and doesn't have any major ties to wine either.

In fact, she tries to establish another economic pillar (her KoF alchemy business) to make Mondstadt less dependant on wine. It also puts her in direct competition with Diluc in terms of economic power and influence over Mondstadt.

Metaphorically this looks like her trying to combat the influence of the abyss via alchemy and push back its hegemonic control of Mondstadt.

(On that note: I need to know how her alchemy business is doing.)

She is also spiritually connected to Venti, both as the head of the KoF but also because of Venessa and Gunnhildr. So it's interesting that Venti's "battle maiden" and potential human executor of his revolution doesn't drink whereas he does. It's as if he picked a proxy to carry out his plans that is "pure"/not corrupted by the abyss because he for some reason consumes/has to consume? abyssal power.