#mwynn

The term “fal’Cie” itself deserves analysis. In the original japanese scripts, the kana for this term is ファルシ, “faruShi”, which is very nearly a correct transliteration of the english-language word “fallacy” — whose definition is of course “a mistaken belief or error in reasoning.” This will become incredibly important later when i discuss the nature of mythology and cult within the setting, but for now let it simply be noted that it is important that the term used for spirits in this world is nearly synonymous with the concept of “misconception.”

The related term “l’Cie” provides another avenue for analysis of the theonym. l’Cie, written ルシ, ruShi, are (formerly) human servants or slaves of fal’Cie. The term, especially in the original scripts, is pronounced almost exactly the same as the italian “luci”, or “light”, and when romanised, is quite clearly just the french word “ciel“ or “sky” with the last consonant shifted forward. Both of these concepts allude to the origin and master of all living fal’Cie and, indeed, all souls and Matter in the FNC, in the most exalted Lord of Light, Bhunivelze.

The fa- prefix that forms the word fal’Cie is then theorised by FNC fans to have its origins in the Latin famulus “servant,” in line with the origin of the “fa” note in solfège (Do-Re-Mi-Fa-So-La-Ti) from the Latin hymn Ut queant laxis. This would, fittingly, give us an etymology for the term fal’Cie that comes to something along the lines of “Servant of Light/Heaven.” Personally, i’m not sure how much merit this association actually has, convenient though it is, so i’d like to propose an alternate theory.

There is only one obvious association that the fal- prefix could have in west european languages. It has already been covered, indirectly, but bears discussing again: the word “fallacy” derives ultimately from the Latin fallere, “to deceive,” and the fal- stem in descendant romance languages still retains this association with falseness (french and italian, used in the “l’Cie” part of the word, are, of course, romance languages, which makes an italic etymology for fa(l)- the most likely). This would give “fal’Cie” the etymology “Heavenly Deception” or “Deceiving Light,” both of which could help elucidate the beings’ true natures.

It should be further noted that words in japanese containing the syllable シ (shi), which is a homonym for 死 “death,” often become associated with death by association: for example, the japanese numeral 四 “four,” also pronounced shi, is historically considered inauspicious.

[1] i am aware that in the brand change from Final Fantasy Versus XIII to Final Fantasy XV, the term “fal’Cie” was replaced with “Astral” as a term specific to the world of Eos, but insofar as these entities still exist as the crystalline descendants of the Fell Trickster Lindzei and the Hallowed Tyrant Pulse, the theonym “fal’Cie” is still correct, and i will use it when describing these entities in the context of the wider setting. The word “Astral” itself shares connotations with the celestial etymology of the original term, which hints at the Astrals’ true nature, even after the rebranding.

Pulse

Stout fashioned earth, that future might take root. — Analect I, “The Vanished Gods”

The first theonym i would like to address is the most simple. Pulse, the Terrestrial Potentate, is a male fal’Cie who is credited with shaping the physical world. Concretely, this means he is the entity responsible for the creation of, well, nearly everything that can be seen, touched, or otherwise mundanely sensed in the mortal realm.

His symbol is ten bidirectional prongs or arrows emanating from a central eye, five upwards, five downwards. In Final Fantasy XIII we find its analogue in the many-pronged double-headed spears of the Gran Pulsian l’Cie Oerba Yun-Fang, which makes it doubly clear that this symbol is supposed to be phallic, and possibly a symbol of fertility or rulership, an association strengthened by the fact that the Etro-venerators of the Kingdom of Lucis and the otherworldly leisure house Serendipity depict Hallowed Pulse as the King on their playing card sets, and give him the title “the Mighty Potentate.”

The origin of the english word “pulse” is Latin pulsus, both words to describe a beat, throb, flow or stroke. This highlights the deep connection that the Hallowed Pulse has to the mortal world and all parts of nature that lie within, as the source of and indicator for the terrestrial realm’s strength and vitality.

The etymology of pulsus can reveal more, however: pellere, to push, drive, affect, compel, expel, propel, repel, dispel, impel, strike, banish, or conquer. This helps us see the significance of the ten arrows as a symbol of force, power, domination, and divine kingship, and solidifies the Divine Pulse’s associations with violent rulership or tyranny. Pulse is very much the archetypal patriarch, and the domineering attitude of his descendant fal’Cie towards the mortals they live alongside reinforces this.

Lindzei

Sage turned mind's eye inward, seeking truth profound. — ibid.

The third and youngest offspring of Light, the etymology of “Lindzei” is much less transparent than her elder sibling’s, but by examining the Heavenly Ruler’s iconography and associations, it is possible to determine some likely candidates.

Analect II, titled “Lindzei’s Nest,” from Final Fantasy XIII, gives us the following from the perspective of a Gran Pulsian demagogue:

And lo, the viper Lindzei bore fangs into the pristine soil of our Gran Pulse; despoiled the land and from it crafted a cocoon both ghastly and unclean.

Lies spilled forth from the serpent's tongue: 'Within this shell lies paradise.' Men heard these lies and were seduced and led away.

O cursed are the fools who trust a snake and turn their backs upon the bounty of Pulse's hallowed land! For those who dwell in that cocoon are not Men, but slaves of the demon Lindzei.

Ye who honor Pulse: rise unto the heavens, and cast down the viper's nest!

The serpent imagery here would seem oddly out of place if it weren’t for the universal symbol of Lindzei used by his descendant fal’Cie and the mortal societies she patronises. Lindzei’s symbol is that of a statuesque feminine figure with exaggerated hips, arms, and a headdress, whose stylised silhouette strongly resembles a uterus and ovaries. However, seen from another angle, this extremely stylised shape also resembles the hood of a cobra. It is fitting that a fal’Cie who is so associated with duplicity and tricks would be represented by such a multifaceted symbol.

This gives us a clue to the origin of the first part of Lindzei’s name. The germanic stem lind-, seen in the english word “lindworm” (dragon) and in many other germanic words for “snake”, has its origin in the Old norse linnormr, ultimately deriving from Proto-germanic *linþaz “flexible.” This is by far and away the likeliest candidate for the etymology of the Fell Lindzei, and strengthens the already existing trickster archetype or Satanic associations the gender-ambiguous (yet highly feminised) fal’Cie possesses.

The other associations of the word *linþaz are also worth discussing. The english word “lithe” descends from *linþaz, and the concept of flexibility or bendsomeness is itself highly relevant to the nature of this uranic fal’Cie. Lindzei is, above anything else, noted for his “dark cunning,” her skill with words, and, in the history of the Etroites, is effectively considered the midwife of the mortal races, who cultivated the very first human civilisations after their Goddess’ death. Given that societies patronised by Lindzei’s offspring (e.g. Cocoon, Milites) tend towards being extremely technologically and politically advanced, as well as lacking in superstition or fear towards the natural world, this idea has significant merit.

Which brings me to the Linden tree. Originating again from *linþaz, the Linden in germanic cultures has associations with femininity, divine protection and fertility, as well as truth-seeking, jurisprudence and political deliberation in general. All these associations are relevant to Lindzei, who above all his siblings is associated with the political life of humanity, and to whose followers is the true salvator and protector of the mortal peoples from nature or Pulse’s violent tyranny.

This leaves only the suffix -zei, pronounced “zeɪ” as in “say”. In fact, the word “say” — being of ancient germanic origin in *sagjaną, whose descendants are frequently pronounced as “z” (e.g. german sagen, dutch zeggen (past singular zei)) — is my personal best guess as to the actual etymology. Lindzei being so strongly associated with language and society, it seemed natural to me that this would be alluded to in her name.

Overall, this would give an etymology for the theonym that comes to something along the lines of “Speaking Serpent,” very fitting for a Lucifer-esque trickster figure.

In Analect VIII of Final Fantasy XIII, Lindzei is given an additional epithet “the Succubus,” which strengthens the Trickster/Satanic archetype associations, and yet further feminises the fal’Cie who is so demonised by devotees of Hallowed Pulse.

In Serendipity and on Eos, playing cards depict Lindzei as the Jack, with a caption describing him as “the Solemn Ruler,” who is “commanding from his throne on high.” This solidifies the uranic and political associations that the fal’Cie has.

Etro

Fool desired naught, and soon was made one with it. — Analect I, “The Vanished Gods”

For the Infernal Goddess, who is barely acknowledged by most mortal cultures in the setting, the problem of naming is particularly pertinent. To most peoples, She is simply Death, the embodiment of their mortality — but to those of Her children (for all mortals are born from Her broken corpse) who venerate Her, She is also known as “Her Providence”. This epithet is in fact the only name by which She is known specifically in the version of Eos depicted in the rebranded Final Fantasy XV, where the remnants of Her crystalline soul provided the Lucis Caelum[2] dynasty with its magic.

The epithet “Providence” of course alludes to Her gift (or curse) of prophecy, and associations with probability/entropy — misfortune, and prudent preparation to stave it off in particular.

Given that the Crystal of Lucis is referred to as the soul of the planet Eos itself, and yet is also termed the “Light of Providence” by the Astrals, it is possible that “Eos” is in fact itself another epithet for Her Providence Etro. Eos, originally greek ἠώς, means “Dawn” and is also the name used for the hellenic thea of the Dawn herself. This word ultimately derives from the Proto-Indo-european *h₂éwsōs of the same meaning.

It may seem counterintuitive for a Goddess of the Underworld to be referred to as the Dawn personified, but it is worth noting that She is also associated with entropy and disaster and yet is still called Her Providence. As the Lady of Chaos, She may bring the dawn if She so chooses by drawing the darkness back into the Unseen Realm, and in fact this is the role She plays as the Queen of Valhalla and by protecting the people of Eos from the Starscourge (which is a manifestation of the Unseen Chaos).

Like many death deities in our world, it is possible that Her true name is so rarely uttered because of this fal’Cie’s deathly nature, and how tied She is to destruction, chaos and entropy in general — it is not uncommon for such terrible spirits to often be referred to with euphemisms to avoid invoking either their wrath or their destructive natures. Surprisingly, one thing both Pulsian and Lindzeian cultures agree on is their fear of or even hatred for this entity.

Unlike Her sibling fal’Cie, She is entirely absent from the mortal realm and Her influence can only be felt through the chthonic Unseen Realm which awaits Her children between death and rebirth. Also unlike Fell Lindzei and Hallowed Pulse, Her Providence bore no fal’Cie of Her own, as She was granted no divine gifts in life.

The concept of the Unseen Realm will be revisited later in this series, but for now let it simply be noted that She is depicted as the Queen on playing cards created by Her devotees, and referred to on the writing below the illustration as “the Veiled Goddess.” Personally, i believe this epithet refers to mourning veils, as well as the veil between the Visible and Unseen Realms which is Death — i.e., “Veiled Goddess” is a euphemistic manner of describing Her nature as the Dead and Death Goddess.

The actual name of this fal’Cie (if indeed She can be considered a fal’Cie alongside Her kin) is not even alluded to until the very, very, very end of the post-game in Final Fantasy XIII, and outside its two direct sequels Her name is even then seldom referenced except euphemistically. There are many possible reasons for this, but that’s a topic for another post.

Children of Hallowed Pulse scour earth, searching substance for the Door. Those of Fell Lindzei harvest souls, combing ether for the same. So have I seen.

The Door, once shut, was locked away, with despair its secret key; sacrifice, the one hope of seeing it unsealed.

When the twilight of the gods at last descends upon this world, what emerges from the unseeable expanse beyond that Door will be but music, and that devoid of words: the lamentations of the Goddess Etro, as She sobs Her song of grief.

— Analect XIII, “Fabula Nova Crystallis”

Etro, written エトロ (Etoro) in kana, has an extremely ambiguous etymology, as is noted by several fans of the setting. i will list what i consider to be the likeliest possibilities here, and describe the reasoning behind each as best i can.

Firstly is the french être ”to be,” triply relevant due to the presence of french and other italic languages in the FNC’s theonymy already; the nature of the Veiled Goddess Etro as mother to all human-kind, midwife of all re-born human souls, and as She who endows mortals with the formless heart that delineates us from our fal’Cie cousins; and, lastly, due to a possible connection with the etymology of Her cosmic antithesis, the Shining God Bhunivelze, which will be covered in the next section.

Second is the italian tetro “gloomy”/”grim,” which has obvious connections to Veiled Etro’s chthonic nature as She resides in the perpetual twilight of the Unseen Realm of Death.

Third, the Breton etre “betwixt,” whose etymology is entirely distinct yet is geographically proximate to the previous french. Veiled Etro, powerless in the world of Her birth, was  granted a power beyond any living fal’Cie in the Immortal Realm of Chaos, and used this power to grant this primordial force to Her mortal children in a perpetual cycle of death and rebirth, between one world and the other. Thus, the concept is relevant to Her nature.

Fourthly is the Proto-Indo-european *kʷetwóres “four,” an association that might be clearer when examining the numeral’s descendants, but which i am fond of as a potential etymology for Her Providence due to the association that the number has with death in japan, as discussed previously. The reconstructed *kʷetwóres becomes Latin quattuor, italian quattro, greek τετρα- (tetra-), Proto-balto-slavic *ketur-, and many others whose stems all resemble the name “Etro.”

Fifthly is the italian etra “heaven,” ultimately derived (via italian etere) from greek αἰθήρ (aether, transliterated into japanese kana as エーテル, “ēteru,” which is remarkably close to “Etoro”) which is a good way of describing the formless fluid nature of the Chaotic realm over which Her Providence Etro presides.

Last, but certainly not least, is the option that i personally find the likeliest: the Latin ceterus, or greek ἕτερος (heteros), both of which mean “other one,” both descended from the Proto-Indo-european suffix *-(e)teros — a suffix which means “one that is especially more than [prefix],” making fundamentally important word stems such as *ḱe- (here) or *sem- (one), into a general term for “that which is distinct from this.” This is incredibly important to understanding the Veiled Lady, who has largely been defined by being set apart from every other fal’Cie in Her lack of godliness, Her dominion over Chaos, Her cosmic opposition to the source of all living fal’Cie, and most notably, Her total absence in human culture or the majority of historical accounts concerning the world’s fal’Cie. Etro is the Great Other who is set apart from wider society, ostracised, scapegoated, and painted as a childish Fool or terrifying monster, regardless of cultural context or era.

Etro’s symbol is quite mysterious, as befits the Veiled Goddess. Similar to the etymology of Her name, there are many possible interpretations of Her sign.

The most obvious might be the image of a sprouting seed, which fits Her rebirth function and also matches the possible french etymology être.

The second is that of an eyeball cut in half longways, pointing downwards, which matches Her associations with prophecies and visions, as well as the world below. Etro’s Gate, the other of Her prominent symbols, which is the Door of Souls through which the dead and newly-reborn must pass to enter or exit the Unseen Realm, is also, notably, in the shape of an eye as seen from the front.

The silhouette also somewhat resembles an avian head viewed from the front, with the eyes near the base of the image, and this has immense importance to Her avian associations (the presence of (white — possibly swan) feathers is Her single most important omen/symbol after the Door of Souls). The softly-thinning curved prongs arguably resemble feathers themselves, or perhaps multiple sets of wings stretched upwards to the sky.

The fourth thing to note is the sphere of something fluid at the heart of whatever the image is depicting, which represents an organic flow of some kind, most likely the primordial Chaos that the Unseen Realm and the hearts of Her children are composed of. Within this dark fluid seems to be concealed some sort of staff or spike, which might represent a concealed blade or other weapon of some sort. Either way, this strengthens the already existing associations Her Providence has with concealment.

It might also possibly speak to the twin martial and spiritual functions, or, in DnD-esque Final Fantasy terms, physical and magical power — two things that are extremely relevant to Her Providence, who is so delighted by contests of violence. The fact that this dark fluid and the weapon concealed within are surrounded by the husk or wings/feathers of the symbol could either be an allusion to the Chaos that lies at the heart of every mortal (and Etro Herself), and the Unseen Chaos that Etro is charged with keeping at bay to preserve the Visible World.

[2] Note the connection to italian luci and french ciel here in the Latin Lucis Caelum, which are both referenced in the theonym “fal’Cie.”

Bhunivelze

Luminous lamented, for creation spiraled unto doom. — Analect I, “The Vanished Gods”

This supreme fal’Cie of light, “the god who rules all things,” and “holds the world in his palm” is in fact primarily referred to not by name, but simply as “God,” singular, monotheistic and absolute. He is also given many epithets related to light and the sun, such as “the Shining God,” or simply “Luminous.” All fal’Cie depicted in the setting, and thus, all Matter itself — everything that doesn’t stem from Chaos, to be clear — stem from this being’s great, near-absolute power as the self-made centre of all existence.

But his etymology is much less transparent than his realm. There are only a few narrow possibilities i have been able to find, and they are even then only tentative, so of the five entities discussed here i am most likely to revisit the Shining One at a later date.

“Bhuni-” may have an origin in the Latin bonus “good”/”right”, whose romance-language descendants often mutated the word into bun- stem words, all associated with correct morality. This has a credible link to Shining Bhunivelze’s associations with purification and correct action.

The second option i find more credible, myself: Proto-Indo-european *bʰuH- “to become”[3], which becomes Proto-germanic *beuną “to become” (from whence the english “be”/”been”), Kurdish bûn “to be,” Sanskrit भूमन्  (bhū́man) “world,” भू (bhū́) “earth”/”matter”/”world,” and particularly भूमि (bhū́mi) “limit”/”extent”/”foundation”/”earth.” As Bhunivelze is the foundation of everything that can be seen in the material realm, and possesses absolute control over all visible Matter, his name being to do with the world itself, or the concept of limits/extents, or even matter/substance itself, would be extremely fitting.

The concept of Bhūmi is particularly relevant. The word represents the earth element in Hinduism, and is embodied in the devi of the same name who is analogous to “Mother Earth” and is also known as Prithvi; however, the term Bhūmi is used differently in Mahayana Buddhism. Within Mahayana-thought, the bhūmis are the ten[4] stages of attainment that must be passed in order to reach bodhi, or enlightenment. This concept is most certainly relevant to the self-declared most enlightened being in all creation.

“-velze” requires some more work. In katakana, his name is written ブーニベル (Būniberuze), which could help with finding more candidates.

Firstly, the dutch/Middle german vels(e) (plural velzen) “rock” — it is arguably a stretch, but i think it bears mentioning due to the fact that the Lord Bhunivelze does in fact have associations with stone/mineral — not just in that he is the god of all solid Matter (something that i will discuss later in the series), but that he is associated with crystalline structures in particular. In Final Fantasy XIII-2, we are given the following Oracle of Etro, which is the first time the Shining One is actually referred to by name:

In the physical world, it contains within its form endless chaos. By the will of the deities, it gives birth to all living things. I speak of crystal.

The eternal dream world of the crystal lies within the Unseen World. Even the gods long to find their way to that place. In all crystal, the heart that shines most brightly is called Bhunivelze.

— “Bhunivelze’s Sleep,” Yeul’s Confessions

With Proto-germanic *beuną this would give Bhunivelze an approximate etymology of “Stone Coming Into Being,” “Stone Appearing,” or “Growing Stone.”

Second is the Hindi वली (valī) “lord”/”saint”, which is even more of a stretch than vels to be honest, but is worth mentioning. This would give him an etymology akin to “Lord of the Universe.”

The last guess i have for this etymology is the english “verse,” from Latin versus, based instead on the original japanese pronunciation. The reason i think this is plausible is due to the Shining One’s connections to the Biblical God, whose words speak creation into being. This would, with Latin bonus or Proto-Indo-european *bʰuH-, give the Shining One an etymology something along the lines of “Good Verse” or “Verse Coming Into Being,” both of which are quite fitting.

We can go one step further from “verse,” however: If we take Proto-Indo-european *bʰuH-, and the original japanese pronunciation, we can form Bhu-niverse, which is to say, the english word “universe” (ultimately derived from Latin ūniversus, “turned into one”) — a lot more plausible given the numerous Sanskrit bhū́- stem words listed above meaning “entire world.” This is the likeliest etymology for Shining Bhunivelze, in my opinion, and gives us a final meaning of “the World Coming Into Being.” This concept is incredibly relevant to the nature of Bhunivelze and Matter in general in Fabula Nova Crystallis, and will be discussed at length later on.

[3] Here the possible connection to the speculated french etymology être for Etro, also “to be,” which would highlight their shared cosmic significance as the ultimate light and dark principles.

[4] The number ten is incredibly important to the Shining One, who bears ten wings in his full manifestation and whose Latin-alphabet name (not coincidentally, the Latin alphabet is sacred to him) is composed of ten characters.

Mwynn

Maker forged fal'Cie, from fragments Maker's own. — Analect I, “The Vanished Gods”

Barely referred to except by the hints of hints even in the most hidden parts of the Fabula Nova Crystallis video-games, the majority of our knowledge about this most ancient of deities comes from the 2011 Square Enix video describing the central mythology of the entire setting.

Mwyn is a Welsh word with a dual meaning, the more common of which is neglected by FNC fans, so i will cover the less common first.

Mwyn is an adjective meaning mild, tender or gentle, which alludes to the Deepest Mwynn’s role as Mother to all creation, and particularly in raising Her offspring Shining Bhunivelze (in the Mortal Realm) and Veiled Etro (in the Unseen Realm) and instructing them on their respective cosmic positions as the wellspring of all Matter and the shepherd of all Chaos. Unfortunately, the etymology of this word is unclear, but it might possibly originate from Proto-Indo-european *men- “to think.”

Mwyn also means “ore” or “mineral.” Similar to the hypothetical bhū́mi and vels etymology for the Shining One Bhunivelze, this is relevant to our Deepest Mother Mwynn as the ancestral crystal of every soul and heart and speck of Matter that exists, as far as can be known. The etymology for this word is not much better-attested, though likely ultimately descends from Proto-Celtic *mēnis, meaning the same thing, and ultimately from Proto-Indo-european *(s)mēy(H)- “to cut”/”to hew.” The concept of cutting/hewing crystal is central to the almost parthenogenesis-like method by which fal’Cie (and, indeed, the ancestral mortals born from the Veiled Goddess Etro’s blood) are created, so i ultimately find both definitions of mwyn to be relevant here.

Unfortunately, there is only one depiction of the Deepest Mother available for analysis, but unlike Her chthonic daughter, who is frequently depicted badly wounded, sleeping/comatose or dying, She is depicted with Her body and all Her limbs intact; and within a great tapering double helix, a great disc — likely the universe — lies beneath the soles of her feet. This symbol is ultimately the logo used for the Fabula Nova Crystallis setting as a whole, and it warms my heart to know this long-forgotten Goddess receives some recognition in this form.

In time the gods departed, leaving all by their hands wrought.

Fal'Cie were as Man forsaken, orphans of Maker absconded.

— Analect I, “The Vanished Gods”