#simulacra

This is taken from the most recent patch of Limbus Company.

So for context I have a theory//many notes which I will make a better post about at some point later but.

In the previous, this cg was different in the theatre and in canto story, the latter having a CG that closer matches the description of the scene given by Dante.

Interestingly enough, the cg that has been kept (and is now present across both theatre and story) is the one that directly contradicts the dialogue of the same scene, the spiral clearly being present in Ryoshu's hands.

This scene has also changed to be the same across both, with an alternate cg having the entire blade (notably the black section) be invisible.

Something that I do want to note is the fact that the sword, rather the edge, is transparent, most visible in the second cg of this scene

where in details of Yoru's outfit continue clearly past the edge of the blade.

Following this scene, we are told that Yoru indeed has no tongue

something that is seemingly a false or created memory

This is two times that either Dante or Ryoshu's testimony have been directly contradicted by either themselves, another character, or a CG .

However,

This entire canto--the nursefathers, those who are in the know--has been repeatedly questioning the idea of what is and is not real--rather than objective reality

alongside the fact that Ryoshu, for lack of a better term, knows nothing. Too that her direct testimony or "truths" have been contradicted, notably, her shorn memories, and the belief that Araya was hidden

Now is the seasonal time for me to go off the rails with looking into various ideas, and the most notable, being that of the "Truth" of free will.

The fact that they always knew where Ryoshu hid Araya, the fact that the House of Spiders is centred around the Index, the fact that winning our fight against Sora was--quite literally--fated to happen, as seen by her unique defeat screen.

reading "Fate lost".

and finally, the fact that the defiance of the will of her Fathers('s) was not in fact of her own will, but of theirs.

This mirrors an argument of Free Will in genesis. If free will is what god had planned for humanity, in eating the fruit, humanity has gone about as God had determined and planned, therefore eating the fruit--granting free will--is proof of a lack thereof.

In hiding her daughter, in running away from home, Ryoshu attempts to subvert or sever the fate that she is born into; This expression of her free will is the will of her Father(s)'s which in turn means that her expression of free will, though effectively real, is false.

This leads back to my favourite of the Nursefathers (and not just because I'm basically a Ring member (read my body horror <- Link goes here Carmen don't forget)), The Ring finger, who uses a particular phrase.

Simulacra.

Simulacra is an odd term--quite possibly, this term is simply being used because of it being the Ringfather--one that relates back to the idea of copies and impressions of reality.

Ryoshu's free will, or will in itself, is a copy of the will of her Father's(s), which in turn is a reflection (or imitation) of the Will of the City, or "The way that things are//will be" so to say. The Will of the City is a copy of the Will of those who live inside of it, and the Will of those who reside is a copy of the City's Will--Neither is the original, and to attempt to restore an original is worthless. Both are copies that have departed from their original--copies of each other, neither having an original--that exist only as ideals.

if a copy is to be made of a copy to begin with, or if that copy is created of something that does not have an original--or a copy is created that is truly indistinguishable from the original should it exist--the copy in turn becomes the concept.

Read Simulacra and Simulation (Also bully some larger content creators into reading it on my behalf (the bullying behalf; I've read it and am re-reading it)) because it **MIGHT** come back to be relevant in the following... week. Or, better yet, read it following the Canto in the downtime between this and the next, even if it doesn't turn out to be that relevant, it would still be good reading.

Mr Robot, 2015