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VnC timeline

I’m mostly an artist in this fandom, but sometimes inspiration strikes and leads me in completely weird directions, such as… figuring out dates of every event in VnC!

With the invaluable help of @retracexcviii, who has created timelines for VnC events before (thank you forever and ever💜) and helped me to avoid some really silly mistakes, I’ve done… this monstrosity of a text, which includes every important canon event I could think of.

— All events are distributed by centuries, starting with XVI and finishing with XIX, and after listing all the events of each century I will put screens of the same texts with correlating manga pages. Additionally, there are numbers of chapters for most of the events.

— Some dates are marked with ~, which means that this date could fluctuate a bit (could be a bit earlier or later). 

— Events that I couldn’t put anywhere specifically are in “UNKNOWN MOMENT” category. I still tried to differentiate them between centuries.

Alright, here we go! 

XVI CENTURY

1493-1500 — creation of an engraving; plague, cataclysms, Paracelsius is looking for a way to save humanity.

(7)

~ 1500 — Babel. The awakening of Faustina, who is considered to be the first vampire.

(19)

1500-1550 — the awakening of Teacher and Machina as vampires. Machina might be younger than Teacher. Creation (awakening?) of Luna? The awakening of Teacher and the creation of Luna — probably around the same time?

(19)

~ 1550-1560 — Chloe is born. She becomes a vampire at the age of 4.

(31)

Between 1550-1600 — Ruthven becomes a vampire. He is currently more that 200 years old, and it’s unknown whether he was born as a vampire or awaken or even when exactly his life began. But looks like an adult in 1650, so he was most likely alive in 1600. He is also younger than Chloe: when she calls him a “child”, he doesn’t correct her.

(31)

Presumable order of awakening of the oldest vampires: 

Faustina —> Teacher —> Machina —> Chloe —> Ruthven. 

When exactly was Luna born? Does Kresnik exist in this century?

XVII CENTURY

~ 1650 — the war between humans and vampires. Chloe meets Ruthven.

(31)

~ 1665-1669 — Jeanne awakens in a flask in front of an unknown person. She leaves the flask. Later, she is adopted by Eric and Louise, Ruthven's students.

(39)

~ 1669 — Chloe meets Jeanne. Ruthven tries to establish peace between humans and vampires.

(31, 32)

~ 1672 — (3 years after Chloe and Jeanne met, 30 years before the end of the war) Ruthven loses his students, his eye is injured; Jeanne becomes the Bourreau of the Senate; Chloe meets Machina; Machina tells about the fate of Ruthven and Jeanne. Almost immediately, Naenia appears for the first time (indicating that Faustina is already a cursebearer); Ruthven visits Chloe for the last time, they part as enemies. If Naenia exists, does Charlatan exist as well?

(32, 33)

UNKNOWN MOMENT BEFORE 1672 — Faustina becomes a cursebearer.

(33)

UNKNOWN MOMENT BEFORE 1672 — Luna creates the Books of Vanitas, which are considered to be the reason for the appearance of the Malnomen. Could the books be created to cure the cursebearers in the first place? Most likely, this happened early in the timeline, since there is a whole folklore about it. Even earlier, someone gave Luna the name " Vanitas", which is also reflected in the title of the books.

(48, 49)

XVIII CENTURY

Before 1702 — Ruthven joins the Oriflamme family, becomes one of the Queen's advisors and a senator. The Queen is still alive, but she is also active as Naenia. Luna sees Jeanne in battle.

(33)

1702 — the end of the war. According to the pact, vampires move to Altus and sell Astermite to humans in exchange for other goods.

(33, 59)

1764 — Chloe spends more than 50 years alone. Death of village girl Jeanne, who speculated to be killed by a Beast, but was a victim of radical anti-vampire group. On the same day, she is visited by Naenia and then meets Jean-Jacques. The Beast conspiracy continues.

(36, 33)

1767 — Chloe witnesses one of the murders and reveals her vampiric powers when she defends herself. After that, the general belief is that Chloe is the master of the mysterious nonexistent Beast and both are the culprits. Her human family is killed. A few days later the Chasseurs (Vampire eradication fraction?) and Ruthven come to Gévaudan. Jean-Jacques becomes a Cursebearer to protect Chloe. Jeanne, now the Hellfire Witch, finds Chloe. Chloe tries to jump off a cliff, but Naenia comes to her again. Chloe also becomes the Cursebearer. Jeanne kills other hunters, but Ruthven saves her, makes her give him an oath (she tries to resist) and puts her in deep sleep. The Beast stops attacks. Conspiracy between Ruthven and the Chasseurs presumably continues.

(35, 36, 37, 43, 39)

UNKNOWN MOMENT BETWEEN 1672-1702 — Luna witnesses Jeanne in a fight with vampires. Later, after 1767, Luna also knew about Jeanne’s sleep.

(4)

XIX CENTURY

1861 — Olivier is born. 

1862 — Roland is born.

1868 — Dominique and Louis are born. Teacher takes Louis.

(46)

1869 — Noé is born.

1870 — Vanitas is born; Dante is born.

1873 — Astolfo is born.

~ 1875 — Olivier meets Roland.

(58)

~ 1874-1875 — an elderly couple finds Noé. They live together for some time.

(9)

~ 1876 — Mikhail is born. Luca is probably born around the same time or a bit later.

~ 1876-1877 — Noé is kidnapped and ends up in a black market, gets an eye injury and is bought by Teacher. Noé meets Domi and Louis (their proportions are quite similar to Astolfo in his childhood flashbacks, where he is presumed to be around 8 years old, but Noé looks younger, so here I’m assuming Noé and the twins could be 6-7 or 7-8 years old). // Probably around the same time, Dante is abandoned by unknown woman. He meets Johann and Riche. Absence of his glasses and bandages indicate that there could be at least a few weeks or months between the two events. 

(9, 61, 62)

~ before 1881 — Vanitas is orphaned and placed under the care of the Church as a potential future Chasseur, but is kidnapped by Moreau for secret experiments.

(49)

1881 — sketch of the Tower of the Sun by Amédée Sébillot, electrical engineer. He worked with engineer Jules Bourdais on this project, but in fact the tower was unrealizable. If the monument designed by Sébillot was real, it would have collapsed under its own weight.

Before or early 1881 — Roland and Olivier move to Paris. Roland is injured, but it’s unknown how it happened. Olivier’s hairstyle may indicate that it happened earlier than the time when Roland almost died. 

(46.5)

~ 1881 — Roland (vice-captain) is injured while defending Olivier. Olivier was injured too. // Misha (who looks about 5 years old??) meets Roland, but later ends up in Moreau's laboratory, where Vanitas is already located.

(47)

~ 1881-1882 — Astolfo secretly meets a vampire. When Astolfo befriends Olivier, he tells him about this secret. The death of the Granatum family. Astolfo meets Carl, Roland (his injuries, which were still visible when he met Misha, have already healed) and other Paladins. Olivier definitely had a title of Obsidian by the time of Granatums’ murder, so some time passes between the day Astolfo met a vampire and the day of Granatums’ murder. 

(48, 58) 

~ 1882-1883 1881-1882* — Louis dies. Domi learns the truth about her and Louis being twins. // Luna saves Misha and Vanitas when they destroy Moreau's lab*. Moreau joins the Charlatan. Misha agrees to be bitten by Luna. Later, Luna loses their true name; Misha loses their arm; Luna dies by Vanitas’s hands. Vanitas and Misha inherit the Books, but are separated, and Teacher takes Misha.

*@torterrachampion mentioned in reblog that Noé is officially 12 years old when Louis’s died ang provided an image from a booklet for the Blu-ray of the anime. I completely missed that fact, so thank you for bringing it up! I’ve decided to change the time range for this event to 1881-1882 for better accuracy.

*It is likely that Noé witnessed Louis’s death around the same time Vanitas and Misha were saved by Luna; bonus card features Noé in the same outfit as on the day of Louis’s death together with Vanitas dressed in his lab clothes. 1881 or 1882 is a possible year for Louis’s death and salvation of Vanitas and Misha. In this scenario Luna dies later than Louis.

(9, 46, 51, * bonus card)

1887 — possible start of construction of the Tower of the Sun (in reality, the construction of the Eiffel Tower started on 28 January 1887).

~ 1887-1888 — Astolfo and Roland have a conflict.

(59)

UNKNOWN MOMENT (after 1702?) BEFORE 1888 — Veronica and Loki, along with Machina, become Beastias, and Antoine enters the Senate. How old are Veronica, Antione and Loki?

UNKNOWN MOMENT (not earlier than 12 years?*) BEFORE 1888 — “death” of Faustina at the hands of her Beasts and Rusven. Luka replaces her on the throne, but the Senate controls him. Strangely, he isn’t even officially presented yet. It’s unknown how old he was when he assumed his current position, but it’s unlikely that the Senate and Beastias would “kill” the Queen without choosing a suitable successor first.

*Alternatively, it could happen earlier, if Loki, Luca’s older brother, was supposed to inherit the throne prior to becoming a cursebearer as well, but was replaced with Luca. But this is a pure speculation.

(38, 13)

UNKNOWN MOMENT BEFORE 1874 — Archivists disappear. It’s unknown whether there are any living Archivists other than Machina and Noé in the present. It’s also unknown why Noe thinks about blood when he thinks about his clan.

(57)

UNKNOWN MOMENT BETWEEN 1871-1888 — Vanitas meets Teacher, or Saint—Germain, who at that time had a different appearance. Were Luna alive at that moment?

(55)

UNKNOWN MOMENT BEFORE 1888 — Machina becomes patron of the dhampires and creates her network of information brokers.

(62)

~ 1888 (before current events) — Astolfo and Roland become Paladins. // 6 month before — Teacher goes somewhere. // 1 month before — Jeanne awakens from her sleep.

(13, 4)

1888 — Teacher asks Noé to witness the story of the Book of Vanitas via correspondence. Current events begin.

(1, 52)

Possible future event — The Exposition Universelle of 1889, which was held in Paris, 5 May to 31 October. The Tower of Sun (instead of Eiffel Tower in VnC universe) was created for this fair. However, at least some of the buildings were ruined.

(44, 20.5, 46, 55)

That’s it for now! I think I will update this post in future when we have enough new information to define unclear dates and add new details and whatnot~

The Devil, the Scientist, and the Most Beautiful Creature 

This is my attempt to analyze the connection between the Teacher, Faustina and Luna through the lenses of Goethe’s “Faust” and determine the origins of the “cursed moon twins”. There’s also alchemy.

This text will consist of four parts. And yes. It is long. Reader, you are warned.

Enjoy!

PART ONE: PARACELSUS, THE FATHER OF BABEL 

What do we know about Paracelsus:  

Lived in 15-16 centuries; 

Was a scientist;  

His actions led to the Babel Incident. 

The real world Paracelsus was “the father of toxicology”, our Paracelsus is The Shapeless One. Alright, this is a bold statement, but why not. 

The twin six-pointed stars above Paracelsus head (Ch. 7) have always stood out to me. Guess who else has exactly same two six-pointed stars as well? Teacher/Saint Germain (Ch. 55)! 

Some other similar motives: 

Paracelsus’ face is always obscured, we never see his eyes, only vague shadows. Teacher’s face was always drawn without eyes before the Big Reveal Moment in Ch. 55. He’s also known to frequently change his name and appearance, to the point where it’s not always possible to determine whether one’ve met him before (Vanitas has met him in another form, but has no idea when and how it happened). 

Paracelsus wanted to save the world from sufferings and guide people to happiness (Ch. 7). He also assembled a team of scientists to conduct a research. Teacher/Saint Germain is referred to as savior by Misha, and he also saved Noé from human traffickers. He also claims his ultimate goal is world peace (Ch. 61). But the goal is shared with someone (he says “our” wish specifically). 

And honestly, their vibes just fit so well. Paracelsus and Saint Germain, two mysterious figures who are renowned scientists and alchemists with ambiguous lore — why wouldn’t they be the same person?  

Since I want to use “Faust” as base for analysis, let’s assign him a role – Mephistopheles. I mean, just look at this (Ch. 61). It’s as devilish as it can get! The free force in s shape of a fine gentleman that ultimately creates destruction. 

Mephistopheles also claims to be an observer: 

“I’m so involved with Man’s wretched ways,

I’ve even stopped plaguing them, myself, these days”. 

And look how well it fits to Teacher, who left the Court to enjoy his little things in a secluded mansion (manipulating kids and raising pawns) and also claims to be an observer!  

Alright, I’d like to keep this part short because my main focus here is Faustina-Luna situation, so let’s move on. We’ll get more bits of this manfailure there anyway. 

PART TWO: FAUSTINA, THE QUEEN OF THE RED MOON 

What do we know about Faustina: 

she’s a Queen and the first vampire of red moon to ever exist, while Teacher was by her side the longest; 

she has a special power to control other vampires as herself, not as Naenia; 

she’s mostly active as Naenia and was likely cursed in 17 century; 

there are two physical bodies that are stated or hinted to be her: one in her bedroom in Carbunclus castle and one in Ruthven’s lab. 

Now let’s take a look at Faustina’s bodies (Ch. 13, Ch. 26). I briefly mentioned in one of my recent posts that I think Faustina changed bodies at least once, possibly due to them being damaged by curse. I believe these pics support this idea: the body in the castle looks like that of an adult person, with limbs and fingers much longer than those of the body that was seen in Ruthven’s lab and reacted to Naenia’s name (Chloe also summoned Faustina in the same body of a young girl). 

Additionally, when Ruthven talks about her connection with Saint Germain, she is portrayed as having adult-like proportions (Ch. 19). And when Naenia takes more human-like shape, it also has adult-like proportions (Ch. 9). So I think she was cursed as an adult, and her original body is the one in the bedroom, but her soul went from one vessel to another, while her cursed form remained more like her original body. 

While we are on the topic of bodies, I’m going to show you this. Thankfully, the moment when Luka stayed at Faustina’s bedside wasn’t omitted from the anime — and the queen’s skin looks quite the same color as Luna’s. I’m not sure what to do with this information yet, but it creates another link between them. It’s quite interesting that Faustina’s corrupted form looks a lot like Luna’s normal form.

Ok now that I’m done with this idea, let’s move on to something more interesting: Faustina’s role in the story. 

Right now her position is not really active: she steals true names as part of the Charlatan, but it’s unlikely that she in control of the organisaton (at least in present time), and Ruthven leads it. She obviously can’t fulfill her duties as a Queen either: they’re taken over the Senate (which again includes Ruthven) and a puppet-on-the-throne Luka (who is, again, under Ruthven’s control. Ruthven, what kind of power play is that?).  

But I think it’s wasn’t always like this. After all, she was an absolute monarch with magical power to make every vampire fall to her feet! And, well, she had to do something even before that, right? 

I believe that prior to becoming a vampire she was involved in Paracelsus’ research, possibly even as an alchemist. While the majority of well-known alchemists were male, there were some cases of women conducting and publishing researches in this field as well. A notable example are Sophie Brahe (1559-1643), who studied astronomy and was also well-versed in Paracelsus’ medical texts, and Isabella Cortese(fl. 1561), who was the first woman to publish a book on alchemy, titled The Secrets of Lady Isabella Cortese. Tbh I just really hope that Paracelsus team (Ch. 7) will include women in general…

Of course, my desire to see Faustina as an alchemist is not enough to claim that this is a credible theory. So let me elaborate on that a bit more (and we’ll get to Luna right after that). 

Her name derives from the name of a Ghoete’s character Faust, a man who makes a deal with the Devil to exchange his soul for fulfilling his desires of knowledge and pleasures. Faust is deeply dissatisfied with his life: 

“He drives his spirit outwards, far,

Half-conscious of its maddened dart:

From Heaven demands the brightest star,

And from the Earth, Joy’s highest art,

And all the near and all the far,

Fails to release his throbbing heart”. 

… And Mephistopheles offers him everything he wants. 

I think she literally is Faust. And her Mephistopheles wanted to grant her wish that they probably shared (Ch. 61). 

Faustina (well-educated person dissatisfied with reality) met Paracelsus (who offers a way to change the entire world). Perhaps he plays both the role of God and Devil in this version, since Paracelsus is described as someone who actually wanted to help people, but his action led to a literal apocalypse. Way to go, Paracelsus! 

Anyway, in my theory, she joins the research and becomes the first vampire during the Babel incident. Perhaps all other scientists, except for her and Paracelsus, died during the incident (but the research itlsef survived and was later used by Chloe’s family). Faustina was reborn as the Queen and Paracelsus as the Teacher. 

Why only Faustina is considered to be the first vampire and not both of them? Well, they didn’t necessarily fully awake as vampires at the same second of the same day. Or maybe the Teacher hides his identity and true powers this good… After all, he is known to mess with history (for example, he removed everything about Ruthven from his books, leading Noé to being completely oblivious about his existence). But honestly the parallel between vampires reacting to presence of Faustina (Ch. 38.5) and Teacher (Ch. 55) are interesting… 

PART THREE: LUNA, VANITAS OF THE BLUE MOON

What do we know about Luna: 

they’re the only known vampire of the blue moon and are considered abnormal and dangerous; 

Naenia is the one who steals vampires’ true names, but it’s believed to be the fault of the first Vanitas;

they’re told to have created the Books of Vanitas (it may of may not be true); 

they’re canonically agender, neither male nor female, and regret knowing what they are (Ch. 51).

I mentioned here that Luna is a Homunculus. Now it’s time to explain what led me to this idea.

Noé points out that Luna and Faustina look alike (Ch. 49) Is it connected to whatever knowledge Luna regretted having? Considering Luna’s unique blue skin, blue blood and their statement “I’m not like any other living thing in the world”, I don’t really think Luna could be Faustina’s human twin. Or rather, it’s not my first guess. I’m inclined to believe that Luna was an artificial being whose creation was connected with Faustina. 

In “Faust II”, the theme of artificial human, the perfect creature that surpasses humanity and yet serves their creator, is also present. Faust’s student, Wagner, works on a project when Mephistopheles visits him. Wagner claims: “A Man is being made!”, Mephistopheles jokes about a “loving couple hidden up the chimney”, but Wagner pronounces this way of creating life “unfashionable” (🤝) and delivers a beautiful speech: 

“The tender moment from which life emerged,                                      

The charming power with which its inner urge,

Took and gave, and clearly stamped its seal,

First in a near, and then a further field,

We now divest of all that dignity:

Though the creatures still enjoy it, we,                                                   

As Men, with all our greater gifts, begin,

To have, as we should, a nobler origin”. 

The interesting thing here is that Wagner’s creation is alluding to Paracelsus’ recipe of homunculus in Of the nature of things, 1537 (I found this in an article which referenced a publication by R.D. Gray Goethe the Alchemist. A study of Alchemical Symbolism in Goethe’s Literary and Scientofic Works.) Paracelsus called the creature “chemisch mensch”, but Goethe adapted that to Homunculus, an alchemical term. 

The Homunculus desires to become fully created: “Since I exist, I must find things to do”. He (this character is referred to as a male in “Faust”) seeks “the beginnings of creations”, to “reach at last the human state”. In order to achieve it, he wants a connection with the sea goddess Galatea (here a version of Aphrodite), but his brittle flask hits her chariot-shell and breaks. He spills in the sea and dies, but he also merges with the sea itself. 

Now that I’m thinking about it… Painfully familiar… Blink if you too were forever traumatized by “I won’t die, Noé. Even if I’m no longer here…” in Ch. 1… 

Well, back to Luna. Just like Goethe’s Homunculus, Luna was created in a certainly unique way. Here it’s time to remember the fairytale about Vanitas, told by Noé to Amelia (Ch. 1). Granted, it’s something he learned while under Teacher’s care, and we know he isn’t above censoring of wildly retelling anything, but Amelia doesn’t correct him on anything, so let’s accept this fairytale as it is. 

Perhaps the “birth” of the first Vanitas on the night of a blue moon refers to the artificiality of their creation? Artificiality can be equalized with “unnatural” birth of the Moon in the fairytale version. Even if the concept of homunculus will not be directly named in VnC, we already have the idea of an artificial being that differs from all living things in this world, is nonbinary and possibly agender and is able to perform unique functions — to control the book of Vanitas. 

Interestingly, our Vanitas and Misha are also to some extent “artificially created” – without experiments of Moreau and Luna’s bite they wouldn’t have been able to control the Books. It’s possible the reasons for the existence of Luna and both their children were somewhat similar – it was merely an experiment conducted in order to change the design of the world. (Ch. 48) 

Perhaps those “reasons to exist” are also the reason of Luna’s regrets and the reason to forbid Vanitas to allow Archivists to read his memories. We don’t know why it’s so. Maybe Vanitas learned something about Luna, and now those memories are meant to be hidden carefully. Maybe Luna just wanted to find out about themselves, asked an Archivist to read their memories (Machina, perhaps), and was so traumatized that simply wanted their children to never go through this kind of pain. 

And the knowledge that traumatized Luna? It could have been knowledge about the purpose of Luna’s existence. I don’t think Luna was created by accident. They were meant to do something or to be something. The Books are said to be created by the Vampire of the Blue Moon, but they could have been created for them as a tool to rewrite the world once again. 

In “Faust” Mephistopheles tells to the audience: 

“In the end we’re dependent on

The creatures we’ve created”. 

What if Paracelsus and Faustina needed someone else to fully realize their plan? And that someone was Luna, “the most beautiful creature in this world” (Ch. 55) (he’s so real for this). 

Saint Germain, the president of Luna fan-club, everyone!

Oh, one more little thing. The “perfect creation” of alchemy is the Philosopher’s stone.

Carbunculus is one of many synonyms for Philosopher’s stone, which may be anything from a rock to a human-like being (waving at fellow FMA fans); 

It’s also the name of Queen’s castle;  

And Goethe uses this word to describe how Homunculus looks: 

“The deep alembic now has passed, 

And like a living coal at last 

A fine carbuncular fire is glowing 

Into the dark it’s brilliance throwing”. 

No way it’s a coincidence. Just. No way. C’mon, it Jun. So… Luna is the “ultimate creation” of alchemy, VnC’s version of Philosopher’s stone and Homunculus at the same time. 

PART FOUR: THE THRIAD 

Now that we’ve assigned roles to all of them, let’s go deeper in another rabbit hole that is alchemy. This one is hella hard to research because of the amount of extremely different modern occult groups. But alchemy was my childhood hyperfixation, so… let’s do it. 

Together, Faust, Mephistopheles and Homunculus form a triad. (Yes, Wagner created Homunculus, but he kinda diss appears from the plot afterwards and Homunculus goes on a journey with Faust and Mephistopheles). This is kinda relevant, because Goethe actually researched the topic and it’s not unreasonable to connect his characters (and their VnC analogues) to certain alchemical symbols.

The triad is Salt, Mercury, and Sulfur. Here we can see irl Paracelsus at work again, because he was among the alchemist who popularized this theory. In alchemy, the idea of “feminine meets masculine” is pretty common, but unfortunately, different sources assign these qualities to different elements in the triad. That being said, the common point is that one is “female principle”, one is “male principle” and one is “neither, or the spirit itself”. The most common division of that in the triad is: 

Sulfur — the active male principle. Causes change. Brings an object to be changed. Associated with fire and sun. Red King. 

Mercury – the passive female principle (it’s just medieval occult stuff is I’m sorry). Needs something to give it shape and change it. The chaos of creation. Associated with earth or water and moon. White Queen. 

Salt – pure and undivided salt is the result of the interactions between mercury and sulfur. Such perfect things are the purpose of alchemy. 

Here are illustrations from Splendor Solis, which was also written under the influence of Paracelsus. Really can’t get away from this man… The first one is the Chemical wedding, the second one is… also that. Just in a fusion way I guess. Here the result of the Weddking is portrayed as Hermaphrodite with two heads (like in the myth, where human souls were originally of dual nature, but got divided into two parts that are men and women), but sometimes it’s a child or a person with both male and female features. Hermaphrodite can also be called Rebis (which means “dual matter”, aka Philosopher’s stone) or Androgyne (hello Luna).

I don’t expect Faustina, Saint Germain and Luna to fulfill this specific roles just like that. Rather, I think their roles would be mixed a bit, like how Saint Germain is both God and Devil. Still, the idea of the first one providing an idea, the second one helping him work on it and a third one being born out of it all as a perfect creature is intriguing to me. 

The three of them are the oldest, most ancient and perhaps the most mysterious vampires in VnC, and I’d love to them connected in such a way where one can’t exist without the others.

In conclusion: tragic ancient vampires own by brain.

To be honest I feel like vanitas real name will somehow be the opposite for what vanitas means because in the end him being killed by noe will not be his end but also gives him fulfillment and the noe true name will also be opposite of the meaning?

Or noe name has something to do with finality then vanitas name is origin?

I don’t know what your thoughts about it?

I’ll love to hear your headcannon/theories.

Hi! I actually happen to have a theory on Vani’s true name in drafts! It’s not properly written yet, because I wasn’t sure whether to post it or not. But your question kinda made me think about it again from a new angle. So I’ll find some illustrations, elaborate on details and post it soon. But no spoilers on that for now👀 I'll just say that this name has some cool mythological origins👀👀

Now about the connection of Vani’s real name and Noé’s true name. I agree that there must be some thematical link between them.

Unfortunately, I’m not sure about what Noé’s true name itself should be. From what I remember, so far three true names are known: Florifel ― She Who Guides Spring (Amelia), Canorus — She Who Plays Snow Crystals (Chloe), Aprix ― He Who Nestles Close to the Last Snows (JJ). All true names are Latin words (Florifel should be "Florifer" which is a Latin adjective meaning “flowery”, but FlorifeL just happened in English localization) that are somewhat relevant to the vampires’ character arcs and personalities. It’s a bit hard to choose a specific word from all the Latin adjectives… But I really like the idea that Noé’s true name could mean something like finality or grand change, especially since Vani’s real name in my theory is actually connected with the theme of origin and new beginnings!

Alternatively, Noé's true name could mean salvation (another recurring theme between these two). The name Noé already implies both "ends and beginnings" and "salvation" because of the story of the Arc of Noah.

Either way, both of them could have a set of names related to the concepts of Ends and Beginnings, but reversed. Noé and Vanitas are each others foils, they are written for each other – shared meaning of names would only reinforce it.

It would also add some inteteresting flawor to the theory (that I personally treat as a fact at this point) that Noé will become the next Vanitas/owner of at least one Book.

Overall, the connection between their true names is a solid idea. And I'll try to elaborate on that in the nearest future, when I post about Vani's name!

The lost name

I think Vanitas’s real name could be Deucalion. 

In this text I’ll cover my reasons for choosing this name, its connection to the story of Noah and the myth of Pandora and how would it correlate with the relationship of Vanitas and Noé. 

Posting this as an actual answer to @scar-eyejolteon14 as promised here. 

The lore of Deucalion 

It all started when I was wondering what kind of name I could give Vani if I were to draw him as a Chasseur (ordinary human, who’ve never met Luna and never inherited their name). I began with the most obvious thing: checking Vani’s wiki page for existing details and references. I went with his zodiak sign, Aquarius, as the staring point, because stars and celestial bodies are recurring theme in VnC and well why not?.. 

The next obvious place to go is wiki page for Aquarius. Here we come across a fun thing: Babylonian star catalogues. They contained lists of stars, constellations, and planets. 

I found the first picture on a somewhat strange website, but whatever. This is a fragment of a circular star calendar, which belonged to the library of King Ashurbanipal (668-627 BC) in Nineveh. The second picture is a star list, found in Uruk (320-150 BC). It had information on all constellations such as names, number of stars, their distance, etc. Just so we understand that astronomy was a big deal there. 

And yes, the capital of Babylonia was Babel — that one city with the tower (The Book of Genesis, Genesis 11) which is referenced in VnC. 

(Ch. 21) 

What did Babylonian astronomers think of Aquarius? Well, they associated this constellation with the Ea. “The Great One” is his title. He’s also known as Enki, god of magic, fertility, creation, etc., who was originally a water god (and his temple name E-apsu means “house of the watery deep", idk I think it sounds really cool). The water theme is not random: Aquarius was also associated with floods. Water was sacred, but also deadly: floods were source of destruction. 

Later, a Latin author Gaius Julius Hyginus quoted an Alexandrian historian Hegesianax that Deucalion is to be identified with Aquarius, "because during his reign such quantities of water poured from the sky that the great Flood resulted." Again, we see the idea of destructive flood. But where does Deucalion bring us? To Noah. Or Noé, if you will. 

(Ch. 1) 

Deucalion and Noah 

Both Deucalion and Noah are central figures of the classical flood myth, which exists in various cultures. While these two are probably among the most popular figures, there are other examples, including Utnapishtim, who was warned by the god Ea (who also created humans among other things) about the flood and instructs him to build a boat and save his family and animals. The stories of Deucalion and Noah follow the same pattern with some minor variations. But Deucalion is the one who is associated with Aquarius, the constellation that symbolizes the coming of the flood and all its terrors, while Noah/Noé is associated with salvation of human race and all living things. 

Deluge, 1864, by Aivazovsky. This painting depicts a beginning of a biblical story about the near-end of human race. It’s pretty much the same in other versions of the story. 

Deucalion and Pandora 

What’s interesting, Deucalion’s myth is directly related to Pandora’s myth. Deucalion is usually described as the son of Prometheus, while Deucalion’s wife Pyrrha was the daughter of Pandora. And Pandora’s myth is among the core themes of “Pandora hearts”. If we consider the possibility of VnC and PH’s universes being connected, the idea of Deucalion being Vani’s true name would also make sense… For example, this theory covers the topic.  

Left – Noah gives Thanks for Deliverance, 1901, by Domenico Morelli. Here we see Noah from the Old Testament, with his family, as they give thanks for their safe deliverance back to land after surviving the flood. A double rainbow signifies God’s presence.

Right – Deucalion and Pyrrha, 1636–1637, by Rubens. This painting shows a scene from the story of Deucalion and Pyrrha as told by Ovid in Metamorphoses. After surviving the disaster, they had to throw stones over their shoulders, each of which became a new human being.

Even if worlds of Pandora Hearts and Vanitas no Carte don’t exist in the same universe, there clearly is thematical relation between the two stories, one being about hope and another about despair. What’s even more interesting, there was actually a whole discourse about what’s hidden in Pandora’s jar: is it true hope or is it actually an illusion of salvation which hurts even more than actual despair? The translation of the word elpis, the spirit of hope in the jar, is actually neutral in its meaning. It’s simply “hope”, not inherently “good” or “bad”, which leaves a lot of space for interpretation in media. 

Vanitas and Noé

Volume 3 cover implies that Vanitas will be marked by an Archiviste. It’s unknown whether this Archiviste would ne Noé or Machina or even some other. I hope it’s gonna be Noé, because it would break a specific border between them and it will definitely be very dramatic, but Machina might do it for the sake of obtaining information, which is her main thing. Anyway, regardless of who does this, when and why, I believe that this moment is probably the real possibility for revealing the true name of Vanitas. 

On a side note, it would also be kinda interesting if Noé gets to know Vani’s true name, but it will still be hidden from us, the readers. There’s is also a possibility that Vani’s true name will not be revealed even in this situation. His goal is to erase everything related to the Vampire of the Blue Moon, and I guess that would mean erasing everything about himself too. But in Ch1 he promises to stay here even after he is gone, so it might imply that at least someone will get to remember him — perhaps as Xxxx the human, not Vanitas, kin of the Blue Moon. Which might mean going against Luna’s request… 

(Ch. 50) 

And, well, Xxxx could de Deucalion. Just think about it: wouldn’t it be cool if both Vani and Noé were given names with similar symbolism behind it and later both assume the moniker of Vanitas?

Plus the whole “loop” thing, like “memory loop” theory and “time loop theory” (here and here) again adds to the idea of connection between them. The loop where ends and beginnings melt into each other, like Ouroboros eating its own tail. The loop between Vanitas and Noé, where they will have to understand pointlessness and hopefulness of life – and what does in mean to save and be saved. 

The ultimate hope of survival becomes fleeting dream for all caught in this loop. But every dream is destined to end, as pointed by Saint Germain. And what will happen, when Vanitas and Noé will have to wake up from the dream of their own? What will prevail - death and futility of life or salvation and rebirth? 

(Ch. 55) 

Vanitas no carte: A case study of the vanitas motif?

In this I want to examine how the vanitas motif is used in the manga “Vanitas no carte”. In other words: Is the main character just called Vanitas because it’s a cool name or is the manga embedded within a certain literary/artistic/cultural tradition? And is the connection to that tradition just the name of the main character (spoiler: it isn’t, at least in my option) or is the vanitas motif deeply interwoven within the narrative and its themes (spoiler: it is, at least in my option)?

Talking about spoilers: I have only read up to chapter 40, so this may be updated as I continue reading. On the other hand, there will be spoilers for the chapters up to chapter 40.

Note: I don’t know if something like this has been done before. If it has, I’m very sorry. This is actually my second step into the actual fandom and I’m lacking an overview. Also English is not my native language and it’s hard for me to articulate myself properly. I’m sorry if the topic of the vanitas motif within the manga has been discussed before and I’m sorry for any mistakes I make.

So what is vanitas as a motif?

“Vanitas” is latin for “vanity”. As a theme in literature it addresses the transience of all being.

These works of art associates with the vanitas motif show the futility of pleasure, and the certainty of death. Symbols of wealth and symbols of death are often arranged in a contrasting matter. Similar to “memento mori” (latin for “remember that you [have to] die”. Memento mori is a vanitas symbol itself and they are overlapping), it accentuates the inevitably of death. But instead of the death itself it emphasizes the vanity and transiency of the human life. Motifs connected to vanitas became especially popular during the baroque period due to religious and social upheavals and the experience of the Thirty Years' War (1618-1648) and several plague pandemics and the steady presence of destruction and death. On the other hand, social injustice rose due to the build of expensive castles by absolutist rulers.

The vanitas-motif not only criticizes the worldly glory and pleasure that is transient in nature. But vanitas also accentuated that the humans are powerlessly confronted with their own fate and have no control over their own life. This mindset originated in the traditional Christian belief that earthly pursuits and goods were believed to be transient and worthless. Furthermore, people would be expected to accept their fate that would be inflicted by God. While everything earthly would be eventually in vain, God would be eternal.

The paintings under the term “vanitas still lifes” are the most well-known incarnation of the vanitas motif, but it has been also incorporated as a motif not only in painting, but in poetry (for example in the works of the German baroque poet Andreas Gryphius. And I kid you not, he wrote an ode called “Vanitas! Vanitatum Vanitas!”) and other forms of literature. Within the vanitas motif developed a whole collection of symbols associated with it. These are also presented in this manga.

Vanitas symbols in Vanitas no Carte

Hourglass

The hourglass that takes form in Vanitas’ earring is a classical symbol of vanitas. The flowing sand symbolizes the passing of lifetime and mortality. A symbol of the passing of time and the eventual death is also expressed in the gearwheel ornaments on the “Book of Vanitas”.

Skull

The cover of the first volume shows Vanitas in front of a picture frame made of golden skulls. Skulls are symbols of vanitas and memento mori. They are reminder of death and human transience. One of the skulls on the cover is wearing with a crown, which alludes to the typical form of presentation of the vanitas motif, to juxtapose symbols of death and symbols of wealth and worldly power. This relates to the role of the vampire Queen Faustina, who is both in reign of the vampires but who also seemingly spreads death over them by spreading the curse as Naenia (a name also connected to death, as Naenia was a funeral deity in ancient Rome. The name Faustina on the other hand…is a whole new topic for another day and is most likely referring to Goethe’s Faust, a play that revolves around a scholar who makes a contract with the devil. Actually the act of vampires exposing their real name includes elements of/refers to the Faustian pact motif).

Book

The book itself also a symbol of vanitas and finds its place in the story in form of the…”Book of Vanitas”. Books (among measurement tools and the like) within the vanitas motif represent the emptiness and vanity of earthly knowledge and striving. Subsequently they symbolize the haughtiness that can arise out of thirst for knowledge. From this perspective this symbolism is also tied to Dr. Moreau, who horribly abused Vanitas and other children in experiments to gain scientific knowledge in order to become a vampire himself...and his eventual failure.

Knife

Another part of Vanitas as a character is also connected to the vanitas motif – his knife. The knife stands for the vulnerability of the human life and also functions as a death symbol. The knife is especially charged symbolically as Vanitas attacks Noé on the rooftop, declaring their cooperation has ended at this point. Vanitas is refusing to let another person in his life, refusing to trust someone else but himself. His attack towards Noé with his knife not only is an attempt to make Noé hate him, but also a symbolic “cut” of their ties. But the symbolism doesn’t end here, as Noé is the one who stops the knife with his hand. Showing that he will refuse their ties to be cut. Showing that he will stay at Vanitas side no matter what and that he accepts him and doesn’t want him to be alone. In a second situation where their relationship is on the verge of breaking is the conflict within the catacombs, as Noé refuses to agree with Vanitas idea of fighting back Laurent. Vanitas lashes out, severly insults Noé and tells him to leave, if he doesn’t agree. But Noé stays at his side (and still shows him that he doesn’t agree). One could conclude that Noé’s relationship with Vanitas has an element of transience in it by Vanitas coping mechanism of avoiding and leaving others in case of conflict. And Noé fights this transience of their relationship by offering Vanitas trust, acceptation and in the end stability. During their next conflict, where Noé spits out that he wants to drink Vanitas’ blood, Vanitas leaves. But this time it is Vanitas himself who initiates remediation, who fights his own transience when it comes to social relationships. He returns (which is unlikely to him, as Dante states), his care for Noé are stronger than his desire to be fleeting, not being able to be “caught” by anyone. And sees Noé waiting for him. Again, offering stability.

Mirror

The vanitas motif is not only imbedded in the accessory of Vanitas himself. It also finds its place in the design of Noé, more precisely in the small mirror attached to his tophat. In the context of the vanitas motif, mirrors symbolize vanity and the evanescence of earthly beauty. It also stands for pride and haughtiness, similar to the Greek myth of Narcissus. This actually contrasts Noé’s humble personality.

Flowers

Within the manga Paris is described as the “City of flowers”. While flowers can be also a symbol of love and even immortality, their blooming and withering can also be a symbol of death and fleetingness of beauty, especially in the context of baroque symbolism.

Musical instruments

Musical instruments are a sign of transiency as well, as the sound vanishes into nothing as soon as it is articulated. Music is seen as something unique and unrepeatable, and also as something that is transient in its nature. This becomes evident in Cloé’s character arc, as music is her way to manipulate the world formula. Her life is also highly influenced by the transience of her surroundings, while she herself is forced to remain static.

Carpe diem

Latin for “seize the day”. It’s the name of Jeanne’s weapon. “Carpe diem” is an idiom that was especially popular in the baroque era, but it dates back to the roman poet Horace. Along with “memento mori” and “vanitas”, it emphasized the fleetingness of all life. “Carpe diem” emphasizes the call to make use of the day and the time left and to act, despite the eventual transient nature of all afford. The own mortality should be remembered and therefore the day should be seized. This reflects the main characters Vanitas, Noé and Jeanne, who carry on and refuse to give up, despite the external and internal struggles they face.

The color blue

The color blue takes a significant role within the narratives (Vampire!Vanitas being born under the blue moon). While it is not traditionally connected with vanitas itself, the color blue, together with the color black (which are the two dominating colors within human!Vanitas’ character design), is connected to death and melancholy.

The role of the vanitas motif within the narrative

The vanitas motif is embedded both in the form and in the content of the narrative.

The vanitas motif is embedded within in form of the manga as it has an analytic plot structure. This means the story’s conclusion is already presented in the beginning and the rest of the story unfolds how the eventual conclusion happened. This is the case in “Vanitas no carte” as it presents the conclusion, that Vanitas dies in the end within the first chapter and we are actually reading Noé’s memoirs. Therefore it is a constant reminder, that Vanitas will die and nothing that will happen in the story will change that outcome. Everything that happens in the story appears basically unable to change the end. Every positive development is overshadowed by the fact that it is made clear by the narrative since the very beginning that there will be no happy ending for the main characters. This is especially notable in the scene on the rooftop in volume 3, where Noé declares, how he will stay on Vanitas’ side. This scene is followed by an overlying narration of Noé, who says that memories of the beginning awake memories of the end and expressing his regret. In this positive, powerful scene where Vanitas and Noé make up and the themes of human bonds, free will, acceptation of oneself and others and trust really shine…also embeds the eventual tragic end. The omnipresence of death and its fatality and the transience of life and the knowledge that nothing lasts is the essence vanitas motif and it is presented in the mere structure of the manga.

But its not only the structure where the vanitas motif is woven in, but also the story. This shows especially in the character Vampire!Vanitas and in the mere name itself. As Cloe’s case shows: Vampires are pretty much immortal, if not directly killed. On the other hand, it is the curse of Vampire!Vanitas that endangers vampires: Because it gives them back their mortality and the transience of their existence. A transience not brought by an outside force as in the church, that hunts the vampires – but transience within themselves and their very nature. Vampires fear becoming cursed as much as humans fear death – it can always happen, to everyone. It’s not fast, but slow, seemingly unstoppable “decay”. So it is fitting for someone called “Vanitas” to bring transience and the constant reminder of death and fear upon their whole species.

Another factor of the vanitas motif is the inevitable passing of time and the changes this brings – a theme that is deeply tied to several characters arcs, where death and loss and how to deal with both is a major theme (especially when it comes to Vanitas, Noé, Jeanne, but how they relate to each other thematically is worth an analysis itself and I would digress too much). This is especially notable in Cloé’s arc, who is the only vampire in her family and becomes more and more isolated and alienated from her family, who eventually forgets about her. Cloé’s wish to stop the passing of time (and the underlying wish to be happy with her family, to be accepted for what she is), to fight the transience or rather to fight the vanitas manifests in the time loop. The time is reset and tied into a loop – symbolizing not only her being stuck in the past, but also her refusal of a future, since a future meant nothing but being forgotten for her, who sees no other purpose in herself but to execute the will of her family that has long forgotten her.

The concept of vanitas also includes fatalism and the belief that humans don’t have control over their own lifes. This makes Lord Ruthven , who uses curses to bind other vampires to his will and eliminating their own (as he did/tried to do with Noé, Jeanne and Cloé) a fitting villain from a thematic viewpoint as he impersonates fatalism. Personal choices or free will don’t matter for him as he erases both. This makes him a foil for Vanitas and an antagonist not only in actions but in world view. To Vanitas the freedom of his will and the consciousness of his own choices are extremely important to him. He could never choose in the past and was more seen as tool used by his surroundings than as a person. This emphasis of choices opposes Vanitas to the traditionally fatalistic viewpoint of the vanitas-motif. Not only that, but he uses the Book of Vanitas to actually reverse the curse and fighting the transience of existence that has befallen the vampires.

So Vanitas fights Vampire!Vanitas not only as a person by preventing the curse from killing vampires – but simultaneously he fights the transience and the fatalism: He fights vanitas as a concept itself.

But the narrative doesn’t deem transience not as internally negative. Quite the opposite, the narrative sees transience as an opportunity for change. The change of fixed structures is also an important theme after all. This change of structures is of both negative (as the curse dissembles the true name of the vampire and therefore their entire nature and Jeanne’s struggle and agony with coming in terms with seeing herself changing) and positive qualities. In one of the early chapters Vanitas complains about how the vampires are stuck in the past and therefore refusing his help – it is not only after Vanitas proofs himself that he is at least tolerated. The message of the positive side of change is also within Vanitas’ and Noé’s improving relationship and understanding. Even though Vanitas has a hard time to accept these changes (as he didn’t tell Noé about the state of the Queen, because he thought he wouldn’t believe him and refers to the several past experiences of vampires almost killing him), the positive relationship of both of them even inspires changes in others. Notably Laurent. Who, inspired by seeing a human and a vampire in a positive relationship begins to question his own beliefs and is even on the road to uncover secrets of the church, breaking up entrenched structures as well.

As a conclusion one could say that the manga makes many, many allusions to the vanitas motif and incorporates them structurally, thematically and plot-wise.

Vanitas no Carte is really a case study of vanitas.

Healing and Identity

One of my favorite aspects of the fight between Noé and Vanitas starting chapter 49 is the fact, that Noé is saving Vanitas in the same way Vanitas saves vampires. 

The influence of "The Book of Vanitas" leaves vampires in a state of abscense of reason and reflection, merely driven by destructive desires. As in: Drink blood. 

Vanitas on the other hand is under the influence of Luna's words/hypnosis(?) and his own autosuggestion. He as well is merely driven by a singular destructive desire. As in: Kill "that Vampire".   

Both, Vanitas and Vampires, are driven by the urge to hurt and kill. Things neither of them wants. This is especially relevant for Vanitas, whose free will is essential for his self image which is now stripped away from him. Furthermore, this loss of free will/control is tied to loss of identity. Both the curse and Vanitas' state of hypnosis are characterized by a dissolvation of identity. The Vampire's curse dissolve their identity and the sense of self. Healing involves self-recognization and reconcelation with ones own identity. This is portrayed especially prominently in Chloé's character arc, where the process of healing is tied to recognizing herself and her true wishes (to be loved for who she is). Chloé's healing involves also the recognition and acceptance of the positive feelings other harbor towards her. Since the curse corrupts the true name of the vampire and therefore their whole being, it can be said that the dissolvation of identity is internal.

In Vanitas' case he is no longer able to recognize Noé for who he is. Noé's identity desolves for him into the undefinded mass of "that vampire". Therefore the dissolvation of identity for Vanitas is external. 

Both Vanitas and the Vampires are shown to be suffering in this state.

The importance of self-reflection and its healing effects are shown within the battle through Noé. He literally reflects himself and his behaivour by looking into a mirror. He is shocked by what he sees, being confronted with a side of himself he neither knew nor wanted ("Have I looked like this all the time?"). He as well is influenced and controlled by outside forces: Mikhail's thoughts and feelings.

Noé's own desperation towards Vanitas unwillingness to help Dominique in itself does not trigger the violence. On the opposite, Noé tries to reach out, wants Vanitas to tell him his past, so he doesn't have to drink his blood and calls his want for Domi to be saved as "selfish". Noé's own desperation grows, as Vanitas declines and lashes out and leaves no hope for agreement. So Noé attacks him - this is how it seems at first.

But Noé's inner monoloque reveals that his mind is mixed with Mikahil's destructive, harmful hatered and desire for vengance towards Vanitas. 

It is Mikahil's feelings that make Noé fight and attack.

He knows this feelings are not his, but is unable to stop himself from acting according to them. Even though not as strongly manipulated as Vanitas and is still able to control his actions (stopping himself from attacks that would kill Vanitas). It is Mikahil's feelings that ultimately trigger Noé's actions, but it is Noé's own desperation to save Domi, snap Vanitas out of the hypnosis and his pure willingness to just survive that keep him fighting. But this means giving in to a violent side that he, who can't bear hurting anyone, comes in touch with more than he his comfortable. But in the heat of the battle, caught in the situation, under Vanitas' constant attacks, he is unable to notice. By looking in the mirror, Noé is finally able to pause and to reflect himself, his actions - and he reflects upon Vanitas. He asks himself "And how did you look?" Due to the reflection Noé is able to see Vanitas' pain, horror, distress and helplessness and sadness behind his cruel selfish facade. He recognizes Vanitas' loneliness, the meaning behind his words (in example: that being alone means "freedom" for Vanitas. Later, Noé reassures Vanitas - who is still hypnotised - that he will never "set you free" aka "never leave you alone".) 

He sees Vanitas true feelings, his true self, his "true name" if you will.

Noé reflects and stops the fight. Breaks the circle of attack and counterattack. Chooses a different path to save Vanitas. The path not of violence, but of empathy.

What follows is that Noé reintroduces himself to Vanitas. Actually the scene reflects their first meeting with them physically fighting over how to deal with extreme life or death situation. An [in Domi's case seemingly] accursed Vampire to be precise. Noé always being the one to openly help and trying to protect those in need, while Vanitas using violence that cover his true intentions and his motivation becoming clearer only later.

The most important aspect of this reintroduction is Noé's wording here:

"My name is Noé Archiviste. I'm not <that vampire>"  

He accentuates his name or rather, he gives his name back to Vanitas. And with his name his identity. Therefore he is able to reach Vanitas on an even deeper level than the hypnosis goes. But similar to Chloé, the acutal healing has to come from within, from Vanitas himself. This process is portrayed as an inner battle between what the hypnosis tells Vanitas and Vanitas will and his true feelings (even though he is not conscious about it in this moment, after all it is still worded as a question "why can't I kill?"). At the beginning, Vanitas still try to kills Noé. But he can't. Still under influence of the hypnosis, desperately asking why. He still can't. And he breaks down.

Both Chloé and Vanitas learned something through Jean-Jaques and Noé respectively: They are not alone. Someone is there for them, no matter what.

Overcoming the hypnosis is also overcoming the past and opening up for something, someone new. Something Mikhail is unable to. The inability of leaving the past behind driving force and central theme of this arc. In the end both Vanitas and Dominique are able to overcome the past. Just as Chloé did.

Both acts, Vanitas saving Vampires and Noé (a Vampire) saving Vanitas, are about the themes of loss of identity and loss of control.  

While Vanitas gives the vampires their true name back (an internal process within the Vampire), Noé doesn't give Vanitas his name. But Noé names himself. Re-establishes his identity to Vanitas. It saves them both.

Both acts give form to the formless. 

Both acts accure due to the reflection and re-recognition of ones own self and identity: the Vampires recognize their true name, Noé reflecting on himself as he sees in the mirror and Vanitas escapes the hypnosis. But it's not an isolated process, to the contrary. The importance of the other and the bonds with other people are essential for self-recognition: Vanitas is able to recognize the true names of Vampries, Noé understands Vanitas' true feelings behind his facade and Vanitas is finally recognizing Noé and espaces his hypnotic state. 

While the process is given supernatural coating when it comes to the use of the Book, within Noé saving Vanitas the process is shown in it's rawest form and that is understanding and empathy. 

Thanks for reading! Please note that english is not my first language and I'm sorry for this being so messy!!