Song Analysis - And Then is Heard No More
Part 0 - The Part You Skip if You Just Want the Analysis
Hi! Its me again! Last time I analyzed Children of the City, and someone requested an analysis of And Then is Heard No More, which I've actually already written in the past.
With that said, this entire analysis was posted on Reddit about a month ago, and I'm simply reposting it here for a new audience. If there's any formatting errors from the copy-paste action, please let me know.
Part 1 - Analysis of Lyrics
If you don't already know, this song is about Philip from Library of Ruina. Its his Character Song. I assume you did know, but this is just so we're all on the same page.
Do the candles look forward to being used?
Enjoy bidding adieu, adieu?
Every word I have saved for you came out wrong
Afterwards, so I spoke no more
(credit to tumblr user tearychildren for helping me analyze this verse)
In the first two lines of the song, Philip is wanting to be reassured. He's looking for solace, for comfort, attempting to convince himself that his life was worth it. The metaphor, with candles looking forward to being used, is meant to represent humanity. If I were to translate, I'd say he's asking, "Do people look forward to burning out and doing nothing, before dying?"
Philip wants to know he didn't waste his life. He wants to be told that all there is to life is burning out immediately. Because if he was told there's more to life, he might not be able to handle it. He wants reassurance, to be told that this is the fate of everyone.
The latter two lines refer to Philip's co-worker Yuna. In the Unstable Book of the Crying Children, Philip details a failed love confession to Yuna, which is almost certainly what this verse is about. When his confession didn't work, he likely internalized it as him just saying something wrong, and thus he decided to "speak no evil."
Would you say
That someone who had every intention to be brave
Was a coward?
This line speaks to several things. The first, and most obvious, is that Philip wants to know if he has been a coward. He wants to know if all his fleeing and denying of the facts makes him cowardly, even if he intended to be brave.
And this details a theme of his whole arc: Philip wants to be a hero, but he can't be one.
The second thing this line speaks about is the Project Moon universe's general question of, "Do the thoughts/intentions behind your actions matter, or the actions themselves?" Is it enough to have just wanted to be brave? Or do you need to act the part, as well?
In my opinion, Philip was a coward. He made attempts not to be, but they all fell short, sometimes for reasons in his control and sometimes for not. And I don't think his "intention to be brave" is enough to absolve him of that.
Must be great being you
Power comes as second nature
Must feel amazing to be longed for, longed for
Philip has this trend of blaming everything but himself. This verse starts the detailing of the dichotomy in his mind, which leads to immense hypocrisy. Philip sees himself as inherently weak, and due to this, he doesn't feel like he can be held to the same standards as everyone else. He can deflect people's criticisms of him by just playing the, "I'm weak, I couldn't have done anything" card.
It also appears Philip believes in "inherent ability." That someone can be born better than another person. But he doesn't take this idea to its logical extreme.
If other people are born better than him, and thus Philip is the only one doing the noble climb to be strong, then why isn't he strong? If he thought it through, he'd know the answer: he isn't trying hard enough. He just expects his heroic opportunity to be handed to him.
Philip almost seems to think he's the only one who has to work for his success, despite him being basically given a position that many people could only dream of.
But there's a reason he doesn't take this idea to its extreme. Because in its current state, it acts as a shield. If other people are inherently better than him, then he doesn't need to be held to their standards. He enjoys having the ability to just block out blame by using weaponized incompetence.
(I opened my eyes)
Cemented excuses to my lash-line
So I could see no more
At the very least, in the end, Philip seems to admit that he's just making excuses. At every turn, he finds reasons that he couldn't have done more. In every situation, he manages to blame someone other than himself for what happened. But deep down, he knows that his friend's deaths and the killing of three other people he went to for help is his fault.
In Philip's foolish quest for vengeance and heroism, he got three innocent people killed.
And this is where I want to detail the second part of this dichotomy. Philip claims everyone is better than him, sure, but he also thinks he's some legendary hero. He uses this idea that he's some heroic figure to ignore the guilt for his actions.
If he's able to go into the Library with Wedge Office and strike down the ones who killed his colleagues, then it'd all be worth it. That was probably his rationale for dragging those three into the library with him. If he can get vengeance, he'll be the hero. And if the people of Wedge Office have to die, then he'll make that sacrifice if he can get his epic final battle.
And in this battle... if he dies, he doesn't need to worry anymore. And if he wins, he'll be a hero.
Which is why he gets neither.
Philip has to face reality. He isn't a hero. He isn't just some unfairly tortured soul, waiting for his chance to be written down as a legend in the history books. At the end of the day... he's just Philip.
Not to say he doesn't try! In the Philip fight during the Wedge Office Reception, he is very powerful, and fully intends to destroy the Library or die trying. For once in his life, he is determined to do something, which is why he's able to manifest EGO. His desire to be a hero, his desire to win, creates a sword and wings with which to fight with.
As one last aside, let's talk about Philip's EGO. He has a flaming sword, which is very traditional for heroes. The knight holding a flaming sword over a dragon's head, that kind of thing. But he also has burning, melting wings. Which calls back to the tale of Icarus, who in his excitement to finally fly, went to close to the sun and had his wings melted.
Just like Icarus, Philip, in his excitement to finally be the hero, brought three people to their deaths and compounded his own guilt because of some selfish desire to avenge his friends. That was his, "fly too close to the sun."
So which home should someone as weak as I go?
(And which sky should I aim for when I've only been low?)
I have only been low
Yet again, Philip is pointing out how weak he is. He wants a place to belong, a place to go, now that his friends are all dead. And he also seems to be continuing to avoid blame. He can't aim very high, because he's so pathetic that he'd just fail anything too hard. He doesn't need to try and aim higher, because he has already decided he isn't capable of anything. It shields him from the guilt of not doing enough.
Day and night, your ghosts continue to haunt me
Tell me who to be
This references the scene at the 8 o'Clock Circus, where Philip distorts. When he is shown his own visions of his colleagues, they do nothing but blame him for his actions, and in some cases, his inaction.
We get a front-seat look into what Philip thinks they'd say to him.
Both of them are cruel. But he doesn't want to hear it. As they criticize him, he covers his ears and closes his eyes, not wanting to confront the fact that he made the wrong choice.
But he has to confront it. It's impossible not to. Which is why he ends up distorting.
If I went with you, will there be happily ever afters?
Sipping on tea I steeped together, together
At this point, Philip seems to wish he had just died with his friends. He wants to know if he'd be happier in whatever afterlife that exists if he hadn't just continued to make a fool out of himself. Its definitely sad, how Philip just seems resigned to the idea of death at this point.
He just wants to have tea with them again.
(Read me a story of a hero born knowing the all)
Read me a book of me
So I could hear no more
Finally, we get to the last verse. Philip wants to know what his book says. Or, more accurately, he wants to think that when he dies, his book will be about how heroic he was. About how he was born as some tragic figure, who overcame all the negativity in his life and became a legend.
But of course, his actual book is mostly just about the times he was a coward and refused to face reality.
Not only does he want to think his book would be about his heroism, he doesn't want to hear different. He wants someone to tell him how amazing he was, until he can't hear any of the negative things other people have to say. He wants to ignore reality for his petty hero fantasy.
Philip is a hypocrite.
He's simultaneously too weak to try anything, and too heroic to be criticized.
He admits how cowardly he is, and then desires to be told he's a brave hero.
Philip is maybe a prime example of cognitive dissonance.
Part 2 - Summary
Despite all of this... I can't bring myself to hate Philip. He's cowardly, hypocritical, ignores any criticism, hides in his own fantasies, and uses his incompetence as a shield to block anything he doesn't want to hear. But I don't hate him.
Honestly, I think most people would act how he did in his situation.
I understand running for your life. And I understand the survivor's guilt that comes with that.
And revenge is just a natural human desire.
In terms of his actions, which I think is what matters, his gravest sin is dragging three innocent people into his revenge quest.
And Then Is Heard No More is, in essence, both Philip explaining how he got to where he is, and wanting to be told he didn't make any mistakes. Even in the end, he's too cowardly to own up to them.
Because that's who Philip is.
Part 3 - Final Part
So yeah, that's And Then is Heard No More. I like this song, and I like Philip. I hope you all enjoyed this copy-pasted analysis.
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If Ayin really was Dante, it would explain why we haven't seen or heard from him after his 3-line dialogue in Library of Ruina or why Ayin wasn't trying to stop Carmen in the Light like Angela did before she got pulled out by Roland.
Dear Anonymous,
Both of those are true, although I wonder if this would mean that Limbus would delve deeper into the interpersonal relations of Ayin post-Smoke War if he was apparently known by enough people to send Vergil to save him. What makes me also think it might be someone Ayin is guiding from the Light is the fact that the animal trio from the start of the game knew him, and considering who they are, it doesn't seem like Ayin would know directly...Unless, of course, he had to huddle with the Syndicates and lower-profile big-shots in the City prior to rising as a Wing to avoid any punishment from the Head for the experiments he ran in the Old Lab with its crew.
Personally, I'm hoping for it to be X or Ayin. I've heard arguments against that particular conclusion, such as the fact it would repeat the same twist twice of Ayin being an amnesiac or that most of the people playing Limbus now have no idea who he is and his reveal might not be that dramatic, but the reality is that Ayin and X as characters don't have half of the development and screentime what someone like, say, Yesod had, and that's when Yesod is one of the Sephirahs/Librarians on the lower end with screentime...or so it felt like, anyway. Ayin got, quite literally, three lines in LoR and somewhere between ten to fifteen minutes of screentime in LC, and half of his LC screentime was shared or focused on other characters in his flashbacks. It's only fair for him to get a chance to be fully fleshed out or at least be the hidden 'star' that Dante is following.
Although I can't deny that part of the reason I choose to believe this theory is that I'm simply a much bigger fan of the old PM cast, and I've spent the better part of what's almost a decade now hoping for some proper, juicy Ayin backstory, interactions, and character development ever since he was a faceless mysterious figure in 2016, and we still haven't really gotten that so far. A man can dream, no?
Ah, apologies for veering a little off-topic, Anon. I seem to lose myself when talking about Ayin, ahah. Until next time, be well, take care, and see ya'! Thank you for the ask!
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