The Eleven Fatui Harbingers constitute one the most important factions in Genshin Impact, answering to the Tsaritsa of Snezhnaya and being tasked with hunting the Elemental Gnoses of the Archons.
And as we have seen with two out of the three Harbingers that have been introduced in-game, not all of them hail from Snezhnaya. Their origins and nationalities are diverse, yet there is one thing they all have in common, one trait that persists no matter who they are and where they came from.
The Commedia dell’Arte.
This understandably caused people to wonder why the lieutenants of a Russian-inspired organization would have names from an Italian form of theatre, a comedy to be exact.
But what exactly is Commedia dell’Arte?
.
.
Commedia dell’Arte is a form of professional Improvisation Theatre that originated in Italy and then spread to the rest of Europe, particularly France. It often relied on wandering Theatre Troupes that would journey from city to city to perform for various audiences, including nobility and even royalty.
However, Commedia dell’Arte gained its popularity with the masses for making fun of the ruling class of that time, particularly the wealthy and the learned academics. These two are parodied most often in plays, and are thus categorized as the Vecchi — the “Elders”.
On the opposing side of the spectrum are the Zanni — their servants — who despise their Masters. The audience is on their side, and they are by far the most beloved characters. The Zanni fail even the simplest tasks that get assigned to them by the Vecchi, and for this reason are abused by them.
The Vecchi remain static throughout the entire play, as they are meant to be unsympathetic and “foolish” compared to the Zanni who are a lot more cunning and, due to their status as commoners, garner the audience’s sympathy.
What could this mean for Genshin Impact’s Fatui Harbingers?
.
.
To start with, Venti tells the Traveler at the end of Mondstadt’s Archon Quest that not only does their goal — to reunite with their sibling — have meaning, but that the journey itself also has meaning, which includes the Fatui and the Tsaritsa as “a part of that journey”.
The Traveler, as the hero of their story, has already made one Harbinger their ally — Tartaglia — in their quest to reunite with their sibling — the Abyss Twin — and who also has ties with the Abyss himself. An ally that the Traveler doesn’t quite trust due to his position as the Eleventh of the Harbingers, but an ally nonetheless.
Many theorists have dismissed the idea that there is any deeper meaning behind the names of the Harbingers and their roles in the overall story… but when you look at Venti’s (very important!) words to the Traveler, it wouldn’t be unreasonable to assume that his statement regarding the “Fatui” primarily refers to the Fatui Harbingers themselves as having an important meaning to the Traveler’s journey.
Which begs the question — what if the title each Harbinger was assigned to was, in fact, deliberate, and thus their role in the story all part of a play that dictated who will become the Traveler’s ally (and thus playable) on their quest to reunite with their sibling, and who will not?
To answer this question, we need to look at the most important element of Commedia dell’Arte, the main characters every play revolves around, and an element that seems to be suspiciously absent in Genshin Impact.
The Innamorati.
[ lore theory ] the fatui & commedia dell’arte
part I: the innamorati (“the lovers”)
Commedia dell’Arte tells the story of two star-crossed lovers that face separation due to circumstances outside of their control, namely the obstacles placed in their path by the “elders” (the Vecchi) that do not want them to be together.
— Innamorato refers to the male one who is most often called Flavio (“blond one”),
— and Innamorata to the female one who is most often called Isabella after Isabella Andreini, an Italian playwright most famous for her comic play La Pazzia d’Isabella (“Isabella’s madness”) and synonymous with rebellion from social and religious norms.
The Innamorati are indispensable to the plot due to their inability to solve the obstacles to their relationship. Without them, the “servants” (the Zanni) would have no function, as their role is to help the Innamorati to overcome the Vecchi.
The Innamorati are very single-minded, self-obsessed and selfish, uncaring of anyone else but their beloved, but they themselves are often a greater obstacle to their reunion than any plot the Vecchi may come up with. When they meet, they don’t communicate well at all and rely on their servants for help; they frequently scorn each other, sometimes even to the point of feigning hatred, but always get together in the end thanks to the (dis)organized efforts of the Zanni, their allies.
The key to this archetype is that not only do the Innamorati relate exclusively to themselves, they are also very selfish in their own right.
Doesn’t this description remind you of one particular pair in Genshin Impact…?
Aether and Lumine.
Though they aren’t lovers, Aether and Lumine both overlap quite a bit with the Commedia dell’Arte’s concept of the Innamorati.
Two Travelers from another world that had always been together and would always be together, but who had been separated at the divine hand of Celestia through the Unknown God — the Sustainer of Heavenly Principles.
Both the Traveler and the Abyss Twin have shown that they are both selfish in regards to each other, but also selfish in their own right.
They had planned to ditch Teyvat and everything in it shortly after the destruction of Khaenri’ah, and while the Traveler seems only concerned with finding their sibling, the Abyss Twin on the other hand seemingly has the sole concern of toppling Celestia via the Abyss Order.
They could have reunited during the events of We Will Be Reunited, yet didn’t… and this is due to the Twins’ inability to communicate and understand each other. The Traveler, who has yet to journey through Teyvat like the Abyss Twin did, cannot understand their sibling’s “war with destiny”, meaning, Celestia and its Heavenly Principles.
Even so, no matter which twin you pick, Aether and Lumine both drive the plot forward. Both share a connection with the Fatui — The Traveler has made one ally among them, and will make another Harbinger their ally (Pulcinella). Thus, it follows that more Harbingers will end up becoming allies as well.
However, there are Harbingers who will not.
[ lore theory ] the fatui & commedia dell’arte
part II: the vecchi (“the elders”)
The Vecchi (Vecchio in singular) are the antagonists of the play. As I said before, this archetype is most often represented by the ruling class of that time — wealthy elites and learned academics, hence the term Vecchi — “Elders” — as in, those above the common folk.
They are first known for their selfishness and for living in their own bubble, completely disregarding the needs and the sufferings of their servants (the Zanni), whom they abuse and mistreat, and generally disregard the sufferings of the common folk in general.
The Vecchi think themselves untouchable due to their wealth and status, and don’t even notice that their own servants are betraying and scheming against them to unite the Innamorati.
There’s no real character development for the Vecchi. They remain villains and static, and their purpose in the play is to serve as obstacles for the Innamorati, whose union they oppose, as well as plot devices for the audience to root against.
These Fatui Harbingers will not be playable in Genshin Impact — like their Commedia counterparts, they will remain incredibly antagonistic and often so evil that there cannot be any path for them to become the Traveler’s allies. Rather, they will serve as obstacles for the Traveler to overcome.
With no redeeming qualities in either the player’s or the Traveler’s eyes, these Harbingers will meet the fate of Signora, often by the scheming of their fellow Harbingers.
NOTE: La Signora and Il Capitano will be included in this category, but both are technically their own separate archetypes and thus special cases. Signora’s case in particular is so suspicious that it almost deserves its own theory, but that is for another day.
I will not mention La Ruffiana here, even though she is a Vecchio and could be “The Puppet” as the Chinese version never named Sandrone, and I will not mention her as Signora’s possible replacement as that seems to be pure wishful thinking from the Fatui in Mondstadt.
La Signora herself is, of course, the first example of this — the Eighth Harbinger who was executed by the Raiden Shogun’s Musou no Hitotachi.
In Commedia dell’Arte, La Signora is the female variant of Il Capitano and both a Vecchio and, like the Captain, her own separate archetype. Usually Pantalone’s wife and Pedrolino’s mistress and often named Rosaura, La Signora is defined by her greed and conniving nature. Other traits include her being very cold, narcissistic, arrogant, proud and ridiculing others. There’s nothing that she won’t do to get what she wants (jewelry, men, etc.) and she treats everyone with little regard. A common tic of hers is to get into fights with other women.
She usually does not mask her face, and is described as having heavy make-up and being very overdressed, that is, she has too much of everything (ribbons, feathers, multiple layers of dresses etc.).
Rosalyne-Kruzchka Lohefalter portrays many of these traits accurately. Signora has been a recurring antagonist in-game, openly hostile towards the Traveler and actively scheming against them to get what she wants (i.e the Gnosis), mocking them and flaunting her own strength when the opportunity arises. She persists in those traits right up until her final words, saying she “never asked for redemption, never”.
Signora is known for her cruelty, using lethal force against new recruits and also having a proclivity for “[stringing] up and [torturing]” her enemies according to a Fatuus in Mondstadt. Her entire dialogue inside Tenshukaku also showcases her complete disregard for human life, having orchestrated the manufacturing and distribution of the Delusions to the Resistance.
Her own arrogance and nearsightedness have caused her demise; Scaramouche had (intentionally) failed to inform Signora that he had already obtained the Electro Gnosis from Yae Miko, but Signora never even considered the possibility that The Balladeer, who called her “[one] of his most least reliable colleague[s]”.
In fact, Signora’s demise was even foretold in her Constellation.
The Flame Moth, or Axylia Putris, uses the moon as its primary source of guidance. However, the invention of artificial light caused this Moth to become lost and confused, and its obsession with light caused it to burn and die.
The maiden Rosalyne hailed from Mondstadt (“Moon City”) and was the beloved of Rostam, the “Wolf Pup” of the Knights of Favonius. This “Moon” was her source of guidance. The fall of Khaenri’ah (a representation of artificial light) caused her beloved Rostam’s death, which led to Rosalyne becoming lost and confused, and to sacrifice her body to become the Crimson Witch of Flames.
After meeting Pierro and becoming La Signora, the Fair Lady of the Fatui Harbingers, the maiden now chased after the Tsaritsa’s dream — and it was this chase that finally led to her demise, like a Moth that chased after a flame and got burned.
Even so, her symbolism is quite suspicious for someone who is dead, and La Signora is also her own separate archetype in Commedia dell’Arte…
Pantalone is one of the most important Vecchi in Commedia dell’Arte, one of the only ones with a full name Pantalone de’ Bisognosi (“Pantalone of the Needy”), which of course relates to his character, as a “Pantaloon” is an “old fool”. He’s the archetype of a Venetian merchant, as such his entire character revolves around money, greed, and having the necessary status to meddle in the affairs of others.
The father of either of the Innamorati, Pantalone strives to keep his child and their lover apart, for example by hiring Il Capitano to kidnap his daughter.
He is very arrogant, believing himself to be smarter than he actually is, and often oblivious of the opinions of others. Not only that, he is also extremely petty — a common tic of his is to seek revenge against anyone who even slightly offended him, no matter how long ago the offense took place. Usually, the victim of these revenge plots is his comedic foil Il Dottore. On the flip side however, Pantalone never forgets a deal and is a man of actions, not words.
A very sinister character with emotional extremes, Pantalone is not only known to mistreat and abuse the Zanni as all Vecchi do, but he also treats his fellow Vecchi the same way. He gets cheated on by La Signora if married to her, but is also often portrayed as a bachelor or widower whose advances to young women are always rejected.
As far as his appearance is concerned, Pantalone is a man with a hunchback, short and skinny, usually very stiff, and donning a red costume. His Mask is a half-Mask with bushy eyebrows, a moustache and hooked nose.
From this, we can theorize that the Harbinger Pantalone will be quite high up in number and one of the principal antagonists in Genshin Impact — at least as far as the Fatui are concerned — and actively oppose the Traveler, even more so than Signora, on their quest to reunite with their Twin. As such, he may even become the next recurring antagonist, perhaps in tandem with Dottore as his foil, on the hunt for the remaining Gnoses.
Pantalone is notable for his role as Snezhnaya’s economic policy maker and for meddling in the affairs of other nations — in his capacity as the manager of Northland Bank in Liyue, his booking of Mondstadt’s Goth Grand Hotel for the Fatui’s exclusive use and for sending his agent Landa to ruin the City of Freedom’s wine industry under the guise of being a Snezhnayan merchant.
He is theorized to be a Harbinger from Liyue because he has a view on Mora and contracts that is quite similar to that of Rex Lapis.
The Moment of Cessation paints Pantalone as a quite bitter man who never received the favor of the Gods (i.e. a Vision), and instead focuses on “worldly power” — that is, money and status — as a means of influence and exerting it. But to what end? — To use his position as a Harbinger to turn the Fatui into “the heart that pumps money around the world”, and ultimately destroy Teyvat’s economy as revenge for being overlooked by the Divine.
This should be a relatively easy thing for him to do, considering that the Tsaritsa has obtained the Geo Gnosis…
If I were to assign Pantalone a Constellation, it would most definitely be the Claw squeezing a heart, as Constellations not only reveal aspects of someone’s character and motivation, but also foretell their fate. The Claw symbolically represents both greed and bitterness, both which are key aspects of Pantalone’s character. The “heart”, in this case, is Teyvat’s economy.
Il Dottore is often portrayed as the father of either of the Innamorati and a widower with full names such as Il Dottore Gratiano (a reference to William Shakespeare’s “Othello”), Balanzone, Scarpazon, Forbizone or Boloardo.
As such, he is the other Vecchio opposing the union of the Innamorati and thus an obstacle for them to overcome. He despises Pantalone, and is often the victim of the merchant’s revenge plots. Il Dottore acts as Pantalone’s comedic foil — whereas the former is focused on money and worldly affairs, Il Dottore is highly intellectual and has canonically attended university in most depictions. However, “Doctor” can also be a self-appointed title.
Il Dottore is meant to be a parody of Italy’s academic elite — a conceited scholar who believes himself to be an expert on everything, yet talks a whole lot of nonsense. One of his tics is spouting Latin phrases and quotations. When he talks about something he is actually knowledgeable in, he is so boring that he causes the other characters to leave the stage.
Il Dottore’s other tics are almost all of medical nature. For example, he will perform random experiments in the name of science and medicine and get people to take part in those experiments, usually by making them drink strange potions. Another very notable tic is him trying to perform experimental surgeries, either on himself or others. And because he is Pantalone’s foil, Il Dottore will always try to seem like he is better off than the wealthy merchant.
Other than that, Il Dottore is portrayed with one-third-Mask, that is one that doesn’t cover his eyes or mouth. He usually wears a black dress in parody of Bolognese scholars underneath a black coat overreaching to his heels, black shoes, stockings and a black skull cap. Later depictions added a wide ruff around the neck and a very wide-brimmed black felt-hat.
Other depictions are more simplistic — a black robe or jacket with a traditional academic cap.
Dottore the Harbinger needs no introduction. His role within the Fatui is to be their scientist and generally regarded as one of the —if not the — most evil Harbinger because of the cruel way he treats his subordinates (i.e. threatening to turn them into test subjects) and of course his many unethical experiments on both his subordinates (like turning Krupp into a Ruin Guard-like machine), and on children (see: Collei and the Archon Residue).
Child experimentation is something that most players will consider a Moral Event Horizon and thus Dottore most certainly will not be playable, ever.
From an in-universe perspective, someone like Dottore has neither a path towards redemption nor a path to becoming the Traveler’s ally, which means he will be killed, just like Signora.
Dottore’s lore in both the manga and the Wise Doctor's Pinion artifact paint him as a heretic who was nearly expelled from the “seedbed of Wisdom”, that is, the Sumeru Academia, due to his desire to “manufacture even that which [he calls] a God”.
His open disdain, almost hatred for the Divine, his desire to surpass even the Gods and his nigh-expulsion from the Academia all make for striking parallels to Lucifer from the Bible — the individual to whom all heresy is attributed to as the Father of Lies, and who was expelled from Heaven, the abode of God.
Il Capitano is the character from whom La Signora’s character originates from, as both a Vecchio and his own separate archetype.
He is always a foreigner, usually from Spain, with “grandiose” names such as Il’ Capitano Salvador de las Virgenes Borrachas (“The Captain, savior of the drunken virgins”), Sangre y Fuego (“Blood and Fire”), Escobombardon (“fired out of a cannon”), Ariararche (“Hierarch”), Cocodrillo (“Crocodile”), Matamoros (“Moor-Killer”), Rodomonte (“Mountain-Crumbler”) and Spavento della Vall’Inferna (“Fear, Lord of Hell’s Valley”), which is similar to the Italian curse of “Va all’inferno” or “[When you die,] Go to hell”.
All of these names —or titles, rather— are all given to Il Capitano by none other than the Captain himself. They roll off like thunder and they exist solely to, usually, intimidate the Innamorato at Pantalone’s orders, who hired Il Capitano to “protect” the Innamorata, but then tries to win her love instead.
However, it is not unheard of for other characters to use the Captain as a ‘prop’ — for instance, Columbina often uses Il Capitano to humiliate Arlecchino, of whom the Captain is deathly afraid of.
However, Il Capitano is a fraud who usually never held the title of “Captain” and even if (big if!) he did, he had long been stripped of it due to his cowardice and his incompetence. He is able to impress and intimidate the other characters because he is a foreigner and thus they don’t know he is lying about his numerous battle conquests and the like.
Il Capitano only does Pantalone’s bidding because it aligns with his self-interest, that is, to get rich. In truth, however, the Captain is a very opportunistic fellow who has no loyalty to anyone but himself, despite bragging of his loyalty to others.
Il Capitano is depicted wearing a military uniform with bright colors and a vibrant red mask with a long beak, symbolizing his outward bravado and excessive manliness to hide his true, cowardly nature. In other words, he exists to be de-masked by the plot — from pride to humility, from confidence to panic.
As for the Harbinger Capitano, there really isn’t anything to go off of, aside from Viktor in Mondstadt mentioning him off-handedly when he expressed that he would rather work for Capitano than Signora.
So as a disclaimer, the following claims will be very highly speculative on my part.
I believe that Capitano will mostly stay true to his Commedia counterpart, and I further theorize that he will be Pantalone’s subordinate, on whose orders he will attempt to eliminate the Traveler as they inch closer and closer to Snezhnaya. Being the Spanish Captain, Capitano will thus appear in Natlan as an obstacle for the Traveler.
Based on Viktor’s statement, Capitano will at least be more likable than Signora — either genuinely so, or (like Scaramouche in Unreconciled Stars) feigned. He will have the trust of Natlan’s people because he will pose as a grandiose and intimidating figure, embellishing his (false) stories just like “Stanley”, but in the end revealed as a complete fraud — not just to Natlan’s people, but also to the Harbingers.
Based on his character in the play, Capitano will be a coward who only joined the Harbingers to benefit himself. He will switch to the Traveler’s side upon realizing that they are going to win and pretend that he’d been on the Traveler’s side since the beginning.
Trying to win the Innamorata’s love is another common theme for Capitano, and I see three scenarios when I apply that to Genshin Impact:
— He will either betray the Fatui to help the Traveler,
— Or, he will attempt to recruit the Traveler into the Fatui Harbingers and fail.
As for his fate, Capitano will either die and thus not be playable if miHoYo interpret him as a Vecchio, or he will become playable but not as “Il Capitano” because the Traveler “de-masks” him if miHoYo interpret him as his own separate archetype.
Either way, Capitano will die, be it literally or figuratively.
The Shaman’s Hand or Healer’s Hand originates from Native American shamans, and is symbolic for healing, protection and power. It is closely correlated with the Hand of Hamsa or Hand of Fatima, a Middle-Eastern symbol that is said to be imbued with the power to fight off Jinns and evil spirits.
[ lore theory ] the fatui & commedia dell’arte
part III: the zanni (“the servants”)
The Zanni in Commedia dell’Arte are the servants of the Vecchi. As the supporting characters to the Innamorati, their function in the plot is not only to thwart the Vecchi who seek to keep the lovers apart, but also to ensure that the Innamorati end up together in the end.
The term “Zanni” is a variant of the Italian name “Gianni” and was a common name given to the servants of wealthy Venetian merchants and nobles, and originated from the countryside. In other words, “Zanni” was a name that specifically denoted someone whose identity was not important.
In Commedia dell’Arte, this archetype of the Zanni often possesses villainous traits such as treachery, cowardice, envy, spite, and can be quite vindictive. They are known for their ability to scheme and manipulate and in this way clear any obstacle the Innamorati have in their relationship… which is often self-inflicted.
Although all Zanni support the Innamorati, some of them aid the lovers because doing so either aligns with their own self-interests, or to enact revenge against their masters who abuse them.
These will be the playable Harbingers in Genshin Impact, who will join the Traveler’s party either right away or as the story progresses, which is why it is important to not be deceived by their initial antagonistic attitudes.
They will become allies, even if only it will align with their own goals as well.
NOTE: Pierro The Jester will be elaborated upon in his own separate section.
Tartaglia, the Eleventh of the Fatui Harbingers, is one such Zanni, and (as of the time of making this theory) the only Harbinger that has been released in-game.
In Commedia dell’Arte, Tartaglia is an old man like Pantalone and Il Dottore, yet often an aged servant with bad eyesight. He can be depicted as a Vecchio (usually as one replacing Il Dottore) but — whether his role is that of a Zanni or Vecchio — he will always side with the Innamorati.
Tartaglia comes from the Italian tartagliare, meaning “to stutter”, and that is how he sows chaos and disorder as the other Zanni spend a lot of time trying to interpret his incomprehensible speech.
His main emotion is one of frustration and anger at his own oratory faults that obstruct him and the Innamorati, and he is often made fun of because of his constant stuttering.
Childe, whose real name is Ajax, is disliked by several of his fellow Harbingers due to his tendency to cause mayhem and disrupt the order of their plans, even going so far as to risk the destruction of Liyue to get his hands on the Geo Gnosis.
Childe is very quick-tempered and impulsive, as he has shown in Liyue’s Archon Quest, and tends to let his love for battle get in the way of his mission, but joined the Traveler even after his defeat at their hands.
Childe’s Harbinger Mask is associated with his Constellation — Monoceros Caeli — and bears a striking resemblance to the character Tartaglia’s theatre mask. His Constellation denotes someone who is destined for never-ending battle.
Pulcinella is the Fifth of the Fatui Harbingers and a confirmed playable character by miHoYo themselves as the representative of Snezhnaya’s Archon Quest Everwinter without Mercy. In addition to that, he recruited Childe into the Harbingers.
His name translates to “Little Chicken” as a diminutive from pulcho, “day-old chick”, and his full name in Commedia dell’Arte is Pulcinella Cetrulo (“Pulcinella the Stupid”).
Like Tartaglia, he can be a Vecchio or a Zanni but is more often than not a Zanni. In any case, he will always treat everyone equally regardless. Pulcinella is a Frenchman who remains crouched to avoid the blows of an uncaring world until he is ready to strike and bounce up to full height.
He represents the poor worker who has little to lose and speaks candidly and openly even to his superiors because he doesn’t fear the consequences of his actions, and it’s a common trope for him to win no matter what. And yet, Pulcinella is also seen appeasing his superiors. Either stupid pretending to be clever or clever pretending to be stupid, Pulcinella doesn’t preserve the world of his Master, but is always out for himself.
He is the opportunist, always siding with the winner, yet still manages to sort out everyone’s affairs in the process. Pulcinella, with his dualistic nature, is one of Commedia dell’Arte’s most beloved characters because he represents the audience’s desire to throw caution into the wind and act without fear.
My first prediction is that Pulcinella will be a Snezhnayan because everyone in miHoYo’s Teyvat Travails is supposed to be a representative of their respective nations, but we will first meet him in Fontaine under a different name, and the reason for that will be his possible Fontaine heritage, mirroring the character Pulcinella as a French immigrant. This would be similar to Thoma who has Mondstadt heritage.
If you look closely, Pulcinella’s hat bears a close resemblance to either a Laulhére, a type of French beret, or a French top hat.
Alternatively, he could have Sumeru heritage because his shoes resemble traditional Arabic footwear and his hat could also be taken for a feathered Turban.
Pulcinella being a graduate from Sumeru Academia is thus another possibility, as his shoes and headwear aren’t the only design elements pointing towards a connection with Sumeru. We may very well meet The Rooster there, during or after Sumeru’s Archon Quest.
As for his element? Cryo*. Not only is he depicted in a way miHoYo typically depicts Cryo characters, his dualistic nature in Commedia dell’Arte also screams Cryo to me.
*NOTE: When I say Cryo, I mean he will have a Cryo Vision. As for his Delusion, he either doesn’t use one or, if he does use one, it’s a Dendro Delusion that he uses.
His design, however, is much more thought-provoking. The way Pulcinella is depicted in the Travails trailer is nigh-identical to the Hand of Hamsa, right down to the eye on Pulcinella’s cloth.
The Hamsa is a sign of protection in certain cultures, depicting an open right hand that is said to provide defense against the evil eye and evilness in general. Additionally, “khamsah” means “five” in certain cultures.
The “Evil Eye” ( 邪眼 Xié Yǎn) in Genshin Impact is a Delusion, which we all know has nasty side-effects. Perhaps Pulcinella will be protecting the Traveler in Snezhnaya, which would make his role similar to that of Thoma who was also their “guide” in Inazuma.
His role as the “Fixer” of the Fatui Harbingers is also supported by Pulcinella’s role in Commedia dell’Arte:
"Pulcinella, a man without dignity, is nevertheless indispensable to us all: without [him] ... none of his countless 'bosses' could ever escape from the awkward tangle of troubles in which they find themselves. Pulcinella is everyone's saviour, saved by no one."
— Antonio Fava, world-renowned mask-maker and Maestro of Commedia dell’Arte
Pulcinella, the symbol of protection, will thus become “everyone’s savior” from the “Evil Eye” (Delusions), which is also hinted at in this Constellation:
The Plague Mask which first appeared in 1348 when the Black Death ravaged the nation of Italy. Doctors would wear this mask to avoid contracting the disease during their visits to the plague victims. In time, the Black Death itself became synonymous with this black Mask, whose long beak could strike terror at once.
Pulcinella is immune to the memory-eroding and personality-altering (see: Signora) side-effects of Delusions, the “disease” that has killed many Resistance members in Inazuma, including Teppei.
Perhaps Pulcinella will be instrumental in saving not only the Harbingers, but the Tsaritsa herself from an “Evil Eye”, a Delusion that they had become entangled in because of Pierro…?
Scaramouche is the Sixth of the Fatui Harbingers and is known as The Balladeer or simply Skirmisher. He first made his debut in the Version 1.1 Unreconciled Stars event, and then appeared in Version 2.1’s Inazuma Archon Quest, after which he went rogue with the Electro Gnosis.
In Commedia dell’Arte he is called Scaramuccia — “Little Skirmisher” — who originally started out as a variant of Il Capitano and the Zanni before actor Tiberio Fiorillio (1608-94) added him to the theatre’s “canon” as a comedic servant.
As his name implies, Scaramuccia isn’t one to involve himself much in battle (if at all), despite being a sword-wielding soldier dressed in black. He also doesn’t wear a Mask (due to Fiorillio’s interpretation), but instead powders his face.
As a very cunning man of scheme and intrigue, Scaramuccia often lands himself into sticky situations, but always ends up pinning the blame of his schemes onto some innocent bystander. He is an unscrupulous and unreliable servant who ends up betraying the Vecchi, which usually causes all the other Zanni to follow suit.
In reality he is a woman hunter, a great friend to Pulcinella (but would never admit it) and a foil to Arlecchino, by whom Scaramuccia often gets beaten up in the play due to his arrogance. He, like all Zanni, always sides with the Innamorati because doing so allows him to spite the Vecchi.
The “canon” interpretation of Scaramuccia is as someone who is very artistically inclined with strong, agile and graceful movements. He is a great singer and even plays an instrument, usually a guitar, a violin or a lute.
Kunikuzushi is the prototype doll (Ningyō) created by Raiden Ei as a vessel for a “heart” — the Electro Gnosis — but was deemed too weak and fragile for both his purpose and for existing as a human in a land that had been ravaged by the Cataclysm. His creator thought it too cruel to destroy him, so she allowed him to slumber in Shakkei Pavilion until an “unknown error” would awaken him at last.
On the surface level, Scaramouche appears to be a villainous Harbinger with an attitude that seems not too dissimilar to Signora — which is exactly how he starts out in Commedia plays.
After all, even his name — Kunikuzushi (国崩 “country destroyer”) — refers to a larger-than-life villain in Kabuki Theatre that seeks to usurp an entire realm. It wouldn’t be unreasonable to theorize that Scaramouche’s intentions with the Electro Gnosis will mirror that of the Kabuki Villain Kunikuzushi.
However, if you take a closer look at his design, you will notice that Scaramouche’s true nature as a character won’t at all be how we first met him in Unreconciled Stars or the Delusion Factory. Kunikuzushi is, after all, the name he gave to himself, following the loss of his friend Katsuragi, and thus not his real identity as a character.
Quite the opposite, actually — his whole design is that of a Kabuki Hero — an Aragoto — not the Kunikuzushi.
For starters, Scaramouche’s Harbinger Mask is inspired by Kabuki Theatre, specifically by Kabuki Aragoto Umeomaru’s — the hero protagonist of the play Sugawara Denju Tenarai Kagami — kumadori makeup.
Another hallmark of an Aragoto is their Nioh Dasuki, thick, exaggerated, braided cords in dark and light purple. Nioh (仁 王 “virtuous king”) are the two Guardian Deva Kings that imbue the wearer of these cords with the power and majesty of these sacred warriors. Outside of Kabuki, normal-sized Tasuki are worn by traditional Japanese dancers during Odori (dance) Festivals.
Umeomaru himself is further identified by his plum blossom motif (Ume 梅 = “plum blossom”) and his checkered outfit, both which are present in Scaramouche’s design.
In Japanese flower language called Hanakotoba, the plum blossom heralds the changing of seasons, from winter to spring. It is thus a symbol for the transient nature of life, but also of strength and virtue, and a guardian against evil spirits, which is why you see these flowers near temples.
Scaramouche’s future role as a guardian of Inazuma is further emphasized by the nature of dolls in Japanese culture, particularly the Ichimatsu Ningyō that Scaramouche’s Constellation depicts. Such dolls are decorated with the Fuji Mon (“Wisteria Crest”) symbol, which in Japanese flower language symbolizes eternal life and safety.
The Sixth Harbinger’s parallels with Raiden Mei from Honkai Impact 3rd are also undeniable at this point. The Balladeer’s design is an almost exact replica of Mei’s Danzai Spectramancer battlesuit, which signified her at the height of her power as the Herrscher of Thunder.
And seeing that Raiden Mei is the deuteragonist of Honkai, Scaramouche is almost guaranteed to have an important role in Genshin as well.
Like Scaramuccia in Commedia dell’Arte, Scaramouche’s true desire has been unveiled via the Husk of Opulent Dreams artifact lore. Just as Scaramuccia is more a woman-hunter, Scaramouche desires a heart — his true heart, for which he is willing to throw away his status as a Harbinger, mirroring Scaramuccia’s betrayal of the Vecchi in Commedia dell’Arte.
And this is precisely where his path to redemption comes in, for his Constellation portrays him as being at peace with the heart that he has gained. This heart — Scaramouche’s true heart— will be the key to him becoming the Traveler’s ally and thus playable.
Fun fact: In Commedia dell’Arte, it is Scaramuccia that helps the Innamorati communicate with one another — maybe Scaramouche will help the Traveler find their sibling…? If so, he would be a lot more useful than the Archons.
Columbina (“Little Dove”) is the personal maid of the Innamorata, and described as the only rational character in the play, seeing through the folly of the others.
Her name Columbina is a diminutive of the Italian colomba, which translates into “Dove”, and she is typically a young woman.
She is Arlecchino’s love interest in most depictions despite being married to Pedrolino, but tries to change Arlecchino’s “foolish” nature for the entire play. She does so in a variety of ways: scolding him, punishing him, abandoning him then taking him back, but in the end accepts him for who he is.
Columbina is one of the only characters with no major faults, always emerging with ease and dignity from even the most complicated schemes. She is also autonomous and self-sufficient, neither optimistic nor pessimistic, and always sees each situation exactly for what it is.
She is an educated Zanni, capable of reading and writing, and very financially adept. Her smarts make her an excellent schemer, and she schemes on behalf of the Innamorati for whom she has great sympathy for. Other than that, she shows great affection for other characters as well, though she always holds something back, which is why she is often pestered by Pedrolino and old men like Pantalone.
Columbina doesn't usually wear a Mask, but when she does, it is typically an “Eye Mask” that doesn’t cover her nose or mouth.
It is unclear as to whether or not Columbina will be one of the Fatui Harbingers, but given her name “Little Dove” and the fact that we already have Pierro and now even Arlecchino, she certainly deserves a mention of her own.
However, if Columbina’s character trait of sympathizing with the Innamorati holds true, I am almost certain that she will be playable right off the bat, as soon as she makes her first appearance in Genshin Impact.
It is said that the Holy Spirit descended as a Dove at Jesus Christ’s baptism. Symbolizing purity, gentleness and grace, the Dove can thus be taken as a messenger of the Divine. Furthermore, the Dove has been, since the Great Flood, regarded as a harbinger of peace and the symbol of hope and new life. A Mourning Dove is thus, a symbol of hope to the suffering.
The Mourning Dove shares the same “crying tear” symbolism with the Sad Mask, so Columbina will most likely be connected to Pierro in a significant way.
As for her role in the story, I suspect that she is the intelligence gatherer among the Harbingers due to her rationality and lack of “foolishness”. Consequently, due to her Commedia Mask’s link with Pierro, I suspect she will be immune to the effects of Delusions.
Furthermore, I suspect that she (like Scaramouche) will be a counterpart to an existing character in miHoYo’s Honkai Impact 3rd because the parallels between Otto Apocalypse and Pierro are more than frightening.
Following that, the most obvious choice for Columbina would be Kallen Kaslana. Mirroring Pierro’s Otto, Kallen was Otto’s (unrequited) love interest. She was in love with Yae Sakura, yet engaged to be married to Otto, with Kallen’s death essentially becoming the catalyst for Honkai’s plot. Furthermore, Kallen’s Sixth Serenade battlesuit features a Bird Mask that doesn’t cover her nose and mouth.
Alternatively, Theresa Apocalypse could serve as a plausible counterpart for Columbina as well, if miHoYo decides to interpret the “Little Dove” moniker literally. She is Otto’s granddaughter, the clone of Kallen Kaslana and, as of APHO, the Overseer of Schicksal. Theresa defected from Schicksal when Otto kidnapped Kiana, and formed an alliance with Anti-Entropy to stop the Overseer’s nefarious plans. In this scenario, I could see Columbina’s faction of Harbingers defecting from the Fatui and allying with the Traveler, and perhaps Pulcinella will be acting on her orders.
As an honorable mention there is also Rita Rossweise. As the Vice-Captain to the Immortal Blades of Schicksal, she is Otto’s direct subordinate and has been tasked with numerous recon and assassination missions, which would fit Columbina’s potential role among the Harbingers. She is a very shrewd and rational woman that was most notable for her role in Arc City, yet not really an antagonist. She formed a temporary alliance with Kiana and was shown to care for her subordinates. However, I think Rita is unlikely to be Columbina or a Harbinger, as she and Durandal are much better-suited to be Celestian Gods — Rita has a skin titled Maid of Celestia.
Arlecchino is, by far, the most well-known Mask in Commedia dell’Arte.
His name originates from Hellechino, meaning “Little Devil”, a stock character in Medieval Passion Plays that depicted the trial, suffering and death of Jesus Christ. Of note, Dante Aligheri’s Divine Comedy mentions a devil named Alichino, who fails to thwart Bonturo Dati’s escape from the inferno.
Arlecchino is usually in love with Columbina, but known to be (sexually) interested in any woman he encounters.
A Zanni —usually the servant to Pantalone, Il Dottore or even Il Capitano — and supporter of the Innamorati who is characterized by his ignorance, stupidity and naiveté with a few flashes of intelligence and wit, and further characterized by his fear of his Master, who abuses him more than any other servant. He is also never malicious, even though his desire to measure up with the more cunning Zanni in intelligence makes him appear so.
Arlecchino may be able to hatch schemes, but is an impulsive, reactive character — that is, he doesn’t involve himself much with the development of the plot, but is instead tasked with maintaining the comedy’s even rhythm, which is where his greatest strength, his nimble and agile physicality (like acrobatics during the play), comes in. He is also known to eat a lot.
Whatever scheme Arlecchino hatches, he never thinks it through and it never works out as planned. His greatest strength is a double-edged sword when paired with his short-sightedness, and that leads to complications in the comedy — for instance, when he is tasked with delivering a message — that often turn out far more interesting than the actual task itself. This is why watching Arlecchino’s misadventures is always such a delight for the audience.
He is very much bothered by his lack of intelligence compared to other Zanni, and tries very hard to seem intelligent, even to the point of appearing malicious (which he really is not).
Arlecchino is known to beat up Scaramuccia multiple times throughout the play for his arrogance, though Scaramuccia is leaps and bounds smarter than him. They are rivals, essentially, that in the end team up together with the other Zanni to ruin the Vecchi’s day.
Arlecchino is recognized by his bright, chequered costume and his rounded, black or tan Mask with demonic features that only covers the upper part of his face — elements that have since become iconic elements in the English Harlequinade and pantomime. Most famously, Arlecchino also takes stage in the Carnivale di Venezia along with other Commedia characters such as Columbina, Il Capitano and Il Dottore.
He always appears with his signature prop, his batoccio or slapstick.
NOTE: Because there isn’t really a lot of information regarding the Harbinger Arlechino to go off of beyond a datamine by @Genshin_Intel and a leak by Mia, the following claims will be highly speculative, and you are welcome to disagree.
Following the naming convention of the Harbingers, I believe miHoYo will follow the earliest iteration of Arlecchino and dub him The Devil of the Fatui Harbingers.
As a demon in Medieval Passion Plays, Arlecchino would thus most accurately be represented by the Three Nails Constellation, which is symbolic for sacrifice. On the flip side, they may also represent Three Swords, which are symbolic for the Oath of the Horatii, a French painting that depicts the three Horatius Brothers who were willing to sacrifice their lives for Rome.
Borenka, the Fatui Electrohammer Vanguard from Borenka’s Orders and Version 2.2’s Watatsumi Island World Quest Clean House, mentions that he was an orphan that grew up in an orphanage founded by Arlecchino. He and his fellow orphans were all given the surname “Schneitz”, and neither of them has any recollection of their identity beyond “what kind of blood flows in [their] veins.”
It’s not hard to see why Arlecchino might be connected to Dottore, who is known for procuring children for his many unethical experiments and these Schneitz orphans would be no exception. All of the Fatui mobs we see in-game seem to be a product of experimentation — after enhancing their physical and elemental aptitudes, these (now grown-up) orphans then get sent on various missions — which most often lead to their deaths.
They all share the same belligerent, aggressive attitude which could possibly hint at a mental experimentation as well, such as brainwashing or corruption via Delusion. These children then grow up to become the Fatui skirmisher mobs that get sent on various missions, often to their deaths.
However, I don’t think the matter is as clear-cut as Arlecchino and Dottore being in cahoots with one another, like Barnabas for instance, who procured children (like Collei) for Dottore’s Archon Residue experiments.
Rather, I believe that Dottore and Arlecchino are Master and Servant, and that Dottore is forcing Arlecchino to give up a portion of “his” children, mirroring the fear Arlecchino has of his Master in Commedia dell’Arte.
Uncovering Arlecchino’s personal identity is where things start getting interesting. Going with the interpretation of The Devil in Medieval Passion Plays that depict a sacrifice, I can’t help but think of the Oni of Inazuma.
As we learned in Arataki Itto’s Story Quest, the Blue Oni sacrificed their livelihoods and donned the cloak of villainy so that humanity would accept the Red Oni. As a result of this, the Blue Oni could hardly provide for themselves and their families, living in misery and seclusion with no hope to better their situation. They value their pride very much, and as such refused to better their situation in order to honor their pact.
Additionally, the Oni always seem to be at the center of mischief — Mikoshi Chiyo turning her sword against Raiden Ei, Itto himself being at odds with the law, the Twin Oni of Tokaku, the list goes on.
The most famous out of all of them, however, is Ako Domeki Zaemon — the Deathless Oni of Seirai — and the one who I believe is Arlecchino “The Devil” today.
A famous Inazuman Pirate who rebelled against the Shogunate for reasons unknown, he once defeated and stole a Maguu Kenki puppet before his entire crew was stranded on the Golden Apple Archipelago. Domeki himself managed to return to the now ruined Seirai Island, vowing to journey through the seas and see the world in Asase Hibiki’s place.
His ultimate fate remains unknown, but I reckon that he is still alive, for he promised that “[they] would meet again, where all ship routes end”.
Domeki’s name is a reference to the Hundred-Eyed Oni Dōmeki (百目鬼) and this is echoed throughout the game with Ako Domeki — such as his title and his ship, the Seiraimaru, having Oni symbolism.
Oni in Japanese folklore are traditionally depicted as demons and the Wardens of Hell (地獄 Jigoku) tormenting the sinners that end up there. They are generally responsible for carrying out the sentences passed down by the King of Hell, King Yama (閻魔 大王 Enma Daiō, lit. “Great King Yama”).
The concept of Oni is very similar to that of Alichino from Dante’s Divine Comedy and Arlecchino as a devil in Medieval Passion Plays, as both involve chasing and tormenting sinners.
Oni are also notable for their role in attempting to obstruct the souls of dead children from crossing the Sai no Kawara (賽の河原, lit. Riverbed of Death) a mythical boundary by which the souls of children who died by miscarriage, abortion or in infancy cross over to the Realm of the Dead with the help of Jizō Bosatsu (地蔵 菩薩, lit. Earth Womb Bodhisattva), a Buddhist deity (Bodhisattva) known as the guardian of children.
Another parallel to Arlecchino, who apparently runs an orphanage.
However, that’s not all. Following the parallels Scaramouche has with Raiden Mei who later joined the World Serpent — an organization that hunts Herrscher Cores — after becoming the Herrscher of Thunder, I believe that Arlecchino (or Ako Domeki) will be a Honkai-inspired character as well.
That counterpart would be Raven, a member of the World Serpent and an antagonist who had formed a temporary truce with Mei prior to her joining the World Serpent. Raven’s hatred of Herrschers and her initial opposition to Mei mirrors Ako Domeki’s opposition to the Raiden Shogun and even the relationship Arlecchino has with Scaramuccia in Commedia dell’Arte. Thus, Ako Domeki, who opposed the Divine, could be a foil to Scaramouche who is of Divine origin. In the end, Mei and Raven joined forces to rid the world of the Honkai.
Raven is most notable for running an orphanage called “The Roost”, consisting of children with rare stigmata.
Not to mention, it would only make sense for miHoYo to make the most famous Commedia dell’Arte Mask a Honkai counterpart, and Raven has always been a very popular character, so much so that they begged miHoYo to make her playable, which happened recently, two years after her debut.
And yes, Arlecchino will be playable, and he will be one of the most heroic Harbingers despite his rough exterior. I would expect him to be very similar to Itto in personality, but a lot more serious.
Sandrone is a very peculiar case, in that he was originally portrayed as a puppet and later by an actor in Commedia dell’Arte.
Known as Sandróun in Modenese dialect, this character represents the city of Modena and has been a symbol of the Carnevale di Modena for over a century. Sandrone’s origins are generally attributed to puppeteer Luigi Campogiallni (1775-1839), but an almanac published in Reggio Calabria mentions a character named Sandron Zigolla da Ruvolta.
Not much is known about this character. He is a peasant without much connection to the Zanni or the Vecchi, but can generally be described as the “Robin Hood” of the play. He is the spokesperson for the “dregs” of society — the humble, the hungry and the abused.
As noble as that role sounds, Sandrone… isn’t a nice person. He is a crude, vulgar and cunning trickster who uses his trickery to make ends meet for his wife, Pulonia, and his son, Sgorghiguelo. Of note, these characters form the Pavironica Family and were also initially portrayed by puppets.
If I had to describe Sandrone with a single trope — Jerk With A Heart Of Gold.
His style of clothing is very Modenese — a corduroy jacket with short corduroy pants, red and white cross-striped socks and sturdy farmer’s boots. He wears a wig with long hair that he partly covers with a white wool cap ending in a tassel. Sandrone carries a long stick in some depictions.
NOTE: I know that the CN version of the game doesn’t outright name Sandrone but calls him Mù'ǒu (木偶, lit. "Puppet"), but I will go by the assumption that it is indeed Sandrone since he is the only Mask that originated in puppeteering. If I am wrong in the future, like for instance Pedrolino being Pierro, I will update this section in the future.
Because Sandrone doesn’t fall into either of the two categories — Zanni or Vecchi — it can be a tough call to predict his playability (or lack thereof) at a first glance. This task is made even harder by the fact that Sandrone is an incredibly niche character in Commedia dell’Arte, and is, for lack of a better word, considered “filler”.
But being the spokesperson of the hungry and the abused is arguably a sympathetic thing, even if this “Robin Hood” is a vulgar character. That’s why I’ll go out on a limb and say he will be a playable Harbinger, with a story that will be quite similar to that of Scaramouche.
Sandrone’s title among the Harbingers is “The Puppet”, so this Constellation very obviously belongs to him. The Puppet is often symbolic of the invisible duality of man — the bright, “positive”, limitless side that is the spirit, whilst the “negative” side represents the flesh that unveils the mind’s hidden impulses. In other words, a metaphor for the human condition. What does it mean to be “human”? Where does “humanity” begin, and where does it end? What separates a human being from a mechanical object that mimics humanity?
Contrast that with the idea of a “Puppet” as a “controlled individual” — one who has invisible strings attached to them, completely bound to their “Master”’s will.
Unlike Scaramouche, who aims to gain humanity via the Electro Gnosis, I feel that Sandrone’s case will be the complete opposite — i.e. that he is a cybernetically enhanced human who has lost all semblance of humanity and emotion, a “Puppet”.
Whereas Scaramouche’s story involves gaining humanity and the purpose that he was denied from the moment of his creation, Sandrone’s story will revolve around rediscovering his humanity and the true conflict of the human soul.
Perhaps he is “willingly” controlled, as a “sacrifice” for all the others…
[ lore theory ] the fatui & commedia dell’arte
part IV
I have saved the best (and most intriguing case) for last.
Yes, he gets his own section because he is that suspicious, for reasons that will become real obvious real quick.
In fact, I would go as far as to say that he will be so suspicious that he might as well be Genshin’s real antagonist (next to Celestia) and the puppeteer pulling all the strings.
.
.
,
Enter Pierro “The Jester”, the First of the Fatui.
.
.
.
Pierro is the First of the Fatui Harbingers, dubbed The Jester. He is the First Fatuus, one of Khaenri’ah’s survivors who founded the organization shortly after its fall and pledged fealty to the Cryo Archon, the Tsaritsa of Snezhnaya, “who understands [his] pain”. Pierro was first mentioned by Scaramouche at the end of the Version 1.1 Unreconciled Stars event, and again referenced in the Version 2.2 World Quest Clean House as the mastermind behind the Delusion Factory.
Pierrot or Pedrolino, as he is called in Italian, is a Primo Zanni, the first of the servants in Commedia dell’Arte. His name is a diminutive of “Pietro” or “Pierre”, both translating to “Little Peter”.
He started out as a relatively obscure character in 1547, where the records first mention a Piero, before finally becoming established as Pierotto and then Pierrot in France, and finally as Pedrolino in Italy. The Italian Pedrolino is generally attributed to actor Giovanni Pellesini, who created the Pedrolino we know today.
He is in love with Columbina and even her husband in some depictions, though it is always unrequited as she ends up leaving him for Arlecchino, which makes him sad and depressed.
Pierrot has become so important that he appears in 49 out of the 50 scenarios in Flaminio Scala’s scenarios for the reason that Pierrot is one of the more multifaceted characters that can be tweaked depending on the needs of the plot — his role can be that of the Primo Zanni or the Secondo Zanni. The Italian Pedrolino’s role tends to be more dynamic, whereas Pierrot’s is more static.
The Primo Zanni’s role is to instigate confusion, whereby he schemes cleverly on behalf of the Innamorati — for example by tricking Pantalone into believing the ‘madness’ of the Innamorati can only be cured by their union. Unlike Arlecchino who is a reactive character, Pierrot is proactive and creates the play’s plot, while also being responsible for keeping it going by his schemes. Pierrot is the lynchpin of the plot, without whom there is none.
A Zanni, yet one that is unhesitatingly faithful to his Master, supporting the Innamorati only to avoid the punishments others have in store for him. An observer of the follies of others, Pierrot resorts to violence when he is angry, but that is usually foiled by the other characters to remain faithful to the rules of comedy. Just as he is a deceiver, he is also one that is being deceived, for example by deluding himself into thinking Columbina wasn’t unfaithful to him, or that Columbina’s acts of humiliating him are Pierrot’s fault.
He doesn’t wear a Mask, but is instead distinguished by his powdered face and an either completely white attire that often gets him confused for Pulcinella, or a blue one (as is the case with Peppe Nappa, the Sicilian Pedrolino).
When we cross-reference what we know of Pierro in Genshin Impact with who Pierrot is, the connections become obvious.
Pierro as the First Harbinger mirrors the role of Pierrot as the Primo Zanni eerily accurate — in his capacity as the First of the Fatui, Pierro is the founder of the organization and the originator of this grand “play”, its lynchpin… and its director.
The community generally views Pierro as the Harbinger that recruited the rest — he is confirmed to have recruited Signora, Dottore and (as of Husk of Opulent Dreams) Scaramouche. Though it is unknown as to whether he recruited Pantalone as well, the idea is plausible since he is the Harbinger of the Pale Flame timepiece, Moment of Cessation.
And it is precisely in the Pale Flame artifact set that Pierro becomes suspicious. Take a look at the description of the Mocking Mask:
Notice how Pierro is the only one whose artifact is told from his perspective, whereas the rest of the Pale Flame lore is told in third person.
Why is this important?
THE TRUE NATURE OF DELUSIONS
.
The game shows us that artifacts all come from the Ley Lines, and tells us that these artifacts are in fact the memories and ambitions of their previous owners.
In the case of Signora, the power that Pierro gave her seemed to have spurred her imagination:
“The first Fatuus gave power to a young woman [Rosalyne / La Signora] in whom the flame of life had all but died,
And in her wild imagination, she saw the line that lay between the corrupt past and a stainless future…”
Wild imagination…? Dare I say, he showed her a visual of the future that she so desired…
“I had a long, long dream.
I dreamed that you and I met again in the pure white world that we created.
But I woke up at last, having been consumed by the raging flames, while you had long returned to the earth along with that poisoned blood.
But none of it matters anymore. I must continue forging ahead. I must incinerate everything behind me. I must believe in that pure, spotless, everlasting realm that he spoke of — that I saw in the ‘delusion’ he [Pierro] let me see, at the end of the horizon of Her Majesty’s dreams.”
This “mysterious power” Pierro gave Signora is her Cryo Delusion, which caused her to fall asleep somehow and dream of the future that she so desperately wanted.
But how could Signora “dream” yet be awake at the same time…?
“The seal of ice was broken under duress [the battle at Tenshukaku], and as her former will surged forth from its pale white prison and as she remembered her old name once more, the undying butterfly danced amidst burning flesh and blood. And she remembered her past, wandering the land, spreading the flame, burning away all evil — and she recalled the face of the person [Rostam] she could never meet again.”
These pieces of lore, the Molten Moment and Hellfire Butterfly, reveal a part of the true nature of Delusions — erasing one’s memories and thereby entrapping one’s true self in a dream.
In other words, by giving out Delusions to the Harbingers and other select Fatui, Pierro distorts their original personalities by enhancing their negative emotions — in Signora’s case, it was her grief and anger, as the Ashen Heart tells us.
“The First Fatuus found her just before her heart could be destroyed by the eternal blaze. He understood that only deeper hate and obsession could quench the fire that devoured her and make her his ally…”
Contrast that with The Witch’s Ever-Burning Plume, which tells us:
“Scorched earth followed in her wake, for she chose a path of hellfire.
Though her fires touched only monsters and demons,
People still cowered behind closed windows and tried to drive her away, But none of that mattered to her.”
Rosalyne the Maiden only had noble intentions and never harmed innocents. Signora the Harbinger not only harmed innocents, but used lethal force against her very own recruits. The Delusion had trapped her true self and her memories, causing her to remember only the events of her joining the Fatui.
In the case of Scaramouche, the nefarious nature of Delusions becomes even more apparent.
“He was a transcendent being, divinely created, but was cast aside like worthless dross.
[...]
Before the Fatui found him, he had drifted for countless years
And in that time, this is what his experience had taught him:
“I am a ‘human’ that surpasses all others.”
“Even the gods daren’t meddle in my fate.”
“Neither mortal, nor god, nor fate itself, is qualified to be my judge.”
“I am free to choose how I wish to spend the remainder of my days.”
“Since these mask-wearing people are so fun to be around…”
“I think I’ll become one of them.”
And as of Husk of Opulent Dreams, even Scaramouche is affected by the same dream-like state, which we decoded to be a Delusion. From the Bloom Times artifact lore:
“What he [Scaramouche] saw in his dream was a phantom dancing to the music under the moonlight,
Just like the young man in the distant past, who was akin to a blank sheet of paper,
And like a pure yet fragile persona,
Emerging once the resentment and suffering had dissipated.
[...]
The wanderer did not know that he had any faculties for dreaming,
[...]
[But the] vagrant cared not, for when he awakened,
It was not he, but that ethereal future that dissipated.”
Husk of Opulent Dreams blatantly contradicts the egomaniacal portrayal we saw of Scaramouche in the Surpassing Cup — the former persona is driven by his purpose of fulfilling the purpose that he was created for ( namely, to hold the Electro Gnosis as his Heart), while the latter persona is driven by pride and freeing himself from the Divine.
But Scaramouche’s memories had been sealed and his true self entrapped in a dream, a ‘delusion’, while the distorted persona operating the body was one generated by the Delusion itself.
What separates Scaramouche from Signora, however, is his ability to awaken himself from the dream — Pierro cannot, and will never control him completely.
And the same is true of Childe, who is still cognizant of his identity and his loved ones.
Why? — Because they are Zanni.
But why would Pierro then send Scaramouche to investigate the meteor and then to Inazuma…?
Simple. Scaramouche, to Pierro, was simply a test subject, the fulfilment of his declaration to Dottore to “manufacture even that which [he] would call a god” — the Electro Archon’s creation, used as a divine weapon against Celestia.
And if Pierro can manipulate both Signora and Scaramouche to such a degree, it is safe to say that he is playing the rest of the Harbingers like a fiddle.
This is his grand theatre play after all… even the Tsaritsa herself is a puppet
in Pierro’s Theatre of Domination,
as the Mask at the very top of the wheel, dominating all by stripping them down to their basest ideals.
PIERRO’S THEATRE OF DOMINATION — THE PUPPETMASTER OF SNEZHNAYA
The Primo Zanni’s role in Commedia dell’Arte (a theatre) is to instigate confusion and the lynchpin without whom there is no play, and this is exactly what Pierro does with the Fatui Harbingers.
The Pale Flame is a lie orchestrated by Pierro to turn these eleven individuals — and even the Tsaritsa herself — into the actors needed for his grand play that is the Theatre of Domination.
The Herrscher of Domination in Honkai Impact 3rd operates exactly under the same framework as the concept of Delusions. Also called the Herrscher of Legion, this entity “dominates” the consciousness of its victims to empower itself, but that is only one part of it. The other part… is stealing the powers from the Cores of all previous Herrschers.
The victims of this Herrscher have one thing in common: they are the rejects of society that succumb to their grief and anger and thus become assimilated into the Herrscher of Domination’s hivemind.
They become puppets — they might have minor personality quirks, but are indistinguishable and thus easily replaceable in the grand scheme of things.
The victims then are taken to the Theatre of Domination, a realm disconnected from reality, where their former identities are erased and their consciousness entrapped.
Notice the symbol in the center — the four-leafed snowflake that is none other than the insignia of the Fatui organization.
We see this exact same modus operandi with not just the Fatui Harbingers, but the regular Fatui as well. From the Funerary Mask description:
“The Fatui often face the world from behind their masks, and it is said that this is because all they once were mean nothing once they become Fatui, and thus must they forsake their true names and face alike.
[...]
…Of course, many within the Fatui are simply consumed by power and are simple sadists — nor are these states necessary in conflict.”
To add more to that, here is the Polar Star lore:
“I was once a wounded wolf, betrayed by the whole world,”
“But we shall create a new world, one in which no one shall ever be forsaken.”
“Dressed in flawless garments as radiant as the midday,”
“We came to the land of Silver Snow,”
“And sounded the clarion of Her Majesty’s greatness.”
“Oft have we walked in the moonless night.”
“Oft have we trudged through the gilded sands.”
“Oft have we felt piercing enmity in the dark,”
“And oft have we dreamed of lovers in distant hometowns.”
“But the pale flame yet burns in our breasts.”
“O Harbingers, scintillating as polar stars,”
“Guide us ever onward, tireless.”
“If your dreams find no acceptance, if you nurse wounds that will not fade,”
“If you end each day discontent, if you burn with fury against false promises,”
“Lift up your eyes to the white, glimmering stars, for that is our banner.”
“Join our ranks! Let our marching boots shake the earth like thunder!”
“You who will march with us towards the polestar of the white night, come! We shall never abandon you.”
“You who will walk with us into the land of darkness, come! We shall create a new world together.”
“Know that the destruction of all precedes the birth of a new order.”
“At devastation’s end, we will greet a stainless dawn.”
As you can see, both the Funerary Mask and the Polar Star allude to the same hive mind mentality that is characteristic for the victims of the Herrscher of Domination — they become nameless, faceless puppets whose only seeming goal in life is to facilitate the goals of the Fatui.
In truth, however, only Pierro benefits from this scheme, as the instigator of the confusion, just as it is in Commedia dell’Arte.
However, I believe that controlling the Harbingers is only one part of this scheme. Following the modus operandi of the Herrscher of Domination, it is very likely that Pierro benefits directly from the hatred and obsession generated by the usage of Delusions, which is why he seemed to have ordered Signora to oversee their manufacture in Inazuma.
From Borenka’s Orders, taken from Clean House World Quest on Watatsumi Island, which revealed Pierro as the mastermind behind the Delusion Factory:
“...Be sure to withdraw with all haste and bring the Inazuman recruits who retrieved the secret report that ‘Nathan’ wrote to the First Lord Harbinger [Pierro].”
“To prevent any repercussions from this incident, no one must know about the inner workings [the Delusion Factory] of what happened on Yashiori Island.”
“The new recruits do not have any innate value to the overall goals of the Fatui, and need not be trained in any way. They will, however, do just fine as living test samples.”
But what Pierro is truly after… is something far more sinister.
Pierro sent the Harbingers on a hunt for the Gnoses of the Archons, seemingly by order of the Tsaritsa.
But the game tells us that the Fatui are “a Snezhnayan organization loyal to the Tsaritsa” — almost suggesting that she is only a figurehead and not the brains behind this plan.
In other words…
Pierro is the one after the Gnoses, and the Tsaritsa is only a front.
Now that we have uncovered the true mastermind behind the Fatui and Smezhnaya’s plot, let’s talk about the man behind the Mask.
Being the grand villain that he is, Pierro will most definitely play a major role in not only Snezhnaya’s Archon Quest, but also the Khaenri’ah chapter. Based on all the evidence I gathered so far, I further theorize that Pierro’s real identity can only be the main villain of Honkai Impact 3rd, who kickstarted the entire plot up until now.
Otto Apocalypse, the Overseer of Schicksal, and as of now the one who was given the authority over the Herrscher of Domination by the Will of the Honkai. He is a scheming mastermind and the source of Schicksal’s corruption in the Current Era. He oversaw many unethical experiments under his leadership and manipulated every notable figure in Schicksal to do his bidding — Siegfried Kaslana, Cecilia Schariac, Durandal, Theresa Apocalypse, and even the main trio.
But that is only scratching the surface. Otto is the only character in Honkai Impact 3rd with a plethora of clown references and clown motifs.
He has taken the identity of Clown Alpha in the past — “Alpha” being the first letter of the Greek alphabet, and Clown refers to Jester. Notice the teardrop on the white Mask’s right eye, which is the same position as both the Sad Mask and the Mocking Mask in the Pale Flame set.
Of further note, “Clown Alpha”’s color scheme is identical to that of the Pale Flame and the Polar Star.
Furthermore, Honkai’s Chapter XXVII (27) is called Dusk of the Fool, and is centered around Otto himself as he reveals his true plan and sets it in motion. As per his deal with the Will of the Honkai, Otto plans to steal all Herrscher powers for himself in order to turn back time to 500 years past, to an era where Kallen Kaslana still lived.
In other words, Otto has become a Herrscher himself and even received the authority of the Herrscher of Domination, but not the Core of that Herrscher.
He has become a fool, believing that by bargaining with the Honkai that seeks humanity’s destruction, he may save Kallen, something he failed to do 500 years ago.
In the recent chapter, even Otto’s puppets are called Fools.
“[...] So too did I fail to stop them from tearing away the veil of sin, ushering in a tide of divine wrath, destruction, and foolishness…
Then I shall become instead a fool, a Fatuus, and devote myself to Her Majesty, who understands my pain…”
It is very likely that Pierro is using the Tsaritsa to collect the Gnoses, only to steal them for himself at the last second — this could prompt the arrival of Dainsleif, who would then usher in the events of the Khaenri’ah Chapter.
In fact, Pierro as the Mastermind behind the Fatui and the Tsaritsa has been foreshadowed by miHoYo since they revealed the Fatui Constellation Wheel. Notice the singular teardrop Mask right at the very top — miHoYo subtly communicate that there is a Mask pulling all their strings, and it is suspiciously similar to Pierro’s Mask motif. In fact, that same Mask appears in one of the game’s name cards.
Circling back to Otto himself, let us take a closer look at his name — Otto Apocalypse, a very apt name in my opinion.
Apocalypse comes from the Greek word ἀποκάλυψις (apokálypsis, from ἀπό = “from”, and κάλυψις = cover, thus literally “from cover”) and refers to the Book of Revelation in the Bible — a book that is connected to eschatology, or the revelation of the end of the world and divine judgment.
Applying the evidence we have gathered to the context of Genshin Impact, this no doubt refers to the destruction of Khaenri’ah and its judgment by the Heavenly Principles.
Interestingly, Khaenri’ah appears to be a union of two Arabic words — Khaen = خائن = betrayer and Ri'ah = رياح = winds — a connection to Venti, perhaps…?
What is more interesting however, is the possibility that the destruction of Khaenri’ah could have been taken from Islamic eschatology, specifically Surah Al-Qaria, or the “Calamity”, which specifically references an abyss called Háwíyah (هاوية, "abyss").
Pierro lived during the fall of the Eclipse Dynasty, and an eclipse in Islamic eschatology is generally regarded as an omen for the Day of Judgment.
“[...] So, let us don our masks in mockery of the world as we go forth and rewrite the rules of destiny.”
Masks typically cover one’s face, hiding one’s emotions, personality and even identity. They are also used to emphasize one or more aspects of the human psyche. Comedy and tragedy Masks illustrate this concept — whereas a comedy Mask highlights foolishness, a tragedy Mask highlights grief, sadness and loss. They are associated with the Greek Muse Melpomene, who was the mythological Muse of Tragedy and depicted with a tragedy Mask in one hand, and a club in the other.
And last but not least — will Pierro be playable? It depends on whether or not miHoYo will make him cross the Moral Event Horizon like they did with Otto Apocalypse in Honkai….
CREDITS
— Rowlet#6448 - for the concept of the Zanni-Vecchi theory
— bung3665#7639 - for the Honkai lore on Otto Apocalypse
— Cinis#1654 of Scaramouche Mains - for the Commedia dell’Arte lore
— Youtuber IslandXD - for the Signora-Moth connection