A closer look at Lilith.
is the first game in the franchise that, to me, embraced its more thoughtful, vaguely theologically nihilistic roots. That is made manifest in the main villain, Lilith, who departs from the smirking and roaring of her predecessors to articulate a cosmically maternal pain. Aside from everything the game does right in terms of gameplay, I was finally deeply drawn into the franchise’s lore — which, despite its depth, has often been overlooked or downplayed in the previous games.
I cannot say I was completely behind my powerful witch character, despite my adoration for her power, loyalty to her new friends, and stunning voice. Aided by a cast of allies devoted to saving the world, I felt pulled by their blind faith rather than guided by articulated morality. Indeed, Lilith’s second-in-command, a man named Elias, sought to summon her back to the world precisely because she was the only figure powerful enough to withstand and do away with both Heaven and Hell.
It is often said that what’s worse than a universe that actively hates us because of, say, evil gods, is one that is indifferent. At least with hatred, there is intentionality, with a small hope that we could turn those gods in our favor. But a universe with no such power, that folds its arms as we die and scream and perish, echoing into the black nothing for eternity, seems worse.
Here, that opposition is embodied in Lilith: she is precisely the kind of cosmic being we would hope to turn in our favor, which is what Elias wanted when summoning her. It’s interesting to me that the goals of the main characters seem to be to fight for a world without these powerful beings, without angels or demons. To be cast off into the sea of the cosmos, to drift on an island of banal mortality, and die uneventfully in a fit of meaninglessness.
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