Vol.15: Wanderer (Scaramouche) - Creation and Soul. The "Sin and Rebirth" of a Boy Abandoned by God Who Tried to Erase His Existence in Irminsul

In discussing the profound philosophical propositions of the “creation of life” and the “Determinism of fate” on the continent of Teyvat, no entity is more suitable as a subject of metaphysical inquiry than the prototype puppet created by the Electro Archon Beelzebul (Raiden Shogun / Ei), who later became the Sixth of the Fatui Harbingers, “The Balladeer (Scaramouche),” and ultimately evolved into the “Wanderer,” a scholar of the Vahumana Darshan in Sumeru. This article comprehensively analyzes his trajectory: from the memories of the “three betrayals” he endured, to his manifestation as the false god “Shouki no Kami, the Prodigal (Shouki no Kami),” the alteration of his existence and the verification of causality through Irminsul (Irminsul), and finally, his rebirth upon acquiring an Anemo Vision. This analysis is conducted from the perspectives of Western alchemical thought, the concept of the Demiurge in Gnosticism, and deterministic fatalism. By logically distinguishing between in-game historical facts and academic inferences within the lore community, it unravels the cosmological significance of a single “creation” acquiring a true “soul.”

1. Creation and Abandonment: The Structure of Ressentiment Formed by the “Three Betrayals”

Lying at the root of the Wanderer’s behavioral principles is an extreme “Ressentiment (resentment)” toward the world itself and others. Behind his deep hatred for humans and gods, and his conclusion that this world is an “elaborate tapestry of deception,” lies a decisive existential crisis—the “three betrayals” that stained his pure, blank-slate ego black.

The three experiences of loss he recounted in the abyss of his memories in Sumeru vividly depict the process by which a creation is alienated from its creator and the world. These experiences became the motive for his thirst for a “heart” and formed the psychological foundation of his later ambition to usurp the Divine Throne. The table below outlines the structure of the “three betrayals” as he perceived them, along with the philosophical and existential impacts they had on him.

Order of Betrayal	Target and Perceived Entity	Historical Reality and Philosophical Implications of the Event
The First Betrayal	The Creator (Mother God: Electro Archon Beelzebul)	The Electro Archon created him as a prototype vessel to house the Gnosis. However, upon seeing him shed tears in his sleep, she deemed his essence “too weak (or too human),” sealed his power, and abandoned him in the Shakkei Pavilion. For the creation, this was an “experience of absolute existential denial and abandonment by a god,” becoming the origin of his hatred for divinity.
The Second Betrayal	Family and Friends (Humans: Katsuragi and Niwa Hisahide)	He was taken in by Katsuragi in Tatarasuna and formed a friendship with Niwa and others as the “Kabukimono.” He perceived that they had abandoned him out of fear, treating him as an abomination. However, the historical truth was different: “The Doctor (Il Dottore)” infiltrated under the alias Escher, murdered Niwa, and handed his heart to him, claiming it was “left behind by the fleeing Niwa”—a ruthless act of human experimentation and psychological manipulation.
The Third Betrayal	Kindred Spirit (A nameless boy with a fleeting lifespan)	He made a vow to “be together forever” with a nameless boy who represented his hope for the future. However, the human boy died of illness, breaking the promise. To a puppet with eternal life, the inevitable separation caused by human “mortality” was perceived as an incomprehensible betrayal. As a result, he came to despise human fragility and completely lost faith in humanity.

Through these betrayals, he named himself “Kunikuzushi” and initiated a fierce revenge against those associated with Tatarasuna, namely the Raiden Gokaden (Amenoma, Futsu, Isshin, Hyakume, and Senju). However, as the text of the artifact set Husk of Opulent Dreams indicates, he suddenly lost interest midway through his revenge and abandoned the plan. This was because he realized that the destructive act of revenge itself could not fill the massive Void within him, later brushing it off by claiming it was “merely a little experiment in human nature.” The fact that even revenge could not save him drove him toward further nihilistic pursuits.

1.1 The Thirst for a “Heart” and the Reality of the Gnosis

For the Wanderer, reclaiming his lost “heart” was a supreme imperative. The heart he sought was not merely a physical organ, but a divine focal point to prove his completeness as a creation. In the text of the artifact set Husk of Opulent Dreams, there is a prophetic description that when he obtained the Gnosis, he would understand that it was “not a blessing, but just an amiable husk filled with selfishness, hypocrisy, cunning, and curses.” To fill the void left by being abandoned by gods and humans, he strongly desired the Gnosis he was originally meant to house. However, he would face the cruel paradox that a material and magical Gnosis could never eternally fill his spiritual emptiness.

2. Magnum Opus: Alchemical Transformation and the Acquisition of a Soul

The trajectory of the Wanderer’s soul shows an astonishing alignment with the “Magnum Opus” in Western alchemy—the process of transforming base metals into the perfect substance (the Philosopher’s Stone). In Teyvat, alchemy is primarily known as Khaenri’ah’s “Khemia,” often discussed in the context of life creation such as Albedo and Durin. However, analysis reveals that he, too, as a divine creation, has experienced these four stages of spiritual and ontological transformation.

The four stages of alchemy serve not only as the transformation of matter but also as a metaphor for the process of an individual’s psychological and spiritual maturation (the process of individuation). The Wanderer’s upbringing is perfectly synchronized with these four stages of transformation.

Alchemical Stage	Symbolism and Meaning	Alignment in the Wanderer’s Life
First Stage: Nigredo (Blackening - Nigredo)	Putrefaction, decomposition, and death. Associated with the Geo element, it symbolizes the death of the ego and the destruction of the self.	His time spent in Tatarasuna as the “Kabukimono” and the spiritual death caused by the betrayals he experienced there. As a pure “blank slate,” he came into contact with the “putrefaction” of human malice and tragic death, incinerating his former innocent self and sinking into the depths of despair.
Second Stage: Albedo (Whitening - Albedo)	Purification, washing, and cold light. Associated with water and the moon, it refers to the attempt to regain purity.	His time as the Fatui Harbinger, “The Balladeer.” He eliminated his emotions to the utmost limit, becoming an entity that coldly observed the world. He stripped away human emotions as “unnecessary dust,” attempting to return to a “blank slate” to become a pure vessel capable of receiving the Gnosis.
Third Stage: Citrinitas (Yellowing - Citrinitas)	Acquisition of knowledge, awakening, and dawn. It signifies the Anemo element and the manifestation of new energy.	The stage where he awakened as the artificial god “Shouki no Kami” in Sumeru through the power of the Akademiya. He acted as a transcendent being who had realized everything, but this was not yet the completed form of a soul; it was a false awakening.
Fourth Stage: Rubedo (Reddening - Rubedo)	Complete transformation, fire, and blood. It symbolizes the acquisition of true life and the completion of the cycle (Ouroboros).	His rebirth as the “Wanderer,” accepting his past sins after his self-erasure in Irminsul. By acquiring an Anemo Vision, he gained a “human heart coursing with his own blood” for the first time. He achieved complete control of his soul, choosing not to erase the past but to live alongside his past sins.

This alchemical perspective suggests that his arduous journey from a “creation” to an “individual with a soul” was not merely a series of tragedies, but an inevitable process of sublimation in accordance with the Laws of the universe.

3. The Manifestation of “Shouki no Kami” and the Gnosticism Struggle

The artificial god “Shouki no Kami, the Prodigal (Shouki no Kami),” which was his zenith in Sumeru and simultaneously the form of his greatest defeat, is the ultimate manifestation of Gnosticism metaphors in Teyvat.

In the philosophy of Gnosticism, the material world we live in is not created by the true supreme god (the Monad), but is a prison created by an ignorant and arrogant false creator, “Yaldabaoth (Demiurge).” Its basic doctrine posits that entities called Archons hide the truth (Gnosis) from humans, binding them to a false world. Shouki no Kami was an entity that attempted to perfectly play this role of Yaldabaoth. He boasted, “If gods truly love mortals, then I, who bestow failure upon them equally, also love them,” attempting to reign as an omnipotent judge who had witnessed all the seven human emotions.

The texts of the components of the giant mechanical puppet created during this apotheosis process (boss drop materials) vividly record how, despite calling himself a god, he was trapped in human madness and sorrow.

Drop Material	Description and Hidden Philosophical Metaphor
Puppet Strings	Tubes inserted into the back of the mechanism. While supplying immense power to the machine, they also served as the “strings” that bound and controlled him. This suggests the cruel fact that, despite his attempt to become an autonomous god, he was structurally nothing more than a “puppet” dependent on “The Doctor” and the Akademiya’s systems. If these tubes were disconnected, he would become as weak as a newborn infant.
Mirror of Mushin	A mirror installed on the chest of Shouki no Kami, separating him from the outside world. The Mitsudomoe emblem (the symbol of the Electro Archon) is ostentatiously engraved upon it. It is the embodiment of his self-defense mechanism, completely severing his connection with the outside world and reaching a state of “Mushin (having no heart, or apathy toward others).” Even while harboring the Gnosis within, he continued to close his heart to the world.
The Meaning of Aeons (Daka’s Bell)	A bell-shaped component connecting the joints of the machine. It can carry unimaginable energy, but it is said that connecting it to the skull ensures that “hatred, pain, madness, and arrogance will never be washed away.” It is a terrifying relic proving that, even while occupying the Divine Throne, the foundation of his thoughts was dominated by an unhealing Ressentiment.

His arrogant line during the battle, “Foolish mortals… there is still time to kneel,” is the pitiful cry of an artificial god who mistakenly believed himself to be the absolute creator. Defeated by the Traveler (the bringer of true light) and the wisdom of the Dendro Archon Nahida, he realizes that he is not a true god, but merely a sorrowful Demiurge bound by the Laws of fate.

4. Irminsul and the Attempt to Transcend Causality

After his defeat as Shouki no Kami, the Wanderer came under the protection of the Dendro Archon Nahida and gained the opportunity to access the depths of “Irminsul,” the massive network that records all information in Teyvat. What he witnessed there was the truth that the tragedy of Tatarasuna (what he perceived as the second betrayal) was not caused by human weakness or betrayal, but was the product of meticulous and ruthless human experimentation and information manipulation by “The Doctor (Il Dottore).”

Deeply despairing that his very existence had brought misfortune to those he loved (Niwa and Katsuragi), he made the ultimate self-sacrificial choice: using the power of Irminsul to completely erase “his past” and “his very existence” from the history of Teyvat. However, it is here that the cruel Determinism of the “Laws of fate” in Teyvat becomes apparent. Historical events themselves (such as the fact that someone died) cannot be undone; only the memories are reconciled to explain “who fulfilled that role.” Even if the memory of who broke a vase is altered, the fact that the vase is broken cannot be changed.

4.1 The Encryption of Information Hidden in the Fairy Tale “The Night-Bird, the Fox, and the Kitten”

Anticipating the alteration of history and memories by Irminsul, Nahida abstracted and encrypted the Wanderer’s true memories into a “fairy tale,” preserving them as a backup immune to the effects of the alteration. The fairy tale “The Night-Bird, the Fox, and the Kitten,” told as a matter of fact within the game, is a highly advanced cover-up designed to evade the censorship of the Irminsul system.

In the lore community, the characters in this fairy tale are interpreted as clear analogies (metaphors) for historical figures in Teyvat.

The Kitten: The puppet who mistakenly believed he was created by a god and abandoned by humans, namely Scaramouche.
The Fox: The cunning entity who deceives people and pulls the strings of tragedy from the shadows, “The Doctor (Il Dottore).”
The Night-Bird: The entity who watched over everything but could not directly intervene. This is considered an allusion to the murdered Niwa Hisahide, or his creator, the Electro Archon.

Through this fairy tale, having regained his true memories of the past, he resolves not to run from his erased past, but to face and bear his sins. Having passed through the taboo of rewriting history, he is reborn neither as “The Balladeer” nor “Kunikuzushi,” but as the “Wanderer,” who truly walks his destiny on his own two feet.

5. Rebirth as a Scholar of the Vahumana Darshan and Sociological Considerations

Having integrated his past memories and acquired an Anemo Vision by his own Free Will, he enrolls in Vahumana, one of the Six Darshans at the Sumeru Akademiya. Referred to by the ironic yet affectionate nickname “Hat Guy” given by Nahida, he begins his activities as a representative scholar of Vahumana, deeply studying history and social sciences, particularly “the causes and truths of things.”

Vahumana (Aetiology) is a Darshan that pursues the etiology of events and uncovers the hidden truths of history. For him, who personally experienced the “alteration of history” by interfering with Irminsul and knows more deeply than anyone how fragile and arbitrarily manipulated the history of this world can be (i.e., the fictitious nature of the tapestry he once spoke of), no Darshan could be more ironic and fitting. In fact, he has authored sharp papers refuting the errors in existing historical accounts regarding the Tatarasuna incident, earning high praise in the academic community. The man who once sought to destroy history through violence has now taken up a pen, transforming into an accurate “recorder” of history.

His engagement with society and history as a researcher demonstrates the philosophy that in a deterministic world, “knowledge” is the only weapon capable of countering the deception of fate.

6. The Intersection of Metatext and Myth: Beyond the Wheel of Fate

The Wanderer’s character design and narrative structure intricately weave together literary, musical, and mythological metatexts from the real world, making his tragic and epic tale all the more multidimensional.

6.1 The Structure of Tragedy and Liberation Suggested by “Bohemian Rhapsody”

In deciphering his character, one cannot overlook the cryptic alignment with the legendary song “Bohemian Rhapsody” by the British rock band Queen. The lyrics of this song sing of the wandering soul of a boy who has committed a sin, his fear of demonic authority, and his thirst for nihilistic liberation, showing perfect synchronicity with the Wanderer’s life.

Lyrics of “Bohemian Rhapsody”	Alignment and Metaphor in the Wanderer’s Story
”Scaramouch, Scaramouch, will you do the Fandango!”	His codename in the Fatui, “Scaramouche (The Balladeer).” Additionally, the title of his exclusive background music upon his appearance is “Ominous Fandango."
"Thunderbolts and lightning, very, very frightening me”	A symbol of his homeland, the Nation of Electro “Inazuma,” and the Electro Archon who created him. Deep in his psyche, he feared and hated the thunder (the overwhelming power of the gods and his own origins).
”Beelzebub has a devil put aside for me”	A direct reference to the Electro Archon’s demon name, “Beelzebul.” The spelling is intentionally similar to the demon Beelzebub in the song, indicating a perspective that views his creator as a demonic entity.
”Any way the wind blows…”	The “Anemo” Vision he ultimately acquired by affirming himself. The title of his Character Demo video is also “Any Way the Wind Blows,” representing that he has reached a state of being unbound by anything, just like the wind.

In the lore community, it has also been pointed out that the official announcement date (Drip Marketing) of his playable character, October 31, 2022, perfectly coincides with the release date of the song “Bohemian Rhapsody” (October 31, 1975). It is evident that this is a massive, intentional homage by the development team.

6.2 The Mirror Image of the Other Seen in “Tulaytullah’s Remembrance” and Simulanka’s Durin

The text of his signature weapon, the catalyst Tulaytullah’s Remembrance, recounts a gruesome history that occurred in the desert region of Sumeru. This text depicts the tragedy of the dancer Makhaira and Xiphos, a descendant of a fallen royal family. Makhaira destroys the enemy nation from within to avenge her ruined homeland, but ultimately loses her life to a venomous snake bite, while Xiphos is also killed at the end of a conspiracy. It conveys a nihilistic thesis that good and evil, avengers and tyrants alike, are all ruthlessly ground down by the “wheels of fate” and vanish like tears. This lore is a metaphor for the “emptiness of revenge” that once captivated Scaramouche. He attained true freedom precisely because he stepped outside the karmic wheel (the wheels of fate) of revenge.

Furthermore, in “Simulanka,” the fairy tale world created by the Hexenzirkel that served as the stage for the Version 4.8 event, the Wanderer’s philosophy reached a new frontier. Here, he confronts “Mini Durin,” a simulacrum of the evil dragon Durin who once attacked Mondstadt. Durin, too, was an “artificial lifeform (creation)” made by an alchemist of Khaenri’ah—a cursed entity who, despite possessing good intentions, brought ruin to the world against his own will. The Wanderer deeply resonates with Mini Durin. This is because he saw a mirror image of himself: a “monster whose fate was determined by its creator.” His lending a hand to save Mini Durin was a rite of passage in which he completely forgave his own past (himself as a monster) and passed on the method of defying fate to the next lost soul.

6.3 The Constellation “Peregrinus” and the Symbolism of Noh Theater

Finally, mention must be made of the Wanderer’s Constellation, “Peregrinus.” Meaning “foreigner” or “wanderer” in Latin, this word indicates that he belongs to no nation (Inazuma, Snezhnaya, or Sumeru) and is an eternal drifter with nowhere to return to in Teyvat (in the beta version, it was Errabundus, but it was changed to Peregrinus, which more purely signifies a foreigner).

The names of each level of his Constellation are inscribed with terms from “Noh,” a traditional Japanese performing art. Starting with the first act (Shoban-me-mono), “Shiki Sanban,” and “Furyu,” and ultimately reaching “Senshuuraku” and “Manzairaku,” this structure mimics the process of a Noh performance, which begins with a festival to summon the gods and ends with a prayer for the peace and prosperity of the people. This signifies that he has broken free from his gruesome role in the theater of the gods (the stage of Teyvat’s fate) and completed his own “dance” as a free human being.

Conclusion: Liberation from Fate and a Step Toward the True Starry Sky

The existence of the Wanderer (Scaramouche) is the philosophical collision point between “Free Will” and “Determinism” in the giant miniature garden that is Teyvat. He attempted to reign as an artificial god but failed, and even after touching the taboo of rewriting history through Irminsul, he still could not change the deterministic fate of the world (the causality of history) itself.

However, the true salvation he attained lay not in “altering” fate, but in “accepting” it. When he reintegrated all the grave sins he committed, the betrayals he believed he suffered, and the tears he shed as “his true memories,” he was freed from the bindings and curses of the gods for the first time, and was granted a new “heart” from the Laws of Teyvat in the form of an Anemo Vision. As the alchemical Rubedo (Reddening) indicates, he passed through the processes of putrefaction and purification to acquire a soul coursing with true blood.

Currently, walking as a “Wanderer” who belongs nowhere while simultaneously touching the profound knowledge of the Akademiya as a scholar of Vahumana, he is one of the entities closest to the truth of the “False Sky” of Teyvat. The long journey of a boy who was created as an innocent puppet, attempted to become a god, fell to become a demon, and chose to live as a human by his own Free Will, is the most important and poignant historical evidence for unraveling the hidden cosmology and the dignity of life in Teyvat.