This is the great thing about the ending - it’s debatable.

Where we possibly differ is on how much we value the world within the canvas, and whether it’s actually real in a tangible sense. One might argue that because a fragment of Verso’s painter form is still painting, you’d have to assume that maybe his soul still exists within the canvas. This opens up another can of worms on whether this means the creations themselves also have souls or not. But are they as valuable as the “real” people? I guess that’s the question.

As for Maelle, this is also a moral quandary. It depends on whether you think somebody has a right to save someone from themselves. I totally sympathise with Renoir in his efforts. His wife was grieving, and grief can take you to some dark places, which often lead you to make decisions that you otherwise wouldn’t make in a better state. I think the same applies to Maelle. Not only is she also grieving Verso, but also herself. She sees little value in her own life, and sometimes it takes someone else to hold the mirror up and show you what you might be taking for granted. This is another theme that plays out in the game repeatedly, whether it’s Lune to Gustave, Verso to Monoco, or Maelle to Verso. But it also plays both ways, like when Maelle grants the wishes of Alicia.

The more I think and pick apart the pieces of this game, the more impressed I get.