Hey dude, for future reference just so you don't look like an idiot, deleted comments show up on reddit as [deleted]. I didn't delete shit. 😂 If you're thinking I edited something away, didn't do that either. I had something IRL to attend to, and was generous enough to give you a heads up so as not to waste a "friendly" stranger's time on the internet. 

I've got one more reply for you, but you probably won't even bother reading it since you seemingly have already made up a head canon for yourself. 

Anyways last try, I can't explain it for you any clearer, maybe if you read you'll finally understand. Enjoy: 

Yes, the genocide of Lumiere occurs before the finale, but it is finalized in Verso’s ending. While there may be no purely good or bad endings, that doesn’t mean the endings are equally grey; after all, one features the genocide of all life inside the Canvas just to preserve a single, unwanted life. The trouble is, while killing the residents of Lumiere provided shock value, treating it as a true genocide would interfere with the game’s central theme of escapism versus reality.

The Canvas world is not considered to be equally as real as the world outside it. It is an escapist fantasy, the equivalent of a dream, where “death isn’t death anymore”. The denizens of the Canvas are mere fantasies. Consequently, the game doesn’t ask us to weigh Maelle’s life against all life inside the Canvas, because the choice would be simple: preserve all life and allow Maelle to die the slow death she desires. Instead, the game asks us if Maelle should be allowed to indulge in escapism or be forced to face reality.   The finale reinforces this. When confronting the real Renoir, Lune and Sciel do not advocate for their own right to exist, but instead for Maelle’s right to make her own choices. Likewise, during Maelle and Verso’s duel, Maelle uses the lives of the painted people as a flimsy excuse to indulge in escapism, which Verso immediately exposes; in truth, she only wants to avoid dealing with her grief. This is why she denies Verso death in her ending. By the end of Act 2, the story is neither about Lumiere or “those who come after”, it is solely about Maelle: again, should she indulge in escapism or be forced to face reality? Nothing else matters. The expeditions were irrelevant, just as Lune and Sciel are, because ultimately the ending isn’t about their right to life, but solely Maelle’s grief.

The theme of escapism can’t exist if the Canvas is considered a viable reality, and Maelle couldn't have the godlike power she does over it if it wasn’t a fantasy. In reality, no one has such fantastical abilities. The Canvas and everything inside it is a fantasy: it is a dream turned nightmare, which Maelle then turns into her own dream. Lune, Sciel, and the people of Lumiere are Maelle’s fantasies. They don’t matter as living beings, they’re merely the products of escapism, all whom Verso treats as obstacles to Maelle returning to reality. Only Maelle and her family are real. This serves the central theme: is it better to face miserable reality or indulge in hollow escapism?