Limdub Company: A Limbus Company Fandub

Outis is a brusque and assertive woman with a poorly-disguised inclination to look down on those around her. She was previously affiliated with the Smoke War, having gained a tendency to judge others based on her experiences there prior to joining Limbus Company.

She will be the focus character of the currently unannounced Canto XI.

Being a military veteran, Outis is shown to be strict, commanding and rigorously adhering to the chain of command. Compared to other Sinners, she is shown to be rather subdued and relatively normal, as she approaches most scenarios with a cool-head and tactical mindset. Outis has a noticeable sycophantic relationship towards Dante, as she is quick to offer them advice on what to do next and to defend them from any criticism, even from Vergillius. However, many of her compliments towards them also have a subtle sense of back-handedness to them.

VOICE REF:
https://www.youtube.com/watch?v=lY613l8FQTI

Faust is an observant and intelligent woman with a highly egotistical and prideful attitude. She was the first to be affiliated with Limbus Company, having spent the time leading up to it recruiting the members of the LCB and developing Mephistophiles.

She will be the focus character of the currently unannounced Canto XII.

Faust is a soft-spoken sinner with a sharp tongue, prone to narcissism. She claims to be highly intelligent and appears to have the accomplishments to back up this self-proclamation - such as having developed Mephistopheles, albeit having stolen the blueprints, concepts, and mechanics of the current Mephistopheles from other various now-deceased inventors of T Corp. - but nonetheless comes off a bit arrogant because of this. She expresses absolute faith in her abilities and is calm even in troublesome situations. As one of the more quiet Sinners, Faust appears to simply prefer standing back and watching events unfold. As of recent chapters, she have been having information to divulge in the moment.

It's clear that Faust knows considerably more than she lets on, which is something that everyone around her seems to have already picked up on, including Dante. In Chapter 3, Sinclair leads the other Sinners through a passage under his old house, towards the Golden Bough. When he dully accuses Faust of bringing along the Sinners as sensors for the Boughs, she continues rambling on about the mission at hand rather than elaborating. When asked again by Dante, she tells them she is "simply not in the position to comment on it". Faust expresses a similar attitude regarding anything concerning their life before the clock head.

Under her usual calm, serious attitude, Faust appears to be a bit of a narcissist. In her dialogue for her base LCB Sinner card, she expresses that she always gets up after three hours of sleep (and used to believe that everyone does this), and does not concern herself much with hobbies.

VOICE REF:

https://www.youtube.com/watch?v=4zJ8EZU6MXE

Don Quixote is a rambunctious and steadfast woman with a strong sense of justice. She wants nothing more than to be affiliated with the Fixers she idolizes so heavily to the point of delusion, having earned her own Fixer Identification Number prior to recruitment.

Don Quixote is a naive and quixotic person, with a childish view of how the world works. She consistently talks in an animated, exaggerated manner, and jumps into any situation with enthusiasm, regardless of the death or suffering involved. She notably speaks exclusively in Middle English, seemingly in an attempt to take on a more "knightly" persona.

Don Quixote has an intense sense of justice and desire to protect the weak, as she violated a Taboo in front of K Corp personnel after they forcibly separated a child from his parent and beat a gang member for threatening a pawn shop owner.

Don Quixote is extremely impulsive and has a propensity for violence, remorselessly impaling Ryōshū straight through her head in retribution for killing Ishmael and Heathcliff during an argument they were having. This tendency was shown again in Canto III when she pummeled Sinclair hard enough to splatter blood all over herself, in an attempt to return him to his senses and "for justice." This impulsivity mixed with her insatiable thirst for justice makes it difficult for her to follow orders and often results her endangering her fellow Sinners and disrupting plans (and possibly fail the mission), much to their, or Vergilius' frustration and misery. She, however, appears to avoid any mention of this particular fact whenever possible.

Don Quixote has an affinity for anything Fixer related. She idolizes some of the most famous Fixers, such as the Grass Maiden, Siegfried, and the Red Gaze, though she has an obvious admiration for all of them, as shown in her interactions with the Molar Office Fixers and Nelly. She prides herself on her collection of Fixer merchandise, and knows a large variety of information about Fixers and Associations in general.

In her true form as a Bloodfiend, she is haughty and imperious, exuding an air of aristocratic elegance, with a sense of superiority and entitlement. Her personality is be marked by a dramatic flair, often speaking in a refined, eloquent manner with an underlying tone of condescension. She views herself as a noble protector of lesser beings, seeing others as mere pawns in her grandiose quests, while also perceiving any insolence from her lessers as unacceptable.

Her obsession with chivalry and knighthood is translated into a vampiric code of honor, believing herself to be a guardian of ancient traditions and the true essence of nobility. Despite her haughty demeanor, there is an undeniable charisma to her presence, drawing people in with a mix of allure and intimidation.

However, beneath the grandiosity, there is demonstrated a tragic and delusional aspect to her character, as she clings to outdated ideals and refuses to acknowledge the changing world around her, seeing herself as a timeless figure above the mortals she interacts with.

VOICE REF:

https://www.youtube.com/watch?v=_7osI0bdrsA

Ryōshū is an "artistic" and ungovernable woman with little tolerance for what disinterests or offends her, meaning many of her ventures prior to Limbus Company are unknown, an implied affiliation with the Fingers of the Backstreets notwithstanding.

She will be the focus character of the currently unannounced Canto IX.

Ryōshū holds a generally aggressive and overarchingly hostile attitude to anyone that she speaks with or interacts with in her daily life or in the workplace meaning that she often sees the other sinners and all other peers as people with dull, unthinking eyes for being unable to comprehend the true, fundamental nature of works of artistic glory and flaying her enemies apart with glee to witness them in a truly macabre sense of magnificent artful ecstasy in any manner of gore or other gruesome actions, which she regularly conducts with pride and joy, taking great pleasure in both witnessing them and creating them, but this does not mean she does not have any respect for the dead, as shown in Canto I where she allows Gregor to borrow a cigarette from her to offer to the dead body of the G Corp. Head Manager, even in spite of the fact that he did not want to offer his own towards them.

She does not speak often in comparison to the other sinners, possibly even less than Yi Sang, but more often than not, her sentences often include a SANGRIA (Succinct abbreviation naturally germinates rather immaculate art), or in the words of someone that isn't Ryoshu, a short abbreviation of a sentence, most often very descriptive in nature, though someone like Sinclair can understand those abbreviations, however; this is evident in the following Cantos, where Sinclair translates those specific abbreviations for the LCB Sinners, which means that this specific habit of hers even confuses some of the Sinners, such as Heathcliff, making him ask what one of her SANGRIA means, and she seems to like spending time alone rather than with others, as she believes that others are too "plain" to understand and comprehend what she considers to be "true art" while according to the other sinners, she is often smoking in the bus, even with a ban (albeit rarely enforced and highly lenient) on smoking in the bus.

Her praising of her "art" means that she occasionally suggests inhumane options or decisions depending on the current situation, demonstrated in Canto II: The Unloving, suggesting that the Sinners should not run but kill them all, and agreeing with Effie when he followed up with wiping out the whole syndicate, and when told to do an order any normal person would understand the literal context of, like the time in "Episode Mini: Risk Levels and Classifications", when ordered to keep any interrupting speakers, she was thinking to instead use violent tactics, to the point even Dante knew what was coming and told her to do it without killing them or beating them up, and even in acts of interrogation this tendency would shine once again; one of her methods would be threatening to cleanly and swiftly behead and dismember a Yurodiviye member to bring out information from him.

As unnerving and unsettling her attitude mostly is, she has seemed to develop some care for her colleagues along the run, where in Intervallo IV: Timekilling Time, when Rodion was feeling quite miserable as she had been away from the other sinners and missed Gregor, Ryōshū told her to cheer up, as she had reasoned that they would be searching for the culprit for a few more hours or so, which is unusual.

VOICE REF:
https://www.youtube.com/watch?v=PP73VGLCUmg

Meursault is a reserved and complacent man. He has a desire to be clearly communicated with. He was previously affiliated with N Corp. He failed to form an opinion on their ideals prior to joining Limbus Company.

He will be the focus character of the currently unannounced Canto X.

Meursault is a very prompt man, only doing what he is told. He speaks bluntly and concisely, never mincing his words.

He is emotionally distant. He never emotes and never involving himself in anything unless ordered to. He seems to lack an awareness of the world around him, mainly regarding the welfare of others. Meursault often fails to see the importance in other's emotions. An example of such is failing to mention, or offer a hand when they are visibly stressed. An example of such is when he only reveals after prompting by Dante that he noticed Sinclair was having an anxiety attack. This was due to the memories brought by returning to Calw. Another example is when Aeng-du dragged Kim away to kill him, yet never said anything.

By Canto VI, he begins to show initiative. This is demonstrated through suggesting that to protect Heathcliff from further harm, they must stop the lightning strikes, even if it costs them the Golden Bough. Thus, he uses his EGO to bind the Erlking in place without any prompting from anyone. During the credits of said Canto, he shows visible frustration, though why is currently unknown.

In the Intervallos leading up to Canto X, he is shown sometimes visibly distressed. He still maintains his calm demeanor and stoic demeanor. He maintains that he is "completely fine" and that the other Sinners should not be worried for him.

VOICE REF:

https://www.youtube.com/watch?v=vZcQ7c9-gKE

Hong Lu is a giddy and naive man with a tendency for unintentionally insensitive words. He was previously affiliated with a large and wealthy family consisting of at least six members, having lived a life of sheltered luxury prior to joining Limbus Company.

Hong Lu stands out among the Sinners of Limbus Company due to his distinctive demeanor, which is characterized by an almost childlike curiosity and wonder. This contrasts sharply with the hardened, often cynical outlooks of his fellow Sinners, who have been shaped by the harsh realities of life in the City. Hong Lu's behavior suggests that he was once insulated from the grim and brutal nature of the world around his, possibly leading a sheltered existence before his time with Limbus Company. However, his background is not without its own complexities and hardships, despite the initial impression of naivety.

The sheltered life Hong Lu likely led may have provided his with a certain innocence, but it also seems to have been a double-edged sword. His family dynamics were far from nurturing; instead, they were marked by betrayal and manipulation. The constant undercurrents of deceit within his family forced Hong Lu to remain vigilant, even within his own home, and likely contributed to his intense physical training. This upbringing shaped his into someone who could endure and perhaps even excel in physical challenges, yet it left his with a certain emotional detachment or obliviousness when it comes to social interactions.

Hong Lu’s lack of social tact is a defining trait that often places his at odds with his fellow Sinners. His questions and comments, while often innocent or well-meaning, can come across as insensitive or naive, particularly when compared to the more jaded perspectives of those who have been hardened by life in the City. This lack of social grace suggests that Hong Lu has not had much experience in navigating the complex social norms and unspoken rules that govern interactions in such a ruthless environment. Despite this, he does not seem to be fazed by the reactions of others. Whether he is genuinely unaware of the impact of his words or simply chooses to disregard the negativity, Hong Lu maintains a consistent demeanor that is unshaken by the harshness around his.

This outward obliviousness, however, does not fully encapsulate the depth of Hong Lu's character. His behavior in Canto IV: The Unchanging reveals a previously unseen layer of emotional intelligence. This is most notably demonstrated in his portrayal of Young-ji, a character from Yi Sang’s past. Yi Sang himself acknowledges that Hong Lu’s interpretation of Young-ji captures the gentleness and heartfelt nature that defined his during his time with the League. This portrayal suggests that Hong Lu possesses a keen ability to understand and empathize with the emotions of others, even if he does not always express this understanding in conventional ways.

Moreover, Hong Lu’s observations of Yi Sang during the events of Canto IV highlight his perceptiveness. As the Sinners delve into Yi Sang's past, Hong Lu makes astute comments on his mental state and the struggles he has faced. His remark, "I'm thinking that he may have been calling for help all along," is particularly telling. It indicates that, beneath his outward curiosity and seemingly carefree attitude, Hong Lu is capable of deep emotional insight. He recognizes the signs of Yi Sang's internal turmoil and acknowledges his need for support, something that others might overlook.

This newfound emotional awareness adds a layer of intriguing complexity to Hong Lu's character. It suggests that his initial portrayal as a naive and curious individual may be a surface-level impression, masking a deeper understanding of the human condition. Hong Lu’s ability to connect with and understand the emotions of others, despite his lack of social tact, hints at a more sophisticated inner world than he lets on. This duality—his outward innocence coupled with an underlying emotional intelligence—makes Hong Lu a unique and intriguing character within the narrative of Limbus Company.

VOICE REF:

https://www.youtube.com/watch?v=tjDodp8zMHA

Heathcliff is a brash and action-oriented man with a strong, dedicated spirit. He was previously affiliated with Wuthering Heights, having grown up alongside the Earnshaws and later working for the Dead Rabbits Syndicate prior to joining Limbus Company.

He is the focus character of Canto VI: The Heartbreaking.

Heathcliff is an exceptionally short-tempered and abrasive individual, electing violence as a first resort, and aggression as a way of life. He is overly impulsive and quick to anger, with consequences for those involved. However, over the course of several Cantos, a considerably calmer, more considerate, and selfless side of his personality would come to light.

Originally, Heathcliff comes off as remarkably hostile. He expresses a loathing for being ordered around and is as willing to talk back to his allies as he is his enemies. In a similar vein, Heathcliff claims to despise complicated speech on several occasions. He prefers people prove themselves through actions rather than words. As such, the negative impressions he gives are often in the form of physical violence. One of his first interactions with Dante even consists of him beating Sinclair near-death for suggesting he go easy on the manager.

Despite this, the majority of Heathcliff's antagonism is in response to belittlement from others. In actuality, Heathcliff is not often one to start fights uncalled-for; rather, his fits of rage are but an over-the-top reaction to bullying and ridicule. He is fully capable of engaging in grounded conversation. Constant jabs from Ishmael and Faust simply hit a sore spot, as Heathcliff demonstrates a clear aversion to being looked down on.

On the other side of the spectrum, Heathcliff uses action in show of loyalty and consideration. And as the Sinners got to know each other, he began to treat the group like friends, in spite of their tendency to mistreat him. This included things like stepping up against N Corp. Inquisitors after they threatened Dante, or helping Ishmael break out of the pallidification. Despite harboring self-consciousness surrounding his intellect, Heathcliff also demonstrates an ability to think on his feet, often to a successful end. He has on several occasions come in clutch for others due to his fast-acting nature.

He would eventually become more willing to rely on verbal communication as the others respected him more in return. Intervallo III: Miracle in District 20 sees Heathcliff open up about his situation to Dante and Don Quixote when they are willing to listen and treat him with dignity. A wide array of conversations in Canto VI: The Heartbreaking cement this pattern in behavior: Heathcliff will attack those who provoke him, but is inclined to calmly converse with those who take him seriously. He is even prone to showing outright charity to these people, forgiving and thanking Nelly for all she's done for him after finding out about her betrayal. His former maid, who knew him better than most anyone, would later describe Heathcliff as a "good, kindhearted boy".

Anything involving Catherine consistently shows the most vulnerable sides of Heathcliff. Though still a brash, violent, and bad-tempered person, he is also one with regrets, fragility, selflessness, and a heart holding a lot of love for his favorite person in the world. Heathcliff mourns her grief with sincerity, and grows genuinely bashful when the topic of their relationship comes up. He shows an unbending will to do anything for those he holds dear.

Post Canto VI, Heathcliff continues to wield his bat to strike against those who stand in his way, but now with determined purpose instead of meaningless anger.

Heathcliff's "Cathycliff" persona encapsulates his profound internal turmoil and unresolved grief stemming from his intense love for Catherine. This identity reveals Heathcliff's complex emotional landscape, where his outward aggression and hostility often mask a deep vulnerability and longing. His relationship with Catherine is the cornerstone of his existence, driving him to both great acts of loyalty and moments of intense despair. Cathycliff symbolizes Heathcliff's struggle to reconcile his fierce love for Catherine with the pain of her absence, embodying a duality of passionate devotion and profound anguish. Through this persona, Heathcliff navigates his grief, often oscillating between fierce determination and moments of poignant introspection, reflecting the enduring impact Catherine has on his heart and soul.

VOICE REF:

https://www.youtube.com/watch?v=-4ve1VE3s0E

Ishmael is a straight-laced and dependable woman with a tendency for blunt words. She was previously affiliated with the Pequod and its crew, having spent a great time sailing the Great Lake as a Fixer prior to joining Limbus Company.

She is the focus character of Canto V: The Evil Defining.

Ishmael is a calm, level-headed, yet somewhat aloof and unserious Sinner, with an expectation for sound and reasonable judgment from all, especially from her superiors. She has a tendency to be exceptionally critical of those around her, regardless of their level of authority, as she prioritizes rationality above formalities, shown during Intervallo X. This leads to her forming peculiar relationships with her fellow Sinners; she often clashes with the brash-acting Heathcliff, and finds Outis' treatment of Dante to be undiplomatic yet highly amusing, deeming such interaction to be laughingstock. Ishmael's consistent dependability and desire for sensibility speaks to her staunch nature and overall intelligence.

In tune with her unwavering expectations, Ishmael generally feels strongly about those around her, possessing firm opinions widely based on how reasonable she deems them to be. She is not averse to holding grudges, and will not easily forgive and forget once someone has broken her trust. However, Ishmael is willing to build upon her relationships. Canto IV sees her taking a harsh blow for Dante, despite previous complaints about them and their managerial prowess. Ishmael also retracts her insults after realizing the sheer perfection and rationality of Effie and Saude's plan in the beginning of Canto II, and speaks of Ryōshū's twisted personality proudly when it benefits them against the Tieqiu Crew's psychologically damaging and utterly humiliating attitude.

Additionally, Ishmael places an emphasis on general efficiency and adaptability, and states that at her previous job, one mistake could compromise everyone's safety. This mindset caused significant stress upon realizing the next mission was at U Corp's District, and she spent much time ceaselessly making preparations and violently clashing with Heathcliff's blasé attitude to the upcoming voyage, one of the first times she truly lost her temper. Ishmael dwells on victories, believing they are the what happens when everyone put in their full effort and does their job with excellence. Still, Ishmael can feel both accomplished and be rather amicable, and has moments where she shares a genuine smile and aloofness with her teammates.

In Intervallo II, Ishmael begins to undergo a significant personality shift, which becomes more apparent in Canto V. Ishmael initially locks herself away from the others, even when her help is needed, with her period of isolation only ending when the Sinners first witness the Waves, after which she joins them again to help pilot the boat, commenting that standing by and watching has been unbearable. As the journey goes on Ishmael's distaste for her fellow Sinners begins to grow apparent. She becomes short with her coworkers, to the point of degrading them. Despite her previously saying otherwise, she begins to act of her own accord. More often than not her actions are violent, with Ishmael running her harpoon through the face of Twinhook Pirate, and attempting to kill Smee despite the threat of The Middle attacking them, and forcing Dante to physically stop her.

Ishmael does seem to be aware of her condition to some extent in part II, comparing it so the unstability of the water's surface. She recalls how much it hurt to survive the attack, and wonders on what has kept her holding on until now, though she scolds herself for her moments of reflection, believing it best to bury her feelings from the Sinners, and focus solely on her goal.

When they reach the calamity-wrecked Lobotomy Corporation facility, she enters without hesitance despite its unsettling appearance, but soons loses herself in her ruminations of her past. She learns that a Golden Bough can reverse the Pallidification effect, she has a newfound determination to acquire the bough at all costs as a part of her revenge plan. Her compulsion can be seen in her desperate attempts to defeat Ricardo, a big brother of the middle despite victory being an impossibility, determined not to let keep her from getting her revenge. While the Sinners board the skiff to go hunt the Pallid Whale with the Indigo Elder, Dante receives a vision of Ishmael’s true desires, the ones she’s been hiding from everyone else. In the vision Ishmael is trembling with elation as she pulls the captain’s heavily mutilated corpse out from the water. Upon finally finding the whale Ishmael undergoes a sudden and drastic change in personality, beginning to bark out orders to the other Sinners, laughing maniacally, causing Dante to wonder if she’s lost control of herself and has taken on the personality of the captain.

After the events of Canto, Ishmael's personality seems to have mostly reverted to its state before her arrival at U Corp, being once again somewhat unserious and aloof, but still dependable and showing a newfound trust in Dante and the other Sinners. From time to time after Canto V, she engages in minor banter or arguing on trivial topics, on account of the sheer boredom the Sinners experience in between missions.

Ishmael was originally an accountant and clerk for U Corp's Nest before quitting and becoming a sailor and Fixer that operated within U Corp's District. She is familiar with the Great Lake, its environment and rules. Her time at sea was, according to her, extremely unpleasant, making reference to revolting smells of deckhands and unpleasant rations, and ended in disaster. Her captain lead the crew to hunt the Pallid Whale, one of the five Calamities of the Lake, despite the risks and once they had found it, things quickly went wrong. Ishmael only survived thanks to hanging on to Queequeg's coffin, which allowed her to stay afloat. Ishmael believes herself and the captain are the only survivors of the wreckage, with the others assumed to have been devoured by the Pallid Whale. She refers to the captain as a "Bastard" in her Snagharpoon EGO, Intervallo II, and Canto V. Ishmael also calls to her as a "madwoman" who is "Entwined, fused with... things..." and "eventually devour them all... as though they've never even existed..."

VOICE REF:

https://www.youtube.com/watch?v=Uc9VZdlOfRc

More frequently known as Rodya (Hangul: 로쟈, Rojya), she is a lighthearted and nonchalant woman with a preference for informal conversation. She was previously affiliated with the Yurodiviye, having worked to overturn the injustices of the District 25 Backstreets prior to joining Limbus Company.

She is the focus character of Canto II: The Unloving.

Rodion is a fun-loving, laid-back woman who makes an effort to be on friendly terms with her fellow Sinners. Her speech is exceptionally casual, preferring to be called Rodya and possessing a tendency to give others cute nicknames. She'll often end her sentences with a giggle or cheeky remark. Rodya expresses a desire to be included in the group's antics and ensure that everyone is getting along, valuing their relationships with one another. She treats more vulnerable or actively upset Sinners in ways that sometimes comes off as babying or insulting to other members of the group, but her nature makes it clear she isn't acting out of ill will.

She is accurately described as easygoing, or even lazy. Often she can be seen complaining about a lack of high-quality food or the group's heavy workload. Despite this, Rodya does not appear to be unwilling to put in any effort, but rather someone who is determined to take advantage of the slow times and luxuries of life available to her. She openly admits to loving both money and gambling and views the world as a place where wealth is the sole deciding factor for one's quality of life.

Rodya also possesses a colder side which reveals itself when confronted by things she prefers to avoid, such as Sonya or her past. Despite her attentive and caring personality, she shows no concern for Sonya's wellbeing as the cave collapses at the end of Canto II, neglecting to offer him any parting words and growing uncomfortable when the Sinners "care more about Sonya['s deal] than [her]". Such reminders of her previous life cause Rodya to grow unusually indifferent and dismissive, testifying to her desire to let go of the memories which drag her down and become a new person she can be comfortable with. Yet, it is likely the case that these are closer to her true feelings than not. After the group parts with the Yurodiviye, Dante notes that "beneath her grin, Rodya's eyes were shaking with distress, but she soon covers it up with a guise of joviality as if nothing ever happened", suggesting that she relies on her confident, upbeat nature as a persona for covering up her internal weaknesses. While she often grows serious during general somber affairs, she has a tendency to tease her way out of situations or conversations focused on herself.

What is known of Rodya's history shows a strong commitment to her morals and no tolerance for hypocrisy. She is strong-willed in her kindness to the point of cutting off the person she'd grown up with out of disgust for his inability to act on the ideals he preached. Beyond that, she shows no regret for doing so. Sonya continually remarks that she commits these kinds of acts due to a desire to prove that she is special, however she denies these claims and continues to seek a life defined not by him, but herself.

Rodion's indulgence in gambling and her carefree attitude epitomize the insidious nature of gacha gaming and its detrimental effects. Much like the dangerous allure of pulling rare items or characters in gacha games, Rodion is drawn to the thrill of chance and the potential rewards it promises. Her fixation on money and gambling underscores her attraction to the unpredictable and often exploitative mechanics of such games. Rodion's casual approach to life and her tendency to trivialize serious matters reflect the harmful impact of gacha gaming, where players can develop addictive behaviors and suffer financial losses chasing after elusive rewards. Her carefree demeanor masks the deeper consequences of addiction and irresponsible spending, highlighting the damaging cycle perpetuated by these games, where enjoyment can quickly spiral into destructive habits with lasting repercussions.

VOICE REF:

https://www.youtube.com/watch?v=3f2OxKLg0KY

More frequently known as just Sinclair, he is an anxious and self-conscious man with a blatantly empathetic nature. He was previously affiliated with the prosthetic-famous town of Calw, having lived and attended school there prior to joining Limbus Company.

He is the focus character of Canto III: The Unconfronting.

Sinclair initially shows a passive personality, he often avoids confrontations whenever possible. Similar to his literary portrayal, Sinclair shows a fear of uncertainty and is displayed as a timid character. In general, Sinclair is shown to be introverted and often has difficulty with accepting the violence and insolence of the world. He often doubts himself and externally monologues his uncertainty - occasionally reminiscing over what a certain someone would've done. Having grown up a sheltered life in District 11 and now finding himself in the company, he is still considerably innocent and naïve. Demian commented that Sinclair resembled a baby bird preparing to break out of a shell.

In Canto II, Rodion comments on how she could immediately tell Sinclair was from a rich family due to the way he "walks and talks". Prior in the chapter, Faust explains that the Mariachis were seeking "unpolished and unstable" flair, suggesting that Sinclair be the one to perform a dance on behalf of the company. When he is on stage, he continues to doubt himself. Many characters comment on how Sinclair seems to be fighting some repressed turmoil and darkness within himself, mirroring his literary source and how he is fighting to break free of a shell.

Although he wishes to be a logical person, he is openly very emotional in some situations in an effort to protect himself or do his job in the company. In Canto III, after a fight with a group of N Corp. Inquisitors, Sinclair was overtaken by his emotions and continually allowed himself to skewer the corpse of a fallen Inquisitor. Don Quixote had to step in to return him to his senses, highlighting how truly easy it is for Sinclair to lose himself in his emotions. Sinclair has shown a great reaction to Kromer due to his past with her. When overcome by emotions, he is ruthless and violent. Even Kromer comments in Canto III how his speech was unlike his past self, although this rage did not make him any stronger.

VOICE REF:

https://www.youtube.com/watch?v=pv11vGknUUo

Gregor is a good-humored and composed man with a bit of a competitive side. He was previously affiliated with the Smoke War, having fought for the old G Corp. alongside other bug-augmented test subjects prior to joining Limbus Company.

He is the focus character of Canto I: The Outcast.

Gregor is a friendly, easygoing man with a casual manner of speaking. Compared to many of his coworkers, Gregor is considerably amicable, and tends to maintain a cursory attitude. In place of a proper title, he refers to Dante as "Manager Bud", and is not averse to the number of teasing nicknames Rodya refers to him as, indicating that he is happy to maintain cordial, nonchalant relationships even in a professional setting. He is not strict nor hostile to those around him, and Dante looks to Gregor as someone who would willingly uplift the group's mood in dour situations.

Gregor also possesses a "cutesy" side to his personality, usually poking through when he is embarrassed. Both Canto II and III see him acting out a bit and failing miserably, leading to him growing flustered and sheepish. He also has a tendency to use phrases uncommon for someone his age, such as "bugger", "shoot", and "whoop". However, in all such cases that lead to some embarrassment for him, Gregor proves himself to be a good sport. When Charon calls him out for not wanting to be called Bug Guy yet calling her Bus Girlie, he does not grow agitated or ashamed, but instead laughs and agrees with the fairness of her argument. This kind of fun attitude is a consistency in Gregor's character.

Still, in situations that affect Gregor negatively on a personal level, his demeanor noticeably changes. During these times, Gregor grows silent and distant even to the rest of the Sinners, as if he is contemplating something. When faced with an unexpected reunion with Hermann- the woman who ruined his life- he does not grow aggressive or angry, but rather silently downcast. He reacts to adverse treatment from old G Corp. soldiers and Yuri's death in the same manner. He shows a tendency to swallow his emotions and just take it when treated particularly poorly, rather than firing back or expressing frustration.

Similarly, Gregor does not like it when the other Sinners make jokes at his expense about his verminous arm or general relation to bugs, yet doesn't stand up for himself much, or correct their behavior in a way that keeps them from doing it again. Still, he gives them more attitude for it than he does to those mistreating him in more serious situations. Gregor's tendency to react more outspokenly to things that bother him on a surface level yet go quiet when it comes to those that affect him deeply often acts as an indicator about how strongly he feels about certain affairs.

Gregor's generally goodhearted, amiable attitude does not go unnoticed by the likes of Dante, Rodion, Yuri, and Rodya. His compassionate side usually shines through the act of keeping an extra eye out for Sinclair.

VOICE REF:
https://www.youtube.com/watch?v=to_4-SeDid8