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Nora Helmer, housewife to Torvald and mother to her three children. Although she appears to be a regular woman, living life in the city as everyone else, she is secretly a runaway Bloodfiend.

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What is a Bloodfiend?

Essentially, Bloodfiends are Project Moon's version of a vampire, based off of the vampires of modern literature.

They satiate their hunger with blood, convert others into Bloodfiends through biting, and have a largely increased lifespan.

Bloodfiends are located throughout the entire city, although Bloodfiend families tend to congregate in certain areas and districts. Some live among people, flying under the radar.

Humans and Bloodfiends have had conflict since they'd first emerged. Although there have been attempts to solve this conflict, none have triumphed. This is partially due to the stigma around Bloodfiends, and partially due to the never-ending hunger a Bloodfiend faces. They are not respected by humans. In fact, various offices exist for the purpose of hunting Bloodfiends.

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Torvald Helmer, husband to Nora, a business man. He is a currently employed under Hana Association as a section director, an organization that oversees offices, workshops, and individual workers. Due to this, he has a significant amount of power over others.

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Krogstad Nils, a fixer- a worker who focuses on solving problems within the city- employed under Fanghunt Office in District 16.

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Introduced in Canto 7 of the game "Limbus Company", Fanghunt Office is one of the organizations that is dedicated solely to hunting Bloodfiends.

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Throughout the play, due to misogyny and Nora's forced role in the household, she is seen as less than her husband. She is "out of place", and at first, lives with this in a sort of blissful ignorance.

Now, she is a completely different species from them.

Although the cast is unaware that she is a Bloodfiend, there are traits and tendencies she has that show that she is inherently different from the rest of them.

For example:

Bloodfiends have an insuppressible fear of water. Although there are no significant scenes in the play where Nora comes in contact with water, having a prop- such as a glass of water- that she appears to intentionally avoid could hint at this fact.

Due to the increased lifespan of Bloodfiends, Nora is likely much older than she appears. As the City is significantly more modern than the time period A Doll's House was written in (The game takes place in the 1980's), it would be likely that the speech of all characters would be slightly modernized to fit the setting, except for Nora's. She would retain her original script, having a significantly more old-fashioned way of speaking, contrasting her from the rest of the cast.

"You talk like a child. You don't understand the conditions of the world in which you live."

Bloodfiends have a distaste for sunlight. For this reason, on the set, it would important to have curtains over any shown windows. Although the curtains aren't always fully closed, Nora avoids any areas with sunlight seeping in. if she must walk through them, it is done quick and frantically.

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Limbus Company - Canto 6.5 (Murder on the WARP Express)

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How exactly does Nora fly under the radar?

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How exactly does Nora fly under the radar?

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Appearance-wise, Bloodfiends look practically identical to any other person. Their sole defining trait is the fact they have red eyes.

...However, this isn't particularly a giveaway.

Because of the advanced technology of the city, cosmetic and practical augmentations are extremely common. This means that, essentially, anybody could have red eyes if desired. This is an excuse even Bloodfiends use, as shown in the photo above. Sasha is a Bloodfiend, which isn't found out until later on, due to this logic. She mentions a lady with a sword- one of the main characters- who throughout the game has never been previously questioned about her eyes. With this, we can presume that Nora would not be doubted.

Physically, how would Nora fare without relying on blood?

Through various characters it can be shown that, with a proper purpose, Bloodfiends are able to suppress their craving. Bloodfiends are made to live for blood and survival, but if this belief is replaced by another, their hunger can be dulled. For example, Don Quixote, a high-ranking Bloodfiend in the game, is insistent on creating peace between humans and Bloodfiends and enacting justice. Because of this, we do not see him express starvation, unlike other Bloodfiends encountered in the game.

For Nora, this purpose would be her relationship.

To add onto this, they are able to consume regular food when subduing their hunger for blood, and so scenes such as Nora with the macarons wouldn't be discredited

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A Bloodfiend of the fourth kindred.

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Limbus Company - Canto 7 (The Dream Unending)

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When a Bloodfiend converts somebody, the blood of a Bloodfiend will enter their body. They will become the original Bloodfiends kindred, and refer to them with parental terms- and, in contrast, the Bloodfiend will refer to them as if they were offspring.

At the top of the hierarchy, the first and second kindreds are the strongest, weakening in strength as the tree continues. Although all Bloodfiends are technically related, the first kindreds have their individual families that they directly started.

Bloodfiends can have only two kindred. Anybody else bitten by them from that point on are turned into "bloodbags", used solely as food and bound to eventually perish. Because of their different blood, Bloodfiends cannot solve their hunger by taking blood from another Bloodfiend.

Nora is a kindred of her Father, rather than related by birth. The second one is turned into a Bloodfiend, their original family becomes irrelevant.

It is unclear whether Bloodfiends can give birth, and whether these offspring would be considered their kindred or not. For this reason, Nora's children are not actually her children. Rather, they're adopted.

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The secret itself essentially remains the same. Nora forges the signature of her father and sends Torvald to get medical treatment (although, of course, not in Italy). So, then, what changes?

Firstly, Krogstad's motivations to call out Nora.

"Mrs. Helmer, you will be so good as to use your influence on my behalf."

Torvald, due to the nature of his job at Hana Association, is able to alter Krogstad's fixer grade (rank), or limit the Fanghunt office as a whole due to poor performance. This would heavily hinder Krogstad's ability to land missions and outside work, as well as decrease his pay. If Krogstad were to ever be unable to afford living in the Nest, he would be forced to go to the backstreets. If Nora is able to convince Torvald to keep his grade, or even lower it (Ideal, as the city runs on a 9-1 system with 1 being the strongest), then this possibility can be avoided.

Secondly, how does Krogstad find out about Nora's secret?

Due to the nature of his job, Krogstad eventually finds Nora's father. It's impossible to sign something with a fake name, after all, and Nora's father was once a citizen before becoming a Bloodfiend... However, that was likely decades ago.

Krogstad, on the clock, eventually runs into Nora's father. He's forced to kill him, and only when documenting it, does he notice the shared name between the signature and the Bloodfiend.

When he confronts Nora, he is not fully positive that they are the same people... But the presence of her red eyes certainly does not help her case.

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“I must stand quite alone, if I am ever to know myself and my surroundings.”

Nora's satisfaction depended on their "strong, happy" relationship. This relationship was her purpose, and once it comes crumbling down, she becomes starved once more. She no longer has a distraction from her hunger, and as it comes back to her, it gets more painful by the second.

"It gives me great pain, Torvald, for you have always been so kind to me, but I cannot help it. I do not love you any more."

She knows she must leave not only for her own sake, but for the safety of her children.

If Nora were to stay, it is unlike she'd be able to resist her cravings. The severity of cravings have been shown to be so strong that Bloodfiends will go against their own natures- such as attacking their higher kindred in their suffering, something which is forbidden within the hierarchy, and something which Bloodfiends are inherently repulsed by. Dissatisfaction with her life and relationship is no longer the sole factor, although it still plays a significant part.

Even if she could resist, to stay would to be limiting herself, putting herself through the constant pain of starvation. It is not the ideal solution for anyone, nor her children. It's unlikely her "resistance" would be trusted, anyhow, especially with how weak she was played out to be. If Torvald were to accept her due to his "love" for her, without immediately killing her himself, he would likely want to muzzle her no matter her opposition.

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The backstreets of District 16- the Nest in the horizon.

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The City contains 26 different districts, each under a respective wing owned by a Corporation. Although the location does not particularly matter when it comes to the story itself, it would be most sensible for the story to take place in the Nest of District 16.

In the city, the nests are most representative of the real world. They are refined Urban areas, all their own "small cities", physically separated from the dangerous areas in the City.

District 16, itself, is an area in which the Fanghunt office operates. Along with this, it is an area that had a massive population of Bloodfiends, specifically located within their backstreets ( Barren and cruel "eat-or-be-eaten" areas within the city designated for poor and outcasted families.), but some who managed to escape spread among the Nest itself.

There is some symbolism within this choice.

Every Corporation has something called a singularity, a piece of technology patented and used throughout the district. Although the singularity itself is not significant, nor mentioned, within the play... Their singularity is said to have the themes of "protection and perseverance."

This symbolism can relate to Nora's perseverance to leave once her secret is exposed... And her desire to protect her children by leaving. This is elaborated on in "The Breaking Point"!

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This version of a Doll's house is set within the City curated through the games made by "Project Moon".

The City is massive, run amok with corruption, abnormalities and associations. Because of this, the play is mostly focused on a sole aspect of the City- the existence of Bloodfiends.

I decided to choose this topic as one of the games taking place in this City, "Limbus Company", has main characters directly inspired off of literature sources and writers- their pasts altered to fit the nature of the city, but core aspects still remaining. Although this play will be completely separate from Limbus Company and it's characters, it still gave me the inspiration to explore this topic!