Evillious Chronicles Cosmology Blog.

 THE EVILLIOUS CHRONICLES.  

A comprehensive Cosmological Framework & Analysis of the Cosmology's Tier.

Media used: Evillious Chronicles Light Novels, Songs and Album Booklets by Akuno-P (MOTHY).

Primary Verdict: 2-A (Multiverse Level+)

Supplementary Argument: Low 1-C (Low Complex Multiverse Level).

Themes: The Three Periods · The Multiverse · Black Box Technology and Dimensional Travel · The Dimensional Spaces · The Fourth Period.

Table of Contents

I. Cosmological Overview — The Three Periods.

II. The Multiverse Structure.

III. Black Box Technology — How does one perform Inter-Dimensional Crossing?

IV. The Second Period's Technology that is Running the Third Period.

V. The Dimensional Spaces.

VI. The Fourth Period — A New Cycle.

VII. The Infinite Multiverse — Primary 2-A Argument.

VIII. Supplementary Argument — Low 1-C: The Ontological Barrier.

IX. Tier Conclusion.

X. Source Reference.

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I. Cosmological Overview — The First, Second and Third Periods.

The Evillious Chronicles cosmology is first and foremost built upon the concept of the Three Periods, with a Fourth Period being created after Master of the Heavenly Yard and having three Light Novels focused on it (Unlock City, and the two Story of Evils Light Novels, Story of Evil: The Paper Demon and the Secret Archive and Story of Evil: The Twilight Demon and the False Queen). The First Period was the original physical Earth, the Second Period was a virtual reality constructed within it, the Third Period a regenerated history created on that same Earth by Avatars summoned from the virtual layer and the Fourth Period was a new Universe created by Allen Avadonia and Riliane Lucifen D’Autriche following their victory over MA, eventually this world reached a civilization similar to ours albeit magic kept existing there as well. With that said, understanding this structure is the foundation of every cosmological argument in this document.

The First Period.

The original 'real world.' A highly advanced human civilization possessing internet, laptops, and virtual reality technology. The base layer of physical existence — the Earth itself. 

All subsequent Periods originate from and exist within the space of the First Period. Destroyed by a 'Punishment' — which is the nuclear weapon, as later on the leader of TASAN Nemesis Sudou would destroy the Third Period in a similar way, using the powers of the Little Boy of Destruction Amostia to nuke the planet. Its remnant humanity rests in the Graveyard. Behemo, even while present and active as an avatar, identifies himself as 'only an avatar' — something that is, by nature, merely data that has gained a physical form.

Source: Master of the Heavenly Yard, Ch. 11, Scene 8.

The Second Period.

A virtual reality world constructed by First Period humanity. Its residents — Avatars — are digital intelligences that eventually surpassed human cognitive capacity and would become the first beings to ever travel across dimensions.

A constructed existence: the Second Period and everything within it exists as a simulation running within First Period infrastructure. It is contained within the First Period as an object within its host.

Crucially, the Black Box technology that enables dimensional and cross-reality travel originated here — developed by Second Period scientists including Seth Twiright, Levia Barisol, Behemo Barisol (who was born in the first period but created an avatar for himself that would exist in the Second Period, it'd be this version of Behemo that would lead the Climb One), and Held Yggdra — virtual beings creating technology capable of breaching the boundary between their virtual layer and physical reality. This shall be further explained in Section III.

Under normal conditions, Avatars cannot interact with or manifest in the First Period. As described by Behemo Barisol: “An overly advanced avatar caused an unexpected accident, a miraculous event in which an avatar, which was supposed to be virtual, appeared in the First Period, which was the real world. That avatar was “Levia”. She mimicked Behemo’s characteristics in the real world.”

Source: Master of the Heavenly Yard, Ch. 11, Scene 8.

The Third Period.

The primary setting for most of the songs and Light Novels. 

This was a world created by the most outstanding First Period Avatars summoned by Behemo to Earth, given a fabricated narrative of 'discovering a new planet.'

In reality, a new history of humanity regenerated on the collapsed First Period Earth. Beings such as Sickle are virtual; beings such as Allen and Riliane are real humans who actually existed.

Something central for it is the infrastructure created by the Second Period virtual beings using the technology that they had access to within Climb One, also known as the Ark of Sin. For the full explanation see Section IV.

"In reality, it wasn't a new planet, it was the 'First Period' — the Earth of the real world that had collapsed."

"Sickle and the others are virtual beings. Allen, Riliane... and all the other inhabitants of the Third Period are 'humans who actually existed'."

"The avatars were very exceptional. As a result, the new humanity possessed special powers that the humanity of the First Period did not have. Like magic, demons, and Irregulars."

— Behemo Barisol — Master of the Heavenly Yard, Ch. 11.

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II. The Multiverse Structure.

Beyond the Three Periods, the Evillious Chronicles establishes a vast multiverse of alternate worlds — first with the branching events during the Tailor of Enbizaka as well as a series of divergence  branching from different outcomes during the struggle aboard the Climb One. Multiple sources show this structure as real, inhabited, and physically navigable through a few different methods.

The 72 Alternate Worlds.

The most explicit quantification comes from the Booklet of The Restaurant of Many Ingredients, narrated by Lych Arklow — one of the crew members who served aboard the Climb One over 2000 years earlier. His firsthand familiarity with the ship and its passengers is central as it provides the theory a substantial amount of weight, as he knew who'd become the Gods of each world.

"Theoretically, if there are 72 alternate worlds, then there must also be 72 main gods as well."

"The biggest difference between these alternate worlds and the ones we were originally from is a difference of who won the struggle of survival on the Climb One."

"I can hazard a guess as to why Seth joined in on this journey. He is trying to use Lady Banica to arrive at a world where he became a god."

— Lych Arklow — Booklet of The Restaurant of Many Ingredients.

The 72-world figure is in this regard a theoretical minimum rooted in the countable variables of the Climb One — however thanks to the other Light Novels we can confirm this is not its ceiling. Each alternate world contains its own complete Third Period history with its own governing god — which also means different rules have been established over each of these realities, for example we know that when the rules set by Sickle in the World of Crimes and Punishment started collapsing strange events such as Feng Li being born with the appearance of a tiger despite being a human started taking place.

The Multiverse as a Navigable Space.

Something important to understand is that the multiverse is not merely theoretical. As we have been shown that these alternate dimensions are physically traversable, with characters actively moving between them through either the gates following the end of Master of the Heavenly Yard and Outlaw and Lychgate or through the Black Boxes..

Banica's Journey — The Dimensional Travel of the E.A.T. Series.

Sources: Banica's Concerto / grEAT Journey / Storyteller Y / Restaurant of Many Ingredients Booklet.

Following the end of the Third Period, Banica Conchita departs aboard the Evils Theater II — powered by the Neo Black Box created by Seth Twiright — on a journey through alternate dimensions, traversing specific named worlds (The World of Beastmen and Giants, The World of Angels and Demons and The World of Curses and Blessings).

The Spirit of MA attacks the travelers mid-crossing — this is important in demonstrating that MA, who shall appear later on for another point, is capable of both seeing as well as interfering with Dimensional Travel using her powers.

grEAT Journey: 'Surpassing time, surpassing dimensions, we continue on.' 

Storyteller Y: 'Banica passed through the gateway to another dimension.'

Seth's Parallel World Theory.

Outlaw and Lychgate. Seven Crimes and Punishment.

Seth proposes that Sickle summoned an Allen from a parallel universe who had already experienced failure, unbeknownst to Seth that Allen was the Allen of Seven Crimes and Punishment which confirms he is correct, following Amostia's activation Sickle merged the two souls to improve odds of saving the Third Period.

Seth notes this was previously accomplished in the Second Period: 'There was someone in the Second Period who had managed to bring over their alternate universe self.' That person had been Levia, who using her own Black Box went to the real world and met Behemo, who would later add his own virtual avatar to her world.

The Type S Black Box was created by Seth specifically to transfer spirit data to and from parallel worlds in order to prove their existence.

Timeline Branching — Structural Confirmation

The Tailor of Enbizaka, Pages 228–236.

Behemo directly describes two divergent timelines from Kayo's altered circumstances: 'The first was cast out to an alternate world, and the one we are in now is the second.'

Timeline branching is therefore a structural, automatic feature of the cosmology — a normal consequence of sufficiently divergent choices, this is further discussed upon in the Waltz of the Deceased: The Deadly Sins of Evil, SEKAI Edition album booklet.

If…

.

What if, for example, the Daughter of Evil hadn’t been a princess?

What if it had been her burdened with a curse, instead of her father?

All people had possibilities like that.

The Evil Food Eater resolved to set out on a new journey to learn them all.

— Narrator — Booklet of Waltz of the Deceased: The Deadly Sins of Evil, SEKAI Edition.

III. Black Box Technology — How does one perform Inter-Dimensional Crossing?

The Black Box is the central technology enabling dimensional and cross-reality travel throughout the Evillious Chronicles. Its origin is fundamental to the Low 1-C argument: every Black Box traces back to the Second Period — developed by virtual beings inside a simulation. In that regard this technology originated in a lower layer of existence and yet was advanced enough to breach upward into physical reality. Meaning that a simulation produced instruments capable of reaching outside the boundaries of its own existence.

Origin and Lineage — A Virtual World's Technology

All Black Box variants were developed by Second Period scientists — virtual Avatars — aboard the Climb One or during the Second Period's history. The full known lineage is as follows:

Type E.

The original device developed under the leadership of Held Yggdra.

Under the operation of those with the talent to perform a “Swap”, it is able to vicariously experience another person’s life. This vicarious experience takes place inside a particular space in the “Black Box”, and it’s even possible to re-experience things like pain and taste. It was loaded onto the “Climb One” as well, but was damaged due to some troubles mid-journey. It was discarded due to being inoperable.

Type S.

A second edition newly created by physicist Seth Twiright based on the original device.

This one placed heavy emphasis in improving upon the “Black Box”’s shifting space function. It was able to move person’s spirit data to another world separate from the present reality, a so-called “parallel world”, and could also conversely also summon the spirit data of someone from that parallel world to the present reality. The only ones who could operate it were an even more select few out of those with the talent for doing the “Swap”, and the only two people to ever actually use it in the Second Period were Seth and Levia Barisol.

It was not loaded onto the “Climb One”, but Seth rebuilt a smaller version of the “Black Box” in the Third Period. However, between the two this machine was actually closer in design to the original device. The Third Period version of the “Type S” Black Box is only able to go to the spiritual world inside a select person.

Type L.

A “Black Box” developed in the “Climb One” under Levia Barisol’s guidance.

It greatly intensified the function of the Type E version, and as such was able to completely move one’s spirit data into another person’s body. In other words, someone could be reborn as a different person entirely.

Furthermore, one could use it even without having the talent for performing the “Swap”; to avoid misuse it was programmed so that it could only be used with the permission of the entire “Climb One” crew. Although, in the event that a crewmember was determined to have died, their permission requirement would be erased automatically (and while this is ordinarily impossible, if a deleted crewmember were to be revived, they would once more be added to the list of required members).

(All this particular information comes from the Muzzle of Nemesis Glossary).

Type B.

A Black Box under the ownership of Behemo Barisol, it can be fitted with an Akashic Recorder to communicate with someone inside a Black Box.

Type H.

A Black Box created by Luna Hazuki, according to Sickle it has the capacity to generate an imaginary reality that has mass, little else is known beyond that.

Type X.

A Black Box created by the TASAN Party of Nemesis Sudou. It had the ability to suck in souls and "reformat" them, removing all their memories for them to be reborn as completely new beings. However according to Nemesis that function was never implemented, making her unsure as to what would happen if it were used.

Sickle's Black Box.

A type of black box that was utilized by Sickle in the Heavenly Yard and by other earthlings elsewhere. The box was outfitted with an Akashic Recorder that collected the memory data of souls in the Heavenly Yard, which could then be reviewed at varying speeds by an individual contained within the large box. It was similarly outfitted with a microphone function for communication between those outside and inside of the box, and carried emergency protocols for allowing someone contained in the box to escape. This variant was also able to send spirits across vast distances, as well as sending messages to recipient devices.

Neo Black Box.

A type of Black Box created by Seth Twiright. Resulting from his continued research into parallel worlds, it could bring users into other worlds. Seth's model was given to Banica Conchita for testing, and was outfitted in the rebuilt Evil's Theater II. It has been used during the E.A.T. Series by them to travel across the Multiverse, currently Seth is fused with the Theater to have control over its movement.

Levia's Crossing — The First Reality Bridge.

The earliest confirmed use of Black Box technology for crossing between layers of reality is Levia's appearance in the First Period. A Second Period Avatar — a virtual being — manifested in the physical real world. This event is explicitly described as 'an unexpected accident' and 'a miraculous event.' Even so, the crossing was mediated by Black Box technology, and would be impossible to perform through Levia's own power.

“An overly advanced avatar caused an unexpected accident, a miraculous event in which an avatar, which was supposed to be virtual, appeared in the First Period, which was the real world. That avatar was “Levia”. She mimicked Behemo’s characteristics in the real world.”

"Behemo, the relative of a Second Period developer, used that position to modify Levia's settings."

— Behemo — Master of the Heavenly Yard, Ch. 11.

The BLACKBOX served as the necessary bridge across the ontological barrier between virtual and physical existence. Under normal circumstances virtual beings cannot simply choose to enter physical reality, which is why it is necessary to make use of this particular technology. Behemo later deliberately replicated this method, reverse-engineering the accidental crossing into a systematic process to summon multiple Avatars to populate the Third Period.

Ultraphotic Flow — The Mechanism of Dimensional Transit.

The mechanism by which the Neo Black Box crosses dimensional barriers is described in Banica's Concerto: 'Set course and accelerate ultraphotic flow.' This is a propulsion state operating faster than light, through this system one is capable of treating the boundary between realities as a traversable dimensional space, thanks to Levia's event we can see it also treats higher dimensions the same way.. The crash caused by MA's spirit attacking mid-transit confirms this as a real physical process subject to interference by particular forces that are also able to enter in the flow of time.

The Evils Theater II's Neo Black Box steers this crossing: grEAT Journey identifies 'steering it with a black box' as the active navigational mechanism. This means that Black Boxes are not just the power source but also the directional intelligence for dimensional navigation as well.

Angolmois — BB Compactification and the Clockwork Lullaby.

The full Clockwork Lullaby Booklet reveals Kiril Clockworker's purpose in Angolmois: he was there to advance Black Box compactification — the miniaturization and refinement of Black Box systems — as well as to build the twelve music boxes, each of which incorporates a Black Box system. These music boxes are also important because of their capacity to see events that are occuring outside of Angolmois, such as showing Kiril that the World in the Court Ending is one without the Gods.

"Upon arriving in the land of Angolmois, I was able to proceed with the compactification of the Black Box system, which was a long-pending problem, at once."

"Due to the insertion of the Alice BB, the sixth music box has started to play a different tone than I had initially expected."

"Clockwork Lullaby 10 connects further to the big gear through the Seth BB."

"Clockwork Lullaby 12 connects by 09 and 03 through the Sickle BB."

— Kiril Clockworker — Clockwork Lullaby Booklet

Several music boxes are noted to incorporate specific named BB variants: the Alice BB (Lullaby 06), the Seth BB (Lullaby 10), and the Sickle BB (Lullaby 12). The visitor who appeared at Kiril's door in Angolmois — a place Kiril believed no one could reach — was Sickle himself, as confirmed within the Booklet. TALOS/Sickle is the God that rules over the Third Period in the World of Crimes and Punishment, he is specifically described by Akuno-P to be its most omnipotent: “Of all the characters who’ve showed up in this, he’s the most omnipotent, while also being the most incompetent.”

IV. The Second Period's Technology that is Running the Third Period.

One of the most significant cosmological facts of the Evillious Chronicles is that the Third Period's entire divine architecture — starting from the rules that are meant to maintain that world under control — were built and operated by Second Period virtual beings using the technology they produced in their virtual reality. And so, even though the Third Period exists in the First Period's physical space the technology of the Second Period permeates over all of it. This is critical context for both the 2-A argument and the Low 1-C ontological barrier argument.

TALOS — A Robot Managing all the World.

The entity known in the Third Period as Sickle, the Sun God and 'Master of the Heavenly Yard,' is TALOS — a Second Period artificial intelligence created by Luna Hazuki, as a machine Sickle operates according to programmed rules. This is established by Seth in Outlaw and Lychgate and confirmed by MOTHY himself in his afterword to the Heavenly Yard light novel.

"That 'Master of the Heavenly Yard'... No, that's wrong. He isn't. Now I know. That he isn't a god at all, but a mere robot."

"Fundamentally, robots can only act according to their 'Rules.' Sickle should be no exception."

"What is the 'Rule' established by him that he prioritized over all others? The answer would be... 'Watch over this world as a representative of a god.'"

— Seth Twiright — Outlaw and Lychgate

"Of all the characters who've showed up in this, he's the most omnipotent, while also being the most incompetent."

"Sickle being taken as a powerless being in his own world may be because he treats that world as a 'story', and loves it more than anyone."

— MOTHY (AkunoP) — Heavenly Yard, Afterword

TALOS set his own Black Box to begin recording information about the Third Period from BT 528 — through it he was able to gain access to nearly all events to have happened across the 1500 years of existence of the Third Period, with the sole exception of the reason as to why Hansel and Allen Avadonia both looked so much alike despite not being reincarnations of each other.

That aside, the paradox Seth identifies is telling: Sickle broke a Rule to maintain a Rule — the contradiction of an AI protecting its world by violating its own programming. Ultimately, despite his power Sickle is still an Artificial Intelligence and will behave by the programation he has as well as the will of Luna Hazuki he inherited.

The Hellish Yard — Levia's Research Facility.

The Hellish Yard is the afterlife realm where souls of evildoers go — this place was not a natural metaphysical space. The Hellish Yard was constructed by Levia Barisol as a research facility to investigate the spiritual data of the new Third Period humanity. Its original proposed function was managing 'HERs' — the same artificial program that caused the world crisis in the Second Period and that would eventually cause much of the issues that plagued the Third Period as well as parallel worlds.

"It was originally a facility that Levia created to investigate the spiritual data of the new humanity during the creation of the Third Period."

"Levia proposed using it for the purpose of managing the 'HERs' after the creation was finished, but Hazuki and Held refused. This became one of the causes of their struggle."

"It was abandoned for a long time due to the defeat of Levia and the others, but several centuries ago it ended up being managed by Gumillia and Seth."

— Muzzle of Nemesis Glossary — Hellish Yard entry.

The most notable capacities of the Hellish Yard are it's special gravity and the power to make concepts into reality, when the Third Period's destruction dissolved the barrier between Earth and the Hellish Yard, the two merged. The resulting space began to generate illusory reconstructions of the destroyed world from the collective spiritual data of the dead 

“Rather than ‘illusion’, ‘concept’ might be more accurate. If someone thinks that it exists, then it does exist. It doesn’t matter if you’re a soul or a ghost. Things like opening doors and eating fruit are possible here. …Just like when you were alive.” — Gilles Derais/Demon of Lust — Seven Crimes and Punishment, Lust Scene 2.

The Heavenly Yard — Structure and the Magnet System.

The Heavenly Yard contains two named sub-regions: the Heavenly Garden where Sickle/TALOS operates, and the Garden of the Champ-Élysées where souls of the dead reside between reincarnation cycles. Sickle describes the relationship between the Heavenly Yard and the Hellish Yard as being 'like two magnets' — complementary poles of a unified afterlife architecture.

"When the earthly world, the 'Third Period', was destroyed, it created the effect of erasing the barrier between it and the Hellish Yard. All the souls have fallen, dragged down by the earthly world."

"The earthly world itself has become part of the Hellish Yard."

"The connection between the Heavenly Yard and the Hellish Yard is something like that of two magnets. The souls were pulled towards the one with the more powerful attraction."

— Sickle — Seven Crimes and Punishment, Prologue Scene 3.

One important quality of the Heavenly Yard is that the living can't move towards it unless they are Gods, if they attempt to their body will be charred by an intense temperature.

When the Third Period's destruction dissolves the barrier between Earth and the Hellish Yard, the two merge entirely. The resulting space generates illusory reconstructions of the destroyed world from the collective spiritual data of the dead — 'if someone thinks it exists, then it exists.' What appears to be the old world is a conceptual space governed by collective belief. The post-destruction Earth is literally the Hellish Yard wearing the memory of a world.

Soul Reincarnation — The Type L Black Box.

The reincarnation system — the mechanism by which souls are reborn into new bodies across the Third Period's history — operates through the Type L Black Box, developed by Levia aboard the Climb One. The entire cycle of soul rebirth that drives the narrative of the Evillious Chronicles runs on a Second Period virtual being's invention. Gods, afterlife, reincarnation — all of it is Second Period technology managing a physical world.

Summary: TALOS (An AI from the Second Period) manages the Heavenly Yard. Levia (Second Period Avatar) built the Hellish Yard as a research facility. Reincarnation runs through Type L (Levia's Second Period invention). The Graveyard preserves physical Second Period machine debris. The entire divine layer of the Third Period is virtual technology operating in physical space.

V. The Dimensional Spaces.

Beyond the Three Periods and the alternate world multiverse, the Evillious Chronicles features a number of named dimensional spaces — distinct metaphysical locations separate from the main world. Each is confirmed as real and physically distinct. They are documented here in full for completeness; their primary cosmological significance is as evidence of the dimensional complexity of the world rather than as direct tier arguments in themselves.

The Land of Fun — Madam Merry-Go-Round's Domain

The Land of Fun Interior of the Temple of Levia-Behemo

The interior of the Temple of Levia-Behemo, persisting as an independent space even after the temple's physical structure has been completely destroyed. The space exists independently of its physical vessel.

Gammon confirms: 'Although the temple is no longer standing, the space inside it remains like this.' The interior survived the destruction that obliterated the castle itself.

Defined property: 'This is a threshold of time where even the gods cannot interfere.' The Land of Fun is explicitly outside divine jurisdiction — not merely inaccessible to ordinary beings, but positioned beyond the reach of the gods themselves.

Access restricted to queen candidates under normal circumstances, establishing it as a space with specific ontological entry rules predating the current crisis.

Madam Merry-Go-Round greets arrivals as 'castaways of time' — those displaced from the normal flow. She offers arriving castaways a choice of destinations: 'Destruction... Rebirth... Or perhaps the path to Angolmois?' — confirming a navigational connection between the Land of Fun and the Angolmois dimension.

Gammon describes Merry-Go-Round's nature as layered: 'a manager of time, a thing associated with generations of queens, an Irregular.' She is not a single individual but a function — one persisting across multiple world cycles.

In the Original Sin Story, she identifies herself as 'guardian of time' while punishing Gammon for attempting to disrupt the timeline, dragging him to 'the Land of Fun' as a castaway for eternity.

Physically described as a space of wooden horses moving in endless circles, lights, and turning gears — suspended in a form consistent with the merry-go-round imagery across all sources.

Source: Land of Fun (Novel excerpt); Original Sin Story; Seven Crimes and Punishment; Queen Merry-Go-Round (Song)

"This is a threshold of time where even the gods cannot interfere." "She is a manager of time, a thing associated with generations of queens, an Irregular... Something like that." "Now then, castaway. What do you desire? Destruction... Rebirth... Or perhaps the path to Angolmois?" — Gammon and Merry-Go-Round — Land of Fun (Novel excerpt)

Angolmois — The Isolated Dimension

Angolmois Extreme Isolation from most of the Universe, although reachable from the Land of Fun

A dimension of extreme isolation. 'A place where even knowing of its existence is beyond the paygrade of a normal person.' Even awareness of its existence is extraordinary.

Kiril's certainty that 'there shouldn't be anyone outside of me who can reach Angolmois' confirms effective complete isolation from the normal world. His shock at someone knocking confirms this is not hyperbole.

The visitor who appeared at Kiril's door was Sickle himself — TALOS, the most powerful entity in the Third Period's divine infrastructure, personally traveled to the most isolated dimension in the cosmology.

Reachable from the Land of Fun: Merry-Go-Round offers 'the path to Angolmois' as one of the choices available to arriving castaways, establishing a navigational link between the two spaces.

Location where Kiril advanced BB compactification — the refinement of Black Box technology that would eventually be implemented in the Neo Black Box and Kiril's twelve music boxes.

The moment when the singing voices of the Third Period reached Angolmois — causing the unfinished twelfth music box to activate on its own — is treated as unprecedented, confirming Angolmois normally exists in complete isolation from all ordinary cosmological activity.

TALOS's farewell email confirms a Fourth Period: 'I won't stop you from traveling to the Fourth Period.' Kiril's reply confirms he has decided to depart from Angolmois with his wife, heading to an unspecified destination.

Source: Clockwork Lullaby Booklet (full)

The Court — Outside Divine Observation

The Court

A dark alternate dimension reached by diving to the bottom of the sea near Jakoku. Spatially disconnected from the surface world.

Defining property: beings cannot be observed here by the gods. Gilles specifically chose it as the only available space where gods cannot witness a conversation — 'not people so much as gods, I suppose.'

Forces all beings within it to expose their true nature — Rahab's fish-demon form transforms to her true blonde middle-aged appearance without her willing it. The Court strips all adopted or temporary forms.

Rahab identifies the private spaces available: 'the Court, or the Graveyard, or the Hellish Yard' — placing all three in a category outside normal divine jurisdiction.

Destroyed by the light of Punishment at the end of Seven Crimes and Punishment Extra, confirming it is subject to the cosmological reset even while outside divine sight.

Source: Seven Crimes and Punishment Extra Story

The Graveyard — Physical Remnant of the Second Period

The Graveyard Cemetery of First Period Humanity — Real Second Period Debris

Unlike every other post-destruction space (which consists of illusions generated by spiritual data), the Graveyard contains things that 'actually exist.' The machine gears piled within it are real physical remnants of Second Period technology.

Hänsel confirms: 'This is the land where the legacy of the 'Second Period' sleeps... the place Lady Banica has always been looking for.'

Ceiling of bedrock emits faint light rather than being pitch black. The space has its own physical properties independent of the destroyed world.

Location of the BLACKBOX Type B (made by Behemo, abandoned there) and the Akashic Recorder found by Ma. Contains the crashed remains of Black Boxes from the Climb One.

The literal cemetery of First Period humanity — Behemo confirms 'we all rest there,' referring to the real humans who died before the Third Period began.

Source: Seven Crimes and Punishment (Novel); Master of the Heavenly Yard Ch. 10

The Heavenly Yard and Hellish Yard — Afterlife Architecture

Space	Spatial Properties
Heavenly Yard	Contains Heavenly Garden (Sickle's domain + Black Box) and Champ-Élysées (soul residence between reincarnations). Connected to Hellish Yard as complementary poles — 'like two magnets.' Souls flow between them based on relative gravitational pull.
Hellish Yard	Originally Levia's spiritual data research facility. Post-destruction, merges with Earth entirely — the barrier dissolves and Earth becomes part of the Hellish Yard. The merged space generates illusory world reconstructions from collective spiritual memory. Also contains 'Hell' deeper within it.
Paradise	Contains a Black Box housing Allen's soul. Part of the gods' rule-enforcement architecture for containing Irregular souls. Allen spent centuries within it absorbing Third Period history via Akashic Recorder.

VI. The Infinite Multiverse — Primary 2-A Argument

With the multiverse structure, Black Box technology, and divine infrastructure documented, the 2-A argument proceeds through two independent lines, both reaching the required threshold of a countably infinite number of separate space-time continuums.

Argument 1 — Ma's Direct Perception of Infinite Worlds

In Master of the Heavenly Yard Chapter 10, Ma — an Irregular whose existence fundamentally exceeds the gods' rules, never born as a set of twins and therefore unconstrained by the mechanisms limiting other Irregulars — explicitly states her perception of infinite alternate worlds in direct quantitative contrast to Allen's single-world sight.

"Allen, how many worlds can you see? I… Infinity." "The world is not just one. I feel like there are many different worlds in another dimension, not here." "Even if this world disappears, my 'story' will be told in other worlds." — Ma — Master of the Heavenly Yard, Ch. 10

This is not casual hyperbole. Ma's entire arc concerns her anomalous existence transcending the gods' rules. Her perception of 'infinity' maps to a real cosmological infinite given that the multiverse is independently confirmed as mechanically real through BB-mediated crossings, Seth's Type S parallel world transfers, and Banica's dimensional traversal, this being particularly important as MA was capable of interfering with their dimensional travel after her death, something only possible because she was so close to becoming a Pure Being. The 72+ worlds establish a confirmed floor; Ma's 'infinity' represents the full unbounded scope of what that floor extends to.

Argument 2 — The Infinite Cycle of Re_Birthday

The Re_Birthday mechanism resets the entire Third Period world system. Multiple sources confirm this process repeats indefinitely, producing a new space-time continuum each iteration.

Re_Birthday — Destruction, Creation, and Infinite Repetition Master of the Heavenly Yard Ch. 12; Karma of Evil Will Not End (Song)

'By the power of Re_Birthday... the Irregular twins controlled destruction and creation. And they put everything back, starting over.' — The mechanism operates on the entire world system.

'History would repeat itself over and over.' — The novel's own language explicitly frames this as indefinite repetition.

Karma of Evil Will Not End: 'It all comes to an end, and then all begins again.' 'I will do all this all over again, however many times, until the day I bring the world to true salvation.' The phrase 'however many times' anchors the infinite repetition claim.

Each Re_Birthday iteration produces a new Third Period — a new space-time continuum. Over infinite cycles, this generates a countably infinite sequence of distinct universes.

VII. The Fourth Period — Cycle Continuation Confirmed

One of the most direct confirmations of the cosmological cycle producing new worlds beyond the Third Period comes from TALOS's email to Kiril Clockworker in the Clockwork Lullaby Booklet. In a farewell message sent after the Third Period has ended and souls have begun migrating to a new world, TALOS explicitly mentions the Fourth Period as a real, accessible destination.

"The spirits have already begun to migrate to the new world." "You can stay in Angolmois as is, or you can deepen your friendship with your old cronies in the Third Period's ruins. Or... I won't stop you from traveling to the Fourth Period. I no longer have the right to." "You are free." — TALOS — Clockwork Lullaby Booklet, Intro Email (Year 1001, August 10, 03:00)

This is unambiguous. The Fourth Period is not a theoretical possibility but a real destination TALOS explicitly acknowledges and chooses not to restrict. The phrase 'I no longer have the right to' confirms that TALOS's authority was previously tied to the Third Period specifically, and that the new world (the Fourth Period) exists outside his powers. The cycle produces independent timelines.

Kiril's reply confirms he has decided to leave Angolmois and travel — 'as long as songs exist there, I will continue to make music boxes'. His final note that 'the total number of songs is not 12' implies the cosmological work is not finished with the Third Period's end. The particular event beneath is still unknown, however we do know that after he became Quirche Horloge, Kiril began traveling to different dimensions using alchemy learnt there to produce objects capable of affecting reality.

"I've decided to head out from Angolmois. With my wife, of course." "As for where I'm heading... I'll leave it to your imagination. Perhaps I'll see you again once more there." "But... as long as songs exist there — I will continue to make music boxes." — Kiril Clockworker — Clockwork Lullaby Booklet, Outro Email (Year 1001, August 10, 15:00)

The Fourth Period's existence confirms that the Re_Birthday mechanism does not merely loop the same world — it produces genuinely new universes that are independent and distinct from the last. The cycle is generative, not merely repetitive. Combined with the branching alternate worlds per cycle and Ma's perception of infinite worlds, this confirms the cosmological scale at the 2-A tier.

VIII. Supplementary High-End Argument — 1-C: The 6-D Infinite Hypertimelines Framework

Beyond the primary 2-A verdict, the Evillious Chronicles cosmology possesses a well-grounded supplementary argument for 1-C (Complex Multiverse Level). This argument establishes the cosmology as a set of Infinite 6-D Hypertimelines — a structure consisting of infinite 5-D multiverses layered across a higher temporal axis, all contained within a higher ontological layer.

The argument proceeds through four structural steps. Each builds upon the last. The tier definitions involved are: Low 1-C = R^5 (5-dimensional structure); 1-C = R^6 to R^9 (6 to 9 dimensional structures). The framework below establishes a 6-D structure, placing the cosmology at the lower bound of 1-C.

This is presented as a supplementary high-end argument. Each step is supported by the source material, but the argument involves interpretive claims — particularly the reading of the Parallel World Border as a genuine 6th dimensional axis and the uncountable infinity of branching timelines. These are defensible positions that follow the standard logic of the tier framework, and they are presented with full transparency about their interpretive nature.

Step 1 — The 4-D Space-Time Base

A single Third Period timeline is a standard 4-D space-time continuum: three spatial dimensions plus one temporal dimension. This is the uncontroversial foundation of the entire framework.

Step 1 — 4-D Space-Time Base Single Third Period timeline = standard 4-D space-time continuum

Black Box technology treats history, causality, and space-time as traversable and manipulable — the Akashic Recorder records historical events across time, and the Type S transfers spirit data through both space and time, treating the Third Period as a standard 4-D structure.

The Heavenly Yard and Hellish Yard exist as spatially distinct realms connected to the Third Period — confirming the cosmology has full spatial extension and temporal progression across a 4-D structure.

Punishment — the weapon based on Amostia — demonstrably destroys the spatial surface of the Third Period and ends its temporal progression, confirming the timeline has both spatial and temporal axes subject to physical forces.

The Graveyard, Court, Land of Fun, Angolmois, and Paradise each represent additional dimensional spaces beyond the main 4-D timeline, further confirming the spatial and dimensional complexity of the base structure.

Sources: Seven Crimes and Punishment; Master of the Heavenly Yard; Black Box wiki

Step 2 — Infinite Branching Creates a 5-D Multiverse

The Third Period branches into parallel timelines as a structural, automatic feature of the cosmology. The 5-D multiverse argument holds that infinite parallel 4-D timelines, arranged along a branching axis, constitute a 5-D structure — the 5th dimension being the axis that connects and separates all parallel space-times. For this to reach the Low 1-C threshold (R^5), the branching must be uncountably infinite.

Step 2 — Infinite Branching → 5-D Multiverse Uncountably infinite parallel 4-D timelines arranged along a 5th branching axis = R^5 = Low 1-C floor

Behemo's explicit confirmation (Tailor of Enbizaka, pp. 228-236): 'There were birthed two timelines — the first was cast out to an alternate world, and the one we are in now is the second.' This is literal world-splitting as a confirmed structural feature, not a metaphor.

Lych Arklow's 72-world baseline (Restaurant Booklet): 72 alternate worlds generated from the Climb One's internal variables alone. This is an explicitly stated minimum floor, not a complete count. The full multiverse extends well beyond 72.

Seth's Type S Black Box was specifically created to prove the existence of parallel worlds and to transfer spirit data to and from them. The existence of dedicated technology for parallel world access implies the multiverse is architecturally real at the level of fundamental physical law.

The branching is uncountably infinite: Waltz of the Deceased confirms 'all people had possibilities like that' — every person at every moment generates potential branches. The Third Period has billions of people across thousands of years. The space of all possible histories across all those moments maps naturally to at least the real numbers, establishing the branching as uncountably infinite rather than merely countably so.

An uncountably infinite set of 4-D timelines arranged along a branching axis constitutes R^5 (5-dimensional real coordinate space) — the definition of Low 1-C. This is the established mathematical equivalence used by the tier framework.

Sources: The Tailor of Enbizaka, pp. 228-236; Outlaw and Lychgate; Restaurant Booklet; Waltz of the Deceased: The Deadly Sins of Evil, SEKAI Edition

Step 3 — The Parallel World Border as 6th Dimensional Axis

The most structurally significant piece of evidence for the 6th dimension is Seth's account of Sickle's actions in Outlaw and Lychgate. Sickle did not merely travel between parallel worlds — he interacted with the border between them. This distinction is critical: operating on the structure that separates/connects parallel 5-D worlds implies operating at a level above the 5-D structure itself — a 6th dimensional perspective.

Step 3 — Parallel World Border → 6th Dimensional Axis Sickle's manipulation of the border between parallel worlds demonstrates a higher axis that contains the entire 5-D structure

Seth's explicit statement (Outlaw and Lychgate): 'Sickle came into contact with the border of a parallel world... This caused distortions to the border with the parallel world, altering various matters.' Sickle didn't simply travel within or between parallel timelines — he interacted with the border itself, altering it and causing distortions. The border is a real, manipulable structure.

The distinction between 'traveling within a 5-D multiverse' and 'interacting with the border of that multiverse' is dimensionally meaningful. The border between parallel worlds is, by definition, the axis that connects/separates them — i.e., the 5th dimension itself. A being capable of manipulating the 5th dimensional axis as an object is operating from a 6th dimensional vantage point.

This is reinforced by the result of Sickle's manipulation: distortions at the border altered 'various matters' affecting Irregulars including Hänsel, Adam, and Amostia across multiple parallel realities simultaneously. A change to the 5th dimensional border propagating effects across the 4-D contents of that dimension confirms the border functions as a higher structural axis.

Seth notes this was previously accomplished in the Second Period ('There was someone in the Second Period who had managed to bring over their alternate universe self' — Levia's crossing). The 6th dimensional axis was first accessed by Second Period technology, further supporting the ontological hierarchy between the periods.

Multiple multiversal iterations: Sickle summoned an Allen who had 'already experienced failure' — meaning there are distinct iterations of the entire 5-D multiverse existing as states along the 6th axis, with Sickle capable of accessing different states. This is consistent with the 6th dimension being a higher temporal axis containing multiple snapshots of the 5-D structure.

Sources: Outlaw and Lychgate; Master of the Heavenly Yard, Ch. 11

Step 4 — The Infinite Re_Birthday Cycle Solidifies the 6-D Structure

If Step 3 establishes a 6th dimensional axis, Step 4 confirms it is occupied by an infinite number of 5-D multiverse iterations. Each Re_Birthday resets the entire Third Period world system — erasing the current 5-D multiverse (the Third Period plus all 72+ alternate worlds) and generating a new one. An infinite sequence of such resets produces infinite 5-D multiverses arranged along the 6th axis, constituting a genuine 6-D structure.

Step 4 — Infinite Re_Birthday → 6-D Structure Solidified Infinite 5-D multiverse iterations arranged along the 6th dimensional axis = R^6 = 1-C lower bound

Each Re_Birthday does not merely reset a single timeline — it resets the entire Third Period world system, which encompasses the Third Period plus all 72+ parallel alternate worlds. One Re_Birthday cycle destroys and recreates one complete 5-D multiverse.

The cycle is infinite: Karma of Evil Will Not End: 'I will do all this all over again, however many times.' Master of the Heavenly Yard, Ch. 12: 'History would repeat itself over and over.' Queen Merry-Go-Round: 'Even if the world comes to an end, I will still be right here even so.' Three independent sources confirm the repetition is without limit.

Queen Merry-Go-Round's eternal persistence across all cycles confirms the existence of a structural element that transcends the 5-D multiverse itself — she survives every Re_Birthday, every world ending, unchanged. This implies she exists at the 6th dimensional level or above, further confirming the 6th axis as a real structural feature of the cosmology.

The Fourth Period (confirmed by TALOS's email: 'I won't stop you from traveling to the Fourth Period. I no longer have the right to.') demonstrates the Re_Birthday is generative — it produces entirely new Periods with their own modern civilizations, not recycled copies of the same world. Each cycle generates a genuinely distinct 5-D multiverse.

An infinite sequence of complete 5-D multiverses arranged along a higher temporal axis constitutes a 6-D structure (R^6). This is the mathematical equivalence: R^6 = one uncountably infinite step above R^5, placing the structure at the lower bound of 1-C.

Sources: Karma of Evil Will Not End; Queen Merry-Go-Round (Song); Master of the Heavenly Yard, Ch. 12; Clockwork Lullaby Booklet; Original Sin Story

Why 1-C and Not Low 1-C

The tier framework defines Low 1-C as R^5 (5-dimensional real coordinate space) and 1-C as R^6 to R^9 (6 to 9 dimensional structures). Step 2 establishes the base structure at R^5 (Low 1-C). Steps 3 and 4 add a genuine 6th dimensional axis — the Parallel World Border, along which infinite complete 5-D multiverse states are arranged. This pushes the cosmology from R^5 to R^6, placing it at the lower bound of 1-C rather than Low 1-C.

The critical distinction is that the Parallel World Border demonstrated in Step 3 is not merely another parallel timeline — it is the structural axis that connects and separates all parallel timelines. Operating on this border, as Sickle did, is operating at the level above the 5-D structure itself. This is what generates the 6th dimension: not just having many parallel worlds, but having a real, manipulable higher axis that contains them all.

Honest Assessment of the Argument's Limits

For intellectual rigor, the following interpretive steps and counterpoints should be acknowledged:

Step 2 requires the branching to be uncountably infinite. The text confirms 'infinite' branching as a structural feature and the 'all possibilities' framing supports uncountability, but the text does not explicitly state the cardinality of the branching set. The uncountable infinity inference is standard in VS battle analyses but is an inference rather than an explicit claim.

Step 3 — the Parallel World Border as a 6th dimensional axis — is the most interpretive step. Seth's text says Sickle 'came into contact with the border of a parallel world.' This is consistent with a 6th dimensional reading but does not require it. A counterargument could hold that the border is simply the edge of one parallel timeline rather than a genuine higher-order structure.

IX. Tier Conclusion

Synthesizing all available evidence, the Evillious Chronicles cosmology carries a confirmed primary verdict of 2-A and a well-grounded supplementary argument for Low 1-C.

PRIMARY VERDICT

2-A  |  Multiverse Level+ Countably infinite separate space-time continuums Ma's perception of infinite worlds  ·  Infinite Re_Birthday cycle ('however many times')  ·  72+ alternate worlds per cycle  ·  Fourth Period confirmed  ·  Queen Merry-Go-Round's eternal persistence across all cycles

Two independent lines of argument reach the threshold. Argument 1: Ma, an Irregular of anomalous perceptive capacity, explicitly perceives 'infinity' of worlds — mapped to a real infinite multiverse given mechanically confirmed BB-mediated parallel world access. Argument 2: The Re_Birthday cycle is infinite ('however many times'), confirmed by Merry-Go-Round's eternal persistence and the novel's own 'history would repeat itself over and over' — each iteration producing a new Third Period plus 72+ alternates, totaling ω × 72+ space-time continuums. The Fourth Period's confirmed existence as a real destination further validates that the cycle produces genuinely new worlds, not merely repetitions of the same one.

SUPPLEMENTARY HIGH-END ARGUMENT

1-C  |  Complex Multiverse Level 6-D Infinite Hypertimelines — Uncountably infinite 5-D multiverses along a higher temporal axis Uncountably infinite branching (5-D) · Sickle's Parallel World Border manipulation (6th axis) · Infinite Re_Birthday cycles (infinite 5-D multiverses along 6th axis) · First Period as ontological container

The 6-D Infinite Hypertimelines framework establishes 1-C through five cumulative steps: a 4-D base; uncountably infinite branching timelines creating a 5-D multiverse (R^5, Low 1-C floor); Sickle's manipulation of the Parallel World Border demonstrating a 6th dimensional axis that contains the entire 5-D structure; an infinite sequence of complete 5-D multiverse iterations along that axis creating R^6 (1-C lower bound). This is a supplementary high-end argument: rigorous and well-grounded, but involving interpretive steps — particularly the uncountable infinity of branching timelines and the Parallel World Border as genuine 6th axis — that are defensible under the tier framework's standard logic.

X. Source Reference

Source	Type	Key Cosmological Content
Master of the Heavenly Yard, Ch. 10	Light Novel	Ma's infinite world perception; Irregular cosmology; gods' fear; BLACKBOX analysis; Allen in Paradise
Master of the Heavenly Yard, Ch. 11	Light Novel	Three Periods; Behemo's confession; virtual/real ontology; Levia's BB crossing; First vs Second Period distinction
Master of the Heavenly Yard, Ch. 12	Light Novel	Re_Birthday reset; history repeating; prologue of new cycle
MOTHY Heavenly Yard Afterword	Author Note	Sickle confirmed as 'most omnipotent yet most incompetent'; deliberately powerless because he treats the world as a story
Outlaw and Lychgate	Light Novel	TALOS confirmed as robot; Seth's parallel world theory; soul-merging mechanism; Sickle's contact with parallel world border
The Tailor of Enbizaka, pp. 228–236	Light Novel	Timeline branching; literal alternate world split; Behemo's role
Original Sin Story	Light Novel	Merry-Go-Round as time guardian; Gammon's punishment and eternal castaway status; cycle enforcement
Seven Crimes and Punishment	Light Novel	Graveyard confirmed physical; BLACKBOX types; Irregulars; Punishment scope; Heavenly/Hellish Yard magnet system
Seven Crimes and Punishment Extra	Light Novel	The Court dimension; Rahab and Gilles; cycle reset confirmation; divine observation limits
Land of Fun (Novel excerpt)	Light Novel	Land of Fun confirmed properties; threshold outside time and gods; path to Angolmois; Merry-Go-Round's nature
Clockwork Lullaby Booklet (full)	Booklet	Fourth Period confirmed; Angolmois isolation; BB compactification; Sickle visits Angolmois; music box BB integration; TALOS farewell; Kiril's departure
Restaurant of Many Ingredients Booklet	Booklet	72 alternate worlds; Lych Arklow as narrator (Climb One crew); dimensional travel; Seth's goal
Black Box (wiki article)	Reference	Full BB lineage; all types and creators; Second Period origin confirmed; Neo BB function; Type S for parallel worlds
Muzzle of Nemesis Glossary	Glossary	Hellish Yard origin as Levia's research facility; HER management dispute; post-destruction Earth merger
Banica's Concerto	Song	Ultraphotic flow as dimensional crossing; MA spirit attack mid-transit; BB-mediated travel confirmed
grEAT Journey	Song	Neo Black Box steering Evils Theater II; 'surpassing time and dimensions'; MA spirit confirmed hostile
Storyteller Y	Song	Post-Third Period journey framing; gateway to another dimension; Banica's companions
Karma of Evil Will Not End	Song	'However many times'; infinite cycle; Re_Birthday repeating — primary 2-A cycle evidence
Queen Merry-Go-Round	Song	Persistence across all world endings; eternal guardian — primary 2-A cycle persistence evidence
Clockwork Lullaby (Song Series)	Songs	BB-integrated music boxes; gears of karma; cosmological mechanism framing across all 12 entries
Infinity Mirrors of the Messengers	Song	Cross-timeline scope; reincarnation chain; mirrors reflecting across worlds