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Choosing Maelle (aka Alicia) means choosing dellusion by living in the painting where she can keep everyone alive.
See, the Curator (Renoir), the Paintress or the fading boy (Verso).
she could leave, but her little speech at the end shows she planned to stay, and die there.
shes choosing to live in the painted world until death, rather then live with her grief, basically.
She will or she won't, according to Renoir she'll diminish, but according to Clea, they'll all be fine. Even Clea says that Renoir and Alina have spent countless years in paintings without issue, but somehow this one makes Alina sick. I think mostly it's because she has an emotional stake in it because it contains a sliver of Verso's soul., so mentally and emotionally it's draining to her. Even Clea thinks that Renoir should just let her be.
I'm on a 2nd playthrough and I noticed a couple of other things. I kind of wonder if they're actually already in a painting inside of a painting, as referenced by Lune. Because you don't see the markings on the face of Renoir in act 3, only when they're projecting from the supposedly real world.
And Clea is something else, I wonder if she's not actually a biological child of Renoir, because she doesn't ever call him father/dad/papa/pa. She only calls him Renoir. Never refers to him as a parent.
All the other paintings in the house reference someplace in Verso's canvas. Why? According to Clea, Aline and Renoir have made hundreds of paintings, why reference only those places that exist inside of Verso's canvas? Possibly real Verso used those paintings as reference for his world, but it still doesn't really add up.
There's a painting that shows the fire in the manor when you meet Clea, but it doesn't look like any area in the house, or room. And it shows furniture flying around. According to the lore, they can affect things inside a canvas, but not the real world. And in Renoir's painting room, there's items floating around the area also. Makes me wonder if they're actually inside a canvas inside a canvas.