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The Company doesn't give you a mission to retrieve a very specific objects, and you are not rewarded for getting stuff out of the facilities per se. So the Company isn't very concerned with those abandoned moons, even though it seems to have a link to those places. It's clear you're not solving a problem for the Company on those moons.
The Company is happy not when you have extracted items out of the facilities, but when the Monster has received them. So the Monster is the focus of the Company.
The Monster seems well fed already, and it doesn't seem to care about food. It seems to care about trinkets. Stuff that's shiny or playful, like toys and metal gears and rubber ducks. That's the pattern to the objects, childish stuff.
That's also the pattern to many creatures you encounter. There's a childishness to the jester, the nutcracker and the bouncy coilhead dolls. And then there's the dancing ghost girl of course, who is clearly in this category, but completely non-physical.
There are two other styles being mixed in the environments you encounter. Industrial things (factory infrastructure, gears, mines, turrets) and organic monsters (giants, thumpers, bugs).
I don't know exactly how to patch this all together, but it makes me think of a fatherly Company figure who has Frankenstein-ish ambitions of creating new worlds with new life.
He starts with organic life, but these are too stupid (dogs, giants, bugs).
The Company already has plenty experience with the other side, smart machines, but these never felt like 'life'. Is a turret curious? Is a drone rocket brave?
The company decides his daughter is the template: he must incorporate playfulness.
At some point in this story, the demonic enters. Succes and disaster strike at the same time. His daughter is transformed into a huge monster with tentacles, while her soul roams the halls of his old mansion. With the introduction of the demonic, the Company's newest generation of creations have definitely become more playful, although they ultimately resemble his turrets and landmines. Killing machines, but with more patience.
But these early succeses - or failures - are not relevant any longer. He abandons his work. His new problem is his transformed daughter. He does not yet have a way to get her back, but until he finds it, he must keep her safe. Keep her fed and keep her occupied. He constructs a giant concrete cage room for her, and has the resources to feed her. But she needs to play to be content and not lose more of her mind.
She needs the toys she recognises. The things from the house they lived in, the things in the fathers' workplace that she liked to play with. Anything that keeps her happy and her mind grounded in the past.