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My protagonist lives with a deep lie that causes internal conflict and pain throughout the story but it basically cannot fuel any struggle to the external plot. This subconsciously motivates the character to leave a safe home and is somewhat prevalent later on.
I also introduced a flaw to the same protagonist (that is more like a wound but also can be seen as second lie) that causes external things to fail and makes things harder. They are both connected (they developed from the same event).
The flaw is overcome at the end of the second act, while the lie is overcome in the climax. Both the deep unconscious lie and the conscious flaw contribute to defeating the antagonist; the protagonist cannot accomplish that without learning both truths.
Can that double lie in one arc work? Or it is just too convoluted and confusing to the reader? I want that deep lie to convey the true theme—"moral imperative"—but it won't make protagonist fail in action. While the second flaw contributes to more direct tension perfectly, it's too weak to be the true core of the book.
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Different levels of complexity are necessary for different types of readers. If you’re writing for kids, they’ll only really keep track of one thing. But for young adults and above, I think this is appropriate. Readers are smart and they love to wrestle with more difficult things like that.
While you’re writing, just go with it and don’t think about it. Leave the analyzation for later. If it turns out that having two lies to overcome is too confusing, in your second draft you can revise it so that one takes center stage and the other fades into the background. Or perhaps you can remove one entirely. Just see how it plays out, and you’ll know if it feels right or if you need to change it.
I don't think it is too much. Many characters have "double lies", and in a way one can block the other. You say the deep lie won't make your MC fail in action, but that isn't true: You say the MC cannot defeat the antagonist without learning both truths: Thus continuing to believe the deep lie would indeed make the MC fail.
Sometimes, undoing a deep lie changes the person to let them undo other lies.
Human beings are complex and flawed creatures. We do not each have just the one flaw. We have multiple failings, and multiple lies we tell ourselves. Now, for a story one has to simplify reality somewhat - focus only on those lies and flaws that are conductive to telling the story. But if you simplify the story to the point of each character just having the one flaw, you've simplified your characters to the point that they're flat and made of cardboard.
Take a simple story: Othello. Othello is jealous, that's part of the story. There's a lie he's been told - that's another part. And there's an insecurity in him about his position as a stranger - Iago can play on this insecurity to fuel Othello's jealousy. And even then, it takes a certain mindset to proceed from jealousy to murdering your wife.
Take a different simple story: Harry Potter. Harry isn't very smart. His inability to think before acting is repeatedly used by Voldemort, in addition to landing him into trouble without Voldemort's involvement. In addition to that, Harry is rash, rather lazy, and that's before we add into the mix the misunderstandings and the lies from other characters.
Complex characters are interesting characters. Don't think of your characters as checklists of traits - think of them as people, with multiple strengths and weaknesses.
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