Sevastiel

Hey there, sleepyhead. Playing with your doll. Is that all that’s left of you?

Dream of pretty flying things, that your mind not fall away.

Though it’s already fallen, hasn’t it? Kings and kingdoms birthed from a skull parted like cut silk in your madness and pain.

You could not hope to hide your emotions forever, look now how your tears burn holes with which to see them like acid through your skin.

Dream of better things. Happier things. Pretty places and tales that love you. Look not unto the wyrm crawling from your soul. It is desperate. It is hungry.

Stuff your memories of the Zariman with paper and masks, little child. You don’t have to remember anymore. Even though you know it isn’t real.

Hold tight to your stories, child. Lest the memories drag you down. I know you hear that song in your nightmares. I know you know the faces pounding against the surface of the water.

Even though I know you cant forget those gnashing teeth. Those hands that reached. Grabbed. Tore. The eyes that hated you. You were a child. It’s not your fault they wanted to eat you. They were remembering years to come. They knew what you would do.

What you gave away.

They've got a fantastically interesting human-void duality going on, as is so clearly expressed in Isleweaver, where we constantly see them trying to weigh the emotions and pain they feel against the eternal truth that it's all impermanent. It matters to them, but it shouldn't. They feel, they hurt, but they shouldn't. They change over time against their own will, it seems, and so long going unheard and unknown despite knocking on every door and screaming in every window has made them so bitter and angry. It's like their work on Rusalka was half convincing her and half convincing themself.

And they can't even really express themselves in a way that matters. They want to be understood, and crave connection, but who's even listening?

So we get them simultaneously trying to be our friend and crush us down into dust.

(I don't think things like the rap tap tap and that wide grin were originally supposed to be sinister to them. They're knocking. Wanting to be heard. And letting us know we aren't alone. They're smiling. Isn't that the regular way people greet each other nicely? They're using names that were once terms of endearment from people we held dear. Don't those usually make you happy?)

With instances like the o/s twins and isleweaver, I see these as attempts for catharsis and connection respectively. The former is also a good scheme to get information out of Hunhow, as well as plenty other things, and it really makes me wonder if there's another void being off in tau that's connected to the blooms that the wallman wants to reach. (Doubles are just too common. Tau is too weirdly important to both Albrecht and Wally both. And theres the wondering if Albrecht is the other Wally but... Idk I don't think it checks. )

O/S makes the second instance of them singling out a child who was supposed to be cared for and surrounded by community, isolating them, and dragging in a double to be by their side from another unrealized time.

One time is strange. Twice, in this game of twos and threes, means it means something Very Important.

And Isleweaver was all about wally wanting to connect with the drifter So Damn Badly that they'd be willing to raise another being to be their equal. It went to shit, of course, but in theory it sHOULD make sense that offering to remould someone's prison into something they can be happy in again, like they'd originally made it together to be, would work out, right? Though Wally's spite and bitterness was also a pretty damn big factor in why that whole plan fell through, I think.

1999 was clearly something that Wally was getting catharsis from as well. (Like, 'fine. Well if you're gonna get mad at me for doing this with real people, then howabout we do it with fake ones?' or something.)

Theres a lot more in my brain but I cant find it rn.

YAY YIPPEE