#f: notes

Maruki seems to suffer from some anxiety -- but of course any person would have nerves before announcing an engagement. He’s worried that he isn’t good enough for Rumi or her parents. That they wouldn’t accept him as a son-in-law, or as part of the family because of his occupation and standing.

It also seems that even at this point, he has started to awaken to his persona, with the headaches and shaking hands. This is interesting because within this game’s logic the person needs to have at least some interaction with the Metaverse and have a will of rebellion to awaken to their persona -- or to even start awakening to it. He was already working on cognitive pscience at this point, and he was aware of the potential benefits of it’s use -- as a form of psychiatric therapy. He was already rejecting the status quo of life and of his field -- there was another way, a more effective way, to heal people. And it’s also possible that this note is hinting that he has had some fleeting interaction with the Metaverse. Afterall, we see that people who first enter the Metaverse experience headaches. But the game doesn’t give any more hints on this.  

The second journal note is also within the same area, near what looks to be some kind of video tape archive. The note reads:

“ Apr. 9. I just can’t believe what’s happened. I’ll never see Rumi’s parents again… I don’t even know if Rumi will ever come back to me. Her heart’s been completely closed off ever since that day. Why did this happen? What did Rumi do to deserve this? Do we really have to go on suffering these consequences? My headaches are getting worse -- I’m even starting to hear things. Am I having some kind of breakdown? I can’t lose it … I have to do something to help Rumi.”

This entry is dated two months after the incident. We don’t see any entry in between, or any hint or any other expansion into what really happened during the incident. As far as we are told by Maruki himself is that it was a burglary that killed two people and maimed a third. Which to me, is highly suspicious. Burglars would not kill, not even when they are desperate. And it’s even more unlikely in Japan with one of the world’s lowest murder rates.

We know for a fact that Maruki tends to lie or wave away details when it comes to his own past and own feelings. Like when Ryuji asked him if highschool is when he first found romance, and when Maruki said that he and Rumi just broke up because he was ‘spineless’. I suspect there is a lot more about this incident that Maruki isn’t admitting to us-- but neither the palace nor the game ever explains it. (I have a theory, but that’s for another day).

If there is more to it than a burglary, it’s very likely that he’s suppressed it so much and hid it away somewhere that we never get to access. It’s also telling that all references to the incident are all in relation to Rumi’s pain and how it was she who suffered that night. He never even admits that he too lost something that night, and is still suffering from the trauma.

So the two months between the entries as well as the opening two lines, also signal that he was indeed traumatised by it. It’s not hard to imagine that in those two months, he couldn’t process what happened, and even by April, he still questions accepting reality. He also thinks that he’s having a breakdown -- and one doesn’t need to be a psychiatrist to know that when one starts having auditory hallucinations, it means something is really wrong in the brain department. Of course, we can infer that these hallucinations are Azathoth trying to manifest, but as far as Maruki knew, he was indeed losing it. But he forces himself to pull it together, to suppress this pain and to hide his symptoms, for Rumi -- and for his research.

It is likely that he avoided getting help or admitting that he was suffering from migraines and hallucinations. The chances of his research being funded, accepted, and published, all hinges on his reputation as a researcher. And unfortunately, as much as Japan has come a long way -- it is still detrimental to any professional to be diagnosed with a mental disorder. We also know that at this point he was already looking for funders and backers for his research -- reputation becomes everything.

We come to a room that looks like a server room, and this is where his first will seed is. The server room is a mess of tendrils and cables -- while the door itself is barred by a holographic lock, and some branch-like tendrils. The ‘flower’ looking textures that surround the door are holograms again of what looks like circuits.

Voice tracks will usually play upon opening a will seed door, which is usually the palace ruler reinforcing their distortion, and Maruki’s voice track is one of the more audible ones. The tracks will play randomly for each door, so there’s no order to things. Thanks to Jester for making out what they say:

“R-Rumi… I-I…”

“No matter what I need to do… I’ll reach my goal.”

“What can I do to make you understand?”

“What’s wrong with an alternate reality if everyone is happy?”

“I’m so close… just a little further…!”

“Just a little more… and everyone will be happy…”

“Why… why can’t we come to an agreement…?”

The man is tired, and he’s pushing himself to keep going. Some of the tracks are also questions, probably in response to Joker and the Phantom Thieves, trying to reason with them.

Moving on from this, we find more monitoring rooms, with lots of screens, cables, and glass floors that look down into what looks to be server rooms. The rooms are typically dark, illuminated only by the neon teal lights and screens.

We also then come across the first locked gate, with an authentication question. The fact that these gates require the intruder to at the very least know some parts of his past -- signify that he does want people to understand him and where he’s coming from, as uncomfortable as it is. This is especially important given how closed off he was about his past prior to this-- represented by the fact that the only way you can get these answers is watching memory tapes that, according to Morgana, are likely memories he has tried to suppress. Speaking of which…

Before we go into the memory itself, I want to note the design of these rooms. As highlighted before, messes like strewn paper, disorganised shelves, represent something emotional or upsetting for him. And no better is that demonstrated than in these memory rooms. Papers are strewn, filing boxes and books are stacked haphazardly, filing baskets and stools lay toppled. There is no clear organisation or consistency in these rooms -- and it looks as if someone had come in, thrown everything around, as if searching.

These rooms look very old-school research rooms and are lit only by an old CRTV -- in direct contrast to the high-tech aesthetic the rest of the palace has. And most of all these rooms look abandoned and forgotten. These rooms hint at the core of his self -- before he became obsessed with healing the world, the self that was confused and lost after the Incident.

It’s also interesting to note the fact that his memories play on the very small CRTV -- while in comparison earlier Sumire’s memories played on a wide screen LCD TV. He puts even more distance with his own (grainy) memories than the memories of someone else.

Okay, now we get to the first memory tape.

It starts off in Rumi’s hospital room. And from a later journal entry, we know that this is at least sometime in August, which means its been six months since the Incident, and four months since Takuto began to write in his journal again. Rumi is in a catatonic state, and it seems that she is somewhat responsive -- even if she can’t speak or move much.

Takuto is trying to cheer her up by suggesting that he bring her snacks and flowers. His tone is cheerful and gentle, knowing that Rumi can understand him -- but is simply unable to respond or speak. He knows she’s traumatised, so much to a point that she’s too scared to move. He’s trying to show her that it’s safe, and most importantly, that he’s there for her. Being an empath, loving her as much as he does -- this would’ve been incredibly painful for him. But for her sake, he tries to smile.

He then goes into telling her what’s been going on in his life, and explaining his research and how he wants to use it. From this, we know at least one of the first uses he envisioned for cognitive pscience was to stop crime before it’s committed, by changing distorted cognitions that lead people to doing bad things. He wants to make sure what happened to Rumi would never happen to anyone else. This is perhaps going one step further than what the PT are doing. Yes they’re both stopping criminals, but in Takuto’s conception -- it’s stopping crimes before there are any victims, rather than waiting for victims to be created.

He also tells her that there are some potential investors into his research, and that theres a chance that research into cognitive pscience will be properly funded. He’s excited for it because it is the first step to bringing cognitive pscience into real practical use. This also hints that at least for the past few months, he’s been working on his research again -- and trying to hide his symptoms (re: hallucinations, migraines) because he’s actively looking for funders.

He tells her that the ‘culprit’ has been caught and that she doesn’t need to worry anymore. He then mentions ‘Family’, and Rumi responds to that, repeating ‘Family’, then ‘Takuto’. As far as we can tell, these together seem to be her triggers -- and she’s sent into a PTSD episode. She yells for her parents to be given back, and cries out for them. Takuto tries to calm her down, but is unable to until the nurses arrive and (probably) sedate her.

This is another hint that the Incident was more than a simple burglary -- and somehow Takuto was more involved in the Incident than simply a bystander who couldn’t protect her when the burglar ‘was trying to escape’. And it’s also suggested that during this Incident, Rumi’s parents were being held -- perhaps as hostages?

I have a theory that the Incident was really more of an attempted assassination of Takuto -- very likely by Shido (who we know does know of Takuto’s research). While we don’t know the exact years the Incident took place -- from the journal notes, we can safely say its AT LEAST two years prior to the start of the game. I would go further to say that this was before Wakaba’s death or even Goro’s awakening, because it seems that Shido doesn’t yet have the power to cause mental shutdowns. And because of that, he’s would try the old fashioned way to shut Takuto’s research down.

However, instead of killing Takuto, Rumi and her parents suffered. It’s also interesting to note --IF this theory is true -- why Takuto was left alive. But thats pure hc territory which i’ll leave for another time.

Also another hint to support this is basically other hints that Takuto -- like Sumire-- suffers from survivor’s guilt. He even mentions it when speaking to Joker and Goro in the beginning of the palace. It’s also hinted by the fact that Takuto has managed to change Sumire’s cognition so drastically that even he was surprised. This was because of how she spoke, and how she suffered from intense survivor’s guilt. But i’ll get into this more when we get to the third memory tape.

The doctor explains to Takuto that she was triggered, and Takuto knew that it was his own words that triggered her. He apologised for it -- and muses that she needs to be ‘set free from that horrible tragedy’. It’s at this point that his migraines return and he hears a voice. Then, Rumi starts to speak, “Takuto … Please… Stop this. I … Want to… forget,”

Rumi made her wish, and Takuto began to understand how exactly cognitive pscience can make that possible. And again, he hears the voice, clearer this time -- enough for him to understand and respond to it. In that moment, desperate to put an end to Rumi’s pain, to fulfil her wish -- he agrees to Azathoth (perhaps forming a contract and semi-awakening to Azathoth). In the Japanese audio version, he actually screams this part. Oof.

In an instant, her cognition is changed and she wakes up as a different Rumi -- a Rumi who’s parents had died when she was young, who lived with her grandparents, and therefore, a Rumi who has never met or grown up with Takuto. She’s forgotten everything that caused her pain before.

Takuto, shocked at this, begins to fumble around for a cover story -- trying to explain to this new Rumi why he was in her room and why he knew her name. Despite the dawning realisation that she has truly forgotten him, he tries to be cheerful and plays it off when she shows concern for him. He would do anything to make her happy, and anything to preserve her happiness, even if it is horribly painful for him.

The interaction ends when Rumi asks why he won’t be visiting again and “what about your girlfriend?”, and he replies by “She … passed away,” In this moment, Rumi’s portrait disappears from the text box -- signifying a stark break in Takuto’s perception of her. The Rumi he knew and loved really has passed away, and this -- he convinces himself-- is another Rumi. A Rumi that he must not see again.

He stands to leave, telling her that he hopes she feels better soon and “ I know the people who care about you wish the same”.

So for him, just as his life was starting to get back together after the literal worst night ever -- just as his research was starting to get funders -- he loses his fiance and long time love. This follows the same pattern as before, where the night of the incident was supposed to be a happy night where their engagement is announced, followed by a horrible attack and murder (possible assassination attempt on his life too). But that’s allright, hes NOT in pain!!! and suspicious of any good thing that comes his way!! because now, she can be happy. And that was more important than his own happiness!!! 

So the best place to start is outside the palace. Specifically, the external architecture of the palace. It’s clearly very contemporary even futuristic in its design, while holding an organic form. It’s design reminds me of rotating tower concepts with the way the first half of the tower curves and twists. And the palace itself does seem to rotate and shift, especially the components in the top half -- accentuating the organic and dynamic futuristic design. However, in comparison with most contemporary and organic architectural designs, the external architecture isn’t minimalist. There are various components, that make the design seem chaotic and even Extra. Of course this is a palace, and we should expect that.

The middle section of the palace is a twisting glass ‘stairway’, surrounding a golden almost ‘woven’ like structure. There is an elevator shaft running through the middle of it. This elevator leads to the garden of eden section of the palace. While the peak is a hologram of a globe, surrounding an amorphous golden form -- that seems to be the source of the light. Strangely enough we don’t see the tree of eden from outside. That would’ve been neat. But alas. The we come to the rotating rings, bound by these golden ‘wires’, and have these camera lenses attached to them.

So, the architectural style of the lab is futuristic, organic and dynamic -- and completely whack. This reflects how he thinks that his new reality is also effectively a new way, a new future -- breaking past the confines and rules of even the most contemporary of architectural design, and breaking past the confines and rules of life and reality.

All throughout the exterior of the palace there are these limelights and cameras, rotating about, focusing it’s lenses. This alludes to how he gives each patient his full attention, to be the centre of attention, to be in-focus. Alternatively, it could also suggest an over protective, surveying/ supervising mental state -- ever watchful for anyone in pain.

The entrance’s design, in comparison with the rest of the exterior, seems very straightforward. If you take away the glass atrium, the grey structure in the middle would actually be very imposing. The gold ‘wires’ arcs also surround this area, giving it an organic and dynamic design. Note that these aren’t doors, but an elevator. From the get go, Maruki is taking patients up, above ground.

Stepping out of the elevator, from the dark and up a flight of steps, into the light, we are greeted by a flight of doves-- accentuating the idea that the entrance hall is an open-aired space despite being indoors. This becomes a theme across the palace, going back and forth from high-ceiling and open-aired sections, to very closed and claustrophobic corridors. There are also those golden ‘wire’ arches decorating the ceiling of this entrance hall. In contemporary architecture, big atriums and open-aired spaces are meant to promote airflow and natural light, to give visitors a sense of ease and relaxation, while also being a respite from any harsh conditions outdoors. The sound of the doves taking flight add on to the peaceful and calm atmosphere.

Like all information boards, Maruki is showing people the benefits of his research, how it works, and most importantly, evidence that it does work -- that it is for the best. The amount of detail and the number of charts on these boards suggest that he is being transparent with his research -- and that it is scientifically proven. Of course, no one real (beyond the phantom thieves, shibusawa and the professor) has read this research. The people outside who’s cognitions he had changed, did not need to read this research -- they only needed to wish for happiness. Even so, these boards reflect his belief that if people know about his research, about how it works, they can be convinced into accepting his help. The cognitions who talk in the entrance hall also tell the PT to give it a try, and were understanding of any hesitance and were reassuring.

Also notice that the walls of the hall are lined with flower-beds, specifically wildflowers -- Calling back to Rumi’s love for the wild-flower field and Maruki’s youth with her. It also fits into the open-ness of this section that these are not potted deliberately arranged plants, and it would seem that these flowers just grew out in the patch of dirt and grass left for them.

Here, we come to the reception hall, where there are a few components to note. The first is probably the huge fan topping off the very high glass ceiling -- again, adding to the idea that this palace is all about natural light, air circulation and a breezy peacefulness. Then we have those golden wires/cable things (they actually remind me of computer cables), wrapped around these cameras and helping to prop them up and move them. THese cameras are also propped up by these black thin wires -- and the gold and the black -- hinting that there is more going on here. On the huge cameras themselves, now they seem more like surveillance cameras than the camera lenses outside. Adding credence to the idea that this is a big brother type situation, but one that is just reALLY keen on making sure everyone isn’t suffering and is happy.

The design of the reception itself is well organised, with lined benches and the calling numbers on full display. When i first played this section i thought that this was more like a hospital -- not a lab.

The next section is this green house looking area, with a tree and a garden in the middle and four TV screens. We don’t know if these screens are meant to play memories of anyone who comes by but that’s what we see-- Sumire walking in as her father is crying over Kasumi’s body. Importantly, after this section we see a cognition of Kasumi who sees and waves at Sumire, and then once we meet Maruki, he shows us another video from Sumire’s POV of the accident. Also the room we see the cognition of Kasumi and meet Maruki is a gymnastics arena.

This is important because we know that this is Maruki’s palace, and not Sumire’s. How is it that these POV memories are in this palace, and that Maruki would have a cognition of Kasumi? Of course one can argue that he created these memories and the cognition of Kasumi based on what he knows of Sumire/Kasumi -- and was doing this to manipulate her. But this definitely isn’t the case. He has never met Kasumi, and from what we can tell, he only had one session with Sumire, who didn’t really give any details of the accident itself to Maruki, or speak of her father to him. I doubt that Sumire as Kasumi would’ve spoken to Maruki about the accident after -- as she was more concerned about her gymnastic performance.

Perhaps this will get to personal headcanon territory, because the game doesn’t give us any answers on this. So Maruki is definitely an empath, and while that doesn’t give him the affinity to gain other people’s memories -- I believe that with Azathoth’s power and with this palace, it does. We know that he can see into people’s minds and know their pains and wishes -- which would very likely come in the form of memories -- whether it be persona users or mementos dwellers. Also, being an empath means that he can feel what another is feeling. Or rather if i can describe it -- letting someone walk through the door and change the furniture around. This is Maruki’s palace, and yet he is allowing Sumire to walk in and see her own memories from her point of view. Therefore, while i think that Maruki has access to some of these memories, they’re supplemented and brought into focus by the presence of Sumire. At least that’s what my hc is.

Speaking of the gymnastics arena, we arrive at our first colour switch of this palace. Dark purples and violets. It doesnt look like the walls or floors are purples/dark -- but instead some purple light, and that the big lights aren’t turned on on purpose. Like discussed before, this seems very much like Sumire’s section of the palace -- and Maruki allowing her to ‘move the furniture’

Something else to note thanks to juicedup14 from twitter for these translations of the banners, tickertape/crawler text, “We’ll watch over you always” “ The ideal reality you haven’t seen is waiting for you” “ May the world be a happy place where no one suffers”

And these posters, translated “ Let’s keep our hearts healthy”.

After a week we return to the palace and head to the Auditorium. This time, this is definitely Maruki’s section of the palace. Unlike the Arena, the Auditorium is a circular and bright hall, flanked all around with seats and podiums and screens for presentations. Yes, Maruki’s cognitions of people are fuckin creepy, but this is where they are the creepiest. They’re all sitting in rows, faceless and happy -- and have their hands together clapping. There is also a hologram of the globe topping off the ceiling -- like the hologram globe outside. This is where Maruki’s research will and has gained global recognition -- presented to thousands, and seen as the panacea to all ills and suffering of the world.

I went into more detail in my analysis of the shadows, but tldr; the cult-like vibe this palace, and especially this room, gives. However this ‘religion’ is founded on research, factual and scientific evidence. Which is why we have those presentation screens and all the information boards in this first third of the palace. And given how his research has been suppressed and ignored for years, it makes sense if those cognitions are his converted detractors, his followers, as well as his ‘patients’. Maruki doesn’t deny wanting his research to be recognised, and this is what this room is dedicated to. But like he says, and ultimately what the rest of this palace will show -- Maruki wants to heal the world at whatever the cost.

The next area plunges us into darkness and into a large storage area with industrial containers stacked high on shelves, with only dim cyan-green and blue lights illuminating the area. There are also smaller boxes on these shelves, as well as shelves and containers with sheets thrown over them. In one room there is a large fan hanging off the ceiling. Also found a tendril/cable just hanging out here.

Maruki is … very systematic, so to speak. Each section of his palace has a specific function in the working of the whole lab. The main portion of the palace aka the white clean lab portions that people are supposed to see, is organised along the entire ‘recovery’ journey that he envisions for people. What then for the portions people aren’t supposed to see, like this warehouse portion? What is its purpose? Labs may have storage and waste areas sure, but they wouldn’t have large industrial containers like these.

I headcanon that this storage area is where all the pain goes, locked away, and compartmentalised. His own pain, yes, but also the pain of everyone else. He remembers everyone’s pain, and through his hyper-empathy he takes it all in as his own. Even when everyone forgets their pains and traumas in this new rewritten reality, it still exists somewhere because HE still remembers each person’s suffering. So he compartmentalises and stores them away here. Otherwise, he would lose himself in the pain again. And he can’t have that happen if he is going to complete his research and his new reality.

The shadows that patrol here are Maruki-like shadows, that don’t speak (as in if you hide and try to eavesdrop, you only get ‘ … ‘ from them). He sees only himself guarding everyone’s pain -- guarding them from being opened and returned to the real world. He also relegates these shadows of himself to this darkest part of the palace, contrasting with the white hallways outside -- just as he does later in his ‘throne room’ is dark and depressing, contrasting with the golden and bright garden of eden outside.

We then come to the monitoring room, very dystopian scifi aesthetic. Here we are introduced to shades of cyan, featuring prominently for the first time in this palace. This colour is meant to be calming and peaceful, especially more pastel shades of it. The neon shades used here are somewhat glaring, eerie and it is an unnatural colour, closer to the web colour we see on our screens.

On the room itself, according to Futaba, it is more of a mainframe, where it’s collecting data across the palace and sending that data to mementos through these tendrils and cables. Indeed we see scenes of the palace on the screens, presumably a feed from all the large cameras we have hanging around. There also seems to be heart rate monitors on the green screens. What data is it collecting from the palace itself? There are no real subjects to observe or any real sources of data -- it’s just Maruki and the data is just his own distorted vision of the world.

It’s safer to say that this is where he is sending directions, from where he re-writes cognitions, and sends it off to mementos.

But before we leave, if you approach the monitors in this room, a screen will turn on and you will see a glitch of Rumi’s face. ( video here https://twitter.com/historilocked/status/1269068848466202628?s=20). He’s thinking about her. She is still an essential part of this palace. And her image only appears if Joker approaches, suggesting that Joker’s presence triggers his memory of her. After all, Joker knows about Rumi at this point (remember this is before the first memory tape room). But he’s trying not to think about her, which is why her image isn’t clear and glitches out and disappears if you step away. Or maybe even his memory of her is distorted?

Again, the fact that we only see very few hints of Rumi in the ‘lab’ portion of the palace suggests that ultimately his research and his work to heal humanity is not solely just for her. More on this when we get to her memory tape later. To mementos!

Maruki redecorated the hall of the grail, and switched the colour scheme from red to blue and cyan. From an oppressive colour to something more calming, but no less eerie and unnatural. We have glass tubes containing Azathoth’s tendrils into this hall, and those tendrils are also spreading out to the rest of mementos. There are also panels with writing on the floor, and on each is written one of the seven deadly sins. Compared to the palace, the way this room is organised is a bit more chaotic. The tendrils seem to be weaving around on their own, more akin to vines. There are also escalators out of this room now, leading to new mementos levels.

On the point of Yaldbaoth, previously the cells were populated, with figures standing in them. With Yaldy in the middle of this circular prison hall observing everyone and keeping everyone in check (see: panopticon). In maruki’s version of the hall, there are no longer any figures in these cells. He’s freed everyone from their confines of social control and apathy.

This marks a different approach to how Maruki and Yaldy manipulates people’s cognitions. Yaldy manipulates everyone to follow a single line of control, while Maruki manipulates everyone by setting them free of those rules that confine them to submission and resignation. Basically Maruki lets everyone live their best lives regardless of oppressive social norms (coughs Maruki said lgbt rights coughs).

On the mementos levels, Jose says that this section was made recently and the flowers taste different, and he doesn’t seem to like the flowers here. This time the levels for mementos go upwards, following the whole theme that Maruki’s palace is all about going up. The path of Da’at, where Da’at is the state knowledge and intellect in Jewish Kaballah mysticism.

But the existence of a new section of mementos is puzzling in terms of established in-game logic, because mementos is only supposed to expand because the phantom thieves are featured more prominently in the public’s consciousness. But following the line of logic during the Lavenza meeting, Maruki has taken the PT’s place in the public’s subconscious, expanding it, and then building a control room at the end of it. Speaking of ...

The control room is more pastel green-blue, and darker cyan shades. Kinda like the colour used for medical scrubs. According to Futaba, this room is a central data hub, where the data from the palace is gathered, then sent out to the rest of mementos. The screens show various parts of mementos, looking for ‘targets’ who’s cognitions can be changed. The PT bring up an important point, that Maruki isn’t (yet) able to heal everyone because there are still mementos requests and people who are still in pain. He needs to go through all of mementos and still look for people to ‘heal’. His work is still incomplete, there is still more pain in the world. He cannot stop. 

He felt Adam Kadmon release his body, and all at once his mind returned and he saw with his own eyes once more -- finding himself upon the rooftop, not meters away from they who sought to retake their reality. 

His body burnt and weighed like lead -- every breath rattled through him. There was hot rust, and a flash of white each time he took a step -- but he went ever onward to where the ten lay. No, he can tell that they were not yet gone -- alive, just barely. 

He reached forward and tendrils wrapped themselves around each. One of them was beginning to wake and struggle -- one full of anger, pain and hate, “ No, we will not force them into accepting a reality that they do not consent to,” Came a whisper in his own voice -- even as a being from beyond wound themselves into their minds, “ Let them sleep. Only for a few days ... They need their rest, after all they’ve been through,”

And so they gave them a dreamless sleep and cast a veil over them. They shall remain here, hidden from the world -- until it is safe for them to wake. Once they shall no longer have the power to oppose his reality. 

Pushing himself back to his feet, he turned his gaze up to the half-broken world around him, “ Rumi ...,” He didn’t know why he spoke her name then, but all at once, he wished that he could tell her everything. Finally, their reality -- everyone can be happy. There won’t be any more pain -- no traumas, no war, no suffering, no injustice, no cruelties. No more lost souls screaming at the unending and uncaring void. Yes -- he shall take all the world’s burdens, and weave a perfect reality for everyone. All shall be healed.

As for himself -- If it is for everyone’s happiness ...

The structure of marble and silver groaned and cracked, as shards of glass began to reform and find their way back to their places -- an infinite and impossible puzzle, solving itself. 

( The confluence of worlds is nigh. )

“ Yes. We must prepare,” A flash of blue and white and his form felt all at once lighter -- his clothes returning to how they had been before. But as he looked down, there was red. 

It is for everyone’s happiness ...

Carried by hands of crystal and glass, he returned to the core of his heart -- where dark tendrils and vines wound tight and close. He held his hand out and there appeared a brilliant golden torch-- it’s song bright and somber. The torch then returned to its place above this darkened chamber, shining, unfazed by the darkness that surrounded it.

His body failed him then, falling to his knees -- But that was fine, they didn’t need this body to do what they need to do next. 

“ I did it ... Rumi ...,” His voice seemed so far away, and when he closed his eyes, he found her. She was feeling flattered, smiling to herself as she stared out the window. He can see her reflection against the dark pane, her eyes were bright and she was beautiful. She glanced once more to her phone, a text. She thinks, she might have a crush, and maybe for once, she’ll give her suitor a chance. She types a reply.

She was happy. There was no pain in her mind. She was healed, set free from the torment of her past.

It didn’t matter if it hurt somewhere else.

He had collapsed, and could only see the light beaming down from the torch above. He could hear the thin and ringing melodies -- as he felt tendrils pierce and entwine through his body. Did he scream? 

A wildflower field. She was sitting there amongst the flowers, by the river -- her bicycle on its side. It was her birthday, and he had got her some cake. But he didn’t know how to tell her -- He wished he could just tell her --

This way his body shall be sustained, bound together and twisted by dark threads, recreated in the image of such a gnarled and horrible god. Yes, for what they must do his mortal form must be shed. They must truly become one in their Dreaming -- become one with all Dreams. 

And in that a single moment, it was as if all breaths were taken at once -- all eyes, all thoughts, all feelings -- they were theirs. 

( Your blasphemy shall be our only truth. )

An ideal reality -- 

( Evoke us. )

Then, in the rattling voice of a dying human, they heard their name.