IV. Delusion
When Mizael is walking through the open door, he notices its minimalistic simplicity. Akin to how an appartment is supposed to look like when humans already terminated the process of moving out, he assumes.
Empty.
It is disturbing him, to intrude to this detailed extent into how human life functions. They are only objects, gears to the mechanisms that connect their worlds. Mere instruments to prevent the decay of his world into the Sea of Ill Omen. He is an analyst and this is valueable information, but it does not catch his interest. He does not wish to get involved. He despises its neccessity and yet...having the inconvenience of Durbe lingering in pathetic reminicences of incidents long gone, it left him optionless. At least concerning the reliable options.
Mizael wants to spit with disdain. And yet he just smirks. It is not like he -they- had any choice to begin with. Before it would become a nuisance - he was not receptive to impulses such as affection or empathy. At the collision point of two worlds, he is a soldier of the Barian World. He is a tool to utilize in the grand scheme of happenings.
That is his merit. No more and no less.
"European painter Goya is quoted to have expressed that the sleep or dream of reason produces monsters" Mizael comments nonchalantly as he walks into the room utilizing precise audible steps, "But fantasy [...] united with it, she is the mother of the arts and the origin of marvels.*"
Dressed in dark pants and vest, white button-up shirt, hair tied up and a violin case over his shoulders as well as his Barian Crystal slipped into the inside of said vest, he supposes he blends in well enough with his human body's physical age, having fully entered into the living room only to find a young man sitting on a stool painting.
"But excuse my impoliteness" he recites the set phrase as he brings a hand to his chest, "My name is Mizael. I was told the previous owner of this apartment had already moved out."
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[*Both quotes are by Spanish painter and printmaker Francisco de Goya, often considered the last of the Old Masters and the first of the moderns. The first one is depicted on his etching El sueño de la razón produce monstruos, 1797-1799.]


















