I have been comparing Samarie with the Uterus Doll primarily based on their physical appearances. However, I realize I neglected to highlight the similarities that extend to their battle.
To reiterate the similarities in appearance:
Both lack a left eye.
Both have a four-fingered right hand
Both exhibit right-leg dominance over the left.
Both are depicted as pregnant. (Teratophobia)
Moving on to the similarities in battle, the Uterus Doll employs Rusty Claws for both its left and right arms, while Dysmorphia uses "Hurting" for both of her arms. The key similarity is that both entities utilize only one type of attack for both arms, reflecting a parallel in their combat styles. Additionally, both the Uterus and Dysmorphia share the ability to summon malformed creatures, particularly malformed children, embodying teratophobia "fear of monsters and the fear of bearing a malformed child". This phobia is central to their design: the Uterus Doll literalizes this fear by producing “malformed offsprings”, because they are babies, basically called as “Embryos” and they look fucking inbred, therefore “malformed offsprings”, Dysmorphia similarly summons "malformed beings" to assist her in battle. This summoning mechanic creates a direct parallel: both the Uterus Doll and Dysmorphia rely on malformed creatures as allies during combat, the Uterus Doll tackles the "fear of bearing a malformed child" literally, meanwhile Dysmorphia tackles it metaphorically through her visual design (distorted female form, pregnant-like) and the act of summoning monstrous entities perhaps suggest a corrupted or traumatic association with motherhood and creation. The game's partial definition of teratophobia as the "fear of monsters and malformations" creates ambiguity, leading some to interpret Samarie's dysmorphia as relating to Marina only. However, given the actual definition of teratophobia, the fear of monsters and bearing a malformed child, and due to her similarities to the Uterus, also the Uterus is a living sex doll that continually gives birth because of Jaundice Gooner Pedo Combo, so the Uterus being referenced by Dysmorphia in design, seems more likely that Samarie's dysmorphia stems from sexual assault, thus Dysmorphia is a depiction of a pregnant woman. The "malformed creations” Dysmorphia summons could represent the emotional scars and negative perceptions a rape victim might have toward a child conceived under those circumstances. In combat, both summons, embryos from the Uterus Doll and ghouls from Dysmorphia, inflict infection upon attack. The embryos utilize stabbing attacks, including regular and critical stabs, while the ghouls employ scratching and biting as their primary means of assault.
To shorten it:
That's just it for the main yap of the topic, there is a bonus yap below which you can skip. I just added a bonus yap because I was bored.
Bonus Bullshit Go:
Just gonna add this here, just in case Willem is symbolic to Samarie.
This one below is redundant since I only wanted to draw, and I just like seeing images amidst text, anyway, I think this is the reference photo for Samarie’s portrait, since it matches the tilt of her face and the shape of her nose:
It’s BADAFOTOMIX 2 by Daisuke Ichiba at 1:56
Daisuke Ichiba is the same artist who created “Hospital Train”, and the women he draws often share a similar appearance to the one in the image above. While their hairstyles and outfits vary, they typically have a consistent look: no eyebrows, sharp dark eyes, black lipstick, the same oval face shape, and thin body type.
Here's the drawing I did of Samarie using the photo as a reference:
The proportions are off, but it's also okay.
Also, I feel Samarie’s obsession with Marina isn’t truly about Marina herself, but rather the trauma she projects onto her. When Samarie says, “I cut that man open like the pig that he is! He never realized why I was doing it! He never understood the pain he made her go through!” it reads less like a grievance against Father Domek specifically and more like he’s a mannequin dressed in another man’s sins. That final line—“He never understood the pain he made her go through!”—reeks of projection. I suspect Samarie’s obsession stems from learning about Marina’s relationship with her father, which likely triggered memories of Samarie’s own past. Given the implications of sexual abuse in her connection to the Uterus, a parental or authority figure may have molested her. If so, Marina’s situation reminded Samarie of her own suffering, causing her to project herself onto Marina and fueling the obsession. Killing Father Domek could have been Samarie’s way of reclaiming control, using him as a proxy for the abuser and simultaneously turning Marina into a sanctuary scapegoat. I say “sanctuary scapegoat” because Marina represents a respite to Samarie (who feels unable to live her own life, instead living vicariously through Marina’s eyes), yet also serves as a scapegoat: Samarie defines her actions as being “for Marina” obscuring the deeper, more complex motivations beneath a superficial explanation, which allows her to relinquish guilt and avoid confronting the painful truth at the root of her behavior. Basically, Samarie is someone who lacks agency in her life, who desires the illusion of control, because she never had it.
Dolores had auburn hair and a brown, bobbed nose with asymmetrical freckles, which reminded me of Peppermint Patty. I based her appearance on that description. Additionally, she was described as being quite tomboyish in the book, so I think Peppermint Patty's personality would suit her well.
Yeah, this art is based on my hunch about Samarie being the Uterus doll again.
Originally, this was just supposed to be a drawing of Samarie as the album cover of “In Utero”, but then I decided to put up my other ideas that I left before:
I did yap about Samarie being a Uterus doll, but I didn’t yap much about Funger’s sun god Amon and Valteil.
(This was just drawn because I felt like it.)
Samarie’s moonscorched form, "Dysmorphia", bears striking similarities to the Uterus Doll:
No left eye.
A four-fingered right hand and a plain left hand.
Right leg dominant over left.
Are depicted as pregnant.
This shared feature of pregnancy ties directly to the phobia they evoke: teratophobia, the "fear of monsters and fear of bearing a malformed child." This phobia perfectly suits the Uterus dolls, who give birth to malformed offspring, making it a fitting fear for them to embody. Samarie, as “Dysmorphia”, summons ghouls, which are notably “malformed.” These ghouls align with the concept of “malformed child” as they are creations of “Dysmorphia”. So the game acknowledges the actual second meaning of Teratophobia “the fear of bearing a malformed child”, through the Uterus Doll being explicit, but for Samarie it is subtle (I say subtle, but I don't think it is too subtle because, when paying attention to Samarie's moonscorched form, both her arms are rigid and her legs are slender, and there's no sign of plumpness. Her belly is noticeably strained and stretched out, which made me suspect that she was pregnant for a long time. However, I just couldn't find the right words to express my suspicion clearly). Continuing on further, the game avoids fully defining teratophobia, only reducing it to “fear of monsters and malformations”. So, methinks, it is to obscure information, specifically may include details about Samarie, by subtly implying that Samarie’s dysmorphia stems from “malformations”, it leads players to interpret her dysmorphia as simply resulting from perceived bodily inadequacies. When in actuality, Samarie’s dysmorphia may have been rooted in complete defilement leading to a fear of birthing a malformed child. Specifically why she's pregnant, has to do with Valteil.
First, let's address Amon, the so-called sun god. In truth, Amon isn't actually the sun god; in Egyptian mythology, he's known as the "hidden god" because he represents abstract concepts related to air, he is “being everywhere but unseen”. Ra on the other hand was The Sun God, known as "The Self-Created One", Ra was seen as the supreme creator and a powerful force associated with rebirth and incarnation. He was believed to have emerged from the primordial waters of chaos, creating himself and the cosmos through his will alone. Amon only became the sun god when he merged with Ra, they represented both the visible and invisible aspects of existence, A Supreme being.
The Sun God Amon in Funger is shrouded in mystery, reflecting Amon's symbolic association with the hidden and the unknown. This mirrors the enigmatic Sun God in Silent Hill, often referred to as "Her". In Silent Hill, young girls were abducted by The Order to serve as vessels, in attempts to impregnate them with the Sun God. Similarly, Samarie, who appears as a fully developed version of the Uterus doll, is kept in the Ninth Circle, it may represent a comparable fate for the naturally gifted children. This explains why the Uterus dolls are called as they are, because much like in Silent Hill, these children became wombs.
Alessa Gillespie, later known as Heather Mason, became the vessel for the Sun God after her mother, Dahlia, used her as a surrogate to bring the deity into existence. Throughout Heather Mason's journey, the Halo of the Sun frequently appears. This crest, associated with the religious organization, symbolizes "resurrection" and the "cycle of rebirth". Given that Samarie is the fully developed version of the Uterus doll and is still alive by Marina's Ending B, it suggests that the pregnant bellies of the Uterus dolls were not merely a result of Valteil's perversion but rather part of his study of the cycle of rebirth itself, connecting it to the Sun God. In other words, Valteil was creating beings with extremely short lifespans that could literally rebirth themselves, emulating Ra's ability to rise again after dying each day and his quality as a self-created deity. Samarie’s masturbation ability could indeed be tied to the Sun God's creative power. Some myths suggest that the Sun God, as Atum, created himself through an act of masturbation, with the hand he used symbolizing the female principle inherent within him. Butttt, this could have been placed by Valteil to exploit, much like how in Lolita, Humbert agreed to marry Charlotte Haze to exploit his position as Dolores’ stepfather for his own sexual obsession. Valteil despised the notion of his creations outliving him, maybe it's because he wouldn’t remain in control of his creation indefinitely? Since Valteil is based on Valtiel, of courseeee, it was barely spelled like an offbrand Adidas, anyways Valtiel was responsible for Heather Mason’s cycle of rebirth. This is symbolized by his act of turning a valve, a gesture that represents the cycle of rebirth, Valtiel appears to have little concern for Heather herself, focusing instead on the god that slumbers within her. However, unlike Valtiel, Valteil seems to exploit the the Sun God for his own purposes. The Uterus Dolls maybe akin to "nymphets" (a term that Humbert uses to justify his attraction to children, “nymphet” means: a sexually precocious girl barely in her teens, also a sexually attractive young woman), is something Valteil sought to perfect, eternal yet fleeting. A purely immortal being would escape his control, while a being that aged was a no-go. To maintain control over this concept, he had to create a being that was simultaneously mortal and immortal. Perhaps Samarie, much like Lolita, was an idea—a construct. It's worth noting that "Samarie" is an alternative name for Magdalene, as both names mean "towers" and refer to cities in Israel—Magdala and Samaria. The name Magdalene is a nickname for Mary as well, meaning "Mary of Magdala", in this way, Samarie can also be seen as a nickname for Mary, tying her to a comparison with Dolores Haze, "Samarie" serves as a nickname for "Mary" just as "Lolita" serves as a nickname for "Dolores". Furthermore, both Dolores and Magdalene are unfairly viewed as sexual figures when, in reality, they are not. Continuing, to retain control over this idea, Valteil forced a child into the role of “Samarie”, by dehumanizing the child into a living object. This child would live briefly and then rebirth upon death, ensuring the torment allowed Valteil to remain in absolute control. As Humbert himself said, "What I had madly possessed was not she, but my own creation, another, fanciful Lolita—perhaps more real than Lolita; overlapping, encasing her; floating between me and her, and having no will, no consciousness—indeed, no life of her own."
Samarie's Radiant Soul is deeply tied to her connection with the Sun God, who sustains her existence as a consequence of Valteil’s actions. Her body, symbolically aligned with Ra, positions her as an ideal vessel for Amon, much like Alessa Gillespie’s role in her story, Samarie is "The Mother of God". The events of Termina may be part of a carefully orchestrated ritual designed to merge Samarie with Amon. Thus, Samarie’s presence in Termina is not truly for Marina; her purpose is bound to Amon's birth.
Adding to the idea that Samarie wasn’t truly there for Marina, maybe the only reason Samarie follows Marina, is that Marina might be Valteil’s descendant?
The only similarity I can compare is their facial appearance, so I decided to draw Valteil from a frontal perspective, rather than viewing him from a top-down angle with his head tilted upward in the official art. This perspective makes them look a little similar. Perhaps, Samarie’s obsession with Marina is less about love and more of a triggered fear response from Marina’s appearance, because it reminds Samarie of Valteil, so she feels the need to appease. To cope with this fear, Samarie interprets her actions as love, avoiding the uncomfortable truth behind her behavior.
Marina might be dealing with Samarie because the "Humbert Humbert" in her family tree, Valteil, set off a chain of events whose consequences have spiraled out of control over time, ultimately falling on Marina to address. Methinks, this is a family matter: the problem originated with Valteil, the ancestor, and was perpetuated through his bloodline as subsequent generations continued to stoke the flames he first ignited. As a result, everyone in the lineage is burdened by the sins of the family (It makes me wonder if Marina’s father was the one responsible for sequestering children to the ninth circle. I mean, the logic is so simple: where would the Vatican easily collect children? The orphanage, of course. People wouldn’t bat an eye trying to track down missing kids because, hey, they’re orphans—no family, no one looking for them). Following that narrative, Samarie barely possesses any autonomy in her life, her feelings for Marina aren’t genuinely her own but stem from a deeply conditioned fear of Valteil (It's as if Samarie had to read Valteil's mind to figure out what he wanted, paying extreme attention to his desires to avoid being hurt even worse. Now, she's applying that same behavior to Marina, because every time she looks at her, she sees Valteil). Valteil completely altered her body with a very specific appearance, meaning the name, "Samarie," isn’t even her name, it's from the person she was specifically altered to. This forms the core of her dysmorphia—she feels disgusted by an identity she never chose yet has no choice but to live with. Due to being forcefully granted the ability to rebirth herself upon death, it forces her to back to the form she bitterly hates. She is, in essence, her own malformed child, forced to bear in her swollen belly the identity imposed upon her—a reality she deeply despises. Thus, she is “Dysmorphia”.
Methinks again—MEEEETHINKS AGAIN! In Samarie’s narrative, she plays two roles: one is “Lolita,” and the other is “Dolly” For the first, “Lolita” is the loud one, the one that is always heard in the room—she is the delusion. Suppressed under the screaming of “Lolita” is the lady of sorrow, “Dolly,” who I believe speaks this line: 'If I were to die the same day as her… There's something poetic about it… It will be alright.' Initially, this reinforces the perception that she is obsessed with Marina, willing to die on the same day as her. However, a subversion emerges when Samarie says these words directly to Marina. Beneath that distorted framing, “Dolly” still exists—a broken, exhausted individual simply longing for an end to her suffering. Perhaps her ultimate desire is to die in peace with the identity of “Samarie,” the person she was forced to live as. Then, the narrative switches back to “Lolita”: 'You must know it too, Marina! But don't worry. We will die together.' This makes her obsession with Marina feel inconsistent. It feels like Samarie recognizes her slip—the brief emergence of "Dolly"—and quickly reverts to “Lolita”.
The words above this, makes me think back to the nature of Samarie killing Father Domek. Perhaps she killed him because he reminded her of the one who abused her, Valteil? I did mention that Marina's battlesprite is based on Claudia Wolf, and it seems to me that Marina herself is based on Claudia Wolf, particularly in the way they both think about their fathers. Both utterly hate their fathers, yet they become upset upon their deaths. Claudia Wolf’s father, Leonard Wolf, and Father Domek also behave in a similar way. They both demean their daughters at first but soften their tone when they sense something is going wrong with them. Leonard Wolf’s statement, “She’s a fool, but she’s still my daughter,” perfectly summarizes how Father Domek acted. Additionally, Leonard Wolf was a massive religious fanatic, so Father Domek may share similar traits, this would explain a line from Marina’s backstory: “You had a suspicion that your father had something to do with this. He had always been too obsessed with blood magic, and you had learned that there were too many rites that demanded the blood of your loved ones to work.” Both Father Domek and Leonard Wolf are also antagonistic towards their daughters' pursuits, Leonard hates Claudia’s pursuit of Paradise, believing the non-believers are unworthy, and for Father Domek in this line: “Your father had always been antagonistic towards you and your pursuits.” The very reason Claudia deeply resented her father, Leonard, was due to his abuse—beating her and yelling at her whenever he believed she was being irreligious in his eyes, maybe Father Domek did the same to Marina, this would further add depth to this line from her backstory: “Just the idea of getting away from your condescending and stuck up father was enough to make the decision, not to mention the obvious benefits the Vatican City would have to offer.”
GOINGGGGG BACK TO SAMARIE, SINCE ALLLLL THOSE WORDS ABOVE ABOUT MARINA SERVE TO CONTRIBUTE TO MY PONDERING—YES, PONDERING!—OF THE NATURE BEHIND SAMARIE’S MURDER OF MISTER DOMEK. PERHAPS, PERHAPS! THIS VERY DYSFUNCTIONAL RELATIONSHIP MARINA HAS WITH HER FATHER REMINDED SAMARIE OF VALTEIL AND HER? Since Samarie couldn’t fight back against Valteil, she kills Father Domek who reminds her of Valteil to feel a sense of catharsis for her powerlessness. However, once she commits the act, there is no gratification. Instead, it intensifies her memories of her relationship with Valteil, particularly the isolation that forced her to become dependent on him. Samarie's statement that Father Domek was a vile man with a glimmer may actually refer to Valteil, but she desperately conceals this truth by playing onto the narrative that she’s obsessed with Marina, avoiding any direct reference to herself. So confronting her with accusations like, “You did it on purpose? What’s wrong with you?!” or “Your tears won’t bring him back to life” pushes her over the edge, due to the conflicted feelings about Valteil, because she was groomed, so these remarks nudge her to think about it more which drives her to lash out in fury, methinks.
So, putting everything together, here’s how the events unfold: After Valteil’s reign fully wanes, Samarie is left to grapple with the aftermath of abuse. In her desperation, she seeks out the outside world, having been isolated for so long under Valteil’s control. However, Samarie is triggered by Marina’s appearance, which bears a striking resemblance to Valteil—probably Marina's own ancient grandpa. Marina's appearance serves as a painful reminder of Samarie's relationship with Valteil. To avoid confronting this truth, Samarie convinces herself that what she feels for Marina is love, rather than a triggered fear response caused by Marina's resemblance to Valteil. To reinforce this delusion, she begins stalking Marina and gaslighting herself in the process. Through her stalking, Samarie learns about Marina’s dysfunctional family and discovers her strained relationship with her father. This further triggers Samarie, as it reminds her of her own relationship with Valteil, who ultimately faded away and left her behind. This realization threatens to unravel the narrative Samarie has created to avoid being triggered by Marina’s resemblance to Valteil. Because Marina’s appearance reminds her of her trauma, and her father becomes another reminder, her carefully constructed house of cards starts trembling, and Samarie knows she must act fast to keep it from collapsing. Enter Mr. Domek—the perfect scapegoat. In her twisted logic, Samarie decides that for her delusion to survive, Domek must disappear. He becomes more than just a person to her; he turns into a projection of Valteil. Unlike Marina, Domek doesn’t look like Valteil, which makes him bearable enough for Samarie to focus all her pent-up rage on him. So, she makes her move: Domek really has to go. Through this Samarie creates yet another narrative—the idea that “I did this all for her”—to rationalize her actions, when in truth, she simply cannot deal with her trauma. However, even after executing her plans, she finds no satisfaction. Desperate to maintain her fragile narrative, Samarie convinces herself that her actions are acts of devotion to Marina. This fragile mask begins to crack, especially when she claims that Father Domek was a pig who deserved to be melded with the church walls. In truth, her rage is directed at Valteil, who worked within the walls of the Vatican, not at Domek himself.Samarie remains the same broken "Dolly," still trapped in Humbert’s grip.“At the hotel, we had separate rooms, but in the middle of the night, she came sobbing into mine, and we made it up very gently. You see, she had absolutely nowhere else to go.”
But hey, that's just my take, eh? I love Samarie! She's like a giant bug lady I can study. I want to think of her more than just as a stalker, even if it seems far-fetched, especially the idea I had before—that before becoming the Uterus Doll and being renamed ‘Samarie,’ she might have originally been a child named Willem:
It’s about how Samarie’s human-form battle sprite, when turned sideways, aligns closely with the drawing of Willem meeting Pocketcat. Both the original Willem and Samarie wear long dresses with sharp collars and thin ribbons. Their right arms are pulled back while their left arms are extended forward. Similarly, their right feet are positioned forward, and their left feet are set back. Neither of them ever shows their left ear. Samarie’s right ear is visible, but her left ear is covered by her hair, emphasizing the importance of being on the right side. In the original Pocketcat book, Willem is depicted facing only to the right. However, in the second Pocketcat book in Termina, Willem is shown facing left, yet his left ear remains unseen, hidden by his hair. Still, this interpretation might be far-fetched and overcomplicates things further.
The one thing I’m certain about Samarie, is that she is the Uterus Doll. My monkey brain caught onto a pattern for her Moonscorched form—it just clicks. (Pattern recognition! Woahhh, monkey, monkey!)
Little similarities between Claudia Wolf and Marina
Marina’s battle sprite is based on Claudia Wolf’s Deviantart fanart:
Because of this I find some similarities between Marina and Claudia Wolf:
Marina hates her father yet is deeply upset about his death. Claudia Wolf shares this sentiment towards her own father, whom she hated as Vincent Smith mentions during an argument with Claudia, her father, Leonard Wolf, mentally and physically abused her, by screaming, hitting, or kicking her until she cried. This was done whenever Leonard considered her actions irreligious. Given that Marina's sprite is based on Claudia Wolf and that both characters share similar feelings toward their fathers, Marina may be based on Claudia, implying that Father Domek physically and mentally abuses Marina in the same way Claudia’s father abused her. Both Marina and Claudia are grey haired occultist ladies with massive daddy issues.
Marina’s father, Domek, and Claudia’s father, Leonard, also behave similarly. Father Domek calls his own daughter "that thing" and, upon hearing she is in Prehevil, he becomes upset. Leonard Wolf also belittles his daughter, calling her a fool, but when Heather tells him she wants to kill Claudia, Leonard softens his tone and becomes upset, acknowledging that although Claudia may be foolish, she is still his daughter.
There’s that guy that told them skill issue when their fathers died. (Vincent Smith the priest with the yellowest teeth, and O’saa the mage with the yellowest drip.)
Their father’s both get killed in self defense. (Samarie and Heather Mason. Actually Heather Mason/ Alessa Gillepsie and Samarie have more similarities in terms of being “The Mother of God”, here in this yapping of mine attempting to understand Samarie more than just being a hoo haa goth girl stalker, because it's too much to explain their similarities here. So if you count the idea that Samarie is just like Alessa Gillepsie “The Mother of God, that’s deeply associated with the sun”, then both Marina and Claudia’s fathers got specifically murdered by “The Mother of God” in both of their respective universes. It’s like If I had a nickel for every time a gray haired occultist lady with massive daddy issues got her Father murdered by “The Mother of God that’s deeply associated with the sun”, I'd have two nickels. Which isn't a lot, but it's weird that it happened twice.)
If Marina shares Claudia's desire to rebirth God, this could explain why her moonscorched form is a cocoon—a protective covering that nurtures the growth of a caterpillar. But Claudia believes God could be nurtured through suffering, aligns with her philosophy that pain fosters sympathy. She remarks:
"Happy people can be so cruel. Is it so hard to believe that sympathy could be born out of pain and suffering? Why do you reject God's mercy? Why do you cling to this corrupt world? You know that only God can save us."
It would be interesting if Marina shares the same belief of nurturing God just like Claudia, because it would contradict how she is portrayed. I mean look at Claudia:
It’s likely to think Marina’s based on Heather Mason, but Claudia Wolf???? It’s just ironic.
Samarie in her moonscorched form inflicts Teratophobia.
The 2nd meaning of Teratophobia is not elaborated in the game, in the Book of Fears, Teratophobia is only elaborated as:
Teratophobia - Fear of monsters and malformations.
When the “malformations” have a specific meaning to it:
In the design of Samarie’s moonscorched form, "Dysmorphia," she shares the exact similarities with the Uterus doll. Both are missing their left eye, have a right hand with four fingers, their left hand lacking any special details, the right leg is marked dominant over the left, lastly, both are pregnant. This connection of them being pregnant is tied to the phobia they evoke, Teratophobia, “the fear of birthing a malformed child”, this phobia perfectly characterizes the Uterus dolls, as they give birth to malformed children, thus it was obviously chosen as a fear they fittingly inflict, but the game chooses to never fully state what Teratophobia means. So I think the game is intentionally hiding information about Samarie, but paradoxically in a way gives the biggest hint to Samarie’s identity by hiding the information.
As Samarie is the only one who shares similarities with Valteil’s Uterus doll, means that she may be its fully developed version. Since Valteil is just a reference for Valtiel in Silent Hill 3, who appears with a yellow head, and appears altogether capable of resurrecting the dead, this reference explains why the Uteruses have embryos assembled in their bodies for the purpose of rebirth, so Samarie's not a doppelganger in Marina’s ending B, but completely alive. This also clarifies why Samarie said her body quickly deteriorates:
Valteil creates the Uteruses, mechanical lifeforms resembling pregnant women, for his personal pleasure. However, Valteil disliked the idea of his creations outliving him and decided to create beings out of living flesh with a limited lifespan.
The Uterus doll appears meticulously crafted due to the specific features that match only Samarie’s moonscorched form, "Dysmorphia": having only a right eye, a right hand with four fingers, a dominant right leg over the left, an embryo (the reason for Dysmorphia's large belly) with the Uterus's design, and lastly, the fully developed Uterus doll version has a "Radiant soul." The Uterus dolls initially had no soul, perhaps to allow the vessel to specifically occupy a "Radiant soul". Thus, the doll could have been a replica of a deceased woman; given that the Samarie we see in Termina is the fully developed version of the Uterus doll, the real Samarie is the dead woman whom the Uterus doll is modeled after. I believe the actual reason the Uterus dolls have a limited lifespan is to speed up the process of rebirthing themselves into their current state by aging them faster. As mentioned, Samarie is a fully developed Uterus doll kept away in the ninth circle, alongside confined children, meaning, Valtiel may have used naturally gifted children to create the Uterus dolls, hence Nash’rah calling him a pedophile.
Samarie’s right hand as “Dysmorphia” has four fingers with an Eye of Ra on the palm, which I believe connects to the four figures in Reila’s fingers, with one of them, at the middle finger, having a similar sun halo like “Dysmorphia”:
Samarie’s name appears to be a stand-in for Magdalene, as both names are derived from cities—Magdala and Samaria, respectively. Magdala, meaning "tower", aligns with Samaria, meaning "watchtower". Additionally, this parallels Alessa Gillespie’s first name; Alessa is a shortened version of Alessandra, which originates from the Greek name Alexandra, meaning "defender". This mirrors the meaning of Samarie’s name, "watchtower”.
Adding to Valteil's reference to Valtiel, Valtiel is attempting to reborn God:
“Presented in Silent Hill 3, these myths help establish backstory for God. They can also be heard in "Sun", track 22 from the game's soundtrack. God is the mysterious entity worshipped among many members of the Order”
In the beginning, people had nothing
Their bodies ached, and their hearts held nothing but hatred
They fought endlessly, but death never came
They despaired, stuck in the eternal quagmire
A man offered a serpent to the sun and prayed for salvation
A woman offered a reed to the sun and asked for joy
Feeling pity for the sadness that had overrun the earth,
God was born from those two people
God made time and divided it into day and night
God outlined the road to salvation and gave people joy
And God took endless time away from the people
God created beings to lead people in obedience to Her
The red God, Xuchilbara
The yellow God, Lobsel Vith
Many Gods and Angels
Finally, God set out to create Paradise, where people
would be happy just by being there
But there, God's strength ran out, and She collapsed
All the world's people grieved this unfortunate event
Yet God breathed Her last
She returned to the dust, promising to come again
So God hasn't been lost
We must offer our prayers and not forget our faith
We wait in hope for the day
When the path to Paradise will be opened
I think "Sun", track 22 from Silent hill’s soundtrack may be the reason why Samarie has a Sun Halo in her moonscorched form, because it’s probably a reference to the “Halo of the Sun” in Silent Hill:
This symbol has been borrowed by Silent Hill's cult from Indian traditions where the red circle represented the light of their main deity - the god of the Sun. With time it was established as a symbol of the religious organization - the Order, though it had numerous changes and significant additions. The Halo of the Sun carries deep meaning as it reflects ideas of resurrection, the God and the inner world. The symbol is usually drawn in red. Occasionally drawn in black or other colors, but blue reverses the meaning into a curse on God and is therefore forbidden.
Samarie has the 'Masturbation' skill. On a surface level, the obvious reason for her having this skill is that she is a fully developed Uterus doll. However, we can delve deeper into the sun symbolism associated with her. Samarie is prominently symbolized on the right side, and in her moonscorched form, her right hand features an eye. This eye could be linked to the Eye of Ra and might reference the Hand of Atum. According to mythology, creation began when Atum masturbated or copulated with himself to produce Shu and Tefnut. The hand he used in this act was personified as the goddess Iusaaset, which may explain why Samarie has the masturbation skill. If Samarie is the figure with the sun halo in Reila's right hand, then the label "Creato" on Reila's right palm could reference Samarie's connection to Atum/Ra's creation mythology. Reila's left hand, labeled "Interitus," meaning destruction, could further extend this mythological reference. Sekhmet, the destructive aspect of the Sun god, was sent to punish humanity for their disobedience and only stopped committing genocide after becoming blackout drunk. Ra, the sun god, is also associated with rebirth, as he was believed to die at the end of each day and sail through the underworld to be reborn. In Silent Hill, Alessa is connected to Samael, a sun deity. In Fear and Hunger, the equivalent of Samael might be Grogoroth, because Samael is also known as "The Blind God" and Grogoroth is the only blindfolded god in Fear and Hunger. This connection suggests that Samarie and Alessa share a similar role as the “Mother of God” in the mythos of both universes.
Let's look at the old design of the Uterus doll:
Another interesting thing in this old design, is that the Uterus doll only has her left rib, this could be a reference to “The Lady of the Rib”:
Her name is reinterpreted first as a pun on nin-ti, "lady rib," and then nin-iti, "lady of the month," which according to Dina Katz reflects the fact that the compilers of the text selected her entirely based on her name's potential for wordplay and were "not interested in her religious background.”
Ninti's name can be translated as "mistress who keeps alive" or "mistress (of) life."[1] A variant form of her name might be Nintiḫal, "mistress who allocates life." [2] However, Jeremiah Peterson notes that due to the existence of the divergent variant spelling Kurratiḫal it is not certain how the cuneiform sign NIN should be read in this case.[3]
Since the Samarie we see in Termina isn't Samarie, but rather a child forced to become her, I guess that it’s actually Willem behind the identity of the Samarie in Termina:
Samarie’s human battle sprite, is the only one to share similarities to the fairy tale drawing of Willem meeting Pocketcat at Funger 1. They both have the same specific positions for the right hand being pulled back, the left hand forward, the left leg at the back of the right leg, the right leg forward, they both have the same thin ribbon on their sharp collar as well, and how the right ear is shown rather than left ear for both of them. If this is the case, then there we go, Samarie’s backstory is told since Funger 1 as a fairy tale.
Continuing, observing The Butterfly's behaviour in Fear and Hunger 1, I find it similar to Samarie’s behavior in Termina, due to these lines:
1."J-just wait and see!"
2."I will become a beautiful butterfly!"
3."T-the kind that soars the flower fields in caressing sun light."
4."I will get to see sun!"
5."Y-you do not understand me!No one ever understands me!”
Comparing it to Samarie lines:
1."I'm no one... Just a lonely caterpillar waiting to shed her skin..."
2.“Like a moth! I'm finally close to bloom!
3. “A hairy moth in the night!”
4.“You're just one of them! That's what they all say! All but her.”
5.“Marina! W-why would you say that!? You must understand me! YOU MUST!”
Samarie on the 1st, 2nd, and 3rd line speaks as if she's undergoing metamorphosis, as if her skin is hardening into a chrysalis like The Butterfly.
But in the second line, she mentions that she’s like a moth, and moths, unlike butterflies use cocoons to transform:
Chrysalis:
The exterior surface of the pupa stiffens into an outer protective covering. This usually takes shape and colour, which helps camouflage into its surroundings.
Cocoon:
In order to protect itself at the final transformative stage in the absence of a hard outer shell, moth caterpillars tend to twine cocoons of silk around themselves. This is before it reaches the final molt stage. The silk stiffens into a protective case, which allows the pupa to undergo metamorphosis without any such hurdle.
Samarie's dialogue in the two lines I presented reflects the speech pattern of someone who inside a cocoon, and the presence of inhabitants known as "half-cocooned" implies that the rest of the residents in Prehevil suffer from metamorphosis, further evidence is the lines of a few moonscorched individuals indicating it crawled within their skin, burrowing deeper, connecting to Samarie's speech pattern of speaking in the position of being within the cocoon. To put it simply, both Samarie and the inhabitants behave in the manner of someone who is cocooned. Notably, Marina is the sole individual designated as "Cocoon" which I believe is the answer to this phenomenon:
If you take a gander at Rher’s theme, the truth about the Moonlight:
Who of us doesn't cover their true face and hide behind a persona? In the broad daylight we adopt a social role depending on the surrounding people. We put on a mask that works as the public image of our true personality. Do we hide our face to avoid the judgement of the people, or do we look down in shame as the sun watches our every move? A sun that knows our deepest longings and lustful thoughts.
Only in the darkness of the night does the true and vile nature of men get revealed. We share our decrepit bodies only to the select few under the moonlight. Despite what lowly thieves, covering in the shadows, would like you to think, the moonlight hides no one.
The moonlight’s theme is the idea of unmasking and revealing inner truths, in an unsettling transformative way:
"Abraxas is the god who is both good and evil, light and darkness, life and death. He is the god of the fullness of life, and he is the god of transformation. Yaldabaoth is the same god, but he is also the god of the unconscious mind. He is the god of our shadow selves, and he is the god of our fears and our desires.”
The theme of the Termina festival delves into the unconscious mind, highlighting the concept of transformation symbolized by Abraxas. This theme of metamorphosis, called as moonscorch, is prominently portrayed in Fear and Hunger 2, evident in the inhabitants who often express feelings of their skin being worn, with sensations of crawling and burrowing, which is why you have malformed individuals referred to as "half-cocoons", this symbolism suggests that Abraxas/Grogoroth uses human skins as a cocoon for transformation. In Fear and Hunger 1, The Girl's literal pupation during battle exemplifies the metamorphosis and skin-wearing concept central to Fear and Hunger Termina. Additionally, Abraxas/Yaldabaoth is the god of Fear and “Desires”, basically Fear and “Hunger”. Therefore, it is not The Girl but rather Grogoroth who is the true god of Fear and Hunger just in a different form.
Another indication that Grogoroth is Rher is just by analyzing Pocketcat, Pocketcat possesses hopeless individuals living in the dark, indicating that he serves The Child of the Dark, Yaldabaoth. He is a mask, akin to wearing the skin and body of others and adopting it as a mask, this ability is exclusive only to Grogoroth. Therefore, Grogoroth is the creator of Pocketcat, signifying that Grogoroth is Yaldabaoth, and Rher is merely a shedded skin of his, leaving behind a husk. Another clue supporting the notion that Pocketcat is Grogoroth's servant is evident in his request for sacrifices, particularly in Termina, where he seeks to obtain the heads of contestants, and Grogoroth is The God of Human Sacrifices. Additional evidence supporting Grogoroth as the creator of Pocketcat lies in their similar smiling demeanor, both grinning like an absolute ass.
An exemplary demonstration of The Girl being “a Cocoon”, is The Girl unraveling herself in a metamorphosis during her battle, embodying The Ancient Soul linked to a specific Old god, namely The God of The Depths, due to her venturing into the deep to rebirth the old god anew. If this is truly the case, this can explain 2 things:
1.If Marina’s body is worn by Grogoroth, then I believe it's a key piece to Pocketcat’s identity, due to Marina's Changeling soul, since I think Pocketcat is fae-like. Faeries are often called "fair folk," a nickname that reflects both their typically pale appearance and their obsession with truth, lies, bargains, and payments. Pocketcat exemplifies this by demanding unusual transactions in his deals, such as children and decapitated heads, in exchange for goods, and he speaks in a vague manner. Also, A fairy (also fay, fae, fey, fair folk, or faerie) is a type of mythical being or legendary creature, generally described as anthropomorphic, found in the folklore of multiple European cultures, Pocketcat is a magical furry.
According to legends about changelings, abducted human children are either given to the devil or used to strengthen fairy stock. This aligns with Pocketcat hunting children for Rher. A changeling steals the identities of others; it's essentially just Grogoroth's wearing humans as a meatsuit ability, which is reflected in Pocketcat being a mask. I think Pocketcat is the embodiment of the Changeling character trait of Rher, meaning the Changeling soul is aligned with Rher as it reflects his nature, considering that faes are tricksters, and Rher is referred to as a "trickster god." Rher embodying the Changeling soul also explains why there are doppelgangers in Termina that appear malformed, as changelings are doppelgangers but deformed. Adding to this, maybe Pocketcat's subtle association with being like a fae is hinted at by the "Pocketcat Tales", which is a “fairy” tale, and Willem, from the second "Pocketcat Tales" book in Termina, seems like a story where faes take children away to their realm for whatever agenda they might have with the child.
2. Continuing with the “What if Marina is a skin worn by Grogoroth”:
The hint of Grogoroth wearing her skin was there since the start. I mean, pay attention to the wording:
“All the new student would have to choose an older god that they'd let inside them.”
The initiation ceremony doesn't say you get to choose which older god to serve, but which older god would be allowed passage into the body.
That entire line of “All the new student would have to choose an older god that they'd let inside them” just screams:
"To relieve the feeling of fear, Gro-Goroth wears the bodies and skin of men and women alike. He might still be walking among us, masked under the skin of people and hanging bodies, blessing us with his blood magic.”
In simple words, Grogoroth is an old god that gets inside people's bodies and possesses them.
The older gods mentioned in Marina’s character history are Grogoroth, Sylvian, Vinushka, Rher, All-Mer, and The God of Fear and Hunger, if they all enter a human body for vessels, then essentially, they all are Grogoroth, as he is the only one who disguises himself within human skin.
Looking at Marina’s moonscorched form again:
“Ghaaaah... Ghaaah...” The host body is breathing heavily.
She’s referred to as a host. Also, If you look at the wording of Marina’s moonscorched form it’s called cocoon, not like the inhabitants who are referred to as half-cocooned. The term "half-cocooned" used for the inhabitants suggests they are not suitable encasements for a larva, resulting in them being incomplete. In contrast, Marina is called a cocoon, making her a perfectly compatible casing for a caterpillar, like a moth, finally close to bloom. Marina also has Teratophobia, as I have stated Teratophobia is a double meaning fear, the first one would be, the fear of monsters, and the second one is, the fear of birthing a deformed child, and Marina’s moonscorched form is called “Cocoon” and she has the Changeling soul, changelings are deformed children of faes, so it’s the latter part again. If her moonscorched form is labeled as "Cocoon," it literally represents a fuzzy wuzzy moth of doom that's gonna hatch:
Since I referred to Grogoroth as Abraxas, I believe that in Marina's moonscorched form, when she mentions her father wanting your death:
G-ghaah… W-why…? He tells… Y-you must die…”
“H-him… H-he wants you… dead…”
“Are you talking about that 'thing' on your back?”
“F-father… Please… …Please…..”
I think she is referring to "Abraxas the Unbegotten Father'' as he is possessing her body. To me, these lines seem like Marina is taking the backseat, and Grogoroth is completely controlling her body as his own. So, I think the only time Marina ever speaks is in her moonscorched form, while the rest of the time it is just Grogoroth purely acting as her.
Or due to Marina's human battle sprite being based on a Deviantart fanart of Claudia Wolf, the lines that Marina utters in her moonscorched form, “F-father… Please… …Please…..” may imply that both Marina and Claudia share the same kind of fathers, a physically and mentally abusive religious fanatic, so in that line she might be begging him to quit beating her up:
At Jacks Inn, Claudia and Vincent have a conversation. Claudia is angered that her father was killed by Heather, despite Claudia's hatred of Leonard. Claudia tells Vincent that he has no place in Paradise because she believes he is mocking God. In response, Vincent brings up Leonard Wolf's abusiveness to Claudia and claims that her will to create Paradise is due to a lack of love in her life.
Claudia had an unfortunate, horrible, and extremely abusive childhood. While her mother is not mentioned, her father Leonard is revealed to have raised Claudia as a strong believer in the cult's faith and inflicted physical punishment and emotional abuse for any irreligious behavior he caught her doing. This involved screaming, hitting, beating, and kicking her on the floor until she would cry from the pain and accept his god and the Order as her faith. This, in turn, resulted in Claudia bearing a strong hatred for her father. In addition, Vincent claims Claudia was "totally brainwashed" by Dahlia as a child, and because of this, some of Dahlia's traits may have been passed down to Claudia.
Marina's moonscorched form is based on “Anima” from Final Fantasy X. It is said that “Anima” was inspired by Anima Sola, which means “lonely soul” and depicts a woman suffering in purgatory, bound in chains. Once the chains are broken, she is destined for heaven. Perhaps, like Claudia Wolf, Marina is a lonely woman suffering faithfully for God’s return. Thus, we can also interpret Marina's moonscorched form as a desire to bring about the rebirth of God, similar to Claudia, because a Cocoon again, is a protective covering that nurtures the growth of the caterpillar. Additionally, Marina's Changeling soul could be seen as a parallel to Claudia's name, Claudia meaning “lame” or “limping”, and Changeling myths are just histories about disabled children treated less human, so they’re both symbolized as disabled.
Marina's daddy issues lore is just Claudia Wolf’s daddy issues, where she utterly hates her father but mourns his death. Due to the reference, Marina’s father is just like Leonard Wolf, a man who physically and mentally abused his daughter due to perceiving her lacking devotion to God, yet still somehow cared for her. Also maybe part of Marina’s personality:
Marina is a curious young woman who speaks very informally. She often speaks her mind about any given situation.
Is inspired by Claudia’s:
If Claudia disagrees with something, she does not hesitate to speak her mind, and Claudia has a very strong will. She does not want to be a "mere bystander in this world"
Not only that though, her personality is also inspired from Heather Mason, because Marina yelled “a Heather Mason line but change the words” when Samarie killed her father:
“Listen, suffering is a fact of life. Either you learn how to deal with that or you go under. You can stay in your own little dream world, but you can't keep hurting other people! Besides, I'll never forgive you for hurting my father!”
—Heather to Claudia Wolf
Heather is a seemingly normal and carefree girl who loves shopping, though she has a few rough edges and tends to be blunt when talking to others. Heather has a sharp tongue and can be very snarky, sarcastic, and humorous such as her "joke" to Douglas Cartland in the "Normal" ending.
Samarie is a fully developed Uterus doll, created as a replica of someone who died aeons ago, and she is deeply connected to Grogoroth. This connection is suggested by the way Samarie speaks, as if she is within a cocoon, reflecting Grogoroth’s practice of using humans as "meat suits" to serve as cocoons for him. Since Grogoroth is likely Yaldabaoth, "the god of our shadow selves, our deepest fears and desires", Samarie's feelings toward Marina may be influenced by Marina's own fears and desires, as Grogoroth could be using Marina’s body as a cocoon. Samarie's brutal killing of Father Domek, merging him into the church walls, mirrors Marina's deep feelings toward him, a man obsessed with religion, symbolizes the abuse Marina suffered for years at the hands of her father due to his religious fervor, Marina likely harbors a fear and desire for retribution.
Samarie's delusional rant:
“Kaka! W-what do you mean? Why are you playing this role? Can't you see!? Look at the darkness! Look at the darkness that hangs above! It’s a world created just for us! This world won't judge us! We can be one! Y-you just have to see what it has to offer! We can craft our own world. It can be just how you like! We can't waste this opportunity!”
Could be Samarie channeling Marina's own internal conflict—her fear and desire for a paradise. Like Claudia Wolf from Silent Hill, Marina likely fears the idea of being "a mere bystander in this world." Claudia believed that true humanity comes from understanding suffering, and she believes that to reach Paradise, people had to share in suffering, which would ultimately bring them together. Marina may fear a world remade into a “paradise”, but deep down, she desires to change the course of the world.
In Samarie’s speech, the line, "It’s a world created just for us! This world won't judge us! We can be one!" might indicate that Marina, like Claudia, seeks paradise due to loneliness, so Samarie’s obsessive behavior toward Marina could be a reflection of Marina's intense fear of isolation and her desire to be loved.
If Samarie is indeed like a manifestation of Marina's inner fears and hunger, this would echo Silent Hill 2’s Maria, who was created from James’ psyche in response to his subconscious. Just as Silent Hill mirrors the mind’s subconscious, Prehevil seems to do the same. The parallels between Maria and Samarie also extend to their associations with Magdalene. For Samarie, both "Magdala" and "Samaria" mean "tower" or "watchtower," and are names of cities in Israel. When Maria dies in Brookhaven Hospital, the song “Magdalene” plays, signifying her connection to Mary Magdalene, who was the first to witness Jesus' resurrection tying into Maria's own "resurrection" which parallels Samarie’s association with rebirth.
Both characters also share insect symbolism. Maria has a butterfly tattoo on her abdomen, symbolizing rebirth, much like how a caterpillar transforms into a butterfly. During the final boss fight, Mary/Maria attacks with a swarm of black moths, which are sometimes seen as symbols of death. Meanwhile, Samarie delivers lines connecting herself to moths:
"I'm no one... Just a lonely caterpillar waiting to shed her skin..."
“Like a moth! I'm finally close to bloom!"
“A hairy moth in the night!”
Adding to this, in Silent Hill 3, Heather Mason encounters Alessa's butterfly and moth collection in her room at the chapel. One display case has broken glass, with a butterfly or moth missing, possibly referencing the Floatstinger, a creature symbolizing transformation. The moth drawing on the graffitied walls of the Nowhere room, where a young Alessa is found crying, further symbolizes this theme. The Floatstinger may represent the idea of transformation, much like how part of Alessa's soul became Cheryl Mason, or how the town transitions between the Otherworld and Fog World.
Anyways, The ancient gods Sylvian, Rher, the God of the Depths, and All-Mer have left skin of themselves behind. With a recurring theme of shedding skin associated with metamorphic ascension in this game, Grogoroth stands out as the sole practitioner. Based on how The Girl underwent a metamorphosis during the battle, it seems that to manifest the identity and form of an archon, a human is necessary to act as a cocoon. Therefore, the gods I mentioned earlier are essentially Grogoroth's cast-off skins, derived from humans, enabling him to alter his form. They never perished; they're essentially one entity, masking as a human.
Adding to Rher, Since I pointed out that Grogoroth is Samael “The Blind God” from the image above, Samael is a Fallen Angel of Death, and as I have stated that Grogoroth is Rher, that could be the reason why Rher transforms into an Ophanim in his battle because he’s a fallen angel “They are dubbed as “many eyed ones”, “The thrones”: known as 'ophanim' (offanim) and 'galgallin', are creatures that function as the actual chariots of God driven by the cherubs”. Since Grogoroth is Rher, this could explain the statement "he is a curious kind, more so than many of the other older gods." This is because curiosity involves a keen interest in the surrounding world, meaning he obsessively desires to pry right through everything, hence Rher having the ability of Mind Read, especially Ophanims are angels of knowledge. Grogoroth being a Fallen Ophanim explains why he has so many eyes in his battle sprite.
I think the idea of Vinushka is to be "Yahweh," who was called the god of storms, since Vinushka’s symbol looks like a tropical storm. Yahweh is believed to have evolved into Jesus Christ, who is referred to as All-Mer in this game. The Sulfur God represents the concept of Yahweh being evil:
From at least 200 BCE onwards a tradition developed in the Graeco-Egyptian Ptolemaic Kingdom which identified Yahweh, the god of the Jews, with the Egyptian god Seth.[17] Following the Assyrian conquest of Egypt in the 7th century BCE, Seth was seen as an evil deity by the Egyptians and not commonly worshipped, in large part due to his role as the god of foreigners.[18] Seth's appearance was thought of as resembling a man with a donkey's head.[19] The Greek practice of interpretatio graeca, ascribing the gods of another people's pantheon to corresponding ones in one's own, had been adopted by the Egyptians after their Hellenisation; during the process of which they had identified Seth with Typhon, a snake-monster, which roars like a lion.[20]
Other than that the indication of Sulfur God being All-Mer was just an entire Ghost reference to their Year Zero song:
Belial, Behemoth, Beelzebub
Asmodeus, Satanas, Lucifer
Belial, Behemoth, Beelzebub
Asmodeus, Satanas, Lucifer
Since dawn of time the fate of man is that of lice
Equal as parasites and moving without eyes
A day of reckoning when penance is to burn
Count down together now and say the words that you learn
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan, Archangelo
Hell Satan, welcome year zero
Belial, Behemoth, Beelzebub
Asmodeus, Satanas, Lucifer
Crestfallen kings and queens comforting in their faith
Unbeknownst to them is the presence of the wraith
Since fate of man is equal to the fate of lice
As new dawn rises you shalt recognize
Now behold the Lord
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan
He will tremble the nations
Kingdoms to fall one by one
Victim to fall for temptations
A daughter to fall for a son
The ancient serpent deceiver
To masses standing in awe
(To masses standing in awe)
He will ascend to the heavens
Above the stars of God
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan
Samarie is kept in the ninth circle, and I think Grogoroth's appearance was inspired by Dante’s Inferno description of Satan at the ninth circle:
Since Sulfur God is equivalent to Satan in Fear and Hunger, this is another indication that Grogoroth was just Sulfur God. I mean it's called the ninth circle, that’s basically where Satan is.
Perhaps, the God of the Depths is a reference to The masculine aspect of God is Depth, also called Ineffable and First Father. Depth is the profoundly incomprehensible, all-encompassing aspect of the deity. He is essentially passive, yet when moved to action by his feminine Thought, he gives the universe form. Meanwhile, The Girl is The feminine aspect of the deity is called Silence, Grace and Thought. Silence is God's primordial state of tranquillity and self-awareness She is also the active creative Thought that makes all subsequent states of being (or "Aeons") substantial.
The giant statue of All-Mer in Prehevil facial features resembles the statue of Priapus in Pompeii, the god of the phallus, who is said to be worshipped alongside swarms of bees; this could explain the existence of The Beekeeper Dude. Additionally, his hair looks like Abraxas's hair in a human-like form. Due to the connection of a fertility god and being Abraxas, I believe the real identity of this All-Mer is another one of Abraxas’s identities, namely Saklas, the archon of fornication, whom I believe is Sylvian. In addition, I compared Baphomet to Sylvian in the image above, because Sylvian embodies the aspect of being both male and female, which symbolically represents the equilibrium of opposites, which is similar to the concept of “God” in Silent Hill. In Silent Hill, "God" is named Samael but is often referred to as "Her”, it rings a similar vein when Pocketcat asks you who “She” is:
“Say old sport... the one who dreams all this... The dreamer buried deep underground. Which type do you think she is?”
Again, Samael is Grogoroth in Fear and Hunger, because Samael is called “The Blind God,” and Grogoroth is the only god who wears a blindfold. Silent Hill’s Samael is symbolised as Baphomet, both male and female, embodying duality, which Grogoroth also represents, symbolized by a hermaphrodite hanging on his body. When you answer Pocketcat's question about what type “She” is as the extroverted type, he thinks the sentiment applies as well, since I referred to Grogoroth as Abraxas, the god of the fullness and transformation of life, which matches Pocketcat’s description of extroverted artists:
“Artists fall into two categories. There are the ones who see something taking place in the world. Maybe it's wrongdoings of their fellow pedestrians, maybe its abuse of power by those sitting on top of the pyramid scheme... Whatever it is, it feeds their inspiration and creativity and they desperately want put their own spin on it. It must be very spontaneous I imagine. Painting a picture in an inspired frenzy or composing a piece of music that beats in sync with the world. I call these people extroverted artists.”
On the other hand, Abraxas is also Yaldabaoth, the god of the unconscious mind, the shadow of ourselves, the embodiment of one’s fear and hunger, which explains why Pocketcat also agrees that “She” is an introverted type:
“Then there are the other half of poor sods. The ones who dwell in their own thoughts and insight. They want to paint a picture of their inner world. Maybe in hopes that someone else would understand them a little better... Or maybe to connect with the few like minded individuals? Maybe these artists would want to depict the picture of times as well? But only if the event taking place would strike a chord with the monolouge they are having with the world. I call these people introverted artists.”
Additionally, Grogoroth, much like a caterpillar uses a cocoon to transform into a moth, utilizes human experiences, emotions, and perceptions to undergo metamorphosis:
“Now that I think about it... There might be a third kind as well. My favourite kind actually. Authors who don't even have a clear picture in mind when they start their creative process. They let the story right itself, let the brush strokes dictate the direction of the story instead of trying to force their own will on it. Such chaotic process can lead to unexplored directions. Inspiration can be a creative process, don't you think?”
Grogoroth inhabits the bodies and skins of men and women alike to change form, as humans serve as the medium through which God changes. Therefore being the third type.
Since everything written about here is about trying to learn what Samarie is, it’s made to answer two main questions:
Why is Samarie alive in Marina Ending B? She’s a fully developed Uterus doll kept at the ninth circle. Naturally gifted children were used to create them.
Why is Samarie really connected to Marina? Grogoroth, using Marina as a cocoon, exerts a profound influence on Samarie, who is deeply connected to him. This connection is evident in Samarie’s speech, as if she’s within a cocoon. As Grogoroth is Yaldabaoth, the god of the unconscious mind, this resulted to Samarie absorbing Marina’s fears and desires, which have twisted her into a disturbing stalker.
The rest is mostly yapping to support the main yap of the focus, Samarie.
We can disregard the rest of the parts but let Samarie being a Uterus doll and Marina being like Claudia Wolf remain. Surprisingly, Marina is the one who is alike to Claudia Wolf, despite being portrayed with a personality similar to Heather Mason. Being based on Claudia Wolf explains her actual relationship with her father, because Marina’s daddy issues was just taken from Claudia’s entire daddy issues lore. My speculation is since she's based on Claudia Wolf, her moonscorched form as a "Cocoon" reflects her desire to rebirth "God" herself, just like Claudia, and her Changeling soul shares symbolism being disabled with Claudia's name meaning “crippled”.
Meanwhile Samarie has been portrayed as Stanley Coleman, a guy who stalked Heather Mason:
I'm sorry I wasn't able to respond to your love.
It's all over.
Leonard despises me — because I made fun of it, saying it would come to this.
If it weren't for his meddling, I would have been able to meet you in just a little while.
Then I could have taken you to my world.
A world for us alone, more beautiful than this one.
And I had been waiting for this day, for today. The day I'd see you, the day you'd save me.
Today.
Heather, watch out for him.
Leonard is no ordinary guy.
Farewell. I loved you.
Heather, my goddess.
Heather, my lover.
Heather, my
Along with the mixture of being Claudia Wolf, due to this line:
"When did you stop believing in God? God lives! Just look around you!”
Combining the 2 lines would make this line Samarie says:
“Kaka! W-what do you mean? Why are you playing this role? Can't you see!? Look at the darkness! Look at the darkness that hangs above! It’s a world created just for us! This world won't judge us! We can be one! Y-you just have to see what it has to offer! We can craft our own world. It can be just how you like! We can't waste this opportunity!”
Adding to Samarie being potrayed to be like Claudia as well, is how Claudia’s appearance is similar to Samarie:
Like, Samarie looks like a Goth version of Claudia Wolf, with black hair that has front bangs and black eyes:
But despite all that, this isn’t who Samarie truly is. As mentioned, Samarie in her moonscorched form, "Dysmorphia," inflicts teratophobia, the meaning of teratophobia is only half-revealed, making it deceptive. And her appearance as "Dysmorphia" closely resembles the Uterus Doll, implying her as the fully developed version of it. And she has a lot of symbolism tying her similarities to Alessa as “Mother of God”.
Then there’s that way she speaks again:
"I'm no one... Just a lonely caterpillar waiting to shed her skin..."
“Like a moth! I'm finally close to bloom!
“A hairy moth in the night!”
Moths, unlike butterflies, use cocoons—an outer protective covering to nurture their growth. Marina’s moonscorched form is called "Cocoon," which suggests that Samarie isn’t only like Alessa; she also shares similarities with Maria, because she speaks as if she’s within the cocoon, and her symbolism parallels Maria’s as well.
Anyways, I switched Claudia and Alessa’s outfits to Marina and Samarie’s, because it fits in some way:
I forgot that the Sun god in Funger is named "Amon," which is essentially another identity of Ra, known as Amon-Ra, besides being Atum. Like it's just the same dude. Thatssa about it.
I’ve been listening to Disturbia on loop and it makes me think about Samarie
But instead of just drawing her as a boo boo stalker losing her shit like a wet cat, I just depict her based on my hunch about the game implying Samarie as the Uterus doll that Valteil made:
Thatssa about it. I was just bored and didn't know what to draw
Samarie in her moonscorched form inflicts Teratophobia.
The 2nd meaning of Teratophobia is not elaborated in the game, in the Book of Fears, Teratophobia is only elaborated as:
Teratophobia - Fear of monsters and malformations.
When the “malformations” have a specific meaning to it:
In the design of Samarie’s moonscorched form, "Dysmorphia," she shares the exact similarities with the Uterus doll. Both are missing their left eye, have a right hand with four fingers, their left hand lacking any special details, the right leg is marked dominant over the left, lastly, both are pregnant. This connection of them being pregnant is tied to the phobia they evoke, Teratophobia, “the fear of birthing a malformed child”, this phobia perfectly characterizes the Uterus dolls, as they give birth to malformed children, thus it was obviously chosen as a fear they fittingly inflict, but the game chooses to never fully state what Teratophobia means. So I think the game is intentionally hiding information about Samarie, but paradoxically in a way gives the biggest hint to Samarie’s identity by hiding the information.
As Samarie is the only one who shares similarities with Valteil’s Uterus doll, means that she may be its fully developed version. Since Valteil is just a reference for Valtiel in Silent Hill 3, who appears with a yellow head, and appears altogether capable of resurrecting the dead, this reference explains why the Uteruses have embryos assembled in their bodies for the purpose of rebirth, so Samarie's not a doppelganger in Marina’s ending B, but completely alive. This also clarifies why Samarie said her body quickly deteriorates:
Valteil creates the Uteruses, mechanical lifeforms resembling pregnant women, for his personal pleasure. However, Valteil disliked the idea of his creations outliving him and decided to create beings out of living flesh with a limited lifespan.
The Uterus doll appears meticulously crafted due to the specific features that match only Samarie’s moonscorched form, "Dysmorphia": having only a right eye, a right hand with four fingers, a dominant right leg over the left, an embryo (the reason for Dysmorphia's large belly) with the Uterus's design, and lastly, the fully developed Uterus doll version has a "Radiant soul." The Uterus dolls initially had no soul, perhaps to allow the vessel to specifically occupy a "Radiant soul". Thus, the doll could have been a replica of a deceased woman; given that the Samarie we see in Termina is the fully developed version of the Uterus doll, the real Samarie is the dead woman whom the Uterus doll is modeled after. I believe the actual reason the Uterus dolls have a limited lifespan is to speed up the process of rebirthing themselves into their current state by aging them faster. As mentioned, Samarie is a fully developed Uterus doll kept away in the ninth circle, alongside confined children, meaning, Valtiel may have used naturally gifted children to create the Uterus dolls, hence Nash’rah calling him a pedophile.
Samarie’s right hand as “Dysmorphia” has four fingers with an Eye of Ra on the palm, which I believe connects to the four figures in Reila’s fingers, with one of them, at the middle finger, having a similar sun halo like “Dysmorphia”:
Samarie’s name appears to be a stand-in for Magdalene, as both names are derived from cities—Magdala and Samaria, respectively. Magdala, meaning "tower", aligns with Samaria, meaning "watchtower". Additionally, this parallels Alessa Gillespie’s first name; Alessa is a shortened version of Alessandra, which originates from the Greek name Alexandra, meaning "defender". This mirrors the meaning of Samarie’s name, "watchtower”.
Adding to Valteil's reference to Valtiel, Valtiel is attempting to reborn God:
“Presented in Silent Hill 3, these myths help establish backstory for God. They can also be heard in "Sun", track 22 from the game's soundtrack. God is the mysterious entity worshipped among many members of the Order”
In the beginning, people had nothing
Their bodies ached, and their hearts held nothing but hatred
They fought endlessly, but death never came
They despaired, stuck in the eternal quagmire
A man offered a serpent to the sun and prayed for salvation
A woman offered a reed to the sun and asked for joy
Feeling pity for the sadness that had overrun the earth,
God was born from those two people
God made time and divided it into day and night
God outlined the road to salvation and gave people joy
And God took endless time away from the people
God created beings to lead people in obedience to Her
The red God, Xuchilbara
The yellow God, Lobsel Vith
Many Gods and Angels
Finally, God set out to create Paradise, where people
would be happy just by being there
But there, God's strength ran out, and She collapsed
All the world's people grieved this unfortunate event
Yet God breathed Her last
She returned to the dust, promising to come again
So God hasn't been lost
We must offer our prayers and not forget our faith
We wait in hope for the day
When the path to Paradise will be opened
I think "Sun", track 22 from Silent hill’s soundtrack may be the reason why Samarie has a Sun Halo in her moonscorched form, because it’s probably a reference to the “Halo of the Sun” in Silent Hill:
This symbol has been borrowed by Silent Hill's cult from Indian traditions where the red circle represented the light of their main deity - the god of the Sun. With time it was established as a symbol of the religious organization - the Order, though it had numerous changes and significant additions. The Halo of the Sun carries deep meaning as it reflects ideas of resurrection, the God and the inner world. The symbol is usually drawn in red. Occasionally drawn in black or other colors, but blue reverses the meaning into a curse on God and is therefore forbidden.
Samarie has the 'Masturbation' skill. On a surface level, the obvious reason for her having this skill is that she is a fully developed Uterus doll. However, we can delve deeper into the sun symbolism associated with her. Samarie is prominently symbolized on the right side, and in her moonscorched form, her right hand features an eye. This eye could be linked to the Eye of Ra and might reference the Hand of Atum. According to mythology, creation began when Atum masturbated or copulated with himself to produce Shu and Tefnut. The hand he used in this act was personified as the goddess Iusaaset, which may explain why Samarie has the masturbation skill. If Samarie is the figure with the sun halo in Reila's right hand, then the label "Creato" on Reila's right palm could reference Samarie's connection to Atum/Ra's creation mythology. Reila's left hand, labeled "Interitus," meaning destruction, could further extend this mythological reference. Sekhmet, the destructive aspect of the Sun god, was sent to punish humanity for their disobedience and only stopped committing genocide after becoming blackout drunk. Ra, the sun god, is also associated with rebirth, as he was believed to die at the end of each day and sail through the underworld to be reborn. In Silent Hill, Alessa is connected to Samael, a sun deity. In Fear and Hunger, the equivalent of Samael might be Grogoroth, because Samael is also known as "The Blind God" and Grogoroth is the only blindfolded god in Fear and Hunger. This connection suggests that Samarie and Alessa share a similar role as the “Mother of God” in the mythos of both universes.
Let's look at the old design of the Uterus doll:
Another interesting thing in this old design, is that the Uterus doll only has her left rib, this could be a reference to “The Lady of the Rib”:
Her name is reinterpreted first as a pun on nin-ti, "lady rib," and then nin-iti, "lady of the month," which according to Dina Katz reflects the fact that the compilers of the text selected her entirely based on her name's potential for wordplay and were "not interested in her religious background.”
Ninti's name can be translated as "mistress who keeps alive" or "mistress (of) life."[1] A variant form of her name might be Nintiḫal, "mistress who allocates life." [2] However, Jeremiah Peterson notes that due to the existence of the divergent variant spelling Kurratiḫal it is not certain how the cuneiform sign NIN should be read in this case.[3]
Since the Samarie we see in Termina isn't Samarie, but rather a child forced to become her, I guess that it’s actually Willem behind the identity of the Samarie in Termina:
Samarie’s human battle sprite, is the only one to share similarities to the fairy tale drawing of Willem meeting Pocketcat at Funger 1. They both have the same specific positions for the right hand being pulled back, the left hand forward, the left leg at the back of the right leg, the right leg forward, they both have the same thin ribbon on their sharp collar as well, and how the right ear is shown rather than left ear for both of them. If this is the case, then there we go, Samarie’s backstory is told since Funger 1 as a fairy tale.
Continuing, observing The Butterfly's behaviour in Fear and Hunger 1, I find it similar to Samarie’s behavior in Termina, due to these lines:
1."J-just wait and see!"
2."I will become a beautiful butterfly!"
3."T-the kind that soars the flower fields in caressing sun light."
4."I will get to see sun!"
5."Y-you do not understand me!No one ever understands me!”
Comparing it to Samarie lines:
1."I'm no one... Just a lonely caterpillar waiting to shed her skin..."
2.“Like a moth! I'm finally close to bloom!
3. “A hairy moth in the night!”
4.“You're just one of them! That's what they all say! All but her.”
5.“Marina! W-why would you say that!? You must understand me! YOU MUST!”
Samarie on the 1st, 2nd, and 3rd line speaks as if she's undergoing metamorphosis, as if her skin is hardening into a chrysalis like The Butterfly.
But in the second line, she mentions that she’s like a moth, and moths, unlike butterflies use cocoons to transform:
Chrysalis:
The exterior surface of the pupa stiffens into an outer protective covering. This usually takes shape and colour, which helps camouflage into its surroundings.
Cocoon:
In order to protect itself at the final transformative stage in the absence of a hard outer shell, moth caterpillars tend to twine cocoons of silk around themselves. This is before it reaches the final molt stage. The silk stiffens into a protective case, which allows the pupa to undergo metamorphosis without any such hurdle.
Samarie's dialogue in the two lines I presented reflects the speech pattern of someone who inside a cocoon, and the presence of inhabitants known as "half-cocooned" implies that the rest of the residents in Prehevil suffer from metamorphosis, further evidence is the lines of a few moonscorched individuals indicating it crawled within their skin, burrowing deeper, connecting to Samarie's speech pattern of speaking in the position of being within the cocoon. To put it simply, both Samarie and the inhabitants behave in the manner of someone who is cocooned. Notably, Marina is the sole individual designated as "Cocoon" which I believe is the answer to this phenomenon:
If you take a gander at Rher’s theme, the truth about the Moonlight:
Who of us doesn't cover their true face and hide behind a persona? In the broad daylight we adopt a social role depending on the surrounding people. We put on a mask that works as the public image of our true personality. Do we hide our face to avoid the judgement of the people, or do we look down in shame as the sun watches our every move? A sun that knows our deepest longings and lustful thoughts.
Only in the darkness of the night does the true and vile nature of men get revealed. We share our decrepit bodies only to the select few under the moonlight. Despite what lowly thieves, covering in the shadows, would like you to think, the moonlight hides no one.
The moonlight’s theme is the idea of unmasking and revealing inner truths, in an unsettling transformative way:
"Abraxas is the god who is both good and evil, light and darkness, life and death. He is the god of the fullness of life, and he is the god of transformation. Yaldabaoth is the same god, but he is also the god of the unconscious mind. He is the god of our shadow selves, and he is the god of our fears and our desires.”
The theme of the Termina festival delves into the unconscious mind, highlighting the concept of transformation symbolized by Abraxas. This theme of metamorphosis, called as moonscorch, is prominently portrayed in Fear and Hunger 2, evident in the inhabitants who often express feelings of their skin being worn, with sensations of crawling and burrowing, which is why you have malformed individuals referred to as "half-cocoons", this symbolism suggests that Abraxas/Grogoroth uses human skins as a cocoon for transformation. In Fear and Hunger 1, The Girl's literal pupation during battle exemplifies the metamorphosis and skin-wearing concept central to Fear and Hunger Termina. Additionally, Abraxas/Yaldabaoth is the god of Fear and “Desires”, basically Fear and “Hunger”. Therefore, it is not The Girl but rather Grogoroth who is the true god of Fear and Hunger just in a different form.
Another indication that Grogoroth is Rher is just by analyzing Pocketcat, Pocketcat possesses hopeless individuals living in the dark, indicating that he serves The Child of the Dark, Yaldabaoth. He is a mask, akin to wearing the skin and body of others and adopting it as a mask, this ability is exclusive only to Grogoroth. Therefore, Grogoroth is the creator of Pocketcat, signifying that Grogoroth is Yaldabaoth, and Rher is merely a shedded skin of his, leaving behind a husk. Another clue supporting the notion that Pocketcat is Grogoroth's servant is evident in his request for sacrifices, particularly in Termina, where he seeks to obtain the heads of contestants, and Grogoroth is The God of Human Sacrifices. Additional evidence supporting Grogoroth as the creator of Pocketcat lies in their similar smiling demeanor, both grinning like an absolute ass.
An exemplary demonstration of The Girl being “a Cocoon”, is The Girl unraveling herself in a metamorphosis during her battle, embodying The Ancient Soul linked to a specific Old god, namely The God of The Depths, due to her venturing into the deep to rebirth the old god anew. If this is truly the case, this can explain 2 things:
1.If Marina’s body is worn by Grogoroth, then I believe it's a key piece to Pocketcat’s identity, due to Marina's Changeling soul, since I think Pocketcat is fae-like. Faeries are often called "fair folk," a nickname that reflects both their typically pale appearance and their obsession with truth, lies, bargains, and payments. Pocketcat exemplifies this by demanding unusual transactions in his deals, such as children and decapitated heads, in exchange for goods, and he speaks in a vague manner. Also, A fairy (also fay, fae, fey, fair folk, or faerie) is a type of mythical being or legendary creature, generally described as anthropomorphic, found in the folklore of multiple European cultures, Pocketcat is a magical furry.
According to legends about changelings, abducted human children are either given to the devil or used to strengthen fairy stock. This aligns with Pocketcat hunting children for Rher. A changeling steals the identities of others; it's essentially just Grogoroth's wearing humans as a meatsuit ability, which is reflected in Pocketcat being a mask. I think Pocketcat is the embodiment of the Changeling character trait of Rher, meaning the Changeling soul is aligned with Rher as it reflects his nature, considering that faes are tricksters, and Rher is referred to as a "trickster god." Rher embodying the Changeling soul also explains why there are doppelgangers in Termina that appear malformed, as changelings are doppelgangers but deformed. Adding to this, maybe Pocketcat's subtle association with being like a fae is hinted at by the "Pocketcat Tales", which is a “fairy” tale, and Willem, from the second "Pocketcat Tales" book in Termina, seems like a story where faes take children away to their realm for whatever agenda they might have with the child.
2. Continuing with the “What if Marina is a skin worn by Grogoroth”:
The hint of Grogoroth wearing her skin was there since the start. I mean, pay attention to the wording:
“All the new student would have to choose an older god that they'd let inside them.”
The initiation ceremony doesn't say you get to choose which older god to serve, but which older god would be allowed passage into the body.
That entire line of “All the new student would have to choose an older god that they'd let inside them” just screams:
"To relieve the feeling of fear, Gro-Goroth wears the bodies and skin of men and women alike. He might still be walking among us, masked under the skin of people and hanging bodies, blessing us with his blood magic.”
In simple words, Grogoroth is an old god that gets inside people's bodies and possesses them.
The older gods mentioned in Marina’s character history are Grogoroth, Sylvian, Vinushka, Rher, All-Mer, and The God of Fear and Hunger, if they all enter a human body for vessels, then essentially, they all are Grogoroth, as he is the only one who disguises himself within human skin.
Looking at Marina’s moonscorched form again:
“Ghaaaah... Ghaaah...” The host body is breathing heavily.
She’s referred to as a host. Also, If you look at the wording of Marina’s moonscorched form it’s called cocoon, not like the inhabitants who are referred to as half-cocooned. The term "half-cocooned" used for the inhabitants suggests they are not suitable encasements for a larva, resulting in them being incomplete. In contrast, Marina is called a cocoon, making her a perfectly compatible casing for a caterpillar, like a moth, finally close to bloom. Marina also has Teratophobia, as I have stated Teratophobia is a double meaning fear, the first one would be, the fear of monsters, and the second one is, the fear of birthing a deformed child, and Marina’s moonscorched form is called “Cocoon” and she has the Changeling soul, changelings are deformed children of faes, so it’s the latter part again. If her moonscorched form is labeled as "Cocoon," it literally represents a fuzzy wuzzy moth of doom that's gonna hatch:
Since I referred to Grogoroth as Abraxas, I believe that in Marina's moonscorched form, when she mentions her father wanting your death:
G-ghaah… W-why…? He tells… Y-you must die…”
“H-him… H-he wants you… dead…”
“Are you talking about that 'thing' on your back?”
“F-father… Please… …Please…..”
I think she is referring to "Abraxas the Unbegotten Father'' as he is possessing her body. To me, these lines seem like Marina is taking the backseat, and Grogoroth is completely controlling her body as his own. So, I think the only time Marina ever speaks is in her moonscorched form, while the rest of the time it is just Grogoroth purely acting as her.
Or due to Marina's human battle sprite being based on a Deviantart fanart of Claudia Wolf, the lines that Marina utters in her moonscorched form, “F-father… Please… …Please…..” may imply that both Marina and Claudia share the same kind of fathers, a physically and mentally abusive religious fanatic, so in that line she might be begging him to quit beating her up:
At Jacks Inn, Claudia and Vincent have a conversation. Claudia is angered that her father was killed by Heather, despite Claudia's hatred of Leonard. Claudia tells Vincent that he has no place in Paradise because she believes he is mocking God. In response, Vincent brings up Leonard Wolf's abusiveness to Claudia and claims that her will to create Paradise is due to a lack of love in her life.
Claudia had an unfortunate, horrible, and extremely abusive childhood. While her mother is not mentioned, her father Leonard is revealed to have raised Claudia as a strong believer in the cult's faith and inflicted physical punishment and emotional abuse for any irreligious behavior he caught her doing. This involved screaming, hitting, beating, and kicking her on the floor until she would cry from the pain and accept his god and the Order as her faith. This, in turn, resulted in Claudia bearing a strong hatred for her father. In addition, Vincent claims Claudia was "totally brainwashed" by Dahlia as a child, and because of this, some of Dahlia's traits may have been passed down to Claudia.
Marina's moonscorched form is based on “Anima” from Final Fantasy X. It is said that “Anima” was inspired by Anima Sola, which means “lonely soul” and depicts a woman suffering in purgatory, bound in chains. Once the chains are broken, she is destined for heaven. Perhaps, like Claudia Wolf, Marina is a lonely woman suffering faithfully for God’s return. Thus, we can also interpret Marina's moonscorched form as a desire to bring about the rebirth of God, similar to Claudia, because a Cocoon again, is a protective covering that nurtures the growth of the caterpillar. Additionally, Marina's Changeling soul could be seen as a parallel to Claudia's name, Claudia meaning “lame” or “limping”, and Changeling myths are just histories about disabled children treated less human, so they’re both symbolized as disabled.
Marina's daddy issues lore is just Claudia Wolf’s daddy issues, where she utterly hates her father but mourns his death. Due to the reference, Marina’s father is just like Leonard Wolf, a man who physically and mentally abused his daughter due to perceiving her lacking devotion to God, yet still somehow cared for her. Also maybe part of Marina’s personality:
Marina is a curious young woman who speaks very informally. She often speaks her mind about any given situation.
Is inspired by Claudia’s:
If Claudia disagrees with something, she does not hesitate to speak her mind, and Claudia has a very strong will. She does not want to be a "mere bystander in this world"
Not only that though, her personality is also inspired from Heather Mason, because Marina yelled “a Heather Mason line but change the words” when Samarie killed her father:
“Listen, suffering is a fact of life. Either you learn how to deal with that or you go under. You can stay in your own little dream world, but you can't keep hurting other people! Besides, I'll never forgive you for hurting my father!”
—Heather to Claudia Wolf
Heather is a seemingly normal and carefree girl who loves shopping, though she has a few rough edges and tends to be blunt when talking to others. Heather has a sharp tongue and can be very snarky, sarcastic, and humorous such as her "joke" to Douglas Cartland in the "Normal" ending.
Samarie is a fully developed Uterus doll, created as a replica of someone who died aeons ago, and she is deeply connected to Grogoroth. This connection is suggested by the way Samarie speaks, as if she is within a cocoon, reflecting Grogoroth’s practice of using humans as "meat suits" to serve as cocoons for him. Since Grogoroth is likely Yaldabaoth, "the god of our shadow selves, our deepest fears and desires", Samarie's feelings toward Marina may be influenced by Marina's own fears and desires, as Grogoroth could be using Marina’s body as a cocoon. Samarie's brutal killing of Father Domek, merging him into the church walls, mirrors Marina's deep feelings toward him, a man obsessed with religion, symbolizes the abuse Marina suffered for years at the hands of her father due to his religious fervor, Marina likely harbors a fear and desire for retribution.
Samarie's delusional rant:
“Kaka! W-what do you mean? Why are you playing this role? Can't you see!? Look at the darkness! Look at the darkness that hangs above! It’s a world created just for us! This world won't judge us! We can be one! Y-you just have to see what it has to offer! We can craft our own world. It can be just how you like! We can't waste this opportunity!”
Could be Samarie channeling Marina's own internal conflict—her fear and desire for a paradise. Like Claudia Wolf from Silent Hill, Marina likely fears the idea of being "a mere bystander in this world." Claudia believed that true humanity comes from understanding suffering, and she believes that to reach Paradise, people had to share in suffering, which would ultimately bring them together. Marina may fear a world remade into a “paradise”, but deep down, she desires to change the course of the world.
In Samarie’s speech, the line, "It’s a world created just for us! This world won't judge us! We can be one!" might indicate that Marina, like Claudia, seeks paradise due to loneliness, so Samarie’s obsessive behavior toward Marina could be a reflection of Marina's intense fear of isolation and her desire to be loved.
If Samarie is indeed like a manifestation of Marina's inner fears and hunger, this would echo Silent Hill 2’s Maria, who was created from James’ psyche in response to his subconscious. Just as Silent Hill mirrors the mind’s subconscious, Prehevil seems to do the same. The parallels between Maria and Samarie also extend to their associations with Magdalene. For Samarie, both "Magdala" and "Samaria" mean "tower" or "watchtower," and are names of cities in Israel. When Maria dies in Brookhaven Hospital, the song “Magdalene” plays, signifying her connection to Mary Magdalene, who was the first to witness Jesus' resurrection tying into Maria's own "resurrection" which parallels Samarie’s association with rebirth.
Both characters also share insect symbolism. Maria has a butterfly tattoo on her abdomen, symbolizing rebirth, much like how a caterpillar transforms into a butterfly. During the final boss fight, Mary/Maria attacks with a swarm of black moths, which are sometimes seen as symbols of death. Meanwhile, Samarie delivers lines connecting herself to moths:
"I'm no one... Just a lonely caterpillar waiting to shed her skin..."
“Like a moth! I'm finally close to bloom!"
“A hairy moth in the night!”
Adding to this, in Silent Hill 3, Heather Mason encounters Alessa's butterfly and moth collection in her room at the chapel. One display case has broken glass, with a butterfly or moth missing, possibly referencing the Floatstinger, a creature symbolizing transformation. The moth drawing on the graffitied walls of the Nowhere room, where a young Alessa is found crying, further symbolizes this theme. The Floatstinger may represent the idea of transformation, much like how part of Alessa's soul became Cheryl Mason, or how the town transitions between the Otherworld and Fog World.
Anyways, The ancient gods Sylvian, Rher, the God of the Depths, and All-Mer have left skin of themselves behind. With a recurring theme of shedding skin associated with metamorphic ascension in this game, Grogoroth stands out as the sole practitioner. Based on how The Girl underwent a metamorphosis during the battle, it seems that to manifest the identity and form of an archon, a human is necessary to act as a cocoon. Therefore, the gods I mentioned earlier are essentially Grogoroth's cast-off skins, derived from humans, enabling him to alter his form. They never perished; they're essentially one entity, masking as a human.
Adding to Rher, Since I pointed out that Grogoroth is Samael “The Blind God” from the image above, Samael is a Fallen Angel of Death, and as I have stated that Grogoroth is Rher, that could be the reason why Rher transforms into an Ophanim in his battle because he’s a fallen angel “They are dubbed as “many eyed ones”, “The thrones”: known as 'ophanim' (offanim) and 'galgallin', are creatures that function as the actual chariots of God driven by the cherubs”. Since Grogoroth is Rher, this could explain the statement "he is a curious kind, more so than many of the other older gods." This is because curiosity involves a keen interest in the surrounding world, meaning he obsessively desires to pry right through everything, hence Rher having the ability of Mind Read, especially Ophanims are angels of knowledge. Grogoroth being a Fallen Ophanim explains why he has so many eyes in his battle sprite.
I think the idea of Vinushka is to be "Yahweh," who was called the god of storms, since Vinushka’s symbol looks like a tropical storm. Yahweh is believed to have evolved into Jesus Christ, who is referred to as All-Mer in this game. The Sulfur God represents the concept of Yahweh being evil:
From at least 200 BCE onwards a tradition developed in the Graeco-Egyptian Ptolemaic Kingdom which identified Yahweh, the god of the Jews, with the Egyptian god Seth.[17] Following the Assyrian conquest of Egypt in the 7th century BCE, Seth was seen as an evil deity by the Egyptians and not commonly worshipped, in large part due to his role as the god of foreigners.[18] Seth's appearance was thought of as resembling a man with a donkey's head.[19] The Greek practice of interpretatio graeca, ascribing the gods of another people's pantheon to corresponding ones in one's own, had been adopted by the Egyptians after their Hellenisation; during the process of which they had identified Seth with Typhon, a snake-monster, which roars like a lion.[20]
Other than that the indication of Sulfur God being All-Mer was just an entire Ghost reference to their Year Zero song:
Belial, Behemoth, Beelzebub
Asmodeus, Satanas, Lucifer
Belial, Behemoth, Beelzebub
Asmodeus, Satanas, Lucifer
Since dawn of time the fate of man is that of lice
Equal as parasites and moving without eyes
A day of reckoning when penance is to burn
Count down together now and say the words that you learn
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan, Archangelo
Hell Satan, welcome year zero
Belial, Behemoth, Beelzebub
Asmodeus, Satanas, Lucifer
Crestfallen kings and queens comforting in their faith
Unbeknownst to them is the presence of the wraith
Since fate of man is equal to the fate of lice
As new dawn rises you shalt recognize
Now behold the Lord
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan
He will tremble the nations
Kingdoms to fall one by one
Victim to fall for temptations
A daughter to fall for a son
The ancient serpent deceiver
To masses standing in awe
(To masses standing in awe)
He will ascend to the heavens
Above the stars of God
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan, Archangelo
Hell Satan, welcome year zero
Hell Satan
Samarie is kept in the ninth circle, and I think Grogoroth's appearance was inspired by Dante’s Inferno description of Satan at the ninth circle:
Since Sulfur God is equivalent to Satan in Fear and Hunger, this is another indication that Grogoroth was just Sulfur God. I mean it's called the ninth circle, that’s basically where Satan is.
Perhaps, the God of the Depths is a reference to The masculine aspect of God is Depth, also called Ineffable and First Father. Depth is the profoundly incomprehensible, all-encompassing aspect of the deity. He is essentially passive, yet when moved to action by his feminine Thought, he gives the universe form. Meanwhile, The Girl is The feminine aspect of the deity is called Silence, Grace and Thought. Silence is God's primordial state of tranquillity and self-awareness She is also the active creative Thought that makes all subsequent states of being (or "Aeons") substantial.
The giant statue of All-Mer in Prehevil facial features resembles the statue of Priapus in Pompeii, the god of the phallus, who is said to be worshipped alongside swarms of bees; this could explain the existence of The Beekeeper Dude. Additionally, his hair looks like Abraxas's hair in a human-like form. Due to the connection of a fertility god and being Abraxas, I believe the real identity of this All-Mer is another one of Abraxas’s identities, namely Saklas, the archon of fornication, whom I believe is Sylvian. In addition, I compared Baphomet to Sylvian in the image above, because Sylvian embodies the aspect of being both male and female, which symbolically represents the equilibrium of opposites, which is similar to the concept of “God” in Silent Hill. In Silent Hill, "God" is named Samael but is often referred to as "Her”, it rings a similar vein when Pocketcat asks you who “She” is:
“Say old sport... the one who dreams all this... The dreamer buried deep underground. Which type do you think she is?”
Again, Samael is Grogoroth in Fear and Hunger, because Samael is called “The Blind God,” and Grogoroth is the only god who wears a blindfold. Silent Hill’s Samael is symbolised as Baphomet, both male and female, embodying duality, which Grogoroth also represents, symbolized by a hermaphrodite hanging on his body. When you answer Pocketcat's question about what type “She” is as the extroverted type, he thinks the sentiment applies as well, since I referred to Grogoroth as Abraxas, the god of the fullness and transformation of life, which matches Pocketcat’s description of extroverted artists:
“Artists fall into two categories. There are the ones who see something taking place in the world. Maybe it's wrongdoings of their fellow pedestrians, maybe its abuse of power by those sitting on top of the pyramid scheme... Whatever it is, it feeds their inspiration and creativity and they desperately want put their own spin on it. It must be very spontaneous I imagine. Painting a picture in an inspired frenzy or composing a piece of music that beats in sync with the world. I call these people extroverted artists.”
On the other hand, Abraxas is also Yaldabaoth, the god of the unconscious mind, the shadow of ourselves, the embodiment of one’s fear and hunger, which explains why Pocketcat also agrees that “She” is an introverted type:
“Then there are the other half of poor sods. The ones who dwell in their own thoughts and insight. They want to paint a picture of their inner world. Maybe in hopes that someone else would understand them a little better... Or maybe to connect with the few like minded individuals? Maybe these artists would want to depict the picture of times as well? But only if the event taking place would strike a chord with the monolouge they are having with the world. I call these people introverted artists.”
Additionally, Grogoroth, much like a caterpillar uses a cocoon to transform into a moth, utilizes human experiences, emotions, and perceptions to undergo metamorphosis:
“Now that I think about it... There might be a third kind as well. My favourite kind actually. Authors who don't even have a clear picture in mind when they start their creative process. They let the story right itself, let the brush strokes dictate the direction of the story instead of trying to force their own will on it. Such chaotic process can lead to unexplored directions. Inspiration can be a creative process, don't you think?”
Grogoroth inhabits the bodies and skins of men and women alike to change form, as humans serve as the medium through which God changes. Therefore being the third type.
Since everything written about here is about trying to learn what Samarie is, it’s made to answer two main questions:
Why is Samarie alive in Marina Ending B? She’s a fully developed Uterus doll kept at the ninth circle. Naturally gifted children were used to create them.
Why is Samarie really connected to Marina? Grogoroth, using Marina as a cocoon, exerts a profound influence on Samarie, who is deeply connected to him. This connection is evident in Samarie’s speech, as if she’s within a cocoon. As Grogoroth is Yaldabaoth, the god of the unconscious mind, this resulted to Samarie absorbing Marina’s fears and desires, which have twisted her into a disturbing stalker.
The rest is mostly yapping to support the main yap of the focus, Samarie.
We can disregard the rest of the parts but let Samarie being a Uterus doll and Marina being like Claudia Wolf remain. Surprisingly, Marina is the one who is alike to Claudia Wolf, despite being portrayed with a personality similar to Heather Mason. Being based on Claudia Wolf explains her actual relationship with her father, because Marina’s daddy issues was just taken from Claudia’s entire daddy issues lore. My speculation is since she's based on Claudia Wolf, her moonscorched form as a "Cocoon" reflects her desire to rebirth "God" herself, just like Claudia, and her Changeling soul shares symbolism being disabled with Claudia's name meaning “crippled”.
Meanwhile Samarie has been portrayed as Stanley Coleman, a guy who stalked Heather Mason:
I'm sorry I wasn't able to respond to your love.
It's all over.
Leonard despises me — because I made fun of it, saying it would come to this.
If it weren't for his meddling, I would have been able to meet you in just a little while.
Then I could have taken you to my world.
A world for us alone, more beautiful than this one.
And I had been waiting for this day, for today. The day I'd see you, the day you'd save me.
Today.
Heather, watch out for him.
Leonard is no ordinary guy.
Farewell. I loved you.
Heather, my goddess.
Heather, my lover.
Heather, my
Along with the mixture of being Claudia Wolf, due to this line:
"When did you stop believing in God? God lives! Just look around you!”
Combining the 2 lines would make this line Samarie says:
“Kaka! W-what do you mean? Why are you playing this role? Can't you see!? Look at the darkness! Look at the darkness that hangs above! It’s a world created just for us! This world won't judge us! We can be one! Y-you just have to see what it has to offer! We can craft our own world. It can be just how you like! We can't waste this opportunity!”
Adding to Samarie being potrayed to be like Claudia as well, is how Claudia’s appearance is similar to Samarie:
Like, Samarie looks like a Goth version of Claudia Wolf, with black hair that has front bangs and black eyes:
But despite all that, this isn’t who Samarie truly is. As mentioned, Samarie in her moonscorched form, "Dysmorphia," inflicts teratophobia, the meaning of teratophobia is only half-revealed, making it deceptive. And her appearance as "Dysmorphia" closely resembles the Uterus Doll, implying her as the fully developed version of it. And she has a lot of symbolism tying her similarities to Alessa as “Mother of God”.
Then there’s that way she speaks again:
"I'm no one... Just a lonely caterpillar waiting to shed her skin..."
“Like a moth! I'm finally close to bloom!
“A hairy moth in the night!”
Moths, unlike butterflies, use cocoons—an outer protective covering to nurture their growth. Marina’s moonscorched form is called "Cocoon," which suggests that Samarie isn’t only like Alessa; she also shares similarities with Maria, because she speaks as if she’s within the cocoon, and her symbolism parallels Maria’s as well.
Anyways, I switched Claudia and Alessa’s outfits to Marina and Samarie’s, because it fits in some way:
dededos
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romaincrisis
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