In Realms of the Haunting, we come across various Masks, both as physical objects and as symbolical elements in Paintings. In the Entrance Hall of the Mansion, there's a painting of Florentine as he's holding a black-and-white-coloured mask, potentially symbolizing his personal dichotomy and affinity for assuming different personalities, such as his alias Elias Camber, under which he approaches Adam for the first time.

In general, Masks aid its wearer in taking on an alternate persona other than their own character. Apart from their theatrical use, they also serve as a form of disguise, allowing its wearer to hide their true identity and to operate secretly.

Egyptian Masks Edit


The two Egyptian Masks which Adam receives from the Gnarl after affirming that he trusts in time serve as the devices of passage to enter the Tower. As they are part of the magic of the Tower, they do not exist within the place but do return to their owner's possession upon entering one of the other Realms.

Their design appears to be inspired by the headdress of ancient Egyptian pharaos, the so-called Nemes. The well-known Mask of Tutankhamun' mummy, for instance, may have served as the direct model in creating the physical props for Realms of the Haunting, which can be seen in the Eye of the Beast cutscene when Adam successfully returns from the Gnarl. Apart from the similar gold and blue stripe design, the Egyptian Masks also feature the same Uraeus ornamentation on top of the headgear. The Uraeus (Greek οὐραῖος, ouraîos, "on its tail"; from Egyptian jʿr.t (iaret), "rearing cobra") is a stylized, up-right form of an Egyptian cobra that in ancient times, used to symbolize sovereignty, royalty, deity, and divine authority.

Masks in the StudyEdit


Inside the Study, hung up on the wall in between the bookcases there's a large painting of Florentine, depicting his Journal and a blue shield with a white star. Below the picture, there's a set of three Masks that can be picked up, but don't appear to serve any practical purpose. Their raison-d'être may be of a more symbolic quality, adding to the narrative aspects of the game. As such, their placement below the painting of Florentine is likely no coincidence, considering the various personae that Florentine has a predilection for using (Elias Camber, Abaddon). Discussing the items with Rebecca, she will explicate how masks "were originally worn to create a different personality. In some cultures it is believed that the wearing of masks for any purpose should be considered carefully, in case the wearer should turn into the personification of the actual mask."

Japanese Mask Edit


A Mask such as that depicted on the left are performance elements in the traditional Noh theatre and are usually worn by the main actor (shite) alone. They are used to portray female or nonhuman (divine, demonic, or animal) characters, but also to represent youngsters or old men.
Several types of masks, in particular those for female roles, are designed so that slight adjustments in the position of the head can express a number of emotions such as fear or sadness due to the variance in lighting and the angle shown towards the audience. With some of the more extravagant masks for deities and monsters, however, it is not always possible to convey emotion. Usually, however, these characters are not frequently called to change emotional expression during the course of the scene, or show emotion through larger body language.

Voodoo Mask Edit


A wooden Voodoo Mask can be found inside the Mansion's Study, along with a theatrical Porcelain Mask and a Japanese Noh Mask.

Rebecca: God. These things give me nightmares.

Porcelain Mask Edit


A Theatrical Mask made from porcelain can be found inside the Mansion's Study, along with a Japanese Noh Mask and an indigenous Voodoo Mask..


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