Sebastian can descend the staircase toward his Other only after distancing himself from both the player and his own fear of Beacon. Previously, everything worked against him. The player's memories of The Evil Within forced him back into Union. As well, symbols of his trauma interfered every time he approached his old image. Laura dragged him away when he first tried to touch his Other, and Anima burst through a mirror reflecting his character model from The Evil Within.

His epiphany clears the path, and Sebastian enters the archetype's third phase, praxis. After several failures, he reaches insight and self-knowledge. Now, a trial forces him to apply his new knowledge, preventing further self-harm.

Sebastian identifies his Other as part of himself that was "stuck in STEM." STEM was his side of The Evil Within, the game — the medium for the player/character bond. In the language of the game's metanarrative, the Other is part of the player stuck in him.

Sebastian's Other is a harmful link with the player. It takes the form of his character model from The Evil Within, positioned in the same place in the same room where he prepped for a wired connection to STEM. Sebastian not only returns to the place where he and the player connected, he returns to the self that made contact.

Scenes from The Evil Within, again in a television screen's flat light, flank his Other. They are clearly our memories, not his, with perspectives that only the player perceived. (See the top and bottom banners on this page for examples.) Sebastian never saw the top-down shot of his police cruiser; he never heard Kidman whisper "It's my fault" close-up. Our view — a third-person, cinematic camera — saw more than any one character in the game could.

Even though his Other represents the player's contact from The Evil Within, it is, nonetheless, part of him. He faces his trial when he listens to his own self-defeating catechism: "It's all my fault. Can't move on." Words of self-incrimination have power, regardless of their truth, and he has believed these for years.

The Evil Within built much of its player/character relationship on Sebastian's weakness — a weakness that he came to believe. His declaration of weakness snaps him back into his subordinate, dependent role. The player's memories force their way back into his head, but Sebastian refuses to believe in his weakness. He passes his trial.

He destroys his dependency on the player by shooting his Other in the head. The point of contact dissolves. He douses a fire, and with that lost heat goes our memories' light.