You're not on your own. The RPG mechanics are falling short of the mark, imo. But, it also occurs to me that we are being treated much the same as the mortals are by the daemons, and they, in turn, by their own father, (i.e. if Mortimer is to be believed.) We are not being given choice; we are being given the illusion of choice.
I seem to be holding everything in my head for now but it's getting harder with each new episode. I really should have kept notes for each of my six save games, as I'm starting to have trouble remembering what happened in each, especially in the case of the three saves that hybridised Louis' skillsets.
We seem to be being pushed towards two different conclusions. If we lose the scientific shackles and believe for a moment that demonic possession is real, we have some clues that appear to point that direction. If we continue to look towards science for our resolution, there are many hints that what's really going on amounts to time travel. My brain could short circuit over the possibilities. Whenever I'm in the entrance hall, I can't help but wonder what the paintings on the left and right of Rodin's 'Gates of Hell' tell us, if anything. On the left, we have a representation of the blind Oepidus, who killed his father and married his mother. On the right we have a depiction of Saturn devouring his son. If we believe Sarah that Mortimer's abilities are similar to those of Louis, is it such a stretch to believe that, maybe, Sarah wasn't being entirely truthful about her dealings with Mortimer? Those paintings give me pause for thought. (Especially since Saturn is repeated in Louis' bedroom.)
I keep thinking back to the very first choice we made. Do we trust Sarah, or not? It strikes me as strange that someone who has harped on to Louis about keeping logical and open would latch onto the idea that Mortimer is a demon, rather than explore other possibilities. We've been inundated since the start with peculiarities that may, or may not (in the case of red herrings) be clues as to what's going on.
It's all too easy to pass off the things we don't understand as being magical, or having particular religious significance. Many occurances that were deemed magical in the past are now easily explained by science. Science is Mortimer's immunity, so I'd imagine it's safe to say he knows his stuff. Sarah makes no bones about the fact he is more knowledgeable than she is, so it's very possible that what she perceives as demonic possession, given a little more knowledge, might be viewed as something else entirely.
Sarah also gave us an indication that she believes Louis' 'power' is still in its infancy, that it has not fully matured yet. We also found out that she's been giving him a concoction that limits his power. I can't help but wonder if there's a familial relation between Mortimer and Louis, given that Louis exhibits the same power that Sarah believes Mortimer to have. And then there's the kidnap of Mortimer's son. And the sheer amount of books such as the Chronicles of Amber, Al Asif, even the book in the libary she forbade Louis to read which just happens to be ridiculously anachronistic also, that point towards the ability to 'travel' in space and time. Maybe we're looking at the links of chains which will come together to form two very different narrative conclusions depending on which iteration of Louis we've leant towards.
It isn't that Sarah doesn't recognise him... she simply doesn't trust that it's him due to her belief in demonic possession. Any time we've been witness to Louis projecting into somone else's body, he's been totally cognisant of that fact. Does make me wonder what effect the meds Sarah gave him to suppress his ability have. If he was hazy enough to not be able to project, he might just have been hazy enough to forget a face.
@helveticaes I get were you are coming from but (if any great deal of thought has been put into this by the devs) I don't think we can look at this one piece in isolation. There are many paintings and statues that are anachronistic, break from classical mythology, and are repeated in various locations throughout the mansion.
The repeats might well be nothing more than the devs having to reuse assets. We see it all the time, even in AAA games, and the fiscal situation of independent studios make this possibility very likely. Doing so would be much more noticeable because of how familiar we players become with our surroundings given the relative square footage of the gameplay area. Of course, devs shouldn't be surprised that we're considering things like this. The decor in the rooms seems purposeful on the part of Mortimer. Louis has commented on this more than once.
While you've been fixating on Adam, I've been doing the same with the Three Shades by Rodin. It caught my eye in three different places; the largest version in the secret treasure room behind the fireplace, a little one in Emily's room, and the one that really kicked my imagination up a gear sits atop the lintel above the front door. Rodin designed this piece, along with the Thinker (which coincidently can also been seen in various places including Emily's and the treasure room) for his 'Gates of Hell,' styled on Dante's take on them. These are totally anachronistic. Rodin was only born around 50 years after our story takes place.
I don't know about you, but when I entered the mansion, the first thing that caught my eye was the enormity of the statue above the fireplace. Knowing of Mortimer's penchant for messing with his guests' heads, such as the lubricious paintings in Piaggi's room, and the paintings of Circe that scream 'Don't trust your host!' I can't help wonder if it was made to distract the guests so that they didn't realise that they'd just walked through the Gates of Hell.