sleepysloth99

[sleepysloth99]

Posting my Silent Hill 2 OC

Content warnings: SA mentioned, terminally ill loved one, emotional abuse, mental abuse, internalized homophobia, mental illness, suicide mentioned, sexuality mentioned but not nsfw, emotional incest/parentification (this oc is just venting😭)

Sorry it sucks, I'm no artist. Her name is Juda Toda and she's 18 years old. Here is the info:

Character Background:

Freshly cut hair and just graduated high school, Juda took a bus out of town to meet some friends for a weekend getaway in Silent Hill before college. But when a cold rain storm rolls in, bonfires and awkward small talk get waylaid.

Personality:

Empathetic

Stubborn

Mature/Adultified

Bubbly

Gloomy

Friendly

Distant

Outgoing

Self-aware

Intelligent

Cautious

Weapons & Skills:

Hand-to-hand combat-She has been a kickboxer since she was 14 and could deal some damage.

Slingshot-Carrying rocks will provide ammo, but weigh her down and make some noise. Good for long range.

Foldable knife-Good for close range, but dull.

Analysis-Frequently analyzes surroundings, situations, dynamics, and symbols, making her a smart person to have on a team as she comes up with out of the box solutions or ideas.

Inventory:

Earbuds-Juda has ADHD and Generalized Anxiety Disorder. She found that looping certain songs calm her down when she is anxious, overstimulated, or upset as long as the song has a repetitive structure, constant instrument in the background, and harmonized or softly sang. This is why her soundtrack tracks that loop during scenes when she's distressed.

Pen & Book-As the story progresses, her journal will be updated. Haikus and diary entries are used to convey her thoughts or emotions. Her pen is a fine needlepoint.

Foldable knife-Inherited from her late grandfather..... they were close.

Condoms-Gifted to her by a friend as a prank to "commemorate your womanhood" and with the hopes of Juda "scoring."

Relationships:

James: She met him at an intersection, and the two teamed up. While she does find him attractive, she never acts on it as she is well aware of how unethical and inappropriate it would be. The two relate to each other due to the mutual trauma of a terminally ill loved one. James with Mary and Juda with her grandpa. She doesn't trust him a lot since he's a much older man alone with her, but she figured she has no other choice. Juda is more than willing to attack if he were to try anything. She never truly rests when he is around. Juda eventually concludes that the two aren't so different, including with their shame towards their sexuality. When she finds out the truth, she condemns him for murdering Mary and distances herself with the suggestion that he turns himself in.

Angela: The two had a few encounters together and could relate to each other on a surface level. Both are victims of sexual assault except Juda's case was a girl slightly older than her as a child. By the time Juda met James a second time, Angela was gone.

Eddie: Acquaintances who met a few times, but Juda kept her distance since he "seemed off."

Maria: Initially, Juda didn't see her and thought James was either Schizophrenic or on drugs when he talked about Maria or talked to her in front of Juda. But then she saw the woman after entering Heaven's Night. Juda is flustered and attracted to Maria but wary. Over time, she warms up and starts to sympathize with Maria as she realizes Maria symbolizes her femininity, desires to embrace it, internalized misogny from long ago, and internalized homophobia.

Laura: Juda tries time and time again to take Laura under her wing to guide her or provide some sort of mother figure. These attempts are fruitless as Laura frequently insults her or runs away. Regardless, Juda tries and even offers to take Laura to the bus that took her to the town.

Gajida (OC): This is her father, and they are complicated. Juda loves him and vice versa, but Gajida has proven time and time again to be a poor parent. He expresses most of his love through emotional manipulation in fear of his favorite child leaving him. He hates to be alone and blurred the lines between a parental relationship and spousification. He is deeply stubborn and in denial of inflicting trauma onto Juda. He adultified her, making her care for her grandparents while he pushed them away. Juda resented him the day he laughed at her input as a child to treat his parents better because "you don't know what you have until it's gone." Her resentment grew over the years as grandpa grew sicker, and grandma grew more depressed while Gajida didn't step up. Eventually, his wife (her stepmom) pushed Juda out of the family by demonizing her mental illness and weaponizing her brothers while her father enabled her and didn't stick up for Juda. This deeply hurt Juda and made her suicidal with her attempting it at 14 years old due to her father's emotional abuse and her stepmom's influence. The two run into each other in Silent Hill, and it's up to the two to leave together and grow or go separate ways.... even if Juda has to cut ties. Gajida could see Maria, too, as she symbolizes his lust and infidelity.

Endings:

Sang Bu Sang Jo (To Give and Take)-To get this ending, Juda and Gajida must interact frequently, Gajida has to listen to James's intervention, contribute to solving puzzles, and James dies. Gajida has to read the locked books in the library as they are all actual things written by Juda in the past, he has to let Juda run away from the monster without him, he has to talk Juda with empathy, and lastly, take the therapist's and lawyer's phone numbers. The two will leave together with the promise of Gajida taking accountability for his actions and getting therapy with Gajida considering divorce. This is the true ending.

Ju Go Bat Da (To Give and Receive)-To get this ending, James must be ignored by Gajida or not intervene during their run-in, Gajida must not contribute, he has to read only the letters Juda wrote to him on his birthday and Father's Day, he has to stop Juda from running away, he has to ignore, dismiss, deny, or yell at Juda when she expresses concerns, and he has to leave without the lawyer and therapist's information. From there, the two leave together with Juda quietly sitting and Gajida feeling happy but not satisfied. This is the second worst ending for Juda.

Bajo El Cielo (Out Beneath The Sky)-To get this, James has to intervene Gajida and either be abandoned or he dies, Juda has to interact with Gajida as little as possible, actively shut him down during fights, lock Gajida in the cell and toss the key in the corner, must defeat her Mistress Mass Monster single-handedly, come to terms with her sexuality in Heaven's Night by staring at the posters and films, and keep to herself by limiting interactions with Eddie, Angela, and Gajida, but interact frequently with Maria, Laura, and James. Maria is the most important person for this ending. This is the best ending for Juda without her father.

¿Ahora qué? (What Now?)-To get this ending, Juda has to stay with James after finding out the truth, she has to shout at Laura to scare her away, she has to lock her father and throw the key far from his grasp, she has to deny Maria's existence. In the end, she will leave with James expressing remorse and will take a bus only to come back to Silent Hill. This is the worst possible ending for Juda.

Trivia (This could be updated at any given time(

Juda is mixed with Korean and Puerto Rican. Her name translated means "Give All."

Gajida's name translated means "Take" and the last name "Toda" means "all." The two's names together would literally mean: "Give All, Take All."

[sleepysloth99]

OMGGGGGG A LITERAL CROSSOVER THAT REMINDED ME OF MY CHILDHOOD ABSBSB

sigo sin saber como funcionan los hashtags en esta pagina asquerosa. El primer divujo era un regalito q le hice a mi amijo @skretnica2 pq le gusta ese juego de bully, y me vi el lore y la neta si esta largo zzzzzz xdd

[sleepysloth99]

Finally!!!! Cornelius appreciation!!!!!!

Cornelius squints when he has his glasses off and it earns him some much needed aura🔥🔥 it all depletes as soon as they’re put back on though

[sleepysloth99]

hiii! are you currently writing any requests?

You can totally request! But pls note that I have like... 10 requests to get thru

[sleepysloth99]

I hope you know that this is my favorite post on Tumblr.

Let her be happy!

[sleepysloth99]

OHHHH THIS IS SO CUTE AND THE FACT THAT KIRBY AND TRENT ARE CANON?!?!

here's a lil thing i made cuz i love this boys

[sleepysloth99]

Me and who?

for labmousy

[sleepysloth99]

This entire thread is the reason why I sometimes love Tumblr.

[sleepysloth99]

He looks so cute! Who's the candy for? My money's on Zoe!

Pookies I finished drawing 😜😜😜

So late merry christmas everyone xoxo

(I got lazy again so clothes are shit.)

[sleepysloth99]

PEANUT IS CUTE AS A GUY AND A GIRL! AND SO ARE JOHNNY AND LOLA!

get rule 63d fucking loser

[sleepysloth99]

I NEED MORE CCE CHARACTER ANALYSIS SO I CAN PSYCHOANALYZE THE MEDIA I HYPERFIXATE ON!!!

soo hi everyone!! i'm back on my bully essay/meta/something writing!! sort of. i did this.

anyways anyone who's been on this page for some time know how from time to time i have insistently mentioned the parallels between lola and peanut, right?

welp! that was a joke but the time has finally come!! a super-pretentious essay just for the fun of it!! (and also bc i haven't been writing actually argumentative texts in like months perhaps a year, so. yikes, i really need to practice again)

word count: 2.2k WOAH. IM SORRY

i, in my corner, with my monstrous needs. — susan sontag, as consciousness is harnessed to flesh

take this quote both as a title and an anticipation of what is to come. the essay will be distributed analyzing first the dependence of each of them on johnny, to then draw comparisons. i'll make sure to steer as away from headcanons as possible, sticking closely to the source text. obviously, some things' interpretation might be ambiguous, but, you know. your usual occupation hazard.

also, a disclaimer before we start: while they are psychologically complex and there is always a mimetic intention in developing them, these are fictional characters, and, as such, their primary function is to be vessels for different themes, questions and so forth. therefore, i will prioritize meaning and themes over moral implications and similar elements.

i. peanut

for how much i can adore talking about him, the way peanut depends on johnny is very much on the nose; worn on his sleeve, even. in 11:11 minutes of voice lines, he mentions johnny 30 times.

many interpret this as the caricature of a boy crush, but i have reasons to believe it is much less cute than that.

the problem is that, really, more than trying to identify specific situations... peanut seems to rely on johnny for a significant part of what he does. when he does good at dodgeball:

Look at me, Johnny, look at me!

almost like a child calling for his parent's attention to be praised. he calls johnny's name when he's going through hardships, when he's scared or when he's sad.

more than someone he just loves, johnny is a point of reference. whenever there's something going on, whenever he does or has to do something, his first thought goes to johnny; vice versa, what johnny asks of him is his priority.

I gotta tell Johnny! No time. I gotta see Johnny now. Gotta help Johnny. What can I do next to please Johnny? I mean Lola! I mean…

(this also goes in a "negative" direction, envy being the other side of the medal to adoration. especially because, in some way, this reliance on johnny might be felt by him as emasculating, and, being johnny his model of masculinity, adding it to the napoleon complex thing, it's not hard to guess why it can be so unpleasant. we can see this manifest through some of the things he expresses in regards to lola- not as much an interest he has towards her, but the interest he wishes to have from her- which are a bit more different than it might seem at a first glance. but this is a mouseketool we'll need later. still:

Last time I saw her, Lola made eyes at me, not Johnny!

do we really need this part? heh. i'm not sure, but it's always good to point out)

(also, just because, for the purpose of this analysis, it might be useful to specify: while these sentiments are very much implied in peanut's canon quotes, we have no evidence in canon in what measure they are reciprocated by johnny. the fandom has universally agreed that johnny also views peanut as his Best Friend In The World; while in some measure, they must be at least a bit close, i think it is even safe to say, given the caricaturist nature of bully's characterizations, that johnny holds peanut in less consideration that peanut deludes himself into believing. quoting another post of mine, the kids who show some level of obsession towards their leader mention him on average ten or less times (gord mentions derby eight times, parker six times, kirby mentions ted five times). the leaders don't usually make names at all, that much is true; however, peanut mentions johnny 30 times, and, even in front of this proportion, johnny mentions peanut 0 times. just to make that clear)

overall, what undeniably shines through his voice lines is a feeling of general inadequacy, whether about his height, or his strength in front of a bigger adversary. the audios in which he tries to show off range from being disingenuous, to straight up improbable.

crossing what we have until now said, it is not hard to come to the conclusion that he really tries to make up, to fill this empty feeling of inadequacy by taking pride in his role as johnny's second in command.

while i am a big fan of bully's characteristic of having left much content out of the main game, leaving the gamers to dig it up for themselves, i do believe that scrapping some of the stuff that was prepared for peanut is a loss. we have a number of voice lines coming from chapter 3, in which it was heavily implied how important peanut's role as johnny's right hand man was.

for example, much like... all other seconds in command, really, he was to be followed and then fought in the rumble, before you could get to johnny, with the specific duty to cover his back. even his very first scene, the opening cutscene of chapter 3, i believe, is not to be underestimated. most of the other people, as far as i recall, call you when they need it in person; johnny, however, sends peanut. making him, de facto, an extension of himself, almost.

again, you choose the motivation. what is important, from a narrative point of view, is that peanut clings to johnny through these acts of service, almost making it the foundation of his personhood.

basically, he makes it so that, if he can't be of help to johnny, his whole self is fundamentally annihilated, giving himself completely to johnny.

ii. lola

with lola, reading between the lines gets a bit more difficult; first of all, because lola is much less transparent than peanut, her insincerity being a supporting beam of the whole chapter 3. secondly, whether she was done dirty by the creators or not, it is undoubted that being the perspective that of a teenage boy (namely, jimmy, but we certainly, as viewers, are brought to sympathize more with johnny than with lola) with all the prejudices it can bring with itself.

however, it doesn't mean that there isn't anything to work with- quite the contrary, actually. the issue with lola is that there is a certain amount of layers to get through before gaining a satisfying perception of her as a character. still, we're here to try our best, aren't we!

even behind the muddiness of her intentions and the manipulation she shows herself a master at, it is clear from the second we first meet her that what she does is in function of johnny.

to get through this mess with order, we'll start from an easy, measurable numeric information: lola mentions johnny in her audio files 19 times. which, we're assessed, IS a considerable amount.

we have extensively talked about the way her cheating patterns are a strategy not to succumb to the passive role of the girl in the heteronormative, patriarchal prototypical couple (there's a post here breaking down a lot of this stuff, if any of you is interested!!), so, instead of this, i want to focus on what lies beneath that behavior.

ultimately, the whole point is that lola expects and wants johnny to fight for her. whether is it because she feels taken for granted, or just because he can't perceive it if not through grandiose gestures like the rumble- your interpretation will work; she wants to see johnny fighting nail and teeth not to lose her, she wants him to show her that he wants her.

she's all about that attention, and she knows exactly what and how to do to get it. and i think this is especially clear when you compare the moments in which she knows there's no advantage she could go for; when she has understood that jimmy won't fall for her manipulation, when algie and chad leave her unsatisfied, when norton openly accuses her and antagonizes her - she loses her temper, lets go of that sweetened and/or flirtatious voice tone, abandons that specific kind of gesturing. she doesn't care anymore about obtaining something. she was actually angry, and she was actually upset that johnny had disappeared.

in some of her audios, she references johnny with some amount of fondness, as well:

Johnny and I were on the best date ever.

(there is also a voice line in which she says "He told me he likes me because of my personality. Isn't that sweet?"; due to it being a general chatter and not exclusive to one chapter, i assume it is relatively safe to assume she is quoting johnny. however, as i said at the beginning, we're trying to stay as close to canon material as possible, so, do your thing- and i'm open to arguments!!)

a considerable amount of audio files, however (which will lead us to our final point) is about her... calling for help for johnny, or stating, confidently, that he will come save her, or avenge her later.

Someone get Johnny! Johnny's gonna get you for this. Johnny is gonna kill you!

but wait... i have some sense of déjà vu...

You're gonna be sorry when Johnny finds out!

iii. two faces of the same medal

if i had to pick an effective image for a metaphor, i'd say that the thing about lola and peanut is that they are both dogs looking for someone to take their leash; we’re talking here about an exclusive relationship with someone they can rely totally on, someone we’ll call the Other (with a capital o, distinguished from just other. yes it is unnecessarily complicated i’m sorry).

for what my professor would call accidents of history, it happened that both of them found that Other in johnny.

each of them attempts at creating an exclusive relationship with the Other, one foolproof and fundamentally… perfect. perfect in the way that everything works like oiled gears, in the way that every next move is predictable, in the way that any accident will not break the created equilibrium. (even if, in the general sense of the term, lola and johnny's relationship is everything but perfect, it is in the connotation that we have established here. lola is aware that, no matter what she does, johnny will come back around. hell, the very thing that she does is aimed at keeping that balance; specifically, keeping him a bit on the edge, pushing him into a corner where he has to actively make an effort to keep her close.)

they both hide something they are ashamed of, regulating not only their actions and reactions but their very way of existing in the world, in order to keep that gear working, in order to remain in johnny's hand. lola hides that craving for a genuine and stable affection, dissimulating it with the cheating and the fatuous physical demonstrations of closeness; peanut hides his sense of inadequacy and complex of inferiority, by being the tough and reliable second in command.

basically, what they mean to achieve is a sense of security, the safety of not really being the one to lead but, at the same time, finding a purpose, other than a shield from the outside world that they are not willing to concede themselves to. like a... symbiotic relationship?? i was going to say parasitic, but, yknow. the Other does get some advantages, which are, respectively, peanut's acts of service and lola's capacity to boost johnny's pride.

now, of course, johnny is not aware of either of their play. which makes it even better, since, as we already said, both of their approach to the relationship needs some degree of insincerity.

like, i don't deny that johnny might be a good friend, or a loyal one. but he is an oblivious, prideful fuck who can't see past his own nose; he's got a tendency to make it all about himself - which of course goes perfectly with what we said about both peanut and lola making the Other their center, taking up, in a certain way, a passive role in the relationship.

this way, both of them aim at creating with johnny a relationship that is, in a way, codependant and conditional, in which the do ut des (their respective "service" ↔ johnny's guarantee of stability) creates the foundation of the very relationship.

this, of course, brings up the problem of exclusivity; on which, however, i prefer not to delve into too much, as this would bring us to the topic of their antagonism which... isn't really what i wanted to go for, at least not here. (it would risk bringing us a bit too close to my subjective interpretation and too far away from the canon, which i PROMISED i wouldn't do. however, someday i might elaborate on that??? idk , please do lmk if someone's interested around here)

i will, however, show you a diagram (it looks like a triangle- i guess it is, but it is VERY important that it is a pyramid, with a top and a larger foundation) and a quote, to wrap this up bc i think it is already WAY too long and ramble-y lmao. let me know what you think anyway, my ask box is always open <3

it almost feels like a joke to play out a part when you are not the starring role in someone else's heart you know i'd rather walk alone (i'd rather walk alone) than play a supporting role if i can't get the starring role -- starring role, marina and the diamonds

[sleepysloth99]

Yo this is making me rethink everything. I caught myself on a bit of a bias because I initially didn't like Lola, and then I'm like "Hold tf up? You hate Lola for being manipulative to Johnny but then you like Derby and favor Gary??? Gary literally caused a riot and attempted murder?" It's something I noticed in the cce fandom of ppl hating Lola and then favoring Derby or Gary like what???? The double standard is showing. But oh my god! Your headcanons are so in-character that my brain genuinely thought this was canon. Like snsnsn I could psychoanalyze her and cook so hard with this istg.

Tldr: I really, really love this. Best cce headcanon yet.

so uuuh. some headcanons abt lola because we can never have enough of them

everything she knows about womanhood and love, she learned from her mother.

her father is violent and imposing, very proud and convinced about "being one of the last real men"

her mother often reminds lola of how beautiful she was when she was younger, before he got married and gave birth

(see lola's voiceline "i'm so old, my life is almost over!")

she also learnt from her mother that love means it doesn't matter how bad they treat you, you have to stay

but she also learnt that being in a relationship will always be about a man dictating a woman's life and having all the power over her, which. she didn't like one bit

especially when she reached high school (she wasn't at bullworth in her freshman year) and she saw some of her girl schoolmates

so, since she also knew for sure that men always want one thing from women (do we really need to say what that thing is?), she used the only power she thought women really have to gain control of her surroundings, as long as she is still young and beautiful enough

on one side, she adores the way johnny adores her, puts her on a pedestal, takes care of her in wall they ways she can't of herself

and sometimes it's also cute that he hits and fights any other guy who goes as far as laying his eyes on her one second too long

but she hates how he questions her every move and how he wants to know about all of her friends and about where she is all the time - it feels a bit too close to that power dynamic she was trying to avoid the whole time

but at the same time. they can't leave. she is no quitter and neither is johnny. so she tries to grab his attention and let him see - do you see how easily you could lose me? do you see how much i have the power to drive you crazy if i just want to?

very very unhealthy and purposefully destructive if you ask me. but that's what we do around here innit

in general she doesn't trust men. just- no.

there's only one human being who belongs in the masculine area of the gender spectrum whom she trusts from her heart, him being peanut.

i know i mentioned it before, but the way she genuinely cares about him goes beyond comprehension

she does do a couple tricks on him from time to time; after all, she's still lola lombardi. plus peanut is a disaster in love, so making eyes at him only to pretend not knowing what he's talking about later is still amusing

but she really confides him everything. all of her fears and the moments when the emptiness she feels inside grows deeper, those rare times when she really cries; it's peanut that she calls.

they will meet up in the middle of the night just to run around the city together and ease their minds and just. smile a bit you know

the rumor that lefty spreads about her wanting to join a nunnery after high school. she meant it ironically. she just wanted to say that boys are so fucking annoying and oh god i might as well become a nun. SHE WASN'T SERIOUS. but lefty loooves to spread stupid and/or false rumors for the fun of it so she should've expected it

she only really has a good relationship with lefty, who is too chill to question his morals just chatting with someone, and vance, with whom she has a sort of understanding, compatibility you might say

ricky, hal and above everyone else lucky have a deep distrust towards her that, especially for the latter, turn into a more or less visible hostility

not that she cares really. she'll just mirror their attitude towards her or whatever

although she has a special reciprocal resentment with norton, which often turns into an intellectual fight about media analysis

mostly, it's a "she giggles and bats her eyelashes but she's really a devil in disguise" vs "he acts all tough and strong but he's really just a wimp" kind of dislike

she listens to lana del rey (or she would if the time was right. you get what i mean)

(also. electra heart by marina full album.mp3 playing in the background)

she starts studying ancient greek during her senior year

during the summer break galloway suggested her an edition of euripides' tragedies because he saw her so interested when they studied the iliad

at first she was like "thanks sir but no sir, i can choose my books for myself", but then she did check it out

the pipeline from there to repeating the alphabet every day before going to bed is short

(also she dived deeper into greek tragedy and she fell so deeply for clytemnestra)

she's scarily good at putting her makeup on. and by good i mean drawing her eyeliner while standing in a moving bus

i think it's implied in game (johnny's fighting audio “once i'm finished with you i'm gonna go home to lola”) but i'll say it here anyway: lola basically left her childhood home (not that her parents cared particularly) and lives with johnny

she used to go very much along with zoe

she did think she was a bit exaggerating about social issues and kinda mocked her for it, telling her she was her "queer feminist friend or whatever" (her words) but she did have some good times with her

it was heartbreaking when she left, and especially knowing the reason why; it was exactly the demonstration of what she always believed, that this world is naturally hostile to women and girls and justice is never the one on their side

not interested in motors but she loves the 50s aesthetics and fashion. even before she started wearing leather she used to have one of those swing skirts as school uniform

idolizes marilyn monroe and vivian leigh in particular

[sleepysloth99]

This is the best fanart I've ever seen! It's so soft, cute, and the paper effect really gives it that like.... school stationary feel? Idk how to explain it but shshsb I love it.

really wanted to draw some of the girlies so have them + jimmy!!

[sleepysloth99]

This but replace the song with Carmeldansen.

[sleepysloth99]

The hyperfixation brainrot has reached a point for me.....😃

you’ve heard yuki yuki yuki, akari akari akari, etc

now get ready for jimmy jimmy jimmy

(https://soundcloud.com/lanatoba/jimmy-jimmy-jimmy)

[sleepysloth99]

They're so cute. I wanna boil them in chicken stock❤️

burn them with ionizing radiation

[sleepysloth99]

New OC! This one is not based on me like my original one. Please note: This is a piccrew that I customized.

Meet Valentina Jeong Gu. She is a model for Aquaberry and expected to inherit her father's business. Her personality is left blank since she doesn't appear or talk much. Some describe her as existent.

When she is talked to, she is calm, quiet, and awkward compared to her charming, confident persona that she puts on. She is best friends with Tad, and the rest of the preppies, she only stays with because she figures it was a given. As time goes on, she goes from a preppy to a nonclique as she eventually gets sick of the preps and abandons the clique. She shows disdain for the idea of cliques and believe that all they do is create division. She comes from old money, and finds her life to be goldplated. She's surrounded by "friends" who speak in designer with synthetic fibered topics. Everything is all so monotonous and superficial. It's the same gossip, same topics, same meetings, on different days, and all while everyone seems to be a family until someone loses a couple thousand. She finds that the very group of "friends" she has isolated her from everyone else.

(More lore and pics of her under the cut)

Her problem isn't that she doesn't want to inherit her father's business. It's not that she doesn't want to be rich. It's that she doesn't know what she wants. Every day of her life, everything was decided for her. As a child, what she will wear, who she will marry, who she will befriend, what she will do as an adult, and so on. She never had to work for anything. Her grades? Most of them were easy, or paid for. It's so easy being rich that she finds it difficult to be someone apart from wealth. She's money. Money is her. She has no other personality except long legs, shaded eye shadow, designer, a soft voice, and 50,000 for lunch money.

Some things she has said:

"My mommy always told me that life is easier as a pretty girl. Now, that's all I am."

"I don't feel cute. I just feel like a present. I hate the way they look at me when I walk down the runway."

Mandy, Lola, and I.... three girls from three different cliques. But we all have one thing in common: We're all pretty. So we're someone worth caring about.

"Look over here, Valentina! Beautiful, Valentina! That shirt suits you well, Valentina! When will someone say my name and mean it?"

"Give me a smile, princess. Good girl, Valentina!"