#pretty sure it was alyona's death

[erigold13261]

Hello hello I'm in your asks once again lol-

Anyway I'm just curious on how you think Alyona (if she was alive of course) would initially react if she found out that Tatiana had kids of her own (aka Titanium, Sonya, and Rosie) and maybe other members of Tatiana's family finding out about the 3 daughters that are very important to Vinyl City via Titanium ruling in place of Tatiana once she retires, Sonya being the drummer version of Kul Fyra of her own band, and Rosie being the #1 Artist aka the Beloved Idol of Vinyl City.

Of course Matevy (I may have spelled his name wrong-) would not be allowed to be anywhere near the daughters, especially Rosie since she's the youngest and the most impressionable due to her innocent nature. If he even attempts (which I doubt he would) to go near Rosie then everyone would know and Titanium would have to restrain Sonya and her bandmates along with Rosie's boyfriend Azul (who can get pretty dangerous since he is a dragon hybrid-) from jumping Matevy while she has her security escort him out. Poor Rosie would be very confused though-

Also maybe Alyona also meets Olive and they chat and all that, and Olive would be pleased that her and Tatiana's daughters are getting along well with their grandmother. Rosie would always be happy to see her grandma when she comes to visit :3

(meant to answer this earlier woops)

Oh Alyona would be absolutely ecstatic to be a grandmother! Also, if Alyona stayed alive, Matvey have never laid a hand on Tatiana. He definitely would not have been a good father still, but he would not have been physically abusive at least. I would still see Tatiana keeping him away from her kids and family though.

But back to Alyona. She would absolutely be super happy to have grandkids and would spoil them so much! She'd even spoil Olive when her and Tatiana started dating. Maybe she might have been able to change Matvey's mind about some things, but I doubt that.

If your Tatiana is a transwoman like mine is, then Matvey would probably say things behind Alyona's back to Tatiana about having her stop pretending to be a girl since Olive would need a strong man/husband. If your Tatiana is a cis woman though, Matvey would make some lesbiphobic comments about a family not having a father is the worst thing that can happen to kids.

So yeah, no matter what, keep Matvey away from the grandkids. It's not like he would want to be near them anyway. He wouldn't say shit if Alyona was around so at least if the grandkids wanted to meet him for some reason then Alyona would stay by his side the entire time.

Alyona would be very proud of Rosie, Titanium, and Sonya. She probably wouldn't be able to provide them with much in terms of gifts, but you better believe she takes up the stereotype that grandmas never let family go hungry! She'd make all kinds of delicious foods and treats for the kids when she comes to visit of if they visit her! Maybe even making them some clothes or teaching them to control any possible fire powers.

Speaking of powers. I personally have it so the time powers only show up in biologically male individuals, but if one of the 3 daughters have time powers like Tatiana then I can see that being a very rare instance of the time powers going to a girl. This alone would probably make Matvey reconsider some of his world views as he would want to teach his grandkids how to properly manipulate time.

So if Alyona is alive and well, there is a possibility that Matvey actually becomes a better person. Or at the very least a decent/okay person. Still definitely not great, but LEAGUES better than the OG timeline where Alyona has died. I still wouldn't trust him alone with the grandkids as he can still be a huge misogynistic asshole who does not like kids, but at least he isn't beating (or trying to beat) the shit out of children anymore.

But yea! Alyona would be a very positive light in Tatiana's life and with her family!

[tough-bit-of-fluff]

"Self-Reflection on My Self's Reflection or, Do Foxes Tire of Time-Worn Tropes?"

“Pink...everything is...pink. By. The. Twelve. Has all the world….gone pink!?”

Aly flipped her hair out of her face, laughing in her normal voice instead of the overly-theatrical faux-masculine one she had used a moment before. Glancing in the mirror and seeing her attempts at styling were already mussed beyond easy repair, she scrabbled at her hair with both hands, to tease it up into further heights of disordered fluffitude. Pink strands tinged with light blue now stood out in all directions from her head, the points of her long, furry ears barely visible above the mass.

“Okay, Fetch.” She crouched down to address the fox sitting primly on the floor of the small, slightly ramshackle airship, The Four Winds, beside her. “Remember to make a wish, before you blow the seeds off this unusual but strangely alluring pink dandelion, and scatter its seeds alllll across Eorzea.” She pointed at her recently-enfloofened hair, and gestured broadly with an open palm to indicate, no, really, ALL across Eorzea. 

“Just imagine, little me’s sprouting up in every city-state. It’ll be the cutest AND most combat-ready invasive species!” She laughed again, imagining the potential mayhem. “Unless you somehow managed to like. Send out fox-spores or whatever. Then that one wins, hands-down. No one will suspect the lethality and sheer cunning of the adorable fox-weeds until it’s toooo late! All of Eorzea will be within the grasp of your many slender snoots!”

Fetch lifted aforementioned snoot slightly, perhaps to watch a moth fluttering past the hanging lantern, or perhaps to affect a more majestic air befitting a conqueror. Whatever the motivation, the effect was achieved nevertheless.

Alyona grinned wide and tossed Fetch a hearty thumbs-up, before bouncing up out of her crouch, stretching her arms and tail as far as they would go, arching and flexing her back, and then turning to look in the mirror. 

“I know you don’t need my approval, Fetchie, but I need yours,” she said, raking her fingers this way and that in an attempt to tame the fluffy pink mane. “Do you like my hair parted on the left side? Or the right?”

The fox tilted her head in apparent consideration, and then began scratching her left ear with her hind paw.

“Left side, got it! Your advice is invaluable as always.” Aly wasn’t sure where Kail Gerrad, the tough old pirate who was Fetch’s person, had wandered off to, or why the fox was roaming around the airship on her own, but she was glad of what company the oddly attentive animal could provide.

The miqo’te leaned forward to examine her reflection more closely, tongue sticking out of the corner of her mouth as she struggled to open a barrette with a resin paissa affixed to it. Her eyebrows raised in realization, and her mouth opened in a wide grin, showing her fangs.

“Oh! This is that part of the story where the heroine examines herself in the mirror, so the readers can know what she looks like and what is on her mind. It’s a well-worn literary device, Fetch. Some might say TOO well-worn, but you know what? I say it’s a classic for a reason!”

Aly clipped her hair into place and gave an “eh, good enough” shrug at her reflection. “Here’s the important question, Fetch: what IS on my mind?”

The fox paused her scratching to give a huff that sounded almost scornful. “If you don’t know, woman, how on earth am I, a fox, supposed to?” is what it seemed to Aly to convey.

“Ha, fair enough, Fetchie, fair enough,” Aly said, as though replying to an actual statement the fox had made. 

“Well, let’s start with the appearance then! Okay so. I have these big ol’ gray eyes, which are great at noticing things. They’re not shrewd gray eyes, or flinty gray eyes, so that tells you something about the nature of my character. They’re,” she paused to make a series of increasingly bizarre faces in the mirror, furrowing her brow, arching one eyebrow, opening her eyes so wide it looked like they might disengage from the rest of her head. 

“Soft,” she wrinkled her nose, dissatisfied with what character traits that might denote, “And curious,” she nodded. “These eyes say to the onlooker, this person does not NECESSARILY know what is going on. But, she is canny enough to *know* she doesn’t know, and savvy enough to try and find out.”

Aly gave another thumbs-up and a grin. “Yeah! We’re doin’ it, Fetch! Introspection Experts Beg Protagonists To Identify Their Defining Traits With This One Weird Trick.”

“Umm, what else. Rounded cheeks, perhaps denoting my youthful enthusiasm?” She smooshed a finger into the soft curve. “Or at least my enthusiasm for like, cheesecake?” She shrugged. 

“And a cute little chin signifying,” she paused a moment, frowning. The chin, what did it signify? Was a chin sometimes just a chin? “Oh! That I am agreeable but can be very decisive when necessary!” 

Aly beamed and pumped her fist in the air. “Man, I am a natural at this! I should open a consulting business, telling people what character traits they have, based on my assessment of their appearance!” Aly sat with that idea for a moment, arms folding across her chest. She shifted from foot to foot.

The woman grimaced, and scratched the back of her neck. She looked chagrined. “I….should NOT open such a business, for reasons that should have been immediately clear to me, but, now revealed, are better left unsaid.”

She waved away her embarrassment. “That’s not how these scenes work anyway! They have to emerge organically. You can’t force someone to undergo character growth,” she laughed. 

She narrowed her eyes and growled into the mirror dramatically, “Though by the Twelve I try.” She slapped her fist into her palm for emphasis.

Aly beamed again at the fun she was having, and her tail waved merrily behind her. “What next. Ears? I have pretty ears. They’re real soft. Though not as pretty and soft as yours, Fetch, no no no, I would never suggest! What inner complexities do you find that they reveal to the perceptive, Fetchie? Or has anyone even taken notice? Don’t worry, the right ones will come along,” she reassured the animal, nodding. The fox’s tongue lolled from the corner of its mouth. Fetch’s face was not that of a forest creature who was overly concerned.

Aly turned her head at various angles, watching the shifts in light and shadow on her face. Her hand wandered up to stroke the edge of one of her own ears. A goofy grin spread across her face, in both recognition and enjoyment of the absurd gesture.

“Mmm,” she said, closing her eyes and smiling. “It actually is pretty nice, even this way. Though still not the same.” She opened her eyes and tapped her cheek thoughtfully. “Oh! The takeaway here is perhaps that I am the kind of person who is aware that her ears are soft and pretty, and cares which way the light falls on her face to create the desired dramatic effect. I am surprisingly filled with artifice!” she observed cheerily. 

She held up a finger, adding, “AND self-awareness! And and, winning! I am full of winning, Fetch.” 

Fetch gave the woman a flat look that indicated she was certainly full of something.

“I can’t see what look you’re giving me right now so I’ll have to assume it’s more of that approval,” said Aly, who, with the mirror, absolutely could see that was not the case.

“Of course,” she said, lifting up her shirt, “This callback serves not only to point out my delightful cheeky sarcasm,” (the shirt covered Aly’s face at this moment, so she could not see Fetch’s reaction to this declaration) “But to recognize that I am not entirely kidding about craving recognition and even acceptance from a fox, which really calls into question a number of my other judgment calls.”

“Oh well!” She chirped, casting her blouse to the floor. “Now we get to see how many paragraphs we spend discussing the appearance of my br-” Aly broke off, tilting her head curiously, and running her fingers over a spot on her side.

“Huh,” she said. “I have a scar there. A small, cute scar. But totally a scar.” She used her thumb and forefinger to measure its size, then brought the measurement up in front of her face. Her eyes crossed a little as she looked at it. 

Aly pursed her lips, then reached down to her thigh-high boot. She pulled out a knife, which she held up first to her fingers, then to the old wound.

“Oh, yeah. I definitely got stabbed,” Aly asserted, nodding confidently. Sheathing her knife, she pressed her fingers into her side with her left hand to feel her ribs, and put the palm of her right hand flat against her chest, over her heart. “I almost got stabbed to death!” The miqo’te’s level of enthusiasm for this macabre revelation might have seemed to Fetch to be entirely out of proportion, had the fox not been absorbed with the pressing task of worrying at her svelte right haunch with her tiny teeth.

Aly was ready to move on with her whimsical self-assessment, but her fingers kept wandering back to the scar. Probing it, examining it. Imagining what it must have felt like. She frowned slightly. Well of course she’d been stabbed before, there was nothing significant about that. She’d been injured in combat multiple times in the past month alone. Scrapes, bruises, cuts. That desperate Ala Mhigan’s spear had taken a while to heal from. But the fact was that she had healed. She was fast to recover, and not prone to developing lasting, visible scar tissue. Not prone to taking a hit someplace so vulnerable, someplace she would have rolled and twisted and fought to protect in combat.

She moistened her dry lips. “I think,” she said slowly, “I wasn’t stabbed in combat.” She took a moment to mull over what that might mean.

“They said I was a spy, Fetch,” she said, crouching down to retrieve her discarded blouse. “In those folders and files we found at the secret base. Dossiers! That’s the word. It, it was the Garleans! It could have been a trick, or just plain wrong. But…” Aly twisted the fabric in her hands. Fetch yawn-whined, and padded to Alyona’s side, resting her tawny chin on the girl’s thigh.

Aly had already averted her gaze from the mirror, but it was too late to stop the tide of unbidden reflection, as ever more stories about herself came flooding into her mind. You’re the kind of person who can’t tell friend from foe. You’re the kind of person who lets her guard down even when it doesn’t make sense to do it. Someone tricked you into believing you were safe with them. You probably tricked other people into thinking they were safe with you, too. You’re the kind of person who tells lies and gets lied to, do you even know which of your stories are true? You’re the kind of person who can’t leave well enough alone. You refuse to look at what’s in front of you, and when you finally do, you won’t look at anything else. How many people are going to get hurt before-

Fetch whined again, and Aly absently stroked the fox’s head. The feel of the fur against her fingers grounded her, interrupted her racing thoughts. Impulsively, she hugged the creature, an act which the elegant fox bore stoically. Fetch gave the miqo’te an appraising look, as if to say, “Well? What have we concluded?”

Aly rose to her feet, and pulled the now-wrinkled blouse back over her head. “We’ve concluded,” she answered the imagined question, “That I’m the kind of person who almost got killed, maybe in combat, maybe by someone close to me, but, that’s not going to stop me from fighting. That’s not going to stop me from getting close to people! I love people, I will never stop that!” She stamped her foot for emphasis, and her booted heel thudded against the wood of the floorboards. She liked the dramatic sound it made, so she did it again.

“The girl smiled,” Aly narrated aloud, breaking into a grin on her own command. She didn’t turn to look at it in the mirror, however. “She didn’t know a lot about who she had been, but, little by little, she was finding out, who she is.”

Aly nodded in satisfaction. “Well? Whatcha think, Fetch? Would you read a book about this character? Or is she consigned to the discount bin?”

The fox was nowhere in sight. Perhaps the stomping had scared her away, or perhaps she had found the scene too self-indulgent by half.

Aly heaved an exaggerated sigh. “Everyone’s a critic,” she lamented, but she said no more about it. This time, she was not even talking to a fox. @teahousetales @erstwhile25

[bvrgins]

nothing like a mad woman; kseniya.

( trans woman | she/her | hunter schafer ) —— isn’t that KSENIYA BORGIN? yeah that is them, sitting there at the SLYTHERIN table with those other FIFTH years. when sybill looks into that crystal ball of hers, she sees wild turns of mood; blonde pigtails, scraped knees & dark alleys: an innocent face and dark thoughts; a face pressed against a window, always looking in; honey & salt; a sharp copper taste. anyway i’ve heard they’re pretty UNSTABLE, MACABRE, and CHARISMATIC. apparently they’re a DEATH EATER and QUARTER VEELA but i’m sure that’s not related… —— [ mhairi : gmt : 20 : they/she ]

→ NAME: kseniya jade borgin → NICKNAMES: borgin brat, ksyusha (her mother and her russian family),  → AGE / D.O.B.: 16 / 11th november 1960 → SPECIES: quarter veela witch → GENDER / PRONOUNS: trans woman / she&her → SEXUALITY: uncertain but definitely more sapphic than straight

FAMILY → PARENTS: alyona yakovlevna turgeneva née kuznetsova, 34, mother.  judas borgin, 68, father. → SIBLINGS: cain borgin, 39 ,& alistair borgin, 32, older half brothers. jasmine borgin, 25, & nisha patil, 17, older half sisters. → PETS: tarquin, pet rat

LIFESTYLE → BORN: london, england → RAISED: borgin and burkes, knockturn alley / moscow, ussr → CURRENT RESIDENCE: borgin and burkes / hogwarts castle → NATIONALITY: english & russian → SPOKEN LANGUAGES: fluent english, near fluent russian, conversational bulgarian, german & gobbledegook, bits of italian, spanish, french and mermish. → OCCUPATION: student, helps at the shop during the holidays → DRINK | SMOKE | DRUGS: yes / socially / occasionally → RELIGION: atheist

PHYSICAL ATTRIBUTES → FACE CLAIM: hunter schafer → ETHNICITY: white → HEIGHT: 5ft. 10in. → WEIGHT: 110lbs → HAIR: white blonde → EYE COLOR: blue → DOMINANT HAND: left → ACCENT: english with obvious russian influence, quite unrefined but she can take on a posh affect → NERVOUS HABITS: laughs when nervous, tends to ramble and not realise how unsettling she can be

CHARACTER → MORAL ALIGNMENT: neutral evil → MBTI: ENTJ → WESTERN ZODIAC: scorpio sun, leo moon, pisces rising → CHINESE ZODIAC: rat → TAROT CARD: the tower → ARCHETYPE: the ruler → SONG: cherry wine by hozier

MAGIC → WAND: yew, basilisk skin, 13 & ¾ inches, sturdy. a wand her father had bough from an estate sale that matched with kseniya around her ninth birthday → PATRONUS: black cat → BOGGART: horses → OWLS:  kseniya will sit the following owls this year: ancient runes, care of magical creatures, charms, defence against the dark arts, history of magic, herbology, transfiguration, potions

BIO

alyona kuznetsova came to england to have fun, a girl just out of dumstrang she wasn’t ready to take a child with her back to russia, not full time. but the child’s father was only too happy to add her to the every growing brood that cluttered up the shop he owned

to the child, nothing about her very peculiar upbringing seemed strange to her. surely everyone had dark artefacts that could kill you if you touched them just lying about the place? surely everyone had a mother that would show up and whisk you off to russia for months at a time? and surely every parent would nod and go along with it when their child starts growing out their hair and being asked to be called kseniya jade

a favourite of the dark street she and her siblings called home, her precocious and talkative nature made her a perfect courier between shopfronts and closes, especially for matters slightly less than legal

at some point alyona stops taking her on trips, there’s a husband back home in russia, it’s best to leave her wild past in england. but kseniya keeps speaking her mother’s tongue; a tiny child sat on a counter translating transactions when others would be reading tales of beedle the bard, and teaching it to the sister she idolised. what she once shared with her mother she would now share with jasmine

there are other siblings, almost too many to count but for ksenyia it’s always jasmine before the others. jasmine who was there to patch up her cuts and scrapes, to stroke her hair when the night felt oh so dark, to love her like the mother only sporadically was.

off to school and she doesn’t feel like the strange one, no it’s the other children who are strange. those who’s parents are almost like enemies to them. those who hadn’t been raised with magic. those who heard her talk of the dark lord and looked at her funny. and those that told her that she really shouldn’t talk about that over breakfast. so she stuck close to her housemates, to her siblings, to those who didn’t see her as some oddity. the lanky blonde girl who spoke too much of death

her relationship with her father isn’t exactly warm but to say it’s cold would be entirely incorrect. it’s a lot more transactional, he housed and clothed and fed her, and she had siblings to entertain her, but most of the actual affection she gets from her father comes when she’s in someway useful to him. when she runs a message, helps translate a transaction. and kseniya genuinely doesn’t mind it; he’s a busy man and she’s happy to help.

alyona is not a real person to kseniya but an idol, the mysterious half veela mother who turns up when in suits her, and not when it suits kseniya. and yet she can’t hate her for it. kseniya sees only her poise and sophistication and wants it for herself.

young, eager, and entirely unproven kseniya has newly joined the death eaters and is desperate to prove herself a loyal soldier, just like her older sister. she wants power, but more than that she wants to be accepted by the society that has treated her family as a service nothing more. to be loved, not for what she provided, for her beauty or for being an oddity but just for being herself.

[a-theabrams]

29 days of Headcanons

DAY 1 - FAMILY 

OOC:  Welcome to the Abrams Family !. Since we have a open slot, Artie is open to have one more sibling. 

ANDREW THOMAS ABRAMS (DAD)

Always the “fun” professor that managed to make History class likable somehow. He’s passionate about his job to the point where he barely ever talks about anything else. He excels at academics and knows books from memory but is a little aloof and doesn’t understand people. Artie finds him hilarious (even if he doesn’t mean to be) and sometimes feels the need to protect him. He screws up a lot but has good intentions.

NANCY ABIGAIL ABRAMS née Schwab (MOM)

The boss. Not only at home, but also at work and pretty much everywhere she walked in. She was a Math genius, had a Ph.D., and still is a huge name on her field. She was fierce, passionate and won’t take a “no” for an answer. She was married once before John, to Liam (one of her colleagues)  since both of them wanted kids and felt “it was time”. The fact that they didn’t love each other didn’t matter much, since they “didn’t believe in love”. They got divorced when Gia, their third kid, was five years old but had a great friendship . Many years later, to her surprise, Nancy fell in love with a geeky, younger history teacher and had a baby boy named Artie.

She raised pretty badass kids. Artie learned to respect -and even fear a little-women from her. Her sudden passing, when Artie was eight, left a big hole in the family. But they have kept a really strong unit, with Artie’s sisters taking a great role in Artie’s life and upbringing . 

NANCY FLORENCE “Flo” WHITLOW- SCHWAB   (OLDEST HALF SISTER)

Florence was always Artie’s idol. A free spirit, always with a new project, artistic, loved by everyone she met. She taught Artie how to ride a bike,  gave him his first sex talk, all his love life's guidance. She is fiercely independent and always has someone to fuck around but no real relationships.

When Artie was twenty  and was a training dancer living in New York Florence got in her one and only relationship. The guy didn’t seem like her usual type: way too serious, older than her. Florence and John got engaged and we can’t tell you who was more surprised. But his sudden death stopped the wedding short. The year after, Florence was unrecognizable. Started drinking way too much and to call Artie in the middle of the night to come pick her up at really shady bars. Artie took care of her and was sure everything would get back to normal in no time. And then the accident happened. 

Just it had been happening for the better part of the year, Artie was already ready to go to sleep with his girlfriend, when Florence called crying and asking for him to pick her up. Artie got in a really heated argument with Molly his girlfriend and she gave her an ultimatum: he either stayed or she would walk away from his life forever. And Artie went for his sister. After taking her home, and on his way to his , Artie was hit by a drunk driver. The news that he would never walk again were delivered a week after. Florence to this day feels guilty about the accident. She is back on track being the professional badass she is , but it’s been years since the last time she’s seen anyone from her family. Secretly she still calls Artie and loves him more than she could ever express into words. 

ALYONA  MARIE “Aly” WHITLOW-SCHWAB (MIDDLE HALF SISTER)

Alyona is a wonderer. Since childhood she had a globe with little marks all over, indicating the places she wanted to meet when she had money. Their parents found sort of funny that she started saving since she was five years old, every penny she was given and were sure that once she grew up she would settle and leave all her crazy adventures aside. But they were wrong. Even if she found love at a very young age - little James “Jamie” Levine was a constant in the Whitlow-Schwab household- her plans never change. She works in National Geographic filming crazy video capsules all over the world. With little -sickly Jamie by her side always. Aly is currently 7 months pregnant with her and Jamie’s first child and has decided to establish her little growing family in Sanders bay for now. 

JAMES FRANCIS LEVINE (SORT OF BROTHER IN LAW)

Jamie was already dating Aly since before Artie was born. An only child, he always loved having the Whitlow siblings around was heaven for him. He’s sickly and is pretty much always afraid, but admires his girlfriend for being his perfect opposite. Everyone is dying for him to FINALLY marry Alyona . He loves Artie as a brother and still to this day pains him to see him so badly injured.

GEORGINA AMELIA “Gia” KAPLAN née WHITLOW-SCHWAB (YOUNGEST HALF SISTER)

When Artie was growing up, Gia took care of him a lot, but she moved away to Sanders Bay  at age 33 (when she got married to her two-year-old daughter’s father, Simon)  She and Artie weren’t great at keeping up. When Artie had his accident though, Gia kept coming to NY to take care of Artie. He’s now the person closest to him and a big reason why Artie decided to move to Sanders She lives a couple of blocks  from him and has three daughters: Ava, Lottie, and Ines, who worship the earth Artie wheels on.

SIMON CHARLES KAPLAN (BROTHER IN LAW)

Simon has this big ass job that pays really well and manages to behave as an adult on working hours. But he also likes to play princesses with his three daughters and spends most free days playing video games with Artie. He grew up in a house full of women so it’s fun for him to be the cool older brother figure for  Artie. He gives terrible advice and tries way too hard to get a girl for Artie.

AVA, CHARLOTTE “LOTTIE” ,INES KAPLAN, and very soon JOSIE LEVINE (NIECES)

Artie spoils all of his three nieces to death. Ines basically waits behind her apartment door hoping to have a “ride ” in uncle Artie.

Ava is secretly his favorite though since she was his first niece. He’s also insanely excited to get the new addition to the family soon: little girl Josie Levine.

[fc6]

2, 7, 14, 20, 77 for miller boys. 28, 31, 90 for aleks. 72, 81 for alyona. AND. 14, 31 for franciszek >:3c

002. Do they do anything to celebrate their birthday?

Yes! They like to get together, grill for lunch/dinner, and generally hang out. The grilling is literally because the three of them can’t decide on a restaurant, and Rome is kind enough to get vegan grilling options for Elijah to make everyone happy. Elijah and Rome hate parties, but Marcus is always down for a birthday bash. 

007. Is your character an optimist or a pessimist?

Marcus and Elijah are definitely optimists, but I’d say Rome borders on being a pessimist for sure.

014. Detail one secret shame your character feels.

This is hard... Uhhh. Elijah has a lot of shame from his teenage years, Marcus is shameless, and Rome hasn’t felt shame since he was like 21. 

020. What are their hobbies?

Rome likes to record podcasts and conspiracy videos, as well as being SUPER into movies. Marcus is very passionate about fitness to the point that he’s like an annoying jock personality type in Animal Crossing. Elijah’s only hobbies are praying and gardening like he’s an old Catholic woman.

077. How often do they cry? Over what?

Rome, again, hasn’t cried since he was like 21. And that was over the death of a loved one that really fucked him up, so I wouldn’t use him as a good source of relatability. Marcus cries a pretty average amount, but it takes something pretty sad to get the tears flowing. Elijah cries fairly easily and often. Nearly every time he prays about something even a little sensitive, you can expect to see a few tears. Death in the church, someone he never personally spoke to before? He’s crying. Favorite TV show character died? He’s crying. 

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028. What makes them laugh out loud?

Isa’s jokes, first of all, will always get a hardy laugh from Aleks. He has to make sure she knows she’s funny, even if he didn’t get the joke at all. But things that make him genuinely laugh are usually well thought out jokes and puns that take a little bit of time for the delivery. He doesn’t laugh at random humor, so like 80% of the memes Arkadi shoves in his face gets him the -_- expression in response.

031. Are they superstitious about anything?

Anything? Everything. Okay but seriously I’d say he’s really just plain paranoid if you want to call him anything!

090. How bodily expressive is your character?

Aleks talks with his arms, not just his hands. You know how the Wii remote tells you to use the strap so you don’t accidentally fling it at your belongings? Aleks needs a strap, but like, for his whole being. He just flings his arms wildly the more dramatic a story gets, and don’t even get me started on when he’s angry. Pacing, tossing his arms around. Even sitting down; he just manspreads and sits up/back really far during certain parts of a conversation. He’s awful. 

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072. In a Dungeons & Dragons game, which class would your character be? (wizard, fighter, bard, priest, ranger, etc.)

Alyona is 100% a ranger class and I shall not give context.

081. Is your character religious?

Absolutely! Alyona is Jewish and very open about it! She won’t shove it in your face, but she’s not keen on hiding her religious worldview and certainly won’t keep you on as a friend if you make a fuss about it.

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014. Detail one secret shame your character feels.

Franciszek fucked up by nearly cheating on his wife (now ex-wife), and although he didn’t go through with it, planning to cheat isn’t any better. He’s really good friends with his ex-wife now but man... not a good decision-making moment for him.

031. Are they superstitious about anything?

General superstitious things!! Breaking mirrors, walking under ladders, spilling salt. He’s not very hardcore about it, though. 

[prudencepaccard]

a paper I wrote in undergrad which is all in all pretty flawed (it overstates its case and leaves out some good details, arguments, supporting evidence) but worth the read I think

Sharp Objects and Momentum: Following Through on a Sentence of Death

Dostoyevsky's Crime and Punishment and Turgenev's The Execution of Tropmann [sic] both contain death sentences followed by executions, but in only one of the stories is the violence endorsed and legitimized by society. In Crime and Punishment, Raskolnikov kills an old pawnbroker because he believes her to be a drain on society whose wealth could be used for the greater good; the murder is transgressive, a solitary act undertaken by an individual who believes himself to be above human law. In The Execution of Tropmann, on the other hand, Troppmann is executed for murder; his death is officially sanctioned by society. The decision to kill him is not made by a single will, but rather by the consent of the people, which gives the state the power to end a life when certain laws are broken. In both cases, despite all of the reasoning that goes into the decision to kill, the taking of a life is a painful act that demands careful planning; it must be highly streamlined and sanitized in order to occur at all. Both the method of death and the rituals surrounding it play a role in breaking down the process of killing.

While Troppmann's execution seems to be a logical, linear result of his having committed murder, the causality of Alyona's death is somewhat reversed. Troppmann's death is an end in and of itself: by removing him from society, the state hopes to maintain social order, demonstrate its power, give some semblance of closure to those affected by the murder, deter others from committing similar crimes, and so on. In Crime and Punishment, on the other hand, Raskolnikov does not judge Alyona for a crime and then condemn her to death; rather, he conceives of murdering her for her money, then retroactively constructs a justification for this idea. He only decides to sentence her to death, connecting his ideas about "extraordinary people" who are above traditional morality and have the right to commit crimes to the situation, when he overhears a conversation about Alyona Ivanovna in a tavern: a student and an officer are discussing her bad qualities, and the student proposes that someone should kill and rob her; he argues that the good that would come from redistributing Alyona's wealth is worth more than her life, although he admits he could not do it himself and that someone else needs to "dare" to do it (66). Already unstable, he is overwhelmed by the uncanniness of the coincidence; he takes it for a sign, and it plays a major part in pushing over the edge into committing the crime.

Jean-Baptiste Troppmann and Alyona Ivanovna have thus both committed crimes in the eyes of the agents that wish them dead (in Troppmann's case, society; in Alyona's, Raskolnikov). The solemn reflection that goes into the planning and justification of the killings in both stories distinguishes them from crimes of passion, which are not premeditated. Crimes of passion are distinguished by their immediacy; the killer is possessed by a strong emotion that compels him or her to commit the crime impulsively, in a swift, sudden act of will. The deaths of Troppmann and Alyona, on the other hand, are the end result of long preparation, and the decision to kill has at its core some hope of a positive outcome.  

This preparation involves intense planning and deliberation. In Troppmann's case, ceremony in its most literal sense is involved. Raskolnikov goes through several cycles of steeling himself to commit the crime, recoiling in horror from the very idea, and then steeling himself again. When he finally does commit the murder, it is not because he has managed to justify it himself once and for all, but rather because he has finally broken down in the face of his emotional turmoil and has become like an automaton, on autopilot; like a zombie, he rises from a tranquil daydream and, still in a dreamlike state, commits the murder in spite of himself: "This last day, which had come so much by chance and resolved everything at once, affected him almost wholly mechanically: as if someone had taken him by the hand and pulled him along irresistibly, blindly, with unnatural force, without objections. As if a piece of his clothing had been caught in the cogs of a machine and he were being dragged into it" (Dostoyevsky 70). Similarly, Troppmann is executed not so much because there is an excellent reason for his, specific, death, but rather because the courts went through the motions and his death was the logical outcome within the legal system. The judicial system, and its attendant institution of capital punishment, is a machine like the one Raskolnikov was "dragged into": the "machinery of death" famously alluded to by the Supreme Court Justice Harry Blackmun.

Up to and during the execution of the sentence (or "sentence" in Raskolnikov's case), every detail is micromanaged. Everything must be restrained, contained, put in its place. In The Execution of Tropmann, Troppmann must be physically restrained, and the guillotine must be precisely calibrated. The preparations (or less neutrally, mortifications) Troppmann's body is subjected to all have a symbolic function, and that is what qualifies the circumstances of his death as a ceremony or staged event. His shirt collar and hair are cut off, ostensibly to remove any impediments to the guillotine blade but really to humiliate, diminish, and expose; he is pinioned with straps, primarily to limit his movements but also to dehumanize him, to reduce him to the status of an animal or even a parcel.

 Raskolnikov performs similar preparations. He alters his ragged coat, sewing a loop into it so that he can hang the axe inside; like the blade of the guillotine, it is suspended and ready, awaiting only the press of a button. He obsesses about what he will wear (although he does not, it should be pointed out, actually follow through on his instincts regarding his conspicuous hat), and goes to the trouble of devising an artifact (the fake cigarette case) for the sole purpose of distracting her as he prepares to strike her down.

The actual process of killing in both cases is superficially different but is, at its core, fundamentally very similar. At first glance, the two killings could not be more different: one is a judicial killing, calm, orderly, official, whereas the other is a murder, illicit, unlawful, and erratic. One is surrounded by self-conscious ritual and ceremony, while the other is not. And in judicial executions, the victim can anticipate his or her impending death. Alyona, while paranoid, never actually sees her death coming; Troppmann, on the other hand, has ample time to think about his execution, and this amplifies his fear. Despite his stoic demeanor, Troppmann is overcome by terror at the critical moment; he falters at the sight of the guillotine and resists having his head placed in the lunette, the final part of being given over to the machine.

These differences are not much more than a veneer coating the image of judicial execution; both killings are, in fact, strikingly similar. First, there is the instrument of death: a guillotine and an axe are both heavy blades that rely on gravity to do their work. A guillotine, which combines several simple machines (wedge, pulley, etc.) is of course more complicated than an axe, which is more or less a simple wedge; axes have connotations of crudeness, bluntness and brutality, whereas the guillotine is a machine specifically designed for beheading people. And yet the guillotine and the axe are one and the same; in French, the blade of the guillotine is even sometimes referred to as la hache [axe], and the German word for guillotine, fallbeil, literally means "falling axe." In both killings, the head is targeted; Alyona is struck on the crown of her skull, while Tropmann's head is entirely severed. Also, both victims are assaulted from behind: Raskolnikov attacks Alyona while she is examining the cigarette case at the window, with her back to him; as for Troppmann, people are usually guillotined lying prone (a notable exception is some victims of the Nazi fallbeil), and their executioners do not have to look them in the face when the blade descends.

In both cases, it is clearly difficult to actually follow through on the death sentence. Here, the killers' most important tool is momentum. Raskolnikov does not truly wish to kill Alyona, and has to force himself to do it; he chooses to use an axe as his murder weapon, rather than a "folding pruning knife" because he feels he cannot "rely on his own strength" (Dostoyevsky 69). Strength is not the only thing he lacks; he also lacks the burning desire to kill that is necessary to plunge a knife into someone's flesh—the desire that Pozdnyshev had in Tolstoy's The Kreutzer Sonata, for instance. When one swings an axe, it takes on a life of its own; and indeed, just as Raskolnikov had hoped, the axe does the work for him: "He took the axe all the way out, swung it with both hands, scarcely aware of himself, and almost without effort, almost mechanically, brought the butt-end down on her head. His own strength seemed to have no part in it. But the moment he brought the axe down, strength was born in him" (Dostoyevsky 76).

In this way a guillotine is like Raskolnikov's axe; his effortless swinging of it is a microcosm of the guillotine's mechanical efficiency. When Joseph-Ignace Guillotin proposed to the National Assembly in 1791 that swift mechanical decapitation be the universal method of capital punishment, he had humanitarian goals in mind; but the machine's efficiency had the side effect of making the Reign of Terror possible. The guillotine was easy, sure, and impersonal; a heavy enough blade, an extreme enough height, a well-greased track, and gravity were all that was needed. Now that a skilled headsman was no longer necessary, there was no limit to the number of heads that could be lopped off—the speed of the guillotine meant there was enough time to dispatch them all, and its businesslike, no-fuss operation made so much death easier to stomach.

Like an axe murder, guillotining is dehumanizing and impersonal. The victim is strapped to a board and tipped horizontally into place beneath the blade; in 19th-century French slang, this act was called enfourner, "to put in the oven." Instead of being an active participant in the pageant of his death, the condemned is completely passive and dehumanized: a loaf of bread being slid into the oven. And then there is the simple fact that the executioner does not have to get his hands dirty; instead of using his hands to decapitate the prisoner, he simply pushes a button and all is done by the machine.

It is true that Raskolnikov used his own hands to wield the axe that killed Alyona and Lizaveta. However, it could be argued that he was almost as much of a machine as the guillotine. Tolstoy imagines him as a weapon, completely automatic and incapable of controlling his actions: "The true life of Raskolnikov was not accomplished when he killed the old money-lender and her sister. While he was killing the old woman, and especially her sister, he was not living his true life, but was acting like a machine, doing what he could not help doing, discharging the cartridge with which he had long ago been loaded" (Tolstoy 150). The other side of the coin is the idea that the guillotine is also not wholly a machine; it is part animal—organic, alive—and it and Raskolnikov meet in the middle. In The Execution of Tropmann, Turgenev memorably describes the guillotine in animal terms: "Then something descended with a hollow growl and stopped with an abrupt thud...Just as though a huge animal had retched...I cannot think of any better comparison" (267).

The executions in both stories are dirty no matter how much the killers try to sanitize them. When Raskolnikov strikes Alyona with the axe, blood "[pours] out as from an overturned glass" (Dostoyevsky 77). Although Turgenev averts his gaze at the moment of decapitation and thus does not see the blood, others familiar with guillotines have used the same simile: a former executioner in Algiers describes the blood as "[spurting] like two glasses of red wine chucked three metres" (Schofield). Raskolnikov cannot help getting blood on himself, and neither can most executioners when they guillotine people[1]. Decapitation by guillotine, though swift, is not more refined than an axe murder; in 1957 his anti-death penalty essay, Albert Camus calls guillotining "a crude surgery practiced in conditions that deprive it of any edifying character whatsoever."

The killings are, in the end, senseless, because they do not achieve the desired effect. Turgenev comes to the same conclusion as Camus, that the execution has no "edifying character": "But not one of us, absolutely no one looked like a man who realized that he had been present at the performance of an act of social justice: everyone tried to turn away in spirit and, as it were, shake off the responsibility for this murder [italics in original]" (Turgenev 268). And is not only the serious, restrained, "gentlemanly" people who are alienated; even the spectators who have come for their own pleasure are left unsatisfied: "And what drunken, glum, sleepy faces! What an expression of boredom, fatigue, dissatisfaction, disappointment, dull, purposeless disappointment!" (269). Although their expression of discontent is different from Turgenev's disquietude, it shows that the death has not resulted in any sort of consummation. Similarly, Raskolnikov fails to sublimate Alyona's death into an action for the greater good: he never carries out his plans to redistribute (or even make good use of) her wealth; by stealing her pledges, he actually causes further harm to the poor people she had been exploiting; and he finds that he cannot process the fact that he has committed murder. Like Turgenev, he tries to "shake off the responsibility for [the] murder." He is slowly driven mad what he has done: haunted by the details of the murder, obsessed with its consequences, he cannot live until he has exorcised the deed through confession. Society, too, poisons itself when it kills in the name of its people.

[1] An interesting parallel regarding blood getting onto clothing: Raskolnikov wipes his blood-stained hands on a red silk coat because he reasons in a moment of dream logic "it's red; blood won't be so noticeable on red" (78). For some reason this reminds me of a 1907 print from the absinthe-dream-like, visually inventive satirical magazine L'assiette au beurre, depicting a glum executioner at the foot of the guillotine soaking a robe in the basket, with the caption "IL FAUT GUILLOTINER, PARCE QUE...
les robes des Procureurs ont besoin de temps en temps d'être reteintes en rouge" (it is necessary to guillotine, because...the prosecutors' robes need to be re-dyed red from time to time). Judges' robes were, of course, red.

[astrifer0us]

5, 6, 7, 11, 14, 19, 21, and 25 for your dnd ocs, Alyona, and the android apocalypse characters. have fun.

OC QUESTIONS | Accepting’

5. Are there any story arcs you would like this character to explore?

Alyona

Meh idkk???

Kita

Please let this asshole realise that it’s okay to let other people take care of you.

Isidore

???

Michaela

I want Michaela to have like a badass warrior woman moment man.

Calvael

I’m not sure. I’d like for him to let go of his mother’smemory sometime, and live for himself.

Chal

Please give Chal a redemption arc in which he realises that,wow, he’s been kind of a bad person. Wow.

Ghilli

Ahh idk. I really loved that she died and came back as aghoul, and I’d love to see what she learns from that, tbh.

Mort

Ehh, no clue yet.

Ren

Well she’s getting into a pretty cool arc now, having todeal with the loss of her love interest and actually grasping for a goal so shecan live on, so yeah, I’m excited about that.

Serafima

Noooo clue yet.

Rorik

I want to corrupt my little wolf boy so bad. Give this boy afiendish warlock pact or something, fuck him up.

Aer

Idk.

Eiridi

idem

Aiki

????? Honestly I’d love for em to realise humans aren’t toobad but. They kind of are.

Wyatt

At some point I want him to get over Traesyc and put itbehind him but rn? Let him grieve let him suffer.

6. What would your character like (or have liked) to do with their life?

Alyona

Kick ass.

Kita

Go… outside….

Isidore

KICK ASS GO TO SPACE REPRESENT THE HUMAN RACE.

Michaela

Find a solution to the android problem, save a lot of people.

Calvael

Live in his nice house on top of a hill and tend to hisgarden. Please. Leave him alone.

Chal

Chal is pretty content where he is now. He has centuries infront of him if he plays his cards right, and he’s intent on making the most ofit.

Ghilli

Ghilli is here to make the world a better place, and take noshit from anyone. A simple life.

Mort

Preferably live out of spite.

Ren

God, that’s a hell of a good question. She doesn’t reallyknow herself, at this point. She doesn’t really have a clear goal or a path setout in front of her.

Serafima

Just let this child explore the world at her own pace,please.

Rorik

LET THIS BOY BE HAPPY!!! I want him to be nice andcomfortable with Morana and explore the world and figure everything out.

Aer

??? idk. Be free as the wind.

Eiridi

She wants to find a new flock at some point, but right now she just wants revenge for the death of her old one.

Aiki

???? sorry lmao

Wyatt

God he’d love to just. Stick with his sis. Go onsilly adventures. Have fun, and not worry so much.

7. Who is your character’s best friend?

Alyona

??? no clue.

Kita

Issy and Michaela. Not that they’d admit it.

Isidore

Kita and Michaela.

Michaela

Kita and Isidore, obviously.

Calvael

Definitely not himself lmao, but??? He doesn’t really. Haveone.

Chal

Temperance and the Conman.

Ghilli

??? who knows. Maybe Ealda at this point.

Mort

???

Ren

Yknow. Barty. Probably.

Serafima

???

Rorik

Morana and Traxae, definitely.

Aer

???

Eiridi

???

Aiki

???

Wyatt

His twin, Scytta. They’ve been best friends since birth.

11. What crime is this character most likely to be convicted of?

Alyona

Murder. Definitely murder.

Kita

Punching someone they shouldn’t have punched.

Isidore

Breaking in.

Michaela

Hacking into her superior’s computer.

Calvael

Trespassing or something minor like that.

Chal

… Slavery. But they’ll have to catch him first. So probablysomething smaller, like, say, influencing a rich person to hand over theirmoney.

Ghilli

Something dumb she did to protect someone else.

Mort

Literally anything. They don’t have great morals.

Ren

mURDER??????

Serafima

Breaking a rule she wasn’t aware existed.

Rorik

Theft, poaching, something like that.

Aer

They’re a wild little gnome living outside of civilisation.Laws are not a thing they’re aware of.

Eiridi

Literally same as above.

Aiki

Breaking eir programming, probably.

Wyatt

…. Ykno. Murder.

14. What is this character’s relationship with religion or the church?

Alyona

Oh no. No, fuck the Overseers. Nope.

Kita

They don’t particularly give a fuck, to put it bluntly.

Isidore

He was raised by a catholic family, but doesn’t really care about any God anymore.

Michaela

No time for religion in a post-apocalyptic wasteland man.

Calvael

Calvael is not religious, though I could see him becomingreligious later on. He’s the type for silent prayer.

Chal

Gods are for losers, just don’t mess with them.

Ghilli

Ghilli is devoted to the creator of dwarves, Moradin.

Mort

The gods have forsaken them. I mean, that’s what they think.

Ren

Ren is a very loyal follower of Zehir, and recently became acleric of him.

Serafima

Ser worships Kord with great enthusiasm.

Rorik

Rorik is not the most pious, but he always sends smallprayers and sometimes offerings to Avandra.

Aer

Aer is not all about gods, but they do recognise theirexistence.

Eiridi

Eiridi has little knowledge of gods, and does not worshipone.

Aiki

Fuck gods.

Wyatt

He’s not very devoted, but does wear a little symbol of hisdeity around his neck. He’s pretty sceptical about gods in general, and doesnot believe they are as benevolent as people make them out to be. He’d ratherplace his trust in things he can see and experience.

21. Do you ship your character with any other characters? (This includes characters from other universes and canons)

Alyona

??? Nope.

Kita

Isidore and Kita would make a good couple if they could stop arguing for like 5 minutes.

Isidore

See above. Doesn’t stop him from flirting with everyone.

Michaela

Michaela had a tiny crush on Kita when she was younger, but she got over it.

Calvael

Not anything concrete, but @celticrune and i Have discussedsome things abt Calvael and Whisper and it was cute.

Chal

Boy oh boy yeah. Chal and @celticrune’s Temperance were mostlikely a thing back in the days and I still ship it HARD. Also, Chal and @kima-ladyofvord‘s the Conman, its great its wonderful 10/10 would ship.

Ghilli

GHILLI AND @celticrune’s TANWEN WOULD BE THE CUTESTGIRLFRIENDS AND I NEED IT.

Mort

N o p e

Ren

I don’t… wanna talk about it….. (but Syardis-debacle aside,Ren and @dunno-audino’s Lynnae would be the best, most dangerous couple ever and itsgr8)

Serafima

Not at the moment.

Rorik

Boy yeah. Rorik and @celticrune’s Morana is like. The OTP.

Aer

Not atm.

Eiridi

Idem.

Aiki

N OPE.

Wyatt

Hahahahaha. Traesyc. :c but apparently him and @celticrune’sKeiji also work very well together so there’s that.

25. What does this character mean to you? 

just gonna only do my dnd chars here cuz the rest is all a lil. meh. havent writtene nough abt them yet.

Calvael

Calvael was my first DnD character, but since I didn’t getto play him much, not a lot yet. He’s great anyway.

Chal

SO MUCH U DON’T EVEN KNO. He’s hands down my favourite, justbecause he’s this little, snarky piece of shit, he’s wonderful to write andheadcanon about and just??? I love him????

Ghilli

Ghilli I unfortunately have not played a lot yet, but she isvery fun to play, so there is that. She’s also the perfect mix of adorable anddangerous that I love.

Mort

Tbh not much yet lmao.

Ren

Ren is like. So great. She’s very little like me, but she’smy perfect outlet for my aggression and anger. Also, I love caster classes andshe was my first real caster class I played. She’s amazing and I love her.

Serafima

I haven’t played Ser yet, but she already means a lot tome??? She’s letting me prove that, heck yeah, neurodivergent characters cankick ass like any other! Disabilities don’t have to hinder your progress! Iwanna be like her!!

Rorik

Rorik is my little child. My son. I love him so so much. He’sthe one that really got me into DnD, I’ve been through so much with him, it’shard to describe just how much I care about him.

Aer

Not a lot yet? Though honestly any nonbinary character meansa lot to me just cuz. Well.

Eiridi

Not a lot, but she’s fun to play.

Aiki

Not much.

Wyatt

So much please protect this child from me I hurt him so muchbut he’s!!!! so good!!! To hurt!!!!

[bvrgins]

oh but she burns; jade.

( trans woman | she/her | hunter schafer ) —— isn’t that JADE BORGIN? yeah that is them, sitting there at the SLYTHERIN table with those other FIFTH years. when sybill looks into that crystal ball of hers, she sees doodling the dark mark on your arm just to see what it would look like; blonde pigtails, scraped knees & dark alleys: an innocent face and dark thoughts; a face pressed against a window, always looking in; honey & salt; a sharp copper taste. anyway i’ve heard they’re pretty PARANOID, MACABRE, and CHARISMATIC. apparently they’re a MEMBER of VENIT TEMPESTAS and PUREBLOOD but i’m sure that’s not related… —— [ mhairi : gmt : 20 : they/she ]

→ NAME: jade corrine borgin → NICKNAMES: corie, borgin brat → AGE / D.O.B.: 16 / 11th november 1960 → SPECIES: purebood witch → GENDER / PRONOUNS: trans woman / she&her → SEXUALITY: unashamedly sapphic 

FAMILY → PARENTS: alyona yakovlevna turgeneva née kuznetsova, 34, mother. balthazar borgin, father. → SIBLINGS: barnabus, alistair, & cain, older half brothers. marilla & jasmine borgin, older half sisters. quinn borgin, younger half sibling. juniper borgin, younger half sister. → PETS: lucie, pet rat, was called lucifer till she realised it was a girl

LIFESTYLE → BORN: london, england → RAISED: borgin and burkes, knockturn alley → CURRENT RESIDENCE: borgin and burkes / hogwarts castle → NATIONALITY: english & russian → SPOKEN LANGUAGES: fluent english, near fluent russian, conversational bulgarian, german & gobbledegook, bits of italian, spanish, french and mermish. → OCCUPATION: student, helps at the shop during the holidays → DRINK | SMOKE | DRUGS: yes / socially / occasionally → RELIGION: atheist

PHYSICAL ATTRIBUTES → FACE CLAIM: hunter schafer → ETHNICITY: white → HEIGHT: 5ft. 10in. → WEIGHT: 110lbs → HAIR: white blonde → EYE COLOR: blue → DOMINANT HAND: left → ACCENT: english, quite unrefined but she can take on a posh affect → NERVOUS HABITS: laughs when nervous, tends to ramble and not realise how unsettling she can be

CHARACTER → MORAL ALIGNMENT: neutral evil → MBTI: ENTJ → WESTERN ZODIAC: scorpio sun, leo moon, pisces rising → CHINESE ZODIAC: rat → TAROT CARD: the tower → ARCHETYPE: the ruler → SONG: cherry wine by hozier

MAGIC → WAND: yew, basilisk skin, 13 & ¾ inches, sturdy. a wand her father had bough from an estate sale that matched with jade around her ninth birthday → PATRONUS: black cat → BOGGART: horses → OWLS:  jade will sit the following owls this year: ancient runes, care of magical creatures, charms, defence against the dark arts, history of magic, herbology, transfiguration, potions

BIO

alyona kuznetsova came to england to have fun, a girl just out of dumstrang she wasn’t ready to take a child with her back to russia. but the child’s father was only too happy to add her to the every growing brood that cluttered up the shop he owned

to the child, nothing about her very peculiar upbringing seemed strange to her. surely everyone had dark artefacts that could kill you if you touched them just lying about the place? surely everyone had a mother that would only visit a handful of times a year? and surely every parent would nod and go along with it when their child starts growing out their hair and being asked to be called jade

a favourite of the dark street she and her siblings called home, her precocious and talkative nature made her a perfect courier between shopfronts and closes, especially for matters slightly less than legal

at some point alyona stops visiting, there’s a husband back home in russia, it’s best to leave her wild past behind. but jade keeps speaking her mother’s tongue; a tiny child sat on a counter translating transactions when others would be reading tales of beedle the bard, and teaching it to the sister she idolised. what she once shared with her mother she would now share with jasmine

off to school and she doesn’t feel like the strange one, no it’s the other children who are strange. those who’s parents are almost like enemies to them. those who hadn’t been raised with magic. those who heard herd talk of the dark lord and looked at her funny. and those that told her that she really shouldn’t talk about that over breakfast. so she stuck close to her housemates, to her siblings, to those who didn’t see her as some oddity. the lanky blonde girl who spoke too much of death

her relationship with her father isn’t exactly warm but to say it’s cold would be entirely incorrect. it’s a lot more transactional, he housed and clothed and fed her, and she had siblings to entertain her, but most of the actual affection she gets from her father comes when she’s in someway useful to him. when she runs a message, helps translate a transaction. and jade genuinely doesn’t mind it; he’s a busy man and she’s happy to help. and besides, he never abandoned her like her mother did

young, eager, and entirely unproven jade is desperate to join the death eaters, just like her older sister. she wants power, but more than that she wants to be accepted by the society that has treated her family as a service nothing more. but she’s been kept at arms length, told anything to get her to go away, and she’s getting tired. she needs to prove herself, has too. maybe she could play the innocent? maybe she could be a spy? then they’d want her.