#she masters the art of psychological manipulation

[moss-cola]

Oh my lovely beast <3

[venusiancharisma]

Your Femme Fatale Persona Based On Moon Sign...

Just for fun, astro observations. Enjoy! This is based on the manifestation of... "they made me do it". So, while I dont agree this is the Femme Fatal "homeostasis" of each moon sign, I believe that, at one's darkest hour, these are the specific persona's each of us would take on...

Aries Moon - Lara Croft (Tomb Raider): Strong, independent, and fearless, the Aries Moon femme fatale is a daring adventurer who isn't afraid to take risks. Like Lara Croft, she's always ready for action and thrives on challenges. Additionally...

The Bride (Kill Bill): Driven, vengeful, and skilled in martial arts.

Aeon Flux (Aeon Flux): Athletic, daring, and rebellious.

Taurus Moon - Satine (Moulin Rouge!): Sensual, alluring, and grounded, the Taurus Moon femme fatale is a master of seduction. Like Satine, she knows how to use her beauty and charm to get what she wants while remaining emotionally steadfast. Additionally...

Sugar Kane Kowalczyk (Some Like It Hot): Sexy, charming, and pleasure-seeking.

Regina George (Mean Girls): Popular, manipulative, and materialistic.

Gemini Moon - Catwoman (Batman Returns): Clever, adaptable, and enigmatic, the Gemini Moon femme fatale is a master of disguise. Like Catwoman, she's quick-witted, elusive, and always keeps others guessing. Additionally...

Jordan Baker (The Great Gatsby): Clever, charming, and unpredictable.

Marion Crane (Psycho): Secretive, impulsive, and multifaceted.

Cancer Moon - Norma Desmond (Sunset Boulevard): Emotionally intense, nostalgic, and manipulative, the Cancer Moon femme fatale is a complex character. Like Norma Desmond, she may cling to the past and use her vulnerability to control others. Additionally...

Annie Wilkes (Misery): Obsessive, nurturing, and unstable.

Alex Forrest (Fatal Attraction): Clingy, possessive, and emotionally demanding.

Leo Moon - Foxxy Cleopatra (Austin Powers in Goldmember): Confident, dramatic, and alluring, the Leo Moon femme fatale knows how to command attention. Like Foxxy Cleopatra, she's bold, charismatic, and always steals the spotlight. Additionally...

Marilyn Monroe (The Seven Year Itch): Charismatic, flirtatious, and attention-seeking.

Jessica Rabbit (Who Framed Roger Rabbit): Seductive, enigmatic, and theatrical.

Virgo Moon - Catherine Tramell (Basic Instinct): Intelligent, calculating, and mysterious, the Virgo Moon femme fatale is a master of manipulation. Like Catherine Tramell, she uses her intellect and attention to detail to outmaneuver others. Additionally...

Tracy Lord (The Philadelphia Story): Perfectionist, analytical, and critical.

Amy Dunne (Gone Girl): Cunning, organized, and vengeful.

Libra Moon - Gilda (Gilda): Charming, sophisticated, and flirtatious, the Libra Moon femme fatale is a social butterfly. Like Gilda, she knows how to use her charm and beauty to captivate and influence others. Additionally...

Madeleine Elster (Vertigo): Elegant, charming, and mysterious.

Daisy Buchanan (The Great Gatsby): Charming, indecisive, and idealistic.

Vesper Lynd (Casino Royale): Sophisticated, diplomatic, and elusive.

Scorpio Moon - Phyllis Dietrichson (Double Indemnity): Intense, secretive, and seductive, the Scorpio Moon femme fatale is a master of psychological manipulation. Like Phyllis Dietrichson, she uses her sexual allure and emotional depth to ensnare others. Additionally...

Cersei Lannister (Game of Thrones): Power-hungry, manipulative, and intense.

Brigid O'Shaughnessy (The Maltese Falcon): Mysterious, alluring, and deceitful.

Sagittarius Moon - Beatrix Kiddo (Kill Bill): Independent, adventurous, and philosophical, the Sagittarius Moon femme fatale is a free spirit. Like Beatrix Kiddo, she's a skilled warrior who follows her own moral code and seeks justice on her own terms. Additionally...

Nikita (La Femme Nikita): Rebellious, independent, and adventurous.

Lisbeth Salander (The Girl with the Dragon Tattoo): Unconventional, daring, and justice-seeking.

Capricorn Moon - Miranda Priestly (The Devil Wears Prada): Ambitious, disciplined, and powerful, the Capricorn Moon femme fatale is a formidable presence. Like Miranda Priestly, she's a master of her craft and expects nothing less than perfection from herself and others. Additionally...

Evelyn Mulwray (Chinatown): Reserved, ambitious, and secretive.

Lady Macbeth (Macbeth): Ambitious, manipulative, and ruthless.

Aquarius Moon - Mia Wallace (Pulp Fiction): Unconventional, independent, and mysterious, the Aquarius Moon femme fatale is a true original. Like Mia Wallace, she marches to the beat of her own drum and isn't afraid to break the rules. Additionally...

Mathilda (Léon: The Professional): Unconventional, intelligent, and rebellious.

Clementine Kruczynski (Eternal Sunshine of the Spotless Mind): Eccentric, free-spirited, and unpredictable.

Pisces Moon - Nina Sayers (Black Swan): Imaginative, emotionally vulnerable, and self sacrificing. Like Nina, she uses her damseled distress and emotional depth to draw others into her web of desire and deceit. Additionally...

Melissa Robinson (The Last Seduction): Deceptive, adaptable, and seductive.

Laura Hunt (Laura): Elusive, enigmatic, dreamy, and idealization.

[nightlyrequiem]

Latrodectus

II. Fragmented

part 1, part 2, part 3, part 4

AO3

Latrodectus Mactans, otherwise known as the Black Widow, are known for their uncouth treatment of their partners. The 'widow' part of their name stemming from the common occurrence of the female devouring her partner after mating.

Tags/Warnings: Abduction, Violence, Emotional Manipulation, harassment, A Dabble of Psychological Torture, Drugging, Breaking And Entering, Fem!reader

================================================

Valeria learned to adapt, like any good animal. She mastered the art of mimicry, and her peers were none the wiser. She studied their faces and mannerisms and copied them to perfection. In hindsight it was pointless. Once puberty hit and she grew into her face and body nobody cared that there was something just a little off about her. Being pretty and physically developed meant she could get away with a lot more. No longer would she be shunned for her off putting ways. In fact, it just made her all the more desirable to her hormonal male peers. Their attention was wasted on Valeria, who spent most of her time chasing girls she found 'special.' Marie Sanchez turned out to be very unremarkable. Not as deity-like as Valeria thought she was. Then came Elle Minote, with her honey blonde hair and mousy round face. Her good looks rivaled Valeria's and she quickly swooped in to claim her. Crowning herself as Elle's best friend. 

Even before their friendship fell apart, Valeria's treatment of Elle was far from appropriate. She smothered her. Elle wasn't allowed to hang out with other people when Valeria was not pleasant. Elle wasn't allowed to have other friends. If she refused to stop hanging around them Valeria would throw guilt-tripping fits. Valeria would harshly criticize any boy Elle showed interest in. Making her feel foolish for even considering going out with him, why would Elle want a boy like that? She's far too pretty and likeable for someone about as interesting as a cheap handbag. Elle couldn't handle the overbearing weight of being Valeria's object of affection, though. She drifted away and found herself a boyfriend. Heartbroken and furious, Valeria vowed to ruin every relationship Elle ever got. It's not like she had any issues doing so. Boys are simple creatures after all.

You didn't eat the sandwich. Valeria stares at you with disappointment and you glower right back at her from the corner. Your skin is looking dull. Probably from the lack of nutrients and sunlight.

"Why are you being so difficult?" Valeria asks sharply. Why does she even bother with carefully handmaking your food if you're going to be so unappreciative?

"Why am I being so difficult?" You repeat. Voice hard with anger. "Gee, I don't know, maybe it's because you kidnapped me and locked me in a fucking cell!" Your hands grip your iron chain tightly.

"A cell?" Valeria scoffs incredulously. How dare you call this a cell. It's clean. You have a nice, soft bed with blankets. It's far more luxurious than any prisoner would get. She storms up to you and grabs your face. "You are so incredibly ungrateful." She whispers dangerously. Dilated eyes locked onto yours. 

You were an artist. In the background of one of your pictures, barely in frame, was a half-painted canvas. It took her a while of staring at the photo to realise you were painting a lamb. After some digging, she found out you did commissions. You didn't make a whole lot off of those though so to make ends meet you worked at a bar. Wasting your talents and life away serving up elaborate cocktails for ungracious patrons. Valeria became a regular. The bar was subpar and hardly worth the money she spent there but with you behind the chipping counter, illuminated by the sickly glow of the old hanging lights, she could spare a few pesos.

Her blood pressure would spike every time a male patron would flirt. She seethed even more whenever you'd giggle or smile at whatever stupid remark they'd make. You were only doing it to get tipped, Valeria knew that, but it still angered her to no level. No man was deserving of you. They would never be able to appreciate all your little intricacies. Not in the way a woman could. Not in the way she could. She had to walk out one night when you were laughing a little too hard at something one of your coworkers had said. She crouched in the alley behind the bar, stiff with hatred, fingers clutched in her hair. She hated him and she hated you.

Your nails bite into the skin of her wrist. Valeria shakes her arm harshly before grabbing your wrist and wrenching your hand away. Your nails scrape against her flesh as they're moved away. Leaving thin raised lines in their wake.

"I could show you what a cell really looks like." She growls. "I could leave you in a cold, dark, damp room. No bed, no toilet, maybe I should let you starve too." Valeria feels hurt that you are comparing your room to a cell. You're throwing her hospitality back into her face. She's doing her best with a shitty situation. She sees the fear coursing through you. The way your brows twitch down and the way your breathing hitches.

"Why are you doing this to me?" You ask. Your voice breaks, a warning that you're going to start crying. "... Is it sex you want?" Valeria releases your face. She has to take a step back to stop herself from slapping you. She already explained everything to you. Are you stupid?

"No." She snaps. Glaring at you. "I already told you why I'm doing this."

"You don't love me, don't stand there and try to convince me you do." You hiss. You press close to the wall.

Valeria is appalled by your words. She hates it when people try to claim to know what she feels. They could never begin to understand her feelings. Not even her parents could begin to understand it. The violent screaming and crying fits followed up by weeks of numbness. Valeria loves you so much that she didn't give up after you turned her down. She has so many plans for your life together. She takes a deep breath to calm herself down. Those plans won't ever come true if she kills you.

"I know this is scary and that you don't understand," She explains slowly. "but I am doing what's best for you." And, what's best for her. She can't function like she needs to when she's constantly on the verge of snapping. All because the woman she wants isn't hers.

You aren't receptive to her words at all. You put your face in your hands. Your body is so tense that she can see a slight quiver in your shoulder.

"Let me OUT!" You screech. You throw your back against the wall and scream. Hands sliding up your face and into your hair. "Let me go you fucking PSYCHO!" You claw at your own arms and hyperventilate. Valeria watches silently. She knows you'll scream your vocal cords raw for the next few hours then curl up in your bed, unmoving for the next few weeks. Your behavior is repetitive and resonates with Valeria in a way that nothing else ever could. She sees herself in your rage. In the intense anger you direct onto yourself. She turns and walks out of the room.

Your screeching stops being audible at the top of the stairs. She locks the basement door and walks into the living room and sits down on her expensive dark grey couch. Her back aches in protest. She didn't realise how sore it was until now. She leans back with a sigh. Silence rings loudly in her ears as she thinks. You've been here for a month now, yet you aren't warming up to her at all. Perhaps it's the lack of stimuli. Animals kept in captivity develop zoochosis when under stimulated. Her gaze shifts to the painting she hung above the mantel. The beady eyes of a lamb stare unfeelingly back at her. She taps her fingers on her knee. She commissioned that one from you. 

You're frustrated and need an outlet. Valeria understands that now. With you being so deprived of anything you enjoyed pre-capture you'll probably jump at the opportunity to do anything other than stare at the depressing stone walls of your room. Painting is a good way to relieve stress and it's also a good way to bond. The sun shines through the window. Warming the little lamb. Highlighting the delicate paint strokes. She imagines how you must've looked while painting it. An engrossed look on your face as you twist your wrist in a delicate arch to capture the soft woolly curls.

When she was in primary school, Valeria would eat alone at lunch. Kneeling in the itchy grass beneath a large tree. The grass would leave indents on her calves and thighs. She had to come up with ways to entertain herself. She would read, play with bugs, tear strips of bark from the tree that shaded her. For her twelfth birthday her mother bought her a small, coiled notebook. It was pink and had bees on it. The best part was that she didn't have to use it for school. She filled the lined pages with drawings. Some of her favourite memories are of her sketching away at lunch, tuning out the joyful noises of her classmates. She knows how good art can be for the soul.

She browses through the paint section at a small craft store and wonders if she should get you your own sketchbook. The thought is tempting, but she'd have to give you something to draw with and she's unsure if she wants to provide any potential weapons. The paintbrushes she's getting you is risky enough. Her eyes scan over the coloured tubes of acrylic. Each one fighting for her attention. The whole store smells faintly woody. It's a little disorienting. She grabs twelve colours. The basic ones as well as a few different shades. She grabs some canvases too and walks to the front to pay. The little old lady at the front gives her a judgmental look. Valeria doesn't break eye contact as she hands over the cash.

Back home, she sets down the art supplies on the dining room table. She spreads them out and inspects them. The paints, the canvases, the brushes. She can feel her own creative spark flaring up at the sight. She puts all of it back into their respective bags and carries them over to the basement. She sets them down by the door and continues further down the hall. She walks into her bedroom. The room is tidy and free of dust. The queen bed with its light pink sheets is made, the pillows arranged against the headboard with care and precision. The day is on the hotter end, and she's sweated through her shirt. Jeans and a black long sleave clearly weren't the way to go. She digs through her wardrobe and settles on a comfortable pair of black cotton shorts and a t-shirt made of a thinner material. She gives her reflection a quick check, admiring the tattoos visible on her arms. She quickly combs her fingers through her hair then walks back out.

She picks up the bags and walks down the stairs. She reaches your door and presses an ear against the wood. There's no screaming or crying. She unlocks your door and peers inside. The light is off, but your shape beneath the covers is slightly visible from the light behind her.  You don't so much as shift when Valeria steps inside and turns on the light. She spots a few red droplets over in the corner. She's worried for a second that you did something to yourself, so she sets down the bags and speeds over to you. She grabs the edge of your blanket and yanks it down. There are a few red scratches on your forearm already beginning to scab. She relaxes when she realises it's nothing serious. She will need to cut your nails though. 

Valeria looms over you as she softly calls your name. Trying to coax you into sitting up. Despite your eyes being closed she knows you aren't sleeping.

"Hey." She murmurs. Grabbing your shoulder and giving it a small shake. "I know you're awake. Come see what I got for you." For a few seconds you remain still. The prospect of receiving something intrigues you enough to open your eyes though. Valeria respectfully steps back and watches you sluggishly rise up. You focus your blank gaze on her and then to the bags behind her. Valeria turns and drags them towards you. Setting them beside the bed. She walks back and sits down on the ground. The cement in cool and pleasant against her bare skin. You lean over the edge of your mattress and look through the first bag. Fingers grasp the rough material of a canvas, and you pull it out.

Valeria stares at you intently. Trying to discern what you're feeling. She feels frustrated at the lack of reaction. You hold the blank canvas in your lap and simply stare at it. Valeria decides it's because you're picturing what you could paint. You set it down to the side and to Valeria's pleasure, continue to look through her gifts. You take your time looking at the other canvases and all of the paints. At the sight of the brushes, you seem to perk up. She bought you ten, wanting to give you a little variety. You hold the largest brush and turn it over. Inspecting it at every angle. You softly trail a finger down the wooden handle. Raising your head, you lock eyes with Valeria.

"I know you liked to paint." Valeria says calmly. You look cute like this. You're not baring your teeth in a gleeful grin but Valeria can still tell you're happy and for that she feels smug. A month without anything for entertainment means anything new will seem far more interesting than it normally would.

You look back down at the paintbrush and Valeria takes the opportunity to approach. She shuffles over and rests an elbow on your bed. You look back at her and she gazes at you. Feeling awed by the sight of you. She has you within her grasp.

"I did." You murmur. Eyes glazing over as you retreat into your head. "I was - am - good at painting." You tell her. 

"I'll go get a cup of water; we can paint something now if you want." She says. Hoping you can't hear the satisfaction in her voice. You nod. Features soft for the first time since she took you. Valeria smiles and gets up, leaving your room. She doesn't bother locking the door. She won't be long.

Valeria hurries back down to you. Spilling some of the water on the stairs in her haste. You're sat on the floor with your paints spread out around you. Valeria realises that she forgot a palette. You don't seem to care though. You're hunched over a canvas. Dipping one of the brushes into a small splotch of green you just squirted onto the cement floor. Valeria feels the need to grab a rag and wipe it off, but she can't do it when you're finally starting to warm up to her. Valeria sits down across from you and places down the water cup between you two. Eight brushes sit off to the side and Valeria grabs one and a canvas. Starting her own painting.

Her eyes periodically shift back up to you. You're so focused that you don't take notice. Valeria is glad. She doesn't normally feel embarrassed but there's something vulnerable about painting the woman she loves. She does her best to mix colours to perfection. She remembers the detail and texture you created for the lamb painting. She tries to imitate it. To give your skin and hair life.

"Hey... Valeria?" You speak. She looks up again and stares. "... I need your opinion on something, could you come here and look at this?" Valeria sets down her canvas and moves towards you. Twisting awkwardly to look at your painting. It's a beautiful, lush landscape. She can see the brushes in her peripheral. She can hear your slightly fast breathing.

"I was wondering if I should add a cabin." She glances at the brushes again. Seven lined up side by side. She furrows her brows.  

"Um... Yeah a cabin would look nice." There should be eight.

The first time Valeria was ever stabbed was during an offence mission. She was cornered by an enemy. The feeling of his steel blade passing through the flesh and tendons of her hand didn't hurt as much as she imagined it would. It didn't hurt much at all. It just felt cold. Maybe because of the adrenaline rushing through her at the time. The rattling of your chain is the only warning she gets before the jagged edges of broken paintbrush pierce through her arm. You were quick but Valeria was quicker. Had she not blocked your attack you would've stabbed her in the side of the neck. 

The wood drags against her skin, leaving slivers as you pull it out to stab at her again. Valeria roughly grabs your arm and wrestles you into submission. You struggle and cry. Writhing beneath her. She squeezes your wrist until you're forced to let go of the paintbrush. Red runs down her arm. Dotting your painting with little red puddles. Valeria's movements are fluid and smooth as she wraps her hands around your throat. You wheeze and feebly try to fight back but Valeria only tightens her grip. Valeria feels betrayed and hurt. You attacked her, after she tried to do something nice for you, you attacked her. You start going still when she suddenly releases your throat. She glares down at you as you pant and cough. Her heart is hammering. Valeria needs to leave before she kills you. She aggressively grabs the paintbrushes and storms out of the basement. Locking the door behind her. She's given you too many chances. You're starting to run out.

[triple-starsss]

idk if you've answered this before but what does everyone study in college? in my head tails majors in aerospace engineering :)

making me wrack my brain for college courses LMAO. thing is since i live in the UK, people here start college at 16 and its manditory.

BUT I THINK I WANT TO VEER TOWARDS THE US SYSTEM? FOR THE AU. so they'd start at like 18/19 and they'd be able to skip it entirely if they really wanted to.

this goes on for a while so erghghgf

not gonna go into specific courses since i'd be here forever but.. I THINK

Sonic didn't go to college, i genuinely do not know what career path he'd choose so he sort of just decided aaghh fuck it i'll take whatever job i can. I feel like whilst he values education, he'd much rather learn from experience than sit in a classroom for hours on end.

Shadow didn't attend college either but thats because he's homeschooled!! majority of his studies were more veered towards science n medicine. so something within those fields.

SILVER!! HE DID ATTEND!! n this guy did want to pursue music for a career so he went with that!! At first he thought he'd never actually. be able to put what he learnt to use since he'd been working at Vanilla's Bakery for so long and didn't really see it as an option anymore but then BAM Ivo jumpscare.

Tails..the one guy who is actually going to college,, YEAH HE'D DO SOMETHING WITHIN ENGINEERING!

OKAY YK WHAT GONNA SPEED THROUGH THE REST.

Blaze - business, do you guys see a pattern here with the canon royalty owning businesses LMAO

Amy - probably switched courses like multiples times but i think she'd pursue something within psychology, sociology or culinary arts!!

Vector - economics, my guy is stuck in student debt forever

Espio - something in my gut is telling me he'd do anthropology and i dont know why

Knuckles - didn't attend, busy working his ass off on the farm

Rouge - business/management!! didn't end up doing anything with it though (UNTIL WAY LATER MAYBE, wouldn't be rouge if she didn't own a club eventually pfft)

Metal - don't think he'd go to college

Infinite - went but didn't do shit LMAO. don't know what he'd do but i dont think he does either.

Mephiles - another bitch in psychology (went to college to learn how to become a master manipulator LMAO)

Jet - he didn't go

[kaileedraws]

Friends and fellow miraculers! I need help!

For the miraculous AU I’m creating, what kind of things did you think the original series were lacking in/could’ve elaborated on? Comment below!! I’ll list some themes/struggles to overcome I was thinking about below. I’d appreciate the feedback!!

Also, when I post stuff I’ll make sure to include trigger warnings :)

Marinette’s struggles/flaws - severe social anxiety, panic attacks, depression, self-sabotaging tendencies, anxious attachment style that leads to stalking from past social trauma, girl bullying

Ladybug’s struggles/flaws - PTSD, trust issues, celebrity struggles (sexualisation, privacy invasion, slander, etc.), headstrong/defensive

Adrien’s struggles/flaws - Chronic people pleaser that puts others before himself and causes people to get hurt inadvertently, easily peer pressured (into situations, drugs, etc), ADHD, wants nothing more than to please his dad, no social intelligence, skewed perspectives of relationships, depression, celebrity struggles (sexualisation, privacy invasion, paparazzi/stalkers), model struggles (sexualisation, assault, coercion, drugs, anorexia, dehydration), neglect, loss

Chat Noir’s struggles/flaws - Rejection, PTSD, spontaneous/impulsive, fueled by emotion

Chloe’s struggles/flaws - Narcissism, parental abuse, drug abuse/addiction, master manipulator/girl bully, party girl, lowkey an abuser to Adrien

Alya’s struggles/flaws - Adrenaline junkie (rushes into danger headfirst), stubborn/difficulty accepting when she’s wrong, headstrong, passionate

Nino’s struggles/flaws - party animal, doesn’t want to grow up

Kagami’s struggles/flaws - no social skills/ doesn’t know how to express herself, walls to protect her emotions, parental abuse, narcissism, celebrity struggles (manipulation, sexualisation, coercion, privacy invasion), perfectionist

Luka’s struggles/flaws - free spirit and hard to ground in reality, abandonment issues, drug use to cope with severe social anxiety,

Felix’s struggles/flaws - revenge-fueled, drug abuse/addiction, manipulator, rebellious/chaotic

Gabriel Agreste’s flaws - Obsessive (in winning), fueled by grief, thinks he has nothing left to lose (he forgets his son), cold, will not accept loss (ie his dead wifey)

— overall themes —

Gore, loss, mass casualties/destruction, the dark side of being famous, the dark side of modeling, intense pressure of being a soldier/hero/protector, mental illness, drugs, complicated relationships, sexual assault/harassment, death, bullying/psychological harassment, and so much more~!

— other ideas —

- Marinette is a Fashion Intern by Gabriel Agreste Brand after she wins a contest

- Marinette meets Adrien via her internship and also has to deal with Chloe - her ex best friend - there (her mother works with Gabriel)

- Alya takes writing as a “track” in high school and also participates in a reporter internship. She runs her own blog and constantly puts herself in danger for it

- Marinette is studying fashion/graphic design and Adrien is taking the general track in high school - though I can kind of see Adrien becoming a nurse or in a profession where he helps others

- Adrien and Chloe go through a situationship triggered after his mother dies, and she takes advantage of his emotions. He just wants her to be happy and doesn’t care that he is at the expense of that at first (people pleaser tendency). Adrien is forced into other relationships at points - like with Kagami and Lila - because it’s what his father wants.

- The kids from the original collége (middle school) class will appear in an Art club they all participate in. It takes place in the final year of Lycée (high school) and classes are set up similar to American University/College, with different “tracks” to take, which leads to taking the “Bac.” (According to my research at least ;-;)

- Lila will appear as both an ally of Hawkmoth (with a kwami OC) and as marinette’s main foe as herself (teamed up with Chloe and Sabrina) - but worse than the series because Lila wins at first

- Adrien experiences the dark side of being a celebrity and male model - being taken advantage of, pressured into substances, sexualized, and exploited. He doesn’t know how to say no at first

- Marinette faces the dark adult world of fashion as she too is criticized, sees the corruption of it, and is forced into situations she has to get out of.

- Adrien doesn’t know what a real relationship is supposed to feel like and sexual acts become tainted for him — Marinette helps him see the innocent, nontoxic side of being in a relationship

- Major redesign of the miraculous and the capabilities of their powers - and consequences.

[galedekarios]

Oh wait now I’m curious what the backstory reasons behind Alton’s physical design are! He’s very handsome and I crave the oc lore.

thank you so much for asking about altonaufein. i really truly do appreciate it a lot! 🖤he's the favourite of my bg3 ocs.

his development and growth as a character is mostly tied to his hair and how he presents himself, so this is what i focused on for my choices throughout the game:

altonaufein was born as the third child but first son to matron ithrana of house hlarahel, a younger brother to his eldest sister nadriina and the second-born iraeae.

house hlarahel of ust natha has produced a long line of powerful clerics in service to lolth so altonaufein, with his natural talent and inlination for both the divine and the art of combat, was trained as a cleric to aid drow scouting and raiding parties:

this is how his hair would have looked then--perhaps even longer as the cc allows us--white hair worn long and open, symbolising lolth's demon webs, her reach and control on her drow, despite altonaufein's dreams of a bright moon hanging in a dark sky he has never seen.

i will put the rest under a cut because a) it's very, very long so sorry in advance and b) because it deals with some very heavy themes so if you aren't comfortable reading, you absolutely do not have to!

(cw assault/rape, cw mind manipulation, cw enslavement, cw drow society in general tbh)

drow society is a matriarchal society, where male drow are considered lesser, and it functions under a particular set of rules:

"The cruelty and injustice of Drow society are utterly familiar because they are constants, from the womb onward. Drow mothers punish and manipulate from the start, and Drow women rule each household. Typically, nobles are divided up into houses which jockey for position in the city, and each noble house is headed by a cleric of great skill. A wise matron mother will have several cleric daughters to ensure that her line and influence continues, but she will watch them carefully. Inheritance is passed through daughters, with children ranked in importance by gender, and then by age. A matron will guard against her eldest daughters and pit all of her children against each other to ensure her own survival." "Drow children are not coddled. They are raised together and sent to schools with high standards of conduct. Drow children are trained to compete with one another and to show no mercy. Some children do not survive the intense childhood games." "The Drow are infamous for their torture practices, as well they should be. Among the elves of the beginning times, they were the first to experiment with the sensation of pain. They have honed torture into science and psychological treatment. Drow parents will punish their children with pain and humiliation in very tactical ways. Drow students are publicly punished in front of their fellow students and class clowns are rare (although pranks for which no one was apprehended are remembered by Drow students as legends of a sort). Drow adults are not all masters of torture, but they have seen enough pain to know how to make others hurt. Not all Drow use physical pain as their modus operandi. A good many are adept at humiliation and terrible mind games. Some slaves are so broken mentally that all they can do is concentrate on the task at hand. Some Drow actually do not like to put forth the effort that torture requires and would rather kill someone than waste their energy. The worst punishments are said to come from those closest to Lolth - the yochlol and the clerics. They are whispered to be divinely inspired."

these are the circumstances that shaped altonaufein as much as it did nadriina and iraeae, who, in the tradition of house hlarahel, are both striving to become powerful priestesses of lolth in their own right, seeking to inherit control of the house from matron mother.

drow house politics are insane and it's all encouraged by lolth. lolth wants to determine who of her followers are worthy enough to be supported by her, so all drow have to pass a test of faith, a trial of lolth.

after altonaufein foolishly (he truly did love--in a way that drow are capable of--his sister iraeae and confided in her visions that spoke not of lolth or a great spider swallowing the world, but of a moon, shining bright silver.

iraeae felt conflicted. she, too, loved her brother in her own way. of course that weakness was what made her realise what she had to do: weed it out. so she told not only nadriina, but her her mother. it was then decided that altonaufein was not simply to die.

they would not further shame their own house like that. instead he would be put through his trial of lolth, to weed out that weakness and corruption within their own ranks. should he die, he'd be a sacrifice to lolth, should he live, he would prove lolth's favour to their house and advance them further in ust natha's society.

altonaufein with that was sentenced to undergo the test of strength. power and resourcefulness, whether or not the subject is strong and clever enough to defeat a powerful foe. the test is only fulfilled by a battle to the death between the test subject and another, stronger person, sometimes a creature.

the fight is usually difficult, and the test subject often has to expend all their resources to survive and vanquish their foe, who must be slain: the more brutal, the longer drawn out the fight, the more you've suffered and the more your foe has suffered, the more it will satisfy lolth.

altonaufein earned his first brutal kill like that. he had just reached maturity.

nadriina had hoped he would die. winning the trial had garnered favour and attention. a strong male could be just as dangerous as a scheming female. she devised a plan with iraeae to ensure that they would not be threatened and, with that, iraeae passed her own trial of lolth: chwidevbrii, or the test of betrayal.

it's a punishment that strikes particularly deep. trust is a distasteful concept to drow, though they understand that sometimes it does happen and is even necessary. to rid themselves of this, to succeed at this test, the drow must betray someone who has garnered her trust or in whom she has placed her trust.

mentors, teachers, leaders, friends, family members. as long as there has been a solid connection of dependence made in the past. the relationship between master and slave or servant does not count; the goddess knows that no betrayal can happen in such a relationship. it is simply a slave. the drow must utterly destroy the other drow in a way that allows her to advance in some manner. the method is not important: blackmail, slander, torture... magic. in the end, the victim must die or be thoroughly disgraced and dominated. usually, the victim is murdered by the drow herself, commits suicide, or is killed as a result of the drow's action.

so what better way to show to her goddess that she is a true drow, that she is worthy, what better way than to serve the house than humiliating and dominating someone who was once a little brother.

drow females are able to take over the mind of a male drow just like that, with a spell, akin to a thrall. all thoughts are gone, all will is gone. your mind is not your own anymore.

iraeae did just that: after he was beaten, whipped, mental and physical defences exhausted, the spell on altonaufein took hold and, as perhaps a final "kindness" in her utter triumph, altonaufein was discarded in ust natha's dark underbelly.

ust natha has a tavern. to entertain both those lusting for blood, for sport, and for more carnal pursuits. altonaufein still remembers szordrin and sondal, the keepers of the tavern. their taunting faces. mind gone, he and others were kept in a cage. he served there for a while. to fight. to please. to be of use. to those who asked. to those who had power or gold. for battle. for pleasure.

he was there, under that spell, until it broke: iraeae dead by her sister's hand. betrayed just like altonaufein had been by her. altonaufein doesn't remember how long it lasted, remembers only parts of it: the many hands, more than hands, the pain. he remembers fighting. other drow. other prisoners. the surface. running. the moon. fever. then nothing for a long time again.

and finally, karl:

karl is an ilmater cleric, a part of a small settlement built around a modest church of ilmater that, unknowingly, is very close to an entrance to the underdark.

during one of his patrols with another of the settlement, karl found altonaufein: delirious with fever, malnourished, ravaged by old wounds that never truly healed, hair tangled.

any other man might have killed the defenseless drow, thinking it to be a ruse, or perhaps to put him out of his misery, but karl is an ilmateri through and through, for better and for worse, and so he shouldered this suffering and brought altonaufein to the temple. he was tasked with caring for him. and watching him.

so karl came to care for the drow: he cleaned and dressed his wounds, sat by him. tried to talk to him, engage him in moments of clarity and despite the obvious language barrier. karl, an ex-soldier and deserter, was forced to fight for his homeland cormyr against sembia. he saw a lot of cruelty during that war. a lot of violence, both in battle and outside of it. in the villages and cities that were torched and conquered and pillaged. he saw a lot then and sees a lot of it now in altonaufein, who survived a different kind of war.

as for altonaufein himself, he tries to settle into that new life, tries to come to terms with what he remembers of his old one... it was incredibly violating. he remembers only snippets. moments. sudden movements and motions, that send his heart racing.

the clearest memory is a hand gripping his hair so tightly, pulling and guiding. it's not anymore, but he still feels it.

he hasn't brushed it or touched it since his rescue, it's a tangled, matted–and it’s also something that hasn’t escaped karl’s notice.

altonaufein goes to cut it with the only blade he could find (stolen and kept on his person from one of the meals karl had shared with him).

(ilmater clerics and priests are good and nice, but they are also no fools who would give a drow access to sharp weaponry. kindness goes only so far, even here, no matter how much karl vouches for altonaufein.)

so altonaufein begins to cut it with a dulled blade and it goes about as badly as you'd imagine: it's hard to do, it hurts, and the strands that he manages to cut are choppy (which is the least of his worries). he still manages to hurt himself simply by the virtue of hard he is trying and how badly his hands are shaking with it.

karl would find him, take one look at him and leave, coming back with honeyed tea to soothe frazzled nerves and a sharper blade, one of his own. he drinks the tea first from the little teapot, pouring himself one cup and another for altonaufein, to show him it's not poisoned or meddled with. he had noticed how skittish altonaufein was with things he hadn't seen being prepared.

they sit there for a while before altonaufein, too, calms enough to drink his cup, and it is only then that karl begins to speak, voice soft but clear.

he takes up the sharp blade, lets it rest on his hands just so, where altonaufein could reach out and take it at any time, and tells him of what could happen: he could leave the blade with altonaufein and he can try again, but karl would prefer it if he could help, clean the cuts and nicks and heal them, and help altonaufein cut his hair.

altonaufein looks at him for a long time, searching his eyes, still holding onto that dull blade as a last defense, but there is no deception in karl, none at all. only that strange kindness that he has come to associate with the human.

it was one of many, many small gestures, things, that karl did for altonaufein that made him trust karl. trust him enough to at first take food and drink from him, later to help fix injuries like this one--and finally, to let him cut his hair.

he turns his back on karl--even though the human might not realise fully how meaningful that truly is--so he can do as he had said he would. and karl does. he keeps his word.

time passes and altonaufein settles into his new life, bit by bit. he helps with that he can at the temple and the settlement: repairing fences, caring for the animals, the harvest, building and repairing things.

he still wears his hair short, but here and there, he allows it to grow just that bit longer than it had been for a long while now:

and it's this way when the settlement is attacked and he is captured on the nautiloid.

on his journey to find a cure, and to find karl, he meets another human, just as kind as the ilmateri. one who knows the goddess behind the light and moon he had dreamed of, prayed to, albeit not knowing just how to, and gives her a name that altonaufein had not known until then: eilistraee, lady silverhair--and a close friend to the man's own goddess, mystra.

this bond between them, beginning with a moment of connection, grows ever closer and brighter.

through them, karl and gale, with them and alongside them, altonaufein begins to heal and helps them heal in return, begins to find his purpose and helps them find theirs:

he is a cleric of eilistraee. he can be more than a tool for bloodshed and violence.

he's not kulg llarzoran ithrana qualla hlarahel (his designation as a male of his house). he's not auflaque (dog) as he was called during his captivity. he is simply altonaufein and that's what he is to gale, to karl and the friends he has made.

settling in waterdeep with them, altonaufein joins the promenade and its leader trelasarra zuind. to help others as he had been helped.

🖤

[theogonies]

poor, unfortunate soul: genshin characters as yandere

characters: diluc, yelan, xiao, sucrose, & childe

word count: 1.8k

content warnings: psychological manipulation, naive reader, implications of physical violence (diluc, xiao, childe), kidnapping/captivity (diluc, childe), stalking (sucrose, xiao), otherwise gn!reader is referred to as onee-chan once (sucrose), ANGST (childe </3), dark content, minors and ageless blogs do not interact

yeah i promised the next one would be fluff but i had to get this out of my system. barbatos forgive me.

DILUC: TREASURED POSSESSION.

If only you knew how much harder this is for him than it is for you. Diluc hates seeing you so angry and upset, as he'll tell you time and time again--preferably while he cradles you against his chest. And, well, if you must cry and fight him and curse his name, it's understandable, really. When he promised that he would remain by your side no matter what, he meant it. Even if that meant you learning to hate him.

He keeps telling himself that someday, you'll grow accustomed to never seeing beyond the walls of Dawn Winery. He's done everything within his power to make your cage a comfortable one: lavish bedding and furniture imported from the world's finest craftsmen, private libraries and supplies to furnish any hobby imaginable, even a sunlit atrium for you to enjoy the splendor of the outside world in safety. He knows that it's hard for you. Any change will inevitably require an adjustment period, but at least you have him standing at your side, loyal as ever, to get you through.

And what else was he supposed to do? No matter how many times he warned you of the dangers that lie outside Mondstadt's walls, you refused to listen, just kept gallivanting about on your adventures as if your life didn't matter to anyone but yourself.

Diluc knows the truth of how frail humans can be, though; so if you're going to keep behaving so stupidly with the precious thing that is your life, it doesn't leave him any other options than to store you away somewhere safe from harm. He knows that it's objectifying to treat you like a painting too valuable to be displayed to public eyes. But what other choice does he have?

He feels guilty for treating you so cruelly, he truly does. But he's also clever. When your stubbornness refuses to fade, when you keep fighting him and struggling to escape, you find that the servants start to disappear, one by one. And that's when you realize that he's using your own loneliness as a cudgel against you, so that when he returns to you in the early hours of morning with blood on his shirt collar and a haunted look in his eyes, when he needs your comfort most of all, you don't have any choice but to give it to him.

In Diluc's eyes, this is just what love is: a union of mutual obligation. And, to his credit, in time you both find this to be true. Because no matter where the walls stand, a home is only safe when you're both in it.

YELAN: DOUBLE AGENT.

If she weren't so perceptive, you may never have found yourself in this mess in the first place. But unlucky for you, Yelan recognized the puppy love crush you'd developed on her for what it was sooner than you did--and, with the sharp instincts of a gambler and the pragmatism of a spy, she took full advantage of the situation.

After all, there isn't much point in mastering the art of manipulation if you don't get to take something for yourself now and then. Yelan plays you like a fiddle, teasing you with little touches and praise only to rebuff your advances the moment you work up the courage to make them. It doesn't take long for you to become her favorite toy: so sweet, so patient, so deliciously naive.

It's not that she's completely cold to your affection; really, she would feel worse about her on-and-off affections, but it's not like you're not also getting something out of the situation. In exchange for your loyalty, Yelan allows you a precious glimpse into the powerful, resilient woman that lies beneath her assuaging public persona. Not many are allowed to be so close to her; fewer still are such consistent targets of her attention, hot and cold as it may be.

In time, you're even able to reveal an entirely new facet of Yelan's personality: her deep, all-abiding sense of jealousy. Never one to go into fits of rage, she still finds herself simmering with resentment every time her toy's interest is caught, however shallowly and briefly, by someone else.

More and more, she finds herself using the same tools that snared your affection in the first place to ensure that it belongs to her and only her; after all, the world is a cold and unforgiving place, isn't it? People can be so dishonest in their intentions, but to you, Yelan will always remain true. You've seen beneath the mask, and isn't it better to be a treasured plaything than that poor, lost puppy she first met?

XIAO: SCARY DOG PRIVILEGES.

There's something almost endearing about Xiao's clumsy affection for you. Such a fearsome man, and yet he can hardly speak to you without a flush in his cheeks. He fetches you crystalflies and glaze lilies to adorn your hair, shows you hot springs tucked between the mountains and stands guard while you bathe, even does your household chores as you sleep. Liyue's Guardian Yaksha lives at your beck and call.

He chases you so innocently that it's easy to forget he's not just the Guardian Yaksha, but the fearsome Dream Eater--and his adoration of you is no less relentless than his pursuit of the demons that haunt the land. And what cause could you ever have to suspect him of foul play? If he vanishes for a suspiciously long period of time, if the next time you see him he's marked with bruises and bloodstains--well, he has his own duties. Patching each others' wounds has been part of your routines for as long as you've known each other.

Come to think of it, it is strange that you've suddenly found yourself able to wander the streets alone late at night without issue; that even in the seediest of taverns, no one seems inclined to bother you. Stranger still is that whenever you think you've made a new friend they seem to ghost you, but then, some people are just unlucky, aren't they?

Besides, you can't complain; not with such a loyal Yaksha at your side, always ready to kiss away your tears with a kind of reverence that would make even gods tremble.

SUCROSE: STALKER CRUSH.

She's had her eyes on you for some time now. Not that you would be able to tell--she's made sure of that. To you, Sucrose is just another one of Mondstadt's townsfolk. Sure, her eyes seem to light up whenever she looks at you, but that's nothing to be concerned about. She's so painfully shy that even if she did have a crush, she would never do anything about it, right?

Unlike the others, Sucrose moves slowly and methodically in her machinations. She watches patiently, following you from the shadows, approaching the people you're close to to ask questions about you. Before long, she knows all your preferences: your dating history, the friends you keep, even your turn ons and turn offs. And once she's collected all the information she could possibly need (and then some), that's when she strikes.

She starts simply: an offer to help develop some new tools for your adventures in exchange for reagents that only a traveler like you would have access to. And, lo and behold, you have far more in common with this shy little alchemist than you ever would've expected. It's like she's always ready to finish your sentences for you, and such a reliable, sensitive friend, too. Despite her busy work life, she's always ready to lend a listening ear to your troubles, often with your favorite flavor of ice cream and one of her snuggly plushies in hand, fully prepared to comfort you.

Little do you know all the work she's done to reach this level of trust with you: the months of preparation just to speak to you for the first time, the long nights spent reading all your favorite books, the pictures of you she keeps pinned to her walls. Little do you know that you're not the reason why all your romantic endeavors seem to keep failing.

It's just that, when Sucrose looks up at you with those big, glassy eyes and calls you her onee-chan, it's so easy to forget that you hardly know a single thing about her.

CHILDE: CHILDHOOD SWEETHEART.

You lost your love a long time ago. Intellectually, you've known that to be true since you were fourteen and found your first heartbreak. But it's still so easy to look in Ajax's eyes and pretend you see the same light in them that you saw before.

It was better when he first came home. At least then, he was content to leave you as you'd always been: just another of Morepesok's villagers, the one person he could trust to keep an eye on his family in his absence. You cared for his siblings, and you wrote him letters, and sometimes, he would come home just long enough for you to pretend that everything was as it always had been.

Sometimes you still wonder what happened: whether something snapped when the boy you loved became a Harbinger, or whether you were just too stupid to see how deeply the Abyss changed him. It's a useless thought exercise, but at least it's something to keep you busy as you wander the halls of Tartaglia's wing in the Fatui headquarters, waiting for his return.

It was easier at first, when he kept you shut away in your bedroom, playacting your doting husband even as you spat on him and cursed his name. He would cajole you with lies and empty promises, that he was the same man he'd always been, that he was forced to kidnap you like this in order to protect you from his enemies. But his taste for spitfires had finally backfired on him, because even as the months passed, you refused to give in, blanketing your fear in hatred.

But Childe is tricky; and while he may have changed, you haven't. He knows exactly what makes you tick, which buttons to press to gain your trust. All it takes is a door left unlocked, your desperation too feverish to question why, and you'll quickly discover that his fellow Harbingers harbor a thousand horrors for every nightmare you've dreamed of the Abyss and every glimpse you've caught of the ruthless killer that lies beneath your lover's pleasant facade. And when those monsters are the only alternatives, at least you still have familiar arms to fall back into.

So you acquiesce, trading your spirit for a semblance of freedom. And in time, you'll learn to believe that even if the Tsaritsa's Childe will never be your Ajax, you can learn to love him just the same.

[transthadymacdermot]

Left image my art of Thompsons; right image a detail from "The Prince of Orange landing at Torbay" by Jan Hoynck van Papendrecht

Wip intro: Fire, Famine, & Slaughter

Genre: steampunk? kind of? but make it 17th century instead. also kind of similar to asoiaf in that it's spec fic but based heavily on a real historical event. oh and they have ice age fauna in this world too also

Progress: 1st draft

Content warnings: it's a story abt religious wars and all that implies. lots of death and gore and people being horrible to each other over pointless doctrinal disputes. etc

Ten years ago the citizens of the Commonwealth, a world power in a a seventeenth century-inspired steampunk (ish) alternate universe, rose up under the leadership of a rogue politician to kill their king. What followed was over half a decade of brutal military dictatorship, civil war, famine, plague, and general unhappiness for the population. Now the king has been secure in his restoration -- a move which has proved more popular in some sectors than others -- for four years, but lies on his deathbed, and his only successor is a cousin who worships an outlawed god and seems, to many, on the verge of plunging the country back into the chaos it fought so hard to escape.

When a former regicide hellbent on toppling the current regime accuses one of this new king's most controversial advisors of murdering a well-liked lord, war seems closer than ever. Republicans in the shadows, royalists ready to go to war, the aristocracy pulling knives over land, but the Commonwealth's parliament consoles itself with the fact that, after all, this tyrannical heretic of a king and his horrible advisors are but an anomaly -- the crown prince, who is a bit odd but who they all know and love, is nothing like that. Right?

Will shamelessly admit that this story is an attempt to write something which is to the glorious revolution as asoiaf is to the wars of the roses 👍 narrators under the cut; complete character list yet to come. title a placeholder I pilfered from a Coleridge poem ☝️

Marcus "Marc" Waring, Earl of Talbott -- (he/him) a dispossessed and very angry aristocrat from the Commonwealth's colony-member of Hieburne, who quite literally lost an arm and a leg in the civil war. A master swordsman and known manipulator.

John Thompsons -- (he/him) a regicide, pamphleteer, and vicious sectarian only alive for his intimate knowledge of and groundbreaking research on the mysterious ancient tech which keeps the Commonwealth's capital running. #1 hobby is destablising the monarchy; #2 hobby is psychologically tormenting Talbott.

Elizabeth Knox-Clifford, Duchess of Danforth -- (she/her) one of the most powerful aristocrats in the Commonwealth, first woman to be a member of the King's Closet (group of his closest advisors), dedicated to the stability of the country no matter what that requires.

Eleanor "Ellie" Foxe -- (she/her) a mildly unwilling member of a plot to systemically kill the entirety of Parliament in order to restore the absolute monarchy of the Commonwealth's past. Fanatically devoted to her cause and rather cutthroat, but more willing to negotiate than other members of the plot.

Joffre van Andrey -- (he/him) a visitor from the Commonwealth's ally the Risckan Confederacy, and advisor to the the king there, who just so happens to be the brother-in-law of the Commonwealth's own king. A very serious man who tries to do the right thing but usually has his schemes blow up in his face </3

[aevanz]

~Claudia ~

Trapped in the body of a five-year-old girl, Claudia's curse is her immortality—an eternity in a child's body, but with the mind and desires of an adult. This paradox creates a poignant and tragic character, who, despite her vampiric nature, evokes empathy and sympathy.

Claudia's plight is one of the most heart-wrenching aspects of the novel. Turned into a vampire by Lestat, she is denied the natural growth and experiences that define a human life. Her desire for adulthood, love, and independence becomes a painful longing that she can never satisfy. This yearning drives her to moments of intense rage and sorrow, making her not just a tragic figure, but also one who represents the cruel consequences of immortality.

What makes Claudia particularly sympathetic is the way she wrestles with her identity. She is neither fully child nor adult, vampire nor human. Her struggle is deeply relatable to anyone who has felt trapped in a situation they cannot control, yearning for something they can never attain. Despite her often cold and ruthless actions, it is clear that these stem from a place of deep pain and frustration.

Praising Claudia is to acknowledge her resilience and intelligence. Despite her circumstances, she learns quickly, becoming a shrewd and formidable vampire. Her ability to manipulate and strategize reveals a sharp mind that refuses to be underestimated because of her appearance. Her determination to change her fate, even when it leads to tragic consequences, speaks to her strength of character.

In Claudia, Rice has crafted a character who, though monstrous, is profoundly human in her desires and struggles. She embodies the tragedy of being caught between worlds, of yearning for what one can never have, and of the relentless pursuit of agency in a life that seems to offer none. Claudia’s story is a powerful reminder of the complexities of the human condition, even when housed in the form of a vampire.

In the first season of IWTVClaudia is portrayed with a depth and complexity that both honors Anne Rice’s original character and adds new layers to her tragic story. Played by Bailey Bass, this version of Claudia is slightly older than her literary counterpart, but the essence of her character—an immortal being trapped in a youthful body—remains at the heart of her portrayal.

One of the key aspects that the show delves into is Claudia's struggle with her identity and the intense isolation that comes with it. The series allows viewers to witness Claudia's journey in greater detail, exploring her emotions more intimately. We see her grappling with the realization that she will never grow up, never have the normal experiences of love and life that she craves. This version of Claudia is given more space to express her frustrations, her desires, and the profound sadness that underlies her existence.

The show also emphasizes Claudia's relationship with Louis and Lestat, adding complexity to the dynamics within their vampire family. Her bond with Louis is portrayed as deeply affectionate but also strained by the circumstances of their existence. She views him as both a father figure and a confidant, but also someone who, like Lestat, has played a role in her eternal entrapment. Her relationship with Lestat, on the other hand, is marked by a mix of admiration, resentment, and fear. The show does an excellent job of highlighting the psychological manipulation and emotional turmoil she endures under Lestat’s influence, deepening the sense of sympathy for her character.

Claudia's intelligence and cunning are also front and center in the show. She is portrayed as a quick learner, someone who masters the art of being a vampire but is constantly at odds with her own nature. Her cunning is not just a survival mechanism but also a form of rebellion against the limitations imposed on her by her eternal childhood. The show does not shy away from depicting her darker side—her capacity for violence and her sometimes chilling detachment—but it balances this with moments of vulnerability that make her more relatable and tragic.

Bailey Bass's performance brings a fresh, nuanced interpretation to Claudia. She captures the character's childlike qualities while also conveying the maturity and depth of someone who has lived far longer than her appearance suggests. The show gives Claudia more agency, showing her not just as a victim of her circumstances but as someone who actively seeks to change her fate, even if it means making difficult, morally ambiguous decisions.

In the first season, Claudia's portrayal is both faithful to the spirit of Rice's character and innovative in its exploration of her internal struggles. The show deepens our understanding of Claudia, painting her as a figure of immense tragedy, resilience, and complexity. Her portrayal is one of the highlights of the series, making her a character who, despite her monstrous nature, elicits both empathy and admiration.

[dubiouslynamed]

Alright, this idea has been giving me a hard time for weeks. Out into the void it goes! Sorry it's so long. There's more under the cut, believe me.

CURTAIN/ NIAT RUC

The Bentley's license plate, NIAT RUC, has been visible from the beginning of this show and it's been nagging at the back of my head just as long. Why is it 'curtain' spelled backwards? What does it mean? And what is the overall story about? Crowley asks the question at the beginning of Season 2. What's the point of it all? Angels, demons, heaven, hell? Is that license plate a Clue? Obviously, I think it is.

Good Omens is about friendship and love, certainly. But there's more going on. The book and show both deal with huge moral and ethical questions-often in the flashbacks, but not always. Why is the universe the way it is? Why do bad things happen to good people? How do you choose between two bad options? Why should you have to, sometimes? Is it right to harm one person to save another (Or many others? Or all the others?). What's the point of it all?

I think that's part of why this particular story, in whatever medium it's told, is so compelling. I love the characters and the writing and the direction and the production-clearly all the work of many very committed people who also love the story and have the skill and talent to bring it to life. But the best stories, and for me this is one of them, examine the *really* big questions. Good Omens asks those questions and somehow (Maybe by using an angel and demon as protagonists? I don't know. It's a mystery!) manages to be hugely entertaining while doing so.

Curtain is Agatha Christie's last Hercule Poirot mystery. She wrote it in the early 1940s, partly worried she might die in the Blitz and leave her detective without a satisfactory ending, and locked it up to be published over 30 years later in the 1970s. In it, a dying Poirot solves the mystery of the identity of a serial killer who has mastered the art of psychologically provoking other people to commit murders without ever being found out as the person who persuaded them to kill. There isn't enough evidence to charge this indirect murderer with anything and Poirot believes he will continue his crimes uncaught. Poirot murders the serial killer himself (by deceiving his friend Hastings to a fare-thee-well and then arranging the evidence to look like the killer committed suicide). He then stops taking the medicine that has been keeping him alive. Poirot's solution is what he sees as the lesser evil of murdering the killer followed by atonement in the form of his own death. In short, Poirot has chosen among the bad options available to him while retaining the moral sense that his choice is itself evil. Some Christie fans won't read Curtain and I don't blame them.

The Metatron looks a lot like the manipulative serial killer in Curtain, though a writer as skilled as Neil Gaiman doesn't borrow entire characters or plots. The Metatron is certainly in a position to have influenced or even caused some of Heaven's morally outrageous actions by representing them as the word of God. Poisoning the angels against humanity bit by bit over millennia until they have no problem with the idea of destroying all of creation. They're even enthusiastic about it. Heaven is arguably worse than Hell at this point because, in fairness, Hell seems to look at humanity as a recruitment opportunity more than anything else.

In the first series of Good Omens, we see Crowley propose murdering the Antichrist to stop the Apocalypse and Aziraphale come close to doing it (he is only stopped by Madame Tracy's good sense from firing the thunder gun at Adam). You have to wonder what would have happened to Aziraphale if he'd managed to succeed. Something like Poirot's death? Do even good-hearted angels have to choose between bad options?

I believe that authors, being deeply concerned with words and their meanings, should be taken seriously about what they call their stories. An omen is a portent, for good or for evil, of events to come. So the name Good Omens essentially means 'this is a story about good things that will happen in the future'. Perhaps, perhaps, then, Good Omens is a story about finding and removing a source of evil in the universe without having to commit a moral crime to do it and, as a consequence, getting things more on track to a happier ending for everyone, our characters included. Not to a place where too often there is only a choice among bad options but to a place where there are more good options. More reason for the dealer in God's metaphor to be smiling all the time. Not Curtain, but its reverse.

[hilkaro]

My Fox headcanons, because why not.

He has an obsession with control. Perhaps due to his traumatic and unresolved experiences from his youth, Fox likes and needs to always keep his hand on the pulse in every situation. That's why living under the watchful eye of cameras, recording, and tracking his life has become entirely normal for him, to the point where he no longer pays attention to it. He often reviews this material to analyze it and draw conclusions. For this reason, Fox also enjoys meticulous planning. Making detailed notes, setting reminders on his phone, and gathering as much information as possible on topics that interest him are things that relax him and he enjoys doing. He also likes rituals and routines because they introduce a pleasant monotony into his life. He dislikes surprises and when things don't go according to plan. This makes him furious and he finds it difficult to control his anger. Through such outbursts, he tries to mask the fear that overwhelms him when he enters unknown territory.

He is narcissistic and egocentric. At one point, Fox delved deeply into social psychology. He strongly identified with Zimbardo's theory of wolves and sheep. He saw himself as a wolf - a superior being, much better than the rest. He willingly surrounds himself with people he perceives as inferior, weaker than himself. They have a mainly objectified role for him, they are tools he can use according to his preferences at any moment. For this purpose, he mastered the art of manipulation and spreading terror; he was excellent at managing fear and weakness in others. He is despotic because in his opinion, he is the most intelligent and practically infallible. When he makes a mistake, he blames others. He also believes that a sheep can transform into a wolf - he himself was once such a sheep - and he avoids such people the most.

His cheerfulness is just a facade. In reality, he is a very lonely and unhappy man who cynically views the world. His joy and cheerfulness are only a mask he puts on for his needs. He sometimes sits in the dark and thinks for long hours about how he has been wronged by the world. Then his sense of injustice and disappointment grows - why can't he have what others have? How are they better than him?

Bonus Why is he so obsessed with Lynn? Lynn is one of the three daughters of the Mother Goddess. She was created to be loved. For this purpose, she was endowed with certain traits that manifested when she encountered suitable individuals - lonely souls yearning for affection, those bruised by life, maniacs with twisted souls. Such individuals always saw in her what they most desired, which could be something different for everyone. Fox, being a great narcissist, saw his young self in her.

[fizzingwizard]

My favorite things ever created for Lupin III were Mine Fujiko's Lie, and The Woman Called Mine Fujiko

Not because I don't love the fun, energetic, quirky vibe of the classic series. Not because I prefer Fujiko to the boys (though I do adore her).

For me, The Woman Called Mine Fujiko resurrected not just Fujiko, but every female character written by a man who assumed he knew what makes women tick - or didn't care whether he knew, and just wanted to write her that way.

In the classic series, Fujiko's both a strong, dangerous woman who regularly betrays Lupin, yet she's also a helpless damsel in distress who needs Lupin to save her. How much she is of either depends on the writer and the story. Her saving grace is that, even back then, there was already more than just a sense that Lupin enjoyed getting outmaneuvered by her. They were the kind of perfect rivals who make the fan girls drool when it's two men, and start to see secret romantic longing in every look. Lupin and Fujiko really were rivals in love, but instead of making them more interesting, it hurt them. It made Lupin seem stupid, and it made Fujiko seem cold, heartless, selfish, and arrogant. What's more, because the story always favored Lupin and the boys' POV, we rarely ever got a glimpse of what Fujiko thought or felt - so fans were free to attribute to her whatever motivations they wanted. And fans, when it comes to beautiful, treacherous women, aren't very open-minded, let alone forgiving.

So The Woman Called Mine Fujiko was desperately needed. It somehow managed to pull Fujiko out of the grip of the male gaze without turning her into some kind of angel. It subverted the whole "she turned out like this because she was damaged as a child," by making us think that's what happened to her and then making it all a lie. She's still a criminal. She still betrays and uses people and is less spiritual and more practical about taking life than the romantics Jigen and Goemon (and often Lupin) are. And the underlying message was, it really doesn't matter what made Fujiko. She's a woman, and she's free to do what she wants. Even if it's bad. If we admire Lupin, we really have no business hating Fujiko. (Specific episodes can make most anyone hate her, but that should be chalked up to bad writing and low respect for characterization. This is, after all, fiction.) And, we learn, Lupin isn't in love with Fujiko just because she's beautiful and dangerous. He's also in love with her because he loves freedom, and freedom is Mine Fujiko.

In Mine Fujiko's Lie, we once again get this amazing, nuanced Fujiko who subverts tropes as neatly as she high kicks in heels. Her antagonist is a warped version of herself, a master manipulator who doesn't realize how he's manipulated by others, whose freedom comes with his first taste of desire - and which ultimately leads to his destruction. Nothing ventured, nothing gained - or lost. In her usual style, Fujiko defeats him by seducing and betraying him. While the art avoids the gore of Jigen's and Goemon's episodes, the eroticism highlights Fujiko's body's softness and vulnerability in a way that makes her seem desperate but determined as she uses psychological manipulation to win over sheer male power. Thematically, yeah, she's still talking about love and sex. But there's something existential about the way she talks, something deep that digs into the human psyche.

And the reframing of Fujiko's skill as psychology rather than seduction is only part of what's modern and liberating. The other is her relationship with the little boy (whose name I can't recall atm :P). We're primed to think (or dread) that Fujiko is about to tap into her latent maternal instincts. She's a woman, so of course she won't be able to resist a motherless child! And, as un-Fujiko-like as that would be, the alternative - her stealing the boy's only chance at a healthy life along with stranding him as an orphan - was too distasteful to hope for. The story string us along, making us think it'll be one, it'll be the other... and then, in the end, she's neither drawn into motherly sentiment, nor does she turn out to be utterly irredeemably (the usual fate of women who don't perform femininity in an acceptable way). She gets what she wants and the boy gets what he needs. He probably won't have stellar memories of her - and she's still far, far from an angel. But she's worked the job the way that she wants to work it, with resourcefulness and independence. Unlike her helpless charge, or her helpless antagonist. It's telling that this is the only movie of the three in this series which results in a direct kill (of the main antagonist, I mean). If there's anything Fujiko can't stand, it's helplessness. She's going to survive. She doesn't wax romantic about what it means to be a warrior. Someone came for her, she gave as good as she got - that's Fujiko. And yet, though she can't afford to be weak, she isn't so hard that she can't fall asleep on Lupin's shoulder.

I needed both of these stories to love Lupin III. Without them, I don't think I'd be able to look at it as anything more than a boy's fantasy. Fujiko's gotten some better development and overall treatment in some of the more recent anime series - but I will say that I was really disappointed in her in season six, because I felt she was rewritten to be more like ScarJo's Black Widow than anyone who could function as Lupin's rival and lover at once.

rabbit trail: The bit in Goemon's Blood Spray, where Fujiko walks off because Goemon's self-punishment is too ridiculous to watch, and Jigen and Lupin are all "This is how men are," about it, gets a mixed reaction from me. On the one hand, I tend to feel like Fujiko, that as confused yet determined as Goemon was, him killing himself through training is just wasteful. As is his friends letting him, because that's what he wants and he's got a warrior's spirit and yadda yadda. But on the other, my real issue is claiming this is a gender difference. It's glorifying the warrior philosophy yet again, when in the real world strong, war-hardened men run from battle every day, not because they aren't real warriors, but because they have sense. Live to die another day. (Which, incidentally, is what happens for Goemon, because he survives the training.) IMO Fujiko left because she's practical. Goemon did what he did because he's spiritual. Jigen didn't understand him, but went along with him anyway, because Jigen is emotional. And Lupin did understand him and deliberately didn't get in his way because he's a mix of little bits of all the other characters.

[writing-whump]

Character basics

[Picrew link]

Seline Silverstein

Feisty, opinionated, free-spirited

A young witch that recently moved to town. Studies Cultural sciences with focus on storytelling, popular culture and writing. Her magical affinities are water and air and her specialised method is singing. Sky witches are supposed to calm and soothe the shadow wolves, but Seline is too stubborn and angry for that. She wants to argue. She wants to fight. She wants a mission that would be worth it. How can she help other wolves with their tempers, when she struggles with her own? Daydreams, writes, sings. Lost in her own world half the time, makes her a bit oblivious. Prouder of being a scientist than a witch, but she is very good at both.

Isaiah Wolfson

Cautious, well-mannered, kind

Very powerful shadow wolf with unrivaled control to the point he doesn't seem like a wolf at all. Laid-back and friendly most of the time, when he isn't on the brink of violence. Passionate psychology student. Refuses to belong to any pack, which creates tensions in the pack hierarchies. Values freedom, good manners and often suffers for his pride. Always perfect, smooth, nothing ruffles me vibes. Has masks for every situation. Hardly let's himself relax. Has too much work, wants to save everything he comes across. Too nosy. Very very caring, everyone deserves love and kindness except me worldview.

Matthew Blackwell

Sarcastic, temperamental, protective

Matthew has a wolf's temper to go with even worse tempered angry personality. Bad combination. His shadow is too strong to control, some days he struggles to even think clearly. He doesn't belong, doesn't submit, doesn't care. Only maybe sorta not quite enemies with Isaiah. Interested in economics and bussiness making of humans, if only he could tolerate the classes better. When calm, he is the emotional barometer of the room and gets things quickly in his pack before Isaiah or Seline have a clue.

Hector Wolfson

Competetive, hard-working, ambitious

Isaiah's younger brother. Extremely ambitious and competetive, wants to lead the biggest pack and control the city. Very angry with his older brother for not supporting him nor accepting his challeneges. Insanely competitive. Obsessed with being the best. Wants to he the leader, and means well, but he can't people for the life of him. His trademark attitude is love me or hate me, Idgaf. Does not understand his emotions or anyone else's. Prickly and fuming for the smallest thing.

Olive

Shy, artistic, determined

Olive is a human girl studying arts in Vienna, who often goes to the economy campus to draw. She also has a student job there as manager of the school's social media account. She is timid and compassionate, having hard time making her way through with people and gets emotional easily, but can be assertive in her own way and stand up for her passions, especially drawing, manga and anime. Rather withdrawn and introverted, she does believe in the best in people and carries a fascination and curiosity that make her inspired all the time.

Arnold "Arnie" Wolfson

Empathetic, manipulative, playful

The youngest Wolfson brother and a human. He is the one most in touch with his emotions and quickly understands circumstances and people. Often uses this to hit people where it hurts. A master of words, since they are his only weapon. Shameless enjoyer of life and pretty things, cares about style and appearance. Very loyal to those he loves, would go to hell and back for them. Also gets extremely jealous.

Dylan Silverstein

Friendly, carefree, lazy

Seline's younger brother. Shadow wolf. High school dropout lacking shadow discipline and ambitions. Outgoing and charming, makes friends easily. Very naive, mouthy, does not plan for the future at all. With a human family finds it hard to find a pack. Has little sense for wolf culture or proper manners. Irresponsible, no care in the world, gets defensive quickly. Often breaks taboos and things that are supposed to be impossible cause he didn't know they were.

Rip

Abrasive, snarky, fair

Street stray shadow wolf. 19 years old. Cynical as heck, been living on the streets since he was 13. His whole family is dead and he blames himself for it. Excellent fighter respected by most street wolves, especially in the fighting rings. No formal education whatsoever, learned everything on the go on his own. Perceptive and great judge of character. Very strong sense of justice he thinks is a weakness but can't shake.

[urfavgirlsgirl]

WHAT'S A MANEATER?Discover if you're one🤍ྀིPART1

Hellooo Girliiiiess,I hope you doing alright reading this!Today we going to talk about a new term I personally feel so powerful using it, "Maneater".But please remember,explaining and talking about it doesn't mean that I'm encouraging girls to change the way they are and be it,its just good to know such stuff,also girls who are interested in this,this is for you,to master it :) While the term might sound a bit daunting, the essence of being a maneater is about embracing your own power and confidence to navigate relationships and interactions with grace and poise. Here’s an inside look at what makes a maneater tick and how you can channel some of that fierce energy into your own life!

What's a Maneater?

An irresistable woman who chews and spits out men after using them for some sort of gain be it sexual, financial or psychological.

At her core, a maneater is a woman who exudes confidence and independence, turning heads and capturing attention effortlessly. She’s the one everyone wants to be around—charismatic, fashionable, and unafraid of going after what she wants. But being a maneater isn’t just about looking the part; it’s about embracing a mindset that makes you the ultimate catch. Here’s how she does it:

1. Mastering the Art of Disappearing: The Power of Absence One of the maneater’s most intriguing traits is her ability to make a dramatic exit. Whether it's stepping away for a few days or even months, her absence creates a magnetic pull, leaving admirers yearning for her attention. This tactic isn’t about playing games; it’s about maintaining a sense of allure and making sure you’re always a little out of reach. When you’re not constantly available, people start to wonder what they’re missing and become even more invested in your presence.

2. The Art of Keeping Him Guessing A maneater knows that mystery is a powerful tool. When a man feels like he’s finally cracked the code and won you over, the challenge dissipates, and so might his interest. To keep him on his toes, remain slightly elusive. Make him feel as though he’s always striving to meet your high standards. This doesn’t mean being unkind or manipulative—it’s about maintaining a sense of excitement and challenge in your interactions.

3. Owning Your Confidence: The Maneater’s Mindset Confidence is the hallmark of a maneater. She’s not just self-assured; she’s downright unstoppable. She doesn’t let others’ opinions sway her or let jealousy cloud her judgment. Instead, she’s focused on her own goals and desires, knowing that she has nothing to prove to anyone. By prioritizing your own confidence and self-worth, you’ll naturally attract positive attention and admiration.

4. Flirting with Flair: Making Friends with a Twist Being a maneater also means knowing how to navigate friendships with men, even if it’s just on a platonic level. A maneater comfortably finds herself in the friend zone with ease, enjoying activities like watching sports or playing video games with guys. This isn’t about using friendship as a strategy; it’s about being genuinely yourself and showcasing your multifaceted personality. When you’re comfortable being one of the guys while still maintaining your feminine charm, you create an irresistible allure.

5. Navigating Relationships with Grace While the maneater’s traits can be empowering, it's crucial to balance them with empathy and authenticity. Maneating can become a dangerous habit if it leads to manipulation or emotional games. Instead, focus on using your confidence and charm to build genuine connections and make choices that reflect your true self.

The Maneater’s Guide: Confidence is Key

Incorporating some maneater traits into your life can be incredibly empowering. Embrace your confidence, maintain a little mystery, and always stay true to who you are. Remember, being a maneater isn’t about playing games; it’s about understanding your worth and using your unique qualities to navigate relationships and interactions with flair.Wait for PART 2,and let me know if this helps . 𝒙𝒐𝒙𝒐 𝒃𝒂𝒃𝒚 💋⋆˙ᝰ.ᐟ

YOU WANT MORE OF SELF-IMPROVEMENT LESSONS?CHECK MY CUTIE BLOG:

[stanislawkowalski]

Case Profile: Luka (Surname Unknown)

Name: Luka (True surname unknown)

Birthplace: Odessa, Ukraine

Languages: Fluent in French, Russian, and Ukrainian

Background: Luka’s origins are as elusive as the man himself. Born in the gritty, labyrinthine streets of Odessa, he emerged from a childhood surrounded by dockworkers, sailors, and the city’s underbelly. Though raised in a harsh environment where survival often depended on physical strength, Luka chose a different path. Even from a young age, he realized that power lay not in brute force, but in the ability to influence and deceive. While his peers fought their way through life, Luka used charm, intellect, and guile to ascend through the ranks of the city’s criminal underworld.

Despite his Odessa upbringing, Luka’s fluency in French adds to his mysterious allure. He speaks the language with a natural elegance, easily slipping into conversations with diplomats, art dealers, and high-society elites. This linguistic ability provides him access to circles far removed from the crime-ridden streets of his youth. Many have speculated that he spent part of his early life abroad, possibly in Paris, where he honed his linguistic and social skills, but no one knows for certain.

Physical Description:

Age: early 30s

Height: 5’11” (180 cm)

Build: Slim and wiry, more athletic than muscular

Eyes: Dark and intense, often described as predatory, with an unnerving focus

Hair: Dark, meticulously kept, though often disheveled at the ends

Skin: Pale, with a smooth complexion that only enhances his otherworldly charm

Voice: Soft, seductive, with a melodic quality, his tone often shifting depending on the situation

Psychological Profile: Luka is driven by a deep desire for control and power, but unlike others in the criminal world, he achieves his goals through manipulation and psychological dominance rather than violence. He is cold, calculating, and patient, often playing the long game, observing his target's weaknesses before exploiting them. His ability to remain calm under pressure, combined with an innate understanding of human desires and fears, allows him to manipulate others effortlessly.

Luka thrives in ambiguity. His emotions are carefully masked, and those around him are never certain of his true intentions. He has a remarkable ability to charm and seduce both men and women, using his beauty and soft-spoken voice to disarm even the most hardened individuals. While he is not opposed to violence, he views it as crude and unnecessary, preferring to break his victims mentally and emotionally. In one instance, he spent months seducing the daughter of a rival crime lord, convincing her that he loved her, only to orchestrate her downfall at the moment she was most vulnerable. When she realized that she was merely a pawn in his game, it was too late—her father had already lost everything, and she was left broken.

Criminal Involvement:

Modus Operandi: Luka operates by identifying his targets' deepest desires or insecurities and using them to manipulate. He avoids direct confrontation, preferring psychological warfare. His schemes often involve subtle betrayals, emotional sabotage, and the slow erosion of trust.

Special Skills: Multilingual (fluent in French and Russian), highly persuasive, master of deception and manipulation

Known Associates: Nastka, among other figures in the criminal world. His relationship with Nastka is complicated—there is mutual respect, but Luka’s true allegiance remains unclear.

Assets: Vast network of contacts across Europe, accumulated wealth through manipulation and blackmail

Behavioral Patterns: Luka’s manipulation is often indirect, starting with casual conversations where he subtly gauges the other person’s weaknesses. For example, he once met a businessman at a high-end French café, charming him with fluent French and sophisticated conversation. Over time, Luka befriended the man, slowly eroding his confidence by planting doubts about his business partners, which eventually led to the man’s financial ruin.

One of Luka’s favorite tactics is to create emotional chaos within small groups, setting people against each other through subtle provocations. His ability to stay calm and collected amidst the emotional turmoil he creates makes him all the more dangerous. Often, those who realize they have been manipulated by Luka find themselves mentally trapped, unable to escape the web of lies he has spun.

Threat Level: Extreme. Luka's ability to play on the emotions and vulnerabilities of others makes him particularly dangerous, as he avoids violence while causing maximum psychological damage. His manipulative nature and high intelligence make him nearly impossible to predict, as he rarely reveals his true motivations or next moves.

Current Status: Luka is believed to be operating throughout Europe, frequently moving between cities such as Paris, Berlin, and Odessa. While his current affiliations remain unclear, he has been seen in the company of high-profile criminals and even some legitimate businesspeople. Those in his presence often do not realize they are being manipulated until it is too late, and by then, Luka has already vanished, leaving destruction in his wake.

[systastic]

helloooo!! if possible ofc,, could we please get either a master detective archives: raincode or Danganronpa lvl 3 alter?? (character, role and everything is up to you) (games / sources highlighted to avoid confusion hehe)

small confession,,, we’ve never played danganronpa before !! so i did a ton of research just fur u, nyannie ~

name :: narami chikai, rika, chiko, keiko, kimiko, noa, mio, “ultimate truth seeker”

age :: 17/18

pronouns :: she/her, fey/feyr, ae/aer, thy/thym, ai/ain/aire/aiself

roles :: solliciten, social protector, confronter, counterweight, posier

species :: unlike her ai counterpart in canon, this chikai is actually the main (human) character of her game!!

gender identity :: aerogender, navicoric

orientation :: cupioromantic, abrosexual/lithiosexual

source :: narami chikai from danganronpa 2: goodbye despair && master detective archives: rain code

aesthetic :: ethereal, delicate sweet

appearance description :: keiko is a thin teenager with light pink hair, pale skin, and peachy pink eyes. ae usually wears a skirt of some description and a button-up shirt like aer’s going to work, or a simple school uniform with a jacket over top. fey use hairclips to keep feyr hair back while spending time on a case, reading, or writing. rika is almost always carrying a pen and a notepad on air person in preparation to take notes: ai never knows where the next clue could come from, and ai wants to be prepared.

personality description :: kind and caring, chiko is quite sweet to the people that she meets during her daily life. she has a good heart and has people’s best interests in mind, especially her friends. its when shit hits the fan that things get real: mio buckles down, thy focus unwavering, as thy seeks out the truth and nothing but (especially from those that make thym feel uncomfortable or seem suspicious). kimiko doesn’t like to sit back and let things happen; no, she needs to understand why they happen, what caused them to happen, and what is the truth behind strange occurrences. once chikai knows the truth, ae use it as a weapon to defend against the liar, fending off gaslighting and manipulation with nothing but basic facts and her own intuition.

likes :: human psychology, mysteries, solving puzzles (literal and metaphorical), cracking clues, putting the pieces together, ideating, sleuthing, solving mysteries, ghosts & specters, supernatural entities, detective media, ghost hunter media

dislikes :: flippant or uncaring reveals, aggressive entities, nonbelievers, liars, schemers, not knowing the truth, obfuscated pathways, false or forged evidence, manipulators, emotional abusers, puppet-masters, junko enoshima (on principle), nagito komaeda (also on principle)

front triggers :: dread or paranoia (she has to know if it’s the truth), being lied to, murder & normal mysteries, puzzles, riddles, brain teasers, paranormal hunting shows & other media with supernatural elements

signoff :: 🔍, 📞, or 🎀

art by nokoru sora !!