towerkept

[towerkept]

some writing decisions to keep in mind, going forward with my writing of diva in blood+

contains mentions of: WWII, controversial figures of power, cold war era, Nazism, fascism, grooming, age - gap relationship, etc

first and foremost, I do not support Nazism or fascism of any kind. That being said, these topics may become a talking point on this blog due to the lack of canon context that has forced my hand in filling in the blanks for Diva and her chevailers.

Please understand that my American school system really failed in educating us about how and why A.H's fascism worked to keep him in power for so long (when I say we were failed, our middle school history teacher went so far as to say "his soldiers were the ones enforcing this hate, he knew about it but he wasn't the one enforcing it" or whatever bullshit she was trying to say. 🙄 A.H literally went out of his way to sterilize African soldiers and their half German children from reproducing.

Anyway, the reason I'm bringing this up is because I recently read diva's wiki and it said alongside killing and impersonating Duchess Anastasia Romanov (yes, her), diva also killed and impersonated Eva Braun, Hitler's mistress of roughly 16 years who he married at the end of the war.

I kid you not I went through a great deal of conflicting emotions because of how much detail (and lack there of) went into this section and yet from a story stand point it went nowhere within the anime and manga (it wasn't even mentioned) and that was my first time seeing that information specifically. I was aware that she was awake during WWII and turned Solomon and Karl (this is because Amshel was making moves from a power and manipulation standpoint) but I genuinely had no idea she impersonated someone like Eva Braun, who I didn't know about until seeing that information.

If you don't know who eva braun is, she is Hitler mistress and there was a 20 something age gap in their relationship when they first met. She was 17 and he was 40. Yeah, I know, fucking gross. Even the wives of some of Hitler's council members met their wives when they were 17 and 16.

Moving on.

I did my research on Eva. Well, still doing research but basically, she was left out of Hitler's political affairs, she was hidden as a mistress (I fucking wonder why) from the public for those 16 years. While she didn't express any antisemitism in her recovered journal entries, she was definitely smitten with A.H and idolized him but also felt emotionally neglected, etc.

I guess I can sympathize with her being groomed by an older man, especially the huge power imbalance between her and A.H but claiming that she just didn't know what was going on is too far of a stretch for me. Yes, it's likely that not only was she kept out of the public eye, that stuff like the newspapers or radios were heavily suppressed and limited. (note: Hitler is noted to have preferred dumb young women and Eva was often called a dumb blonde. 🤮)

BUT she's couldn't have been that naive to not at least see or hear something over those years as his mistress. Her not being "politically involved" / "having no interest in politics" absolutely does not absolve her of her silence or the possibility that she shared his views through and through. The fact that she was in the inner circle of A.H's group already raises a lot of red flags.

My point is (rant aside), this woman, involved or not, still benefitted heavily from the privileges of Nazism before her death and while there was noticable hesitation in signing her marriage papers with Braun and not his surname (though she ultimately chose his) her overall silence and privileges because of the era at the time should not be absolved. Millions still died and suffered.

Those are my feelings on Eva and while I find her interesting in the context of Nazi Germany as I do find her plain and uninteresting, I simply wished from a writing standpoint that in regards to diva and her chevailers, this information could've been presented better and given a manga / light novels to go into further.

Anyway, yes, Diva killing Eva Braun and impersonating her will remain canon in my writing but I'll likely go about the events (or the lack thereof) much differently and expand on diva during this time and onward.

Diva impersonating female historical figures is such an interesting concept to me. I just wished it was handled better.

For safety reasons, posts relating to Nazi Germany, Eva Braun, etc will be strictly tagged. Let me know if you need something tagged for blacklisting.

[towerkept]

INVINCIBLE VERSE

A SONGSTRESS IN DISTRESS

After nearly a century of being hidden from the world, DIVA GOLDSMITH emerges to the public life under the guise of a sophisticated opera singer and heiress to the reclusive yet powerful Goldsmith fortune. With her chevailer (to the public, he's her legal guardian) Amshel Goldsmith at the helm of Cinq Flèches Pharmaceuticals, a global biotech organization with international reach, Diva is presented to the world as the epitome of class, elegance, and rising stardom.

However, this emergence doesn't go unnoticed.

From underground syndicates to covert research arms and anti-supernatural coalitions, organizations across the world have taken a sudden and pointed interest in Diva. While she publicly enchants on the red carpet and center stage, a quiet war simmers beneath the surface—and her chevaliers, now more tools than companions, are running out of ways to contain it.

To avoid exposure and escalation, Amshel strikes a discreet deal with Cecil Stedman of the Global Defense Agency (GDA): assign a rotating squad of elite heroes to act as Diva’s high-profile protection detail. The catch? These agents must remain unaware of Diva’s true nature—and they can’t interfere with Cinq Flèches operations.

ENTER: Mark Grayson (Invincible), Atom Eve, Rex Splode, and Dupli-Kate.

Officially, they’re here to protect a high-profile citizen from increasingly dangerous threats. Unofficially, they’re stepping into a world far more complicated—and far more predatory—than they realize.

DIVA'S ROLE

Behind the poise and polish, Diva is bored. Restless. Tired of the same chevaliers reciting the same lines with the same loyalties. While she’s excellent at mimicking humans and most of their socially acceptable behaviors—graceful, social, and strikingly self-aware—it’s all still a performance. And like any performance, it only entertains her for so long.

What does amuse her? The danger. The eyes on her. The chase. The power dynamics.

And now, the new toys.

Despite her initial disdain for having humans assigned to protect her, Diva quickly warms to the arrangement—though she would never admit it aloud. Eve intrigues her, certainly. And the others? Mark, Kate, and Rex? They’re just as interesting.

MARK, with his resilience and raw strength, makes her eyes light up in the same way one might react to an especially rare jewel—or a fine-bred hunting dog. That durability of his, the way he survives impossible odds? It’s delicious. She wonders what it would take to make him break—and whether he’d beg her not to.

KATE is outspoken, prideful, and—how quaint—devoted to the mission at hand. There’s something brittle in her pride that Diva itches to press on. A mirror to her own practiced duplicity.

REX is loud and obnoxious, but his explosions are amusing, and his ego is so fragile. The kind that cracks beautifully under pressure.

They’re all charming in their own way. New toys, indeed. Why should her chevaliers have all the fun?

CORE DYNAMICS

DIVA & ATOM EVE.

  A power play disguised as a partnership. Diva enjoys testing Eve’s patience, while Eve increasingly suspects something’s not quite right beneath Diva’s polished act. What starts as passive observation becomes mutual fascination—and a dynamic that blurs the lines between duty, manipulation, and curiosity. Diva likes that Eve doesn’t flinch. That she sees too much. That she resists. Eve is a riddle, and Diva adores puzzles.

DIVA & THE GDA SQUAD

  Diva finds Rex entertaining, Kate almost clever, and Mark—well—she likes Mark, a lot. His durability makes her curious, and curiosity is dangerous when Diva is involved. She starts pushing him into “incidents” just to watch him recover. She smiles when he bleeds.

  None of them realize they’re being studied like new compositions waiting to be played with. It’s not that she thinks they’re important—it’s that they’re not boring. For now.

DIVA & AMSHEL

  Her favored chevalier. Still the only one she listens to. Mostly. When she’s not wandering off into crowds, starting rumors, or getting shot on purpose just to ruin her gown and demand a new one. Amshel is patient—so patient—and keeps the others in line. He understands Diva’s moods, her need to perform, and her deeper compulsions.

  With Nathan, Solomon, Karl and James often occupied or too far-flung to indulge her whims, even they have become part of the background noise.

And Diva hates being bored.

[towerkept]

Pseudo / Poems - S/S 2021

[towerkept]

SONIC VERSE

THE HEMOPHILIC SONGSTRESS

BASIC INFORMATION

FULL NAME. Diva Robotnik

AGE. Physically appears around 20; chronologically over 50

DATE OF BIRTH. Classified (Presumed ARK era)

SPECIES. Genetically-Modified Human (Desmodus draculae Hybrid)

BLOOD TYPE. Extremely rare (Used as the foundation for KRANOA’s research)

HAIR COLOR. Jet Black

EYE COLOR. Striking Sapphire Blue

VOICE. Airy, ethereal singing voice, with hauntingly beautiful tones

AFFILIATIONS. KRANOA Corporation, formerly ARK Research Facility

OCCUPATION. Experimental Subject, Songstress (Aspiration)

BIOGRAPHY

The ARK and The Robotnik Twins

Diva Robotnik was born aboard the Space Colony ARK as the fraternal twin sister of Maria Robotnik. From the very beginning, Diva’s life was fraught with fragility. She suffered from Twin-to-Twin Transfusion Syndrome (TTTS), which left her with a severe case of hemophilia—a rare condition that prevented her blood from clotting properly. Her illness required constant monitoring and medical attention, isolating her in sterile chambers for most of her childhood. Despite this, Diva shared a deep emotional bond with Maria and Shadow the Hedgehog, creating fleeting moments of happiness in the cold, metallic halls of the ARK.

While Maria dreamed of seeing Earth and feeling the sun on her face, Diva clung to her own wish: to become a singer. She wanted her voice to be heard by people across the world, breaking free from the sterile isolation of her life.

THE EXPERIMENT

As Diva’s health worsened, Professor Gerald Robotnik, in desperation, approved an experimental medical procedure spearheaded by Dr. Inara Caelum. Using the extracted DNA of the extinct Desmodus draculae (vampire bat), Inara aimed to repair Diva’s fragile body at a genetic level. The procedure was a success—Diva’s hemophilia was halted, and her body became stronger and more resilient. However, there were unintended consequences.

Diva developed vampiric traits: a dependency on blood, superhuman strength, acute senses, slowed aging, and an almost ethereal quality to her voice. Her transformation was considered both a breakthrough and a burden, as it permanently tied her to ongoing medical oversight and experimentation.

THE FALL OF THE ARK

When the ARK Incident unfolded and G.U.N. forces stormed the colony, chaos erupted. Maria was killed, and Shadow was captured and placed into stasis for 50 years. In the chaos, Diva, only 12 years old, witnessed the violent deaths of her sister and her father. The trauma was enough to shatter her fragile emotional state.

In a moment of pure, unfiltered rage and anguish, Diva entered a berserk state. Her inhumane strength and predatory instincts took over as she mauled, mutilated, and tore through G.U.N. operatives with her bare hands. The haunting sound of her voice—a mixture of sobs and an ethereal wail—filled the collapsing ARK halls as she cut a bloody swath through the invading soldiers.

It took multiple tranquilizers, electric shocks, and brute force to finally incapacitate her. Initial dosages of tranquilizers were ineffective due to her enhanced metabolism, and several soldiers lost their lives in the process. By the time Diva was subdued, at least 18 operatives had perished at her hands.

THE AFTERMATH

Instead of being frozen or held in stasis like Shadow, Diva was extracted from the ARK and brought into the custody of KRANOA Corporation. Due to the intensity of her berserk outburst and the sheer physical strain on her body, Diva fell into a five-year hibernation-like state shortly after her capture.

When she awoke, she was under the care and observation of Dr. Isek Eisenhurst a cruel and obsessive researcher. Dr. Isek tormented Diva relentlessly, experimenting on her physiology, starving her to test her limits, and subjecting her to psychological torment. For years, Diva endured this treatment without lashing out.

THE BREAKING POINT

Only two individuals—Dr. Inara Caelum and Amshel Goldsmith—were aware of the full extent of Diva’s violent capabilities. They carefully monitored her triggers and kept Isek in the dark about what Diva was truly capable of. However, during one of Isek’s prolonged experiments, something—a word, an action, or perhaps a repressed memory—triggered Diva’s berserk state once again.

In an uncontrollable frenzy, she tore Dr. Isek apart, leaving his mangled corpse as evidence of her unchecked rage. This violent outburst left Diva emotionally shattered and vulnerable.

AMSHEL'S CONTROL

Following Isek’s death, Amshel took over as Diva’s handler. Unlike Isek, Amshel wielded a softer form of control. He played the role of a benevolent protector and father figure, indulging Diva’s whims while subtly reinforcing her dependence on him. Under his manipulation, Diva was kept docile and isolated, her memories blurred and fragmented, leaving her emotionally frozen in time.

Despite her vampiric instincts and her conditioning, Diva clings desperately to the memories of her sister Maria and their shared dreams. Her emotional development was stunted by trauma, leaving her trapped between childlike innocence, a longing for love, and bursts of unchecked cruelty.

APPEARANCE

Diva is ethereal in both appearance and presence. She has jet-black hair that cascades in flowing waves down her back, contrasting against her pale, porcelain-like skin. Her sapphire-blue eyes seem almost luminescent in the dark, giving her an otherworldly appearance.

She often wears flowing, delicate gowns—sometimes reminiscent of stage costumes, other times resembling ceremonial attire. These outfits symbolize her longing for an idealized world where she is not a caged experiment but a celebrated performer. Her fragile appearance belies her immense strength, creating an unsettling juxtaposition.

PERSONALITY

Diva’s personality is a fractured mosaic of innocence, melancholy, and sharp cruelty. She retains a childlike curiosity and an emotional vulnerability that makes her crave affection and validation. She often clings to those who show her even a hint of kindness, though her trust is fragile and easily shattered.

When manipulated or cornered, Diva can become extremely hostile and emotional, showcasing a sharp edge of malice born from years of torment. Her vampiric instincts are difficult for her to control, and starvation can drive her into violent frenzies.

Despite her trauma and her unnatural condition, Diva holds onto one fragile dream: to sing on a grand stage before an adoring audience, to hear applause, and to feel the warmth of the sun on her face.

ABILITIES

AIRY SINGING VOICE. Diva’s singing voice has an almost supernatural quality. She can lull people into a trance, disarm hostile intent, or instill overwhelming fear with her songs.

ENHANCED PHYSICAL STRENGTH. Diva possesses superhuman strength, capable of overpowering even the strongest of foes.

ACCELERATED HEALING. Diva can recover from wounds at an incredible rate, though silver and anti-vampiric weapons can slow this process.

BLOOD DEPENDENCY. Diva requires human blood to maintain her health and abilities. Starvation leads to erratic and violent behavior.

LONGEVITY. Diva’s aging has nearly halted, keeping her in a perpetual state of youthful fragility.

KEY RELATIONSHIPS

MARIA ROBOTNIK. Diva’s twin sister and her emotional anchor. Her loss remains a gaping wound in Diva’s soul.

SHADOW THE HEDGEHOG. A connection from her past, Shadow remembers Diva as fragile yet kind. Their reunion would unearth deep emotional turmoil.

AMSHEL GOLDSMITH. Diva’s current handler and manipulator, balancing indulgence and restraint to maintain control over her.

DR. ISEK EISENHURST. A cruel researcher who tormented Diva before she ultimately killed him in an act of rebellion.

[towerkept]

Throughout the series, when Diva is laying low, she is always playing with dolls and there are toys scattered around her. Is this shown to showcase her inappropriate mental development? Or is this what Amschel and the other chevaliers see as fit for her amusement?

She doesn’t seem to mind and is always destroying the toys in her hands. In episode 25, and then in episode 31. After conceiving, she plays by wandering the forest, running around amongst the decorative pillars in Nathan’s mansion and playing with blue roses. She sings all the time.

Despite the intelligence she shows, she seems to be developmentally delayed. She is shown to attend high-society events with Amschel or her other chevaliers, but she is expected to behave and stay quiet. She has led this kind of life before during WW2 as well.

She went from not being able to speak when she met Saya in the zoo, to behaving like a feral child in Amschel’s cellar in WW1 to being able to speak when she turns Karl into a chevalier.

[towerkept]

In episode 30, we learn that Diva was locked in a tower in Joel's zoo. In episode 31, we see Diva singing at the top of the tallest building in Paris, in a penthouse garden. She sings and occasionally plays with dolls.

She physically left the zoo, but she is still stuck in a tower. She is still an experiment. Joel died, but his spirit didn't. It continues to live in Amschel, who informs his Chevalier brothers of what they are meant to do and feel and how to treat Diva.

In episode 49, we learn that Diva is jealous of Saya, because she gets to be happy and have fun. She is treated like a human.

Diva's demeanour is different when Solomon goes to visit her and the purpose of his visit is to talk to her.

[towerkept]

My, you’re trying to kill me in order to justify your existence? You’re not just selfish, you’re completely deluded. 

[towerkept]

“You haven’t changed a bit. Oh sister, you’re the same as before, so straight-forward and candid. I love and hate having a sister.”

— Diva (Blood+)

[towerkept]

DIVA GOLDSMITH. CHIROPTERAN.

A Study on Pregnancy and Reproductive Phenomena

Chiropteran Queens possess a unique reproductive system that functions independently of standard mammalian gestation cycles. Observations from the subject known as Diva—one of two known Queen-class Chiropterans—have provided the most reliable dataset to date regarding Chiropteran pregnancy.

The process was triggered by both biological instinct and psychological drive, resulting in a full-term gestation of two offspring over approximately 15 months. Notably, Diva demonstrated protective behavior consistent with maternal prioritization throughout the process. Data collected during this timeframe allows for a detailed breakdown of gestation stages, cocoon development, nourishment patterns, and the final hatching phase.

SECTION I: DURATION & DORMANCY IN GESTATION

Standard human gestation averages 280 days (~9 months). In contrast, Diva maintained a gestational state for approximately 450 days (~15 months). Despite this extended duration, internal scans indicated that fetal development remained paused at a level equivalent to 8–10 weeks of human development for over two-thirds of the total pregnancy.

This suggests a dormant or stasis-based phase built into the reproductive cycle of Chiropteran Queens. Embryonic development appears to be episodic rather than linear—likely governed by internal biological markers or environmental stimuli. The function of this dormancy is presumed to be twofold: 1) to allow gestation without significant metabolic drain, and 2) to delay fetal maturation until external conditions are optimal.

SECTION II: PHYSICAL INVISIBILITY OF PREGNANCY

Throughout the 15-month period, Diva exhibited no external physical changes. There were no signs of abdominal distension, weight fluctuation, or visible changes in posture or behavior typically associated with pregnancy. Hormonal regulation appeared stable, and the subject retained full physical performance capacity throughout all trimesters.

This implies the existence of a biological compartmentalization mechanism, isolating fetal development within a secondary internal structure (possibly Chiropteran-specific reproductive chambers) that bypasses traditional hormonal feedback loops. This separation likely reduces vulnerability during gestation and preserves the Queen’s combat and mobility capabilities.

SECTION III: COCOON DEVELOPMENT & SURGICAL REMOVAL

At the 15-month mark, the embryos transitioned into independent cocoon structures within the subject’s body. These cocoons were:

Composed of bio-reactive tissue resistant to damage

Self-regulating in internal temperature and nutrient exchange

Biologically tethered to the Queen’s bloodstream via root-like umbilicals

At this point, the cocoons were deemed viable for external extraction without loss of fetal integrity. The procedure was carried out with minimal risk to Diva or the offspring. Once externalized, the cocoons maintained stasis independently, though remained dependent on the Queen’s blood for ongoing development.

Post-removal, Diva maintained direct proximity to both cocoons, often physically carrying them. During periods of activity, she temporarily entrusted them to Nathan or Amshel—her two most behaviorally reliable Chevaliers. No instances of abandonment or prolonged separation were recorded.

SECTION IV: BLOOD NOURISHMENT & MATURATION

The post-extraction growth phase was driven entirely by exposure to Chiropteran Queen blood. Internal analysis of the cocoons indicated no metabolic activity until subjected to regular transfusions from Diva. Once a sufficient volume threshold was reached, cellular division and maturation resumed.

OBSERVATIONAL DATA INDICATES:

Blood acts as both nutrient and regulatory agent

Irregular or insufficient dosage stalls development

A consistent feeding schedule results in steady progress toward maturation

This stage resembles an artificial womb sustained by biochemical infusion rather than mechanical or physiological implantation. Notably, blood from Chevaliers was either ineffective or considerably less efficient, suggesting a **Queen-specific biochemical signature** is required for fetal viability.

SECTION V: HATCHING AND BIRTH

Upon reaching a critical saturation point—both in nutrient load and cellular maturity—the cocoons entered the **rupture phase**. The fetuses initiated this process from within, independently. No external stimuli, such as temperature or mechanical pressure, were needed.

UPON HATCHING, THE OFFSPRING DISPLAYED:

Stable vitals

Full physical formation

Self-directed movement within minutes

No assistance was required from the Queen or other Chevaliers. The process was classified as a non-traumatic live emergence. Diva’s death occurred shortly thereafter and was not a triggering factor. Hatching was already biologically scheduled and followed through as expected.

SECTION VI: ENERGY DEMAND & ADAPTATION

Though Diva showed no outward decline in performance, biological scans during gestation and cocoon management showed elevated metabolic output—particularly during blood-feeding cycles. Nutrient demands rose sharply in the final three months prior to cocoon rupture.

Diva compensated by increasing her feeding frequency. Data suggests she entered high-yield feeding states at 2–3 week intervals during this time. No physical exhaustion or cellular degradation was observed, indicating adaptive energy regulation mechanisms exclusive to Queen-class Chiropterans.

SECTION VII: REPRODUCTIVE TRIGGERS & BEHAVIORAL FACTORS

Reproduction among Queen-class Chiropterans appears to be non-compulsory and triggered only under specific conditions. In Diva’s case, both biological imperative and behavioral motivation aligned. Unlike standard Chiropteran spawning, which is violent and instinct-driven, this case displayed evidence of deliberate reproductive planning and consistent offspring protection throughout.

BEHAVIORAL DATA SUGGESTS:

Pre-gestation behavioral shifts consistent with nesting behavior

Strategic selection of mating partner under unknown genetic criteria

Post-gestation prioritization of offspring safety and development over external objectives

Though speculation on psychological intent is outside the scope of this report, the data supports the conclusion that maternal behavior is an integrated trait, not a side effect.

CLOSING NOTES

The reproductive cycle of Queen-class Chiropterans is a biologically controlled, multi-phase process. The Diva case illustrates the key stages: dormancy-based gestation, cocoon development, blood-fueled maturation, and autonomous hatching. The subject maintained control over each phase, minimized external risk, and achieved successful offspring development with no recorded complications.

FUTURE STUDIES SHOULD PRIORITIZE:

Identification of stasis triggers

Isolation of reproductive-specific enzymes in Queen blood

Long-term observation of post-hatch offspring physiology and behavior

Chiropteran Queen reproduction is not random. It is calculated, efficient, and biologically regulated—designed for high-survivability and environmental adaptability. Diva’s case confirms the presence of a self-contained reproductive system optimized for control, minimal exposure, and successful progeny outcome.

[towerkept]

Matching icons for you and your sister! 

[towerkept]

I love (1) woman, your honor.

[towerkept]

Diva’s Perception of Saya (Manga)

Diva's perception of Saya is a kaleidoscope of emotions, rooted in a complex mixture of childlike wonder, deep-seated resentment, and an insatiable need for connection. While Diva is playful and seemingly carefree, her feelings for Saya are anything but simple.

The “Big Sister” She Never Had

To Diva, Saya is the embodiment of everything she was denied: warmth, love, freedom, and acknowledgment. From the moment Diva met saw Saya, she yearned for her attention. She didn’t fully understand why Saya lived a life of comfort while she remained locked away, but she instinctively craved the bond she felt should exist between sisters.

Diva treasures the name Saya gave her, even if she doesn’t consciously show it. It’s one of the few acts of kindness she ever received, a fleeting moment of connection that meant the world to her. In Diva’s mind, that moment is proof that Saya does care for her, even if she now claims to hate her.

However, Diva also resents Saya’s distance. She can’t comprehend why her sister—her big sister—refuses to embrace her fully, to love her unconditionally. This contradiction is the root of much of Diva’s confusion and frustration, fueling her more erratic and destructive behavior.

“Playtime” with Saya

Diva views her battles with Saya as a game, a thrilling and exhilarating diversion in her otherwise dull existence. Humans are fragile and predictable, but Saya? Saya is special. She fights back. She doesn’t break so easily.

To Diva, their fights are the closest thing to true bonding. She delights in the intensity of their encounters, believing that their violent clashes are a form of play. She doesn’t see Saya’s intent to kill as genuine—how could she? In Diva’s mind, Saya is her sister, and sisters don’t truly want to hurt each other.

Diva’s childlike nature makes her blind to the depth of Saya’s rage. Instead, she interprets her sister’s relentless pursuit as a kind of attention—a sign that Saya cares enough to chase her, to engage with her, to focus on her entirely.

Why Doesn’t Saya Act Like a Chiropteran?

Diva finds Saya’s attempts to live as a human baffling and frustrating. To Diva, indulging in her chiropteran nature is the ultimate freedom—an escape from the constraints of morality and humanity. She sees her own actions, no matter how violent or destructive, as expressions of who she truly is.

She can’t understand why Saya refuses to embrace the same freedom. To Diva, it feels like Saya is denying an essential part of herself, pretending to be something she’s not. This makes Saya’s rejection of her all the more painful—Diva sees it as a rejection of their shared nature, a refusal to acknowledge the bond that ties them together.

Diva often teases Saya about this, poking fun at her “silly human games” and chastising her for pretending to be one of them. She genuinely believes that Saya would be happier if she stopped trying to be human and embraced her chiropteran instincts.

Craving Saya’s Acknowledgment

Beneath Diva’s playful exterior lies a deep, unfulfilled need for acknowledgment. She wants Saya to see her—not as a monster, not as an enemy, but as her sister. She craves the kind of unconditional love she believes Saya could give if only she stopped fighting.

Diva’s actions, as destructive as they are, often stem from this craving. She lashes out because she doesn’t know how else to express her feelings. When she kills or destroys, it’s not just for fun—it’s a way to force Saya to pay attention to her, to make herself impossible to ignore.

Her childlike nature makes her blind to the consequences of her actions. She doesn’t fully grasp the depth of the pain she causes Saya, nor does she understand that her sister’s hatred is real. Diva views Saya’s anger as a temporary tantrum, something that will pass once Saya finally sees things her way.

Love and Resentment

Diva’s feelings for Saya are a tangled web of love and resentment. She loves Saya for the moments of kindness she showed long ago, for giving her a name, for being her sister. But she also resents Saya for having the life she was denied, for not saving her, for rejecting her now.

This duality defines their relationship. Diva’s love manifests in her desire to connect, to play, to draw Saya into her world. Her resentment fuels her cruelty, her need to hurt and punish Saya for the perceived betrayal of leaving her behind.

Despite everything, Diva holds onto a childlike hope that Saya will one day change her mind. She dreams of a future where they can be sisters in the way she’s always imagined—free, happy, and together.

Diva’s True Nature

Diva’s aloofness and childlike demeanor mask a sharp intellect and a deep well of emotions. She’s not stupid—she understands more than she lets on. But her perception of the world is shaped by her early experiences, leaving her emotionally stunted and unable to process complex relationships in a healthy way.

She sees Saya as the key to her happiness, the missing piece of her fractured existence. As much as she loves the “game” of fighting her sister, what she truly wants is for the game to end—not in death, but in reconciliation.

For Diva, Saya is everything: her rival, her playmate, her savior, and her sister. And no matter how much blood is spilled between them, Diva will never stop craving her sister’s love.

Diva’s possessiveness over Saya is an integral part of her character, stemming from her deep-seated need for connection, her childlike perspective on relationships, and the trauma of being isolated for so long. To Diva, Saya is more than just a sister—she is hers, a constant in an otherwise fleeting and uninteresting world.

The Root of Diva’s Possessiveness

Isolation and Yearning

Diva’s early life was defined by loneliness and confinement. Locked away like an animal and treated as a lab rat for a duration of 50 years, she had no one to rely on, no one to love her. This created an overwhelming need to claim and hold onto the few relationships she did have.

Saya, who gave her a name and visited her every day that she could during those 20 years, became the sole source of affection in her life.

Even as Diva grew into her own as a chiropteran queen, that initial bond shaped her view of Saya as someone who belongs to her, someone who owes her attention and love.

A Unique Rivalry

Diva doesn’t view humans or chevaliers as equals or true companions. They are fragile, boring, and ultimately disposable. Saya, on the other hand, is special. She’s strong, she fights back, and she challenges Diva in ways no one else can.

Their battles are a twisted form of bonding, and Diva treasures them as the only times she feels truly alive.

To Diva, no one else has the right to share that connection with Saya. Anyone who tries to get close to her sister is infringing on something deeply personal.

Diva’s Temper Tantrums

Diva’s possessiveness often manifests in dramatic displays of emotion. She is quick to anger when she feels someone is threatening her bond with Saya, but her reactions are laced with her childlike nature.

Physical Displays of Possessiveness

Diva’s smallest acts of “restraint” can be terrifying. She might:

Flick someone away with her finger, sending them flying with bruised ribs or worse.

Casually kick someone across a room, as though they’re a nuisance in her path.

Hover close to Saya, wrapping an arm around her sister while glaring at the offending person. Her presence alone is a warning.

Escalation When Provoked

Diva’s patience is thin, and if someone doesn’t take her initial warnings seriously, she quickly escalates.

She might destroy the room around them to prove her point, all while keeping an eerily cheerful smile.

If truly provoked, she won’t hesitate to kill, but she’ll often do so in a playful, almost flippant manner, as though it’s all part of a game.

Things Diva Might Say

Playful Threats

“Oh, are you trying to take my sister away? That’s cute. Should I flick you like a bug, or just snap you in half?”

“You know, Saya doesn’t need you. She has me. Isn’t that right, Saya?”

“Why don’t you run along before I stop playing nice?”

Mocking Restraint

“Oops! Did my little tap hurt you? I was trying to be gentle.”

“Aw, you’re still breathing. I must be losing my touch.”

“Don’t cry—it’s just a little bruise. Be grateful I didn’t try harder.”

Childlike Possessiveness

“Saya is mine! You can’t have her! Go find your own sister!”

“Big sister Saya and I are playing right now. Don’t interrupt, or I’ll get mad!”

“Why does she waste her time with you? I’m so much more fun!”

Examples of Diva’s Possessiveness in Action

1. Chevailer Interference

If a Chevailer tries to manipulate Saya for his own plans, Diva’s mood would darken instantly. She might confront him with a sweet smile, saying:

“You’re getting awfully bold, thinking you can take Saya away from me. Should I remind you what happens when chevailers forget their place?”

If he persists, she would likely lash out, even against one of her own chevaliers, to make her point clear.

2. Haji’s Bond with Saya

Diva would find Haji’s loyalty to Saya infuriating, not because she sees him as a threat in combat, but because he occupies a space in Saya’s heart that she believes should belong to her.

“Oh, you’re still following her around like a puppy? It’s pathetic, really. What makes you think she’ll ever choose you over me?”

She might “accidentally” throw him into a wall during one of her tantrums, just to see how Saya reacts.

3. Saya’s Rejection

If Saya openly rejects her, Diva’s emotions would spiral. She might lash out, destroying everything around her, but her words would betray her underlying pain:

“You don’t mean that! You’re just angry. You always come back to me—you have to!”

“Why won’t you stop pretending? We’re the same, Saya! You belong with me!”

Conclusion

Diva’s possessiveness over Saya is an extension of her fractured, childlike psyche. Her need for attention and connection drives her to claim Saya as hers and hers alone, and anyone who threatens that bond faces her wrath. Whether through playful flicks or full-blown tantrums, Diva’s actions are always rooted in a desperate desire to keep her sister by her side, no matter the cost.

[towerkept]

Serena, by Ina

[towerkept]

Rainer Maria Rilke, Book of Hours: Love Poems to God; from ‘lch bin, du Ängstlicher. Hörst du mich nicht’, tr. Anita Barrows & Joanna Macy

[towerkept]

Isabelle Adjani in La Reine Margot (1994), dir. Patrice Chéreau

[towerkept]

You don’t have a name? Then I’ll give you one!

[towerkept]

In episode 40, we see both Saya and Diva sleeping. Saya sleeps in a bed and sofa, whereas Diva sleeps reclining against James’ container. This reminds me of how they lived in the first 50 years of their lives in the zoo. Saya slept in a warm bed, whereas Diva slept leaning against the walls in the tower.