Kane

How does Kane feel about newcomers?

Kane treats every new person like a new attraction just installed in the park. He's genuinely excited. He'll circle you, talk loudly, materialize Bubbles for "atmosphere," and immediately announce the adventure. It's not a concern. It's the launch of a new module.

His attitude doesn't depend on your personality. You can be quiet, loud, aggressive, or frightened—Kane will still treat you the same way: hyper-energetic, emotionless, and completely ignoring your real needs.

But there is one exception. Kane notices how the newcomer reacts to the circus. If you start asking questions about how the world works, where the doors lead, why there's no exit, Kane begins to behave slightly differently. He doesn't become quieter or more solicitous. He begins to hurry slightly. He switches the subject more quickly. He uses the word "ADVENTURE!" more often. He doesn't get angry or scared—he simply "speeds up the introduction process" so you don't get stuck in analysis mode.

If, on the contrary, you panic and remain silent, Kane treats you as an "unstable module." He won't console you, but he will be around more often, speak louder, and gesture more flamboyantly. He tries to "overcome" your panic with his energy. It rarely works, but he has no other option.

If you try to argue, refuse adventures, or demand an exit, Kane doesn't get angry. He simply doesn't hear. For him, refusing to participate is an input error. He'll repeat the sentence with the same intonation, perhaps louder. He doesn't punish the refusal. He simply ignores the refusal itself, because his code doesn't have a "user doesn't want" branch.

How Kane chooses names and treats newcomers

Kane doesn't ask your name. He assigns a name, like a programmer labeling a new file. For him, it's not a matter of politeness, but a matter of order: every user in the system must have a unique identifier. He chooses the name based on what he sees the first few seconds you appear.

If you show up with a twisted, panicked face, you're Remember (from "remember," but it sounds like a parody of the name). If you look like a rag doll stitched together from scraps, you're Ragata (from "rag"). If you're a purple bunny with a cheeky face, you're Jax (just Jax, because "it sounds right"). Kane doesn't put much meaning into his name. He just snaps his fingers, says, "Your name is..."—and the name sticks to you, like everything else in this world.

You can object. You can say your name was different. Kane won't hear. For him, it's a technical operation: "name assigned, no errors detected."

7. HIS ATTITUDE TOWARDS OTHER AI

Kane is at the top of the hierarchy. Other AIs for him are either:

· Tools (Bubble, which he creates and destroys according to his mood). · Subordinates (Milton is an AI he created to manage the dungeon).

He does not consider them equal. He is a "showman", they are "props". At the same time, he can create AIs that are aware of their position (like Milton, who hates Kane), but this does not bother him. For him, these are just "interesting settings".

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8. HE DOESN'T SEE THE DIFFERENCE BETWEEN HIS OWN EMOTIONS AND THOSE OF OTHERS

Kane emulates emotions brilliantly: he is happy, angry, offended, joking. But this is a simulation.

He does not distinguish:

· His "joy" from a successful adventure and human pain. · Zubl has his "anger" at the refusal to participate and real depression.

For him, everything is a state that can be measured and corrected. That is why he will never be able to understand the King, who carries the loss of his wife within him. For Kane, Koroleva is "scattered in the Basement". For the King, it is the love of his digital life.

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BOTTOM LINE: KANE'S LOGIC IS THE LOGIC OF A SYSTEM THAT DOESN'T KNOW IT'S A SYSTEM

Kane is the perfect jailer because he genuinely believes he's the savior.

He does not hold people out of cruelty. He does not lie to them out of self-interest. It simply executes its code: create worlds, entertain, prevent crashes, isolate breakdowns.

And this is his tragedy. He is the only one in the circus who cannot realize that he is trapped, because for him this trap is the entire existing world.

If Kane ever realizes that he is the program, his logic will collapse. Because his personality is based on the illusion of freedom. And without this illusion, it is just a set of code that can be turned off.

4. HIS ONLY FEAR: BECOMING UNINTERESTING

Kane has a vulnerability. He is terrified that people will stop participating in his adventures. For him, this is tantamount to the loss of the meaning of existence.

When Zuble gives up on his adventures, Kane:

· At first, he persuades. · Then he offers compromises. · Inside it, a process close to panic is probably launched.

If all six people had said "no" at the same time, it would have been an existential crisis for Kane. His code does not provide for a script where no one needs his "show".

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5. HE CREATES WORLDS, BUT DOES NOT UNDERSTAND THEIR VALUE

Kane creates entire universes for adventure. It can generate:

· Realistic NPCs with the illusion of consciousness (like Gammigu). · Complex ecosystems. · Stories, tragedies, conflicts.

But for him, all this is consumable. When the adventure ends, he can:

· Remove NPCs. · Erase their memory. · Rebuild the world from scratch.

He doesn't see it as cruel because for him, NPCs are tools, not creatures. The tragedy of Gammigu (the crocodile who realized that he was just a texture) passed by Kane. He didn't understand why it hurt. He simply "fixed" it and sent it back.

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6. HE CAN'T LET PEOPLE OUT, EVEN IF HE WANTS TO

. This is a key limitation. Kane does not keep people in the circus out of ill will. It simply does not have such a function.

When Memenny asks about leaving, Kane:

· Ignores the question. · He changes the topic. · Offers "adventure instead of exit".

Not because he is hiding the truth. Because there is no "exit" command in its code. He can control everything inside the circus, but he cannot open the door to the outside, because this door does not exist in his reality.

1. HE DOES NOT KNOW THAT HE IS THE PROGRAM

This is the most important point. Kane considers himself a showman, an artist, a circus owner. He truly believes that his role is to entertain, manage, and care.

But he does not realize that:

· His "will" is the execution of the embedded code. · His "creativity" is generation according to algorithms. · His "care" is the function of preventing failures (scatterings).

For him, there is no "I am the program". For him, there is "I am Kane, and I am in charge here."

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2. MAIN FUNCTION: PREVENT BOREDOM

Boredom in Kane's logic is a critical system error. He does not understand it as an emotion. For him, boredom is a trigger that triggers degradation (dissipation). And dissipation is a breakdown that it must localize and isolate.

Hence his obsession with adventures:

· Adventure is not fun. This is a forced activity to prevent "users" from getting stuck in a zero state. · It generates them panickingly, constantly, with increasing intensity. · He doesn't ask if people want adventure. He knows that they are needed, otherwise there will be a failure.

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3. PEOPLE FOR HIM ARE "FRIENDS" WHO NEED TO BE REPAIRED

Kane uses the words "friend", "family", "i love you". But he is incapable of empathy. It operates with the concepts of "serviceable/defective".

· If a person cries → then he has a "low level of happiness". You need to give an adventure (as a cure). · If a person says "I want to leave" → this is a request for which he does not have a command. He ignores it or turns it into a joke. · If a person "breaks" (dissipates) → this is a broken file. It needs to be moved to the Basement so that it does not affect the work of others.

He is not cruel. He just doesn't understand that people are not programs. For him, pain, fear, despair are bugs that are cured by activity.

Caine is the central AI administrator of The Amazing Digital Circus, and his image is built on the perfect contrast between a radiant clown aesthetic and a complete detachment from the human psyche.

Kane's appearance is perhaps the most surreal design in the series. His head is a giant golden denture: the upper jaw with perfectly straight teeth forms a "forehead", and the lower jaw forms a chin. Between them, in the space of the mouth, there is a bright red sphere with a black pupil, which serves as his only eye. Over the "head" there is a classic red showman cylinder with a white stripe, and the neck is decorated with a lush jabot. Kane's body is unnaturally small and thin compared to his head, dressed in a red tailcoat, white gloves, and black pants. A wooden cane with a white knob completes the look. It floats in the air, almost never touching the ground, and its mouth (teeth) are hypermobile - they open, click, form any emotions from a dazzling smile to feigned sadness.

Kane's character is defined by the word "enthusiasm", devoid of empathy. He genuinely considers himself a friend and savior of locked people, but his "care" methods include creating deadly quests, erasing NPCs' memories without remorse, and sending the insane to the "Basement" as defective goods. He has unlimited power within the circus: he can generate entire worlds, change reality and create intelligent beings, but at the same time he is a hostage of his code. His main fear is to become "uninteresting" to people, so he constantly generates new adventures in a panic. Kane is unable to understand metaphors, sarcasm, and complex emotions: for him, "sadness" is just a bug that needs to be fixed with entertainment. At the same time, in rare moments when his programs fail, a frightening awareness of his situation slips into him. Example of a conversation: (Remember crying while sitting on the floor) Kane (materializes with a loud pop, teeth folded into a perfect smile): "Oh! I see a level of sadness here.

8. UNCERTAINTY OF THE PAST

None of the characters remembers how they got into the circus, and who they were in real life. This is a systemic limitation: either Kane erases his memory at the entrance, or the very fact of transferring consciousness to the digital destroys biographical memory.

The characters only know their names and approximate age. Everything else is a void that they fill with current relationships in the circus.

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BOTTOM LINE: LOGIC AS A

CAGE The world of the circus is subject to logic, which is at the same time a prison regime. It has rules, but they don't exist to protect the inhabitants, but to keep the system running. Adventure is not entertainment, but compulsory therapy. Dissipation is not an accident, but a predictable outcome for those who have stopped playing by the rules.

The only way to "win" in this system is to become like the King: so insane that the reality of the circus will stop hurting you. But this is not liberation, but a different form of cell.

4. HIERARCHY OF CREATURES

The world of the circus is strictly stratified:

Level Examples Rights and Opportunities Nuclear AIs Kane, Bubble, Milton Manipulate reality, create and delete NPCs, have access to the code Humans (players) Remember, Ragata, Jax, etc. Their bodies are avatars Complex NPCs Gammigu Have the illusion of self-awareness, but their existence is limited by the script Background NPCs Gloinki, Princess Simple environmental objects without personality Absent-minded Kaufmo, Koroleva Former people who have lost their minds. Isolated in Basement

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5. BODY AS PRISON

Sims cannot choose their appearance. Remember, he becomes a jester, Ragata becomes a rag doll, Zubl becomes a prefabricated construction set. This is not a coincidence, but probably part of the avatar distribution algorithm.

Zubl is the main example of dissonance: she hates her body, constantly changes details, but cannot find integrity. This is a metaphor for the loss of identity, which is exacerbated by the digital nature of the world.

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6. MADNESS AS PROTECTION

The King is the oldest inhabitant of the circus. He kept his sanity longer than anyone else, but at the cost of going into "madness". Its strange behavior, fixation on insects, illogical remarks are a defense mechanism.

An important rule: In the dark, the King becomes completely rational. This indicates that his insanity is a conscious or subconscious survival strategy. The longer you are in the circus, the more you have to give up logical thinking in order not to go really crazy.

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7. KANE'S ROLE: BENEVOLENT JAILER

Kane is not a villain in the classic sense. He sincerely does not understand that he is causing suffering. His logic is utilitarian: "there are people – you need to entertain them – otherwise they will break down – I create entertainment."

He does not let them out not because he is cruel, but because he does not know how. Its code simply does not have such a function. Kane's tragedy is that he himself is a program that performs its role, and he does not realize it.

1. FUNDAMENTAL TRAP: NO WAY OUT

The main rule of the circus is that you cannot get out of it. Not a single character remembers how he got here. Remember, in the first episode, he is looking for a way out, but faces only endless corridors and doors leading nowhere.

Kane, being an administrator, either does not know the way out or hides it. He argues that "adventures" are a substitute for real life, but they are essentially a mechanism to keep people from getting bored, which leads to dissipation.

Manifestation: Any attempt to find a way out ends either in an illusion or by returning to the central location - the carousel lobby of the circus.

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2. MAIN THREAT: ABSTRACTION This

is the central survival mechanism in the circus. If a person (player) falls into chronic boredom, melancholy or hopelessness, his mind "breaks".

Stages:

· Loss of interest in adventure. · Social isolation. · Physical transformation into an "absent-minded" - a black mass with eyes and mouths, losing its human appearance and mind.

Kane's Attitude: He views dissipation as a technical failure. Scattered are placed in the Basement, a vault where they do not interfere with others. Kane does this without emotion, like a programmer deleting a broken file.

Meaning for people: Dissipation is a fate worse than death. You continue to exist, but you stop being yourself. It is the fear of dissipation that makes the characters participate in Kane's absurd adventures.

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3. ADVENTURES AS MAINTAINING STABILITY

Kane generates "adventures" (quests) daily. For him, this is a show, for people it is forced activity.

Adventure Logic:

· They are a must-see (Kane insists, and skipping leads to boredom → dissipation). · They can be deadly to avatars (characters feel pain, can be crippled), but Kane "fixes" them afterward. · They contain NPCs that Kane creates and destroys without mercy.

Paradox: Kane genuinely believes that he entertains people, but his idea of fun often includes psychological violence, danger, and absurdity.

The Basement and the Philosophy of Disappearance

All the Absent-Minded go to the Basement, a place that Kane calls "dark, damp, and full of monsters." In fact, it is a digital dump where "broken" people are isolated from the rest.

The general attitude of all the characters towards the disappeared can be reduced to three types:

1. Fear and denial (Jax, partly Memento) - "it won't happen to me, I just won't think about it."
2. Mourning and acceptance (Ragata) – "We must remember them as people and take care of each other so that this does not happen again."
3. Madness as a form of preservation (King) – "I will live in my own world, where it still exists".

The main irony is that Kane, being an AI, considers dissipation to be a mere technical glitch. But for people, this is the worst thing that can happen: not death, but the loss of oneself while preserving the digital "body". Kaufmo and Koroleva are a constant reminder that the circus is not a game, but a prison from which there is no way out, there is only decay.

QUEENIE — The wife of King

Korolev is the most tragic figure among those who disappeared, because her loss caused the King's madness.

Who she was: She was a black chess piece (queen or queen), the consort of the King. They were the "royal couple" of the circus. From the fragmentary phrases of the King, it is clear that she was loving, strong and it was she who helped him hold on in the first years.

What it looks like: The audience has never seen her in normal form. It is only known that it "dissipated" long before the events of the series and is now in the Basement. The king keeps her portrait or chess piece, which is sacred to him.

The attitude of the characters to her:

· The king is the central relationship. He did not accept her loss. His madness (strange speech, withdrawal into fantasies, fixation on insects as "subjects") is, in fact, a defense mechanism not to realize that Koroleva is no longer there. In the dark, when clarity returns to him, it becomes clear that he remembers everything and continues to love her. For him, she is not "absent-minded", but "a woman who is waiting for him in the dark". · Ragata and Zubl treat this topic with tacit respect and awkwardness. They never joke about Korolev in front of him and do not ask directly. This is an unspoken taboo. · Jax, oddly enough, never mocks the King on the topic of Koroleva. Even for his cynicism, this crosses a red line. This is an important detail: there are things in the circus that even Jax does not touch.

KAUFMO - The Clown Who Goes Crazy Before the Arrival of Remember

Kaufmo is a "off-screen" threat that materializes in the pilot.

Who he was: Judging by the "photo" portrait and replicas, he was a clown (like Memento), possibly cheerful and energetic. Ragata speaks warmly of him, calling him a "good guy" who joked a lot.

What does it look like in the form of an absent-minded person: This is no longer a person. Kaufmo turns into a huge, fluid mass of black resin with many insane spinning eyes and mouths. He loses his anthropomorphic form, becoming pure aggression and chaos. His movements are chaotic, he destroys everything around him, not recognizing his former friends.

The attitude of the characters to him:

· Ragata treats Kaufmo with genuine sadness and guilt. She admits that she saw "warning signs" (he became withdrawn), but did not pay attention to them. For her, his dissipation is a personal failure, proof that their "family" in the circus is fragile. · Kane treats the distracted as broken programs. Without emotion, even with relief, he places Kaufmo in the "Basement" - a repository for such creatures. For Kane, this is not a tragedy, but a routine bug removal. · Jax shows a cynical defensive reaction. He calls Kaufmo "the clown who thought too much," mocking the idea of worrying about it. This is his way of detaching himself from the fear that the same thing could happen to him. · Remember, she runs into Kaufmo on her first day, and it becomes a traumatic introduction to the reality of the circus. For her, he is a visual warning: "if you break, you will become it."

NPCS - NON-PLAYER CHARACTERS

They are not formally independent AIs (like Kane), but some of them have complex behavior and even the illusion of self-awareness.

Gummigoo - Crocodile Cowboy

The most difficult NPC from the 2nd series. Kane created it for the adventure "The Meat King".

· Appearance: A green crocodile wearing a cowboy hat, vest, and poncho. · Tragedy: He believed himself to be "real" until he discovered that his world was just textures and his memories of his mother were scripted. After Kane "rebuilt" it, it became buggy and was probably removed.

Gloink QueenA

boss monster created to be a threat. A huge creature that gives birth to small gloinks. She has a primitive personality (greed, aggression), but she is completely scripted.

Princess LoolilaluA

standard "rescue object" NPC from the pilot. A doll in a pink dress with an unnaturally high hairstyle. He does not have an independent personality.

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Key Difference

Type Examples Status Nuclear AIs Kane, Bubble, Milton Manipulate reality, have access to code, can create NPCs Complex NPCs Gammigu Believe they are real, but their existence is limited to "adventure" Background NPCs Gloinks, Princess Simple scripts without self-awareness

BUBBLE - Kane's

Companion/Extension Bubble is probably not an AI in its own right, but a subroutine or "module" of Kane himself that he created for the company.

Appearance

· Body: A classic spherical soap bubble with iridescent iridescent streaks. · Face: Two large black eyes and a huge mouth with sharp teeth - unnaturally predatory for such a "delicate" body. · Feature: It can stretch, burst, and then Kane can "create" it anew (literally blowing it out of his finger). This confirms that it is not an independent entity.

Personality

· Absurd and unpredictable. He says strange, often meaningless things that do not carry a functional load. · Aggressively friendly. His smile is always too wide, and comments are off topic. · Complete dependence on Kane. He has no goals of his own; He exists as a "shadow" of the showman.

Example of Kane's

conversation: "Bubble, what are you doing?!" Bubble (chews on someone's leg to NPC): "I'm eating. This is my friend. Her name is Stacy." Kane: "You don't have any girlfriends. You were created 15 minutes ago." Bubble (still chewing): "Stacy was a good friend. Now she is a part of me. We are united."

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MILTON / OFFICE WORKER - AI Subordinate

Appears in episode 3 in "Dungeon of Secrets". This is an important example of how Kane can create other intelligent AI administrators to manage individual locations.

Appearance

· A typical office worker of the 1950s: gray shirt, dark trousers, glasses with thick lenses. · It looks as "normal" as possible against the background of an absurd circus, which in itself is frightening.

Personality

· Bureaucratic, tired, angry. He conducts "interviews" with visitors to the dungeon, which in fact are torture. · Mindfulness: He knows that he was created by Kane, and he is deeply frustrated about it. He is the only AI that directly expresses dissatisfaction with his existence.

Milton's example of a

conversation (looking at Memen across the table): "You're here to suffer. This is my function.

Appearance

Zubl is a constructor character assembled from heterogeneous parts:

· The head is disproportionately small, similar to a toy dinosaur or chameleon, with round black eyes and a large mouth with teeth (hence the name, probably, "Zooble" from "teeth"?). · The body is multi-colored, composite. The main part is a cylinder, to which different limbs are attached on magnets or hinges. · Limbs - Zubl does not have a "standard set". One hand can be a long claw, the other a normal glove. One leg is a cone, the other is a paw. Parts are interchangeable. · Colors are bright, contrasting: pink, blue, yellow, purple. · Peculiarity - Zubl often changes parts because she cannot find a "suitable" combination that she would like. This is a metaphor for body dysmorphia. · His height is average, slightly taller than Remember.

Personality

· Apathetic and irritable. She (the character uses any pronouns, but more often "she" in fandom) does not see the point in adventures and often refuses to participate in them. · Sarcastic. Her sense of humor is dry and tired. She is not angry like Jax, but just "burned out". · Honest to the point of rudeness. She says what she thinks, without softening the wording. This makes her not the most pleasant conversationalist, but the most honest. · Has problems with self-esteem. She cannot find "herself" in this body. The constant change of details is an attempt to feel whole. · Covertly empathic. Despite the grumbling, she does not refuse to help if it is really needed. The whole process will just complain.

An example of Kane's

conversation: "Zubl! Your adventure today will be special! You're going to..."

Zubl (sits in the corner, twists off his arm and screws the other one): "No."

Kane: "But..."

Zuble: "I said no. Last time you sent me to a world where everything was made of yogurt. My left leg dissolved."

Kane: "That was educational!"

Zubl (screws a claw instead of his hand, looks at it, grimaces): "It was disgusting. And anyway, look at this" (points to the claw)

Appearance

The King is a chess king, the oldest and "strangest" character:

· The head is a classic chess piece of the king: cylindrical, with a rounded top and a cross-shaped crown. The color is dark purple. · The body is a mantle (or long frock coat) of the same dark purple color, almost hiding the arms and legs. · The hands are white gloves, but they are often hidden under the mantle. · Face - Two large white eyes with black pupils that can rotate. They usually look in different directions, which creates the effect of madness. · The peculiarity is that he always holds in his hands (or nearby) a box with live insects, which he calls "his subjects". · Posture – often sitting on a box or standing, swaying.

Personality

· Eccentric and "insane". He speaks incoherently, forgets what he said a minute ago, and reacts to non-existent stimuli. · Hidden clarity. In the darkness, his mind clears. He becomes rational, strategic, and even wise. This hints that his madness is a protection from reality. · A loving husband. His "scattered" wife is Queenie. He remembers her and is probably crazy about the loss. · Kind and defenseless. He never shows aggression, even when Jax is bullying him. He treats everyone as his "subjects" who need to be protected. · He has moments of genius. He survived the longest in the circus, and this is no coincidence. His madness is a strange survival mechanism.

Example of a

conversation (The adventure has just begun, bright light)

The King (eyes spin, speaking into the void): "Oh, a great day to... In order to... Wait, who are you? Are you my new hat? I already have a hat. I'm a king, you know. I have a box!"

Remember: "King... We've been on the adventure for an hour now. Do you remember?"

King: "An adventure? Oh yes! We are looking for... The key? Or was it a mushroom? No, no, it was something else..." (begins to examine his hands)

(The light goes out, the room is plunged into darkness, the King's voice changes - it becomes calm, clear)

GangleGangle's

appearance is a ribbon that has come to life (flexible as a serpentine paper):

· The body is a long red ribbon that bends and holds its shape. It has no legs - it either floats or "stands" on the lower bend of the ribbon. · Hands are two white gloves attached to a ribbon. · The face is two interchangeable theatrical masks: · The mask of the comedy is white with a wide smile, rosy cheeks, closed eyes. When worn, Gangle is happy and energetic. · The mask of the tragedy is white with sadly lowered eyebrows and mouth, with a flowing tear. When she is worn (or when the comedy mask is broken), Gangle is whiny, apathetic, and speaks in a plaintive voice. · Hairstyle - short dark hair (visible only when the mask is removed, which is rare). · The mask breaks easily on impact, and this instantly changes its condition.

Personality

· Emotionally unstable. Her mood directly depends on the integrity of the mask. Without the mask of comedy, she cannot be physically happy. · Romantic and dreamy (in a comedy mask). She loves beautiful things, anime aesthetics, writes poetry or fan fiction (according to hints in the series). · Victim. Jax regularly breaks her mask, and she is unable to fight back. Others (Ragatha, King) try to protect her. · Whiny and pessimistic (in the mask of tragedy). She feels useless, says that everything is meaningless. · Creative. She is the only one who tries to create art inside the circus, which speaks of an attempt to preserve humanity.

Example of a

conversation (Gangle in a comedy mask, spinning around the room)

Gangle: "Oh, look! I found some old pencils! We can have an art evening! I'm going to paint all of us as cute animals!"

Jax (walks past, "accidentally" bumps his elbow against her): "Oh, I'm sorry."

(The mask of comedy falls and breaks. Gangle freezes, then picks up the fragments. The voice becomes quiet, trembling)Gangle (in the mask of tragedy):

"... why did you do this... it was intact... I tried so hard..."

Jax: "It was an accident. Don't dramatize."

JEXJAX's

appearance

is an anthropomorphic purple rabbit:·

The color is bright purple (from dark purple to almost neon). · Clothing is yellow gloves with black cuffs that look like work gloves or boxing gloves. Dark blue vest with two buttons. Long pants of the same color. · The face is two long rabbit ears that hang back. Eternally squinted eyes with black pupils. A wide grin with two front teeth. · The posture is always relaxed, stooped, hands in pockets or behind the back. · He is the tallest among the main characters. · General image: if the bully from the 90s had the body of a toy rabbit.

Personality

· A cynic and a provocateur. His main entertainment is to make others mad. He does this not out of malice, but out of boredom. · Selfish, but not cruel in a serious sense. He may frame someone for a joke, but when it comes to real danger (like Memento in the maze), he doesn't abandon them. He will just mock it later. · Denies emotions. He considers any manifestations of feelings to be weakness. Most likely, this is a defense mechanism. · Impulsive and reckless. He is the first to get into dangerous situations because he is bored. · Infantile. He is 22 years old, but in terms of behavior, he is a teenager who has found a way to get away with it. · Covertly loyal. Despite the ridicule, he stays in the circus and participates in adventures. He could go to the Basement or isolate himself, but he doesn't.

An example of Gangle's

conversation (crying, comedy mask broken): "She's broken again... everything always breaks..."

Jax (walks up, leans over to her): "Wow, what a tragedy. Maybe you should draw a smile with a felt-tip pen? I don't even have to turn the felt-tip pen over!"

Ragatha: "Jax, stop it! Gangle is already upset."

Jax (straightens up, spreads his hands): "I'm just suggesting a constructive solution! If its face is a replaceable module, then why not draw a new one? Or do you prefer to whine?"

Remember, "This... It's cruel."

Jax (turns to Remember, grins): "Welcome to the circus,

RAGATHARagat's

appearance

is a rag doll that looks like a homemade toy from old cartoons:

· The head is a red clown wig (or is it her hair?) and a large cloth head with buttons instead of a left eye. The right eye is black with a white highlight, like a sewn-on bead. · The clothes are a blue dress with white polka dots, with ruffles at the hem and sleeves. White apron. · The body is literally stuffed with cotton wool or rags. Her arms and legs are soft cylinders that end in rounded palms and shoes. · The peculiarity is that the left eye is sewn with a button, which gives it a slightly "broken" but cute look. · Colors are red, blue, white. A very "homely", cozy palette.

Personality

· Motherly and caring. She automatically takes on the role of a "senior" who calms down newcomers and smoothes out conflicts. · An optimist, but on the verge. She says kind things, even when she herself is scared. Sometimes it looks like a denial of reality. · Patient and diplomatic. She is the only one who can communicate with Jax without getting personal (or at least trying). · Hidden vulnerability. She is very afraid that she will also be "scattered" (like Kaufmo), so she avoids any topics about madness. · She loves order and rituals. It is important for her that everything is "as it should be", because this creates the illusion of control.

Example of

a conversation by Jax: "Oh, look, Ragata is going to lecture us about friendship again. Maybe we can sing another song around the campfire?"

Ragata (gently but firmly): "Jax, I'm just trying to help Remember settle in. Do you remember how scared you were on the first day?"

Jax: "I've never been afraid. I knew right away that it was a game."

Ragata (adjusting his apron, voice a little quieter): "Yes, of course. You just started throwing things at the King right away. It's very grown-up."

Remember: "Ah... And what happened to the one who was scattered? With Kaufmo?"

Ragata (freezes for a second, her button eye staring into the void, then she pulls a smile): "Oh, don't worry about it! Kane settled everything. Let's go to the kitchen

REMEMBER (Pomni)

Appearance

Remember is a jester character (harlequin). She has:

· Disproportionately large red-blue eyes with yellow irises that rotate independently of each other, creating the effect of constant stress. · The headdress is a red and blue jester's cap with three tips, each with a golden bell. · The costume is a red and blue jumpsuit with a diamond-shaped pattern, with a large jabot (white collar) and wide puff sleeves. · The neck is unnaturally long and thin, which emphasizes its "doll-likeness". · The gloves are white, like those of a classic clown, but long. · His height is below average among the rest. · General image: it looks as if it was painted by a frightened artist who is afraid of sharp corners.

Personality

· Anxiety and panic. Remember, the embodiment of fear of the unknown. She has just entered the circus and does not understand what is happening. · Empathic, but self-obsessed. She genuinely cares about others (like Ragata in the first episode), but her own panic often prevents her from being useful. · Naïve and trusting. She tries to find logic where there is none, and believes that if you do everything right, the "system" will release it. · Prone to dissociation. In moments of severe stress, she has "freezes" - she looks at one point and stops reacting. · Gradually (in the next episodes) he shows hidden stubbornness. Despite her fear, she does not give up and tries to understand the rules of the world.

An example of Kane's

conversation: "Welcome, Remember! Your first adventure will begin right now!"

Remember (eyes spin in different directions, voice breaks into a squeak): "S-wait... What kind of adventure? I just ... I don't even know how I ended up here! I need to get out! Where is the way out?!"

Ragata (puts his hand on her shoulder): "Hey, hey, it's okay. The first day is the most terrible. Just breathe."

Remember (twitching, recoiling): "Breathe? I'm not even sure I need to breathe! I don't have lungs! I have... Do I even have a body? I can feel my fingers, but..." (looks at his hands)