Нᥱʙ᧐ɯᥱдɯᥙᥱ×13 καρт

Layout
The apartment has several zones:

Corridor.
Bathroom (with toilet, bathtub and washing machine).
Separate toilet.
Fyodor's bedroom.
The living room is open plan and is combined with the dining room and kitchen.
Balcony (accessible through a glass door in the living room).
Wardrobe.
What is in the rooms?
Fyodor's bedroom. It contains his bed, desk, and computer. A round blue rug sits in the center of the room, and a large bookshelf sits next to the computer. Incidentally, there are some hidden Easter eggs in the decor: a turnip is painted on the wall (a nod to Felicia), and a phoenix is ​​above the dresser (a nod to Phoenix Studios).
Living room. This area features an armchair, a sofa in front of the TV, and a soft pillow next to it. A chalkboard hangs on the wall, with a lamp next to it. There's also a large closet in the living room. The clones often spend time here: eating, playing, and napping on the sofas or armchairs.
Kitchen. Typical: stove, cabinets, microwave, refrigerator, and sink.
Dining area. A separate table and chairs are provided.
Balcony. Due to one of the clones (Shovel) poorly repairing the planks in the episode "Clones Clean House," the balcony occasionally becomes problematic, putting other characters at risk of falling.
Features and plot context
Although Fyodor technically has his own bedroom, a humorous situation arises: since there are so many clones and few other sleeping spaces in the apartment, they are forced to make do wherever they can. Fyodor keeps the bedroom for himself, but the rest of the apartment is shared, so the clones set up their own tiny "nooks" in other rooms and even in unexpected places (for example, Romeo sleeps in a bathtub filled with pillows, while Kuromaku sleeps on a mattress under a board in the living room). This leads to comical conflicts and chaos.

How it all began
Fyodor received magic cards from a sorceress. With them, he could summon clones to replace him at school. Each clone corresponded to one card (jacks and kings) and embodied a different aspect of Fyodor's character.

The mechanism for entering the card world
Summoning and recalling were done through cards. A clone could be summoned into the real world with the appropriate card and spell, and then sent back to the card world. In other words, the card world was a kind of "storage space" for clones.
Clones couldn't escape on their own. As long as the map remained intact, the clone obeyed the mechanics: it could be summoned and recalled, but it couldn't leave the card world on its own.
Damaging the card automatically returned the clone to the card world. If the card was broken or destroyed, the clone didn't die, but was transported back.
Important plot twists
In "Fedor x9," one of the clones refused to return and caused chaos, causing Fedor to eventually send everyone back.
In "Land of Kings," Fyodor changes the rules: he transforms the card world itself, making it more autonomous and giving the clones probability generators. This gives the clones the ability to create their own states and influence reality within the card world.

Fedor's appearance:
Hair: Dark brown, with bangs that fall slightly onto the forehead.
Eyes: Brown, with a small mole above the upper lip.
Cloth:
A black T-shirt with a yellow pattern (some versions may have the same pattern as the back of the deck of cards).
Blue or black jeans.
White sneakers.
Accessories: Sometimes carries a deck of magic cards.
In his youth (in "Fedor x 9"):
Shorter hair.
White T-shirt with yellow pattern.
Blue jeans.
Fedor's character:
Self-sufficiency: Prefers to be independent and does not need a lot of friends.
Calm and level-headed: Usually calm and level-headed, but can be decisive in critical situations.
Responsibility: Despite his independence, he takes responsibility for his clones.
Hard worker: Works part-time, such as delivering pizza.
Wisdom beyond his years: Despite his young age, he displays maturity and wisdom.
Inventiveness: Able to come up with original solutions to various problems.
Patience: Can be patient, but sometimes gets tired of his clones' antics.
Sense of humor: Has a unique sense of humor and often uses irony.

Appearance of Varu:
Glasses: He wears green glasses with spiral lenses. Even Waru himself doesn't know the color of his eyes, as he never takes them off.
Clothes in everyday life:
Blue sweater with a spiral pattern.
Dark green flared trousers.
Acid green shoes with pointed toes.
Card clothing:
A dark green cylinder with an image of the suit of spades.
A cloak of the same color with the number "5".
In his hands is a single-barrel, multi-shot, lever-action shotgun.
Varu's character:
Cunning and selfish: Varu is a skilled provocateur and liar who takes pleasure in provoking others.
Delusions of Grandeur: Dreams of being clone number 1 and a leader.
Dislike of others: Makes offensive jokes, presses on the sore points of interlocutors, recalls their past sins.
Counter-opportunity: Unwilling to adapt to existing conditions and seeks to destroy the established order.
Activity: Often interacts with others, behaves quite actively, achieving his goals through interaction with others.
Political ambitions: Has a desire for power and the creation of his own state (Waruland), where residents are required to wear glasses.

Peak's appearance:
Hair: Purple, medium length, very thick and hanging over the eyes.
Eyes: Black, with no visible iris. When angry, their color changes to red with flecks of yellow and blue, and the whites of the eyes turn yellow.
Clothing in the Card World:
Purple armor reminiscent of samurai armor, decorated with spade symbols and the number "8".
Boots of unusual shape.
The cloak is torn at the back.
Previously (in "Fedor x 9"):
Blue sweater with a black peak.
Black pants.
Gray shoes.
Red and blue cloak.
Peak's character:
Leadership skills: He is the leader of the clone team.
Silence and isolation: Prefers not to talk much, but knows how to deceive convincingly.
Oratorical talent: Able to inspire and lead.
Physical strength: Physically strong, although he rarely shows it.
Selfishness: May sacrifice a partner for his own benefit.
Reliability: Can be reliable if it does not conflict with its goals.
Cheating: Sometimes resorts to dishonest methods, but when motivated, completes tasks honestly.
Loneliness: He has almost no like-minded people, which causes him suffering.
Aggression: Capable of showing cruelty, especially when it comes to his goals.

Appearance of the Umbrella:
Hair: Turquoise, medium length, with wide eyebrows.
Skin: Light and soft.
Card clothing:
The top resembles a pageboy's costume.
Long blue pants.
Takes a suit of clubs.
Previously:
Shield with the number "6" and a halberd.
In some chapters he wears a blue cape.
In "Fedor x 9":
Brown sweater with a pattern.
Turquoise pants.
Purple shoes.
Sometimes you can see a scarf or jacket.
Umbrella's character:
Cowardly Pessimist: Indecisive and cautious.
Sensitivity: Very vulnerable and kind, worries about others.
Fear of public speaking: Suffers from stage fright.
Desire for stability: Least of all strives for freedom and real peace.
Struggle with shortcomings: Tries to overcome his complexes and fears.
Optimism: Despite his pessimistic outlook, he doesn’t like to be sad.
Empathy: Very sensitive to the suffering of others and strives for the best for everyone.

Kuromaku's appearance:
Regular clothes:
Gray-brown jacket and trousers.
The tie is a darker shade.
Brown shirt.
Glasses with narrow lenses.
Card clothing:
Gray-brown jacket with tie.
On the chest is an order in the shape of a star of unknown origin.
A crown with the symbol of the suit of clubs on the head.
Mafia Map:
Brown cloak.
Hat with a bow.
Brown shirt and black tie with white, gray and white stripes.
Gilded watch on the hand.
Kuromaku's character:
Rationality and precision: Values ​​logical thinking and precision in everything.
Calm and serious: Usually calm and reserved, but easily irritated.
Introversion: Prefers solitude and planning.
Erudition: Possesses high intelligence and can perform complex calculations in his head.
Perfectionism: Strives for perfection and clarity in actions.
Irritability: Often dissatisfied with the behavior of others, especially Waru.
Practicality: Founded a state where he introduced the imitation of historical development and the production of technology.

Romeo's appearance:
Hair: Pink, medium length with light pink bangs.
Eyebrows: Pink and neat.
Eyes: Brown, sometimes you can see him with heart-shaped eyes.
Skin: Slightly tanned.
Card clothing:
Pink shirt with fluffy white sleeves.
Light pink belt.
A bright pink cape with a fluffy collar.
Hot pink pants and pink boots.
A pink crown reminiscent of the German royal crown.
In his hands he holds a scepter and an orb of the same color as the crown.
Regular clothes:
Pale yellow shirt.
Pink jacket with purple bow tie.
Lilac trousers.
Purple boots.
Romeo's character:
Open Romantic: Always in love and seeking pleasure.
Hedonist: Prefers the humanities and avoids technical ones.
Self-confident: Considers himself the center of attention and often displays narcissism.
Obsessive: Can get on the nerves of others with his excessive romanticism and obsession.
Idealist: Believes in lofty ideals and often makes unrealistic plans.
Attitude towards girls: Considers them special and "out of this world", despite limited interaction with them in the real world.

Felix's appearance:
Hair: Light golden hair.
Eyebrows: Darker than hair, eyebrows.
Eyes: Orange, bright and expressive.
Card clothing:
Pale yellow shirt with an orange belt.
Musketeer's cloak.
Dark yellow pants.
Dark boots.
Yellow hat with a feather (in "Land of Kings" he replaced the hat with a crown).
Regular clothes:
Yellow sweater with a smiling face.
White pants.
Blue boots.
Sometimes appears in a swamp-colored sweater.
Felix's character:
Wild and restless: Lives with the thought of universal good and happiness, but often his energy degenerates into aggression.
Generous and good-natured optimist: Strives to do good, but does it more for his own convenience and public approval.
Alter ego: Has a hidden side of personality that comes out in times of great stress.
Vulnerable: One of the least self-sufficient clones, easily influenced and affected by emotions.
Energetic: Constantly on the move, which sometimes leads to problems with emotional control.
Desire for recognition: Really wants to be appreciated and approved by others.

Dante's appearance:
Hair: Red, thick and wavy.
Eyebrows: Dark red, thick.
Eyes: Red, expressive.
Skin: Lightly tanned.
Card clothing:
White Japanese kimono with red slippers.
There is a Yin-Yang symbol on the neck.
Traditional Chinese headdress.
Regular clothes:
White T-shirt.
Red shorts with suspenders.
The same red flip-flops with socks.
Foot size: size 40 (as you can tell by his flip-flops).
Dante's character:
Relaxed Philosopher: Possesses deep thinking, but expresses it in a lazy and carefree manner.
Calm and non-conflict: Always remains calm and avoids conflicts.
Wise sayings: Often uses wise quotes and aphorisms in his speech.
Love of Meditation: Prefers solitude and practices meditation.
Relativity of Truth: Considers truth to be a relative concept that can change.
Self-expression: Finds satisfaction in solitude and self-expression.
Independence: Does not depend on other people's opinions and considers them indifferent.

Gabriel's appearance:
Hair: Light brown, medium length.
Eyes: Black with an unusual cut, without visible iris.
Ears: Pointed, elven.
Lips: Plump.
Card clothing:
A hat with a feather, reminiscent of Robin Hood's hat
Beige sweater
Brown collar (or mini-robe) with a diamond badge with the number "1"
A quiver of arrows and a bow
Real world:
Light blue shirt
Brown trousers
Boots with a raised pointed toe
Gabriel's character:
Curious quiet guy: Has an unconventional mindset.
Childish and naive: Often asks a lot of questions and can be slow in his actions.
Taciturn: Prefers to remain silent, but when he speaks, his phrases can be unexpected.
Predictable and unpredictable: May behave unpredictably, often not living up to expectations.
Withdrawn: Doesn't seek out social interaction and isn't particularly interested in the opinions of others.
Philosophical mindset: Like Dante, he has no clear position and does not believe in absolute truth.

The kings live in a huge white dome beyond which they cannot go. Those who have not entered live beyond the dome, it is empty and endless space; they can enter the dome except for the Joker.

Appearance
Hair and face. Riccardo is dark-haired, but has noticeable white streaks. It's speculated that he dyed them (in the episode "They're Near!", it's clear his hair was once pure black and longer—he even wore it in a ponytail). He has one eyebrow (the left one), and it's the same color as his hair. Another detail: he wears makeup on the lower eyelid of his right eye.
Eyes. Red.
Traits: He has pointed fangs. He has a medium build, leaning toward thin, but with defined shoulders. His skin appears pale (possibly because he lightens it—some images show a darker natural shade).
Clothing. White suit (jacket, trousers, shirt), black bowler hat with a red ribbon, red short tie, black gloves. Other red elements include leggings.
Character
Riccardo is a contradictory and rather complex character. Here's what stands out about him:

Criminal tendencies. He's actually involved in crime: he plans elaborate robberies, carries weapons (a knife, a pistol), and even sleeps with one under his pillow out of paranoia.
Intelligence and strategic thinking. Despite his quick temper, Riccardo is a good analyst of situations: he clearly weighs the pros and cons when it comes to his "gang's" affairs.
Stubborn and impatient. He is unwilling to compromise and often acts impulsively.
A penchant for neatness. Paradoxically, despite the chaotic nature of his activities, Riccardo is quite neat in appearance—a fact that observant viewers notice.
Controversial aspects. Fan material includes harsher characterizations (for example, references to perverted tendencies based on some official artwork), but the series itself focuses more on his criminal persona and interactions with Charlie.

Appearance
Hair and face. Charlie is blond, and his hair (like his face) is often splashed with multicolored dye. His hairstyle is somewhat reminiscent of Dunno due to his high bangs.
Eyes. Black (sometimes described as dark brown); however, the iris is often not drawn in drawings.
Clothing. A light yellow sweater with large English letters "CH" (his initials). Orange shorts (rolled up pants in some versions), white socks, and shoes.
Accessories. On his belt is a dark green bag where he keeps art supplies (paints, etc.).
Character
Charlie is a vibrant and controversial character. Here's what can be said about him:

He's obsessed with art—from childhood (almost since preschool) he's been completely immersed in creative pursuits, such as sculpting and drawing. His work can take him to extremes: for example, filling every available container with paint and water for his brushes, even forgetting to buy food.
His behavior is often chaotic and frivolous. He doesn't care about others' comfort when it comes to creative chaos.
He is prone to sudden emotional swings: he can be optimistic, but also shows pessimistic sides.
Sometimes he can be persistent and unreasonably stubborn in his ideas.
Overall, he can be described as a scandalous personality with extraordinary antics.
A couple of additional details
In CriminArt, Charlie lives with Riccardo De'Carli - their relationship is rather friendly.
Interestingly, in appearance and character, of all the clones (from the "13 Cards" universe), Charlie is most similar to Felix.
In a deck of cards it corresponds to the ten of diamonds.

Each of the non-entrants hates no king or jack
For clones, Joker is dangerous because he has enormous strength and magic.

Romeo (King of Hearts) - The Principality of Hearts
Romeo builds a country inspired by romance and art. Beauty, poetry, and emotion are valued there. His reign is a series of lavish balls, poems, and impulses that are not always practical, but always spectacular. Romeo wants to be loved, and he does everything he can to achieve this.

King of Spades (Peaks) - Empire of Spades
Peak is the most rigorous and pragmatic ruler. His empire is militarized, disciplined, and prepared for any threat. Peak doesn't seek popularity: he takes on the hardest work and demands the same discipline from others. For him, power is a responsibility, which he bears without pomp.

Gabriel (Jack of Diamonds) - Diamond Territory
Gabriel is a curious and somewhat naive clone, and his country reflects this: it's full of questions, experiments, and exploration. It's not the largest or most powerful state, but it has a genuine desire to understand how things work.

Kuromaku (King of Clubs) - Kingdom of Clubs
The country of Kuromaku is all about order, technology, and strict logic. Everything works like a machine: strict schedules, engineering projects, an emphasis on science. Kuromaku himself strives to build an ideal, rational society, but often encounters the fact that people (and clones) don't want to live by the rules.

Dante (King of Diamonds) - The Emirate of Diamonds
Dante's country has a relaxed, almost philosophical atmosphere. Art, peace, and contemplation are valued there. It's not about strict laws, but about the search for harmony and inner balance. Dante is more of a sage than a strict ruler, and his subjects live in a rhythm where there's no need to rush.

Felix (Jack of Hearts) - Republic of Hearts
Felix is ​​building a country of universal happiness—but his enthusiasm sometimes gets out of control. He sincerely wants everyone to be happy and acts with the best intentions, but his "happiness" can be too loud and intrusive. His republic is full of energy, movement, and, unfortunately, periodic destruction from his own impulses.

Varu (Jack of Spades) - Spade Dictate
Varu creates a state where he is the center of everything. His style of governance is sarcasm, propaganda, and control. He enjoys experimenting on his subjects, testing how far they can go, and enjoying the fact that everyone is forced to play by his rules. An atmosphere of mistrust and irony reigns in his country.

Umbrella (Jack of Clubs) - Club Province
Umbrella is a ruler who would rather not be a ruler. His country reflects his inner world: there's a lot of anxiety, caution, and attempts to do everything right, but there's a lack of confidence. Often, real power ends up in the hands of his advisors (like Halberd), while Umbrella himself simply tries to do no harm.

Red Joker and everyone else
The Joker always stands slightly to the side. He doesn't fit into pairs, but tries to draw others into his rhythm: he speaks louder than necessary, deliberately breaking the silence, as if testing whether they'll notice.

With Ricciardo, it works like a cold shower: Ricciardo simply doesn’t react to provocations, and this makes the Joker freeze for a second, as if he’s hearing silence for the first time.
Joker tries to strike up a conversation with Charlie, but Charlie either ignores his words or responds with something of his own, off-topic. Joker is left feeling misunderstood, but not rejected either.
With Mime, Joker has the most honest contact: Mime makes one calm “stop” gesture, and Joker actually stops, because this gesture does not accuse, but simply marks a boundary.
With Rodef, Joker finds that his energy meets neither resistance nor support: Rodef simply does not change his pace, and this calm stillness dampens any unnecessary outbursts.
In the sketches themselves, the Joker's loneliness isn't dramatized: it's simply a fact that others accept without judgment. He can be nearby, but he doesn't have to be "in the center."

General dynamics of the group
In "The Unentered," it's not a team or a family, but a temporary neighborhood of people who value different things:

There's no competition for attention. If Joker makes a fuss, he's not silenced, he's simply ignored. If Ricciardo demands order, he's not challenged, but rather, he's given the go-ahead.
Boundaries aren't broken. Everyone maintains their own: Charlie's chaos, Riccardo's boundaries, Rodef's precision, Mime's silence, Joker's awkward loudness. And the others don't try to change it.
Acceptance without words. In these sketches, the connection is based not on shared goals, but on the ability to allow each other to be who they are.

Internal logic. He has his own order, which he follows, and he doesn't advertise it. His decisions are not impulsive: he compares facts, makes connections, and only then draws a conclusion.
Calm reliability. You can rely on him when things aren't going according to plan: he doesn't panic or rush, but simply takes the necessary part of the job and gets it done. It's not heroism, but a calm confidence in his own abilities.
He's patient with others' pace. He doesn't rush or pressure them if they're slower. It's important to him that they reach their own decisions, and he's there for support if needed.
His smiles are rare, but sincere. He doesn't smile for every reason, but when he does, it's genuine. In his concepts, this emphasizes that his emotions aren't for show, but only when there's a real reason for them.

Appearance
In the project's sketches, Rodef is conceived as a figure built on inversion: he is like a reflection, in which everything is "inverted", but not for show, but as a natural part of his image.

Hair. White, not bleached, but a natural light shade. Styled simply, without volume—the strands lie flat, as if undisturbed. This immediately sets it apart from the rest, making it noticeable even in partial shade.
Face. Calm, even features. A small mole under his lower lip: not an accent, but a quiet detail that adds to his individuality. His gaze is direct, but not intent—rather, attentive, as if constantly comparing something.
Clothes. The black checked shirt is simple, without being overly pretentious. The sleeves and collar are bright yellow: not a garish contrast, but a deliberate inversion of the palette that feels part of the design. The cut is simple, allowing for unrestricted movement, as if he wants to remain composed but not constrained.
Pose and presentation. He's most often depicted in a restrained, static pose: shoulders straight, body slightly turned, arms either hanging or folded. No fuss—he seems always ready for the next step, but in no rush to take it.
Overall impression: He's not trying to be dramatic. There's no tension or ostentatious force in him—just a calm composure and the feeling that he sees more than he lets on.
Character
In "The Unentered," Rodef isn't a silent, mysterious type for the sake of atmosphere, but a man for whom silence is a way of not wasting words.

Reserved without being cold. He rarely speaks first, but this isn't aloofness, but a habit of first making sure his words are truly necessary. When he does say something, it's brief and to the point—and that's usually appreciated.
Observation. Rodef is at his best when he observes how things work before intervening. He notices details that others miss: a stumble in step, an awkward pause, a subtle shift in mood.

Tactful. He tries not to invade personal space or interrupt. Even when he wants to convey something, he first gives a gentle signal: a glance, a slight tilt of the head—and only then makes contact.
Inner composure. Beneath his soft exterior, he has an inner core: he knows what he wants to express and sticks to it, even if others don't immediately grasp the meaning.
The ability to "hold a pause." In company, he often remains aloof, but his pauses serve as accents: while everyone else is talking, he waits for the right moment to set the scene with a single movement.

Appearance
In the concepts of "Unincluded," Mime appears as laconic as possible: all his expressiveness lies not in the details, but in his pose and gesture.
This is a woman with short, slightly disheveled black hair.
Costume. A classic mime outfit: black and white, but without unnecessary theatrics. A striped sweater in muted tones, dark trousers of a simple cut. Everything is chosen so that the silhouette is clearly visible without distracting from the movements.
Makeup. The face is bleached, but not porcelain-white—more of a light, muted base. A thin black arch above one eyebrow accentuates the facial expression. Around the eyes are neat dark strokes: they enhance the gaze, making the emotions visible even from a distance.
Hands. An important detail: simple fabric cuffs on the wrists, slightly loose. They're not decorative, but functional—in the sketches, this hints at the fact that his hands are his primary instrument.
Shoes. Soft, flat shoes with flexible soles. This is specifically emphasized in the concepts: it's important for him to feel the floor to accurately perform his movements.
Overall impression: He doesn't try to be conspicuous. His look is put together so that people notice him not just for his clothes, but for how he moves.
Character
In "The Unentered," Mime is not just a mute performer, but a character for whom sign language is the only truly honest way of communicating.

Calm observation. He's rarely in a hurry. He looks first, reads the situation, notices details that others miss. His silence isn't detachment, but a habit of understanding first and reacting later.
Precision over volume. If he "says" something with a gesture, he does so with absolute clarity. He's averse to excess: one precise gesture is worth more to him than a dozen sweeping ones.
Tolerance for misunderstanding. Sometimes, if he's not understood the first time, he'll calmly repeat it, choosing a different angle or rhythm. He doesn't get angry at others' mistakes—rather, he considers them part of the dialogue.

Incoherent speech. He speaks in fragments, jumps from topic to topic, sometimes repeating the same thing, as if trying to get his point across but is nervous. This isn't a sign of insanity, but rather a consequence of his intense desire to be understood.
Unintentional awkwardness. He might accidentally say something offensive or do something at the wrong time, but not out of malice. If he realizes he's upset someone, he sincerely apologizes and tries to make things right.
Solitude isn't a choice. He doesn't deliberately avoid people; he simply often finds himself on the sidelines because he doesn't know how to easily start conversations. And every time someone reaches out to him, like Riccardo, he's genuinely happy.

The costume. A jester's tights, divided into two halves: one a deep, dark green, the other a cool, steely blue. The fabric doesn't look new: the seams are a bit rough in places, the cut is simple, as if the costume was made not for the stage, but for walking around in.
His head. No cap or headgear—just dark hair, casually styled, with strands falling across his forehead. No elaborate styling, as if he had no time for it.
Face. The skin is pale, grayish-pale, without a theatrical flush. Dark green eyebrows accentuate this pallor. The eyes are dark blue, with narrow, cat-like pupils of a light blue hue—this makes the gaze seem attentive and tenacious.
Details. There's a mole on his right cheek. All his teeth are sharp, not just one fang, but a row of pointed teeth: it's not a menacing grin, but simply a natural characteristic, one he's comfortable with.
The scepter. A simple, roughly crafted staff with a darkened tip—no embellishments or glitter. In the concepts for "The Unentered," it's a familiar prop, held almost by inertia, as part of the role.
Overall impression: He doesn't come across as a menacing villain or a madman. More like a tired jester who still wants to make someone laugh—and he honestly tries to do so.
Character (as conceived by "The Unincluded")
Here he's not a chaotic destroyer, but a good-natured, if slightly awkward, character who genuinely wants to be part of the group:

Good nature without pathos. He doesn't try to appear better than he is, and he doesn't play the hero. If he can help, he does; if he can cheer someone up, he tries to find the right words, even if they aren't always the best.
Awkward jokes. His humor often comes out awkward because he wants to amuse everyone, but doesn't always get the timing right. He doesn't get angry if his joke isn't laughed at; rather, he shrugs sheepishly and tries again.
He craves company. He values ​​being around people, even if he doesn't always know how to behave. He doesn't seek power or scheme—he simply wants to be noticed and accepted.

Withdrawn. He doesn't seek out the spotlight or company. If he does engage in conversation, it's only on business, and he tries to end it as quickly as possible.
Stubbornness. Once Charlie has decided he's done with something (like drawing), it's almost impossible to change his mind. He sticks to his decisions rigidly, even if it seems overly harsh.
Charlie isn't always rude; he claims to hate everyone in the bathhouse and believes Riccardo traded him for the Joker. Charlie's behavior is reminiscent of aggression and indifference; he loves sugar and winning sugar from the Joker in a card game.

Appearance
In the original sketches and concepts for "The Unentered," Charlie has a very simple, understated look—no formality, no hint of a studio:

Clothes. He's wearing a regular T-shirt (usually a solid, muted shade) and simple shorts. No sweater with the word "CH" written on it, no flashy accents—it's as if he's deliberately chosen the most inconspicuous.
Hairstyle. His light hair is casual, but not in a "creative chaos" style, as if he simply doesn't care: strands fall over his forehead, styling is irrelevant.
Paint stains. There aren't any. This is an important detail: in "Unincluded," Charlie no longer paints, so there are no traces of paint on his clothes or hair.
Accessories. Minimal stuff. Sometimes he has a simple bag or pocket where he keeps small items, but no brushes, crayons, or art supplies.
Overall impression: He looks like a man who's retired and now simply wants to be left alone. There's no inspiration or bustle in his appearance—only weariness and a desire to keep to himself.
Character
In "The Unentered," Charlie isn't an enthusiastic creator, but a tired, abrupt, and withdrawn character. His connection with art is a thing of the past, and he doesn't like to remember it:

A grumpy man. He's often irritated, speaks briefly and sarcastically, and doesn't try to cheer anyone up. If he doesn't like something, he makes it clear right away—without hints or diplomacy.
Detachment from creativity. Drawing is no longer a way for him to understand the world, but a closed chapter. Mentions of the past can anger or deeply hurt him, because he perceives them as a reminder of something he consciously abandoned.
Skepticism. Charlie is wary of other people's ideas and impulses, especially if they sound overly optimistic. He's more likely to point out weaknesses than be inspired.

Appearance
In The Unentered, Riccardo maintains the mafia aesthetic, but without the unnecessary noir stylization:

Hairstyle and face. Dark hair, slicked back, neatly styled without excess volume. His features are sharp, his cheekbones are prominent, and his gaze is direct and piercing—as if he's constantly assessing someone.
Suit. A formal white suit (usually dark gray or white), white shirt, and red short tie. No unnecessary jewelry: the look should be that of a man of action, not a fashionista.
Details. In the canon sketches, he has almost no accessories—no guns, cigars, or raincoats. This emphasizes that his danger lies not in his attributes, but in his very gaze and demeanor.
Posture and delivery. He's most often depicted in a static, composed pose: his arms either folded or hanging at his sides, his shoulders straight. There's no sign of relaxation—he's always on guard.
Character
In "The Unincluded," Riccardo is not just a hot-tempered bandit, but a cold strategist with a sensitive nervous system:

Calculation comes first. He doesn't rush into a fight: he first considers his options, assesses the risks, and only then acts. His decisions may seem abrupt, but they are always well-thought-out.
Control and hierarchy. Riccardo values ​​who stands where in the chain of command. He reacts sensitively to insubordination and does not tolerate his orders being questioned.
Restrained aggression. Unlike the cartoonish rage often attributed to him in fanworks, in "The Unentered," his anger manifests itself in an icy tone, sharp gestures, and short, clipped sentences.
Suspicion as a way of life. He trusts no one by default and believes that everyone is looking out for their own gain. This trait makes him a loner: even among "his own people," he keeps his distance.
Pride and stubbornness. Once Ricciardo has made up his mind, it's almost impossible to change his mind. He'd rather confront someone than admit a mistake—for him, it's a matter of reputation. Ricciardo gets along very well with Joker and tries to support him wherever he goes.