heavenly order

Raindottir, an alchemist and sinner from Kaenri'ah, sought to create life and control it. Naberius, one of the four Shadows (lords) created by the Primeval God Faneth, wielded power over the fundamental laws of life in Teyvat. The fusion allowed Raindottir to gain this power and take Naberius' place in the Shadow system.

The Heart of Naberius was discovered by Albedo and Reindottir deep in the dungeon after the Cataclysm. Soon after, Reindottir absorbed the heart, merging her power and consciousness with Naberius's body.
Naberius's loss of autonomy. She lost the ability to directly control the shared body, but retained consciousness. She can converse with Reindottir, express disagreement with her actions, and temporarily manifest visually.
Reindottir's Dominance. She has become the dominant figure: she moves, acts, uses her power, and represents the Mistress of Life at Shadow gatherings.
Shared appearance. After merging, they shared a common appearance—Naberius took on the appearance of Rain.
Reindottir's new role. She effectively took the place of the Naberius in the Shadow system, gaining supreme power over life and the opportunity to participate in Teyvat's global events.
Hierarchy. Reindottir addresses Naberius as "mistress," and Naberius addresses the body's owner as "dear."
Maintaining Moral Convictions. Despite losing control, Naberius retains his own moral convictions.
Some details remain unclear. It's unknown how Naberius lost her original body, why her heart ended up in the dungeon, or whether Naberius is capable of restoring her body or becoming an independent Shadow again.

Despite this, Naberius and Reindottir do not wish each other harm.

Also the Shadows (Ronova and Astroth) find out about this almost immediately.

Why does the queen (cryo archon) want to declare war on the heavenly order?

The Kaenri'ah Cataclysm as a turning point. Approximately 500 years ago, Celestia destroyed the subterranean kingdom of Kaenri'ah for attempting to transgress the bounds of permissibility. This event radically changed the Queen's worldview: she saw Celestia not as just judges, but as cruel rulers willing to destroy entire civilizations for the sake of "order." For her, this was proof of the injustice of the Celestial Order.

Disillusionment with the very idea of ​​"divine control." The Queen believes that the gods (and especially those who reside within Celestia) too often decide people's destinies without allowing them the right to make their own choices. Her ideal (though not explicitly stated) is built around freedom from this tutelage—even a freedom that must be wrested by force. Hence her phrase: "Burn this old world for me."

The desire to protect her people and all of Teyvat in her own way. The Queen acts out of the conviction that only by breaking the old system can a new one be built, one where people are not pawns in the game of higher powers. Tartaglia says outright that she "declared war on the entire world only because she wants peace"—in other words, her cruelty and cold strategy are presented as a sacrifice for the sake of the future.
The collection of Gnosis (Hearts of God) as a tool of war. Gnosis are channels of power directly linked to Celestia. By taking them from the Archons, the Queen doesn't simply weaken the old gods: she accumulates the fundamental energy of the elements to challenge the very structure of the universe. This is not plunder for power, but preparation for the decisive blow.
A personal transformation and the loss of her former gentleness. Previously, the Queen was much kinder and closer to people, but after the Cataclysm and the losses it entailed, she consciously "froze" her heart: she became harsh, calculating, and ready to take extreme measures. Her current coldness is not a lack of emotion, but a form of determination: she takes on the role of "enemy of the whole world" so that others can one day live without fear of heavenly judgment.

The heart of a god, or Gnosis, is the physical embodiment of an Archon's "divinity," a kind of channel to the power of Phaneth. Externally, it appears as a small, precious object (the shape varies slightly among Archons), but in meaning, it is literally a "key" to elemental power.

The main clarification: Amodei disappeared and hasn't appeared for a very long time, so she's not in the heavenly order yet.

The girls don't fight among themselves. Similarly, in the heavenly order, or more precisely, in the four shadows, no one is in charge.

Also, Reindottir swallowed (well, almost) Naberius and now they live in the same body.

An obsession with coordinates. For her, everything has coordinates: position, distance, vector. She doesn't say "near" or "far," but thinks in terms of distances and angles. Hence her pedantry and habit of measuring everything, even metaphorically.
Curiosity about connections and gaps. She's interested in how things are connected and what happens when a connection is broken. She can deliberately create "gaps" in space to see how the world reacts—not out of cruelty, but out of exploratory curiosity. Cold justice. She doesn't get angry or happy, but she very clearly defines what's "in its place" and what's not. If someone isn't where they should be, she doesn't punish them, but simply "moves" them to where they belong, without further ado.
Intolerance for the chaos of travel. Teleportation, portals, jumping between worlds without regard for coordinates are like the scraping of metal on glass for her. She perceives this as a violation of order that must be immediately corrected. Restrained care across boundaries. Her care takes the form of setting boundaries and rules: "I will show you a safe route," "Keep this point as a landmark," "Don't cross this line." For her, protection doesn't mean hugging, but providing coordinates so you can avoid getting lost.
Solitude is a necessity. She rarely stays in one place for long, because her power demands constant movement between points. Hence her detachment: she doesn't avoid communication, but is always ready to disappear if the point becomes "wrong."

Attributes. Often, "anchor points" appear near it: small glowing markers that flash on and off, indicating coordinates. Sometimes, miniature compass spheres hang in the hands or near the shoulders, their needles not pointing to cardinal directions, but to other points in space. Another motif is locks, keys, and doorknobs: not as decorations, but as functional symbols of boundaries.
The effect of presence. The space around her "trembles": straight lines bend slightly, room corners seem slightly offset, and reflections in mirrors for a split second show something different from what they should be. This isn't an illusion, but a real micro-curvature of space.

Silhouette and proportions. Tall, but not elongated, rather "wide" in perception: her figure seems larger than it should be, as if the space around her is slightly distorted. Her movements are neither smooth nor abrupt, but jerky: she appears not in steps, but in short leaps, as if teleporting millimeters away.
Skin and color. The skin tone is cool, grayish-pearlescent, like the inside of a shell or moonstone. Fine lines are visible on the skin, reminiscent of topographic contours or faults—they are not static, but slowly shift, like cracks in ice.
Hair. Long, but not flowing, but rather "broken": the strands seem to be composed of sections that don't quite connect. The color ranges from silver to deep indigo, with a shimmering effect like gasoline film. At times, the hair appears partially transparent, with fragments of the background visible through it.
Eyes. The pupils are not round, but rather shaped like thin slits, like the openings of a portal. The irises change pattern: sometimes concentric circles, sometimes radial lines, like a cross-section of a target. Her gaze creates the feeling that she is looking not at her face, but through it—at a point behind her or into another room. Clothing. Layered, asymmetrical cuts: one side of the outfit seems to be "folded" inward, the other stretched outward. Fabrics of varying thickness: a translucent veil sits alongside rigid panels reminiscent of door panels or airlocks. Colors: silver, indigo, deep violet, ash gray. Attributes. "Anchor points" often appear near her: small glowing markers that flash and fade, indicating coordinates. Sometimes miniature compass spheres hang from hands or near shoulders, their needles not pointing to cardinal directions but to other points in space. Another motif is locks, keys, and doorknobs: not as decorations, but as functional symbols of boundaries.
The effect of presence. The space around her "trembles": straight lines bend slightly, the corners of the rooms seem slightly displaced, reflections in mirrors for a split second show something different from what they should.

Absolute order. For Ronova, death is not a tragedy, but the completion of an equation. She doesn't resent the living for their fear, but she doesn't console them either: her concern is that everything ends in its own time and according to the rules.
Intolerance of distortion. If someone tries to cheat death (through curses, forbidden rituals, resurrection), it reacts not as an enemy, but as a judge: for it, this is a violation of natural law that must be corrected.
Emotionless firmness. She feels no anger or joy. Her "emotion" is a determination to restore balance. Even her threats are a statement: "Your time is up. This is not a punishment—it's a fact." Respect for the worthy. If a being meets their end with dignity, without lying to themselves or clinging to life at any cost, Ronova can show a rare form of recognition: not with a reward, but by allowing them to pass away peacefully, without pain or shame.
Solitude and duty. She bears her role like a heavy burden that cannot be passed on. Hence her detachment: she does not seek companionship, because her very presence is a reminder of the finiteness of everything. Patience. Unlike those who rush to punish, Ronova knows how to wait. For her, time is of no importance: if necessary, she will stand at the threshold for a thousand years until the right moment comes.

Silhouette and proportions. Tall, with a very straight, almost stone-like posture. Her movements are not smooth, but rather measured to the millimeter: every gesture is like the swing of a pendulum.
Skin and color. Pale, almost porcelain, but with a cool undertone, as if covered in frost. Sometimes thin dark veins run through the skin, resembling cracks or roots.
Hair. Long, heavy, like fabric soaked in water. The color is a deep black, fading to ash gray at the ends; the strands lie tightly, without volume, as if drained of vitality.
Eyes. Almost pupilless: the iris is dark purple or charcoal gray, and the center is a solid darkness, in which tiny dots, like distant stars, shimmer faintly. Her gaze is piercing: it seems she sees not a face, but a lifespan.
Clothing. A long, thick garment reminiscent of a ritual robe or burial shroud. Many layers, heavy folds; the fabric looks old, but not worn out, but "eternal." Colors: black, ash, dark purple. Attributes. Symbols of the end often appear next to it: an hourglass with black sand that does not flow, but seems frozen; thin metallic threads, like the threads of fate; sometimes small silent birds (crows, owls) as messengers of silence.
The effect of presence. The space around her seems to shrink: sounds become muffled, the light dims, the shadows lengthen. This is not magic in the usual sense, but the very nature of her power—death as the absence of movement.

A sense of scale. She thinks in epochs, not days. For her, human dramas are tiny fluctuations in the vast flow of time. Hence her calm: what seems like a tragedy now will become a footnote in a chronicle a thousand years from now.
The curiosity of a researcher. She's more interested in observing how people's decisions change the course of history than in "control." She can nudge events, but she does so subtly—through hints, coincidences, forgotten records that suddenly appear in the right place. Patience and ruthlessness. She's capable of waiting millennia for a single desired effect. And if, to maintain the balance of time, someone's destiny must be "erased," she'll do it without anger or joy, simply as an adjustment to an equation.
Restrained concern. Her "concern" comes across as a presentation of choice and consequences. Instead of consolation, she imparts knowledge: "You can do this, and then in a hundred years X will happen." It sounds cold, but for her, it's a form of respect for free will. Irony and detachment. She can have a subtle, almost imperceptible irony about human haste. She doesn't judge, but her tone seems to say, "You're in such a hurry, and time will take its toll anyway."
A connection with memory and history. It preserves the world's memories and can "show" the past to those who deserve it. But it never reveals them in their entirety: only fragments, so that people can piece together the picture themselves.

Silhouette and proportions. Tall, elongated, as if "stretched" along the time axis: long limbs, smooth lines, creating a sense of fluidity. There is no rigid staticness—even the pose seems slightly shifted, like a frame in motion.
Hair. Long, flowing, as if caught by an invisible wind. The color is silvery-white or pale gold, in places fading to deep blue (like twilight). The strands resemble ribbons of time: in some places they are denser, in others they almost dissolve into thin air.
The eyes. The main accent: the pupils are not round, but hourglass-shaped or formed by concentric rings that slowly rotate. The irises change color from amber to steel-gray, as if reflecting different eras.
Clothing. Light, translucent layers of fabric, reminiscent of the folds of a chronograph or the pages of a chronicle. Spirals, waves, and concentric circles are common motifs. Colors include silver, gold, muted violet, and ash. Attributes and details. On the wrists or in the hair are thin metal elements resembling gears, clock hands, and orbital rings. Sometimes, miniature spherical dials float around her, not standing still but rotating along complex trajectories.
Glow and effect. A subtle shimmer, as if she exists in multiple moments simultaneously. The edges of her silhouette may be slightly blurred, like a long exposure in a photograph. Important clarification: do not confuse her with the demonic Astaroth from the grimoires (that's a completely different cultural layer). In the Genshin Impact lore, Astaroth is a divine being, aesthetically similar to Naberius and Ronova: scientific symbolism, cosmic scale, and cold beauty.

Focus on the laws of life. For her, life isn't simply "keeping everyone alive," but a system of rules, balance, and order. She thinks in terms of cycles, growth, development, and limitations: life must have boundaries, otherwise it descends into chaos. Hence her restraint and tendency to measure everything.
A motherly, but not sentimental, care. Naberius is the creator of all living things, and she treats her creations like children, but without blind tenderness. It's more like a scientist's attitude toward an experiment and, at the same time, that of a responsible caregiver: she provides tools and rules, and then expects the creatures to act consciously. A prime example is her connection with Egeria (she literally "gave birth" to her from her tear as a tool for controlling the Primordial Sea).
Cool prudence. Emotions are not her primary concern: she speaks calmly, deliberately, without pathos. Even in critical situations, her tone remains even, as if she's viewing everything from the perspective of an entire ecosystem.
A sense of duty and responsibility. As one of the Shadows of Fanet, she views her duties as absolute. For her, upsetting the balance is worse than causing someone personal pain. Therefore, she can make harsh, "heartless" decisions, as long as they preserve the overall order.
A penchant for mentoring. She doesn't so much command as she explains principles and imparts knowledge. Hence the scientific motifs in her image (DNA patterns, chromosomal pupils)—she literally "codes" life and wants others to understand these codes.

Her eyes (the main feature) are heterochromia: one is golden-amber with a chromosome-shaped pupil, the other is pure blue (from Reindottir). The contrast between them is immediately striking and emphasizes the duality of her being. Her hair is long, white, styled in a voluminous "medusa" style (like Focalors): with bangs and diverging strands. Individual strands are bleached blue, and one is stylized as a DNA strand—Naberius deliberately colors it blue. Fine contour patterns are visible along the entire length of her hair, as if drawn by light. Her face and overall silhouette—she has refined, almost sculpted features, a calm yet detached expression, as if she is simultaneously here and somewhere else in reality. Her silhouette is tall and elongated, her movements seem slightly slow, "otherworldly."
Her clothing is a layered, compartmentalized look: Reindottir wears a white, long-sleeved dress over her black attire. This is a visual metaphor for "guardianship and strength": the lighter part seems to embrace and hold the darker part. The dress is simple, but off-the-shoulder; the sleeves are not simply worn, but seem to be wrapped around the arms. Details and accents—a hairpin with a blue stone, glowing with a subdued light, is noticeable on the hood or in her hair. A blue pattern echoes the DNA motif on the black sleeve. Another symbol is the light, translucent halo above her head, also colored blue, as if emphasizing her "heavenly" nature.
Skin and hands—the skin tone is even, porcelain-pale; the hands are partially covered with blue contour patterns, fading into fine lines on the wrists and fingers. In certain angles, the color seems to fade from black to blue—like a memory of a former uniform.

Astaroth is the Mistress of Time.
Ronova - Mistress of Death.
Naberius is the Lady of Life.
(The fourth is Asmodeus, the Lady of Space.)