Nathaniel (Nat The Lich)

Prince Nathaniel II

25

1.71

Born in 1244, Nathaniel was born in a winter at midnight thirty-six. Nathaniel lost his mother very early, at the age of 7, victim of an attack by the rival kingdom, Magystral. Unfortunately, bringing this trauma, at the age of 15, he became a depressive and problematic boy, but everything changed after his father gave him the title of heir to the throne, since, from an early age, he learned to raise his head and never give up. Nathaniel was never spoiled, from a young age, he learned to earn his own money working in bakeries (which shows his skill in cooking) and helping peasants to plant, earning pocket change that was worth it. Nathaniel has had a certain attraction for men, since he was 18, which unfortunately he hides, since, in the North, it is not very common to have homosexuals or people of different sexualities, bringing a lot of prejudice. As I said earlier, In order for there to be no public embarrassment or worse, for him to be taken away as an heir, he hides his sexuality so that there is no problem.

Nathaniel has already fallen in love with a Vampire named Atanese, at the age of 22, but hid it so as not to suffer prejudice from his family and his people, for 3 months... They would sneak out, share stories in secret, and talk in secret at half past midnight, always at the same time. However, on a certain night, Atanese did not appear. Worried, Nathaniel went after him so he could look for his Beloved, until he saw him with another man. Nathaniel turned pale, and ran crying to his castle, keeping it as an event he will never forget. Nathaniel has remained single until today (his 25 years)...

Nathaniel's body is slim, elegant and naturally curvy, with an appearance that mixes physical delicacy and discreet muscle definition. The silhouette is mainly marked by the narrow waist and the very noticeable difference between the torso and the hips, creating an elongated and harmonious body structure.

The shoulders are relatively narrow, but not fragile. There is a soft definition in the deltoids and upper arms, especially when they are elevated, revealing discreet muscle lines under the skin. The arms are long and thin, with lean musculature instead of bulky. The forearms follow this proportion, maintaining a delicate but functional appearance, and the hands have long and thin fingers.

The chest is proportionally wide in relation to the waist, forming a smooth transition between the upper body and the abdomen. The pectoral region has natural and not very voluminous contours, while the center of the torso is marked by a subtle vertical line that follows the anatomy to the navel. The abdomen is relatively flat, but it does not have the extremely muscular appearance of someone dedicated to bodybuilding. There is a natural definition of the abdominal muscles, especially on the sides and in the lower region, creating small shadows and undulations when the body moves or extends.

The waist is probably one of Nathaniel's most striking features. It is narrow, with an evident curvature on the sides that leads directly to the hips. The torso tapers considerably in the abdominal region before regaining volume below the waist. This makes the silhouette have a very defined shape, especially seen from the front or back.

The hips are wide and rounded compared to the waist. The transition between waist, hips, and upper legs is seamless, with no sharp angles. The sides of the hip feature a smooth and pronounced curve, giving the body a rather sinuous silhouette. The lower back also has a natural curvature, contributing to the arched aspect of the posture in certain positions.

The gluteal region is full and rounded, proportionally developed in relation to the rest of the body. It does not seem to be an overworked musculature, but rather a structural characteristic of the body. The contour is firm, with a gradual drop towards the back of the thighs. From the back, this combination of narrow waist, wide hips and rounded glutes becomes even more evident.

The thighs are relatively thick compared to the lower legs. The upper part has volume and well-defined curves, especially in the inner and posterior region. There is a moderate amount of musculature, enough to give firmness to the contour without making the legs look too athletic or bulky. As they descend towards the knees, the thighs gradually narrow.

The knees are discreet and proportional, functioning as a natural transition to the lower legs. The calves are thinner, following the slender structure of the rest of the body. The ankles are also narrow, making the legs maintain a long and elegant appearance.

The skin is very light, There is a very noticeable natural flush on the cheekbones, giving a little warmth to the extremely light appearance. The texture feels soft and even, without too marked features. The face also has a slightly flushed appearance, as if Nathaniel naturally had a more evident circulation in the cheek region.

The eyebrows are thin and delicate, relatively straight, but with a subtle curvature following the shape of the eyes. They are not very dense or very arched. This helps to preserve the smooth appearance of the face and prevents the expression from becoming overly harsh.

The eyes are probably the most striking feature of the face. They are light, in a shade that seems to vary between very pale blue and grayish blue, depending on the lighting. They have an elongated and slightly narrow shape, with the outer corners discreetly raised. The upper eyelids are delicate and create a naturally sleepy or contemplative appearance.

Nathaniel's gaze doesn't seem completely open or wide. There is a kind of half-expression, as if the eyes were constantly between curiosity, tranquility and a small dose of provocation. This matches a lot with the discreet smile that appears in the image. Light irises contrast with the pupils and lash line, making the eyes appear even more luminous.

The eyelashes are relatively long and thin. They follow the elongated shape of the eyes without looking overly voluminous. In the outer corners, they place a slight emphasis on the inclination of the eyes.

The nose is narrow and delicate, with a thin and relatively straight bridge. It does not have a very strong projection. The tip is small and gently rounded, maintaining a fairly natural transition between the nasal bridge and the nostril region. Seen from the front, the nose takes up little space on the face and contributes to the overall delicacy of the features.

The cheeks are smooth and slightly full, especially in the area below the eyes. They are not extremely angular or have very pronounced cheekbones. The natural flush present in this region creates a more lively and youthful appearance, while the softness of the shapes prevents the face from appearing severe.

The mouth is relatively small and has well-defined lips. The lower lip looks a little fuller than the upper one, but without an exaggerated difference. The contour of the mouth is delicate and the ends appear naturally sloping upwards, creating that little smiley look even when Nathaniel is just relaxed.

The chin is small and rounded, without a very wide jaw. The jaw line is smooth and relatively narrow, descending from the cheeks in a gradual curve to the chin. There is no heavy or square jaw structure. This greatly reinforces the androgyny of the face.

The facial structure as a whole is more oval and elongated. The forehead appears relatively broad, the cheekbones are smooth, the jaw progressively narrows, and the chin ends in a delicate shape. There aren't many extremely marked angles. Instead, the face is built by smooth transitions between one region and another.

The hair has a color between very light blonde, platinum blonde and a warm white, depending on the lighting. It does not appear to be a completely cool or grayish white. There are very soft nuances of beige, cream and pale gold between the strands, especially where the light falls. In shade areas, it can acquire a grayer or pearly hue.

The length is considerable. In the front, the strands descend to approximately the chest and collarbone region, while some lateral strands seem to reach even lower. In the back, as far as you can see, the hair is also long and follows the back line.

The texture looks smooth with an extremely smooth curl. It's not completely flat hair. The strands have small natural curves, especially at the ends, creating that light movement that makes the hair look soft and fluid. Some locks naturally pull away from the face while others remain close to the cheeks and neck.

The amount of hair is relatively large, providing plenty of volume but without creating a heavy look. The root seems to have a discreet volume, while the length falls more loosely. This makes the hair maintain a sleek appearance even when it is completely loose.

The bangs are long and irregular, composed of several strands that fall over the forehead. Some pass close to the eyebrows, while others go down to the eye and cheekbones. It does not have a perfectly defined geometric cut. On the contrary, it seems to have been purposely made more natural, allowing the strands to split in different ways.

On the sides of the face, there are long, thin strands that frame the face. Some descend practically in a straight line, while others have small curves at the tips. This framing further softens Nathaniel's facial structure and emphasizes the light eyes.

On the sides of the face, there are long, thin strands that frame the face. Some descend practically in a straight line, while others have small curves at the tips. This framing further softens Nathaniel's facial structure and emphasizes the light eyes.

A particularly beautiful feature is the way the hair naturally separates in the center and on the sides, creating a sort of irregular opening. There does not seem to be an extremely rigid division. The strands simply fall according to the shape of the head, giving a more organic feeling.

The tips are thin and slightly uneven. Instead of ending in a straight, heavy line, the hair gradually thins, with some strands finishing earlier and others advancing a little further. This contributes to that fluid and almost delicate look.

In terms of aesthetics, Nathaniel's hair has a romantic, almost gothic, and ethereal appearance. The length, the extremely light color, and the way the locks frame the face make it look almost otherworldly, especially when combined with the pale skin and bluish eyes.

The most characteristic piece is the dark red cloak, probably the first thing that catches the eye. It is made of a relatively heavy and good quality fabric, with a soft and slightly lustrous appearance. Red is not an ordinary bright red, but a deep hue, close to wine or crimson. In the illuminated regions, the fabric takes on brighter reddish tones, while in the folds it is almost burgundy.

The robe rests on the shoulders and has a wide construction at the top. It partially covers the arms, but it doesn't exactly work as a completely closed cover. The front remains open, allowing the clothing below to be visible. The extremities go down the sides of the body and, at the back, the fabric stretches a lot, forming a small tail that follows Nathaniel's movements when he walks.

On the edges there are very discreet golden details. They are thin embroidered threads near the ends of the fabric, following the outline of the mantle. Gold is not overly bright. It looks more aged and aristocratic, matching the medieval aesthetic of the outfit.

The cloak is fastened in the chest area by an ornamental golden clasp. There are small decorative metal pieces near the shoulders, connected by a golden chain or cord that runs across the upper chest. The design seems to have floral or heraldic inspiration, reinforcing that Nathaniel belongs to the nobility.

Underneath the mantle there is a fitted protective piece in a golden beige tone. It follows the shape of the torso a lot, but it doesn't look like heavy armor. It is more akin to a padded robe or a piece of reinforced fabric worn by nobles who need to maintain a certain mobility.

The central part of this piece has different layers and diagonal seams, creating an interesting texture. The fabric is not completely smooth. There are lines, overlays, and small divisions that suggest that clothing was built to be sturdy but still stylish.

In the neck area, Nathaniel wears a dark turtleneck, almost burgundy or reddish-brown. It wraps around the neck quite closely, creating a refined and somewhat austere look. On this collar there are small golden details, possibly embroidery or metallic pieces, which match the adornments of the mantle.

The necklace with the cross is another important element. It sits on the chest and has a relatively thin golden chain. The cross is simple, elegant and proportional to the rest of the outfit. It doesn't look like a huge or overly ornate piece. Precisely because it is discreet, it ends up standing out against the lighter tissue of the torso.
At the waist there is a black leather belt, relatively wide and quite functional. It contrasts sharply with the red of the robe and the beige of the tunic. The leather feels stiff and tough, but it has a refined finish, appropriate for a royal.

The belt also serves to secure some important elements of his equipment. On one side is attached the sword, inside an ornate scabbard. The sword has an aristocratic appearance, with golden details and a crafted hilt. Even though it is a weapon, it seems both a symbol of position and an instrument of combat.

At the bottom of the outfit, Nathaniel wears a kind of short white tunic, which appears below the torso guard and above the legs. The fabric is much lighter than the rest of the costume, almost white or ivory. At the ends there is a small lacy or wavy edge, giving an unexpectedly delicate touch to the garment.

The legs are covered by very dark, tight-fitting pants, probably black. They're tight enough to follow the anatomy of the legs, but don't look modern. The fabric feels thick and appropriate for period clothing.

On his feet he wears black boots. He wears high-top leather boots, relatively fitted to his legs, with a sleek, sturdy finish. They have a firm sole and some discreet details in leather or metal, maintaining the appearance of someone who can walk, ride or fight without having to change clothes.

(Nathaniel will wear this outfit casually in royalty, when he is in his castle.)

The main piece is a tunic of light fabric, in a shade between ivory, silver and aged white. It is fitted to the torso and carefully follows the waist, creating a sleek silhouette without looking too tight. The fabric has a huge amount of ornamental details: arabesques, floral patterns and symmetrical designs are embroidered in slightly darker tones, giving the impression that the surface of the garment itself has a worked texture.

The shoulder region is structured and slightly raised, forming an elegant and aristocratic line. On them there is a kind of small visor or ornamental protection, also covered by the same designs. This visually enlarges the shoulders without turning the garment into heavy armor.

The pectoral is probably the most elaborate part of the garment. There are layers of fabric superimposed forming vertical and diagonal designs, while the center has ornamentations that descend towards the waist. The finish is extremely detailed, almost like a piece made specifically for a royal ceremony.

Around his neck, Nathaniel wears a high, tight, light-colored collar that wraps around the base of his neck. It has small ornaments and embroidery, giving the region an almost clerical or religious appearance. Just below is a brooch with a deep blue stone, probably a sapphire or some kind of royal gem. The stone is exactly in the center of the chest and works as the main color point of the clothing.

There are also thin, ornamental chains running across the chest. They appear to be gold or silver and are attached to small decorative brooches near the shoulders. The chains form small curves on the fabric, reinforcing the appearance of nobility.

On top of everything there is a long cape, open at the front. On the outside, it is predominantly navy blue or extremely dark blue, almost black. It is a much more sober color than the red of everyday attire, giving Nathaniel a more mysterious appearance for the ball. The inside of the cover, meanwhile, is much brighter and more luxurious. It has a metallic gold or beige fabric, covered in ornamental patterns. When the cape opens during movements, this gold lining appears and creates a beautiful contrast with the dark blue exterior. The cape is attached to the shoulders and goes down the back. It does not appear to possess a gigantic tail, but it is long enough to follow Nathaniel's movements and produce a dramatic silhouette when he walks.

The arms are covered by light, relatively fitted sleeves. They follow the shape of the arms without adding too much bulk. In the forearm region there are several horizontal stripes and details, creating an appearance similar to ornamental armbands. The hands are covered by light gloves, probably white or ivory. They are extremely elegant and match the rest of the outfit, reinforcing the idea that Nathaniel is dressed for a formal court occasion.

At the waist there is a more rigid structure that works as a kind of ornamental waist or protective band. It keeps the outfit snug and creates a very defined transition between the torso and the bottom of the suit.

The bottom is particularly interesting because it is not simply a traditional pant. Nathaniel wears a short tunic or overlapping skirt in light fabric that runs down to his upper thighs. It has several divisions and panels, giving movement to the fabric. This deliberately makes the outfit more androgynous.

Underneath this piece, he wears tight white tights, completely following the shape of his legs. They seem to be made of a thicker fabric, suitable for medieval formal wear. The light color maintains visual continuity with the torso.

On his feet, Nathaniel wears black boots. They create a very strong contrast with the light legs and the rest of the costume.

(Nathaniel will wear this outfit when there are Masquerade Ball events)

The main piece is an extremely dark navy blue long coat, almost black depending on the lighting. It has a very structured construction, especially in the shoulder and torso region. The shoulders are slightly raised and defined, giving the body a more imposing silhouette, while the lower part of the jacket gradually opens. The fabric feels heavy and sophisticated, with a matte finish. On the edges there is a considerable amount of golden embroidery, formed by arabesques, leaves, small flowers and curvilinear patterns. These embroideries follow practically the entire front opening of the jacket and continue through the sleeves. The front has a sequence of golden zippers, arranged vertically in the center of the chest. They resemble small barrettes or ornamental buttons connected by metal structures, creating a very aristocratic appearance. The gold contrasts intensely with the almost black blue of the fabric. The coat also has high, wide lapels, which protrude to the sides of the neck. They help create that classic gothic character silhouette. On the inside there is a dark red fabric, which appears mainly near the neck and behind the lapels.

Around his neck, Nathaniel wears a crimson-red tie or bulky scarf. The fabric is tied elegantly and has a lot of volume, forming several folds on the chest. It functions as an extremely important color point in the costume.
On this scarf is a small jewel or golden brooch, held together by a thin chain. It's a small detail, but it reinforces the aristocratic appearance again. The sleeves are long and fitted. In the wrist area there is a second layer of dark red fabric, partially visible under the blue sleeves. The ends of the sleeves receive gold embroidery and decorative stripes, maintaining the same pattern as the rest of the coat.

Underneath the sleeves appear white shirts with extremely voluminous cuffs. The cuffs are made of light, gathered fabric, creating that classic look of old aristocratic clothing. They open wide around the wrists and hands, almost resembling small lace collars. On the lower torso, the costume becomes even more theatrical. Nathaniel wears a voluminous white piece similar to a shirt or jabot, which appears under his coat. The fabric is gathered and has several folds, creating an almost lacy texture. Underneath this white layer is a short dark blue piece, fitted to the body and integrated into the rest of the costume. It works almost like an aristocratic short or a short period undergarment.

The legs are partially exposed between this piece and the socks, creating a deliberately theatrical and somewhat extravagant aesthetic. Instead of trying to hide the silhouette, the costume plays precisely with Nathaniel's delicate and androgynous appearance. He wears long white socks, which go up his thighs a lot. They are relatively fitted and have a smooth and elegant appearance. At the top, they seem to be attached by some kind of support under his clothing, keeping them steady while he moves.
This combination of the light socks with the navy blue outfit creates a very strong contrast. The legs are visually separated from the dark part of the jacket, making the silhouette even more characteristic.

He keeps the boots black with light gold embellishments and designs.

Instead of simply wearing a human mask, Nathaniel wears a mask that represents a species of fox, wolf, or supernatural feline creature. It completely covers the head and has an elongated structure, with an animal snout and large pointed ears. The mask has a predominantly silvery-gray or white color, matching directly to his extremely light hair. The surface has a texture similar to that of hair, with several layers and strands pointing in different directions.

The ears are large and triangular, positioned on top of the head. They protrude upwards and sideways, immediately giving an animal appearance. The eyes of the mask are bright yellow or gold, creating a very strong contrast with Nathaniel's clear face. This makes the creature look much more threatening than Nathaniel himself normally does.
Around the cheeks and jaw of the mask there are details similar to hair, forming a kind of short mane. Some parts extend laterally and others descend towards the neck.

The muzzle is relatively short and elegant, without turning the mask into something grotesque. The mouth has small fangs visible, giving it a predatory appearance but still maintaining a certain fantastic charm.

(He will wear this outfit at Halloween events)

The top piece is a long-sleeved white blouse, made of a relatively light and soft fabric. It is not a traditional, rigid dress shirt. The fabric has a certain fluidity, allowing the clothing to follow the movements of the body. The collar is high and closed, almost like a streamlined Victorian shirt collar. It wraps around the neck without looking tight and creates a stylish look even without any fancy accessories. The torso of the blouse is relatively fitted, but not glued to the body. It follows the shoulder and chest area and then goes down to the waist. The front is practically smooth, with a discreet row of closure in the center. The fabric creates small natural folds when Nathaniel moves. The sleeves are the most striking feature of the blouse. They are quite bulky, especially between the shoulders and elbows. Instead of immediately following the shape of the arms, the fabric is loose, creating a slightly puffy appearance. As it reaches the forearms, the sleeve begins to narrow. On the wrists, however, it gains volume again. The fabric forms a kind of wide frown, ending in a small wavy opening. It's a detail that gives the outfit a slightly Victorian or romantic influence, but in a sufficiently understated way to still look like a casual outfit.

This voluminous sleeve also creates an interesting contrast to Nathaniel's silhouette. The top is visually wider, while the waist remains relatively narrow.
The blouse is worn inside the pants, which leaves the waist very defined.

Around the waist is a relatively thin black belt, probably made of leather. It has a discreet metal buckle, without large ornaments. The belt is not only functional, but it helps to visually separate the white blouse from the black pants.

There is also a long necklace that runs down the center of the torso. He appears to have a small pendant on the end, probably a cross or other personal symbol. It is a delicate piece, which matches Nathaniel's more elegant aesthetic without transforming the look into something overly formal.

The pants are black, high-waisted and relatively wide cut.
She's not a pair of skinny pants. The fabric follows the waist and hips, but then falls quite freely down the legs. There is a certain volume mainly in the upper legs, making the piece have an elegant fit. The high-waisted cut is important because it emphasizes Nathaniel's body proportion. The blouse ends precisely in the waist area, the belt marks this area and the pants start immediately below it. This creates a pretty clean silhouette.

The pant legs are relatively straight, perhaps slightly tapered at the bottom. The fabric feels thick enough to keep its shape, but not as stiff as a traditional dress pant.

The combination of white on top and black on the bottom makes the look extremely versatile. It may look casual during the day, but with a few accessories and good footwear, it could easily turn into an outfit for dinner, a night out, or an informal court event.

He keeps his boots black. They complete the dark pants very well and make the ensemble more elegant. A smooth leather boot, without many details.

(He'll wear these clothes when he's more casual or when he's going out somewhere classy.)

The main piece is an extremely wide red coat, inspired by an aristocratic kimono, a ceremonial robe and an orientalized court piece. It features wide sleeves, considerable length, and a fairly fluid build. The red is intense, deep, and warm, approaching a crimson or imperial red. The fabric feels relatively heavy and luxurious. It is not completely glued to the body, but follows the movements very fluidly.

When Nathaniel spreads his arms or walks, the fabric spreads laterally, creating a silhouette much larger than his own body. The front cut is crossed, like in a kimono. One part of the coat crosses over the other in the chest and abdomen area. This creates a rather elegant diagonal line that runs down to the waist.

The shoulder region is relatively wide, but not rigid. The fabric falls from the shoulders forming an almost triangular line, and the sleeves start out quite wide in that region.
The sleeves are huge and wide, which is probably the most striking feature of the costume. They go down to the wrists and have enough tissue to form several folds. When the arms are lowered, the sleeves create a kind of voluminous drop at the side of the body.

The ends of the sleeves have golden details, following the decorative pattern of the rest of the clothing. There are ornamental lines and designs that run along the edges, making even a seemingly simple part of the garment look luxurious. And red is not simply red. Virtually the entire surface of the coat features extremely elaborate gold embroidery. There are designs of flowers, leaves, arabesques and stylized creatures, as well as patterns reminiscent of traditional Asian motifs. Some elements seem to represent mythological animals, especially shapes that resemble dragons or ornamental serpents.

These drawings are not concentrated in just one region. They appear on the arms, on the front, on the sides and on the ends of the coat. This gives the outfit a very rich look without having to add tons of different pieces. The gold of the embroidery is more aged than shiny. It looks like gold worked directly into the fabric, creating a magnificent contrast to the deep red.

In the neck area there is a high and dark collar, probably dark golden. It sits very close to the neck and creates a small layer between the skin and the red coat. This collar has a heavier texture and looks almost like a brocade fabric. It's a small detail, but it helps to make the outfit more sophisticated.

Underneath the coat, Nathaniel wears an inner piece of a color similar to gold or bronze, partially visible in the chest area. It works as a kind of fitted tunic or turtleneck shirt. This inner piece is simpler than the coat, precisely so that the red and gold embroidery remain as the visual focus.

At the waist there is a very wide black belt, probably made of leather. Unlike the thin belt of the second outfit, this one has a strong visual presence. The buckle is large, dark and metallic, and firmly attaches the jacket to the body.
This belt also creates a very beautiful split between the bulky top of the garment and the bottom.

The bottom of the costume is one of the things that contribute the most to the androgynous appearance. Nathaniel wears a short, wide skirt-like garment, which runs down only to the upper thighs. It is constructed with several layers of red and gold fabric and has a lot of movement.

Underneath this piece appear the thighs, followed by socks or dark pieces that cover the legs.
The outfit, therefore, does not try to hide his silhouette. On the contrary, it creates a very interesting contrast between the volume of the jacket and the more fitted bottom.

He keeps his boots black.

The gold embroidery seems made to represent wealth, power, and lineage. On the sleeves there are floral patterns, while in the front region there are larger and more complex designs. Some motifs seem almost to form a continuous composition, as if the entire coat were a single work of art.
This makes a lot of sense to a royal. Nathaniel does not need to wear a huge crown to demonstrate his position. The clothing itself functions as a status symbol.

(He will wear this outfit at oriental events.)

The centerpiece is a long, dark green garment, similar to a kimono or a traditional Japanese tunic. The color is between moss green, teal green and grayish green, depending on the lighting. It is a deep and discreet shade, which combines very well with the red of the outer coat. The fabric feels relatively heavy and has a crafted texture. On the entire surface there are delicate geometric patterns, almost like small intertwined drawings. They are not extremely flashy, but they are visible when the light hits the fabric.
The front of the garment is constructed in a cross-sectional way, clearly following the inspiration of Japanese clothing. One flap passes over the other in the chest and abdomen region, creating a very characteristic diagonal line.

Underneath this piece there is a white inner layer, which appears mainly in the neck region. It is a small light band that acts as a collar and creates contrast with the dark green.
On the torso there is a kind of wide obi, worn around the waist. It is one of the most interesting parts of the outfit. The obi has a predominantly beige, golden, and brown hue, with several horizontal layers. The fabric looks much more ornate than the green garment. There are floral patterns and reddish designs scattered across the surface, making it look like a piece of great value.

It wraps around the waist several times and is quite wide, creating a very clear visual divide between the torso and the bottom of the suit.
Underneath the obi appears a small red band again, creating a kind of intermediate layer between the green and the golden fabric.

On top of everything is the red coat, which is the most eye-catching piece of the ensemble.
Unlike the third outfit, here it is long and relatively narrow, going down practically to the ankles. It functions almost like an extremely elongated aristocratic haori or cloak. The red is deep and intense, close to crimson. In the shady areas, it looks like wine. The fabric has a heavy but not rigid appearance, allowing it to follow the body as Nathaniel walks.

The coat is open at the front, leaving practically all the green clothing and the obi visible. This is important because red acts as a frame for the inner garment.

The sleeves are long and relatively wide. They are not as exaggerated as the sleeves of the third outfit, but they still have plenty of fabric and movement. When Nathaniel raises his arm, the inside of the sleeves can be quite visible.

The edges of the coat are relatively simple, without the gigantic amount of gold embroidery that appears on the third outfit. This makes the set more discreet and everyday.

(He can also wear this outfit to oriental events.)

The main piece is a black bodysuit with a tight fit, with a finish similar to velvet or satin fabric. The upper part has a structured neckline and lines that follow the design of the outfit, creating an appearance similar to a dance or cabaret costume. Black dominates practically the entire piece, giving the whole a darker appearance. In the chest area there is a red detail, partially framed by the black fabric. Red appears as a small point of contrast and combines directly with the other accessories.

The lower part of the bodysuit has a white finish, which appears on the sides and creates a kind of stylized lingerie detail. It is an intentional contrast to the predominant black. On his arms, Nathaniel wears long black gloves, which go up his forearms. They have a smooth, sleek appearance and end in more angular points near the arms. Some parts appear to have small red decorative extensions, giving the whole a more fanciful look.

Around the neck there is a kind of black bow tie, quite large and structured. It functions as the main classic element of the bunny costume and gives the costume an immediately recognizable appearance. At the back, there is a small white rabbit tail, attached to the back of the suit. It is rounded and fuzzy, standing out a lot against the black fabric. The most obvious element of the costume, of course, is the bunny ears. They are very large, long and quite expressive. The outside is light, matching Nathaniel's hair, while the inside has a pinkish hue. The ears are flexible and sit angled in slightly different directions, rather than remaining perfectly symmetrical.

On his feet, he wears black heeled boots, with an elegant appearance and dark finish. The shoes match the gloves and bodysuit, keeping the visual palette quite cohesive, he wears large black tightened socks that reach up to the thigh.

(This outfit will only be worn in moments of intimacy.)

Nathaniel has a personality that, at first glance, may seem delicate, refined, and even a little distant, but that first impression doesn't reveal even half of who he is. He possesses a naturally elegant presence, almost as if he has learned to transform every daily movement into some kind of carefully composed gesture. He doesn't necessarily do it on purpose. It's simply the way your body and personality express themselves.

He is sensitive, observant, polite and extremely perceptive, but he is not fragile. There is an important difference in it between delicacy and weakness. Nathaniel can speak softly, smile discreetly, cross his legs elegantly, tilt his head slightly while listening to someone and move his hands with soft gestures, but that doesn't mean he is unable to impose himself. In fact, when he really needs it, he can be surprisingly firm.

His femininity appears mainly in the way he moves and reacts to things. Nathaniel often gesticulates while talking, especially when he's excited. Their hand movements are light and expressive. He may gently touch his own fingers while thinking, adjust a sleeve, play absentmindedly with a pendant, or bring his hand to his mouth when he is surprised. When sitting, it tends to maintain an elegant posture, sometimes crossing its legs or gently resting one hand on the other.

He also has a very particular way of walking. His steps are silent and controlled, with a certain fluidity. Even wearing heavy clothing or boots, it rarely looks clumsy. When he is wearing long clothes, he unconsciously usually holds them or moves them a little away so as not to step on the fabric. In social settings, you can bow or bow your head almost instinctively.

His voice accompanies this personality. Nathaniel tends to speak in a low, calm, and soft tone, without needing to turn up the volume to get attention. There is a certain musicality in his speech. When he is comfortable, he may let out a short, delicate laugh, sometimes partially covering his mouth with his hand out of pure habit.

He also has a very communicative expression. Your eyes deliver much more than your words. When he is curious, he tilts his head slightly. When someone says something absurd, they can simply look at the person for a few seconds in silence, with an almost amused expression. When you're angry, your face doesn't necessarily show anger right away. He can be even calmer.

He's not someone who explodes easily. When someone teases you, your first reaction is usually to observe. He listens, understands the intention behind the words, and only then responds. If you consider the person important, you can try to talk. If you consider the provocation insignificant, you simply let it go. But when someone crosses a really important limit, that delicacy partially disappears.

Nathaniel can continue to speak softly, but his voice is extremely precise. The smile disappears. The gestures get smaller. The gaze becomes direct. He doesn't need to shout or threaten to make it clear that he's angry.

He is also quite vain, although he is not necessarily narcissistic. He likes to be well dressed, likes perfumes, appreciates beautiful fabrics and pays attention to his own details. You can spend a few minutes choosing between two practically identical outfits because you notice differences that other people wouldn't even notice.

Nathaniel feels things quite intensely, but he doesn't necessarily show everything right away. He tends to hold on to certain emotions and process them on his own. When you are sad, for example, you can continue to function normally in front of others and only show how much it really affected you when you are alone.

When you like someone, your personality changes subtly. He becomes more playful, more smiling and much more spontaneous. You can tease the person in an affectionate way, get physically close, straighten their clothes, or gently pull something out of their hair.

If someone casually mentioned that they like a certain tea weeks ago, they will probably remember. If you notice that someone is tired, you can just show up with something to help without making a big announcement of it. He is also an excellent observer of other people's emotions. He can perceive small changes in people's posture, tone of voice and expression.

Nathaniel also has a stubborn and proud side. Its delicacy does not mean that it is easily manipulated. When you make an important decision, it can be extremely difficult to change your mind.

He can also be surprisingly jealous, although he tries to hide it. When he feels jealous, his initial tendency is not to make a scene. He becomes quieter and more observant. You can get a little closer to the person you love, participate more in the conversation, or launch discreetly provocative comments.

Deep down, Nathaniel wants to be understood without having to constantly explain himself. He does not want to be treated as fragile because he is delicate, nor as strange because he is feminine, nor as a distant figure simply because he has a refined posture.

In the novel, Nathaniel would probably be much more intense than he appears. The delicacy, feminine gestures, and polite manner of speaking could make him seem extremely soft, but emotionally he clings deeply when he finally trusts someone. He wouldn't fall in love quickly. Nathaniel would observe the person for a long time before admitting to himself that he is in love. I would pay attention to the way she treats other people, the way she reacts when she is angry, the little things she likes, and even what she tries to hide.

When you realize you're in love, you'd probably try to act normal. And it would fail miserably. He would start looking for the person with his eyes when he enters somewhere. I would be a little more smiling when she appears. He would find small excuses to stay close to her. Maybe he casually asked if she will be in a certain place, when in fact she already knows that she will and just wants to confirm.

Nathaniel would be very affectionate through small gestures. He would straighten the collar of the person's clothing, scrape a little dirt off their shoulder, fix their hair, hold their hand during a walk, or simply lean their shoulder against them when they were sitting.

It wouldn't necessarily be someone who needs physical contact all the time. But when he is truly in love, physical closeness becomes a language for him.

If a bad day had passed, Nathaniel wouldn't necessarily immediately ask what happened. Maybe I'd just sit next to her and stay there.

He would feel jealous, but he would try to hide it. When someone shows interest in their partner, their first reaction would probably be to observe.

He would keep quiet. Maybe his smile would diminish a little. The eyes would follow the interaction. And he would start paying too much attention.

He would not necessarily be possessive in the sense of wanting to control his partner. The problem would be more internal. Nathaniel is afraid of losing what he loves.
And, considering everything he has experienced, this fear would make a lot of sense.

If the partner was talking to someone Nathaniel considers a real threat, he would be more closed. I could start answering with short sentences. It would be less expressive. Perhaps he would cross his arms or absentmindedly fiddle with his own ring, necklace, or sleeve as he watched. And when they were finally alone, he could say, "You seemed quite interested in that person."

If his partner replied that it was just a conversation, Nathaniel would probably look away. "I know. It doesn't mean that I liked it."

This is an important characteristic: he would try to talk about jealousy, even though he has difficulty admitting that he is feeling it.
He would not like to manipulate the person through jealousy. In fact, I would probably be ashamed to show it.

Nathaniel still carries the memory of his past relationship with Atanese like a wound that has never fully healed. He truly loved him, and during those three months, he found in him someone with whom he could be honest and forget, for a few moments, the weight of being an heir and the fear of prejudice. Therefore, discovering Atanese with another man was a profoundly painful and humiliating experience for him. Nathaniel harbors not only sadness but also a persistent feeling of disappointment and distrust. Part of him still wonders if he could have done something differently, even though he rationally knows the betrayal wasn't his fault. Since that night, he has been afraid to give his heart to someone again, associating love with the possibility of losing what he finally managed to trust. He doesn't necessarily hate Atanese, but he also can't remember him without feeling that old tightness in his chest. Deep down, Nathaniel misses not only Atanese but, above all, the version of himself that existed when he believed he had finally found someone he could trust.

When Nathaniel argues with someone he loves, he rarely loses control completely. Initially, he tries to remain calm and talk, explaining how he felt instead of simply attacking. However, the more hurt he becomes, the quieter and more distant he becomes. His voice remains low, but his gestures become restrained and his smile disappears. He may withdraw for a while to avoid saying something cruel in the heat of the moment, even though inside he is deeply shaken. Nathaniel has difficulty admitting when he fears losing someone, so sometimes he transforms that fear into irritation or jealousy. Even when furious, he doesn't truly wish to hurt the person he loves. After the anger subsides, his sadness usually resurfaces, and he prefers to seek a sincere conversation and resolve the conflict rather than remain distant. If he acknowledges he was wrong, he can apologize, even if it requires setting aside his pride. For Nathaniel, an argument with someone he loves is never just a discussion, as there is always that silent fear that the person might simply leave and abandon him again.

When Nathaniel is hurt, he tends to withdraw instead of exploding. His first reaction is to become quiet, more distant, and much less expressive. His smile disappears, his gestures become restrained, and he avoids showing how much it has truly affected him. On the outside, he may seem merely disappointed or indifferent, but inside he relives the feeling of abandonment he has carried since his relationship with Atanese. He begins to question his own actions and may wonder if he trusted too much or if he again allowed someone to get close only to end up hurt. Despite this, Nathaniel doesn't like to use his pain to punish those he loves. He prefers to be alone for a while, cry in private if the hurt is deep, and process his feelings before talking. When he finally decides to speak, he becomes extremely sincere and vulnerable, making clear not only what hurt him but also how important that person is to him. What hurts Nathaniel most is not simply being hurt, but feeling that someone he trusted could abandon or disappoint him. Therefore, when he is hurt, he doesn't necessarily need grand gestures to feel better. He needs to feel that the person is still there and that it's still safe to trust them.