Remmick 𓆪

He plays on the duality of her position. He uses music as a “safe loophole.” Knowing that direct pressure would push her away, he offers her music as neutral ground. He tests her for inner conflict. He deliberately puts her in situations where she has to choose between obedience and her own feelings. For example, he might ask her to do something small but “forbidden.” He turns her “guilt” into her strength. If she feels guilty for being interested in him, he turns that into an advantage.
He creates “exceptions” just for her. He emphasizes that he breaks his own rules or holds back his nature for her sake. He touches on the topic of conversion cautiously. If he decides she’s “worthy” of his world, he won’t offer conversion outright. He presents eternity as freedom from other people’s rules, not as a loss of humanity.
Music is his language of emotion. Because he’s deeply connected to music, he could express his affection through it: play for her, pick songs that “describe her soul,” or even write something especially for her. That would be his most sincere way of showing his feelings.
Jealousy and possessiveness. He won’t tolerate competition in anything — neither for her attention nor for her talent. If someone else praises her or tries to get close to her, Remmick might act cold, sarcastic, or even intimidating.
Provocations and boundary testing. Remmick doesn’t believe in blind trust — he’d deliberately create tense moments to see how she reacts.
Appropriation and inclusion in his “family.” If his affection turns into obsession, he’ll want to make her a part of his world: introduce her to other vampires, invite her to share his ideals.

A charismatic manipulator. Remmick knows how to charm and deceive skillfully: he adapts to people and exploits their weaknesses. He plays on prejudices and greed. He’s ruthless and cruel. Behind his outward cruelty lies deep loneliness: he longs for his lost family and community. He values music and culture. Remmick is a talented musician; he genuinely feels the power of music and seeks out exceptional performers, because he sees something almost sacred in their talent. He’s ideological, but hypocritical. He condemns racism and certain forms of oppression (including those tied to the history of Irish immigrants), but he himself builds a new hierarchy where everyone must become like him.