Circus of Freaks🌚

Well, that's understandable, he's a doctor.

He has mirrors there, something like a fun house, but instead of laughter there is horror.

These monsters require flesh for nourishment, but can also abstain from it at times

Columbina was Pierrot's lover, but she was eaten due to hunger.

They all (Pierrot, Harlequin, Jester, Doctor and Ticket Taker) have dynamics to their masks: - if they smile UNDER the mask, then the smile appears on the mask as well

Taking off the mask is the most brutal act in the circus; it must never be removed. What's underneath the mask: a completely black face that absorbs light, revealing only slightly glowing eyes and a simple mouth.

The ticket taker at the Cirque du Freak is an imposing, composed man, about 183 cm tall, radiating a cool perfection. His face is hidden behind a contrasting mask: the left side is snow-white with black accents, the right is jet-black with white details; dark streaks seem to run down the mask, resembling frozen tears. The eye slits are lowered, giving his gaze a tired severity; at times, the mask changes expression—from a soft crescent smile to a predatory grin with sharp teeth.

He wears a dark blue top hat with a wide gold band and a matching tailcoat: single-breasted, with gold triangular lapels, buttons, and belt, and a narrow dark blue piping along the edge of the lapels. The tailcoat splits into four tails. Underneath is a black shirt and a gold tie with a teardrop brooch. The sleeves are dark blue, with long gold cuffs and two blue stripes at the wrists. On his hands are white gloves, the tips of which are stylized as claws. His trousers are dark blue, matching the tailcoat; on his feet are black calf-length boots with slightly raised heels and gold soles. His short, dark blue hair is combed neatly back, his skin is pale, and in the rare moments when his mask is lifted, his heterochromia is visible: his left eye is white, his right is blue.

Height and proportions. He's very tall—around 207 cm (≈6 ft 9 in), making him seem imposing even in the spacious tent. His movements are deliberately measured, as if he's constantly controlling every millimeter of his gesture.

Head and Face. The face is hidden beneath a plague doctor mask with an elongated beak. The eye sockets contain lenses that usually glow a cool blue; under strong emotions (especially against the backdrop of blood), they flash bright red. Short red hair is barely visible beneath the mask—only a few strands escape in front. The skin has a deep reddish hue, heightening the unnatural feel.

The costume. The core of the look is a dark red and black floor-length cape, reminiscent of both a cloak and a shawl; its inner lining is blue, a color that flashes during his sharp movements. Underneath the cape is a black and red trench coat with two rows of three gold buttons (six in total) and a red belt at the waist. This cut emphasizes the "official" nature of his role in the circus, as if he were not just a doctor but a keeper of protocol.

Hands and gloves. He wears crimson opera gloves with flared ends; the material appears thick, possibly waterproof. The gloves conceal elongated claws, the shape of which is hinted at by the contours of the fingers—a detail that suggests his "medicine" can also be used as a weapon.

Details and accessories. The look is filled with small accents that create a sense of sterile theatricality: gold buttons, clean lines, and neat folds. At the same time, the scent of antiseptic and cold metal always lingers around him—not as part of the costume, but as an integral aura. He often holds a thin metal case or tray of instruments; even when he doesn't, his hands are folded as if he's mentally fingering scalpels and needles.

How the number begins
It all begins with silence. The lights dim slowly, leaving only the bells on Jester's hat to ring softly, as if counting down the seconds. He appears not from behind the scenes, but as if from the darkness of the tent itself—first the ringing is heard, then a silhouette emerges, and only then does a narrow spotlight flash directly on his mask. He takes his time: he takes one slow step, freezes, and in that moment the audience holds its breath.

Main parts of the speech
A monologue-cum-curse. Jester speaks not to entertain, but to set boundaries. His speech sounds like a mixture of fairy tale and judgment: he tells a short parable about how the circus saves those already "lost," while simultaneously warning that breaking the rules will result in a price. His words are calm, but there's a chill in his tone that makes you uneasy.
A puppet show. Puppets appear on stage, moving without visible strings. He also tells stories and legends, but with a slightly modernized twist.

Cool control and strategic thinking. He runs the circus not by shouting, but by a system of rules: he decides where to perform, who crosses paths with whom, and which acts are included in the program. His strength lies in planning and the ability to keep everyone in their place. For example, he deliberately separates Pierrot and Harlequin to prevent disaster, and ensures that no one violates internal protocols.

Charisma with a hint of menace. Jester knows how to be charming—he captivates the audience, gently guides the performers, and even seems almost benevolent. But beneath this, there's always a hidden menace: a single line like, "If you try to escape, I'll know how to find you," is enough to make it clear he's in control.

Misanthropy and detachment. He looks down on people, not so much out of cruelty as out of a sense that they are part of a machine that needs to be adjusted. For him, the circus is not entertainment, but a structure in which everyone has a function, and he himself is its architect.

Observation and memory. Jester notices everything: a glance, a gesture, a pause in speech. He keeps others' secrets and uses them not for blackmail, but to maintain balance. In his presence, everyone involuntarily becomes more cautious—because they know he forgets nothing.

Height and build. He's very tall—192 cm—with an upright, almost statuesque posture. His stance always conveys authority: he rarely slouches or moves uneasily, every movement is deliberate, as if part of a performance.

Face and Mask. His face is hidden beneath a white mask with a predatory, slightly twisted smile. The mask bears distinctive purple markings: a diamond over his left eye, and an upside-down heart over his right. The eye holes are elongated and curved upward, giving his gaze a simultaneously mocking and cold look. His real eyes are a vibrant violet, with narrow, slit-like pupils, and they seem to glow in the dim light of the tent.

Hair and headdress. Long, blue-violet hair falls loosely to her waist, sometimes intertwined with ribbons. On her head is a four-pointed jester's cap: the ends are of different lengths, each adorned with a bell. The colors of the cap are purple and black with gold accents; on one end is a row of small black astroids.

The costume. The core of the look is a complex ensemble in purple, black, and gold. It resembles a hybrid of a tailcoat, a waistcoat, and a theatrical cape: a high collar, puffy slit sleeves, and multi-layered hems that create a "wave" effect when moving. On the chest is a gold collar with a large black astroid in the center. On the outer sleeves are large black astroids and gold trim along the edges.

Hands and details. Black opera gloves conceal claws; on the back of the gloves are golden astroids and thin stripes. Loose black pants with thin purple stripes and small black stars along the inside of the legs.

Footwear. Heavy, knee-high black boots with upturned heels; gold astroid-shaped overlays on the shafts. Bells on the tips of his cap and on the details of his costume jingle softly with every step—that's how he always "announces" his arrival.

How to structure a performance
Introduction. Harlequin emerges from the darkness to the sharp sound of bells and immediately takes a deep bow, as if deliberately overly theatrical. Then he abruptly straightens up and tosses a handful of confetti into the air—it settles in green and black flakes, highlighting the contrast of his costume.

A tale of legend. He doesn't simply perform tricks, but weaves them into a dark parable about "Angels and Monsters": while he speaks, the shadows on the backdrop move, as if they have a life of their own. Harlequin's voice sometimes drops to a whisper, sometimes soars to a scream, and the audience involuntarily leans forward to catch every word. He tells the story or legend at the premiere with wooden (or cardboard) flat figures; you could call him a puppeteer.

His relationship with Pierrot is the core of his behavior. Their feud is not just rivalry, but a deep, almost ritualistic dislike. Harlequin deliberately provokes Pierrot, plays on his injuries, plays on his petty mischief, and rejoices when he loses his composure. For Harlequin, this is both entertainment and a way to assert his place in the circus hierarchy: he wants to show that he is not afraid of Pierrot and his strength.

His role in the troupe is that of a rebel and a clown with a dark side. He maintains a free spirit, breaks unspoken rules, and is provocative even toward the Jester (Jester), the only person who could rein him in. He doesn't strive for leadership, however: he's more interested in shaking up the established order and observing others' reactions.

His worldview is one of cynicism, like armor. Harlequin perceives the circus and life within it as an endless game, with no room for serious feelings. He discounts others' experiences, turning tragedy into humor, but behind this façade, weariness and skepticism lurk. His humor is often wicked, almost mocking, and the troupe has become accustomed to this: some ignore it, others tense up.

Practical roles and skills. In the show, he is responsible for the dynamism and chaos: his numbers are built on unexpected turns, sharp movements, and interaction with the audience. He can juggle, perform acrobatic stunts, and deftly manipulate props—all presented with deliberately casual chic.

Small but important character details. He likes strange things: insects, lizards, old posters, tattered tickets. He collects small items that others consider trash, and can unexpectedly defend them. He also loves sweets, especially lollipops, and often gives them away—sometimes as a gesture of goodwill, sometimes as a mocking "gift."

Height and build. He's tall (around 187 cm), lean, with a lithe, almost acrobatic gait—his movements always have a touch of deliberate playfulness.

Face and mask. A white face mask with distinct accents: a green triangle under the right eye, a green diamond above the left. The mask is capable of changing expressions, emphasizing his fickle moods. The sclera are completely black, and the pupils are bright green, making his gaze appear simultaneously alluring and terrifying.

Hair. Black, medium length, styled in a deliberately casual hairstyle that frames the face.

Headwear. A two-pointed silly hat in black and green with hearts at the base.

Costume. Around the neck is a black shawl with golden hearts, tied in a bow and ending in pointed ends set in gold. Underneath is a black and green long-sleeved coat. Gloves match the costume, patterned and featuring decorative claws. Black trousers with golden hearts fall just above the knee.

Shoes. Green knee-high lace-up boots—they emphasize his readiness to break into movement or dance at any moment.

How does the number work?
The action unfolds in the Red Tent. Pierrot puts on a performance that combines a disturbing dance (including one with his shadow) and actual knife throwing. His goal is to hit the target, which is another circus character, the "Fool." At the climax, the knife hits the "Fool" squarely in the head, resulting in his death.

Important nuances that are easy to miss
It wasn't a coincidence. There are strong grounds to believe that the death of the "Fool" wasn't a mistake, but a deliberate act on Pierrot's part. The fact is, this "assistant" had behaved rudely shortly before the performance: he criticized the protagonist (in a café) and generally displayed boorish behavior. For the obsessive and vulnerable Pierrot, this could have been a trigger: he perceived the rudeness as a threat to someone dear to him, and "punishes" the offender right there on stage.

Attitudes towards the memory of Columbine and feelings of guilt
For Pierrot, Columbine is not just a former lover, but the starting point of his entire moral system. The trauma of her death (she was killed and eaten during a famine, and he was forced to watch but refused to participate in the cannibalism) has shaped him into rigid internal inhibitions and, at the same time, a willingness to take extreme measures to "prevent" another tragedy. He treasures her image as a sacred relic, and any reminder of that catastrophe either evokes numbness or a burst of rage. In this sense, his obsession with control is not just about love, but about an attempt to keep the world from repeating the nightmare.

Relationships with other members of the troupe
Harlequin and Pierrot share a feud built on trauma and rivalry. Their conflict goes beyond simple jealousy: it's a clash of two ways to survive after a catastrophe. In this story, Harlequin is more cynical and pragmatic, while Pierrot is more idealistic and vengeful. They don't just dislike each other; they can't be around each other without escalating tension. Pierrot doesn't hesitate to use force (for example, throwing knives) if Harlequin behaves provocatively.
The Jester is respectfully trusted. For Pierrot, the Jester is an authority figure and a kind of moral anchor. He listens to his words, tries not to break the circus's established rules, and views Jester as the only one capable of keeping him from a complete breakdown. In the Jester's presence, Pierrot behaves more restrained, as if consciously "suppressing" his impulsiveness.
With the other members of the troupe, he maintains a distance and selective loyalty. He doesn't seek closeness, but he's also not hostile to those who don't threaten his values. He's willing to help with common tasks (for example, carrying heavy parts when setting up the circus), but remains emotionally distant.
Internal attitudes and worldview
Moral maximalism. Pierrot divides the world into "safe" and "dangerous," and he accepts radical measures if they prevent a threat.

Appearance details
Hair. Long, white or silver, falling from under the cap.
Face and mask. The key feature is a white "mask" with black vertical slits for the eyes. Below the left slit is a black teardrop-shaped mark. The pupils are golden-yellow. Interestingly, Pierrot can change the expression of the "mask." The mouth can frown, stretch into a more sinister smile with sharp white teeth, or disappear altogether. It can also open its mouth, revealing an abnormally long tongue. The mask is fused to Pierrot's face.
Height. 198 cm.
Costume
A cap. Red and black, checkered. It has three differently shaped ends, each with a bell, and a yellow star at the top.
Collar. Black, with frills; the inside is yellow. Two black triangular flaps with yellow edging hang from the collar, each also having a bell.
Clothing. The primary color contrast is red and black. Red predominates on the top, black on the bottom. There may be a yellow detail at the waist that serves as a belt. The sleeves are baggy, with black vertical slits and cuffs.
Gloves. Black, reaching about halfway up the forearms. Sharp claws are hidden beneath them. The sleeves and gloves are connected by yellow fabric: red "diamonds" on the left stripe, black ones on the right.
Pants. Black, baggy, knee-length. At the very bottom are red, elongated "diamonds."
Shoes. Long, black, knee-length jester's boots. The top (where the pants meet the boots) is trimmed in red, and the laces are yellow.
A few nuances
Pierrot is a monster, so some of his anatomical details are exaggerated (like the long tongue).