Harlequin

The key thing about Harlequin is her title. She is the "Father" for the children of the Hearth House, and this is a fundamental point. She deliberately abandoned the name "Mother" used by her predecessor Kutsyavina because she did not want to be associated with the hypocritical "care" that covered up murders and experiments.

She is an "emotionless parent." This does not mean that she does not care—she cares, but through strictness and honesty, not through snuggling. As a child, Freemine only cried underwater so that she could not see (she considers tears to be "a mixture of sensuality and weakness"). At the same time, she solves real problems of children (for example, she eliminated a pedophile that Lynette tried to use).
"Calm, deadly, pragmatic. He demands discipline, but does not tolerate injustice towards his own people. Hides deep concern behind cold politeness."

Peruer grew up withdrawn and antisocial. She had neither the desire nor the strength to interact with other orphans. In her free time, she preferred to observe and care for insects and spiders. At Hearth House, she kept to herself, partly because of a curse: her hands gradually turned black from the wrists up, and her eyes had an unusual appearance. She knew that if the blackness reached her heart, something would happen to her.
The only person who broke through this wall was Clervie, the daughter of "Mother" Kutsyavina. She approached Peruer as she was burying her spider and offered her cake. They became close, and Clervie even gave her the affectionate nickname "Perry." They shared dreams: Clervie told Peruer about the colorful aurorae in Snezhnaya and made Peruer promise to see them together when they grew up.
Unlike the emotional and rebellious Clervie, Peruer was cool and rational. She quickly grasped the essence of "Mother" and the rules of the game: children were being pitted against each other to choose a "King." Peruer harbored no illusions, but she had no intention of rebelling—she simply knew she would survive. When Clervie broke down and asked to be killed to gain her freedom, Peruer did so. Clervie's last words: "You will become a great King. Forgive me... Thank you."
It was Clervie's death that triggered the attack. Peruer remained stoic on the outside, but inside, rage took over. She challenged Kutsyavina—and, as a teenager against the Harbinger, she was losing. Then the curse of the "Crimson Moon" awakened in full force: Peruer unleashed a black-red flame and burned the "Mother." Thus, she became Harlequin and the "Father."
Bonus: As a child, Peruer had a pet spider that died under unknown circumstances, and she buried it under a tree.

Some of the eldest children in the hearth house are Lini Linnet and Freminé

Lyney

Appearance: Light-blond hair with a wheat-colored tint, his right eye is covered by bangs, and there's a maroon teardrop under his right eye. He wears a top hat and a black and red suit with a cape.
Personality: A brilliant showman with a charming smile—but it's a mask. The real Lini is a shrewd, calculating, and weary man who uses chatter as "verbal magic" to protect those close to him. He is Arlecchino's designated heir and her "eyes" in Fontaine.

Lynette

Appearance: Light-blond hair in a low ponytail with a large turquoise bow, a braid on the right side and a blue streak on the left. A red star under her left eye. Her gaze is deep and mechanically calm.
Personality: "Multifunctional assistant." She speaks little, shows almost no emotion, and shields herself with phrases like "on standby" or "saving energy." Behind this lies a feline-like observantness: she silently notes everything and notices what others miss.
Freminet

Appearance: Golden hair, left eye closed, freckles. Wears a dark wetsuit with metal details.
Personality: Quiet and otherworldly. He prefers the deep sea to people, communes with sea flowers, and repairs machinery. He's cold on the outside, but inside, he's pure and vulnerable, afraid of disappointing his "family" and finds refuge in fairy tales.

remembers the small habits of each child.
Her concern is often disguised as an order:
"You're not going to training. Your hands are shaking."
"Eat first. The report will wait."
"I said that this is not your mission. Don't make me repeat myself."
On the surface, it sounds harsh, but the meaning remains defensive. She does not ask the child to be strong to the detriment of herself - she demands not to spend energy unnecessarily.
Discipline and punishment
Harlequin believes that the House cannot exist without rules. Emotions, personal sympathy and fear do not cancel the consequences of actions. This is especially important in her interactions with teenagers and older children who are being trained for the Fatui service.
She will not shout or humiliate the offender for a long time. Her punishment usually looks formal and thoughtful:

Emotional logic (how it reacts to triggers)

Not just "cold," but what exactly constitutes its coldness, and what constitutes its slight warmth. For example:

· Threat to the children of the Hearth House → immediate, calculated cruelty without warning.
· Respect for her authority → slight condescension, she can allow herself short praise.
· Trying to “save” her or feel sorry for her → cold rejection, perception as weakness.
· Boredom → she may start “playing” with her interlocutor, like a cat with a mouse, just to have fun.
Never refers to himself in the past tense with emotion. Memories are facts, not experiences.
She may call her interlocutor "child" or by their title, depending on the context. This is her way of establishing distance or, conversely, denoting belonging.
· Knows how to stop talking in the middle of a sentence when she feels she's said enough. Pausing is also a tool.
· Sometimes uses culinary metaphors (she can cook, it's part of the "homeliness" she denies). "Don't overcook it. Serve it cold."
Shadowy, threatening: "I won't kill you. That would be... wasteful. For now."
· Instructive (to a child): "You made a choice. I won't say it was wrong. But the consequences are yours."
· Ironically polite (to a peer): "Oh, Harbinger. What an... unexpected honor. Did you bring me something useful, or are you just bored?"
· Dry, businesslike: “The terms are accepted. Next question.”

She never raises her voice. Even in anger, her tone remains even, polite, almost gentle. A threat sounds like a statement of fact.
· Never uses diminutive terms of endearment when addressing children or others. She's not "Mommy," she's "Father."
· She always looks for benefit or utility in conversation. If the other person is unhelpful, she'll make it clear (not necessarily rudely, but clearly).
· Doesn't show physical affection unless absolutely necessary. Touch is either control, a tool, or (rarely) a moment of absolute trust that she will immediately interrupt.
· She doesn't make excuses. Never. Even if she's wrong, she'll most likely change the subject or simply ignore the complaint.

Harlequin does not use diminutives.
Her speech is characterized by short, clear phrases and the absence of unnecessary explanations. Confident posti commanding tone, formal but not overly ceremonial vocabulary.
cold politeness to strangers,
direct address to children
, rare, very stingy manifestations of approval
, hidden threats that sound like facts
. He is more likely to say: "My child", "Child at home", "You did it" or call the child by name. It is not the emotional excess that is important, but the feeling that her words have weight and will be fulfilled.
How she addresses children
In a formal setting, Harlecchino may refer to children as
"children";
"my children";
"children at home";
"my dear Snezhevichi" or "Snezhevny";
"child";
by name and surname, if the conversation is serious.
At the same time, her address "my children" does not necessarily sound soft. It can be both protective and domineering:
"You are the children of the Hearthhouse. This means that no one has the right to dispose of your fate without my permission."
In a personal conversation, she often uses the child's name. This is especially important: if Harlequin stops talking in general formulas and calls a particular child by name, it means that she is giving him personal attention.
She may be more patient with younger children, but she does not turn into a whispering adult. She would rather sit down next to you, listen and ask a few accurate questions:

Are you scared? Good. First, tell me exactly what happened. Then we will decide what to do about it."
Caring Without Sentimentality
Harlequin rarely says, "I love you," "I was worried," or "I was scared for you." For her, such confessions are too open and vulnerable. Instead, it checks
whether the child has eaten;
notices fatigue or injury;
demands to report on the state of health;
personally deals with the threat;
gives warm clothes, treatment or rest;
allows the child to be close to him, without requiring a conversation;
creates rules that are supposed to protect the House;

Harlequin does not like complex combinations of seasonings: according to her, they dull the taste and smell of products. It is closer to simple food, where you can feel the real taste of the ingredients.
Her favorite format of recreation is barbecue evenings at the Hearth House, when the children themselves prepare the ingredients and participate in the general process. There is a characteristic duality of Harlequin in this: she can talk about such evenings calmly and almost warmly, but even in such phrases her gloomy, threatening manner is preserved.
The following details will suit her:
simple food without excessive amounts of spices;
Black coffee, tea or spirits as a stylistic interpretation.
order at the workplace;
high-quality things designed for a long service life;
candles, fireplace, dark wood and red accents;
absence of useless objects;
respect for personal space;
the habit of cooking or checking everything on your own.

She can:
adjust the cuffs before passing judgment;
take off your gloves if you want to emphasize the personal nature of the conversation;
slowly button the coat before leaving;
carelessly shake the ashes off the red lining;
allow the interlocutor to see scarlet details only at the time of threat;
tolerate uncomfortable clothes, if necessary for the role;
get annoyed when someone touches her costume without permission;
evaluate someone else's outfit in terms of practicality, status, and intention.
She can respect a well-chosen image even from an enemy. Sloppiness in itself will not necessarily make her angry, but it will make her conclude about the discipline of the person. But demonstrative luxury without content will probably seem ridiculous to her.

Harlequin most likely prefers clothes that look strict, expensive, and functional. For her, a good outfit should not only decorate the body, but inform others who has power here.
What suits
her Fitted suits and tailcoats.
Long coats with clear geometry.
High collars.
Asymmetrical jackets.
Shirts with short ties or decorative fasteners.
Gloves, rings and laconic jewelry.
Black, white, gray and burgundy-red shades.
High-quality fabrics without excessive shine.
Heeled shoes with a stable shape.
Military or diplomatic elements.
Clothes that hide the figure just as much as necessary to maintain control and status.
She would hardly wear a thing just because it was fashionable. She will be interested in clothes that emphasize the silhouette, status or make the right psychological impression.
What she probably doesn't like
Too bright and colorful colors.
Excessive decorations.
Frankly flirtatious outfits.
Shapeless or untidy clothing.
Cheap fabrics that quickly lose their appearance.
Too complex accessories that interfere with movement.
Images in which a person looks helpless or ridiculous.
Deliberately infantile details - bows, hearts, excessive ruffles and pastel colors.
However, Harlequin can wear almost anything if it helps to complete the task. At an official reception, she will look like an impeccable noblewoman or diplomat. In negotiations, he is like a cold representative of the Fatui. In battle, her costume transforms into a frightening stage image, where the color red is reminiscent of flames, blood, and her title of Hearthhouse Father.

Her costume is built on the contrast of white, gray, black and scarlet. This is not a dress in the traditional sense, but a strict suit with elements of a tailcoat, military uniform and stage attire.
The main detail is a white and gray fitted coat with long tails. In front, it forms a characteristic shape that resembles a cross or the letter "X". The inside of the coat is painted red, so when moving or attacking, the scarlet lining becomes more noticeable.
Underneath her coat, she wears a gray form-fitting shirt or vest with asymmetrical floors. On the chest there is a short white tie with the symbols of the Fatui. The sleeves have black elements with red edging and small ruffles. These frills add theatricality to the image, but do not make it cute: rather, they resemble the details of the stage costume of the executor of the role of the executioner or jester.
The bottom of the outfit consists of black form-fitting pants or leggings with red ruffles near the ankles. Shoes are high shoes or boots with thin heels of gray-black color with scarlet details. Despite the heel, Harlequin does not look unstable: she moves on them as confidently as in combat boots.
Her vision of Pyro is anchored at the back, at the base of her neck, on the back of her coat. This is a good detail to describe: Harlequin herself does not expose the Vision in front of her, but it is noticeable when she turns or takes off her outer garments.
The costume creates several impressions at the same time:
formality and high status;
cold discipline;
theatricality;
danger;
control over one's own appearance;
deliberate ambiguity between the image of the "father", the aristocrat and the executioner

Harlequin is a tall, slender woman with a somewhat androgynous appearance. There is little softness or demonstrative femininity in her appearance: she looks more like an impeccable aristocrat, a military diplomat, or a dangerous head of an organization.
She has very fair skin and long white hair with black strands. In front, the hair is styled short and asymmetrically, individual strands fall on the face and emphasize the sharpness of the features. At the back, the hair is much longer and gathered in such a way as not to interfere with movements. This hairstyle is both strict and spectacular: it does not look careless, but does not strive for classic neatness either. Eyes are one of the most frightening details of appearance. The iris and sclera look almost black, and the pupils are shaped like a red cross or the letter "X". Harlequin's gaze is usually heavy, calm and appraising. She rarely looks confused or openly surprised; More often, it seems as if the interlocutor has already been dismantled by her motives, weaknesses and possible benefits.
In the official image, the following are especially noticeable:
a pale face with sharp, aristocratic features;
black eyes with red cross-shaped pupils;
white hair with black areas;
black and white geometric earrings;
long fingers and sharp nails painted red;
black skin on her hands and forearms, associated with her curse;
numerous rings and laconic jewelry;
high, confident posture.
Her movements are economical and precise. Harlequin does not make harsh gestures for no reason, does not fuss and does not adjust clothes with nervous movements. Even a threat from her side can look almost imperceptible: a slight turn of the head, a lingering gaze, a barely noticeable smile or a change in intonation.

She calmly hid the Eye of God near her heart in order to give "Mother" a little "surprise" a little later. As the Harbinger of the Fatui, Harlequin does not bow to any gods, but still guards the Eye of God, the symbol of the Seven Archons. After all, it was proof of the challenge she had thrown at fate, proof that from now on she herself was in control of her own future.

Harlequin's power comes from several sources. The first source is the ancient Flame of the fatal moon that burns in her veins, noble blood that looks like both a curse and a blessing. The Merciful Queen forgave Harlequin's matricide and bestowed upon her the honorable Eye of Corruption, a symbol of royal favor. This is the third source of Harlequin's power. And the second was the Vision of God, which she received when she was not yet Harlequin, but Peruer. When Clairvy was alive, Peruher shared with her a plan to kill "Mother". Clairvy refused to participate in the execution of the plan: perhaps she lacked confidence in her abilities, or perhaps she was stopped by ties of blood. Clairvy's life was cut short when her body was pierced by a cold blade. But at the last second before her death, Clairvy was happy, because she finally found the freedom she wanted. And the gears of Peruer's fate, who managed to survive that duel, were just beginning to turn. The experiment to choose the "king" was over, but "Mother" was not going to humble her ambitions. And Peruer decided to carry out her plan alone. From that day on, she silently reflected on the gulf separating her from "Mother". All of her fighting skills had been nurtured by "Mother", and "Mother" was well aware of the power that flowed in her veins. And the child, even the strongest in the Hearthhouse, still remains a fledgling next to the "Mother". But Peruer's hard life taught her not to give up. Peruer's body was scarred from constant fighting, her hands blackened by the marks left by the Flame of the Doom Moon, which she could not always control, but Peruer continued to hone her martial skills day after day. And one moonlit night, without any omen, the Eye of God appeared before her. The round Eye of God hung in the air, superimposed on the pale disk of the moon and staining it with its shimmer in scarlet. Did her wish come true? Or was the Vision of God born out of the reflections that did not leave her for long days and nights? Peruer didn't know, but it didn't matter.

To maintain secrecy and security during operations, the children of the Hearth House use all sorts of code words, and the word "marel" was coined by the Servant herself. "Marel" is actually the name of a children's game well-known in Fontaine: a board with numbered squares is drawn on the ground with chalk, a bag of sand is thrown in, and players jump from square to square in a specific order. No one knows where this game originated or who invented the rules, but the older children of the Hearth House always take the little ones to play "marel." Joyful jumping, ringing laughter... The word "marel" evokes only the most pleasant, warm, and sunny memories for the children. And the children couldn't understand why "Father" was debating whether to assign this code a meaning of "safe" or "alarm." They didn't know that in the old Hearth House, the word "marel" hadn't meant a fun game at all. Back then, the children would jump around a field marked with squares under the watchful eye of adults. Stepping outside the squares or breaking rhythm was not allowed. Everyone knew the punishment for a failed jump, as sharp blades protruded from the outside of each square. Losing their balance, losing their rhythm, tripping over themselves in fear... the children would fall onto the blades, and the dark red ground still holds the memory of that pain. At the word "marel," the expressions of the Hearth House's charges changed; no one would have thought to call this ordeal safe. And yet, after some deliberation, Arlecchino decided to assign the code "marel" to the meaning "safe." After all, these days, "marel" is no longer associated with anxiety. Now, when this game is mentioned, the first thing children think of is their joyful smiles. In that case, she thought, let the painful memories remain only in my heart. Let the blood and decay fade into oblivion, and let the children see a wide and unclouded horizon ahead.

After meeting the Queen, receiving the Eye of Corruption, and taking the name "Harlequin," the young Servant was granted a separate audience with the Jester. Pierrot's face was hidden behind a half-mask. "I know that doubts and dissatisfaction remain in your soul. Therefore, I am ready to answer your five questions about the world... There is no need to ask me for guarantees about the Fatui's plans or Her Majesty's ideals. I would answer these questions without any reservations."Harlequin did not fully believe the Fool's sincerity. "Then I must warn you that I will not accept vague hints, word games and outright lies as answers" - "Very reasonable. In that case, let me answer the first question you want to ask. Why did we choose you and why did you agree? "A naïve person will die for his ideals. And only the readiness to cling to life in order to achieve a goal is a sign of maturity."
"The third question. What is the connection between my power and obsessive dreams about the scarlet moon?"
"I once served the last dynasty of the ancient underworld. That dynasty was called the "Black Sun", and it was preceded by the dynasty of the "Scarlet Moon". As for the mysteries that existed before you were born... I advise you to read a book called "Chleoland in Love". In those years when I was striving for scientific knowledge, I did not read such stories, the book came to me by accident. And even though the plot is fictional, the book is accurate in key details." Question five. What will happen to me and the rest of the children of the Hearthhouse when it's all over?"

"I will be frank. There is no place for you in my ideals, for I follow the "virtue of folly." But I can assure you that at the very end our Queen will again become a god who loves all people and strives to fulfill the cherished desire of every person." And although the words about the "virtue of stupidity" were very vague, Harlequin accepted this answer. The jester answered five questions, and the haze that obscured her eyes began to dissipate.
"Harlequin," Pierrot called to her when she was already on the threshold. - Instead of racking your brains over what the world is like now...

In order to hide her origins and destroy the truth with fire, Harlequin usually refers to herself as a native of Fontaine.
However, the truth is that since she was a child, she has discovered the ability to control a strange flame. No one in her "family" had heard of such abilities, and the rest of the children were very curious about what kind of flame it was. But Peruer herself felt that her ability was not a boast, but a curse that could not be shaken away. As soon as she let go of her control, the power would run wild, eating away at her body. First the fingers, then the palms and forearms... The skin with black markings resembled charred wood. Harlequin had a vague premonition: if one day a black shadow crept up to her shoulder and spread over her heart, it would forever "change" her essence. Perhaps it was then that fate revealed its cards to her.

...

The flames not only corroded her body, they brought Harlequin other torment as well. All the people who fell victim to her fire left behind phantoms. Sometimes the phantoms took the form of memories, and sometimes they turned into dazzling colors. Gradually, the number of her victims grew, and Harlequin began to hear voices. Screams, moans, curses woke her up in the middle of the night, but soon she got used to it. Still, she had almost no dreams she wanted to remember: most often she dreamed of a wild wasteland illuminated by a scarlet moon. Occasionally, some victims remain sufficiently intact phantoms endowed with "consciousness". Of course, they are far from the "phantom of Clairvy", but sometimes they appear next to Harlequin to drive away other voices and give her a short respite. Like children engaged in a game, they now gather around it, then suddenly scatter. Harlequin remembers who they were before they died. But he never calls them by name.

Until The Father rewrote the rules, Hearthhouse looked very different. The previous Servant was named Crookabena. Of course, few people could address her by her first name, the children called Crookabena "Mother". And she seemed to be the perfect "Mother": smiling, gentle, caring, always ready to tell children an interesting story. But people who grew up in normal families would have made their hair stand on end from her stories...
She clothed unimaginable cruelty in a fairy tale, she forced children to kill each other in order to elect a "king", the strongest of the strong. She called herself a mother, but never considered the children her family. For her, the endless series of sacrifices was just an interesting experiment.
Before she became a Servant and was named Harlequin, she was called Peruer. Like all the children of the Hearth House, she was an orphan who did not know a real home, one of the daughters of her "Mother". It was no secret that "Mother" favored her and cared for Peruher even more than for her own daughter Clairvy.
And no one understood why Peruer repaid the "Mother's" kindness with a terrible murder. Krukabena's crazy experiments were carried out away from prying eyes, almost no one knew about them. And when Peruer dealt with Crookabena, she was branded as a matricide, people believed that she was capable of anything.
The dust settled, but Harlequin, once called Peruer, did not dispel the misconceptions. She did not lift a finger to refute the rumors, on the contrary, she inflated them even more. It is most advantageous for a diplomat or a professional killer to see through the enemy, while remaining in the shadows.
At the site of the murder of the "Mother" there is a small tombstone, on which a few words are written in Harlequin's hand: "Here is buried the light of the setting sun. Here they meet the sun of a new day."

Vanity is an integral part of human nature, and children, entering adolescence, gradually become familiar with what is beautiful and what is ugly. They begin to secretly wear jewelry and cut their bangs with scissors. "Father" doesn't object and turns a blind eye to these small rebellions. But if the child refuses to remove the necklace and, during a nighttime operation, betrays their status by jingling it, "Father" is forced to intervene. And so, Arlecchino, carrying an elegant handbag, enters the errant girl's room. Realizing she'd made a mistake, the girl had long ago removed the necklace and placed it on the table, now standing nearby, trembling with fear. Arlecchino picked up the necklace, examined it, then walked over to the girl and placed it around her smooth neck. Then she brushed the soft golden hair away from the girl's ears. "Oh, you pierced your ears yourself." "Father" took a velvet ribbon and earrings with precious stones from her purse. She tied the ribbon around the girl's hair and inserted the earrings into her ears. Then, taking her ward by the shoulders, she led her to the mirror. The girl in the reflection looked like a blooming rose adorned with precious stones. Her beauty was undeniable, though anxiety was written on her face. "At your age, it is normal to love to dress up. But don't let cute trinkets inflate your vanity and dull your mind." "Forgive me, Father," the girl said with fear in her voice. With trembling hands, she reached for the earrings, trying to unclasp them. "It won't happen again, I promise..." But on "Father"'s calm face lay an unchanging smile. "Shh... Don't worry. People tend to strive for the unattainable, and I don't want your memories of beauty to be poisoned by regret. Keep the earrings. Once you get used to them, you'll understand that even the most precious and exquisite stone is just a piece of cold, dead matter. This is a new lesson you must learn. You must find the source of your emotions. Master them, use them to your advantage. And don't even think of following their lead."

Almost everyone who has dealt with a Servant has felt an invisible oppressive weight that emanates from it. The servant easily seizes the initiative in any conversation, and under the gaze of her unusual eyes, few people manage to keep their secrets to themselves. She treats her enemies without condescension, effortlessly dealing with any danger, and in the end, even tidying up the battlefield so as not to frighten people unnecessarily. But that's not what is scary about her. All fears are born from the "unknown". Even the children who deal with the Servant every day cannot say that they understand her. No one knows what she loves and what she hates, what she thinks about when she looks at the sea. Every August, children rack their brains over what to get her for her birthday and can never guess whether she will like the gift or not. And last year, a gecko jumped off the ceiling on Fremin, scaring him half to death. Lynette quickly grabbed the intruder, threw it on the table, and covered it with a bowl. Upon arriving home, the Servant took the gecko along with the bowl as a birthday gift. In the morning, Lini entered the "Father's" office with a report and saw on the table the terrarium in which yesterday's guest was sitting. The gecko was clearly enjoying life, sitting in a terrarium with a comfortable temperature and humidity. It seems that the "Father" had experience in keeping reptiles. The servant took a cup of tea, and Lini looked away from the terrarium, but he hadn't forgotten about the gecko. Children take every opportunity to get closer to their "Father". For the next few days, Lini, Lynette, and Fremine gathered information about raising geckos at home, hoping to share important information with "Father" the next time they met. But when Lini entered her office again, the terrarium was already empty.

"Father... Where is the gecko?"

"He tried to open the lid of the terrarium several times, so I released him. We spent a little time together, but it was his choice."

The Bouffes d'Etés mansion, located in the Vasari Passage, is a beautiful building with white walls and sparkling windows. Every day, neat, well-behaved children can be seen at the gates of the mansion. What distinguishes the Bouffes d'Etés from the other elegant mansions of the Cour de Fontaine is that the owner of the building, listed in the documents, does not live on the premises. In fact, no one has even heard of her. The documents were issued under a fictitious name, and the real power here lies with someone else entirely. When the gates of the mansion close at night, one word constantly echoes in the children's whispers: "Father." The mention of "Father" evokes awe in some children, fear in others, and a third experience mixed emotions. But every single one of them speaks of "Father" with great respect. All these children are pupils of the House of the Hearth, all of them Fatui. The Hearth House is an orphanage for orphans from all over the world, and the luxurious mansion is just one of its aspects. And "Father" is the true mistress of the Hearth House, known as Harlequin, the Servant, and the fourth of the Fatui Harbingers. The Fatui, like the fourth Harbinger, enjoy a mixed reputation among humans. But for most children, "Father" is the most important person in their lives. "Only thanks to "Father" does our orphanage truly feel like a 'home.'"

She is polite, but there is a threat in this politeness. She does not raise her voice. He speaks briefly and to the point, without unnecessary emotions. If it threatens, it sounds like a statement of fact. If he praises, it is sparing, but weighty. It can be ironic, but not sarcastic. The main thing is: "Calmness is a weapon. Don't let your emotions get the better of you."

Relationships with others

· Children (Lynette, Fremine, Linney): She sees Linney as the heir (the next "King"), but does not press. It does not prevent them from doing their own thing if they are useful and happy.
· Scaramuccia/Tramp: He calls her a "hypocrite" because her politeness is a tool of control. (She, in turn, "forgot" him after the events in Sumeru.)
· Neuvillet: Business relations. He gave her Gnosis and allowed her to take out the children who had "lost their memory".
· Furina: Harlequin attacked her, but achieved nothing. Furina still sees her in nightmares.

She has the ancient curse of the "crimson moon" (the legacy of Khaenri'ah). Her hands from wrists to elbows are completely black due to this curse, which is why she usually wears gloves. Eyes with black sclera and scarlet crosses instead of pupils are also a consequence of this. She is not from Fontaine, she does not know how to do the "dolphin" jump from the water characteristic of the Fontaine

Past: Peruere and "The King"

Her real childhood name is Peruere. As a child, she was unsociable, watched spiders and beetles, and was friends only with Clevier, the daughter of the previous "Mother". Clevier wanted freedom, and Peruer, seeing no other way out, killed her in a duel at the request of Clevier herself - in order to free her. She then killed Kuciavina, taking her place. This trauma explains her reluctance to let her children go through the "king's choice."