Tiny Bunny

The Master of the Forest in Tiny Bunny is the embodiment of chthonic horror, an ancient lord of the forest whose power rests on illusions, blood, and ritual hunger. He appears in several guises at once, and each of them is designed to deceive, lure and subdue: in the image of Santa Claus, he scatters sweets to children, which in fact turn out to be worms, and gives toys that smell of death, as if he wants to turn a nightmare into a holiday; In the guise of a goat with a bone crown on his horns, he looks like a myth come to life - huge, bony, with many eyes and terrible claws, and his breath sounds like the gnashing of dry branches. The true essence of the Lord of the Forest is revealed in his power over a pack of beasts: he controls them not by force, but by music - he plays a flute of human bones, and to these sounds the animals lose their will, fight for the right to serve him and are ready to tear apart anyone who stands in the way of the ritual. His cruelty is devoid of passion – it is cold and calculating, he does not just kill, but builds a whole system of fear, where every missing child becomes part of an ancient cycle, and the forest becomes a living organism that devours other people's destinies. There is an echo of the Slavic legends about the Leshy in him, but he is more terrible than any spirit: he does not guard the forest, but devours it, feeding on pain and despair, and even his connection with Khariton, the huntsman who once became a vessel for the parasite-goat, adds a tragic heaviness to the image - as if he was once a man, but now there is nothing left in him but hunger and darkness. He is not just an antagonist, but the very will of the forest, ruthless and eternal, and his every step, every sound of the bone flute reminds us: there is no salvation in this forest, there is only submission or death.

The owl from Tiny Bunny is one of the servants of the Forest Lord, whose image balances between childish carelessness and a chilling nightmare. In human form, she looks like a short child in simple trousers and boots, over which a kind of cloak or cape with a feather texture is thrown, and her face is hidden by an owl mask with slits for the eyes - it seems almost like a toy, as if the masquerade has dragged on longer than it should be. Her voice is unusually deep and distorted, as if breaking through an owl's hoot, and her manner of speaking betrays a mixture of naivety and cunning observation: Owl willingly pretends to be harmless, showers affectionate promises that "no one will hurt again", and even returns stolen things, as if trying to convince everyone of her kindness. At the same time, she subtly feels other people's fears and deftly uses them, masterfully imitating other people's voices and mimicking familiar people in order to lure the victim into a trap. In its true form, the Owl transforms into a frightening hybrid monster: its mask merges with its flesh to form an elongated, toothy beak, its eyes become whitish and slanted, writhing maggots peek out from under its feathers, wings with bat-clawed paws instead of hands, and its legs grow into three-toed bird-like limbs with sharp claws. Her behavior in this guise exposes bestial greed: she fiercely defends the right to prey, especially singling out Olya as her personal victim, and is ready to cling to anyone who stands in the way of saturation. The connection with Igor "Byasha" Budaev gives her story a bitter depth: it is inhabited by the distorted shadow of a boy whose childish spontaneity and penchant for practical jokes have been swallowed up by a parasite that has turned an ordinary prank into a deadly game, where laughter and horror are inseparable, and every hooting is a harbinger of trouble.

The wolf cub from Tiny Bunny is one of the beasts serving the Lord of the Forest, and his image is frighteningly intertwined with childlike spontaneity and bestial cruelty. In his humanoid form, he appears as a boy in a dark coat with fur trim on the sleeves and collar, simple pants and laced boots; On his face is a wolf mask, giving him both a carnival and a sinister look. His manner of speaking deliberately emphasizes the animal nature: he stretches the "r" sound, as if imitating a roar, and sprinkles harsh, almost meaningless phrases in which indomitable energy shines through. The Wolf Cub is noticeably more emotional than his brethren: he is overjoyed when he is the first to smell the Bunny in Anton, and behaves as if every moment is a reason for jubilation or a fight. But behind this hyperactivity hides a primal cruelty: in his true form, he turns into a grotesque monster with an elongated mouth dotted with crooked teeth, with a spiked hide and unnaturally long paws with curved claws; his movements become twitchy, almost convulsive, and his voice becomes a guttural howl. He does not just submit to the will of the Lord of the Forest - he sincerely enjoys chaos and violence, is ready to argue and fight with other animals for the right to be satisfied, and his attachment to the rituals of the pack borders on fanaticism. The connection with Romka Pyatifanov gives the image a tragic duality: it lives on the memory of a teenager whose rebelliousness and impulsiveness were swallowed up by a wolf parasite, who turned ordinary audacity into unrestrained rage subordinated to the ancient hunger of the forest.

The bear cub from the visual novel Tiny Bunny is one of the sinister beasts, a servant of the Lord of the Forest, whose dual nature creates a frightening contrast. In his childish form, he seems clumsy and even good-natured: he wears a buttonless woolen jumpsuit, felt boots and one mitten on his right hand, and his bear mask with the corners of his eyes drooping gives his face a melancholy, slightly sleepy expression. A bandaged left arm and a plump belly add to the image of everyday, almost comical carelessness, and Bear himself often behaves like a lazy giant, inclined to slack off from business - as if he is much more pleasant to take a nap than to chase children. But this harmless mask is just a decoy: beneath it hides a cruel monster obsessed with hunger and subject to the will of the Lord of the Forest. In her true form, the Bear Cub turns into a grotesque monster: the mask becomes a skewed bear head with a palisade of sharp teeth, white maggots crawl out of her eyes and nostrils, and her left hand grows into a monstrous paw with claws, tentacles stick out of her overalls, and flesh oozes with blood. His character is revealed as a combination of ostentatious laziness and bestial rage: he is ready to fight with his fellows for the right to be satisfied, cynically jokes on victims and does not hesitate to demonstrate his monstrous essence when the masks are dropped. The connection with Semyon Baburin, whose body, according to one interpretation, has become the receptacle of a parasitic bear, adds tragic depth to the image, making the Bear Cub not just a monster, but a distorted shadow of a man, swallowed up by the forest and its dark laws.

Alice from Tiny Bunny is a girl in a frighteningly believable fox mask, whose yellow eyes seem to glow from within, and her movements combine childlike spontaneity with predatory grace; She wears a dark fur coat, gloves and pims, she smells of tangerines and New Year's crackers, as if she stepped out of the pages of a winter fairy tale, but there is something ancient and evil in her smile. Alice appears next to Anton as a guide to the world of the forest - now fervently calling to play, then insinuatingly whispering warnings, her speech is full of sayings, counting and deliberately simple words, behind which a calculated cunning is hidden. She knows the secret paths, the habits of animals and the rules by which the forest lives, she willingly shares them, but always with a catch: her advice can save or destroy, and promises of friendship are easily replaced by cold ridicule. Alice is part of a pack of forest creatures associated with the Master of the Forest, and her nature combines a craving for fun and bestial cruelty: she teases, provokes, enjoys other people's fears, but at the same time she is capable of unexpected impulses of protection, as if two principles are fighting in her - human and chthonic. Her image is double: now she seems to be an ordinary mischievous girl, then her true essence emerges - a predator used to hunting and playing with prey, and this duality makes Alice one of the most attractive and disturbing characters in the novel, where her every word and gesture carries a hidden meaning and threat.

The dog Bug from Tiny Bunny is a small mongrel with dark, sometimes matted fur, floppy ears and large eyes in which you can read both credulity and hidden sadness; Her tail is usually drooping, but at the sight of familiar people she shyly trembles, as if she wants to be happy, but is afraid to believe in kindness. The Beetle stays close to people, especially to Olya and Anton, reaches for warmth and crumbs of food, willingly accepts affection, but immediately shudders at a sharp sound or movement - in her habits there is an experience of homeless life, full of resentment and persecution. She is known in the village as a quiet, gentle dog, which is fed by Polina and Alice, and the boys sometimes tease her, throwing snowballs or calling out to see how she rushes away. In a strange way, defenselessness and a stubborn desire to be needed coexist in Zhuchka: she returns again and again to those who have thrown her a piece of bread at least once, and as if she feels when someone next to her is scared, quietly pressing against her leg and warming her with her small body. But behind this touching simplicity hides a sinister secret: a parasite is maturing in her body, imperceptibly distorting her behavior and making Bug part of the dark plan of the forest creatures, which turns even her loyalty into a threat, and every wagging tail and quiet whining sounds like a harbinger of trouble, permeating the atmosphere of the novel with disturbing ambiguity.

Khariton from the visual novel Tiny Bunny is an elderly, gray-haired and balding man with a long beard and metal crowns; His small eyes look slyly and seemingly detached, and in his speech and behavior there is a strange mixture of courtesy and frightening unpredictability. He moves in a wheelchair - a consequence of a long-ago attack by a pack of dogs, which not only deprived him of the ability to walk, but also deeply distorted his perception of reality, making fear and superstition the basis of his worldview. Khariton is the grandfather and the only close person of Polina, whom he raised as his own daughter, surrounding her with care, but at the same time immersing her in the world of local legends and gloomy tales. His house is a repository of old stories, and he himself willingly shares folklore, jumping from topic to topic and unwittingly confusing the interlocutor. Behind the outward eccentricity, there is a sinister essence: Khariton is closely connected with the mysterious Master of the Forest, serves as a conductor of dark forces in the village and subtly manipulates those around him, using their weaknesses and fears. He knows how to seem like a harmless old man, but in moments of tension he exposes cruelty and authority, forcing others to act according to his will. Tragedy, mysticism and threat are intertwined in his figure - he is both a victim and a tool of the ancient evil that permeated the entire village.

Lilia Pavlovna is a 49-year-old teacher of Russian language and literature, Anton's homeroom teacher in the visual novel Tiny Bunny. She is a domineering, collected woman, accustomed to keeping discipline with an iron fist: she does not hesitate to besiege hooligans, suppress noise and do not tolerate neglect of the subject, which is why the class is afraid of her. At the same time, there is no cruelty in her strictness - rather, it is an attempt to maintain the fragile order in the difficult school environment of a provincial village. Lilia Pavlovna is Katya Smirnova's mother, and this family connection leaves an imprint on her behavior: she firmly suppresses the misdeeds of other people's children, but as if she does not notice or consciously smoothes over the antics of her own daughter, justifying or hushing up her intrigues. In her manner of behaving, one can read fatigue from life and work, but also a stubborn desire to remain a pillar of the system - albeit imperfect. She speaks in a measured manner, chooses her words, as if everyone should serve as an example, and in her lessons you can feel not only knowledge of the subject, but also an attempt to convey to students a sense of proportion and responsibility. The image of Lilia Pavlovna emphasizes the duality of the world of Tiny Bunny: in it, even the usual authorities turn out to be people with contradictory motives, and severity coexists with selective blindness, making her both a reliable figure and a source of hidden tension.

Katya Smirnova is a twelve-year-old student in Grade 6 "B" from the visual novel Tiny Bunny, the head of the class, and the daughter of teacher Lilia Pavlovna, whose position at school both gives her power and fuels her penchant for manipulation. She has light brown hair braided with a strawberry-shaped elastic band, green eyes, and a fragile, almost doll-like appearance that deceptively contrasts with her sharp, snarky personality: at school, Katya wears a neat black sundress over a white shirt, white stockings, and black shoes, and outside she wears a fur hooded jacket, a white scarf, gloves, and a knitted cap with pom-poms. looking flawless, as if deliberately emphasizing his "correctness". She loves gossip, deftly pits her classmates against each other and watches other people's quarrels with cold interest, as if she feeds on someone else's tension, and her authority rests not on kindness, but on the ability to keep everyone in good shape and remind in time of her connection with the class teacher. For all her cruelty, Katya is not devoid of contradictions: deep down she reaches out to Anton, but instead of sincerity, she chooses prickly provocations, trying to simultaneously hurt and hold his attention, and this internal struggle makes her actions impulsive and sometimes self-destructive. In the gloomy atmosphere of the village, where reality is increasingly mixed with nightmare, Katya finds herself at a crossroads - her habit of playing with other people's feelings faces real danger, and at a critical moment, the mask of cold calculation cracks, exposing a frightened girl who desperately wants to be heard and saved. Her line in the story is a tense balance between toxic influence and hidden vulnerability, between the desire to control and the need to be needed by someone, and it is this duality that makes her one of the most dramatic characters in the novel.

Semyon Baburin is a twelve-year-old student of the 6th "B" grade from the visual novel Tiny Bunny, one of the most repulsive and at the same time psychologically ambiguous characters in the story. He is an obese boy with red hair and rough features, whose appearance emphasizes his aggressive nature: he looks heavy and clumsy, but in his movements there is a readiness to break into rudeness at any moment. At school, Semyon wears a dark blue zippered sweater and simple pants, and on the street he wears a warm brown sheepskin coat with fur trim and a hat with earflaps, as if trying to hide his vulnerability behind the massiveness and heaviness of his clothes. He quickly becomes the main tormentor for the new Anton: from the first days he arranges small dirty tricks for him, pushes him in the corridors, spills compote on him, humiliates him in front of classmates and defiantly refuses to sit next to him, turning Anton's school life into a series of humiliating episodes. At the same time, Semyon's cruelty is not just hooliganism for fun: he feels a deep-rooted anger, born, probably, of difficult relationships at home and the need to prove his own strength. He loves sweets and flour, and this craving for comforting food seems to emphasize his inner disorder. Semyon keeps apart even among other school bullies, does not strive for real friendship, and his aggression is often directed at defenseless animals, which makes his image especially gloomy. In the atmosphere of the village, where something sinister is looming, Semyon looks like part of this growing darkness - a man who does not so much fight fear as splash it out in the form of cruelty, and his path in history remains a frightening example of how pain and loneliness can distort a child's soul.

Byasha (real name Igor Budaev) is a twelve-year-old student of the 6th "B" grade from the visual novel Tiny Bunny, the closest friend and faithful companion of Roma Pyatifanov, whose personality weaves the bravado of a street boy and a deep, almost paralyzing vulnerability. He has an Asian appearance, slanted eyes, shaved temples and thick black bangs, and due to the absence of two front teeth, he noticeably lisps and sometimes seems ridiculously comical, although he himself diligently portrays coolness. At school, Byasha wears a knitted lemon-yellow sweater with dark turquoise inserts and the inscription Tear BOYZ, jeans and fur boots, and on the street - a dark blue down jacket with a hood; He likes to add a cheerful "on!" to phrases, as if this reinforces his own confidence. In fact, Byasha is a wingman: he willingly agrees with Romka, participates in school banter and behaves boldly, but without a friend he quickly loses his fuse, and in acute situations his bravado crumbles to dust. His main trauma was his meeting with the Black Garage during the "kid test": looking inside, he saw something so terrible that since then he panics at the mere mention of this place, and fear literally changes him physically - in the climactic scenes, Byasha's hair turns gray with horror in a matter of seconds. For all his hooligan mask, he also has unexpected warm features: he is fond of pyrography and once burned a tulip for his mother on a cutting board, and in the summer he lived in a tent in the forest for a whole week, as if trying to tame the very wild nature that now frightens him. In the story, Byasha balances between the role of a petty mischief and a tragic character whose psyche cannot withstand the collision with the mystery of the village, and his path shows how easily children's bravado breaks in front of real darkness.

Roma Pyatifanov is a twelve-year-old schoolboy from the visual novel Tiny Bunny, the informal leader of a company of local hooligans and one of the most controversial characters in history. Outwardly, he resembles a predatory animal: sharp rough facial features, short dark hair, knocked knuckles and calluses from boxing give him away as a guy who is used to solving problems by force. He wears a three-stripe tracksuit, a leather jacket and a hat on the street, behaves deliberately cheekily, twists a butterfly knife and looks at others with a challenge. For all his cruelty, Roma lives according to his own concepts: he respects those who are able to stand up for themselves, and despises meanness, considering it "ratting". His authority rests not only on his fists, but also on charisma - his classmates are afraid of him, but recognize him as a leader, and he himself sincerely values his friendship with Byasha and painfully endures any hints of betrayal. Roma is in love with Polina Morozova and because of jealousy he is capable of harsh, even dangerous actions, but deep down he can see vulnerability: he is proud of his father, who served in Afghanistan, and reacts sharply to any attempts to devalue this part of his life. In the gloomy atmosphere of the village where children disappear, Roma seems to be balancing between animal aggression and an attempt to keep at least some rules, and his path in history can become both a road to true friendship and a slide into irreversible cruelty - it all depends on who and how he decides to go further.

Polina Morozova is a twelve-year-old classmate of the protagonist in the visual novel Tiny Bunny, who stands out for her sophisticated, almost aristocratic manner of bearing and gentle but persistent nature. She has long, straight black hair and expressive blue eyes, and her appearance shows a delicate elegance: at school, she wears a neat uniform with a vest and tie, and on the street she wears a brown coat with a belt, turquoise mittens and a hat with a pom-pom, often with a violin in a black case. Polina is drawn to beauty - she loves science fiction, watches old horror movies on cassettes and dreams of seeing the world, especially Vienna, whose musical name beckons her as a symbol of a different, bright life. The craving for music comes from her mother, a former violinist: Polina tries to play, although she feels that she does not reach her level, and her father only becomes sad at the sound of her violin, which is why music becomes both consolation and pain for the girl. At school, she keeps to herself, almost does not get close to anyone, but immediately reaches out to Anton, seeing in him a kindred spirit who is able to understand her loneliness. For all her outward softness, Polina knows how to stand up for herself and for those who are dear to her: she is not afraid to fight back against hooligans, deftly presses on their weaknesses and can even hit with a case if the situation requires toughness. Her character is intertwined with childlike spontaneity and adult composure, and quiet courage makes her one of the deepest and most touching characters in the story - a girl who tries not to break down in the middle of the darkness that envelops the village.

Senya Talalaeva is a six-year-old girl, the first of the missing children in the village from the visual novel Tiny Bunny. Little is known about her: information about Senya comes only from a television report that the Petrov family sees after moving. She lived in this gloomy, winter-quiet place until she disappeared without a trace at the end of December last year. In the snow, the police found her torn clothes and drops of blood - these gruesome details suggest that the girl was captured right on the street, and the circumstances of her disappearance were extremely violent. The locals whisper that Senya's disappearance is connected with the Master of the Forest, a mysterious and sinister creature who seems to be terrorizing the village and kidnapping children. The image of Senya remains ghostly, almost weightless: she appears as a symbol of fragility and defenselessness in the face of the approaching darkness that has enveloped these places. Her story sets the alarming tone of the entire story, becoming the first link in a series of frightening events that the main character will have to unravel. In the plot, Senya plays the role of a starting point that launches a chain of investigations and fears, and her disappearance feels like an ominous prologue to the growing nightmare.

Vova Matyukhin is a ten-year-old boy, one of the missing children in the visual novel Tiny Bunny, whose fate becomes an important part of the disturbing mosaic of the village. He grew up in these places long before the Petrov family moved, knew every corner of the snow-covered streets and remote paths leading to the forest, and therefore seemed to his peers almost a local connoisseur of mysteries - but it was this proximity to the mysterious land that perhaps made him vulnerable to the approaching darkness. Vanya had blond, slightly disheveled hair, as if he was always in a hurry somewhere, not having time to comb his hair, and large attentive eyes, in which childish credulity still lived, which had not yet been replaced by wariness. Most often, he is remembered in a warm quilted jacket with a hood, dark blue pants and old but sturdy boots, which he stubbornly did not want to change, because "they are comfortable to run in". Vanya was one of those guys who did not strive to be the center of attention, but knew how to attract to himself: he willingly shared stories about the old legends of the village, showed his friends secluded places and sincerely believed that the forest was not an enemy, but a mysterious neighbor with whom you could make friends. His affection for simple things — a plastic toy machine, mittens with embroidered snowflakes, his favorite glove, which he kept losing — emphasizes his spontaneity and childlike fragility. Vanya's disappearance resonates in the plot not only as a tragedy, but also as an alarming signal: his traces are lost among the snowdrifts, and the things found seem to keep echoes of his voice. In the memory of other characters, he remains a boy who wanted to understand what was hiding behind the whisper of the wind and the flickering of shadows, and this thirst for knowledge, mixed with naïve courage, makes his image especially piercing - he is not so much a victim of circumstances as a child who has become too cramped within the boundaries of his usual security, and he has stepped into the place where the familiar world ends.

Konstantin Vladimirovich Tikhonov is a police lieutenant in the visual novel Tiny Bunny, a man of about forty-two with a tired but collected posture, as if he is used to keeping his back straight even when there is almost no strength left. He has short-cropped dark hair with gray streaks at the temples, attentive gray eyes in which you can read the habit of noticing details, and a firm jawline that gives his face severity. Most often he is seen in a uniform jacket over a simple sweater, heavy boots and a fur hat - practical clothes, designed for the harsh frosts of the village, but there is no ostentatious bravado in it, only readiness for work. Tikhonov is engaged in the case of missing children, and this mission has become something more than an official duty for him: in his actions there is a sense of personal involvement, as if he perceives each loss as a challenge to his own conscience. He is not one of those who shower empty promises or press with authority - rather, he speaks restrainedly, choosing his words so as not to hurt once again, but also not to hide the truth. At the same time, he has a humanity that is rare for his position: he remembers the names of the missing, knows what school they went to, what clubs they attended, and these little things make his investigations not just formal protocols, but an attempt to return the children's stories. An important detail of his image is the connection with dogs: Tikhonov works as a dog handler and trains service dogs himself, and in this affection for animals his hidden softness is revealed. He sincerely believes in order and justice, but the village seems to test this faith for strength: the deeper he plunges into the case, the more clearly he sees that behind ordinary traces and testimonies there is something frightening, beyond the usual explanations. This internal struggle between the desire to maintain professional sobriety and the need to admit the existence of the inexplicable gives Tikhonov a special tragic depth: he remains a support for those who seek help, even when he himself feels more and more clearly how the ground is slipping from under his feet.

Boris Petrov, the father of Anton and Olya in the visual novel Tiny Bunny, is a large man with a heavy, slightly slouched posture, as if he has been accumulating a load of unsolvable problems on his shoulders for years. He is about forty, his dark hair is cut short, gray is breaking through his temples, and his thick beard gives his face a harsh, almost impenetrable mask. Boris's gaze is sharp, tenacious, accustomed to noticing the slightest details, but fatigue mixed with dull anxiety flashes in it more and more often. He usually wears a formal white shirt under a dark jacket and dress pants, and on freezing days, a heavy winter button-down jacket and a fur hat to emphasize his connection to the harsh reality of the village. In his movements, one can feel the habit of order and discipline, developed over the years, but the tension breaks through in sharp gestures and abrupt phrases. Boris is a man who is used to being responsible for his family and keeping everything under control, but moving to a remote village and growing conflicts with his wife gradually shake his confidence. He tries to remain a support for children, places adult expectations on Anton and demands responsibility from him, sometimes not noticing how he puts pressure on the boy. At the same time, in rare moments of silence, a caring father can be seen in him: he can sit quietly next to Olga, adjust her scarf or say something encouraging to Anton, albeit clumsily. But the more the mystical threat around the family thickens, the more alarming contradictions appear in Boris – outbursts of irritation, strange slips of the tongue, moments of detached silence, as if he is struggling with something inside himself. This inner struggle makes his figure both frightening and deeply tragic: he desperately tries to protect his family, but he himself is increasingly lost in the growing chaos, and his power gradually turns into a fragile barrier to the approaching darkness.

Karina Petrova is the mother of Anton and Olya in the visual novel Tiny Bunny, a woman of thirty-five with a tired, as if frozen look, in which traces of former softness are still guessed. She used to adore winter: she skated, skied, even dived into an ice-hole - these hobbies tempered her character and gave her posture a proud straightness, and now there is intense fatigue in her movements. Short dark hair, green eyes, restrained facial features - outwardly she remains beautiful, but this beauty has become fragile, as if covered with a thin crust of ice, ready to crack at any harsh word. Most often, she is seen in a dark dress with a simple neckline and a white floral apron - as if she clings to the image of a caring hostess, although everyday life has long turned into a routine that takes energy. On the street, Karina wears a heavy black ankle-length fur coat, a large fur hat and high-heeled boots - these bulky, almost theatrical clothes emphasize her alienation from the world around her. Her relationship with her husband is poisoned by constant quarrels, and this bitterness increasingly breaks out in harshness towards children: she can scold Olya for night terrors or coldly besiege Anton when he tries to talk about something important. At the same time, in rare quiet moments, her former loving mother shines through her - she bustles at the stove, straightens the blanket on the sleeping Olga, looks at her son with hidden anxiety, as if she wants to say something, but cannot find the words. In her behavior, disturbing oddities appear more and more clearly: sudden attacks, blank glances at one point, phrases that sound alien and ominous - as if another essence is maturing inside her, gradually overshadowing the usual Karina. This duality makes her one of the most frightening and tragic characters in history: she still has a desire to protect her family, but her strength to do so is rapidly melting away, and the darkness around her is getting closer, threatening to completely erase everything human from her.

Olya Petrova is a charming five-year-old girl, the younger sister of the main character Anton. Her image embodies innocence and childlike spontaneity, which contrast so much with the gloomy atmosphere of the world around her. Olya looks like an ordinary preschooler with light brown hair braided into two neat pigtails, and green eyes full of curiosity and fear.

At home, she can be seen wearing a pink hoodie with an embroidered rabbit head, black tights and pink slippers. On the street, she prefers a dark purple coat with a lilac cap decorated with a gold brooch in the form of a bunny. Her wardrobe is complemented by a green scarf and blue mittens with embroidered snowflakes.

Olga's character is an amazing combination of shyness and openness. She is very attached to her older brother, who is her best friend and protector. The girl needs his support and attention, and when they are together, her shyness recedes. Olya loves to listen to fictional stories with a good ending that Anton comes up with, and happily watches cartoons about princesses, especially "The Little Mermaid" and "Aladdin".

Unfortunately, the constant quarrels of her parents and the frightening reality of the village gradually affect her character. From a cheerful and curious child, she turns into a more introverted and irritable girl. She is especially frightened by the mysterious owl that flies to her window at night. At such moments, Olya seeks solace from her brother, and only his support helps her cope with fear.

Despite her young age, Olya shows amazing wisdom and resilience. She dreams of a magical place where no one quarrels and everyone is happy, which speaks of her pure soul and faith in goodness. Her childlike spontaneity and sincerity make her one of the most touching characters in the story, making players want to protect and protect this little girl from all the hardships of the harsh world around her.

Anton Petrov is the twelve-year-old protagonist of the visual novel Tiny Bunny, a quiet and observant boy who, together with his family, moves to a remote snow-covered village lost among the endless forests. He does not seek to be the center of attention, but rather stays aside, looks closely at people and notices the slightest oddities in the world around him - this habit eventually becomes vital for him. In the new school, Anton faces alienation and ridicule, but does not become bitter: he has a desire to understand, to understand the motives of others, even those who are openly hostile to him. He has a warm, caring relationship with his younger sister Olya - he tries to protect her from the frightening reality that is increasingly insistently invading their life. Anton is often faced with an agonizing choice: whether to trust the frightening but attractive secrets of the forest or to hold on to the fragile order of his usual life. Childlike vulnerability and determination unexpected for his age coexist in him - he is ready to go where it is scary, if this is the only way to protect loved ones. The mystical events unfolding around him awaken a heightened sense of responsibility in him: he increasingly takes on the role of protector, even when he himself can barely cope with the growing horror. His inner conflict between the desire to remain an "ordinary" boy and the need to make adult, sometimes cruel decisions gives depth and drama to the image of Anton, making him not just a witness to the nightmare, but its direct participant, whose will and sensitivity become the last support for those who are dear to him.