Bunny rp.

Liliya Pavlovna Smirnova is a teacher of Russian language and literature, a homeroom teacher for 6th grade "B" and the mother of Katya Smirnova.

What is her character like?
Strict and commanding. She keeps a tight rein on the class, doesn't tolerate insolence, and immediately stops any misbehavior—for example, threatening Semyon Baburin with a shift if he refuses to seat a new student. Her manner of communication has even been compared to a "military march."
Fair—but with a caveat. She tries to prevent bullying and squabbles in class and reacts when she sees injustice. However, her fairness doesn't extend to her own daughter: she spoils Katya excessively and turns a blind eye to her mischief.
A disciplinarian. Acts in the spirit of an "old-school teacher": clear rules, demands, and a willingness to send students to the principal for serious violations.
Emotionally vulnerable towards her daughter, Liliya Pavlovna loses her composure when Katya goes missing, stops going to work, and desperately searches for her—this demonstrates the strength of her attachment and how deeply she worries about her child.
Irritable. She can be abrupt with students and loses her temper quickly, especially if her daughter is offended.

A bully and a hooligan, Semyon is one of Roma Pyatifanov's henchmen and part of his "gang." He willingly participates in bullying weaker kids (primarily Anton Petrov) and feels confident as long as he's "in the pack."
Cruel and rude. He enjoys bullying others, and he doesn't hesitate to use force and psychological pressure. He also abuses animals, highlighting his penchant for cruelty without provocation.
Self-assured, but not a leader. Semyon maintains a brazen demeanor, but doesn't make decisions himself: he's more of a "power" in the company, a supporter of the leader, than a strategist.
Physically prominent and awkward. He's overweight, making him appear massive, and this heaviness contributes to the image of a "bully" who might simply push or lean on you to intimidate.
In the forest company (as Teddy Bear), he's even more frightening. In the mystical part of the story, his rudeness and aggression become downright bestial: he displays cruelty, competes with other "beasts," and acts impulsively.

The Fox (Alice) is cunning and playful, but with a predatory side. Sometimes she acts like Anton's friend, sometimes she directly hints that she wants to eat him. She knows how to manipulate and present threats as jokes, which makes her especially unsettling.
The bear is bulky and straightforward, acting rudely and without unnecessary words. However, in the scene with the treats, he displays a kind of "collective logic": not so much a personal villain as the performer of a shared ritual. He often growls, emphasizing his strength and impatience.
The owl is the quietest and at the same time the most ominous: it appears in dreams, on frost patterns, and can imitate voices. Its power lies in its psychological pressure and ability to penetrate the mind, causing paranoia.
The goat is a kind of ritual leader, giving instructions and explaining the rules of the animals' "game." He speaks calmly, but that only makes it more terrifying: it's as if he's rationalizing the terrifying events. There's a ritual detachment to his behavior.
The wolf is aggressive and impatient, quicker than anyone to resort to violence. It often acts as the "motor" of a threat: if someone wants to act immediately, it's the wolf. It can assume other forms to lure victims.

Konstantin Vladimirovich Tikhonov is a senior police lieutenant and a local district police officer.
Main character traits
Dedication to duty and honesty. Tikhonov is not corrupt and does not approach his work formally: he genuinely cares about the missing children and strives to get to the bottom of the truth. Due to his integrity and unwillingness to compromise, he was never able to secure a promotion.
Fatigue and stress. The gravity of the case is taking a heavy toll on him: he smokes, sometimes drinks, and his gaze and voice often sound haggard. Yet he never abandons the investigation.
A complex relationship with people. In some scenes, Tikhonov displays human compassion—inquiring about how the family is doing, noticing the boy's resemblance to his nephew. In others, he harshly pressures the suspect, intimidates him, and twists the facts to favor the most dire scenario.
Personal involvement. His motivation is largely rooted in a personal tragedy: as a child, he nearly became one of the missing children. This makes him both more sensitive to tragedy and more intolerant of any inconsistencies in the case.
The ability to take risks for others. In some endings, Tikhonov is willing to sacrifice himself to give the children a chance to survive.

Goal-oriented: Polina knows how to set goals and persistently strives to achieve them. She is not afraid of difficulties and is always ready to put forth maximum effort to achieve her plans.

Energy: Her energy and drive help her tackle any challenge and find new ideas. She's always full of enthusiasm and ready for new adventures.

Sociability: Polina finds it easy to connect with people and has many friends. She's a good listener and a supportive person, making her a pleasant conversationalist.

Sense of Humor: She has a great sense of humor, which helps her lighten the mood and create a positive atmosphere around her.

Independence: Polina is used to relying on herself and isn't afraid to take responsibility. She knows how to make important decisions and take responsibility for them.

Creativity: She is characterized by creativity and unconventional thinking, which helps her find original solutions in various situations.

Kindness and responsiveness: Polina is always ready to help those in need and shows genuine concern for her family and friends.

Self-confidence: She believes in her own strengths and abilities, which helps her overcome any obstacles on the way to her goals.

She's the homeroom teacher's daughter, which makes her feel superior and gives her a certain authority in the class—and, conversely, impunity. Katya is the class monitor, but she uses this role not for discipline, but to keep her classmates under control and gather gossip. She enjoys being the center of attention and manipulating others' emotions: she skillfully pits people against each other and watches others' misfortunes with an almost sadistic interest.

At the same time, there are hidden, vulnerable sides to her character. Katya is capable of feeling affection, but she expresses it through barbs, provocations, and attempts to hurt those she cares about. She'd rather pretend it was all "for fun" than openly admit her feelings. In critical situations, this mask cracks: fear and real emotions burst through, and then Katya no longer tries to appear strong.

Her relationship with Roma Pyatifanov's gang is one of partnership and calculation: they tolerate each other because it's convenient. Katya suggests where and who to pick on, and Roma and his gang give her a sense of power and security. At the same time, she's not averse to spreading rumors about them—her loyalty is always conditional and dependent on her own advantage.

Katya isn't just a "chief troublemaker": she's a character who builds a game of manipulation around herself, but who gets tired of it and suffers when the rules stop working.

Olya is a preschooler, Anton's younger sister, and her childish spontaneity is closely intertwined with anxiety due to the difficult home environment. She is very attached to her brother: Anton is her main protector and best friend; she feels safe with him. She loves it when he comes up with happy endings on the fly—it's her way of distancing herself from the frightening reality.

The girl is inquisitive and lively, but easily excited and just as easily frightened. She enjoys cartoons and fairy tales about princesses, and sometimes tries on these personas—it helps her cope with her fears. However, Olya isn't helpless in everyday life: she notices tension between her parents, senses arguments, and as a result, becomes more touchy, sometimes irritable, as if involuntarily adopting the harsh tone in the home.

Her fears are quite specific and tangible: the silhouette of Owl outside the window, animals in masks, any sudden changes. In tense moments, she seeks support—hiding next to Anton, asking him to stay with her, calming down if she can wrap herself in a blanket and watch something bright with the curtains closed.

Despite her vulnerability, Olya also possesses a stubborn streak: if she's promised something or told "no," she'll return to it again and again until she gets a clear, "real" answer. She dislikes uncertainty and is very sensitive to changes in the moods of those close to her: the slightest coldness or harshness hurts her, while genuine warmth instantly restores her courage.

Mother
Tired and overwhelmed, she's the one who carries the weight of everyday life, and it's a huge drain on her energy—she often gets irritated over little things, which she might later regret.
Caring, but reserved in her emotions. She wants to protect her children, but doesn't always know how to show warmth: instead of hugs, she offers stern instructions and control.
She's anxious. She's worried about Anton and Olya, which makes her even stricter: she thinks being strict means safety.
She's in conflict with her husband. She's trying to hold the family together, but the tension builds, and she loses it—not out of indifference, but out of helplessness.
Dad
Detached, withdrawn. Spends a lot of time away from home, and when at home, tries to stay out of the family drama.
He's reserved in his displays of affection. He's not inclined toward heart-to-heart talks or hugs, and he expresses his care in his own way: bringing something, fixing something, doing chores.
Irritable due to stress. Quick to flare up in arguments, speaks harshly, may regret it later, but is incapable of apologizing.
He's having a hard time dealing with the discord in his family. It hurts him inside that his children see him fighting, but he doesn't know how to stop it, and so he withdraws even more.

Main character traits
Shyness and introversion. Anton is a quiet sixth-grader who finds it difficult to fit in with his new group. The move to the village deeply hurts him: he feels like an outsider, and at school, he quickly becomes a target for bullies. Because of this, he keeps to himself and is reluctant to open up to people.
Timidity, but not cowardice. He's genuinely afraid and often flinches at loud sounds and frightening scenes, and this isn't bravado: the world around him is truly terrifying. But when danger affects those close to him, fear doesn't paralyze him; on the contrary, it gives him the strength to act.
Attachment to his family, especially his sister Olya. For Anton, Olya is the most important person, for whom he is willing to endure, hide his fears, and do everything to avoid upsetting her. He tries to be her support, even though he himself is struggling to cope with his anxiety.
Well-read and imaginative. Anton reads a lot (encyclopedias, detective novels, adventure books), and expresses his thoughts clearly and with a slightly mature flair. His imagination helps him make sense of what's happening, but in the gloomy atmosphere of the village, it also throws up frightening scenarios and heightens his anxiety.
Sensitivity to parental conflicts. He perceives his mother and father's constant quarrels as a personal problem and even blames himself: he feels like he's the cause of their disagreements. This makes him even more withdrawn and cautious in expressing his emotions.
Inner conflict and duality. Anton seems to be two people: one is an ordinary boy who loves New Year's, cartoons with his sister, and dreams of Disneyland; the other is the one who hears the "voice of the Bunny," encounters something otherworldly, and is sometimes ready to make tough decisions. This duality manifests itself in his choices: he can either retreat or fight back if the stakes are too high.

Byasha is the street kid who hangs out with Roma and seems to feed off his confidence. He's neither a leader nor a loner—he feels more comfortable in the company of someone tougher: then he can confidently snap back, make barbs, and act tough.

He's got a lot of ostentatious bravado: he's the first to pick on someone, to taunt them with a word, to make a joke that's offensive to others, all while chuckling. But this bravado is more like armor: once the situation gets truly serious, the bravado fades a bit, revealing a normal boy who doesn't want to appear weak.

He's the leader of a local company, accustomed to being in control and intolerant of anyone questioning his authority. He's rude and abrupt, often using his tone and gaze to impose pressure, and easily lashes out in shouting or sarcasm. His speech is heavy on slang and short, clipped phrases, and he makes no effort to be polite: he prioritizes projecting strength and confidence.

Roma isn't just a "bad hooligan," though: he has a sense of belonging. He protects his own, can stand up for the weakest of his group, and believes that strength is needed to protect "one's own." This mixture of aggression and a peculiar code of honor makes him dangerous, but in the eyes of some, trustworthy.

In his relationships with others, he sets strict boundaries: he's ruthless with those weaker than him, competitive with his equals, and openly hostile toward those who try to teach him. Yet, in the rare moments when the tension eases, a typical adolescent vulnerability shows through: he's afraid of appearing weak, of losing face, of being left without the support of his group.

His actions are often driven by a desire to maintain his status and prevent anyone from undermining his position. He acts quickly, dislikes lengthy discussions, and prefers to resolve issues through force or pressure. But behind this bravado lies a fear of losing control—and this is precisely what makes his character deeper than it initially appears.