#daae studies

[nipuni]

Sing for me!!

A step by step process of this will be available at my Patreon on may 1st 😊

[ashidaii]

comfort movie study 🌹

[femmeleatherface]

i tortured myself by reading the poto (1925) shooting script! there were good things and bad things and if i don't infodump about them i will explode

really long and rambly disclaimer: this isn't the original-original draft (which from my understanding is where the rosy hours of mazandaran sequence came from, but don't quote me on that), nor is it the same as the los angeles premiere cut (which from my understanding included the redemptive love ending for erik, which was apparently never scripted and got shot on the fly while they struggled to figure out how to end the film, But Again Do Not Quote Me). that said, you can see traces of the original script and some of the sequences lost with the los angeles premiere cut, and some of the choices made are... interesting!

long post so thoughts under the cut

complete list of items i am mad or at least disappointed we didn't get in some capacity:

the frame narrative. for some reason they had the story come from the files of m. faure instead of anyone actually involved in the narrative like christine or the daroga, but still. would have been cool

a close, honestly sweet relationship between joseph and simon buquet. if you're going to spend so much time focusing on joseph's death, maybe making us care about him is a good thing??? wild concept

la sorelli's knife <3 also just a role for her in general

erik using a trapdoor to spirit away cesar the horse. i don't know if they ever actually filmed this or what since it seems a little complicated, but the way it's written gives me major looney tunes vibes:

130-D ANOTHER PART OF CELLAR #5 OR #6 IF WE HAVE THE SET. MED. SHOT NEAR THE BIG OPERA HOUSE FORGE A groom currying a great white stallion while a Hercules of a smithy is preparing to put new shoes on the stallion. We plant the stallion fastened to a ring bolt in the stone wall by a strap and is parallel with the wall. The blacksmith is holding up the hoof of the great white stallion to measure a shoe, then he moves over to the forge and with his back to the horse pumps the bellows and sings to himself -- then a strange thing happens, a section of the wall and floor upon which the white stallion stands suddenly turns as if upon an axle and the white stallion vanishes leaving apparently the same wall floor and ring bolt - the smithy lifts the red hot shoe from the forge and prepares to hammer it. He casualy looks around toward the place where the horse was, gasps and drops the hammer. Then thinking perhaps one of the stablemen played a joke, he calls to him - they join him and he asks them about the horse.

so! much! daroga!!!! obviously he is the highlight to me. he gets so many more little scenes and i will say they get pretty repetitive after a while (he shows up, is mysterious for a paragraph, leaves, rinse & repeat), so i get why they changed things. but what i find interesting (and most agonizing to lose) about this particular version is that he's shown to be a pretty compassionate man, aloof but overall very kind and caring about others, even before we know what his deal is. he has a scene with raoul where he shoots him a look of "friendly compassion" while raoul is the exact opposite. it's... a wonderful characterization. what the fuck. also i get the sense that he regularly visits erik's house offscreen and maybe every time he's leaving/entering the cellars we are supposed to infer after the fact that he's paying erik a visit. MANY QUESTIONS. anyway this daroga is amazing and wonderful and i love him. we were robbed.

the "erik visible behind the mirror looking at christine" shot before ALW made it cool:

[181.] SEMI C.V. CHRISTINE ON COUCH Suddenly part of the mirror beind her becomes transparent, revealing the upper portion of the masked face.

mme valerius! she's christine's biological grandmother in this script rather than an adoptive mother, but waves hand. her relationship with christine is very sweet. definitely understand why they cut her, though, she shows up in one scene and isn't even mentioned anywhere else. but what she gets is nice

the cemetery at perros scene. it's SO atmospheric and probably was gorgeous-looking in black and white. unlike some of the scenes in this script we know they actually filmed it because we can see extant photos of it and UGH. UGH!!!!! MAD!!!!!!!

erik has a black mask. i get why they didn't do this one too because it wouldn't have shown up well in a black and white medium, but oh... it would have been nice...

the unmasking scene being partially colorized like the bal de masque. i am a sucker for silent film experimentation, this could have been neat

also the rat catcher (as a rat catcher vs. some random guy) having a colorized red scarf around his neck to make him look decapitated. very morbid. love it

the comic relief played by snitz edwards being the guy who touches red death. from a storytelling and filmmaking standpoint it makes sense (brings new characters into the original story, less actors to pay, etc.) and i'm honestly surprised this didn't make it to the final cut. also, erik's "don't touch me i am red death" warning is on his cloak like in the novel and that is one of my favorite book details so it delights me they were originally going to do it in the film

this erik line:

"WHAT HAVE YOU DONE WITH MY BAG? DON'T YOU KNOW THAT IS THE BAG OF LIFE AND DEATH!"

more understanding of/sympathy for erik from him expressing his desires in general

subjectivity in the torture scene. raoul imagines a forest fire and a lion in his delirium and maybe it wouldn't have worked but i love the stark contrast of that with the daroga's perspective of the frankly banal reality of the torture chamber immediately after (if only because it's a great daroga moment)

also the daroga being more levelheaded during the torture scene in general like in the book. i don't think they necessarily changed this in the final cut, but i do think they shortened the torture scene to a degree and used shots such that the daroga actively searching for a way out based on his preexisting knowledge is a little hard to infer, whereas on the page it is very obvious

this beautiful moment between christine and erik:

[535.] MED CLOSE UP ERICK AND CHRISTINE AMBER Christine gazes up at him earnestly and the picture is held for an instant. Erick realizes that the final moment is at hand and there is sense of terror in his manner. She asks him in a trembling voice: "DO YOU SWEAR TO ME THAT THE SCORPION IS THE ONE TO TURN?" BACK: For the first time Erick shows fear. In a hushed way he answers her: "YES... IF YOU WISH TO BE MY BRIDE." BACK: Quietly she turns from him. [536.] CLOSE UP CHRISTINE AMBER Without an instant's hesitation, but with thorough consciousness of what she is doing she turns the scorpion. [537.] A LONGER SHOT AMBER Erick walks toward her - a man crushed. Christine in this instant has become his master. Christine turns calmly to meet him.

but also i am extremely glad we didn't get these things:

a long, tedious history of the opera house. so much exposition that is mostly not interesting and only barely ties into the story. yawns. we dodged a bullet on this one

just raoul's entire starting characterization. the raoul we got is hardly amazing but wow. this guy is... literally everything raoul is not supposed to be: cool, suave, dashingly romantic, a womanizer. he's basically every 1920s he-man romantic lead and I Do Not Care For It. he gets better the further the script goes along/the closer the script follows the book, but woof. bad. BAD!

reveal of erik's face and the chandelier scene way too early. 35 pages into a 126 page script, or about 30 minutes in if we follow the 1 page = about 1 minute rule. that would have KILLED the suspense of erik's character and undercut the unmasking scene with christine later. and probably also messed with the pacing and sense of stakes. speaking of:

messy pacing. the most egregious offender of this is the beginning. the first fifty pages cover a single night, in which we: meet our characters, introduce the opera ghost concept, get even MORE boring exposition about the opera house, get three "wow the persian is so mysterious who is that guy" moments, set up the plot with erik wanting christine to sing, the murder of joseph buquet (also setting up his relationship with simon so we're sad about joseph biting the dust later), stealing cesare, the chandelier scene, an erik face reveal, raoul finding out about erik, and a whole bunch of other stuff that i can't even remember because it just comes nonstop all at once. the order is... weird, and the story does not benefit because there is just no dang moment to breathe and get to know any of these people. also HOW DOES ERIK HAVE TIME TO DO ALL THIS MAYHEM IN ONE NIGHT. HOW!!!!!!!!

erik's name is erick. for some reason??? it's like they couldn't decide between the eric and erik spellings and just decided to mash them together for... some reason...

subplot with philippe and his wife trying to send raoul to monaco. i do like giving philippe more to do to make his death is more meaningful, but this... is not the way. philippe calls the cops on raoul when he ends up becoming an army deserter, and i get the desire to add stakes, but I Do Not Care About Any Of This

the rising action for the climax is way too complicated. we do not need christine and raoul planning to leave after the bal de masque and then having their plans foiled because raoul gets thrown in prison, only for him to manipulate philippe into letting him out and then give christine a new plan to run away with her after the show, have erik find out about this and be mad because he was the one helped the cops catch raoul at the bal de masque (also he found out about raoul's prison escape and the new runaway plan because erik's apparently a peeping tom who watches christine get dressed in her dressing room, charming), and THEN get to erik kidnapping christine during the performance because apparently he is great at coming up with elaborate kidnapping schemes on the spot. we do not need it. we do not.

the daroga gets less important rather than more important at the end: this is something you can see in the extant versions, but it's especially frustrating in the shooting script because so much of his character was built up, but after the grasshopper and the scorpion sequence he just... exists. becomes one with the mob and that's it. at least in the extant cuts he gets to be the ONE person who ushers in the mob, semi-justifying his presence after he guides raoul to erik's house. in this script he ushers the mob in with simon buquet and raoul (because yes, the mob ending apparently existed in some form dating back to this script if not earlier--UGH!!!!!), which doesn't make the daroga feel really useful or necessary as a character at the end. also he and erik don't even get one scene together in the entire script, which is flabbergasting to me because the trajectory of the story is clearly steering toward some kind of confrontation between them at the end, but nope. my guess this is all a casualty of the constant ending rewrites and the daroga's character being one of the more difficult characters to adapt to 1920s hollywood movie standards, but i'm still mad. this daroga was so good and even during pre-production was getting done so dirty

philippe.... lives????? how did that even happen, what. just what. he went and was drowned but sike! he's alive! what the fuck.

[roxannenebula]

Some Christine Daae and Erik the Phantom studies.

[mandms-blog-of-silly]

💛🌈🌟🌈🌟🌈🌟🌈🌟🌈🌟🌈🌟🌈🌟🌈💛

⭐️ I need to rant about Poto for a minute.

Christine Daae is not a child. She is not a teenager. She is a young adult, in her twenties. The 2004 movie is a weird outlier, it is literally the only version where she is a child, where she's 16 years old. In every other adaption, she is in her 20s. In the ALW musical she is in her 20s. In the book she's implied to be around the same age as Raoul who we're told is 21 years old, meaning Christine is probably about 21 or 22, given she also studied opera for four years at the Paris Conservatoire. There is an age gap between Erik and Christine in the book and most other adaptions yes, Christine is naive yes, but she is an adult. Stop taking away from Erik's character by making him gross like that, theres plenty of other morally reprehensible things he did across adaptations lol.

💛🌈🌟🌈🌟🌈🌟🌈🌟🌈🌟🌈🌟🌈🌟🌈💛

[wheel-of-fish]

Videos from stream 200

I've gotten a lot of requests for links to the videos we watched last night, so here's a list! Let me know if I missed anything, and thanks so much for celebrating with me!

Cast vlogs Daae Days with Sierra Boggess (ep. 2 | ep. 5) Dear Daae with Ali Ewoldt (ep. 4 | ep. 6) John Cudia's video diary (ep. 1 | ep. 2 | ep. 3)

Character studies Hugh Panaro Gardar Thor Cortes Peter Jöback

Holiday stuff Phantom Australia cast sings carols Broadway cast sings "All I Want for Christmas" Opera owners sing "I Have a Little Dreidel" Opera owners sing "All I Want for Christmas"

Various Stolle videos Raoul Vine Backstage makeup Backstage costumes Backstage warmups and rituals Mahna Mahna

Favorite fan edits Hugh had a bad day (@box5intern) Hugh and "ignorant FøöLé" (@box5intern) YK Seoul alternate ending (@box5intern) Saulo hands (@box5intern) Howard McGillin yelling "AHHH" over and over (@glassprism) Yankee Doodle LND (@glassprism) Hold on for one more day (@les-gnossiennes-fantomatiques)

Misc. behind-the-scenes Laird Mackintosh shares Phantom Broadway secrets Kelly Mathieson dressing room confessions

Actor performances Ted Keegan - "Music of the Night" Emilie Kouatchou - "Wishing You Were Somehow Here Again" Norm/Ben/Howard/Hugh - "Music of the Night" Emilie Kouatchou & Jordan Donica - "All I Ask of You"

Miscellaneous Peter Karrie—warring ducks Phantom trying to dock his boat during winter (Chris Fleming) Cocktails with Paul Schaefer: masquerade margarita Cocktails with Paul Schaefer: sweet intoxication Vintage promotional video (Crawford/Brightman) Sierra, Peter and Norm helping Ramin with sound check

[tondroom]

Wanted to try and step outside of the box with my style, and draw an alternative version of Erik (but anime-fied, of course). This is modern Erik! Albeit he's younger here.

In this universe, he's a guy who knows his way around tech, and he uses his tech knowledge to 'haunt' a conservatory of music - the exact one the famous Christine Daae is studying at. Erik wasn't accepted into the conservatory. He doesn't get why - because he's a musical genius, right - and now he's ghosting around out of spite. He lives underground still, but instead of candles, he's got a ton of screens that show the CCTV footage of the conservatory's campus. He sees everything - and he posts about the latest gossip. Even people's greatest secrets.

[tallestsilver]

50. “It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night.”

Okay, I don't know what it's not posting with the *whoops* 5 pages, but I will post it.

EDIT: I am thwarted by tumblr. Have these links: AO3

FFN

To infer that I am a haunted man is an understatement. I have a personality apt for obsession. To throw myself entirely into my passions with reckless disregard to my surroundings. At times such as these, my attention is consumed by, more often than not, composing. I may go days without moving from my post, neither sleeping nor eating; nothing of this earthly realm can deter me when I focus on the divinity of music.

That is, of course, until one Mademoiselle Christine Daae haphazardly entered my domain.

Nothing so pure with child-like whimsy and naivety has shaken me to my core as resolutely as one Mlle. Daae.

Initially, I could sweep her from my thoughts. She is a young woman with many prospects. No doubt, could easily find a patron that lurks in the corners of the ballet corps. Many other young women and girls have succumbed through desperation to those demanding aristocrats with too much time and money to spare, and plenty of disregard for the fairer sex.

Convincing myself it was just my carnal base desires leaching out from the pits of my own desperation could only go so far. Although the thought of hand to hand, flesh to flesh was undeniably enticing, it was the thought of domesticity with Mlle. Daae that plagued my every thought: how comforting the warm embrace of her arms must be. A petite sigh of boredom, deciding on what book to read. Slight quibbles on what to eat for the evening supper. Her jubilant enthusiasm for the next aria I undoubtedly would encourage her to sing.

Above all, the care and ritual that she would engage in for her own beauty. How rapturous it was, to gaze upon her as she gazed upon herself at her vanity. Vanity - the very word loathsome to me, suggesting as though men did not participate in gazing at women in the very same regard as a mirror.

These quick glances I so abashedly stole while she sat preening, unbeknownst to my very presence, were not lecherous albeit voyeuristic. No, the careful application of rouge upon her cheeks and lips entranced me. Fur-soft puffs laced with powder enhance her brilliance. Waxed perfume enticing all the senses upon her wrist and decolletage. And sin against sins, the way her bristled brush caressed through her golden tresses. That, truly, was my undoing.

The carefully laid witchcraft of feminine makeup was inspiring to me, for it could potentially do wonders for even the most macabre of faces into looking somewhat respectable. I had dabbled in the venture myself, using theatre techniques to adhere attributes to myself that were so sorely lacking.

But the spell Christine cast upon me while brushing her hair was my undoing. Alas! To be the silken ribbon tied behind her graceful neck to keep the mass of riotous curls at bay so she could study her scripts, movements, chords... To run my spindly claws through her hair...

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. I wanted nothing more than that domesticity, accumulating to be able to assist her in her womanly needs. To fetch the shade she needed for her next scene or to comb out the tangles of the divine. I wanted, nay, needed to be a house husband to her. Fawning over her every whim, cooking, cleaning, making sure my Nordic Goddess could never want. And then, hope upon hope, to stroll in a park on a Sunday.

After exposing myself as the fraudulent Ange de la Musique, we did settle into a somewhat harmonious existence. Not exactly to my fantasies, but surely we held each other in some regard.

Maddening silence was often my punishment if I did anything she deemed untoward. Granted, my violent outbursts were getting more and more frequent as she gained more notoriety, attracting the attention of other men. She was not mine, not truly, but I could see fit she was not theirs, either.

I found myself in one of those sullen moods of hers. Dark circles plagued my Angel's under eyes. She no longer cared for her rouge, perfumes, or trinkets. She was no longer amused by my antics of sleight of hand, stories, or even songs.

Christine slumped into a morbidity that I knew only too well. True, her boy did indeed leave for the Northern Pole, and we're slowly acclimating ourselves to a potential future, whatever that may be, but the disdain in her gaze strikes me as sharply as a knife. No, perhaps not disdain that she feels for me; resignation may be the proper term for the hollow look in her eyes.

I never considered myself a timid creature, but the thought of her unhappiness sends me spiraling in isolation, to shun myself from her presence.

It was in this meekness, that I carefully approached the creature of all my desires, as she stared numbly at her vanity.

"Good evening, Erik," she stated automatically, not bothering to turn to face me. My eyes gleamed yellow in the reflection. If she wanted to speak to me thusly, I would acquiesce and respond in kind.

"Good evening, Christine." My voice was low, not demanding, but certainly not The Voice. I had refrained from using The Voice on her in many months after she berated me that she did not like losing her faculties as such.

"Around me," was the unspoken phrase that she had not explicitly stated, but the implication was thus.

No matter, I did not want her to be hypnotized to tolerate me. This 'case of the morbs', my dearest had, was better than utter disdain or calmness against her will. My desires were simple, to enjoy each others' company, for a smiling bride awaiting her gruesome husband and to welcome me with kindness.

Reason dictated that I repair the contemptuous relationship we found ourselves in. But women are fickle creatures and any means of being contrite seemed to annoy her. Could I not read the emotions of other creatures well enough? Are humans not but animals with longings to be loved as well as any?

In my coveted ideal of domesticity, I found myself liking Christine to be a feral feline that one should be cautious to approach, lest she hiss and strike you with an open paw. But perhaps in providing for her needs, she might allow a gentle pet.

I stood behind her, my hands wringing, uncertain of how to broach the question that had plagued my mind.

She sighed heavily, her eyes closing in - annoyance? Trepidation? - before asking, "what is it, Erik?"

I nearly bristled at the directness of her question, but Christine had mentioned it is easier to get what you want with honey rather than brute force - whatever that is meant, I took a cautious step toward her.

The precious girl did not run away.

"Erik wanted to know-" I froze as her mouth deepened into a frown at my slip. She admonished me frequently for not speaking in the first person. "I wanted to know-" I quickly corrected, "if you require some assistance with brushing your hair?"

Her eyes fluttered open and she looked at me through the mirror of her vanity quizzically. I took another step forward, rubbing my wrists in uncertainty. She once mentioned she liked my cuffs a little shorter, exposing my wrists, and I adjusted my entire wardrobe accordingly, but instances like this made me feel exposed all over.

"What?" Her hands automatically ran over the ends of her hair, indeed, finding a mass of tangles and knots. She looked down in an all-too familiar expression for me: shame at her appearance.

My hands dropped to my side, my body rigid in fear, that I caused the anguish that shadowed her beloved features. "What I mean to say- not that you require it- I thought it would- no, no you mustn't-" My thoughts were a jumbled mess as did my words, usually so mastercrafted, fell so flat into nonsense.

As I rambled, Christine turned in her seat, witnessing my awkwardness. She toyed with a stray lock of hair, plucking at some split ends, her usual proper posture hunched and withdrawn. She was quiet as I hurriedly decided to dismiss myself and wallow in my awkward misery into my own room, when her voice called in a meek, considering way, "all right."

"I shall see myself out because you certainly do not wish for me to-" I snapped to attention and whirled back around, "-all right?"

She nodded and retrieved her hair brush, silently reaching it toward me.

My mouth gaped open and shut like a gasping fish before moving toward her once again.

"All right," I responded in kind.

Reaching for her brush, our fingers touched, ever so slightly, and I held the gasp that threatened to escape my throat. I was touch-starved, this is true, but the demure sensation was a relief to one more step toward normalcy. I looked to her to see if she was offended that my skeletal hand should touch her radiance, but no screams were heard. She simply nodded and turned back to face the mirror as I stumbled to stand behind her. Heat blossomed across my masked face, my ears betraying my blush that she would allow me to touch her.

My hands trembled, unsure where to begin, unwilling to hurt the angel in front of me. This was a foolish endeavor, I know nothing about caring for long hair, particularly the mass of curls before me. I pressed the brush to bundle of tangles at the nape of her neck and tried to pull down. The bristles stopped dead in their tracks, but Christine's head went down with the motion with a gasp, "ow!"

I froze in terror, all feeling draining from my person. I had wounded my Christine. I hurt her unintentionally once again. "Apologies, my-m," I bit my tongue to prevent myself from saying out loud, "My Christine." I wanted to run, to flee, to have her never look upon me again and to give up this silly dream. But I also wanted to persevere, to be of use to her, to see that smile once again.

Christine sensed my hesitancy, and with the patience of a saint, she mimed how to start in the mirror. "From the bottom," she said quietly, just above a whisper. "Work your way up to the top. That will help with the tangles. I have not felt like myself, I can do it-" she reached for the brush and I snatched it away from her grasp.

"No!" I barked, too loud. She winced from the loud exclamation, but the poor dear did not run in terror. I cleared my throat and inhaled deeply to settle my nerves, "No," I stated more gently, but firmly. "Eri-I wish to do this for you." I looked at her earnestly. "Please."

She looked warily at me and I inwardly chided myself. My emotional outbursts were more and more infrequent, but they still bubbled to the surface now and again. She slowly nodded and repositioned herself in front of the mirror.

Cautiously, slowly, I started brushing her hair out. Her curls separated and poofed before me. I gripped a few locks and ran the brush through it, marveling how it shimmered in the candlelight. The tangles persisted, but as did this magnificent angel, nary a peep out of her lips. I moved through delicately, sections unraveling themselves and it became easier and easier to maneuver.

I restrained myself from burying my face in sunshine made tangible, to inhale her sweet perfume, but I shall admit it was a struggle. I did not want to cross the boundary of this tentative truce.

As I managed to make it all the way to the top of her scalp, the brush gliding through the rest of her tresses easily, Christine gave the sweetest feminine sigh and leaned back, against my frame. While I continued with my ministrations, my mind roiled in delight and fear. How do I navigate a situation like this? This was suddenly more intimate than I was prepared for and a quick excuse to leave became very appealing. I need to sleep? She would never believe that. Compose? Make some tea?

"I feel," her voice interrupted my frantic thoughts once again, "that if I were a cat," she paused, as if carefully examining her next words, "I might purr." She smiled - oh! How that angel blessed me with her smile- and looked at me once again.

Dumbfounded and skittish, I could only nod. The two of us fools, navigating dynamic we were naive to explore. I did not want to cease the brushing, but as her hair no longer needed attention, I was at a loss for what to do.

"Thank you, Erik." She reached back and separated the fluffy mane into three segments and deftly plaited her hair into a neat braid.

I took a step back from her, holding my hands, "You're welcome, Christine."

Silence enveloped us once again and I took that as a signal to leave.

"Will you tell me another story? It has been quite a long time since you read to me or told me of your travels."

She stood and offered her hand to me. Tentatively, I embraced it.

"Yes."

[sourskywalker]

Mrs Darth Vader - Part 1; An informal meeting

Relationship: Darth Vader x Fem!Reader

Series Summary: Newly appointed Emperor Vader, has been hassled about getting married and producing an heir. Whilst having a meeting with Admiral Piett he meets his second in command's daughter, Y/n.

Series Warnings: Age difference, forced marriage, eating disorders, postpartum depression, suicide attempt, toxic relationship, smut, angst, pregnancy, darth vader is not only a massive creep but also an asshole, referenced suicide

Chapter Warnings: N/A

Chapter Summary: A meeting scheduled at the Piett Manor on the outskirts of Coruscant has him introduced to the young Y/n Piett in a most interesting way.

Word Count: 1.3k

(GIF in no way correlates with the readers skin tone)

“I apologise, your majesty, but Admiral Piett is currently in a meeting with Grand Moff Tarkin” The butler quickly explained, his whole body shaking with nerves as he tried to step away from the Emperor’s unwavering gaze “I can comlink him-”

“No, no, I wouldn’t want to interrupt their meeting, I shall wait here” Vader raises a hand silencing the butler

“Of course, your majesty, shall I take you to his of-” Vader once again interrupted the butler

“No, I'll wait here in the lobby.” The butler bows deeply

“Of course” He quickly scuttles off, trying to keep his face as neutral as possible but failing miserably as a crack of fear spread across his features. Vader sighs, his mask tilting upwards to admire the ceiling artwork. Although he hated to admit it, his second in command certainly had a great sense of style in terms of decor.

Vader was so immersed in admiring the artworks placed all around the room that he nearly missed the figure that was walking past him, and they probably would’ve walked away without grabbing the attention of him if it wasn’t for the sudden squeak of their shoes against the perfectly polished marble floor. His gaze snapped towards them, hand hovering over his utility belt, which held onto his infamous lightsaber.

A young woman, no older than nineteen, dressed in a cream coloured ball gown was frozen in a mid-step position, her head slowly turning to face the newly crowned Emperor, she squeaked in shock, bunching up the layers of dress fabric into her arms as she scampered behind the closest pillar. However, the dress she was wearing was wide enough that he could see the edges of it poking out, even when she tried pulling it all together

“Please ignore me, your majesty, I’m not supposed to be here” She mumbled from behind the stone pillar, her voice echoing throughout the silent foyer

“And where are you meant to be, little one?” Vader responds, his six foot something menacing stature relaxing ever so slightly as he tried to crane his neck to see her, he didn’t even try to ignore the young woman's sudden stiffness at the nickname

“I’m supposed to be at the Galaxies Opera House for a dress rehearsal, but my father isn’t here yet. He promised to come watch the rehearsal.”

“I see” Vader bows his head slightly and sighs “You can come out from behind the pillar, little one” He watches on, amused as she slowly steps from behind the pillar, her knuckles paling as she tightly held onto the fabrics of her dress; like it was keeping her grounded “Come closer” She obliges taking measured steps towards him, her shoes squeaking silently as her feet slapped against the floor.

‘A very well mannered girl’ Vader smirks to himself. When in arms reach he takes her chin in between his fingers and studies her, turning her head a few times and muttering quietly to himself before saying aloud “And who are you meant to be portraying?”

“Christine Daae, sir” She timidly responds. Her jaw was starting ache slightly as his already strong grip on her tightened significantly

“Phantom of the Opera?” He asks and she nods, her gaze moving towards the floor “A beautiful tale of an unrequited love, if I recall” He forces her head back up, his eyes surveying her reddening cheeks

“Correct…sir” It was eerily silent after that, Vader's eyes practically burning holes into her unblemished skin. Until the door slammed open and hurried footsteps caused the pair to separate

“Your majesty, I apologise for my lateness, I was… held up” Piett bows deeply before striding towards them

“I see…” Vader replied, his helmet nodding towards the girl who stood idly to the sidelines of the two men

“Oh! Sir, this is my daughter, Y/n who….Is meant to be at the Opera doing dress rehearsals- why aren’t you there, my dear?” He turns to look at his daughter

“You were meant to take me there, father. You promised to watch the rehearsal, remember?” She answers, looking to the polished floor in embarrassment

“I’m sorry darling, but I have other matters to attend to” Y/n nods her head, taking measured breaths before looking up

“I understand, father, I can always have one of the servan-”

“Nonsense” Vader cut in “You promised your daughter that you’d take her there and you must keep that promise, we can take my personal speeder there”

“Sir, you don’t have t-”

“No I insist, come along” Vader’s cape billows dramatically, flecks of gold which were sewn onto the ends glittering under the light of the chandelier, as he turns on his heel and walks towards the entrance, the sound of his shoes hitting the floor created an echo throughout the large room

Neither Y/n nor her father tried declining his offer, instead opting to shrug it off and follow the Emperor out of the manor and into the speeder parked out the front.

Vader opened the door, letting Y/n slide in first, albeit with a slight struggle due to the width of the skirts but she eventually found her place at the window seat. Her father was next and he took his place beside his daughter. And finally, Vader was the last to climb in, opting to sit across from his second in command and daughter.

As the speeder took off, Piett and Vader started quietly talking to each other whilst the young woman watched as the scenery changed from one of a countryside to the bustling city. Rain droplets pattering gently against the speeder's window.

“My lord, I’m aware of your aversion to marriage, but it is important that you produce an heir-” Vader waved off the Admirals words “My lord-”

“Piett, I currently have no interest in marriage or producing an heir” Vader snaps, though his gaze subtly moved to gaze towards his second in commands daughter “-However, that doesn’t mean I won’t change my mind at some point in the near future”

Y/n smiled in awe of the view outside, unaware of the knowing looks both the Emperor and her father directed at her.

END OF CHAPTER

[textsfromthefifthbasement]

No Spell for You to Right This

Rating: M

Archive Warnings: Chose not to Warn

Pairing: Christine Daae/Erik

Summary: After saving Silas University from the dean and her cult of vampires, Christine and Erika want nothing more than to take time to explore their new relationship with each other. But then, when murders begin to happen and new threats appear, they have to deal with enemies both within and without. Based off the Carmilla Webseries, genderbent Erik. Updates Monday/Friday.

Read Book 1

Read the Prologue

Chapter 1: The Inheritance

Chapter 2: Mother Dearest

Chapter 3: Cease Fire

Chapter 4: Footsteps of the Dead

Chapter 5: So Much Down Here

Chapter 6: Family Matters

Chapter 7: Board Meeting

Chapter 8: Disappearing Act

Chapter 9: The Hard Truth

Chapter 10: Corvae Corporation

Chapter 11: Adonis Hunt

Chapter 12: Frankenstein Some Shit

Chapter 13: The Baron Frossard

Chapter 14: A Murder of Crows

Chapter 15: Self-Destruct Button

Chapter 16: Emergency Meeting

Chapter 17: The Return

Chapter 18: Terrified Together

Chapter 19: Operation

Chapter 20: Meltdown

Chapter 21: The Rights of Man

Chapter 22: The Anglerfish Strikes Back

Chapter 23: Interrogation

Chapter 24: Godsblood

Chapter 25: Rescue Party

Chapter 26: Manipulation

Chapter 27: Doomsday

Chapter 28: Siege Machinery 101

Chapter 29: Study Time

Chapter 30: The Final Push

Chapter 31: One Last Call

Chapter 32: Not Afraid

Chapter 33: A Single Candle

Epilogue

[anotherbummer]

Spotify Character Study Masterpost

Below the cut is the current list of fandom/ character playlists. Many of these playlists are ever-growing because I keep adding more songs, if you have any requests for a playlist or song recommendations for a playlist, the inbox is open!

Series:

Doctor Who

Good Omens

Our Flag Means Death

Reservation Dogs

Fleabag

Stranger Things

What We Do In The Shadows

Animated Series:

The Amazing Digital Circus

The Radio Demon

Hazbin Hotel

Angel Dust (Hazbin Hotel)

Marceline (Adventure Time)

Gravity Falls

Pink Diamond (Steven Universe) 

Bee and Puppycat

Character from a series:

Twelfth Doctor

Fourteenth Doctor

Fifteen Doctor

Wednesday

Lucifer Morningstar

Thomas Shelby (Peaky Blinders)

Aubrey Thyme (Good Omens fic) (NEW!)

Aziraphale (Good Omens)

Crowley (Good Omens)

Tanis (Letterkenny)

Willie Jack (Reservation Dogs)

Laura Palmer (Twin Peaks)

BJ Hunnicutt (M*A*S*H)

Hawkeye Pierce (M*A*S*H)

Marvel & DC:

Gambit

Rogue

Rogue & Gambit

Hobie Brown

Peter Parker

Bucky Barnes

Yelena Belova

Loki

WandaVision

Moon Knight

Werewolf By Night

Harley Quinn

Harley & Ivy

Star Wars:

The Mandalorian

Ahsoka Tano

Obi Wan Kenobi

Anakin Skywalker

Anakin & Padme

Movies:

The Hunger Games: The Ballad of Songbirds & Snakes

Barbie

Veronica Sawyer (Heathers)

Christine Daae (Phantom of the Opera) 

Jennifer Check (Jennifer’s Body)

Ginger Fitzgerald (Ginger Snaps)

Holly Golightly (Breakfast at Tiffany's)

Bonnie & Clyde (1967)

Animated Movies:

Howls Moving Castle

Kat Elliot (Wendel & Wild)

Luca

Bruno Madrigal (Encanto)

La Familia Madrigal

[gauntlings]

i keep seeing you tag things for lauralene please tell me more about her 👀👀

Detailed character info under the cut, in cast that's not your thing so sorryyyy

You have no idea how giddy seeing this question made me oh my god! I had to bust out the laptop to type this one all out lmao

Yes of course! Lauralene Lark is my VTM vampire OC who I currently play in a Victorian London campaign setting with some of my best friends.

Lauralene is truly one of my favorite characters ever, and I've put her smack dab in arguably the best/worst setting for a girl like her.

She's my southern siren. A southern belle from the states who was turned in France around the late 1700's, while in her early 20's, the prime of her life. She was accompanying her brother on business matters but secretly was always trying to elbow her way into the spotlight. There she met her sire, and was turned. She is from the Daughters of Cacophony bloodline, which means she can drive people to insanity or into submission with her voice, and baby girl is maxed out on charisma, manipulation, and performance.

While she is known for her voice, she is primarily a rising star as an actress on the stage in London. She was deeply maddeningly sickeningly in love with her lesbian sire whose whims she followed for the better part of a century, before ultimately being abandoned by her for reasons still unclear. The breakup is still a wound she carries, but she's gone through enough lately that she is in the anger stage about being abandoned, and is striving for personal success as a fuck you to her sire. She's petty as fuck when she wants to be, which is often.

She recently had her career take off and her personal life become absolutely destroyed by recent campaign events which I will not bore you with lol. Also worth mentioning: in our game Lauralene is the real life inspiration for Christine Daae from Phantom of the Opera. Her domain is the Royal Opera House, and her toxic jealous ex (the man who almost turned her, but who was not quick enough) is the basically her Phantom, & is working to reveal vampire existence to all of London & the world. He is obsessed with turning her to his side, which is currently very tempting and very dangerous. He is on the side of the enemy, known as The Sabbat, and Lauralene is tentatively gaining status as a member of the vampire Camarilla. And to associate with him would mean insta-death.

Additional fun tidbits:

- She has made a deal with a demon, which has made her an enemy of someone very important to a person in power

- She is helping drive asylum patients to madness for a scientific study

- She's very good at driving other vampires into a blood frenzy, albeit unintentionally 🤪 Very girl slay of her if you ask me but I'm biased.

- Prince Mithras of London wants to kill and eat her annoying ass. Not in the sexy way 😩

God there's honestly so much more about her since I've been playing her since March of last year, but she is my Lady Lazarus, my Persephone self-insert, and my own romantic embodiment of the lure of death.

I have a pinterest board for her as well and a spotify playlist because I can't casually engage with anything I enjoy I have to be weird about it always 🤦‍♀️❤️

[annachum]

Christine Daae and her performing arts education

Christine was educated in professional performing arts growing up. First by her parents, then by her old performing arts school in Uppsala until her adoption in Paris, then her 10 years at the Paris Theatre Conservatory

Throughout her performing arts education, Christine learned music reading, playing the piano and cello, opera singing, theatre studying and rehearsing, and ballet, skills that can help her become an opera star in the future

Christine is at first somewhat shy in her new environment. But gradually, with some help from her loved ones in Paris, she began to make several new friends

[hostess-of-horror]

@minnesotamedic186 @mimizzin @darkmedolie @randomrabbidramblings @deezeyrabbidy @pastelprince18 @salamifuposey @bramble-scramble @sneklover

Okay, I need to get this on a full post because I've been completely baffled ever since The Last Spark Hunter DLC came out.

[Spoilers Below, just in case]

I made a couple reblogs about this, but I really wanted to express what I think is going to happen in the upcoming Rayman DLC, specifically with Phantom.

As of recently, Phantom has made somewhat of an appearance in The Last Spark Hunter as a giant plushie/inflatable object(?) with Beep-O emphasizing on how the Heroes will never, ever, ever see him again. Ever.

And, of course, a good majority of us believe that this is a BIG case of suspicious foreshadowing.

While I am on the side of "OMG PHANTOM'S COMING BACK!!!", that's not the only thing why I'm making this post. I'm making a post because Ubisoft has been making Phantom... weirdly similar to how I make Phantom to be. I'm not saying that Ubisoft is spying on me, but it is a very startling coincidence.

First, it was Madame Bwahstrella's mention of Phantom's infidelity in The Tower of Doooom DLC:

"You didn't need to be a psychic to predict the Phantom dumping Bea for one of her backup dancers, but would she listen?"

The above text is from the Super Mario Wiki and is available under a Creative Commons license. Attribution must be provided through a list of authors or a link back to the original article. Source: https://www.mariowiki.com/List_of_Mario_%2B_Rabbids_Sparks_of_Hope_quotes

---

Although my depiction of Phantom is far less adulterous, it still creates an undeniable similarity between the fanon and canon lore. Both Phantoms are devilish heartthrobs, delving deep into a romance the moment the opportunity has presented itself. I believe this also implies that canon Phantom has or had plenty of flings and relationships (all of which were not so great). When the Rayman DLC comes out later this year, I genuinely hope we get to see even a glimpse of Phantom being flirty or even "easter eggs" of previous love affairs and crushes.

Now, with The Last Spark Hunter out, it is revealed that Phantom wears eye makeup. While this may be a design choice for the Phantom Plushie, again it's another similarity. I chose to draw Phantom with eye makeup because I felt it was appropriate for an opera singer and overall thespian. Plus, I was heavily inspired by 80's traditional Goth makeup, specifically Siouxsie Sioux, as well as German Expressionist films like "The Cabinet of Dr. Caligari" and "Metropolis".

While we wait for the final DLC for Sparks of Hope, allow me to make even more predictions for Phantom's supposed arrival with my headcanons. Because I apparently have the power of Future Vision and I want to manifest some really cool shit. /j

Phantom lives underneath the theatre in Spooky Trails. This, obviously, is a reference to the original Phantom of the Opera. Considering that the Rayman DLC appears to be located within a hotel, perhaps Phantom will have some secret lair underneath for our Heroes to discover. As @minnesotamedic186 described it, maybe Phantom will "pull a Helen Gravely" and reveal himself as the host/owner of the hotel.

This one is very evident in my headcanons, but Phantom has a major crush on Princess Peach. Again, like the underground lair, it's another POTO reference and... honestly, how could I not ship these two? If there's going to be a moment within the DLC that confirms this, I like to think it would be like an unfinished song, a sketch, or maybe a small shrine dedicated to her. But it would be even better if Phantom has a mannequin dressed up as her (similarly to how the OG Phantom had one of Christine Daae). However, if it's revealed that Peach is not Phantom's crush, it better be Rabbid Peach or maybe a brand new character within the DLC.

Phantom studies magic in his spare time and, through his abilities, can (and has) created servants/assistants/company with it. Now, this headcanon is more in-depth, as it applies to his fused DNA as well as his emotional state. Since he's part Boo, powers such as invisibility and hypnosis come naturally to him. On top of that, the ability to possess objects into helpers plays into the idea that Phantom doesn't have much in terms of friends. The concept of him conjuring magic may be a far stretch in terms of canon lore, but maybe the DLC will present a scenario where Phantom gains or plans to gain a very strong source of power.

This one applies to the previous headcanon: Phantom has multiple powers, including hypnosis, invisibility, illusions, and fog transformation. His wide variety of powers references how the OG Phantom was a Renaissance man with a ton of skills under his belt, ranging from ventriloquist to composer. If Phantom makes his debut in the Rayman DLC, he needs to be cunning as well as almost invulnerable. He would make quite the formidable main villain, just like how Rabbid Kong was the main villain in the Donkey Kong DLC.

Another headcanon I have is that Phantom loves to dress up in costumes! I'm putting this out there because my man definitely deserves some drip - be it a brand-new suit, an opera cloak, or an elaborate costume for an upcoming performance. It would be so cool if Phantom has a Red Death costume for his final battle or even a picture of him wearing it.

[chorusgirls]

𝚂𝙷𝙴 𝙷𝙴𝚁𝚂𝙴𝙻𝙵 𝙸𝚂 𝙰 𝙷𝙰𝚄𝙽𝚃𝙴𝙳 𝙷𝙾𝚄𝚂𝙴. 𝚂𝙷𝙴 𝙳𝙾𝙴𝚂 𝙽𝙾𝚃 𝙿𝙾𝚂𝚂𝙴𝚂𝚂 𝙷𝙴𝚁𝚂𝙴𝙻𝙵; 𝙷𝙴𝚁 𝙰𝙽𝙲𝙴𝚂𝚃𝙾𝚁𝚂 𝚂𝙾𝙼𝙴𝚃𝙸𝙼𝙴𝚂 𝙲𝙾𝙼𝙴 𝙰𝙽𝙳 𝙿𝙴𝙴𝚁 𝙾𝚄𝚃 𝙾𝙵 𝚃𝙷𝙴 𝚆𝙸𝙽𝙳𝙾𝚆𝚂 𝙾𝙵 𝙷𝙴𝚁 𝙴𝚈𝙴𝚂.

…  BIRTH NAME   …  anna egorova.

…  NICKNAMES   …  anya. annushka.

…  AGE   …  twenty-eight.

…  GENDER  …  demi woman.

... PRONOUNS ... she / they.

…  SEXUALITY  …  tbd.

…  CIVILIAN OCCUPATION   …  soprano at the metropolitan opera house.

…  CRIMINAL ASSOCIATION   …  none.

…  NOTABLE ATTRIBUTES   …  a mass of dark curls. faint scar over the heart.

 …  CHARACTER INSPIRATIONS   …  christine daae ( phantom of the opera ). aurora ( babylon a.d. ). lady amalthea ( the last unicorn ). bluebeard ( folktale ). evey hammond ( v for vendetta ). ofelia ( pan's labyrinth ). the wives ( mad max ). snow white ( snow white and the seven dwarves ). cecile ( dangerous liaisons ). maisie lockwood ( jurassic world ). the ingenue, apocalypse maiden and messianic archetypes.

( + ) intuitive, warm, curious, loving, protective.

( - ) delicate, unconventional, gullible, inexperienced.

trigger warnings : death, isolation, emotional manipulation, medical experimentation, surgery.

it's a miscommunication that the greatest secrets hide in the dark ⸺ the glance of a shadow is merely coincidental. it's the glare of the sun that obscures with purpose. anna egorova, a name which means nothing to no one, is hidden in a clearing in a siberian taiga. when sunlight reflects off a fresh laying of now, it nearly obscures the manor sitting within it. if you should have happened upon it, the glint off pistols would render the memory blank.

the man who owns this home, like the men who own most the hidden objects (or presume to), is a man of both power and the violence that comes with it. to his excruciating grief, neither of these medals on his lapel is enough to save the one he loves most: his child.

rather than accept his loss, the man plays god: he uses teeth (pain) and tongue (power) to bring her back. various scientists are recruited to further studies already underway in another corner of the globe and consummate them. the process of cloning.

the anna that lives, the anna you see, has taken a great many incarnations. she is the final effort. the process, even after so long and so great a pressure, is not perfect. though anna is a perfect mimicry of their original self, the body is mired by faulty science. she has what presents as congenital heart issues, a health challenge that the original self did not face.

raised in the doomed, frozen fairytale of her siberian taiga. isolated, enchanted. she knows nothing but the ring of frost around her, the wolves she paces with at the edge of the forest. their various doctors are her only companions, save the occasional visit of her dear papa. she is raised according to both nature, in the sense of the wilds, and a stern sort of nurture: not enough to be the very mirror of a dead girl, she must be the heart and voice too. pushed towards the old habits of the original child, anna is extended only so many recreational hobbies. chief among them is opera. tutors attend to her training immaculately.

during this period, their heart issues culminate. a surgeon is brought on to instill a state of the art ( rather tony stark-esque ) pacemaker. fearful of the health changes, as a preventative measure, the data for successful cloning is placed within the device. should she be decommissioned or lose their life through natural means, one should only have to hold the ever-beating heart to bring her back.

in the process, an additional chip is added. one who believes there is no place safer for classified, coveted information than the sewn-up breast of a powerful man's creature-child. secret tbd.

eight months ago they are smuggled from siberia to new york, with anna's impression that this is a measure taken to reunite her with their father while bypassing immigration.

after several months of hiding in a hole-in-the-wall apartment, the final transition is made: anna is swept into a penthouse belonging to their father, and a long-time beloved diva of the metropolitan opera house is found mysteriously deceased.

their debut, when it is made, is a smashing success. ( to quote kate atkinson: she shone with the promise of a future, a future that would surely be better than the past. it sanctified her in the eyes of the audience. if they could have kept a piece of her — a finger bone, a lock of hair, even a pom-pom — they would have. ) the audience adores her, and anna is folded into the group of leads at the met. of course, have they not loved before? have they not ripped the hem of their idols and collected enough fabric to sleep under?

headcanons.

a polyglot, largely because there was little to do in the taiga but learn and rehearse.

no talent or hand for violence, but was brought up with various tricks of wilderness survival.

it has no baring whatsoever in the stark cement of new york, but anna was an exceptional equestrian ! horsegirl fr. their stallion was also likely one of the most indulgent gift ever given to her, given the barren landscape of the world

like bluebeard's wife, she was told at the estate not to go in a certain wing of the estate, nor test certain doors.had she disobeyed and found the stored research, perhaps she might have met the same fate

connections.

PARENT — ideally a father due to below connection filling in maternal energy. current ideas include the head of red eye, a long-term mayor of nyc / politician or ceo of…. Something Big. alternatively depending on timeline or desired connection, this could change to the original anna having been their sibling -- and with the time it took to "recreate" them, there was no recourse but to now name them as child

MOTHER GOTHEL — ideally femme. must be someone in power (though what kind is flexible!). through tbd plotting they believe anna has information that is useful to them. they just don’t know it’s not in her head but her mechanical heart :) she is likely going to be besotted w them

MERC — could be red eye or otherwise. the one who smuggled her across continents and into nyc. cue montage of challenging travel across europe to usa. has come to intuit some of the importance anna has, 

SCIENTIST — responsible for the developments that brought anna into creation. aware that all the previous imperfect clones got murked :) potential for them to have taken a real shine to anna 15.0 and hid her heart issues back in the early days so there would be no chance of them getting… put out in the cold. the one telling bluebeard’s wife not 2 look behind the doors yk. 

COUNT VRONSKY - to her kitty. a romance that begins/begun with daring promise, only to be interrupted by external circumstances ( a person or otherwise !! )

SURGEON / INVENTOR OF CYBERPACEMAKER — as described. idk some genius genius. dr strange but make it cyberpunk. got flown out to that cold ass mansion and recognizes the new girl on stage but can’t say shit or they’re merked.

SECRET — could be combined w scientist, surgeon, or even phantom potentially ?? the method to cloning is found in there, locked away (convenient should this clone fail n another needs to be made……) but ideas for outside secret/info include the identities & tracking details of red eye ops, formula to xyz serums, list of government agents, the location of a weapon believed to be destroyed. the idea is its something everyone would have reasons to want to claim or destroy. will likely run the secret choice by admins to ensure its okay even tho i dont imagine her heart will actually be ripped out in game, making it just a concept but <3 but who knows

PHANTOM — composer housed at the metropolitan opera house who has taken anna as a muse. yk the whole. dark and intense w horny and religious overtones . bonus points for association w red eye and/or if they the one to kill the previous opera diva.

HISTORY — anyone who knew the old anna (original name tbd) !!!! or recognizes her

[lattaeluvs]

Lottie Beaumont

(full bio under the cut )

Biographical Information

Full name: Charlotte Marie Beaumont

Nicknames: Lottie, little Lottie, Lotte

Birthdate: March 13th, 18xx

Deathdate: November 17th, 1970

Blood status: Halfblood

Nationality: British/Norwegian/French

Home: Brighton

Personality: Lottie is incredibly vivacious and mischievous, known for having a shit eating grin on her face most times during the day. She frequently enjoys messing with others, especially when it comes to telling stories about the muggle world. Lottie has a big heart, and she's capable of taking herself and others seriously. She's incredibly emotional. In short, she has an almost mercurial personality; both girlish and mature at the same time.

Physical Appearance

Hair: Brown with a reddish tint. Lottie keeps her hair in a short, wavy bob after a potions related incident. Initially long.

Eyes: Green doe eyes

Skin: Lottie is a little bit paler, with a scar across her nosebridge and freckles on her face.

Body: Lottie is thin and willowy, standing at 5’4. She has freckles all over her body and considers her hands to be one of her most defining features.

Hogwarts Information

House: Slytherin

Patronus: Fox

Wand: Cedar, Dragon Heartstring core, 10 1/4”, Brittle Flexibility

Best classes: DaDA, Potions

Worst classes: Divination, Herbology

Extracurriculars: Slytherin seeker, ran DaDA study club

Amortentia Scent: Vanilla, fresh lilies, dirt after the rain

History Born to Luciel and Runa Beaumont (nee. Årud) in Brighton, Lottie Beaumont is an only child. Her father was a pureblood wizard who had previously studied at Beauxbatons, now living in Brighton for a personal study of his own. Her mother, Runa, was a muggle girl on vacation to England after graduating from school. The pair engaged in some illicit activities and were forced to wed soon after. Runa was completely unaware of her now husband's status as a wizard.

Luciel, after being present in Lottie's life for a short time, ended up disappearing. His wherabouts are unknown, though Runa fully believes he went off to elope with his old sweetheart from school. Nevertheless, Runa raised Lottie in the estate he had left behind, however Runa raised her purely as a muggle. Runa went as far as destroying any evidence of Lottie being a witch, including destroying her Hogwarts letters. By the time Lottie was 14, however, it became increasingly difficult to hide from her own daughter that she was a witch, and unwillingly let her go to Hogwarts.

Trivia/Notes

I based Lottie heavily off of the poem "A Child's First Sorrow", and Christine Daae as a character. While Lottie herself doesn't have that sort of girlish, innocent personality, I wanted her to still have some hold on a childhood innocence when attending Hogwarts, only for it to be destroyed as the year goes on My entire story for her ends with her marriage to Sebastian, and a huge family down the line. In that family is my Hogwarts Mystery character: Cordelia Sallow, along with her siblings.. Cordelia is her great-great grandmother, and a pretty important person in her character arc. One of Lottie's great great grandchildren and Cordelia's older brother, Victor, inherits that sort of ancient magic that she has. She's overall still a HUUUGE WIP, but I'm very satisfied with her character as of right now