Pls Reblog If U Vote :)

Body Language: Eyes

So I stumbled across this really useful thing which I use for writing and wanted to share it with you all.

(source: changingminds.org)

The eyes are often called, with some justification, ‘the windows of the soul’ as they can send many different non-verbal signals. For reading body language this is quite useful as looking at people’s eyes are a normal part of communication (whilst gazing at other parts of the body can be seen as rather rude). When a person wears dark glasses, especially indoors, this prevents others from reading their eye signals. It is consequently rather disconcerting, which is why ‘gangsters’ and those seeking to appear powerful sometimes wear them.

Looking Up

When a person looks upwards they are often thinking. In particular they are probably making pictures in their head and thus may well be an indicator of a visual thinker.

When they are delivering a speech or presentation, looking up may be their recalling their prepared words.

Looking upwards and to the left can indicate recalling a memory. Looking upwards and the right can indicate imaginative construction of a picture (which can hence betray a liar). Be careful with this: sometimes the directions are reversed — if in doubt, test the person by asking them to recall known facts or imagine something.

Looking up may also be a signal of boredom as the person examines the surroundings in search of something more interesting.

Head lowered and eyes looking back up at the other person is a coy and suggestive action as it combines the head down of submission with eye contact of attraction. It can also be judgemental, especially when combined with a frown.

Looking Down

Looking at a person can be an act of power and domination. Looking down involves not looking at the other person, which hence may be a sign of submission (‘I am not a threat, really; please do not hurt me. You are so glorious I would be dazzled if I looked at you.’)

Looking down can thus be a signal of submission. It can also indicate that the person is feeling guilty.

A notable way that a lower person looks down at a higher person is by tilting their head back. Even taller people may do this.

Looking down and to the left can indicate that they are talking to themselves (look for slight movement of the lips). Looking down and to the right can indicate that they are attending to internal emotions.

In many cultures where eye contact is a rude or dominant signal, people will look down when talking with others in order to show respect.

Looking Sideways

Much of our field of vision is in the horizontal plane, so when a person looks sideways, they are either looking away from what is in front of them or looking towards something that has taken their interest.

A quick glance sideways can just be checking the source of a distraction to assess for threat or interest. It can also be done to show irritation (‘I didn’t appreciate that comment!’).

Looking to the left can indicate a person recalling a sound. Looking to the right can indicate that they are imagining the sound. As with visual and other movements, this can be reversed and may need checking against known truth and fabrication.

Lateral movement

Eyes moving from side-to-side can indicate shiftiness and lying, as if the person is looking for an escape route in case they are found out.

Lateral movement can also happen when the person is being conspiratorial, as if they are checking that nobody else is listening.

Eyes may also move back and forth sideways (and sometimes up and down) when the person is visualizing a big picture and is literally looking it over.

Gazing

Looking at something shows an interest in it, whether it is a painting, a table or a person. When you look at something, then others who look at your eyes will feel compelled to follow your gaze to see what you are looking at. This is a remarkable skill as we are able to follow a gaze very accurately.

When looking at a person normally, the gaze is usually at eye level or above (see eye contact, below). The gaze can also be a defocused looking at the general person.

Looking at a person’s mouth can indicate that you would like to kiss them. Looking at sexual regions indicates a desire to have sexual relations with them.

Looking up and down at a whole person is usually sizing them up, either as a potential threat or as a sexual partner (notice where the gaze lingers). This can be quite insulting and hence indicate a position of presumed dominance, as the person effectively says ‘I am more powerful than you, your feelings are unimportant to me and you will submit to my gaze’.

Looking at their forehead or not at them indicates disinterest. This may also be shown by defocused eyes where the person is ‘inside their head’ thinking about other things.

The power gaze is a short but intense gaze that is used to impose one’s will on another, showing power without aggression.

It is difficult to conceal a gaze as we are particularly adept at identifying exactly where other people are looking. This is one reason why we have larger eye whites than animals, as it aids complex communication.

People who are lying may look away more often as they feel guilty when looking at others. However, when they know this, they may over-compensate by looking at you for longer than usual. This also helps them watch your body language for signs of detection.

The acceptable duration of a gaze varies with culture and sometimes even a slight glance is unacceptable, such as between genders or by a lower status person.

Non-visual gaze patterns (NVGPs) involve rapid movements (saccades) and fixations while we are ‘inside our heads’, thinking. Rapid movements happen more when we are accessing long-term memory and fixations more when we are accessing working memory. This is useful to detect whether people are thinking about older events or recent events (or old events that are already brought to working memory).

Glancing

Glancing at something can betray a desire for that thing, for example glancing at the door can indicate a desire to leave.

Glancing at a person can indicate a desire to talk with them. It can also indicate a concern for that person’s feeling when something is said that might upset them.

Glancing may indicate a desire to gaze at something or someone where it is forbidden to look for a prolonged period.

Glancing sideways at a person with raised eyebrows can be a sign of attraction. Without the raised eyebrow it is more likely to be disapproval.

Eye Contact

Eye contact between two people is a powerful act of communication and may show interest, affection or dominance.

Doe Eyes

A softening of the eyes, with relaxing of muscles around the eye and a slight defocusing as the person tries to take in the whole person is sometimes called doe eyes, as it often indicates sexual desire, particularly if the gaze is prolonged and the pupils are dilated (see below). The eyes may also appear shiny.

Making Eye Contact

Looking at a person acknowledges them and shows that you are interested in them, particularly if you look in their eyes.

Looking at a person’s eyes also lets you know where they are looking. We are amazingly good at detecting what they are looking at and can detect even a brief glance at parts of our body, for example.

If a person says something when you are looking away and then you make eye contact, then this indicates they have grabbed your attention.

Breaking eye contact

Prolonged eye contact can be threatening, so in conversation we frequently look away and back again.

Breaking eye contact can indicate that something that has just been said that makes the person not want to sustain eye contact, for example that they are insulted, they have been found out, they feel threatened, etc. This can also happen when the person thinks something that causes the same internal discomfort. Of course, a break in eye contact can also be caused by something as simple as dried out contacts or any new stimulus in one’s immediate area, so it’s important to watch for other signals.

Looking at a person, breaking eye contact and then looking immediately back at them is a classic flirting action, particularly with the head held coyly low in suggested submission.

Long eye contact

Eye contact longer than normal can have several different meanings.

Eye contact often increases significantly when we are listening, and especially when we are paying close attention to what the other person is saying. Less eye contact is used when talking, particularly by people who are visual thinkers as they stare into the distance or upwards as they ‘see’ what they are talking about.

We also look more at people we like and like people who look at us more. When done with doe eyes and smiles, it is a sign of attraction. Lovers will stare into each others eyes for a long period. Attraction is also indicated by looking back and forth between the two eyes, as if we are desperately trying to determine if they are interested in us too.

An attraction signal that is more commonly used by women is to hold the other person’s gaze for about three seconds, Then look down for a second or two and then look back up again (to see if they have taken the bait). If the other person is still looking at them, they are rewarded with a coy smile or a slight widening of the eyes (‘Yes, this message is for you!’).

When done without blinking, contracted pupils and an immobile face, this can indicate domination, aggression and use of power. In such circumstances a staring competition can ensue, with the first person to look away admitting defeat.

Prolonged eye contact can be disconcerting. A trick to reduce stress from this is to look at the bridge of their nose. They will think you are still looking in their eyes.

Sometimes liars, knowing that low eye contact is a sign of lying, will over-compensate and look at you for a longer than usual period. Often this is done without blinking as they force themselves into this act. They may smile with the mouth, but not with the eyes as this is more difficult.

Limited eye contact

When a person makes very little eye contact, they may be feeling insecure. They may also be lying and not want to be detected.

In persuasion

Eye contact is very important for persuasion. If you look at the other person and they do not look back at you, then their attention is likely elsewhere. Even if they hear you, the lack of eye contact reduces the personal connection.

If you want to persuade or change minds, then the first step is to gain eye contact and then sustain it with regular reconnection.

Staring

Staring is generally done with eyes wider than usual, prolonged attention to something and with reduced blinking. It generally indicates particular interest in something or someone.

Staring at a person can indicate shock and disbelief, particularly after hearing unexpected news.

When the eyes are defocused, the person’s attention may be inside their head and what they are staring at may be of no significance. (Without care, this can become quite embarrassing for them).

Prolonged eye contact can be aggressive, affectionate or deceptive and is discussed further above. Staring at another’s eyes is usually more associated with aggressive action.

A short stare, with eyes wide open and then back to normal indicates surprise. The correction back to normal implies that the person would like to stare more, but knows it is impolite (this may be accompanied with some apologetic text).

When a person stares at another, then the second person may be embarrassed and look away. If they decide to stare back, then the people ‘lock eyes’ and this may become a competition with the loser being the person who looks away first.

The length of an acceptable stare varies across cultures, as does who is allowed to stare, and at what. Babies and young children stare more, until they have learned the cultural rules.

Following

The eyes will naturally follow movement of any kind. If the person is looking at something of interest then they will naturally keep looking at this. They also follow neutral or feared things in case the movement turns into a threat.

This is used when sales people move something like a pen or finger up and down, guiding where the customer looks, including to eye contact and to parts of the product being sold.

Squinting

Narrowing of a person’s eyes can indicate evaluation, perhaps considering that something told to them is not true (or at least not fully so).

Squinting can also indicate uncertainty (‘I cannot quite see what is meant here.’)

Narrowing eyes has a similar effect to constricted pupils in creating a greater depth of field so you can see more detail. This is used by animals when determining distance to their prey and can have a similar aggressive purpose.

Squinting can be used by liars who do not want the other person to detect their deception.

When a person thinks about something and does not want to look at the internal image, they may involuntarily squint.

Squinting can also happen when lights or the sun are bright.

Lowering of eyelids is not really a squint but can have a similar meaning. It can also indicate tiredness.

Lowering eyelids whilst still looking at the other person can be a part of a romantic and suggestive cluster, and may be accompanied with tossing back the head and slightly puckering the lips in a kiss.

Blinking

Blinking is a neat natural process whereby the eyelids wipe the eyes clean, much as a windscreen wiper on a car.

Blink rate tends to increase when people are thinking more or are feeling stressed. This can be an indication of lying as the liar has to keep thinking about what they are saying. Realizing this, they may also force their eyes open and appear to stare.

Blinking can also indicate rapport, and people who are connected may blink at the same rate. Someone who is listening carefully to you is more likely to blink when you pause (keeping eyes open to watch everything you say).

Beyond natural random blinking, a single blink can signal surprise that the person does not quite believe what they see (‘I’ll wipe my eyes clean to better see’).

Rapid blinking blocks vision and can be an arrogant signal, saying ‘I am so important, I do not need to see you’.

Rapid blinking also flutters the eyelashes and can be a coy romantic invitation.

Reduced blinking increases the power of a stare, whether it is romantic or dominant in purpose.

Winking

Closing one eye in a wink is a deliberate gesture that often suggests conspiratorial (‘You and I both understand, though others do not’).

Winking can also be a slightly suggestive greeting and is reminiscent of a small wave of the hand (‘Hello there, gorgeous!’).

Closing

Closing the eyes shuts out the world. This can mean ‘I do not want to see what is in front of me, it is so terrible’.

Sometimes when people are talking they close their eyes. This is an equivalent to turning away so eye contact can be avoided and any implied request for the other person to speak is effectively ignored.

Visual thinkers may also close their eyes, sometimes when talking, so they can better see the internal images without external distraction.

Damp

The tear ducts provide moisture to the eyes, both for washing them and for tears.

Damp eyes can be suppressed weeping, indicating anxiety, fear or sadness. It can also indicate that the person has been crying recently.

Dampness can also occur when the person is tired (this may be accompanied by redness of the eyes.

Tears

Actual tears that roll down the cheeks are often a symptom of extreme fear or sadness, although paradoxically you can also weep tears of joy.

Weeping can be silent, with little expression other than the tears (indicating a certain amount of control). It also typically involves screwing up of the face and, when emotions are extreme, can be accompanied by uncontrollable, convulsive sobs.

Men in many culture are not expected to cry and learn to suppress this response, not even being able to cry when alone. Even if their eyes feel damp they may turn away.

Tears and sadness may be transformed into anger, which may be direct at whoever is available.

Pupil Size

A subtle signal that is sometimes detected only subconsciously and is seldom realized by the sender is where the pupil gets larger (dilates) or contracts.

Sexual desire is a common cause of pupil dilation, and is sometimes called ‘doe eyes’ or ‘bedroom eyes’ (magazine pictures sometimes have deliberately doctored eyes to make a model look more attractive). When another person’s eyes dilate we may be attracted further to them and our eyes dilate in return. Likewise, when their pupils are small, ours may well contract also.

A fundamental cause of eye dilation is cognitive effort. When we are thinking more, our eyes dilate. This helps explain ‘doe eyes’ as when we like others people, looking at them leads to significant thinking about how we may gain and sustain their attention.

Pupils dilate also when it is darker to let in more light. Perhaps this is why clubs, bars, restaurants and other romantic venues are so dingy.

People with dark irises (the colored circle around the pupil) can look attractive because it is difficult to distinguish the iris from the pupil, with the effect is that their dark pupils look larger than they are. People with light irises make the pupils easier to see, so when their pupils actually do dilate then the signal is clearer to detect, making them more attractive ‘at the right time’.

The reverse of this is that pupils contract when we do not like the other person, perhaps in an echo of squint-like narrowing of the eyes. People with small pupils can hence appear threatening or just unpleasant.

Rubbing

When a person is feeling uncomfortable, the eyes may water a little. To cover this and try to restore an appropriate dryness, they person may rub their eye and maybe even feign tiredness or having something in the eye. This also gives the opportunity to turn the head away.

The rubbing may be with one finger, with a finger and thumb (for two eyes) or with both hands. The more the coverage, the more the person is trying to hide behind the hands.

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If you're fifteen or older an still sleep with a stuffed animal please reblog this.

Your impact on other people is bigger than you think. Someone still giggles when they think of that funny thing you said. Someone still smiles when they think of the compliment you gave them. Someone silently admires you. The advice you gave has made a difference for people. The support and love you've offered others has made someone's day. Your input and opinions have made someone think twice. You are not insignificant and forgotten. Your existence makes a positive difference, whether you see it or not.

THE ADVISOR'S GAME ;

[DEMO]

You are an assassin, a professional, a contract killer. The pay is good, and your clientele are more than happy to keep your identity well under wraps. You take whatever work comes your way, and you don't ask questions.

Until.

An anonymous job offer. An envelope with cash, an image of your target with surprisingly crisp quality, and a non-descript note, left on the doorstep of your home.

'Kill the eldest royal for the other half of your pay.'

That's how you ended up here. Undercover in the royal palace. As the newly appointed royal advisor.

---

Are you a bloodthirsty killer, or do you kill out of pure necessity? Do you want to fish around for your mysterious employer, or do you want to live in blissful ignorance?

Make or break alliances, and maybe (reluctantly) fall for someone, as you navigate the intricacies of royal life, all while trying to figure out exactly why you were sent on such a risky job (and by who).

Do try not to get fired, and good luck. ★

"The Advisor's Game" is an 18+ (for mentions of death/violence, non-descript gore, etc.) mystery-romance, with 5 (subject to change) gender-selectable romance options, as well as cast of characters to befriend or antagonise.

[note; one RO will be gender-locked non-binary, however all ROs will be romanceable by any gender of MC]

[more under the cut]

ROMANCE OPTIONS;

[AGES]

A. Bellefleur ; Aleron - Alize / the crown royal (your target) / m/f

The (supposedly) well-loved eldest child to the reigning monarchs, they appear in public regularly and often participate in council meetings— clearly someone takes issue with this...probably.

A. has lightly freckled ivory skin and grey-blue eyes, in similar fashion to their siblings. Their hair is a dark-ish auburn and messily cut to the top of their ears (fem A. has it similarly messy, however it falls to their chin in choppy waves)

[neutral to friends (to lovers) ; neutral to disliked ; neutral to respected] ★

K. Valiev ; Kostya - Katja / the head guard / m/f

An odd figure, unassuming, almost strangely approachable. They are quiet, and kind, and always smiling...so why do the older guards seem terrified of them?

K. is an olive skinned individual with a small scar running up over the right side of the jaw, and their eyes are dark brown. Their hair is a chestnut brown and is kept in tight curls, though they occasionally braid them (when they have time).

[friends to lovers ; neutral to friends (to lovers) ; friends/neutral to disliked] ★

A. Caras ; Altair - Arali / the royal physician / m/f

Their bedside manner leaves much to be desired, they are no nonsense to the point of being borderline rude, yet the whole palace sings their praise as though they are an angel (you don't see it, personally, but maybe you will eventually).

A. is an individual with vitiligo, leaving patches of their naturally sienna skin instead a pale ivory, as well as whitening some strands of their fringe. Their eyes are a bright green, and their honey blond curls are kept short (fem A. has longer curls, around chest length, that she keeps up in a ponytail for work).

[neutral to respected ; neutral to disliked ; neutral to friends (to lovers)] ★

T. Bellefleur ; Talbot - Tallis / the middle royal / m/f

The younger, but not youngest, sibling to the crown royal. They don't like you much (then again they don't like many people much), but you're not sure about that knowing glint in their eye when you interact— what do they see in you?

T. has heavily freckled beige skin and almost eerily pale blue eyes. Their hair is a fiery auburn and cut into a messy undercut (fem T. has shoulder length hair, covering an undercut at the back).

[enemies? to friends (to lovers) ; enemies? to respected] ★

M. Serrel ; Marin / your fellow assassin / nb

You had to do a double-take when you saw them, and so did they, it seemed someone wanted you two in the palace at the same time...but why?

Marin is a sienna skinned individual, with hazel eyes (on the greener side) and almost black-brown hair. Their hair just brushes their shoulders in length and falls in soft waves, though they quite often have it pulled into a half up bun/ponytail.

[rivals to friends (to lovers) ; friends (to lovers) ; friends to rivals ; friends to friends with benefits (to lovers)] ★

NOTE; for all romances MC must befriend the RO of their choice first, otherwise they won't consider anything beyond some light flirting. Additionally, in the case of A. Caras and T. Bellefleur, the romances will be slower burn (especially Caras).

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DEMO ☯︎ FAQ ☮︎ DIRECTORY ♪

Nate Nicks has disappeared.

Why should you care? Do you?

You probably should, considering he's the face and host of your extremely popular radio show and you've just landed one of the biggest contracts of your careers.

You are a sound tech engineer and a damn good one at that, while Nate was the face you were the sound, usually your work is strictly behind the scenes, except for the odd occasion when you were needed on air. So when Nate goes missing and you're tasked with filling in his shoes you're practically thrown in at the deep end.

It only gets worse after a missing persons case becomes a murder case and the cast and crew of Radio Kathryn and FloNote Ent become the suspect pool...

RADIO KATHRYN is rated 18+ for explicit language, explicit sexual scenes and references, themes of death and blood, use of alcohol and drugs, physical abuse and violence. please check trigger warnings.

The setting of the 70s is purely for aesthetic and technology. Don't expect era—accurate racism or homophobia as it won't be included in this IF.

FEATURES ☯︎ [ Trigger Warnings ]

fully customise your MC! name, gender&pronouns (M/F/NB), appearance, personality

decide your on air persona──can you hack it in the limelight or will you crack under the pressure?

build your relations──do you get along with your fellow teammates? how about your fanbase? or your company?

+your radio teams backstory──how the four of you (Nate, José, Mica and yourself) got along, created the pirated radio show, how you got signed into legality, how everything went to shit... or not?

romance someone (or not)──featuring eight solo routes and two poly routes OR just enjoy the mystery and figure out a murder!

chose paths that affect the game──your choices matter, and the ending you may or may not get is dependent on them.

decide which kathryn is your mother──and your relationship with her. (Catherine, Kate, Cathy, Katherine or Rynnie)

CHARACTER BREAKDOWN ☮︎ [ RO Intros ]

The Man, The Myth, The Legend. [???]

“Nate Nicks” Nathan Nicholson──he/him. 28. Radio Kathryn's host and front man, adored by thousands. Complete arsehole but somehow it makes him endearing to others. Cocky son of a bitch that let fame get to his head... or is he? Nevertheless, he's missing now and you may have something to do with it.

think a mix between gauge burek and chris veres in druck (2019)

The Benefactor.

“Mr Robinson” Lionel Robinson──he/him. 42. The man who funded your radio show, the one who got you to where you are. Kind, calm and considerate, especially with Nate. But every one has a line to cross at some point and Mr Robinson is not someone to get angry.

think chad michael murray in sullivan's crossing (2023)

The Fiancé. [RO]

“Eva Vidal” Evangeline Vidal──she/her. 25. The woman who's been there from the beginning, your first listener, your first fan. You used to be closer but Nate sunk his teeth in her and pulled her away. You watched her steadily lose her glow and for someone engaged she seems quite jaded at the news of her missing fiancé.

think penélope cruz in vanilla sky (2001) or vicky christina barcelona (2008)

The Best Friend. [RO]

“Mica Hollens” Michael/a Hollens──he/him, she/her. your age (24─28). Your voice of reason in the chaos of life and Radio Kathryn's manager. Your support system and rock, even if they are a bit quick to jump the bullet in your honour. Mica has strong opinions and Nate has never been in their good books, but surely they wouldn't do anything to jeopardise your job.

think tanaya beatty in through black spruce (2018) or alex meraz in mine games (2012)

The Detective. [RO]

“Detective Han” Han Jimin──he/him or she/her. 30. The detective assigned to Nate's missing persons case. They are meticulous and goal oriented and their current goal is figuring you and your work family out. The more you resist the more they're intrigued and the more you help the more you unravel them.

think lee soohyuk in tomorrow (2022) or lee siyoung in sweet home (2020)

The Rival DJ. [RO]

“José Danger” Jose/phine Jeager──she/her or they/them. 26. Nate calls them the traitor─the defector. They used to be part of your team, a co-host with Nate in your beginning days. The two of them worked like magic until Nate was in demand more and José was kicked to the curb. You wonder if the festering grudge they left with is still there... and if it still extends to you.

think zazie beetz in deadpool 2 (2018) or wounds (2019)

The "Hater". [RO]

“Ji Han” Han Ji Young──he/him. 23. The younger brother of Detective Han. Ji Han is not a fan of Nathaniel Nicholson but he is a fan of the songs he plays─or rather the ones you play when he's absent. He's taken the utmost interest in his siblings case, suspiciously enough to become entangled in it more than anticipated.

think a mix of choi san (2022-23) and lee dohyun in 18 again (2020) or the glory (2022)

The "Fan". [RO]

“Fauve” Faye─Mauve Langham──she/her. 25. Fauve is a bit of a groupie, she can admit. She's not totally obsessed with Radio Kathryn, she reasons, she's just invested in the show and even more so in the people behind it. Fauve become more involved in the case of Nate Nicks than she's wanted, leaving you to wonder just what it is that keeps her going─even to the edge of insanity.

think a mix of imogen poots in need for speed (2014) and hayden panettiere in nashville (2012-18)

The Family Man. [RO]

“Mr Lewis” Jackson Lewis──he/him. 33. The night shift receptionist-slash-building coordinator. He usually brings his daughter to sit in on show recordings, seeing as she's got a bit of a crush on Nate─he's a no-bullshit kind of man but his soft spot is his daughter's puppy dog eyes. He just so happens to be the last person to see Nate before he disappeared and you can't help but get the feeling he's not being truthful in his statement about it.

think brian tyree henry in eternals (2021) or atlanta (2016-22)

The Question Mark. [???]

"Who?" ??? ???──unknown.

it'll be revealed later!

©️ bonnie berry 2023────@moretinyideas

──the polymances are between eva and ??? (eva???) as well as fauve and ji han (fauhan)!

──this is totally inspired by episode 2.8 of sister boniface "dead air" but other than the idea of a radio show called Radio Catherine there are no other similarities!

---

How to spot signs and symptoms of Breast Cancer 

Greek Goddesses of Moon and Night

---

When cats yawns they look terrifying, I love it.

Next in Line (IF) - Updated Aug 2023

Demo (August 3, 2023) | Discord | Ask Me Anything | Tag List | Kofi | Patreon | TAGS TO BLOCK - TW

Demo Updated: August 3, 2023 (Chapter 2, Part 1)

You're next in line for the throne of Castelon, a fictional country loosely based on different periods of history, such as Ancient Greece, Ancient Rome, and periods of England.

A 10-year war with your country's main adversary, Arandale, recently ended. Then your father, King Percival was assassinated. After his assassination, your twin, Prince James abdicated. Return home after 5 years and decide what kind of Harbinger you will be.

Prepare to step into a story of betrayal, love, and trust. Can you navigate your royal duties, solve your father's murder, and find love (or friendship) at the same time? Or, will the Gods withdraw their blessings from you?

Demo features:

Play as male, female, non-binary;

Prologue, Chapter 1, Chapter 2 Part 1;

Shape your MC's future and some of their past.

Pursue romance and/or friendship with 4 different characters.

Choose 1 of 3 Family Mottos.

Get a taste of "Attributes", which will unlock choices throughout the game. More Attributes will be available in the coming chapters.

Choose a patron god or goddess (optional).

Choose a pet (who you'll meet in chapter 2).

The final game will be rated Mature. The current version is rated 16+. Please note all of the below content is not in the demo but planned for the finished game. NSFW asks are tagged #nsfw so please block if applicable!

CW: suggestive language, references to war and the effects of war, death, references to death, exploration of grief, curse / swear words, possible violence, optional sexual content.

Next in Line features four romance options. View more characters + RO's ArtBreeder images by clicking here.

Sir Constantine Dimas | M, 26 years old, Taurus, #constantine dimas

Constantine is the best friend of your twin brother, James, and a Knight in Castelon's Elite Guard. He is fiercely loyal to your family and fought alongside James in the Arandale War. Like you, he finds amusement in teasing your brother.

"You're not too different from your twin, both reckless royals, so you probably need someone to care for you."

F. Faramund | M or F, 22 years old, Aquarius, #f faramund

Whether F was your first love or your ex-best friend, they broke your trust and disappeared. Now, they're back and seemingly apologetic. Bury the hatchet, rekindle your former relationship, or walk a different path altogether.

"The stars guided me back to you and I will stay as long as you allow."

Felix Faramund | M, 24 years old, Aries, #felix faramund

Felix is F.'s older brother and was someone you once considered a friend. Like, F., he's returned to Castelon. Unlike F., he can be quick to anger and he's not afraid to speak his mind. He can read the room, he just doesn't care. You can romance Felix, even if you loved F.

"Just know, I'll fight for what I want."

Lady Margaret | F, 22 years old, Gemini, #lady margaret

The mysterious Lady Margaret is a noble businesswoman who enjoys observing from the shadows. She's close to your mother, Queen Vivian. Although she is slow to trust others, those who earn her trust will find themselves in the company of a powerful and loyal ally.

"I can think of many ways to consume your time."

---

DEATH LOOKS GOOD ON YOU.

It was the summer of 2006 when you found Jules Hawkins by the lake.

Technically, not you. The police did. You read the newspaper. But it didn't look like Jules Hawkins.

After all, how could it? Jules Hawkins was a god. And as you know, gods like Jules are unbreakable. If you knew anyone death couldn't touch, it was Jules.

And yet, somehow it felt like you had never seen Jules look more like them than they did, that day, dead by the lake. Plump cherry lips, now parched and blue, knees purple and bruised, golden hair sticking to their forehead, exquisite clothes matted and muddied, skin, ghostly pale.

Even in death, even as Jules became a child of soil and dirt and ruin, Jules managed to look like art. How could this creature of beauty be anyone else but Jules Hawkins?

SUMMARY.

The life, the death, the recounting of Jules Hawkins. The life, the death, the rebirth of their murderer.

A string of murders follow the passing of Jules Hawkins and in the desperation of avoiding being tangled in the web of this cold blooded murderer, you end up right in the thick of it when you find out the killer may have set their eyes on you next.

Of course, you ended up in the killer's radar. You had always been a child of misfortune, after all.

FEATURES.

• Customise your mc. Choose your appearance. Play as male, female, non-binary or trans; straight, gay or bisexual etc.

• Choose your major; psychology, criminology, forensic sciences or computer science.

• Play as an emotionally scarred individual. Escape the hell you call your mind, alone or with the help of allies. Or succumb to the voices.

• Find your predator before your predator finds you. Or keep running. How far will you run? Do you even want to run?

• Befriend, antagonize, manipulate or romance fellow residents of Ravenwoods.

• The lake calls out to you. Will you listen?

ROMANTIC OPTIONS.

JULIET/JULIAN "JULES" HAWKINS. [he/him or she/her]

You knew Jules in the way you wish you never did. Jules is embedded into your very bones. Jules is a part of you. You wish you could escape them.

Jules may be no more for the world but they are alive and breathing in your haywire brain and they are not very kind. Not that they ever were. But the Jules that haunts you, plagues you like a disease is ruthless with their words in a way the old Jules could never be. Not to you.

Description : Pale skin. Rosy tint to cheeks. High cheekbones. f!Long wheatish blonde curly hair. m!curly wheatish blonde hair in a mod cut. Almond shaped brown eyes. Arched eyebrows. Long, thick lashes. Cupid's bow, plump lips. f!willowy frame. 5'11. m!broad back, narrow waist, long legs. 6'2.

CHOI WARREN. [he/him]

There are few you consider friend and Warren is one of them, alongside Sujin. He is revolution in a glass jar. A little rough around the edges, with bullet holes in his paper heart. Lately, the air becomes laced with awkwardness when its just the two of you around. You wish you weren't fairly perceptive. Perhaps that could have made you oblivious to the way Warren's adams apple bobs and his throat tightens when you are around, the way his fists clench when his tongue slips or the way he glances at you thinking you didn't notice.

Description : Sharp jaw. Medium complexion. Monolid chocolate brown eyes. Straight eyebrows. Thin pinkish lips. 5'10. Athletic figure. Short dyed dark red hair.

JESSICA HAWKINS. [she/her]

Jules' twin. You never bothered to acquaint yourself with her. She had always seemed too saintly and your mother had taught you well to stay away from that kind. Those who hide their tainted souls behind rosemary lies, platinum smiles and bright eyes stitched from sunshine. Beware of them, your mother had told you. But is that what she truly is doing? Spinning honeyed tales from saccharine lips?

You would never know. Unless you choose to. If it helps, Jules lips always quirked upwards and the crease in their brows mellowed whenever her name rolled off their tongue.

Description : Kind almond shaped brown eyes. Long, thick lashes. Wide cherry lips. Arched eyebrows. High cheekbones. Straight blonde hair, reaching her back. Pale skin. Willowy frame. 5'10.

DYLAN JEANE. [he/him]

Jules' boyfriend, Dylan. Well, ex boyfriend now. He seems to harbour a deep dislike for you. No matter how hard he denies it— the slight tensing of the muscles in his jaw always give it away.

You had always been curious about him. Jules and him were an odd pair. How could Dylan be what Jules desired? They were polar opposites. Jules was tidal waves and traditional typhoons. He is ruddy sunsets and roseate dawns. He is habit, he is routine, he is rigid, he is never changing. A sad strange kind of tragedy. Jules was anything but that. Jules was everything at once. Jules was never the same. Jules was uneven. Jules was hurricanes and tsunamis.

There is a natural downwards turn to his lips, his shoulders always a little hunched as if the burdens of life have dripped down from the ceiling and chosen to settle like dust upon his shoulders. You wonder what weighs him down so terribly. He talks as if every breath he takes from his lungs rattles him to the core. Perhaps it does. He seems to have taken Jules' death as hard as you, if not worse.

Description : Short slicked back midnight black hair. Heavy lidded hazel eyes. Slender built. Wears round glasses occassionally. Angular face. Sharp lips. Upwards eyebrows. Fair skin. 6'1.

AIDEN HAMILTON. [he/him]

The second child of the sleazy mayor. Boy of many faces. You don't trust him one ounce. For good reasons. It irks you to watch his eyes glimmer as if you are a specimen that intrigues him. You don't trust the myriad of unhealthy secrets he hides behind his charming gaze, the sly smile that tugs off the corner of his lips or the disarming lilt of voice as his salty tongue rolls off silken threads of honeysuckle lies frictionlessly. It comes to him as naturally as breathing. The impurity of his father's gold taints him, it runs in his veins and he embraces it willfully.

He is hiding skeletons in his closets and everybody knows that. What it is however, is a different story.

Will he let you in on a secret?

Description : Unruly brown wavy hair, in a middle part. Luscious lips, heavy lower lip. S-shaped eyebrows, with a small scar on the right one. Sea green hooded eyes. Tanned complexion. V-shaped jaw. Toned build. 6'4.

HEATHER HAMILTON. [she/her]

Eldest child of the mayor. You are not particularly friends but she is not a bad company to have around either. You like her. You have met in passing and she always has a quick smile reserved for you. You know she is a dreamer with a pomegranate heart. She has also somehow inherited her mother's love of parties. Hers tend to be a little more wild and carefree, though. Just like her.

Uncharacteristically, she is also fond of painting. Will you be her muse?

Description : Straight brown hair in a bob cut. Sea green hooded eyes. Heart shaped lips. Soft arch eyebrows. Skinny frame. Tanned complexion. Dimples on both cheeks. 5'10.

MIA MORGAN. [she/her]

Mia Morgan is the kind of girl who will rip your heart out, eat it raw and call it love. With midnight eyes of catlike grace that could rival any godforsaken abyss and lips richer and darker than the blood running in your veins, she's the kind of girl that would skin you alive and chew on your fickle heart but then kiss your eyelids and tell you 'good night, baby' and you would like a lovesick dog spiral back to her, yearning for more.

Why? Because you are a fool? No. Because she was Mia Morgan and Mia Morgan was born for seduction and playing with the strings of childish hearts. A holy ruination. Destruction in its most, enchanting, enrapturing form.

Will you let her destroy you?

Description : Wispy bangs, short hush cut, black hair. Dark cat eyes. Beauty mark on upper lip. Crimson pouty lips. Fair complexion. Curvaceous figure. 5'6.

OTHER NOTABLE CHARACTERS.

KIM SUJIN. [she/her]

She considers you a close friend, sharing every secret with you.

Description : Bronze skin, wide set brown eyes with gold flecks, button nose, freckles, curtain bangs, medium length chestnut brown hair. 5'3.

ARTHUR MORRIS. [he/him]

Aiden's friend. He's an asshole.

Description : Mahogany complexion, hollowed cheeks, has a stubble, ebony eyes, buzzcut, brawny. 6'1.

PARIS HILL. [he/him]

Local heartthrob. He looks handsome till he opens his mouth.

Description : Sunkissed complexion, wide lips, honey brown eyes, blonde hair in a fringe. Buff arms and broad back. Has an unhealthy obsession with shades. 5'10.

AUNT AUBURN MACKENZIE. [she/her]

She loves you dearly. There is nothing she wouldn't do for you.

Description : Brown hair, generally tied in a loose bun. Wrinkles near eyes and smiling lines around her mouth. Thin lips. Stout and a little hunched frame. Sickly pale complexion. 5'1.

MOTHER. [she/her]

A woman with a twisted understanding of love. You haven't seen her in years and while you may have forgotten her face, her voice still rings crystal clear in your mind, like an old cassette on repeat.

FATHER. [he/him]

A man you knew but never quite understood. It is his face that stares back at you everytime you look in the mirror.

MAYOR JOHN HAMILTON. [he/him]

The mayor of Ravenwoods. It would serve you well to have him as an ally. Having strong connections has always proved to be useful.

Description : Beige skin. Hooked nose. Bushy brows. Short hair, close cropped. Smooth blonde hair. Plump frame. 5'8.

MEERA CHAUHAN HAMILTON. [she/her]

Wife of the mayor. She may be a little snobby but she means well. Most of the times. After all, who isn't a little selfish?

Description : Tanned complexion. Almond brown gold eyes. Brown hair wavy reaching her mid back. Slender frame. 5'10.

LAWRENCE HAWKINS. [he/him]

Father of the Hawkins siblings. You would rather not get involved with him.

Description : Pale skin. Blonde slicked back hair. Blue eyes. High cheek bones. Sharp jaw. Wears frameless rectangular glasses. 5'11.

AURORA HAWKINS. [she/her]

Mother of the Hawkins siblings. You would rather not get involved with her.

Description : Blonde hair, generally tied in a tight bun. Pale skin. Brown eyes. 5'9.

OFFICER RYAN DOUGLAS. [he/him]

He's a good man. He tries his best.

Description : Rosy complexion. Dark brown eyes. Short brown hair. Average build. 5'8.

LINKS.

DEMO. (12/24 OR SOONER!)

COG FORUM. (12/24 OR SOONER!)

EXCLUSIVE CONTENT. (TBD!)

> Rated 18+ for mature themes such as (spoilers ahead!) explicit language, sexual themes, murder, elitism, child abuse, domestic violence, insomnia, toxic relationships, manipulation, homophobia, transphobia, death, childhood trauma, mild nudity, hallucinations.

Reblogs are appreciated! Thank you for your interest! <3

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