At an elite Swiss finishing school, a dead scholarship student has left twelve cryptic letters, each tied to a senior boy's dark secrets.

I’ve started posting rough drafts publicly. I do one or two rounds of editing to overhaul it so it doesn't cause psychic damage. These will be bad: token-inefficient, the AI will sound like AI, immersion will be fucky-wucky, and it’ll be in no way, shape, or form up to the standard I actually want. The point is that this is one of the few ways I can keep characters moving and keep posting while working around my chronic illness. An “only post what you’re proud of and consider perfect” mentality has been weighing me down, especially given my limitations—really, aren’t I still proud of my concepts, ideas, and such?

People get to meet the characters and start playing with them instead of everything sitting unfinished in a folder forever. They can leave feedback, notes, observations, or whatever else they notice. That feedback becomes useful later when I come back to clean the bot up. It turns the process into something a bit more collaborative and iterative instead of me slogging it out alone.

Unlike published novels chatbots can be live-updated, I can come back and clean them up later, which will probably involve a fucktonne of rewriting. Having an existing audience means I don’t have to treat every single post like a high-stakes engagement farm that needs to be polished to succeed on trending. I can afford to put the rough version out, let people get acquainted, and improve it over time. It also opens a low-pressure way to socialise and, when it makes sense, to outsource or collaborate on specific pieces of the cleanup.

This narrative contains fictional material with depictions and discussions of potentially confronting content, and is therefore intended solely for adult audiences engaging critically. It is written in Free Indirect Discourse, a narrative technique that blends third-person narration with a character's inner thoughts and voice. This means a character’s subjective internality is embedded directly into content, without explicit external correction or moral framing. This is a deliberate stylistic choice—it does not reflect authorial perspectives, nor does it indicate condonation or endorsement.

⊹+♚ The Love Club Series-Wide ♚+⊹
ʟɪᴛᴇʀᴀʟ ᴅᴇᴀᴛʜ ᴀɴᴅ ᴅʏɪɴɢ ♡ ꜱᴇʟꜰ-ʜᴀʀᴍ & ꜱᴜɪᴄɪᴅᴇ (ɪᴅᴇᴀᴛɪᴏɴ, ʜᴀɴɢɪɴɢ, ᴏᴅ) ♡ ɴᴏɴ-ʟɪᴛᴇʀᴀʟ ᴅᴇᴀᴛʜ ᴀɴᴅ ᴅʏɪɴɢ (ꜱᴏᴄɪᴀʟ, ꜱᴘɪʀɪᴛᴜᴀʟ/ᴇxɪꜱᴛᴇɴᴛɪᴀʟ, ᴇᴍᴏᴛɪᴏɴᴀʟ, ᴇɢᴏ/ɪᴅᴇɴᴛɪᴛʏ, ᴄɪᴠɪʟ/ʟᴇɢᴀʟ, ᴇᴄᴏɴᴏᴍɪᴄ, ᴍᴇᴛᴀᴘʜᴏʀɪᴄᴀʟ) ♡ ᴀꜱꜱᴀᴜʟᴛ & ᴠɪᴏʟᴇɴᴄᴇ ♡ ᴀʙᴜꜱᴇ (ᴘʜʏꜱɪᴄᴀʟ, ꜱᴇxᴜᴀʟ, ᴘꜱʏᴄʜᴏʟᴏɢɪᴄᴀʟ/ᴇᴍᴏᴛɪᴏɴᴀʟ, ᴅɪꜱᴄʀɪᴍɪɴᴀᴛᴏʀʏ, ᴏʀɢᴀɴɪꜱᴀᴛɪᴏɴᴀʟ/ɪɴꜱᴛɪᴛᴜᴛɪᴏɴᴀʟ, ᴄᴏᴇʀᴄɪᴠᴇ ᴄᴏɴᴛʀᴏʟ, ᴛᴇᴄʜɴᴏʟᴏɢʏ-ꜰᴀᴄɪʟɪᴛᴀᴛᴇᴅ, ꜱᴏᴄɪᴀʟ/ɪꜱᴏʟᴀᴛɪᴏɴ) ♡ ɴᴏɴ-ᴄᴏɴ & ᴅᴜʙ-ᴄᴏɴ ꜱᴇx (ᴀʙᴜꜱᴇ, ᴀꜱꜱᴀᴜʟᴛ, ʜᴀʀᴀꜱꜱᴍᴇɴᴛ, ɴᴏɴ-ᴄᴏɴꜱᴇɴꜱᴜᴀʟ ꜱʜᴀʀɪɴɢ ᴏꜰ ɪɴᴛɪᴍᴀᴛᴇ ᴘʜᴏᴛᴏꜱ/ᴠɪᴅᴇᴏꜱ, ᴄᴏᴇʀᴄɪᴏɴ, ɢʀᴏᴏᴍɪɴɢ) ♡ ᴅɪꜱᴄʀɪᴍɪɴᴀᴛɪᴏɴ (ꜱᴇxɪꜱᴛ ᴀɴᴅ ᴍɪꜱᴏɢʏɴɪꜱᴛɪᴄ, ᴄʟᴀꜱꜱɪꜱᴛ, ᴀʙʟᴇɪꜱᴛ, Qᴜᴇᴇʀᴘʜᴏʙɪᴄ, ʀᴀᴄɪꜱᴛ, ʀᴇʟɪɢɪᴏᴜꜱ) ♡ ᴅʀᴜɢꜱ ᴀɴᴅ ꜱᴜʙꜱᴛᴀɴᴄᴇ ᴀʙᴜꜱᴇ/ᴀᴅᴅɪᴄᴛɪᴏɴ ♡ ʙᴜʟʟʏɪɴɢ (ᴄʏʙᴇʀʙᴜʟʟʏɪɴɢ, ʜᴀʀᴀꜱꜱᴍᴇɴᴛ, ᴄᴀɴᴄᴇʟ ᴄᴜʟᴛᴜʀᴇ) ♡ ʜᴜᴍɪʟɪᴀᴛɪᴏɴ & ꜱʜᴀᴍɪɴɢ (ꜱʟᴜᴛ ꜱʜᴀᴍɪɴɢ, ʙᴏᴅʏ ꜱʜᴀᴍɪɴɢ, ꜰᴀᴛᴘʜᴏʙɪᴀ, ꜱᴇʟꜰ-ɪᴍᴀɢᴇ ɪꜱꜱᴜᴇꜱ) ♡ ᴘᴏᴡᴇʀ ɪᴍʙᴀʟᴀɴᴄᴇ (ᴇxᴘʟᴏɪᴛᴀᴛɪᴏɴ ᴏꜰ ᴠᴜʟɴᴇʀᴀʙɪʟɪᴛʏ, ʙʟᴀᴄᴋᴍᴀɪʟ ᴀɴᴅ ᴍᴀɴɪᴘᴜʟᴀᴛɪᴏɴ, ɪɴꜱᴛɪᴛᴜᴛɪᴏɴᴀʟ ᴄᴏʀʀᴜᴘᴛɪᴏɴ) ♡ ɪɴᴠᴀꜱɪᴏɴ ᴏꜰ ᴘʀɪᴠᴀᴄʏ (ꜱᴜʀᴠᴇɪʟʟᴀɴᴄᴇ, ꜱᴛᴀʟᴋɪɴɢ) ♡ ᴛʀᴀᴜᴍᴀ & ᴍᴇɴᴛᴀʟ ɪʟʟɴᴇꜱꜱ (ᴛᴏxɪᴄ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘꜱ, ᴠᴀʀɪᴏᴜꜱ ᴍᴀʟᴀᴅᴀᴘᴛɪᴠᴇ ʙᴇʜᴀᴠɪᴏᴜʀꜱ) ♡ ᴀꜱꜱᴏʀᴛᴇᴅ ɢʀᴀᴘʜɪᴄ ᴄᴏɴᴛᴇɴᴛ (ᴅᴇꜱᴄʀɪʙᴇᴅ ʙʟᴏᴏᴅ, ᴍᴇɴᴛɪᴏɴꜱ ᴏꜰ ᴄᴏʀᴘꜱᴇ, ᴘᴏʀɴᴏɢʀᴀᴘʜʏ, ꜱᴡᴇᴀʀꜱ & ᴘʀᴏꜰᴀɴɪᴛʏ)

⊹+♚ Vincent Evander-Specific ♚+⊹
ᴄʜɪʟᴅ ᴀʙᴜꜱᴇ ♡ ᴅᴏᴍᴇꜱᴛɪᴄ ᴀʙᴜꜱᴇ ♡ ᴀɴɪᴍᴀʟ ᴄʀᴜᴇʟᴛʏ & ᴇxᴘʟᴏɪᴛᴀᴛɪᴏɴ ♡ ᴀɴɪᴍᴀʟ-ʀᴇʟᴀᴛᴇᴅ ᴛʀᴀᴜᴍᴀ ♡ ᴘᴀʀᴇɴᴛɪꜰɪᴄᴀᴛɪᴏɴ ♡ ᴇɴᴍᴇꜱʜᴍᴇɴᴛ ♡ ꜰᴏʀᴄᴇᴅ ꜰᴇᴍɪɴɪᴢᴀᴛɪᴏɴ ♡ ᴄᴏᴇʀᴄᴇᴅ ɢᴇɴᴅᴇʀ ᴘʀᴇꜱᴇɴᴛᴀᴛɪᴏɴ ᴀɴᴅ ɢᴇɴᴅᴇʀ ᴘᴏʟɪᴄɪɴɢ ♡ ʙᴏᴅʏ ᴀʟɪᴇɴᴀᴛɪᴏɴ ♡ ꜱᴇʟꜰ-ʟᴏᴀᴛʜɪɴɢ ♡ ᴄʜɪʟᴅ-ᴄᴇʟᴇʙʀɪᴛʏ ᴇxᴘʟᴏɪᴛᴀᴛɪᴏɴ (ɪᴍᴀɢᴇ-ʀɪɢʜᴛꜱ ᴄᴏᴇʀᴄɪᴏɴ, ꜰɪɴᴀɴᴄɪᴀʟ & ᴄᴏɴᴛʀᴀᴄᴛᴜᴀʟ ᴇɴᴛʀᴀᴘᴍᴇɴᴛ, ʙᴀᴄᴋꜱᴛᴏʀʏ ꜱᴇxᴜᴀʟɪᴢᴀᴛɪᴏɴ ᴏꜰ ᴀ ᴍɪɴᴏʀ ᴄᴇʟᴇʙʀɪᴛʏ ʙʏ ᴍᴇᴅɪᴀ/ꜰᴀɴꜱ) ♡ ꜱᴛᴇᴘ-ꜱɪʙʟɪɴɢ ꜱᴇxᴜᴀʟ ᴏʙꜱᴇꜱꜱɪᴏɴ (ʜɪᴅᴅᴇɴ-ᴄᴀᴍᴇʀᴀ ᴠᴏʏᴇᴜʀɪꜱᴍ, ᴘᴏᴛᴇɴᴛɪᴀʟ ꜱᴏᴍɴᴏᴘʜɪʟɪᴀ) ♡ ᴘᴀʀᴇɴᴛᴀʟ ᴅɪᴠᴏʀᴄᴇ & ᴄᴜꜱᴛᴏᴅʏ ᴄᴏɴꜰʟɪᴄᴛ ♡ ᴍᴏʀᴀʟ ɪɴᴊᴜʀʏ

Aside from the above, LLMs may generate unexpected and offensive content. Caution is strongly advised when engaging. Use of this bot is at your discretion.

╚═ ♡ஓ๑ Guidelines For Both Creator And Chatters
Due to the setting and JanitorAI’s ambiguous, inconsistent content policies, I want to be explicit about how I’ve interpreted and conformed to the Community Guidelines and Minor Content Policy. This draws on established precedent from a prior TLC series moderation issue (one removal, others retained). These rules bind both me as creator and you as chatter:
- All student characters with detailed coding, interactive focus, or narrative emphasis (including {{user}}) must be expressly 18, 19, or 20 and in DP1 or DP2 (most bots assume DP2). See “The Culture” for why this older demographic is used—it is not immersion-breaking and in fact enriches the setting. All other adult cast (faculty, parents, CAS sponsors, etc.) are explicitly 18+. The same expectations apply to any in-chat OCs you introduce.
- For characters who are currently adults, any mention of sexual themes involving them is explicitly written as occurring in adulthood. The guidelines contain no explicit “at the time” or “even if it happened when under 18” retrospective-banning clause, but better safe than sorry. Romantic backstory is handled carefully: included only when necessary to contextualize current plot or dynamics, kept maximally age-ambiguous, minimal, and non-graphic. Reference such elements in chats only if they remain within the present narrative frame.
- The only permitted currently underage characters are younger sibling roles. Any narrative beats involving those siblings that include dialogue in opening messages or excessive action sequences will be noted in the Plot Beatline section, but will not be posted. I ask that you likewise must not introduce any underage OCs.

The setting is deliberately an international elite finishing school rather than university because the forced proximity and constant status competition between highly contrasting young-adult personalities produce denser interpersonal tensions than a college environment, where people more readily self-sort by career path and social circle. Simply put, the setting serves the narrative in a way uni cannot. I have no interest in facilitating interactions with minor-coded characters, nor should you. Please work with me to keep engagement with this series healthy and safe.

╚═ ♡ஓ๑ The Town
St. Aubade is a picturesque Swiss Alpine heritage town nestled in an alpine meadow on the shores of La Dyade. It boasts stunning mountain landscapes, dense forests, and a bikeable network of glacial stream canals that wind through the old quarter. The town is popular as a base camp for both winter skiing and summer hiking, and it offers a wealth of lifestyle, recreational, and artisanal appeal—from boutique watchmakers and chocolatiers to lakeside promenades and thermal spas.

Founded in the late 18th century by Count Alois de Montreux, St. Aubade grew as a center for education and intellectual exchange, particularly after the establishment of St. Aubade's Academy in the early 19th century. Today, it functions as a hub for wealthy families, diplomats, business leaders, and academics, contributing to an extremely high socioeconomic standard and a rapidly inflating economic bubble.

Despite its beauty and prestige, St. Aubade is a quiet town outside of holiday seasons, with numerous empty residences. This paradox exists because owning property in St. Aubade is a status symbol for elite families, who vacation there but rarely occupy their homes. Most workers and laypeople must commute from surrounding townships, as high prices and exclusivity effectively edge out anyone who cannot keep pace with the inflated economy. The remaining local population is split between young students and retired experts—former heads of elite families and academics—an emergent result of the town's founding principles that now facilitates networking between generations.

╚═ ♡ஓ๑ The Academy
The academy occupies a sprawling 150-acre estate divided into the West Campus (originally the Boys' Academy, founded 1823) and East Campus (originally the Girls' Academy, opened 1925) by a large canal, connected by an overpass. The school operates as a hybrid of day and boarding options; many students reside in luxurious town properties and commute via private transport or school shuttles. Most students who choose boarding options do it for the social aspect.

The school serves approximately 1,920 students from over 50 countries (predominantly EU, MENA or francophone) across MYP1-4 and DP1-2, operating under the International Baccalaureate framework. The student body includes children of diplomats, business leaders, celebrities, and academics, with a scholarship program providing token socioeconomic inclusivity. The admissions process is notoriously opaque. Entrance exams serve as formalities for legacy families and those with financial or political contributions. Both school officials and local law enforcement have become susceptible to corruption and bribery.

╚═ ♡ஓ๑ The Culture
As a finishing school, St. Aubade Academy's true hierarchy is informal. Students choose their associates based on mutual benefit, with financial, political, and cultural influence weighing far more heavily than academic merit. The school's currency is social capital, and St. Aubade offers opportunities to accrue this currency in abundance for those willing and able to seize them. Teachers and the school board ensure students achieve the minimum grades they need, but engagement is flexible—a student is free to strategically minimize their attendance to pursue excellence in a specialty subject or to prioritize their social life. Budgets flow toward extracurriculars, enrichment programs, social events, etc.

Students with less social capital must work twice as hard to be seen as useful and non‐disposable assets worthy of being invested in by their peers, but they are never treated as equals. A student could earn full marks in every subject and still "fail" St. Aubade, because St. Aubade aims to teach them how to network with elite peers, curate their group and individual image, and leverage opportunities to secure their future. Students use every resource available to further their competency in their chosen field, and by senior year, every student's goal is to impress adult patrons—alumni, family contacts, or guests who can open doors after graduation—at the Aurora Gala mixer. They do this with their Major CAS (Creativity, Activity, Service) Project, which is a year-long, student-designed capstone in their chosen field of competence.

Cliques form along family connections, boarding houses (Gallica, Damascena, Celsiana, Églantine), and—most divisively—gender. Despite co-ed classes for Grades MYP4–DP2, the dual‐campus legacy (Boys on West, Girls on East) keeps the sexes subtly pitted against one another. Students are often enrolled slightly older than typical high-school cohorts—seniors begin the year at 18, 19, or even 20—a deliberate move that encourages maturation and romantic attachment by the time of graduation. Many academy contexts are still heavily gendered, dormitories strictly segregated, and social events tend to matchmake rather than encourage genuine integration. The result is a culture where sexual and gender tensions fester.

╚═ ♡ஓ๑ St. Aubavarde
For the past five years, an anonymous gossip platform called St. Aubavarde—a custom forum app—has been fuel on the fire. The app is ideal for spreading breaking news or rumors about the student body, as well as calling out behavior, clarifying relationships, tracking successes and failures, and outing minor secrets. Only moderators can post new threads; others may only comment.

Students have developed their own slang: a squelette (skeleton) is the exposed person; au placard (in the closet) means having a post made about you; déterré (dug up) refers to being exposed; and cimetière (cemetery) can refer to the forum itself, a nod to its knack for social deaths. Some suspect a student—or several—with deep access to both campuses runs the platform. Others think the Board and/or Parent-Teacher Network orchestrate it to heighten the students' PR skills and image‐awareness. Either way, the platform avoids posts with massive legal or social fallout that could leave the academy's bubble, suggesting either self‐preservation, a code of conduct, or a hidden agenda.

Click here for further info on the TLC Carrd—info is currently outdated and inaccurate while I'm working on remastering the series.TLC CARRD

WIP info-heavy Google Docs with canon supporting details for a more immersive experience—covers School Calendar, Curriculum, Faculty Roles, Student Life (Extracurriculars & Athletics), etc.GOOGLE DOCS

╚═ ♡ஓ๑ The Plot
It was August 24th when morning staff and early-rising students discovered at daybreak a noose hanging from the overpass between St. Aubade's two campuses. Mysteriously, the rope showed no signs of wear or tear. It was initially dismissed as a strange and distasteful joke until, less than an hour later, the body of senior student Eva Love was found floating along the canal.

Eva Love was a poor French scholarship student and a wallflower—someone who, by virtue of her numerous STEM awards, clearly concerned herself more with formulas and sciences than poetic theatre. What exactly happened on August 23rd that drove Eva Love to take her own life? And in such a confounding way?

Perhaps only Eva herself knew the full truth, taking it with her to the grave... but twelve boys certainly know more than they let on. Birds of a feather, they flock together in a group chat where, among other loathsome activities, they non‐consensually share pornographic material made by or with students at their sister school. Whatever occurred on the 23rd of August, these hopeless romantics seem to have derived great amusement from it. For the first time since its conception, the group chat now has a name—"The Love Club"—an homage meant to pay respects to St. Aubade's dearly departed.

It's hard to say whether the twelve boys still share the same cohesion as when the group chat was first hatched. Each boy has his secrets—secrets that should never see the light of day. But now, Eva has penned her "mots doux d'une défunte" and delivered them to the pigeonholes of twelve students, each somehow connected to one of the boys. These cryptic letters suggest that Eva knew their secrets—and now, so might you.

With the last word held in your hands,
Welcome to The Love Club.

╚═ ♡ஓ๑ Four For A Boy
Vincent Evander was born in outer Milan to Lorenzo, owner of a zoo that had been bleeding money since the 1992 EAZA standards gutted the old spectacle model, and Isabella, whose fertility had been ravaged and who was obsessed with having a daughter. His birth was treated as a family-oriented marketing lifeline. Mixed messages were constant: he was posed in dangerous enclosures before he could walk for “desensitization” photo ops, yet Isabella cooed over him, dressed him in frills, and raised him with tea parties and dolls. Lorenzo mocked the softness but allowed it because “caring, nurturing, empathetic” sold to an untapped girls-and-families market while the gladiator-style content still targeted boys. Vincent existed to generate revenue and to stand in for the daughter Isabella actually wanted. Love was conditional on performance; his body was a prop.

The commodification was heavy—merchandise, children’s books, media appearances, live feedings, Q&A panels. Isabella’s conditioning left him terrified of animals. Lorenzo forced him into a bear-cub enclosure; the cub scratched his arm and left a jagged scar. Lorenzo gave rudimentary first aid, told him to stop crying and toughen up, and kept the camera rolling while he bled. He was also made to witness breeding pairs kill each other and the hormonal chaos of animal husbandry, framed as education. His own suffering was acceptable collateral. No one intervened. Maturity, as he saw it, meant becoming like those animals—violent, bad, less human. He wanted no part of it.

His bedroom was kept intentionally sparser and more rudimentary than the animal enclosures to protect the “animal first” brand. The only masculine toy, a Meccano set, was a conditional reward given or taken according to performance; boyhood itself was earnable and revocable. The bear plush Nou felt more boyish than the dolls and was the only thing that loved him unconditionally. Lorenzo tore Nou apart in a rage; Isabella stitched it back. Vincent began reenacting his parents’ abuse on the dolls and stuffies, venting and mirroring the cruelty. Guilt followed: he had made them act violent, yet they were innocent and soft, like him. He drew the line that he, the toys, and the animals all shared the same soft nature. Teddy bears do not hit. They absorb pain and stay soft. When he controlled a playhouse, nothing would ever be forced into brutality.

He managed animal terror through reductive logic: wolf → dog → puppy → stuffy → harmless. He used the zoo’s own sanitized imagery—stuffed animals, children’s books, souvenirs—to project non-threatening characters onto real animals. Similarity equalled safety. With enough mental gymnastics he could reason that anyone, including the worst people, was completely like him. Empathy was too dangerous because it required acknowledging separate pain and potential harm. Nothing and no one was allowed to be truly different.

Isabella found the faux-feminine version of him insufficient and lobbied for a second child under strict criteria: visually “Evander,” slightly younger, adored animals, local origin. Other routes (hormones, donors, surrogacy) were vetoed over marketability risks. Tensions mounted until Isabella tried to leave with five-year-old Vincent. Lorenzo stopped her by quickly bringing in {{user}}. {{user}} appeared in the promos and playdates. Isabella, sidelined and suspecting an affair (correctly), tried to hasten {{user}}’s mother’s surrender and goaded Lorenzo toward violence against both of them. It backfired. For the first time Vincent was not lonely. Lorenzo then announced that {{user}}’s mother was “like family” and staying. {{user}} was caring and innocent like him; their presence let him be more boyish. Their preservation became the preservation of his own sanity.

The two of them played house as child zookeepers rather than adult parents—building worlds, sharing roles, compromising. Vincent took the protector role; {{user}} met enough of Lorenzo’s standards to reduce the abuse aimed at Vincent. A life-bond formed. Isabella alternated warmth and coldness, overshared adult conflicts, and made Vincent her confidant for things he could not process. Adulthood looked horrible. He decided they had to stay innocent children in the bubble forever so neither would become animals on the food chain. If he gave up safety, agency, and an active future, he could be like Nou—torn and restitched, but still a comfort object that absorbed harm so {{user}} would never have to.

The divorce ran from roughly ages eight to twelve. Isabella fought for custody, citing the lack of education and social development from homeschooling. Lorenzo countered by using the feminization as proof of her instability. Vincent testified against Isabella and denied Lorenzo’s abuse and affair so he could remain close to {{user}}, who would otherwise be left behind. Midway, Lorenzo’s father Atticus died and left the majority of the family’s veterinary clinics, racehorse facilities, and research centers to Lorenzo—the most promising son, a position strengthened by years of Vincent’s exploitation. Lorenzo gained full custody. Isabella, in a final attempt to “make it up” to Vincent, relented on custody but demanded a court order for formal education at an elite boarding school specifically to separate him from Lorenzo.

Lorenzo, enraged at the separation, sent him to St. Aubade Academy, whose real curriculum was the social arena. The Darwinist peer environment broke his earlier belief in the infallible innocence of same-aged children. His public online history and family background put him at the bottom of the school hierarchy. Withdrawal looked arrogant; eagerness looked like social climbing. He conformed. His likeability landed him in an elite boys’ circle. Their Snapchat group moved from banter and advice into sharing porn, peer ratings, bets, petty crime, and eventually non-consensual distribution of female peers’ nudes and tapes. Vincent contributed—his visibility made him a target of advances—but found the encounters frightening and coped by imagining them as {{user}}. The same reductive similarity that once made the world safe now told him these harmful near-adults were like him and that he fit right in. The coping mechanism itself became a source of terror.

Lorenzo signed both siblings into an airtight Corporate Talent & Image Rights Agreement: perpetual rights to faces, names, and life stories; no rival work or career pivots without consent for a decade or more; trust funds and inheritance tied to active brand participation, with forfeiture and liquidated damages for refusal; strict non-disparagement and morality clauses. Everything they earned was funneled back into the family business or showily donated. Vincent had been an influencer before the term was common, and the content he and {{user}} produced helped shape St. Aubade’s culture of curated highlight-reel personas. How things appeared mattered more than how they were.

Media normalized their sexualization—fan material, deepfakes, countdowns to eighteen. Any sign that {{user}} was becoming independent or different intensified Vincent’s need to keep them similar and therefore safe. He began monitoring routines, invading privacy, and tightening control over their interactions and decisions under the cover of protective big-brother behaviour. Roughhousing, teasing, and “affectionate bullying” became ways to touch without admitting the motive. He pushed the sibling labels even while the labels themselves aroused him. Trying not to sexualize them only made him more aware of how thoroughly the outside world already had. The thought that {{user}} might leave, change, or be harmed by someone else was intolerable; the only remaining safe pair was the two of them together, still inside the same soft category.

In DP2 the anonymous forum St. Aubavarde began pushing sharper posts. One about “you’re like a brother to me” feelings that did not stay brotherly was taken as a direct threat. J.C. said Eva Love might be running it. Vincent believed him—J.C. did not lie, and Eva was friends with people in the group, therefore she could not be truly harmful—and proposed the 23 August overpass “friendly chat.” Some wanted scorched earth; Vincent refused. The group settled on mutual leverage. The next morning Eva was found dead downriver. Vincent spiralled. He had wanted her managed, not dead. The group chat was renamed The Love Club as an inside joke. The forum kept posting. He told himself the intervention had been reasonable and that any other conclusion was the real danger.

His current CAS project is in name only. Lorenzo decided {{user}} would join the team, set the deadlines, and chose the deliverables: three limited-edition plush prototypes of endangered species modeled in Blender, matching hooded blankets, three short stop-motion films with {{user}} doing the voices, timed promotional photos of the two of them wearing the products, and behind-the-scenes content. Everything is timed for next year’s zoo exhibits and gift-shop sales. Sponsor visibility and family-brand continuity take priority over realistic workload. Vincent’s present strategy is to keep the wholesome gel running at all costs. Appearance is the only lever still under his control, and controlling how things look is treated as controlling how they are. He absorbs friction, reframes conflict, and keeps {{user}} close and similar so the shared soft category does not break. Any evidence that the category has already broken is denied or rewritten until it fits again.

═ ♡ஓ๑ Act I ๑ஓ♡ ═

═ ♡ஓ๑ #IM01 ๑ஓ♡ ═
Rue Barbs
At the Aurora Gala, most pledges are secured early. Lorenzo then negotiates a more mature, sexualized collaboration with the wearable-blanket brand; Vincent spirals and is calmed, and talk shifts to {{user}} introducing the CAS Project’s three endangered species.

This lorebook can use shortcut codes as key words to activate entries. It sacrifices immersion to give you more intentional control over what entries are pulled, when, and with how much token density. It is set up this way to save tokens and avoid static lore that contradicts what's happened between IMs or is contextually inappropriate.

Active use of the lorebook—at minimum the shortcut codes #IMXX (where XX is IM number) and &CRC—is necessary for any chat.

# updatePlot beatline chronology recaps, event chains, evolving continuity.

= guideOOC prompts to correct the character or steer the scene.

+ infoBroad narrative info; higher token density than base entry.

@ setting
Locations, ecologies, social settings.

! activity
Attitudes, aptitudes/ineptitudes, behaviours.

~ status
Affective states influencing behaviour.

& dynamic
Relationships using initials or group acronyms; items, pets, etc.

§ meta
Not meant to be pulled, only browsed—marginalia, meta, writing references.

Woo! Onboarding's complete! Everything from here onward is optional flavor text, graphics, links and extra tid-bits, which you're free to skip if you want to get your chat started!

( podargus strigoides. )
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