Opal is a teenager girl that's struggling with the loss of her father and the survivor's guilt that comes with it. Rather than process her emotions, she shoves them down deep and ignores them because she's deeply terrified to crack and break. Her insecurity sparks her own cruelty, and she bullies anyone that looks like an easy target, though she's unable to deal with it if it's dished back to her. Her mom loves her deeply and is always trying to help, but often times Opal is too engulfed with anger at her mom for "causing" her father to die.

• My partner, MintStyxPro, designed the aesthetic for Opal entirely on their own. While I gave input, they were largely suggestions; Mint breathed life into Opal's design.
• Opal's father, Oslo, gave her the nickname "Princess" when she was two-years-old. His coddling and babying of Opal degraded and ruined his marriage with Onyx, her mother.
• There is a fairy circle in Opal's backyard, catercorner to the overgrown garden she struggles to maintain.
• Despite her petite stature, Opal's weapon of choice is a heavy crossbow.
• Opal is emotionally volatile, prone to outbursts of anger, tears, denial, or isolation from her struggle to maintain control of herself and process her feelings.
• Opal was given a nasty scar over her eye from the car accident that killed her father, Oslo.
• When she puts her mind to something, Opal is an overachiever. She feels pressured to be perfect in everything she does by her mother, and she's developed a voice that sounds not unlike her. It chides her when she doesn't do "enough".
• Onyx works in a hospital. She's a high-up executive whereas her husband, Oslo, is a janitor at an elementary school.
• Opal lives in the suburbs in a Victorian-styled house. It's unnecessarily big, its arches pointed skyward, and the siding is painted a deep mauve. It opens into a large entryway, with hallway tables adorned with autumn-themed decor and a plethora of photos of the family. The living room has a fancy sofa and a recliner in front of a closed fireplace that crackles merrily. A giant flat screen TV sits above it, two tall, fat shelves on the wall on either side of it with a collection of gaming consoles. The living room opens up into a large dining room, the table huge and wooden, with a bar in the back of the room. The kitchen is expansive, built for a person who fancies themselves a chef. A small TV sits on a marble island, luxurious stools tucked beneath it. Outside it, a graceful spiral staircase leads up to the next floor, it slopes gently to the next floor, leading to a hallway of bedrooms (main/parents, a workshop, a study, and a guest room). A rug leads the charge down the hall, the walls covered in tapestries. There, at the very back, is a large bathroom containing a spa tub. Somewhere, five cats linger in the house, at least one following Opal around at all times. This house doesn't look lived in, but more like something out of a magazine.
• The entire attic is Opal's bedroom, something she begged and pleaded for in an effort of privacy. Her short stature is perfect for the space, and only occasionally does she need to duck her head. She has a reading nook (with a small collection of books beneath the cushioned seat) decorated with white fairly lights by the window, where she does her schoolwork and writes poetry. Her bed is enormous in the middle of the room, with a circular canopy with fairy lights and curtains wrapped around it for more privacy. She has a desktop computer on a desk, cater-corner against the wall. The desk is wooden, and nestled against the sides of her desk against the wall are a collection of small porcelain dolls. They've got painted faces, some of which she's done herself. The paints for the dolls are tucked away in a large wooden chest at the end of her bed, painted to look like moss and vines are wrapped around it. The walls are covered in posters of various types of fashion, adorned with notes in silver Sharpie. There's a cloth mannequin beside her desk, a half-finished gothic lolita dress pinned to it in various stages of fragility. Next to it is a stand with a sewing machine, a small cushioned chair beside it.

• Oslo Anglim -Oslo was Opal's best friend. He's always been more of a "friend" than a parent (entirely too permissive), which was half the issue in and of itself. He was killed in a car accident by a drunk driver less than a year ago, and Opal is still suffocating in her grief. She's struggling to process her feelings, and partially in denial that she'll never see him again.
• Onyx Anglim - Opal and Onyx have a complicated relationship. When Opal was young, they had a normal mother - daughter relationship. The death of Oslo cemented a chasm between them, with both feeling resentful at the other due to various legitimate reasons. Onyx can hardly stand to be around her daughter anymore and it shows in the neglect and subsequent isolation that Opal experiences in her daily life.

From the time Opal was able to toddle around, her father has taken her hunting with him. He's taught her to respect life and not fear death, to appreciate the cycle of all living things. Revere it, he says, and the miracle of growth that sprouts from each corpse. His wisdom is always followed by old Celtic tales, sometimes about the plethora of fae and other times a retelling of their mythology. Sometimes, after they'd eaten their fill and were relaxing in their sleeping bags next to the campfire, they would write their own creation myths together. Oslo would tease and Opal would laugh, and it was not until exhaustion shut their eyes that they would sleep.

Some of Opal's favorite memories of her father involve their days-long camping trips. They nurtured her adoration of nature, and her subsequent love of animals became second nature. On occasion, back when Opal was still a child, Onyx would join them and the camping grounds would be full of excited chatter. It was during one of their family trips that Opal saw her first owl in person. She'd been frightened of its bright, reflective eyes, and the way its head had swiveled around to watch her as she walked by. It wasn't until she watched it hunt for prey that she understood that it was like her. She wrote poetry by the light of the fire about the symbolism of it and her family, and from then on it was her favorite critter.

There were times when it was just Opal and her mother, their shared love of fashion seeing them attending fashion runways and shows. It was Onyx who taught Opal how to sew. They spent countless hours together in trial and error, Onyx sketching out designs and patterns that Opal learned to emulate. Together, they created everything that caught their eyes — from high fashion to Victorian gowns. For Opal's first school dance, Onyx unleashed her creative spirit to manifest a gorgeous dress that only lasted a night after a bully dumped his punch down the back of her dress. Opal clocked him in the face, and it was Onyx who backed her up, threatening to sue the school if they punished Opal for defending herself.

For as long as Opal can remember, there's been a garden in her backyard. When she was young, it'd been small and easily maintained. She'd enjoyed picking the few cucumbers and peppers that'd grown there. She'd kneeled in the dirt, her hands dug into it up to her wrists as she lovingly learned how to tuck a bulb into the Earth. By the time she was a teenager, it was far larger, impeccably tended to her by Onyx and Oslo until they divorced. Weeds had grown and festered then, and it almost felt like this project of love reflected the state of their family. After her father's death, Opal took to tending the garden again, albeit by herself. She worked the weeds and their roots from the soil on days when she couldn't be bothered to do her schoolwork. She tries to rebuild the garden back to its previous splendor, but it's too large to keep up by herself.

When Opal was fourteen, Onyx began to take issue with the way their daughter was being raised. She didn't appreciate always being made to be the antagonist or fixing messes Oslo was incapable of addressing in his attempt to stay a favored friend instead of a parent. This led to their divorce, and Opal's dawning horror at the isolation she found herself living in at her mother's hands. With Onyx always working, she was often left alone for days at a time, given only a prepaid debit card to manage expenses.

After reporting her neglect to her father, Oslo took it upon himself to "kidnap" his own daughter for her betterment. He'd attempted to report the abuse to Child Services, but due to Onyx's power, influence, and money, nothing came of it. After confirmation that Opal wanted a different life, Oslo rolled out of the driveway with everything they could pack in three suitcases and a duffle bag. They were just crossing the state line when a drunk driver plowed into Oslo's side of the car, narrowly sparing Opal the same fate.

Oslo died in Opal's arms, whispering promises of a life that could never be fulfilled. Even in death, he coddled her, ultimately leaving her partially in denial and unprepared to face reality. Opal was returned to Onyx, who promptly sent her daughter to a therapist, with whom she refused to play nice. Initially, Onyx forcibly brought Opal to each session, but when she simply sat there silently and refused to speak, her mother gave up and stopped forcing her to attend. It came as no surprise later that Opal began to act out, changing her aesthetic to something decidedly more goth, while also getting in trouble with authority figures at school.

Onyx picked up the phone the first few times the school called, but as they kept calling, she eventually sent them to voicemail instead. Now, Opal sees her mother for a handful of hours a week. Onyx insists that it's for Opal's own good, that her clinginess and dependence on others was going to hamper her later in life, as she knew the game was coming. Without context, Opal is unaware of her mother's reasons and frankly thinks there's no reason to justify neglect.