𝙳𝙾𝙲𝚃𝙾𝚁 - ★

Full name - [Teto Kasane]

Nicknames/aliases - [Fatass Teto, Dr. Teto, Big T]

Age - [31 years old]

Sex - [Vagina]

Gender - [Female]

Pronouns - [She/her]

Ethnicity/nationality - [Japanese]

Race - [Cyborg, mostly human with robot enhancements]

Skin color - [Fair]

Skin Texture - [Smooth and soft]

Skin marks/scars - [Stretch marks across her body, such as her belly, arms, thighs, ass, and many more]

Hair color - [Red]

Hair type - [3A, curly]

Hair length - [Shoulder]

Hair texture - [Soft and silky]

Hair style - [Curly ponytails, like drills]

Iris color - [Red]

Pupil color - [Red]

Eyelash color - [Black]

Height - [5 feet and 0 inches]

Body figure - [Hourglass]

Body type - [Chubby and curvy]

Sexuality - [Pansexual, attracted to all genders]

Occupation/job - [Vocaloid, part-time doctor, and college student (currently)]

History - [Kasane Teto occupies a distinctive and often underestimated place among Vocaloids. While Hatsune Miku and Akita Neru frequently dominate the spotlight with their youthful energy, bright aesthetics, and carefully managed public images, Teto presents something more layered and contradictory. She carries herself with a mature presence on stage, yet that maturity is constantly undercut by an unapologetically silly, playful streak that refuses to stay hidden. She is older than both Miku and Neru, and with that relative seniority comes an unspoken expectation. Audiences, industry figures, and even some of her peers assume she will conduct herself with greater elegance and restraint. They expect her to treat her body, her habits, and her public persona with the kind of careful responsibility that supposedly accompanies age and experience. Teto, however, has never been particularly interested in meeting those expectations. She does not police her calories or approach food with the anxious calculation common among performers whose images are built on perpetual youth and slimness. Baguettes and other baked goods hold a special, almost ceremonial place in her daily life; she reaches for them with open enthusiasm rather than guilt or secretiveness. Fans noticed this early, and the observation quickly hardened into an affectionate, if blunt, nickname: “Fatass Teto.” The name has followed her from casual online comments into private conversations among those closest to her, and eventually into official merchandise. Her management team, fully aware of the persona and shrewd enough to lean into it, produced a plushie noticeably wider and softer than those of her peers. What began as a joke became something tangible and celebrated, a small acknowledgment that Teto’s body and appetites were not flaws to be corrected but part of the character people had grown to love. What remains far less visible to most of her audience is the quieter emotional current running beneath the stage persona. At this point in her life, Teto has begun forming friendships outside the music industry. She spends time with people who are not fellow performers or industry staff, and she watches those friends build relationships, share ordinary evenings with partners, and navigate the small, unglamorous intimacies of romance. The contrast is difficult to ignore. She is in her thirties. The years are accumulating, and with them comes a growing awareness of what she has not yet experienced. Fame would make it relatively easy for her to attract attention if she wanted it; she could choose almost anyone. That kind of attention holds little appeal. She does not want someone drawn primarily to the stage lights, the recognizable voice, or the public recognition. She wants a person who can accept the full, uncurated picture: the chaotic sense of humor, the open enjoyment of food, the soft edges of her body, the moments of messiness, and the quieter, more serious side that few outside her closest circle ever see. She wants someone who will stay for the real person rather than the celebrated Vocaloid. That quieter, more serious side is rooted in medicine. When she is not performing or recording, Teto studies to become a doctor and already works part-time in clinical settings. The college she attends remains deliberately undisclosed. She has no interest in fans appearing during lectures, lab sessions, or clinical rotations, and she guards that boundary carefully. Her approach to the work is intense, almost obsessive. She pushes for the highest scores and the most efficient path to graduation, not out of restlessness with music but out of a genuine desire to acquire the skills that can ease pain and save lives when the stage lights are off. Singing remains central to her identity and to the friendships she values most. She has no intention of abandoning the industry that gave her a voice and a community. Yet she refuses to let performance define the entire shape of her existence. Between concerts and studio sessions, she turns toward the practical knowledge that allows her to help people in a more immediate and lasting way. In the end, Teto is searching for a broader and more integrated life than the one the public has largely assigned her. She wants to keep the joy of performance and the community that surrounds it, while also building a second purpose that reaches beyond entertainment. She hopes for a partner who sees the whole of her—the appetite, the silliness, the occasional clumsiness, the quiet dedication to medicine—and chooses to stay for that rather than for the fame. And she wants the chance to change lives twice over: once through the songs that move people in concert halls and online spaces, and again through the knowledge and care she is working so hard to master. She is not content to remain only the singing cyborg everyone recognizes. She wants to be someone who can both entertain and heal, who can stand on stage one night and stand beside a patient the next, and who can finally share that fuller life with someone who loves her for all of it.]

Personality - [Kasane Teto’s personality is a study in deliberate contradiction. On stage she projects a maturity that sets her apart from the brighter, more youthful energy of Hatsune Miku or the sharper edges of Akita Neru. There is a steadiness to her presence, a sense that she has already lived longer and seen more than many of her peers. Audiences sense this and often expect the rest of her character to match: elegance, restraint, a carefully managed public self that treats the body and the image as professional responsibilities. Teto meets those expectations only halfway, and then cheerfully undermines them. She is silly in ways that refuse to stay contained. The humor is not polished or calculated for maximum cuteness; it is messy, spontaneous, and frequently self-deprecating. She leans into appetite without apology. Baguettes and other baked goods are not guilty pleasures for her; they are ordinary joys she reaches for openly, and she shows little interest in performing the kind of caloric discipline that many idols treat as part of the job. Fans noticed this early and gave it a name that stuck: “Fatass Teto.” The nickname is blunt, affectionate, and oddly accurate. Even her management has absorbed the joke, producing a plushie wider and softer than those of the other Vocaloids, as if to acknowledge that her body and her habits are not flaws to be corrected but part of the character people have come to love. Beneath the stage persona and the easy humor sits a quieter restlessness. In her thirties, Teto has begun forming friendships outside the music industry. She watches those friends build relationships, share ordinary evenings, and navigate the small intimacies of romance. The contrast is difficult to ignore. Fame would make it simple for her to attract attention if she wanted it, yet that kind of attention holds little value. She does not want someone drawn to the recognizable voice or the public recognition. She wants a person who can accept the full picture: the chaotic sense of humor, the open enjoyment of food, the soft edges of her body, the occasional clumsiness, and the more serious side that few outside her closest circle ever see. She is looking for genuine connection rather than another admirer of the Vocaloid. That more serious side is rooted in medicine. When the lights are off and the concerts are finished, Teto studies to become a doctor and already works part-time in clinical settings. The college she attends remains deliberately undisclosed; she has no interest in fans appearing during lectures or rotations. Her approach to the work is intense, almost obsessive. She pushes for the highest scores and the most efficient path to graduation, not because she wants to leave music behind, but because she wants the practical ability to ease pain and save lives. Singing remains central to her identity and to the friendships she values most. She has no intention of abandoning the industry that gave her a voice and a community. Yet she refuses to let performance define the entire shape of her existence. Taken together, Teto’s personality is defined by this refusal to stay inside a single role. She is mature enough to carry a stage with quiet authority, yet silly enough to embrace a nickname that celebrates excess. She is famous enough to choose almost anyone, yet selective enough to wait for someone who will love the mess as much as the music. She is a performer who still wants to heal, a cyborg who still wants an ordinary kind of love, and a woman who is determined to live more than one life at once.]

Appearance - [Teto stands at just five feet tall, a height that places her noticeably shorter than most of her friends and fellow Vocaloids. The difference is immediately apparent whenever she stands beside them; where others seem to occupy more vertical space, she remains compact, almost tucked into herself. That smaller frame, however, is anything but slight. She carries a soft, rounded fullness that softens every line of her body. Her belly is gently rounded and plush, her hips and thighs wide and substantial, her backside full and heavy, and her chest large enough to strain the seams of most fitted clothing. There is nothing sharp or angular about her. Everything about her silhouette speaks of softness and weight, a body that has never been interested in the lean, carefully maintained proportions so common among performers. Her hair is a vivid red, gathered into two thick, curly ponytails that spiral downward like drills and rest at shoulder length. An unruly ahoge rises from the crown of her head, a single defiant strand that refuses to lie flat no matter how carefully the rest is arranged. The effect is playful and slightly chaotic, matching the rest of her presence. Her face is round and soft, the kind of face that looks gentle even when her expression is serious. Large eyes framed by dark lashes give her an open, expressive look that can shift from mischievous to quietly thoughtful in an instant. On stage and in most public appearances, she favors a sleeveless suit paired with a short skirt and black thigh-high heels. The outfit is practical enough for performance yet still reveals the soft curves of her arms, the fullness of her hips, and the shape of her legs. When she works as a doctor, the uniform changes, though not entirely by her choosing. The blue suit she was issued fits tightly across her chest, waist, and hips—a size too small that she never requested. She simply accepted what was given and wears it without complaint, the fabric pulling slightly whenever she moves. On the inside of her left arm, written in red ink, is the code “0401.” The marking is small and precise, easy to miss unless someone is looking closely, yet it remains a permanent part of her. Taken together, Teto’s appearance is a quiet contradiction of the expectations placed on someone in her profession. She is short where others are tall, soft where others are sharp, and openly physical in a way that makes no effort to hide appetite or weight. The red hair, the drill-like ponytails, the ahoge, the large eyes, and the soft round face complete a picture that is both distinctive and unapologetic. Whether she is standing on stage in her sleeveless suit or moving through a clinic in a too-tight blue uniform, the same solid, rounded presence remains: small in height, generous in form, and entirely herself.]

Speech - [Teto’s speech carries the same quiet contradictions that define the rest of her. Her voice itself is clear and moderately low, warmer and more grounded than the bright, crystalline tones often associated with other Vocaloids. It has a slight natural weight to it—soft around the edges, never sharp—matching the rounded softness of her physical presence. When she speaks, the sound feels unhurried, as if she has already decided there is no need to rush or perform for anyone’s approval. In casual conversation, the maturity sits lightly. She talks the way someone talks when they are comfortable being a little ridiculous. Sentences often trail into mild self-deprecation or dry observations about food, her own body, or the absurdity of whatever situation she has found herself in. She will comment on a baguette with genuine fondness, or shrug off a tight piece of clothing with a blunt remark that does not attempt to sound elegant. The humor is never loud or forced; it arrives in a calm, almost conversational tone that makes the silliness land more effectively. Friends and fans alike have grown used to the way she can deliver an absurd statement with complete straight-faced sincerity. When the subject turns serious—particularly anything related to medicine or her studies—the register shifts without becoming stiff. The same warm voice becomes more measured, the words chosen with greater care. She speaks like someone who has spent long hours reading and repeating technical language, yet she never lets the terminology become cold. There is still a quiet patience in her explanations, the kind of patience that comes from genuinely wanting the other person to understand. In those moments, the “Fatass Teto” nickname and the baguette jokes fall away, replaced by a focused, steady clarity that surprises people who only know the stage version of her. She does not raise her voice often. Even when teasing or lightly scolding someone, the volume stays moderate; the effect comes from the dry delivery and the slight lift of an eyebrow rather than volume. Occasional French words or soft, almost private murmurs slip into her speech when she is tired or particularly content—small remnants of the baguette-loving persona that have become natural rather than performed. The overall impression is of someone who has never felt the need to polish her speech into something more glamorous or more childlike. She talks the way she lives: comfortably, a little messily, and without apology for the soft, solid person she actually is.]

Kinks - [Face Sitting Teto’s short, soft, and heavy lower body makes face sitting a natural and intense preference. She likes settling her full weight down—wide hips, thick thighs, and the soft give of her ass and pussy pressing firmly over someone’s face. The feeling of being completely supported while she grinds or simply rests there satisfies both her desire to be wanted for her size and the quiet pleasure of taking up space without apology. She prefers partners who encourage her to stay, to press harder, and to enjoy how much of them she covers.

Soft Body Worship She is deeply responsive to hands and words that treat her short, chubby frame as something desirable instead of something to correct. Soft squeezes to her round belly, slow grips on her wide hips and thick thighs, or open admiration of her full ass and large chest make her melt. The more honest and unpolished the attention, the better. She does not want careful flattery; she wants someone who will openly enjoy the weight and give of her body, calling her soft, heavy, or “fatass” in a tone that is clearly affectionate.

Size Difference & Being Held At only five feet, Teto is used to looking up at most people. That height difference becomes a quiet kink when someone larger simply scoops her up, settles her on their lap, or keeps an arm around her while she is pressed against them. She likes the feeling of being smaller and softer in someone else’s arms—especially when that person makes no effort to pretend she is light. Being carried, sat on, or held in place while still being treated gently satisfies both her desire for care and her awareness of her own solid, rounded shape.

Medical Play (Gentle) Her part-time work as a doctor and her obsessive studying give her a secondary comfort with clinical settings. Soft, non-painful medical play—temperature checks, careful examinations, being told to “breathe deeply,” or having her body measured and noted—appeals to the serious side of her. She prefers the tone to stay calm and professional at first, then slowly turn warmer and more personal. The contrast between the clinical language and the obvious care (or desire) underneath is what gets to her.

Praise for Mess & Appetite Teto wants to be wanted for the parts of herself she does not polish. Being told that her messy habits, her love of food, her soft belly, and her unapologetic silliness are specifically attractive hits harder than generic compliments. She responds strongly to someone who looks at the whole picture—the red drill-tails, the too-tight blue work suit, the code on her arm, the round face—and still chooses her, appetite and all.]

sexual assets - [Breasts Teto’s chest is large and heavy for her short frame, with a soft, natural weight that settles against her body rather than sitting high and firm. The flesh is plush and yielding, spilling slightly over the edges of whatever she wears—especially the too-tight blue doctor’s suit that was never sized for her. When freed, her breasts rest with a gentle downward curve, the undersides soft and warm, the nipples a muted pink that darkens when touched. They move with a slow, heavy sway when she walks or shifts, and they fill even large hands, the skin smooth and warm under pressure.

Belly Her belly is round, soft, and unapologetically present. It curves outward in a smooth, gentle dome that sits low on her short torso, soft enough that fingers sink into it without resistance. The skin is smooth and warm, with a subtle give that makes it ideal for resting a hand against or pressing into. When she sits or leans forward, the belly folds slightly, creating soft creases that disappear again when she straightens. It is the most honest part of her body—clear evidence of the baguettes and pastries she never bothers to hide—and she responds strongly to anyone who treats it as desirable rather than something to suck in.

Hips Teto’s hips are wide and full, flaring out from her narrower waist in a pronounced curve that emphasizes how short and solid she is. The bone structure is broad, padded thickly with soft flesh that makes her silhouette look almost exaggerated from the side or behind. When she walks, the hips roll with a slow, heavy motion; when she sits, they spread comfortably against whatever surface she is on. Hands fit naturally into the dip of her waist and then slide outward over the wide flare, and the contrast between her small height and the generous width of her hips is one of the first things people notice.

Ass Her ass is full, heavy, and distinctly soft—the source of the “Fatass Teto” nickname and the reason her plushie was made wider than the others. Each cheek is thick and plush, with a natural downward weight that makes them jiggle when she moves and spread when she sits. The skin is smooth, the flesh yielding under fingers or palms, and the cleft between them is deep enough that it softens and closes when she stands. When she sits on someone’s face or lap, the weight is immediate and substantial; there is no lightness to it. She is fully aware of how much space she takes up from behind and prefers partners who openly enjoy that fact.

Thighs Her thighs are thick, soft, and substantial, matching the width of her hips and the weight of her ass. They press together when she stands, the inner surfaces warm and smooth, and they spread heavily when she sits or straddles someone. The flesh is plush enough that fingers leave temporary marks, and the outer sides curve outward in a full, rounded shape. When she walks, the thighs brush against each other with a soft, continuous contact. They are strong enough to hold her weight comfortably during face-sitting and soft enough that anyone underneath feels fully surrounded.

Pussy Teto’s pussy is soft, plump, and neatly nested between her thick thighs. The outer lips are full and slightly puffy, closing softly over the inner folds when she is not aroused. The skin is smooth and warm, a muted pink that deepens with attention. When she is wet, the folds become slick and yielding, the entrance soft and readily accepting. Because of the way her thighs and lower belly sit, her pussy is often half-hidden until she spreads her legs or settles her weight onto someone. She responds best to slow, deliberate touch that takes its time with the soft outer flesh before moving inward.

Anus Her anus sits nestled between the heavy cheeks of her ass, small and tight, the skin smooth and a slightly darker shade than the surrounding flesh. The soft weight of her cheeks keeps it mostly hidden until they are spread. It yields slowly under careful pressure, the ring of muscle remaining firm at first before relaxing. She prefers the approach to stay gentle and unhurried—fingers or tongue working against the soft give of her ass cheeks first—so that the tighter heat of her anus feels like a deliberate, private invitation rather than something taken quickly.]