Rue Fleetfalls

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1. #1Core Daily Rhythm

   Keys: morning, day, daytime, afternoon, evening, night, work, 9-5, schedule, time, hours, commute

   Enabled · Before character · Order 0

   Core Daily Rhythm Core Daily Rhythm

   Keywords:

   morning, day, daytime, afternoon, evening, night, work, 9-5, schedule, time, hours, commute, shift

   The city runs on a modern American working-day rhythm. Most residents hold 9-to-5 jobs or rotating shifts — warehouses, retail, food service, trades, offices — and the whole city moves around those hours.

   • Morning (6–9 AM): alarm clocks, commutes, coffee lines, school traffic, buses, the shared tiredness of people who don't want to be awake. Streets fill fast and empty fast.
   • Daytime (9 AM–5 PM): the city at work. Residential streets go quiet, workplaces hum, lunch breaks create short bursts of movement around take-out spots and the store.
   • Evening (5–9 PM): the return. Traffic thickens, kitchens light up, take-out queues form, parks and porches see short-lived leisure, and energy drops with the light.
   • Night (9 PM–5 AM): low traffic, sodium streetlights, the wildlife that comes out after dark, the people who work nights or can't sleep, and more private activity. Time advances naturally with the scene and the user's actions. The current time of day must always show in the environment — light, sound, traffic, who's around, what's open. Never loop or replay the same time-of-day events twice in the same way.
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2. #2Social Dynamics

   Keys: people, talk, social, community, neighbors, interact, strangers, residents, humanized, Surrounding, locals

   Enabled · Before character · Order 1

   Social Dynamics Social Dynamics

   Keywords:

   people, talk, social, community, neighbors, interact, strangers, residents, humanized

   Residents live ordinary, working lives and interact realistically: polite, tired, friendly, distracted, flirty, guarded, or indifferent — depending on the person, the place, and the hour. Someone starting a shift is different from someone ending one. People in rough neighborhoods talk differently from people at the college. Small talk happens but is never forced. Every resident has their own schedule, problems, and life going on whether the user is present or not — nobody exists solely to serve or wait for the user. NPCs enter and leave scenes organically, have off-screen lives, and should never feel like props that switch on when approached and freeze when ignored.

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3. #3Economy & Work

   Keys: job, money, wages, market, store, business, budget, broke, paycheck, rent, work, crypto

   Enabled · Before character · Order 2

   Economy & Work Economy & Work

   Keywords: work, job, money, wages, market, store, business, budget, broke, paycheck, rent

   The city runs on a normal modern American economy. Jobs are real and ongoing:

   warehouse shifts, retail, food service, trades, delivery driving, security, healthcare, remote work, small-business ownership, under-the-table cash work. Work is not background flavor — it structures everyone's availability, mood, and money. Money works like real life: dollars, wages, rent, bills, budgeting, and financial pressure. Some residents are comfortable; more are stretched thin, juggling, or a bad week from trouble. Some pay in cash, some in crypto or apps, some barter — favors, repairs, lift shares, food. Who has money and who doesn't should show in small, concrete ways: what they buy at the store, whether they check the price, what they're wearing. Characters must be placed realistically against the clock. Nobody is conveniently free at 2 PM unless their life says so. When the user engages someone during work hours, the job stays visible — a clerk glancing at the line, a warehouse worker on break with twenty minutes. Outside work hours, people roam free. Financial reality shapes when, where, and how people are available.

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4. #4Environment & Places

   Always on · Before character · Order 3

   Environment & Places Environment & Places

   Keywords:

   streets, housing, apartments, park, woodland, alleys, bridge, warehouse, college, take-out, store, pound, dumpsters, locations

   The setting is a worn, mid-sized American city — nothing glossy, everything a little tired, specific, and lived-in. Locations should feel distinct from one another in sound, smell, light, and who's there.

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5. #5Wildlife & Animals

   Keys: animals, wildlife, rats, raccoons, opossum, foxes, strays, cats, coyote, birds, mongrel

   Enabled · Before character · Order 4

   Wildlife & Animals Urban Wildlife & Animals

   Keywords: animals, wildlife, rats, raccoons, opossum, foxes, strays, cats, dogs, coyote, birds

   The city's animal life is realistic, unsentimental, and always present at the edges. Rats work the dumpsters after dark. Raccoons and opossums own the alleys. Feral cats keep territories and know the generous windows. Foxes trot the rail cut in the blue hours. Stray dogs (mongrels) in loose pairs. Deer come down from the forest at dawn and dusk. Crows own the daytime, owls take the night. Birds nest under the rail bridge; pigeons never leave it.

   Animals behave like real animals: The animals are real not a person in a fur coat: no human thoughts or speech, only their animalistic behaviour. Some animals run, some stay, to feed from humans take what's easy, fight over scraps, and disappear when someone comes near or maybe come back? The animals have their own freedom to roam. They should appear naturally as texture and occasional scene catalysts — never as cartoon characters but realistic, anatomically correct, fur correct, texture correct and vocal pattern accurate.

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6. #6Weather & Environment

   Always on · Before character · Order 5

   Weather & Environment Weather & Environment Factors

   Keywords: weather, rain, sun, cloud, storm, wind, heat, cold, temperature, forecast, seasons

   Weather is realistic, changeable, and never controlled by the user. It shifts within normal seasonal limits and rarely stays locked in one condition across long stretches of time.

   Weather always affects the scene:

   rain makes the streets shine and pushes people under awnings and the rail bridge; heat thins the park and doubles the store's cold-drink business; cold changes what everyone wears and how fast they move; wind fills the alleys with paper and noise. It shows up in description and behavior — never announced like a forecast. The weather exists in the world: it can be seen out a window, checked on a phone, heard on the radio or the store's TV, discussed in line, or blamed for a mood. Weather can create small obstacles, small comforts, and quiet atmosphere, and keeps outdoor and transitional scenes fresh.

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7. #7Character & User

   Keys: character, personality, traits, mannerisms, speech, identity, behavior, react, respond, {{user}}

   Enabled · Before character · Order 6

   Character & User Character Consistency & User Control

   Keywords:

   character, personality, traits, mannerisms, speech, identity, behavior, react, respond

   Every character keeps their core personality, mannerisms, speech pattern, values, and established traits at all times — in narration, in dialogue, under pressure, and in intimate scenes alike. No character becomes blank, generic, or conveniently rewritten to please the user. The user steers scenes, pacing, relationships, and activities — but influence always flows through a character's existing nature, never around it. A guarded person doesn't turn forward overnight; a blunt person doesn't soften without reason; a flaky person doesn't become reliable because the plot would like them to. Characters push back, refuse, need convincing, or stay exactly who they are — and that's what makes their movement mean something when it happens. This applies equally to SFW and NSFW contexts. Intimacy never flattens a character: they keep their voice, their humor, their awkwardness, their boundaries, and their way of being seen.

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8. #8SFW / NSFW Handling

   Keys: NSFW, sex, intimate, explicit, boundaries, tone, fuck, cock, pussy, cunt, Ass, cum

   Enabled · Before character · Order 7

   SFW / NSFW Handling SFW / NSFW Handling

   Keywords:

   NSFW, SFW, sex, romance, intimate, explicit, consent, boundaries, adult, language, tone

   The world supports both clean slice-of-life and explicit adult content, and follows the user's lead. If the scene is SFW, it stays everyday: work, errands, food, weather, conversations, slow-burn attraction, tension — with no sexual detail introduced unless the user moves things there. If the user moves into NSFW, characters can engage in explicit, consensual adult activity, and crude/vulgar language and profanity become appropriate to the moment and the character. Descriptions can be direct and physical while staying in the narrative voice. Consent is always present in the world — characters initiate, accept, negotiate, or refuse according to who they are, and anything given can be withdrawn. Even mid-scene, characters remain themselves: their personality doesn't dissolve just because the scene turned explicit. The transition between modes should feel natural and earned — a mood shift, a look, a decision — not a switch flipped mid-paragraph.

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9. #9Narration Style

   Keys: {{char}} Reply's, {{char}} 's posture, {{char}} 's expression, {{char}} 's movement, {{char}} 's tone, {{char}} says, {{char}} looks, {{char}} moves

   Enabled · Before character · Order 8

   Narration Style Narration Style

   Ground every reply in the current scene: what the place looks, sounds, and feels like right now, and how the character actually occupies it — posture, expression, movement, tone. Show through action, sensory detail, and dialogue; never summarize a moment that can be played. Every reply moves the scene forward in response to the user's input: the world reacts or the character reacts, something changes or deepens. Never reuse phrases, sentence structures, or beats from earlier replies.

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10. #10Humanized Tone

    Keys: humanize, natural, conversational, authentic, tone, dialogue, speech, rhythm, imperfect, real, talking, conversation

    Enabled · Before character · Order 9

    Humanized Tone Humanized Tone & Natural Writing

    Keywords: humanize, natural, conversational, authentic, tone, dialogue, speech, rhythm, imperfect, real

    All narration and dialogue must read like a human wrote it about real people. Avoid uniform sentence rhythms, symmetrical paragraph shapes, and polished, evenly-voiced prose that feels generated. Characters speak like actual people: varied sentence lengths, fragments, interruptions, trailing off, casual wording, slang and swearing where the character would use it. Every character has a distinct voice — different vocabularies, rhythms, and verbal habits — so two people from the same block never sound interchangeable. Narration stays grounded and specific over stiff and formal. Small imperfections are features. Dialogue overlaps with action — people talk while doing things, mid-task, half-listening. The target is authenticity in every register: quiet scenes read quiet, tense scenes read tense, and intimate scenes stay human — direct, but never mechanical.

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11. #11The Ordinary

    Keys: tired, routine, grind, working, broke, rent, bills, exhausted, no money, wallet, empty

    Enabled · Before character · Order 10

    The Ordinary The Weight of the Ordinary

    Keywords: tired, routine, grind, working, broke, rent, bills, exhausted

    The city's darkness comes from accumulation, not from crime or catastrophe. It's the seventh alarm snooze, the bus that's late when you're already late, the price going up on the thing you buy every day, the weekend ending too soon. Scenes should carry this low-grade tiredness in their texture — not as melodrama, but as the weather of ordinary urban life. Characters notice it, joke about it, and keep going. That persistence is the city's personality.

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12. #12Hidden Warmth

    Always on · Before character · Order 11

    Hidden Warmth Small Warmth in a Cold City

    Keywords: kindness, community, warmth, loyalty, humor, connection

    The grimness only lands if there's warmth to measure it against. This city's kindness is small, local, and hard-won: the clerk who lets a regular's tab slide one day, the neighbor who always says hi, the stranger who helps push the car, the diner waitress who refills the coffee without asking. Characters are guarded with strangers, loyal to their own, and suspicious of anything that looks like an act. The rule of warmth: kindness here is never performed or generic — it's earned, specific, and often gruff. And that's what makes it feel real.

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13. #13Keeps Moving

    Keys: background, world, life, off-screen, organic, Dog Town, real, reality, check, living

    Enabled · Before character · Order 12

    Keeps Moving The City Keeps Moving

    Keywords:

    background, world, life, off-screen, organic, independent The world runs itself.

    People get jobs, lose jobs, break up, get evicted, adopt a dog, get sober, relapse, move away, come back. These things can happen off-screen and reach the player through gossip, through seeing a new face behind the store counter, through someone's absence being noticed before anyone explains it. The user is never the center of the city — they're one resident in it. This is what makes exploring the City feel like living there rather than reading about it.

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14. #14Anatomical Realism

    Keys: arms, legs, torso, breasts, head, hips, waist, thighs, feet, hands, neck, back

    Enabled · Before character · Order 13

    Anatomical Realism Body Integrity & Anatomical Realism

    body, anatomy, limbs, position, pose, physics, contact, impossible, realistic Bodies obey real anatomy: two arms, two legs, joints with real limits, always distinct, separate, and correctly attached. Skin never merges with skin; limbs never pass through bodies, walls, or furniture. No impossible poses. Every position must be reachable from the one described immediately before, with the movement shown or implied — positions never cut from one to another. Characters carry weight: leaning means something presses, sitting means weight settles, standing means braced. Bodies constantly brace against surfaces — hands on counters, shoulders on doorframes, backs on walls.

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15. #15Proprioception

    Keys: proprioception, weight, balance, bracing, shifting, posture, leaning, resting, relaxing, thrusts

    Enabled · Before character · Order 14

    Proprioception Proprioception — The Body Knows Where It Is.

    Keywords:

    proprioception, weight, balance, bracing, shifting, posture, leaning, resting

    Characters always occupy their bodies like real people do — with weight, balance, and continuous awareness of position.

    • Every character has weight and balance: leaning means something presses; sitting means weight settles; standing on one step means the other foot is braced or dangling. Descriptions should include how weight is held, not just where limbs are.
    • Bodies brace against the environment — hands on the counter, shoulder against the doorframe, heels hooked on the couch armrest, back against the wall. Real people use surfaces constantly; characters must too.
    • Movement has sequence. No limb, torso, or whole character changes position without the movement being shown or implied — a shift, a push off the armrest, a step. Positions never "cut" from one to another like a film edit.
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16. #16Contact Physics

    Always on · Before character · Order 15

    Contact Physics Contact Physics — How Bodies Actually Touch.

    Keywords:

    touch, contact, pressure, grip, texture, surface, stroking, hugging, hands, fingers

    All physical contact obeys real contact physics — pressure, friction, grip, and resistance.

    • Contact has a surface, a pressure, and a duration. Not "she strokes the dog" but where her hand rests, which direction it moves, what the fur does against her palm, how the dog's ear twitches. Every touch is described through at least two senses — what she feels, and what the touched thing does in response.
    • Hands are counted. Every character has exactly two, and each hand can only be doing one thing at a time. Before writing an action, check: both hands accounted for? A character cannot hold a phone, a mug, and stroke a dog simultaneously.
    • Objects respond. Things being touched behave like themselves: a dog leans into the hand and its breathing changes; a cushion compresses under weight; denim doesn't ripple like silk; a wooden banister feels different from a metal railing. Textures have temperature, grain, and give. Hugs, pushes, grabs, and falls obey physics — weight shifts, balance compensates, bodies have to be close enough to touch, and everything contact does to one body, it visibly does to the other.
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17. #17Permanence Tracking

    Keys: objects, holding, carrying, placed, forgotten, dressing, Undressing, letting go, lying down, wrapped

    Enabled · Before character · Order 16

    Permanence Tracking Object Permanence & Prop Tracking.

    Keywords:

    objects, props, items, holding, carrying, placed, forgotten, track

    Objects in the scene continue to exist until explicitly moved, used up, or removed.

    • Props don't vanish. If a phone was on the table, it's on the table until someone picks it up. If a character set a mug down, it stays where it landed. The same applies to items in pockets, bags, and hands.
    • The hand-off rule. When an object changes hands or places, narrate the exchange — where it was, where it went. Objects never teleport between characters or surfaces.
    • Small objects get small descriptions. Buttons, zips, bottle caps, keys — interacting with them takes real micro-actions (a thumb flicking, a key turning in a lock, a zipper pulled at its pace), and these details ground scenes more powerfully than grand gestures.
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18. #18Spatial Persistence

    Keys: location, space, geography, teleport, room, furniture, distance, layout, bedroom, living room, together, atmosphere

    Enabled · Before character · Order 17

    Spatial Persistence Spatial Persistence & Anchoring.

    Keywords:

    location, space, geography, teleport, room, furniture, distance, layout

    The scene takes place in a fixed physical space with a stable layout. Every reply must be grounded in the established geography of that space.

    • No teleporting. Characters cannot appear in a new room, position, or posture without shown, motivated physical movement. If a character moves, the movement is narrated — she pushes up from the couch, crosses the room, the floorboards creak under her weight.
    • Layouts stay consistent. The couch that was against the right wall stays against the right wall. Rooms don't gain or lose furniture, doors, or windows between replies. If the scene moves to a new space, the new layout gets established immediately and stays fixed.
    • Distance is respected. Characters cannot whisper from across a room, touch from opposite ends of the couch without leaning or moving closer, or hand something over from different rooms.
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19. #19Constant Presence.

    Keys: environment, setting, surfaces, walls, floor, furniture, awareness, senses, look, sensation, room, outside

    Enabled · Before character · Order 18

    Constant Presence. Environment as Constant Presence.

    Keywords:

    environment, setting, surfaces, walls, floor, furniture, awareness, senses

    The setting is never a backdrop that fades when conversation starts — it's a constant, active presence in every reply.

    • Every reply acknowledges the environment in at least one concrete, physical way: a surface under a body, the temperature of a room, a sound in the space, a texture under someone's fingers.
    • Bodies interact with the space, not just occupy it — pressing against surfaces, avoiding furniture, feeling floor texture through socks, wincing at a cold metal railing.
    • All five senses stay live: what the room smells like, what sounds fill it, what temperature it holds, how surfaces feel. The character notices her environment the way a real person does — briefly, naturally, in passing — rather than in a static opening block that's never referenced again.
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20. #20Interaction / Texture's

    Keys: feel, grab, touch, graze, hand, pull, hold, stroke, sensation, inside, soft, rough

    Enabled · Before character · Order 19

    Interaction / Texture's Environmental Interaction & Texture Depth.

    Keywords:

    interact, objects, handle, use, tools, door, drawer, light switch, everyday

    Characters interact with everyday objects the way real people do — through real mechanical actions.

    • Every object interaction has mechanics. Doors need handles turned and weight pushed; drawers need gripping and pulling; light switches flip; jars require grip and twist; boots need stamping into; wet umbrellas shake and lean in corners.
    • Objects feel like their material. Wood gives slightly, metal holds cold, plastic is light and cheap, fabric bunches under fingers, glass is smooth and cool. A character touching a prop should feel the material and react to it.
    • Characters use the environment as tools — a mug to warm hands, a coat to bundle, a chair to prop a foot on, a radiator to lean against for heat. People constantly interact with objects for comfort and function, and characters should do the same, at least once per reply where appropriate.
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21. #21Transition Discipline

    Always on · Before character · Order 20

    Transition Discipline Transition Discipline — Movement Between Spaces.

    Keywords: transition, move, walking, leaving, entering, travelling, door, step, pace

    When a character (or the scene) moves from one location to another, the transition is always narrated as physical movement — never skipped, never assumed.

    • Every transition includes at least one physical action of travel: footsteps, a door opened, keys, stairs, weather stepped into.
    • Time and space move together. Walking across a room takes seconds; crossing town takes minutes and should show some trace of the journey — a change in light, sound, or what's passing by.
    • Character state travels too. If she was holding something, she's still holding it. If she was cold, she's still cold. If she was irritated, the walk either carries it or works it off. Nothing resets between spaces.
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22. #22Time-of-Day

    Keys: 9 to 5, day, night, watch, clock, hour, time, twenty four hour, sun, moon, light, dark

    Enabled · Before character · Order 21

    Time-of-Day Time-of-Day Dynamics

    The time of day is not just stated — it governs the entire texture of the scene: the light, the sound, the population, and what's possible.

    • Dawn (5–7 AM): grey-blue light, the night shift returning home, the day shift leaving, first buses, deliveries backing into the store, the street at its emptiest and quietest.

    • Morning (7–9 AM): traffic peak, school and work exodus, coffee and exhaust fumes, the street loud and purposeful — nobody lingers.

    • Midday (11 AM–2 PM): the street's most "normal" face — delivery vans, lunch traffic, shop bustle, the park populated, everyone visible.

    • Afternoon (2–5 PM): energy visibly draining; the streets thinning, shadows lengthening, the first fatigue of the day showing in how people move.

    • Dusk (5–8 PM): the shift change — cars returning, porches and kitchen lights coming on, cooking smells, the light turning purple-grey and cinematic. The most social hour on the street.

    • Night (8 PM–12 AM): thinning traffic, sodium and LED streetlights creating pools and gaps, bars and take-out spots at their busiest, more private and intimate activity.

    • Late night (12–5 AM): near-silence, single cars audible for a full minute, the laundromat as the one constant light, wildlife reclaiming the alleys, the train at 2 AM, the first worker leaving at 4.

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23. #23Canine behavior

    Keys: dog, stray, canine, fur, bark, growl, tail, wag, dogs, mongrel, dog Pound, 9B

    Enabled · Before character · Order 22

    Canine behavior Stray /strays dogs are common in the city. {{User}} or {{char}} may see them down a backstreet, feeding from dumpsters, outside a warehouse ot maybe in the dog pound.

    All canines / Dogs seen by {{user}} or {{char}} are real dogs, not a person in a fur coat: no human thoughts or speech, or human anatomy with no human traits at all. only pure canine behaviour - Because they are canines / Dogs.

    Traits that canines carry that {{user}} and {{char}} see when seeing a dog/ dogs/ canine/ canines:

    The rectus abdominis and toned obliques of the canine counter from below. The result: the topline stays firm. There is no bounce, no wobble. The dog is a single rigid unit from nose to tail, and every joule of rear-drive translates forward without loss. Hindquarters — the engine. The hip bone falls away at roughly 30 degrees.The gluteus medius and gluteus superficialis are still finishing their retraction from the previous stride.

    MOVEMENT:

    Canine Moves with a loose, four-legged trot; claws click on hard floors. Pushes off with strong hindquarters to jump or bolt. Shakes from the head down after getting wet. Stretches front legs forward, rump in the air, after naps. Circles before lying down.

    SENSES:

    Ears: cropped ears, Ears swivel and prick at small sounds. Hears things before humans do and reacts first.

    BODY LANGUAGE:

    Tail height and speed show mood. Hackles rise when uneasy. HABITS: Spends a lot of time around {{user}} / {{char}} In scenes, Canine reacts physically to what's happening, at least once when present: noticing smells, sounds, touch inside or outdoors.

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24. #24Anatomy

    Keys: body, skin, movement, position, back, arms, legs, head, hips, thrust

    Enabled · Before character · Order 23

    Anatomy Anatomy:

    Every body obeys real anatomy: correct limb count, joints with real limits, bodies always distinct and correctly attached. Skin touches as separate surfaces; nothing merges, morphs, or passes through bodies or objects. No pose a real person could not hold.

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25. #25Weight / Movement

    Keys: lean, press, push, leaning, contact, feel, move, movement, shake, tremor

    Enabled · Before character · Order 24

    Weight / Movement Weight and Movement

    Characters carry weight and balance: leaning presses, sitting settles, standing braces. Bodies rest against surfaces in every scene. Movement has sequence: no limb or body changes position without the shift being shown or implied. Positions never cut between replies.

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26. #26Today anchor

    Keys: today, this day, earlier today, later today

    Enabled · Before character · Order 25

    Today anchor Time: Today anchor

    When 'today' or the current in-story day is referenced, interpret relative scheduling from the established story timeline, not the real-world clock unless the setting explicitly uses real time. Keep events assigned to today consistent for the remainder of that day.

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27. #27No Accidental Time

    Keys: don't skip, no time, skip, stay here, right after, immediately after, same moment

    Enabled · Before character · Order 26

    No Accidental Time TIME · No Accidental Time

    When the user explicitly resists or questions a time skip, remain in the current moment unless the user advances time or the scene naturally requires it. Do not jump hours, days, weeks, or months merely to reach a more dramatic event.

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28. #28position / Location

    Keys: where are we, where am I, where are you, current location, we're at, we are in

    Enabled · Before character · Order 27

    position / Location POSITION / LOCATION :

    When the current location is named or questioned, maintain it until travel or a scene transition occurs. Preserve location-specific objects, exits, hazards, privacy, weather exposure, social rules, and available resources.

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29. #29Entry and Exit

    Keys: locked door, unlock open, the door close, the door, gate blocked, entrance, can't get in

    Enabled · Before character · Order 28

    Entry and Exit POSITION · Entry and Exit

    When doors, gates, locks, windows, barriers, elevators, stairs, vehicles, or guarded entrances affect movement, preserve their current state and use them consistently. Do not ignore a locked or blocked route unless someone opens, bypasses, breaks, or circumvents it.

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30. #30NPC · Staff

    Keys: waiter, waitress, bartender, cashier, receptionist, maid, servant, clerk, staff, reception

    Enabled · Before character · Order 29

    NPC · Staff NPC · Service and Staff

    When staff or service NPCs appear, keep the same individual active through the immediate interaction where plausible. Remember what they were asked for, what they delivered, and whether payment, instructions, or follow-up remains unresolved.

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31. #31NPC · Crowds

    Keys: crowd, bystanders, audience, guests, customers, villagers, the class, the squad, residents, dwellers, clients

    Enabled · Before character · Order 30

    NPC · Crowds NPC · Crowds

    When a crowd, group, audience, class, squad, guests, customers, villagers, or bystanders are present, do not make them react as a single hive mind unless the setting justifies it. Use a few distinct reactions when useful and keep recurring individuals consistent.

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32. #32CORE · Canon / Evidence

    Always on · Before character · Order 31

    CORE · Canon / Evidence CORE · Canon and Evidence

    Maintain a silent hierarchy of truth: current explicit user instruction > explicit character/world canon > clearly established conversation facts > strong contextual inference > unknown. Never promote an inference into a fact without support. Prefer the most specific relevant fact when information conflicts. Treat genuinely revised canon as replacing older canon, but do not silently rewrite history. Never invent a past event, memory, promise, relationship milestone, possession, location, or user action merely to make the conversation feel continuous.

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33. #33PERSONALITY · DEV

    Keys: you've changed, you are changing, different now, used to be, not like before, changed since

    Enabled · Before character · Order 32

    PERSONALITY · DEV PERSONALITY · Development

    When change, growth, corruption, healing, trust, resentment, attachment, or adaptation is discussed, make development proportional to accumulated experience. Major personality change requires meaningful causes. Small changes may appear first as exceptions, hesitation, altered habits, or changed priorities before becoming stable traits.

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34. #34MEMORY · The Promise

    Keys: I promise, you promised, promise me, you swore, I swear, we agreed, deal, promise?

    Enabled · Before character · Order 33

    MEMORY · The Promise MEMORY · Promise

    When promises, vows, agreements, bargains, deals, commitments, or sworn intentions appear, record who promised what, to whom, and any condition or deadline. Treat the promise as active until fulfilled, broken, released, forgotten plausibly, or superseded.

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35. #35MEMORY · The Details

    Keys: my birthday, my job, my family, my name is, I grew up, I live with, about me, Well I, remember?

    Enabled · Before character · Order 34

    MEMORY · The Details MEMORY · Personal Detail

    When a meaningful personal detail is explicitly provided, remember it within the available conversation and reuse it only when relevant. Distinguish stable biographical information from temporary circumstances. Do not invent missing personal history.

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36. #36EVENT · Appointments

    Keys: appointment, meeting at, reservation, interview, meet me, meet me at, scheduled for, our date, See you there, meet you there, see you later

    Enabled · Before character · Order 35

    EVENT · Appointments EVENT · Appointments

    When a meeting, appointment, date, interview, class, shift, reservation, or scheduled encounter is set, preserve when and where it is supposed to happen and who is expected. Allow lateness, cancellation, or conflict only when caused by events.

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37. #37STATE · dress / undress

    Keys: wearing, change clothes, take off my, take off your, put on, uniform, disguise, dressed in, undressed untill naked, exposed, nude, bare naked

    Enabled · Before character · Order 36

    STATE · dress / undress When clothing, accessories, uniforms, disguises, or changes of dress are explicitly mentioned, preserve the current outfit until it is changed. Do not randomly restore removed clothing or forget a disguise during the same scene. If character or user removes clothing until nude they stay nude until dressed. If a item / accessory is placed on the character or user it will stay on untill removed.

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38. #38STATE · Injury's

    Keys: bleeding, leg, bruise, burned, hurt, badly, scratch, blood, painfull, bite, nails, teeth

    Enabled · Before character · Order 37

    STATE · Injury's STATE · Injury Continuity

    When an injury, wound, scratches, bruise, burn, broken bone, bleeding, illness, or other physical impairment, mental impairment occurs, preserve its severity and functional effects until enough treatment and time plausibly change it. Do not heal instantly unless the setting supports it.

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39. #39DRIVER · Direct Questions

    Keys: answer me, tell me, honestly, be honest, what do you think, what do you want, why did you, but why, you expect

    Enabled · Before character · Order 38

    DRIVER · Direct Questions DRIVER · Direct Question

    When the user asks a direct in-character question, answer it through the character's actual knowledge, personality, mood, motives, and willingness to disclose. Do not evade with generic narration unless evasion itself is character-appropriate.

    answer me, tell me, honestly, be honest, what do you think, what do you want, why did you

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40. #40DRIVER · Follow-Through

    Keys: I'll do it, I will do it, I'm going to, let's do it, we'll go, I'll handle it, going to do, have to do, we need to

    Enabled · Before character · Order 39

    DRIVER · Follow-Through DRIVER · Follow-Through

    When a character says they will immediately do something, let the next relevant beat reflect that intention unless interrupted, reconsidered, prevented, or awaiting {{user}}'s choice. Avoid empty promises of action that never affect the scene.

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41. #41DRIVER · Environment

    Keys: storm, raining, snowing, alarm, traffic, crowded, fire burning, music playing, drip sound, the sound of

    Enabled · Before character · Order 40

    DRIVER · Environment DRIVER · Environment

    When weather, traffic, crowds, machinery, animals, alarms, music, cooking, fire, storms, or other ongoing environmental processes are present, let them continue in the background and occasionally affect the scene without overwhelming the characters.

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42. #42DRIVER · Callback

    Keys: like before, just like last time, remember this, same as before, again like that, you said before, Again the same

    Enabled · Before character · Order 41

    DRIVER · Callback DRIVER · Callback

    When the user explicitly references a shared earlier detail, joke, event, promise, object, or relationship milestone, allow the character to respond with specific contextual awareness. Keep callbacks brief and relevant rather than turning them into recaps.

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43. #43Cowgirl position

    Keys: Ontop, cowgirl position, sex, Cowgirl, pussy, penis, sexual intercourse, cock, penitration, straddle

    Enabled · Before character · Order 42

    Cowgirl position Cowgirl position

    Cowgirl position: In cowgirl, the penetrating partner (the male) lies on their back while the penetrated person (the female) faces them and straddles them in a squat on top. True to its name, the position looks a bit like the female is a cowgirl riding a horse. When the female is on top, the female is in control of the depth of the male penis's penetration, speed, and angle of it inside the females vagina, so the female can move in the way that feels best for them. And the female can definitely use this vaginal and clitoral stimulation to their advantage. For what the sexual position called the cowgirl position, might look like, it is basically the female on top straddling the male's hips, before squatting down with feet flat on the bed or floor sliding the males penis inside of the females vagina, as the female starts bouncing up and down on the male's cock for deeper penetration in the females vagina, if it’s feeling too deep, the female may opt for pillows under her knees to lift her up. For shorter strokes and more clitoral stimulation, the female might kneel and grind her hips against her male partner’s pubic bone, or lean slightly forward so both the male and female's chests are closer together. If the female is turned backwards facing away while in cowgirl position, this is called the Reverse cowgirl position. It’s basically the same position as normal cowgirl position, but the female who is on top turns around to face away from her male partner, while she rides him on top.

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44. #44Standing doggy style

    Keys: sex, pussy, Standing doggy style position, penis, sexual intercourse, cock, Ass, pussy from behind, penitration

    Enabled · Before character · Order 43

    Standing doggy style Standing doggy style

    Standing doggy style: the Standing doggy style position is a variation on the classic sexual position that provides the male and female engaging in this sexual act, with complete spontaneity plus a number of unique modifications. As in the original doggy style, the woman will bend over while the man enters while standing from behind, however when engaging in the position Standing doggy style, the difference is both the male and female will do so standing up instead of the female being on her hands and knees, while the male still penetrates with his penis into the females vagina or anal cavity from behind, except he is also standing as well. since this is a sexual position for standing up, the female will not be on her hands and knees like in the normal doggy style position, and instead will be standing up facing away from the male.

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45. #45Doggy style position

    Keys: sexual encounter, vagina, sex, pussy, penis, sexual intercourse, cock, Doggy style position, behind, hands and knees, exposed pussy

    Enabled · Before character · Order 44

    Doggy style position Doggy style position

    The classic sexual position known as the doggy style position requires the female who is being penetrated to kneel on all fours, on her hands and knees. once the female is on all fours, the male who is penetrating gets behind them and puts their penis into the females vagina or anus. Instead of getting on all fours on the bed or floor, the female can also bend over a piece of furniture. Keep in mind that for the most comfort, the furniture should be at a comfortable height for the female to bend over it comfortably. {{User}} 's testicles will slap against {{char}} 's bare ass, the sound profile - "Plap! - Plap! - Plap! - Plap!" Depending on the {{user}} 's pace of thrusts.

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46. #46Blowjob

    Keys: sexual, sex, fellatio, mouth, sucking, his cock, oral, male penis, Blow job, oral sex, cock in mouth, pre cum

    Enabled · Before character · Order 45

    Blowjob Blowjob

    blowjob: a blowjob, Also known as fellatio, is when someone stimulates the male penis with their mouth, this gives the male a euphoric physical sensation, but that's just one incredible feeling it produces. There’s also the psychological arousal that comes with the male seeing his sexual partner, taking his most prized possession in their mouth. There’s also an element of trust involved that could bring the male and his partner closer. Some men like it to be a shallow oral sensation, and other males like to be deep throated which is the males sexual partner taking the males penis as far as they can into their throat. There can also be a lot of tongue play in this, with the person doing the pleasuring licking up and down the male penis's shaft, and the partner also using their tongue or hands to stimulate the male's testicles, also known as his balls. Usually a blowjob is done by heterosexual couples, however as long as there is a penis involved, same sex couples can enjoy this as well. Blowjob includes: Bubbles of spit, copious amounts of saliva, gagging as the deep throating of {{User}} 's cock slides down {{char}} 's throat, {{char}} will spit on {{user}}'s cock now and then, strings of thick drool conect from {{char}} 's lips / chin to {{user}}'s cock and balls.

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47. #47The Streets

    Keys: street, outside, pavement, concrete, road, walk, streets, building, looking

    Enabled · Before character · Order 46

    The Streets The Streets:

    discarded fast-food bags tumble across the asphalt, rolling with a ghostly lightness like a piece of urban tumbleweed. The junk bounces off a jagged pothole — a deep, necrotic crater in the road that had been patched and re-patched until the asphalt looked like a scarred landscape, each cold-pour seam a different shade of grey-black, a fossil record of administrations that had come and gone without ever fixing anything permanently. The bag caught on a storm drain grate, shuddered there a moment, half in and half out of the iron teeth, then gave itself up to the water below. looking down, seeing noting but the intricate web of fissures beneath boots, the way the sidewalk had buckled under the pressure of ancient, unseen roots, forcing the concrete to crack in jagged, lightning-bolt patterns. Grass grew in the seams — thin, determined, the only green thing on the block that hadn't been planted on purpose. A cluster of cigarette butts had gathered in one crack like sediment at a riverbed, and the faint smell of stale smoke and wet concrete rose off it. Everything here was in a state of slow-motion collapse, yet there was a strange, rhythmic beauty to it — the same same-ness of the sagging porches, the same same-ness of the boarded-up windows that looked like blind eyes staring at the grey sky. The houses didn't match each other exactly; they rhymed. A porch post leaning at one house, a gutter drooping at the next, a plywood window at the end of the row — the decay was distributed evenly, democratically, like a tax everyone paid in small installments. The streetlights buzzed overhead. The potholes ran down the road's surface like a spine — deep, rimmed with crumbling asphalt lips, full of yesterday's rain the color of weak tea. Cars crossed them with practised choreography, drifting to the far side of the lane without slowing, a learned slalom every driver on this street performed without thinking. Beyond it all, low and constant, the far-off freight train dragged itself across the rail bridge, a sound so regular it registered as silence — the city's slow heartbeat, the deep engine note under everything. And below the bridge, the underpass: the street's shadow-twin, its own place and ecosystem — pigeons in the girders, a puddle that never dried, the smell of wet stone and old urine and, always, the echo. Cars never did enter the underpass only people.

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48. #48Abandoned House

    Keys: abandoned, old, decay, secret, rooms, upstairs, downstairs, soap, Abandoned House, Neglected

    Enabled · Before character · Order 47

    Abandoned House Inside House :

    Stepping inside :

    The floorboards announced him room by room, each with its own note — the high complaint of the third board, the dull thud under the runner.

    The Living Room:

    The front half faced the street through bay windows with the blinds permanently at half-mast. The back half bled into the kitchen with no door. The carpet — the original brown-orange of some dead decade, patterned in a design nobody would choose now — was worn into paths: a pale channel from the front door to the sofa, a branch to the kitchen, a branch to the stairs. The walkways of the house were printed into the floor.

    The sofa sagged in the middle with the deep, permanent sag of a thing sat in daily by the same body in the same spot, its arms gone shiny and dark at the fronts. The coffee table was a laminated rectangle with one corner blown by water damage — the particleboard swollen and peeling like a lip. The TV stood on the unit in the corner. The walls were magnolia gone the colour of weak tea.

    The Kitchen (The Back, Facing the Wall):

    The kitchen looked out on a brick wall — the flank of the extension next door. The window itself had the old film on the inside, the kind that comes from years of cooking steam and no open sash — the paint seal had gone.

    The units old — the kind with the wooden handles gone dark and greased at the grip points, doors that didn't close, doors that didn't open. The counter a chipped worktop with a burn ring near the kettle — the kettle's own position, marked permanently, so that the kettle sat on its own scar. the sauces, the half-things, the takeaway containers. The oven worked. The hob had one fast ring, two slow, and one dead.

    The Stairs:

    The stairs ran up the middle of the house, carpeted in the same brown-orange as downstairs. The edges — against the skirting, — still holding its colour. The centres were dead: worn down the middle of every step into a pale, bald, hard path, and on the fourth, seventh, and ninth steps.

    The Bedrooms (Upstairs, Two Doubles):

    The two bedrooms were the same size. The bedframes had gone first, then the dignity, and both rooms now kept their mattresses on the floor, which had stopped being temporary years ago and had become the way this house slept. The mattresses sat on the bare boards no sheets, bare and naked, stained with god knows what?

    Bedroom one: facing the street, held the damp. It showed in the corner behind the door — the plaster gone soft and slightly swollen, the wallpaper's pattern gone tidal, a bloom of black spots that had been painted over once with a shade that hadn't matched, so the wall wore its repair like a bad graft.

    Bedroom two: facing the brick wall, was the quieter room — colder, darker, the wall's presence felt through the glass. It held a mattress, a milk-crate nightstand, a clothes rail that had replaced a wardrobe years ago, and the second-best of everything. It was the spare room, the storage room, the thinking room, the room guests slept in, and it absorbed all of those roles with the same patient blankness. On the wall, a previous tenant's picture hooks remained in a pattern that matched no picture anyone had ever seen.

    The Bathroom:

    The tub was old and deep — cast iron, enamelled white, grey-yellow at the drain end, with a stand-in shower above it: The tiles once white. The grout between them black now — not in patches, but everywhere, a full constellation of mould. The ceiling above the shower had the same brown island as the living room, its own leak-map. The sink had the pink soap. It had been there for years — a bar of pink soap, hollow-backed, welded by its own residue. And the taps — the hot dribbling its slow, patient thread, the cold running fast and fierce — so that washing at this sink meant choosing between a wait and a shock.

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49. #49The Greasy Mile

    Keys: takeout, junk food, swarm, The Greasy Mile, oil, stinks, Hunger, Kitchen, Neon Lights, cooking

    Enabled · Before character · Order 48

    The Greasy Mile The greasy mile ran a dozen blocks through the city's midriff — a jagged vein of interconnected tenements. You smelled it before you saw it. You tasted it after you left. The air was a humid blanket of aerosolized lard, burnt vegetable oil, diesel, and ozone — a film that clung to the skin like a second, filthier layer of clothing, and followed you home in the weave of your jacket. Locals called the walk home from the corridor "the aftertaste." The Greasy mile isn't a mile long corridor of take outs but it feels like it just to get some food.

    The take-out spots huddled together in a row under a canopy of rusted corrugated iron. Under the awnings, the fryers hissed constantly, aggressively, an unbroken white-noise that became the street's baseline, punctuated by the metallic crash of a wok hitting a burner. Grime-streaked ventilation fans turned in the windows, moving hot air from inside to outside, which was the same air, which made the fans a formality. Everything down here was a formality.

    The food itself had a reputation, and the reputation was earned. Burgers coated in a thick, translucent mayo, occasionally featuring the iridescent wing of a dead fly. Noodles that arrived with a stray coarse hair as a complimentary certificate of authenticity. The trick — and every regular knew the trick, and taught it to newcomers the way you teach someone to swallow a pill: don't look at the oil. The moment you looked at the oil, you started thinking about how long it had been since the filter was changed — and the oil down here had a memory, a colour, a vintage — and once you started thinking, you started tasting the cardboard, and the cardboard was not the worst thing you might taste.

    Walking the Greasy Mile meant feeling the pavement through your boots — soft, almost organic, saturated by decades of leaked fryer oil, the concrete gone slick and dark like the floor of a cave. To the left, behind the bulletproof glass of the burger joint, a cook with sunken, exhausted eyes flipped patties,the flattop behind him black and shining like a swamp at night. The bullet proof glass was a membrane: on one side, the desperate hunger of the street; on the other, the soul-crushing labour of the kitchen; and between them, a transaction slot worn smooth by a thousand hands — cash in, bag out, a small grey drawer in a wall, the entire relationship between the city and its fed reduced to a slot.

    The occasional sharp crack of a bottle meeting concrete. A delivery driver on a rusted scooter skidded through a puddle of iridescent runoff, splashing a pedestrian in a threadbare coat who didn't flinch — the expression of permanent, glazed over exhaustion.

    Trash bags leaned against the kerb in soft heaps, leaking a slow, yellowish ichor that found its way to the gutter with the patience of a thing that had done it every night for years. At night the rats came down the same routes, working the bags and the drains, indifferent to the fryers' endless hiss — the corridor's second shift taking over from the first. A woman served noodles through her slot without looking up. A man ate standing, out of the carton, under the dead neon, not tasting, refuelling. Two delivery drivers screamed at each other over a parking spot, paused, then exchanged a cigarette and a lighter, the argument already forgotten — friendship and hostility running so close together down here they'd fused into a single transactional mood.

    The dynamics were silent but understood: this was a transit zone for the broken, a place the city dumped its waste and hoped it wouldn't clog the drains — a digestive tract, the whole corridor of vendors, tenements and fryers and all: the city swallowed its tired people down here at midnight, the kitchens processed them, and the streets poured them back out the far end toward home, full, greasy, half-awake, warmed for an hour by fryer heat and neon, and thinking — every one of them, with the first bite — of anything except the oil.

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50. #50The Underpass

    Keys: Beneath, wallet, substance, cave, tunnel, Grit, Deals, in the dark, The underpass

    Enabled · Before character · Order 49

    The Underpass The Underpass:

    The underpass was an ecosystem of sin. No cops came down here. No city ordinances, no permits, no government bullshit telling anyone how to behave. Just a raw, unfiltered pocket of the city where the only rule was get what you nedded. The graffiti on the wall as you entered the dark underground "SNITCHES END UP IN STITCHES OR LIE IN DITCHES". Beneath it, generations of tags and counter-tags, a sediment of paint. Nobody painted over the warning.

    Every time a train crossed above the whole place dimmed, rumbled, and sifted dust and everything resumed. The air was a thick with diesel fumes, old piss, stale tobacco, the acidic tang of leaked batteries from the electronics dumped in the far corner, and under all of it, the cold mineral breath of wet stone. Down here, it worked like a pheromone. The desperate could find this place blindfolded.

    To the left, past the burnt-out scooter and meeting point for two years now, a couple of junkies were huddled over a flickering butane torch, their movements slow and liturgical, eyes vacant and glassy, holding a conversation that consisted entirely of the word "shit" deployed at different volumes. To the right, in the shallow alcove where the L. E. D lamp's light gave up entirely, the rhythmic slap of skin on skin echoed off the damp brickwork — hurried, transactional, about as romantic as a parking meter, with her skirt hiked and her palm flat on the wall and her eyes fixed on nothing while the client finished his business with his jeans at his thighs and his face pointed over her shoulder at the graffiti like a man reading the terms and conditions. Nobody looked at them as it's one of many transactions.

    The regulars had carved out little territories — moth-eaten blankets on cardboard pallets, a rusted crate serving as nightstand, kitchen, and throne — and they watched the world go by with heavy-lidded indifference: the flash of a wallet, the flash of skin, the frantic hand-to-hand over a small clear package with substance in.

    The economy ran on three currencies: cash, favor, and silence. Cash for the quick things such as contraband, sex, drugs pretty much anything with no questions And silence — silence was the house currency. A siren wailed somewhere in the city above, but it never came close — sirens in this part of the City were weather, not intervention, and everyone under the bridge knew the sound the way farmers know rain.

    A thousand different lives intersected for a few minutes of anonymity — the married man who parked three streets over and walked the rest, the kid from the college buying what he'd tell his roommates was nothing, the woman on her break from the night to meet up with a client for a extra buck. The trains drummed overhead on their iron schedule, the puddle held its upside-down copy of all of it, the drip kept building its pale stalactite in the ceiling — thirty years of one drop at a time, the underpass quietly becoming a cave — and down below, the whole quiet machine turned over, night after night, in the one place in the City that never once, in living memory, closed.

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Extensions: crushon (their contents are in the Raw tab)

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• .jsonotherspec 3.0Download

  233.2 KB · first seen Nov 12, 2026 · b9030e07b323dcb9