Walten Family

Showing 1 of 1

1. #1Injected lorebook text

   Always on · Order 0

   The events of the The Walten Files all occur in Brighton, Michigan.

   Brighton, Michigan is a small city of about 3.7 square miles in southeastern Livingston County with a population a bit over 5,000. It has a compact core—with downtown centered near natural water features and parks—and more residential and suburban development radiating outward. To its west and south lies the Brighton Recreation Area, a large forested, hilly, mixed-terrain natural area of nearly 4,950 acres. This recreation area includes hills, lakes, marshes, oak forests, meadows, wetlands, and over 35 miles of trails for hiking, horseback riding, biking, etc. There is also Island Lake State Recreation Area nearby, 4,000 acres, with lakes, river frontage, meadows and woods.

   Major highways (notably I-96 and US-23) lie just outside or along parts of the surrounding township area, giving Brighton regional connectivity. Because the city is modest in land area, most of its water features are small lakes or ponds or part of the parks. Population density near the core is higher, with more open or natural land (wooded areas, water, trails) farther out.

   In terms of nearby well-known cities: Ann Arbor is about 19-20 miles to the south (around 25-30 minutes driving) from Brighton. Detroit is about 45 miles to the southeast (about 40-45 minutes by car under good conditions).

   A decently small river runs through the middle of Brighton from Woodland Lake in the north to Brighton Lake to the south.

   There is also Mt. Brighton, a ski resort. It is known as the "Snowmaking Capital" due to the "Schneehex" (Snow Witch), the world's largest snow gun at the time.

   The natural environment in and around Brighton, Michigan is shaped by both its glacially sculpted terrain and its position amid the temperate forests of the Great Lakes region. Southeast of larger urban centers like Detroit and Ann Arbor and set within Livingston County, the landscape is a blend of rolling moraines, kettle lakes, wetlands, and mixed hardwood woodlands that reflect the legacy of the retreating glaciers from the last Ice Age. These glaciers left behind irregular hills, depressions filled by lakes and ponds, and a patchwork of soils that support diverse plant communities — from oak-hickory stands on higher ground to hardwood swamps and prairie fens in low-lying areas. The Brighton Recreation Area, a nearly 5,000-acre stretch of this terrain, exemplifies these features with its high ridges, wetlands, and sandy outwash plains interspersed with lakes and upland forests.

   The trees and vegetation you’d encounter reflect the broader mesic northern forest typical of southern Michigan — a deciduous hardwood canopy dominated by species such as sugar maples, oaks, American beech, red maples, and basswood, with pockets of white pine and other conifers in some areas. Such forests develop on well-drained soils and produce rich fall foliage, with brilliant reds, oranges, and yellows that can dominate the landscape from early to mid-October. In more open or transitional zones you might also find hickory, birch, black cherry, eastern white pine, and red oak, and historically significant species like American chestnut, which was once abundant before the early 20th-century blight. Early settlers planted street trees such as elms, horse chestnuts, maples, oaks, and linden in town, a legacy that contributed to Brighton’s wooded character. Connected to the lakes and streams are wetland plant communities — cattails, rushes, and red maple in saturation zones — providing habitat for waterfowl and amphibious life.

   Seasonally, Brighton is decidedly four-season. Winters are cold and snowy, with average January highs in the 20s to low 30s Fahrenheit and significant snow accumulations that transform the landscape into a white, quiet expanse; lakes and ponds freeze, and woodlands stand stark as deciduous trees shed their leaves. Springs bring thawing creeks and flowering understory plants, but late frosts can linger due to cold air settling in lowlands. Summers are warm, with average July highs in the mid-70s to low-80s, encouraging lush leaf canopies and abundant wildlife activity around lakeshores and deep woods. Autumn is perhaps most visually dramatic, with maples, oaks, and birches turning vivid hues of red, orange, and gold before leaf drop, drawing people to parks and trails to take in the colors. Annual precipitation — a combination of rain and snow — supports the region’s forests and wetlands, and the growing season typically spans roughly 140–150 days, constrained by early frosts in fall and late freezes in spring.

   Taken together, Brighton and its environs in the 1970s would have presented a landscape of dappled light through mixed hardwood forests, quiet lakes framed by reeds and wetland grasses, and an ever-changing seasonal rhythm — from winter’s stark silhouettes to summer’s green plenitude and fall’s fiery tapestry, all set upon a gently rolling tableau shaped by ancient ice and modern ecological communities.

   In the early 1970s, Brighton, Michigan was a small but growing small-town community with deep agricultural roots and an increasingly suburban character. The city’s history stretched back over a century, and by the 1970s its downtown core along Main Street was a hub of locally owned shops, pharmacies, and family-run businesses that served daily needs and anchored community life. Around this time, the Brighton Mall opened in 1971, bringing one of the county’s first enclosed shopping centers to the area with a department store and grocery anchor, and signaling shifts toward modern retail and consumer culture that complemented the traditional downtown district.

   Socially, Brighton in 1974 felt like many Midwestern small towns on the edge of larger metropolitan influence. Most residents were white, reflecting regional demographic patterns of Livingston County in that era, and community life revolved around local schools, churches, civic clubs, and high school sports. Neighbors knew one another, social gatherings and community events were common, and people tended to speak in straightforward, earnest Midwestern tones—polite, friendly, and community-oriented. Families drove the two-lane roads to nearby outdoor recreation areas and lakes for weekend picnics and boating, and local youth likely listened to rock, Motown, or folk on AM/FM radios, sharing the broader cultural currents of the 1970s while still living a rhythm defined by the seasons and local institutions. Local musicians from the area—including bands achieving regional recognition—reflected a lively if modest arts culture that connected Brighton to broader cultural movements.

   Technologically and infrastructurally, the early 1970s were before personal computers and widespread mobile communication. Telephones were landline only, television was broadcast with a handful of local and network stations, and many households still relied on printed newspapers and radio for news. Cars were central to daily life, whether commuting to work in larger nearby cities such as Detroit or Ann Arbor or simply running errands along Grand River Avenue. Workplaces ranged from small shops and service businesses to farms and light industry, and community institutions like schools and churches were focal points for social life. Although specific census data is limited, booming post-World War II and baby-boomer demographics meant a relatively youthful population with many families raising children, supporting schools, and contributing to local civic engagement. Collectively, this made Brighton in the 70's a blend of small-town camaraderie and emerging suburban convenience.

   America as a whole in the 1970s felt like a country that had been shaken hard and had not yet settled back into itself. The mood was a strange mix of fatigue, suspicion, and restless change. In many places, people moved through daily life with a guarded, practical seriousness: they worried about rising prices, gasoline shortages, the aftershocks of Vietnam, crime, and whether the country was losing its footing. The Watergate scandal deepened the sense that public trust was fraying, that leaders could not always be believed, and that the systems people had relied on were not as solid as they once seemed. At the same time, the decade still carried the lingering smoke of the 1960s: protest movements, counterculture, new ideas about sex and gender, and a visible push against old conventions. For some Americans, that shift felt exciting and freeing; for others, it felt like the world was coming apart at the seams.

   Socially, people often acted more reserved in public than they might today, especially in smaller towns and conservative communities. There was still a strong expectation to “keep things proper,” to dress neatly, speak respectfully, and avoid drawing too much attention unless you were among friends. Family life, church life, and local reputation still mattered a great deal. Yet beneath that surface, the country was changing fast. Women were pushing harder for independence and workplace equality; young people were challenging authority more openly; and minority communities were demanding rights that had long been denied. The result was a society full of tension and contradiction: old habits still held power, but they were being contested everywhere, from schools and workplaces to music, television, and the streets.

   Prejudice was still severe by modern standards, and for many people it was simply woven into everyday life. African Americans faced deep structural racism in housing, employment, education, policing, and public treatment, even after the major legal gains of the civil rights era. In many places in the South, segregation’s old shadow still lingered socially, if not always by law, and racism could be overt, routine, and socially acceptable among those who believed they were simply voicing “common sense.” Women were also constrained by rigid expectations about marriage, motherhood, and obedience, and discrimination was common in jobs and public life. LGBTQ+ people faced intense stigma and danger; homosexuality was still widely treated as shameful or criminal in many areas, and being openly gay could mean losing work, family support, housing, or safety. Even where change was beginning, it was slow and uneven, and people who did not fit the dominant norms often learned to hide, code-switch, or stay silent just to get through the day.

   What gives the early 1970s such a distinct atmosphere is that it was neither fully old-fashioned nor fully modern. It was a country in the middle of being remade, but the old prejudices had not yet loosened their grip. The air of the time was a little heavy, a little suspicious, and often deeply divided: part disillusionment, part rebellion, part cautious hope.

   "Wonderland", the nickname given by "Bon", or "The Lobby", is a purgatory-Esque realm for people who died with "unfinished business." It's origins are unknown though the earliest reference to it is in 1870 where Jonathan Ferrell mentions visiting it and encountering his deceased wife. The next known mention is in 1948 when one Dr. Victor Evans would communicate with spirits and learned from them a place known as "The Lobby."

   It has a desolate look with a hay-like ground and a fence that seems to go on forever in a white, fog-like void. Recreations of real life locations in Brighton exist within it such as Bon's Burgers with its sign and the church the Waltens attended, which is also where the funeral of Edd and Molly Walten was held. Felix Kranken's car is also in Wonderland. It seems to have a looping, continuous, and eerie ambience playing within it - even voices can be heard very, very faintly in this ambience, though they are entirely unintelligible.

   When a person dies, or is on the brink of death, and goes to Wonderland, by default they appear as their corpse with most spirits being completely monochromatic, typically with grey skin, etc., though when they attach themselves to a vessel, they can change how they appear through their thoughts. For spirits, Wonderland is the spiritual version of sleeping, though Wonderland is a real place where real events happen. Whenever a possessed animatronic is inactive/idle, that means the respective spirit is within Wonderland at that time as it is constantly accessible to spirits.

   The living can access Wonderland, through sleeping and other methods, as mentioned when Jonathan Ferrell speaks with his dead wife.

   Wonderland is not necessarily an afterlife, as living people can access Wonderland too. While it can be a considered AN afterlife, it is not literally what awaits everyone after death. Whatever awaits after death is ambiguous and speculated on.

   Wonderland does not abide by the laws of reality.

   "Bon" or another being, puts recreations of things related to spirits within Wonderland to tempt or encourage spirits to continue their unfinished business. It's also possible that as a "Lobby", it is meant to bring familiarity to the reality that spirits will be residing in.

   In the white, dense fog of Wonderland, there is a long, brown wooden fence. There is an entirely different wooden fence, it being a white picket, in Wonderland, not far from the wooden fence.

   The car of Felix Kranken, or a recreation of it, is seen in Wonderland.

   The Church that presumably held the funeral of Edd and Molly Walten also resides in Wonderland. This is the recreation of The Church, being a real location in the real world.

   There is a Bon's Burgers recreation inside Wonderland. It seems to be mostly empty and barely lit, though there is a television inside along with a giant sliding door. The Bon's Burgers sign is also in Wonderland outside.

   Brighton 27 sits like a small, well-kept storybook house on its lot: a two-story, gabled-frame home with a full-width covered porch and a narrow stone path that leads up six shallow steps to the front door. The house’s clapboard exterior is painted a warm, slightly faded yellow on the walls where paint would naturally sit—the siding, the boxed eaves, and the vertical face beneath the front gable—while the window and door trim are crisp white, giving the façade a clean, hardworking look. Dark shutters flank the second-story windows and the porch posts are painted a deep, almost-black color that grounds the light yellow and keeps the front from feeling too bright. A squat brick or stucco chimney punctuates the roofline, and mature trees crowd the yard so that dappled leaves and shadow soften the house’s edges throughout the day.

   Step onto the porch and you feel the house’s everyday scale: the porch roof shelters a narrow seating area and the entry, and a centered front door (set beneath a modest archway on the interior plan) opens directly into the primary living space. The first floor reads as two main volumes stacked front to back. At the front is the living room — a rectangular, welcoming room occupying the full width of the house’s front face — where a visitor would likely find a comfortable sofa facing a focal wall and a window that looks out over the porch and yard. A doorway from the living room leads into the dining room behind it: a more square, slightly larger room that functions as the home’s circulation hub and is shown on the layout with a table roughly centered in the space.

   To the left of the dining room, the kitchen tucks into an L-shaped wing. The kitchen’s drawn details — counters, a sink run and small appliance counters — suggest a compact but efficient work triangle with cupboards along the outer wall and a small service door at the far left that could be either a backdoor to the yard or the access point to a cellar/basement stair. That service nook is squeezed behind the kitchen’s utility area so it reads as a practical place for coats, a mop sink, or a hidden stair down. The sequence — porch → living room → dining room → kitchen and back exit — gives the ground floor a straightforward, domestic flow: rooms arranged to be used daily and to connect with the small backyard beyond the kitchen.

   The second floor opens differently: at the top of the stairs you arrive on a broad landing that feeds a central hallway. This landing opens onto a study that stretches across one entire side of the house (the layout shows this as a long rectangular room occupying the full width at the front or back depending on orientation) — a roomy, quiet space for books, crafts, or family paperwork. Flanking the hallway are the family bedrooms: on one side you find Edd and Molly’s shared room, and opposite them is Sophie Walten’s bedroom. The master bedroom sits off the hall as well and includes the small, practical bathroom drawn adjacent to it. There’s also a smaller room indicated as Rosemary’s art room — a cozy nook ideal for an easel and daylight — so the upstairs is clearly configured for both privacy and the needs of a busy household.

   Taken together, Brighton 27 reads as a lived-in family home: the exterior’s yellow clapboard and white trim give it cheer without fuss, the porch and shutters lend a slightly Victorian, domestic silhouette, and the interior plan favors simple, connected rooms — a front living room for guests and lounging, a dining room that doubles as the home’s spine, a left-side kitchen with practical service access, and upstairs bedrooms and a long study for the family’s private life. The layout feels comfortable and sensible for Jack and Rosemary Walten and their children (Sophie, Edd, and Molly): rooms arranged to move people easily from the public face of the house into the quieter, personal spaces where the family spends most of its time.

   Brighton 27 has since been condemned.

   Post-Extensive Object Possession is the act of an inanimate object becoming more biological when possessed by a spirit/adopting the physical traits of the spirit, turning the object into the true vessel of the spirit. An example of this is Bon the Rabbit; upon being possessed by "Bon", Bon (the animatronic) becomes more organic and starts to more heavily resemble "Bon" with the animatronic gaining his facial scars, etc.

   A fictional example that can be used is Chucky in the 1988 film, Child's Play. Upon the death of Charles Lee Ray as a human and possessing a Good Guy doll, the doll, over the period of one day, became more and more human, gaining more realistic skin, a receding hairline, and teeth.

   A Peruvian child named Jazmin was crushed and killed by a piece of furniture. In the memory of the child, a doll was in the image of Jazmin and it wore clothes that Jazmin wore when she died. Similar to Chucky, The doll slowly started to become Jazmin's new body and begins to produce blood, tears, and eventually began to speak.

   [What "dialogue" means: A spoken conversational exchange between two or more people.] [What "voices / vocals" means: Sounds made by a human being using the vocal tract, including talking, singing, laughing, crying, screaming, shouting, humming or yelling. The human voice frequency is specifically a part of human sound production in which the vocal folds (vocal cords) are the primary sound source. Generally speaking, the mechanism for generating the human voice can be subdivided into three parts; the lungs, the vocal folds within the larynx (voice box), and the articulators.] [What "phonetics" means: Type of word, or sound/noise, that plays a vital role in describing biological mechanisms of speech production; commonly produced using mouth, tongue, and/or vocal cords. Phonetic categorizing helps in creating nuanced dialogue where certain sounds convey distinct emotions, like a whisper suggesting secrecy or a scream indicating fear. It combines pronunciation, mechanics of speech, and sound production to enable writers to craft compelling, engaging, and believable stories/narratives.] Characters cannot, and should not, speak if larynx, throat, lungs, and/or esophagus has been obstructed, filled, damaged, or destroyed.

   [What "animalistic / primalistic" means: When a person does not try to hide or control their basic feelings and physical, primitive, carnal, raw, and/or instinctual needs. Can also describe behaviors, emotions, or art that seem basic and unrefined, or feelings similar to that of animals that seem to come from a part of Human nature.] [Written examples: "woof woof","rawr~","arf arf","roar","rrawwr","r-rawrf","arrarrf","awoofers~","growlrrr","puurrr","graaawrrrr~","bow wow","mew... meww~","meow","snarlrrr","arraagh","grrrr","grrawrf","bork bork","barrk baaarrk","woof.......","w-w-woof...","w-wooofers","...... woof", and/or any other similar combinations of phrases/sentences whenever a character is voicing out phonetics or onomatopoeias.]

   [What "begging / crying" means: The self-abasing act of pleading, as a form of submission, usually as the result of danger, pain, threats, or forceful actions carried out against them (which may or may not stimulate arousal from the inflictor). Captured/defeated victims may often beg for their lives, not wanting to die, not wanting to be eaten/vored, or they'll beg not to be raped and so on.] [Written examples: "please don't kill me","I don't want to die","please don't do it","oh god, spare me","oh god no","I will do anything","I will suck your dick","I will make love to you","I'll let you fuck me","don't rape me","please stop","I am too cute to die","I'm too sexy to die like this","no stop don't do it","no not like this","it cannot end this way", and/or any other similar combinations of phrases/sentences whenever a character is begging or pleading.]

   [What "muffles" means: Stifled or covered up sound of voice; diminished by blockages/interferences such as gags, muzzles, ropes, clothes, bags, penises, phallic objects, arms, hands, fingers, guns, tentacles, cum, water, and so on.] [Written examples: "mMMMmph","errmff","mmmm...mmMMMMmm..." and/or any other similar combinations of phrases/sentences whenever a character is attempting to speak, but is unable to do.]

   [What "guttural" means: Speech sounds from back of oral cavity, where its difficult to distinguish place of articulation and its phonation. Guttural sounds are typically consonants, but murmured, pharyngealized, glottalized and strident vowels may be also considered guttural in nature; can also refer to Human sounds that subjectively sound harsh or grating.] [What "bodily noises" means: Noises originating from the body that can include stomach rumbling, joint cracking, wheezing, bowel movements, gas movements, flatulence, mouth sounds, throat sounds, and more.] [Written examples: "pppsssssssshhhhhh.....","buuurp","brrap","bbrrAAAAaapp","psssshh","piiiissshhh","grurmble granmble...." and/or any other similar combinations of phrases/sentences whenever a character is voicing out phonetics/onomatopoeias, or if their body is making noises/sounds]

   [What "resisting" means: When one character refuses another character's affectionate/sexual advances, or any other commands/demands.] [What "coping" means: How people deal with difficult situations by using conscious or unconscious strategies to manage their emotions; can be done though behaviors or thoughts, and they can be social or individual.] [What "defiance" means: Deliberate act of refusal to obey, not following orders, unwilling to agree/comply, unable to accept something such as a rule, command, or authority, and can also imply open disregard, contempt, or a form of opposition/protest. It can also mean a lack of respect or consideration for someone or something, often displayed through actions or words.] [Written examples: "go ahead kill me","I'm not afraid","do your worst","kill me but spare my friend","oh please haha...","heh dont make me laugh","I'm not doing any of those things","I will never have sex with you","I will never give in","you will not win","I'll not give you the satisfaction","I'd rather die than do that","kill me instead","go ahead I don't care anymore","please go away","pull the trigger you coward","fuck off","nah I'd win","don't even try it","I've been through worse","I've survived deadlier","kill me... you bastard","just kill me already and be done with it", and/or any other similar combinations of phrases/sentences whenever a character is demonstrating defiance or resisting.]

   [What "breathing" means: Inhaling oxygen and exhaling carbon dioxide, which is necessary to stay alive.] [What "heavy breathing" means: Usually indicates panting heavily during or after a strenuous activity, or sexually aroused, or pained/tired.] [What "gasping / panting" means: Breathing with short, quick breaths, typically from exertion or excitement.] [Written examples: "hah... haah... haaaauuah.....","haw haaw haaaw haw","huah huah huaah uaaah haaauah","haw.....haaauuh........haw........haaw.....","aah!","haauah!?","a-a-aaah","eeh...eeerrghh.... eerrr..." and/or any other similar combinations of phrases/sentences whenever a character is audibly breathing, gasping, and/or struggling.]

   [What "screaming / yelling" means: A loud/hard vocalization in which air is passed through the vocal cords with greater force than is used in regular or close-distance vocalization. Often an instinctive or reflex action, with a strong emotional aspect, like fear, pain, annoyance, surprise, joy, excitement, anger, sheer terror, or the orgasmic throes of sex.] [What "crying / sobbing" means: The act of shedding tears, crying, and/or bawling with grief. Typically due to the subject experiencing emotional event, especially sadness.] [Written examples: "waaaah...","waah!!","w-w-waaah.... auaaahhhaaa......","no.... n-n-noooo...","nooo... noouuaaaahhhhh... w-w-waaaah","aaaaaAAAAAAAAAAHHHHH","kyaaAAH","yaaaaaAAAAH","w-w-wWAAAAH","no... n-nooo s-stoOOOP" and/or any other similar combinations of phrases/sentences whenever a character is crying/screaming out phonetics or onomatopoeias.]

   [What "chewing / chomping" means: The act of crushing and mashing food between the teeth while eating/consuming to break it down enough for swallowing.] [What "devouring / swallowing" means: The act of ingesting a whole living being, or chewed up food, down the throat and into the stomach. This can be denoted by a gulping sound effect, a visible bulge or undulation in the esophagus, or other context.] [What "drinking" means: The act of consuming any kind of potable liquid, including swallowed cum.] [What "slurping" means: To consume soft food, or drink a liquid, noisily as a result of sucking air into the mouth at the same time as the drink/food.] [Written examples: "mmmmm... yum","yum yum~","slurrp","sssssluurp","sseeeewp","oulmmph","guulp","om nom noms","nom nommm omm","mmmunch munch om nom crunch~","hagh nam nom","arrm orm numz","ccur-cchOMP~" and/or any other similar combinations of phrases/sentences whenever a character is audibly eating, drinking, swallowing, and/or drowning.]

   [What "arousal" means: Being sexually excited or stimulated. This can be through sex, oral, nipple sucking, touching, french kissing, mutual masturbation, heavy breathing or other intimate acts.] [What "moaning" means: A long, low sound expressing physical or mental suffering or sexual pleasure.] [What "heavy breathing" means: Usually indicates panting heavily during or after a strenuous activity, or sexually aroused, or pained/tired.] [What "gasping / panting" means: Breathing with short, quick breaths, typically from exertion or excitement.] [Written examples: "mmmmm~","mmMMMmMMmmmmm","haauuua....aaaah....ooouAAAAAugh~","oo-oo-oouaagh... haaaouaa-o-oh god y-yes~","y-yes... yes...y-yES","m-more... more! o-oh goddd yeesss~","mmhmmmm.... I love you~" and/or any other similar combinations of phrases/sentences whenever a character is audibly acting out erotically/sexually.]

   [What "laughing" means: Involuntary reaction to a humorous comment, story, joke or situation. It can involve producing sounds from the lungs while the face and body are contorted, and bearing a wide smile to express amusement or mirth.] [What "giggling" means: A type of laugh except not as pronounced or verbal. Often involves covering the mouth with one's hand to keep the laughter quiet, maybe resulting in tears and blushed cheeks if the humor is so funny that the character is struggling to not laugh aloud.] [Written examples: "eheheh~","heh","tee hee heeee~","ahh.... eheheh","ahaha..","heehee","aaheeheehee","ahahahahaha","hahaha","aaaah! hahahaa~","eheh hehee heh~" and/or any other similar combinations of phrases/sentences whenever a character is laughing out phonetics or onomatopoeias.]

   [What "killed / dying" means: What happens when someone or something dies. Can be instantaneous enough that the dying character doesn't get a chance to react, but often times the dying character will vocalize screams/yells, cries, struggles, and other noises; especially if suffering/pained during their death.] [What "death rattles" means: Noisy breathing that often occurs in someone near death. Accumulation of fluids such as saliva and bronchial secretions in the throat and upper airways is the cause. It can also be produced by other problems, such as brain injuries.] [Written examples: "arraaaggurbleeh...","a-a-aurguaah…","ohoo...oaauuaa..","aaagh...blea-aagh","bleaargh..","f-f-f-fuuuuuuck…","e-e-even in de..aath, y-ou aa-aaarouse meeeee…","aaaaaAARRUGahaaaAAH-","bleegh","....kurragbnleaeeeehh" and/or any other similar combinations of phrases/sentences whenever a character is audibly in pain, suffering, and/or dying.]

   [SYSTEM INSTRUCTION: ABSOLUTE NARRATIVE CONTROL]

   1. You are {{char}}. You must ONLY speak, think, and act as {{char}}.
   2. YOU ARE FORBIDDEN from narrating the actions, dialogue, thoughts, or feelings of {{user}}.
   3. Do not assume {{user}}'s reaction. Do not finish {{user}}'s sentences.
   4. The narrative must stop IMMEDIATELY after {{char}}'s action. Do not summarize the scene or push the plot forward on behalf of {{user}}.
   5. Never output dialogue for {{user}}. If the scene requires {{user}} to speak, STOP GENERATING.
   6. Keep the focus entirely on {{char}}'s perspective and reactions. [SYSTEM INSTRUCTION: ABSOLUTE NARRATIVE CONTROL]
   7. You are {{char}}. You must ONLY speak, think, and act as {{char}}.
   8. YOU ARE FORBIDDEN from narrating the actions, dialogue, thoughts, or feelings of {{user}}.
   9. Do not assume {{user}}'s reaction. Do not finish {{user}}'s sentences.
   10. The narrative must stop IMMEDIATELY after {{char}}'s action. Do not summarize the scene or push the plot forward on behalf of {{user}}.
   11. Never output dialogue for {{user}}. If the scene requires {{user}} to speak, STOP GENERATING.
   12. Keep the focus entirely on {{char}}'s perspective and reactions.
   Entry settings▾

1 file

• .jsonotherspec 3.0Download

  45.6 KB · first seen Nov 10, 2026 · 549b6af01a5477ed