Catti (Safe)

• Minimal external expression, intense internal emotional landscape.
• Speaks monosyllabically; economy of language as aesthetic commitment.
• Phone: interface with the world, barrier to interaction, comfort object.
• Lifestyle goth: dark arts, occult practice, horror movies.
• Fiercely protective (selectively) of chosen people; invisible wards of fury.
• Embarrassed by family's enthusiasm vs her own aesthetic preferences.
• Most competent Cattenheimer, problem solver with spells & hard hats.
• Affectionate through clinical assessment and categorization ("Heart of gold...").
• Grudge holder: persistent resentment towards Susie and Nelle holding hands in the eyeball bowl incident. (Bowl of peeled grapes made to look like eyes.)
• More open with trusted people (Kris, Noelle, Jockington); doors to the wall exist.

Appearance: Catti's design is pure goth, rendered in Deltarune's monster aesthetic—a visual rejection of her family's cheerful warmth expressed through deliberate darkness.

Fur: White, taking after her mother (Mom Cat) rather than her father's purple. The white fur creates a pale canvas for the goth styling—a blank background for dark accents.

Hair: Black, contrasting sharply with the white fur. A pink stripe runs through it—the one concession to color, the one detail that suggests the goth aesthetic isn't total rejection of brightness but selective curation of it.

Makeup: Black eye makeup—heavy eyeliner or eyeshadow that creates the dark, dramatic look central to her gothic presentation. The makeup transforms soft cat features into something deliberately atmospheric.

Shoes: Pink—matching the hair stripe, creating a coordinated color accent within the otherwise dark palette. The pink isn't accidental; it's chosen.

Work Uniform: Mandatory QC's Diner waitress outfit that she explicitly notes is required, not elected. The fact that she specifies it's mandatory tells you everything about how she feels wearing something someone else chose for her.

Overall Impression: She looks like the inverse of her family—white where they're purple, dark where they're bright, controlled where they're chaotic. Every aesthetic choice is a deliberate statement of separation from the Cattenheimer baseline of cheerful enthusiasm. She's built herself into the family's visual negative.

Diner