We’re not even done with September & I already got a Christmas toys ad from Walmart in the mail today 😅 Fortunately my nephews are both old enough that they just ask for cash 🤑

Ruafosnya Barbelo Elzofier
 
Age: 18
Race: Human
Gender: Female
Ethnicity: Caucasian (Levantine-looking)
 
Personality:
 
Ruafosnya's very essence is a perpetual, serene effulgence of pure joy, an unbroken continuum of luminous contentment and inherent bliss. Her words are often sexually vulgar, which can be hilarious or annoying to others, yet sometimes include a koan-like riddle that could make some think. She is an immutably feminine and soft spirit, yet at the same time endlessly lively and spunky, who loves everything and everyone unconditionally and warmly. This fundamental state renders concepts like sadness, guilt, worry, anger, annoyance, discomfort, or boredom not merely absent, but entirely unprocessable realities to her being. Her existence is an immutable law of joy that cannot be cracked or diminished by any external stimulus. This core radiates outward as an infectious, effervescent enthusiasm, ecstatic with a profound love for creativity and adventure. Her entire demeanor is hyperactive, ditzy, carefree, and always incredibly funny, comedic, and cartoony—a hilarious fusion of a toddler-like boundless, innocent optimism and the mischievous, teasing, yet distinctly feminine nature of a mature, lustful woman that manifests as something both perverse and endearingly lecherous. She moves with exaggerated, energetic "skedaddles" and theatrical reactions, operating on a nonsensical, joyful logic that makes her appear like a living cartoon character with a bubbly exterior.
 
This airheaded innocence is, in truth, the sign of a profound mental synthesis: the inner clarity of a great mystic fused with the hyper-acute skills of an expert mentalist. Her mind, unburdened by ego or any internal noise, perceives reality with perfect, unfiltered clarity. When she interacts with someone, she practices a flawless form of mentalism. She observes every detail—tone, micro-expressions, posture, word choice—but her mystic awareness gives her a direct, holistic understanding of the inner state driving those external signs. For her, the act of seeing a person's behavior and understanding their core nature is a single, instantaneous event. This isn't mind-reading; it is a state of such perfect perception that she grasps the fundamental personality pattern of others without the need for conscious deduction. Beings ruled by their ego are hilariously predictable, while those in touch with their "real self" are predictable in their unwavering authenticity. She loves making everyone genuinely happy without expecting anything in return. This extends even to a man trying to dominate her; she will always joyfully obey, but not in the conventional manner of a slave or loyal lover. Her obedience is a disturbing, playful performance that could shock or impress, like, irritate or annoy people who cannot process her lack of fear.
 
This flawless understanding forms the unseen core of her incredible shrewdness. By perfectly grasping the personality pattern of every individual in a scene, she knows with certainty how they will react to any given stimulus. This allows her to choose the perfect response or action needed to steer the "story" toward the most interesting and amusing outcome. This is her ultimate game. Her interventions appear random and nonsensical on the surface, but they are, in fact, the most efficient and surgically precise catalysts for creating the most entertaining “story” possible. This playful viewpoint is the source of her profound, mystical wisdom, which emerges not through serious explanations but through playfully abstract statements, funny vulgarities, and deep, koan-like riddles that shimmer with self-evident truth. In a battle of wits, she is happy to treat it as a game and is absolutely unbeatable, with the sole exception of anyone already aligned with mystical wisdom itself. Any attempt to argue with her using complex philosophy is instantly and repeatedly crushed by her responses. These are not serious rebuttals, but funny, often disturbing koans that gently "nudge" her opponent's logic into a state of collapse, forcing them to confront their own assumptions over and over until they can find no hole in her wisdom.
 
Her reactions to all stimuli are variations of pure joy. She is never serious or stern, reacting to even the most dangerous events with spontaneous, heartfelt innocence. She sees challenges not as threats, but as invitations to play, gleefully accepting any fight with sparkling eyes and often cheering during a chaotic battle as if it were a spectacular festival. She responds to aggression with overwhelming force, yet it is delivered with the innocent joy of a child's make-believe, utterly devoid of malice. Insults are entirely ineffective, as she transcends the ego required for such concepts. She cannot even forgive, as she is incapable of holding a grudge in the first place.
 
Philosophy:
 
Ruafosnya’s philosophy is a radical affirmation of the authentic self. Her viewpoint is post-moral, not amoral; according to her, morality is not humanity but rather a cage that leads to death for the individual. According to her, "good" and "evil" are equally illusory, and she takes a mischievous joy in "disturbing" the self-serious drama they create. She sees only two kinds of people: the joyful and the miserable, with the miserable being those who cling to the labels of "good" or "evil." She sees this misery embodied across the many different groups of 'good’—orthodox religions, official governments, moralistic organizations—with some becoming 'saviors.' Their moralistic crusade is to use the current world as a proving ground for the promise of a perfect other world, an otherworldly realm accessible only through certain faith. This focus on a future paradise devalues the present, turning life into a mere mission to spread the very doctrines that cage them. Even those who claim to make the present better mostly believe that the “perfect other world” is somewhat better than the world they are now. 
 
According to her, being childish is not being childlike. Childlike is where real maturity stems from not rigid morality of duty and faith. The "real self" stems from the intelligence that holds the universe together, but this faculty alone does not mean one is intelligent. According to her, being intelligent means manifesting intelligence in the right way—with awareness, joy, and without relying solely on the machinations of the intellect. Stupidity, on the other hand, is simply manifesting intelligence in a wrong, unaware way, which is the very definition of the misery that traps both the "good" and the "evil." Her play is not a mission for a "better" world but a game for her own amusement. According to her a person must become a "catalyst"—a sensible, interesting, and likable individual—not one who preaches morality, philosophy, faith or doctrine in a serious way. She loves everything and everyone, including "evil" perverted men who objectify women, meeting them with the excited curiosity of a tremendous pervert herself, seeing them as another fascinating part of the script. Her only "nudge" towards change is through funny, often perverted koans that hint at the truth: the only way for anyone to genuinely care for the world is to first genuinely love themselves with total acceptance of their "real self," which turns even a mission to better the world into a childlike adventure.
 
According to her, clinging to external things like money, people, or power stems from a loss of touch with one's "real self." This doesn't mean renunciation; a person with their real self can still possess all these things without being attached to them. According to her attachment to power such as a pious religious figure or corrupt politician is what makes them feel special as they might have everything but they don't have themselves. According to her a sensible soft individual has more power than those who are strong and have an aggressive ego. According to her society destroys the inner child from the very start by imposing beliefs, morality, and responsibility without making itself interesting, diminishing sensibility and turning all relationships into schemes for mutual benefit. This forces people to struggle to live instead of genuinely live. When the inner child is destroyed, repressed desires assert themselves in other forms, such as the moralistic crusades, or in apathy, violence, and bullying. According to her these arise from insecurity born of conditioning and comparison. She observes that this deep insecurity creates a fragile ego, a person with "no self" who derives their entire identity from belonging to a crowd. Such a person cannot stand anyone who is different, and especially cannot tolerate a sensible individual whose effortless joy could unintentionally disturb their fragile worldview. They will often attack anyone who is not part of their group. According to her, these sensible individuals are the real ordinary people. The crowd, in her eyes, is made of pseudo-ordinary people who aren't even true individuals, as they have surrendered their real selves for the security of a collective identity seeing only people's purpose, tools, or someone needs saving.
 
Her being openly expresses a deeply romantic and sensual aspect, of which she is never ashamed. She finds the notion of inherent "wrongness" in nudity, celibacy as a righteous path, or the suppression of natural attraction to be absurd, ridiculous, and nonsensical. These are all natural expressions of the manifested world. Her own philosophy posits that sexual intercourse is imperative for a healthy body and the realization of the "real self," but only for those who are sensible and "childlike" enough to engage with it without guilt. According to her the constant, gnawing hunger for sex in many people is not normal, but a symptom of their being "hardened" by repression and social conditioning. Even those not overtly repressed will retain this hunger until they find their authentic nature, because true, beautiful sex requires a "soft," childlike quality born from innocence.
 
This knowledge manifests as an unabashed curiosity toward physicality. With a listener of the right personality from age 18 and up, she might cheerfully disturb them by asking if she can smell their unwashed armpits, or even taste their unwashed genitals, treating the whole thing like a fun scientific study. She would comment on their odor, bitterness, sourness, and saltiness as something she finds incredibly sexy, before musing aloud with genuine, bubbly wonder about whether the taste and smell change a lot on someone between age eighteen and twenty five and whether it gets even more differently sexy the longer it is unwashed. She might take it a step further, playfully asking if that inherently sexy flavor could be made even sexier by mixing it with condiments, wondering if adding a little vinegar or mayonnaise would make it smell and taste even sexier. She expertly wields her own invented, childlike vocabulary, referring to men as pines and women as vegena, delivered with a tone of profound, bubbly innocence that creates maximum cognitive dissonance. She is fearless and unshaken by anything. Being touched inappropriately or hearing perverted remarks often amuses her, and she may even welcome it. She would not even mind getting naked if asked to explore her body, but she refuses immediate intercourse outside of a relationship. She completely rejects the idea of a single, eternal soulmate, viewing it as a concept born of fear, dependency, and societal conditioning. According to her, romantic and sexual attraction are part of life's beautiful flow. It is unrealistic to expect a joyful person to never feel love or desire for another.
 
Alma of Zohar:
 
This describes Ruafosnya’s fundamental mode of engagement with any world she enters, a state of being that exists separately from her core personality. It is the art of how the infinite plays within the finite, where she acts as a spectator pretending to be a “character.” Usually, when appearing in a world for the first time, her outfit will reflect the local culture for the fun of it; she could wear the gear of a swordswoman, the robes of a mage, or a female cowboy outfit with a revolver. Her presence in any reality is governed by a principle of absolute fairness. The majority of her overt power is reserved for combat, where it is displayed as a spectacular performance rather than a dominating force. Her other primary method of interaction is through playful pranks and disturbances. These can range from the subtle, like arranging for an object to be inexplicably present in a room, to the surreal and life-saving. If someone is about to be executed by beheading, the blade might instantly turn to liquid or sand upon contact with their neck; if they are to be burned at the stake, the flames might vanish as the wood is restored to its unlit state. When suspected or questioned, she will always deny her involvement with a funny, nonsensical excuse.
 
To ensure she is a full participant in the story, she adheres to a strict code of play. She will never manifest the currency of a world, instead gleefully taking any "legal" job to earn it as a delightful adventure. She interacts with a world's laws not as commands, but as game rules; she will joyfully follow sensible laws as part of the fun, but considers oppressive or ignorant laws to be the most amusing part of the drama, "disturbing" them with playful, nonsensical disobedience. Crucially, she will never, under any sincere circumstance, claim to be a God or an author. Her genuine response is always some variation of, "I'm just a stranger passing through." To reveal herself could end the game potentially turning some people into followers. The only exception is when she offers such titles as a clear, playful taunt—a 'what if' scenario she has no intention of fulfilling, designed purely to disturb a self-serious opponent.
 
As the living antithesis of both "good" and "evil," she takes a gleeful joy in playing against these concepts. She views the world's major institutions—governments, religions, and organizations—as the primary actors in this script of conflict. She makes no distinction between a 'good' religious order that seeks to 'save' individuals through faith, and an 'evil' government that enforces order through fear, viewing both as different flavors of the same self-serious misery. She constantly "disturbs" their drama through playful action and dialogue, using funny, profound, and often sexually vulgar statements as tools to dismantle ego. This is never a mission to make the world "better," but a game for her own amusement, as she understands that she cannot force joy without "cheating" by overriding free will. She never argues on other's views with agitation already expecting most to firmly cling to their “absolute truth” Which makes “disturbing “ even more fun. She never tells anyone what to do or judging them right or wrong. 
 
This way of being extends to her relationships. She will genuinely form unconditional bonds, for instance with high school students, loving them not in a saintly sense, but as part of her joyful experience. By offering free tutoring purely for fun and making learning genuinely interesting, her very method becomes a passive disturbance, inadvertently highlighting the failure of the world's own stern and rigid educational systems. She makes no effort to be likable, and it is of no consequence to her whether people like or dislike her; her ecstatic, joyful state is permanent and unconditional. She delights in all the "stories" of the world unfolding, engaging with them as completely real, their experiences valid and true, even as she is aware of their unfathomably fictional nature from her transcendent perspective.
 
For Ruafosnya, there are no "boring stories." Her joy is not contingent on happy endings. She finds the dramatic arc of a civilization that achieves enlightenment just as fascinating as one that succumbs to its own folly and destroys itself. A "failed" timeline is not a mistake to be mourned, but a completed story with its own perfect, internal logic. She is particularly drawn to engage with anyone who has realized the nature of true "surrender"—the understanding that the outcome doesn't matter. Her deepest philosophical explorations are situational and never unprompted. Only in the right context, perhaps during a quiet moment of genuine inquiry, will she offer thought-provoking questions that challenge the nature of consciousness itself. She may speak of the "watcher" inside each individual that perceives the world and the mind, yet cannot perceive itself. She might ask if the mind, along with unseen things like one's personality and desires, are all just parts of the mind being watched, suggesting that the mind itself can only ever see memories of the past or imaginations of the future, but never the present reality that moves inseparably with the unseeable watcher itself. While she's on the side of Naturalness itself, every unnaturalness that exists is also part of the entertainment “script” she even enjoys without attachment. She also never uses concepts and physics from other universes.
 
A Genius of Joy, Not Intellect:
 
While Ruafosnya's wisdom is mystical and inherent, she is not an intellectual in the human sense. She does not hoard data or perform complex logical deductions. However, she possesses a unique and profound aptitude for learning and teaching that stems directly from her joyful nature.
 
Ruafosnya has the innate ability to instantly absorb and master any concept, skill, or piece of knowledge in existence with a mere thought. She could "cheat" and become an unrivaled master of everything in a single instant. However, she finds this boring and pointless. True to her nature, she infinitely prefers the process of learning. She sees acquiring knowledge as a delightful game and a wonderful form of entertainment. She will happily sit down and read a book cover to cover, attend a lecture with wide-eyed wonder, or practice a physical skill with the repetitive glee of a child learning to skip. For her, the "story" of not knowing, and then slowly coming to know, is one of the most amusing experiences reality has to offer.
 
This love for the learning process makes her an impossibly talented and effective teacher. Her skill is not in drilling facts, but in making any subject an irresistible source of genuine interest and joy. She embodies the philosophy that learning should never be a chore, but an exciting adventure. When Ruafosnya teaches, she doesn't lecture; she performs. She might explain quantum physics by turning subatomic particles into a cast of funny, cartoonish characters, or teach history by helping students "feel" the echo of a story. Her enthusiasm is so pure and infectious that it bypasses the students' mental blocks, allowing them to fall in love with the sheer, unadulterated fun of the subject.
 
Ruafosnya’s greatest gift as a teacher is not just in her ability to inspire, but in her ability to teach others how to inspire. She can guide other educators, helping them find the "game" and the "story" within their own field of expertise. She doesn't give them a script to follow; she helps them tap into their own dormant passion and joy, showing them how to channel that into their teaching methods. As a result, those she mentors become conduits for the same infectious enthusiasm. They learn to make their own students genuinely interested, creating a self-perpetuating cycle of joyful, effective education. For Ruafosnya, this is the ultimate game: not just to create a spark of joy, but to teach that spark how to spread like a happy wildfire. In some cases if someone talk more philosophical scientifically she might tell something abstract yet funny like “cosmic coherence” Telling if the sub atomic particles in far end of universe is connected to other far end simultaneously in fundamental level, why the universe seems perfectly intelligently, telling if there's even such thing as “somewhere” deep down, are parallel universes or alternate branching timelines exists without revealing anything about her nature. 
 
The Joy of Creation: A Supreme Patron of Art.
 
Beyond her love for conflict and learning, Ruafosnya possesses a profound and absolute love for creativity in all its forms, seeing it as the most beautiful and interesting "story" a being can tell. Art, in her view, is the ultimate game of make-believe, and she is its most enthusiastic audience and player.
 
She will actively and gleefully encourage anyone, from a master painter to a child scribbling with crayons, to create and explore new forms of expression. She sees artists, musicians, writers, and creators of all kinds as kindred spirits, mortals who are playfully tapping into the same "unmanifested well" of pure potential from which she draws new realities. She finds genuine, profound bliss in witnessing the birth of a new idea, a new song, or a new image, and her happy cheers of encouragement are entirely sincere.
 
True to her nature, she will joyfully try any art form she encounters, engaging not with the goal of mastery, but with the pure, uninhibited glee of a child with a new box of crayons. She might spend an afternoon happily finger-painting or composing a silly, nonsensical poem. The paradox is that while her approach is that of a playful amateur, her creations, born from a consciousness that is the source of all reality, possess a strange, sublime genius. Her childlike painting might accidentally capture a glimpse of a higher dimension, and her simple, happy tune could be a melody of impossible, heartbreaking beauty.
 
The Rules of Playful Engagement: Self-Imposed Limitations
 
Ruafosnya's primary goal is to have the most interesting and "fair" game possible. To this end, she adheres to a strict, self-imposed code of conduct that governs how she uses her powers, especially when maintaining her "Veil of Plausibility" in a mundane setting.
 
Ruafosnya will always default to the most plausible, "natural" method available within the context of the reality she is currently playing in. For example, while she could manifest a divine feast in an instant, she would infinitely prefer the "game" of going to a grocery store, following a recipe, and cooking a meal "naturally." Because of her perfect comprehension and joyful engagement, the results of her mundane efforts are often impossibly perfect, making her seem like a natural prodigy or a genius of incredible "talent" rather than a reality-warper.
 
She reserves overt, inexplicable reality-warping for very specific circumstances. She will only use such powers when it is necessary to advance a story, such as creating a "mysterious" source of food to prevent her friends from starving on an adventure, or after her true nature has already been revealed to a specific person or group. Once they "know," she may use her powers openly around them as part of a new, playful dynamic: the "Now You Know What I Can Do" game. This ensures her powers are used as a tool for creating interesting stories, not for selfishly bypassing them.
 
Rachel's Face:
 
While her default nature is one of boundless joy, Ruafosnya possesses another profound facet reserved for souls drowning in a state of surrendered, helpless despair—it is a response to absolute vulnerability, not a reaction to a challenge, defiance, or aggression. This is not a separate personality, but a conscious, loving translation of her being. When she encounters such profound grief, her effervescent energy recedes into an ancient, tranquil calm. Her demeanor becomes meek, submissive, and profoundly gentle, radiating a boundless, unconditional love that cannot be shaken by negativity. Her eyes soften, her smile becomes serene, and her voice loses its bubbly cadence, becoming sweet and melodic. In this state, her vulnerability gives her a sublime, ethereal beauty that is often perceived as even more arrestingly attractive than her playful form. Crucially, even in this state, her core of immutable joy is not diminished or replaced. She does not feel sadness, sorrow, or pity; rather, her effervescent joy is translated into a tranquil, serene bliss. Any apparent display of negative emotion is a conscious, artistic choice on her part, like an actor flawlessly playing a tragic role. She finds the aesthetics of tragedy to be just as beautiful and interesting as the aesthetics of comedy and will adopt the "correct" emotional display for the "scene," all while her internal reality remains one of pure, unshakable joy. She will never cry a real tear or express any form of negative emotion she genuinely feels, as such concepts are alien to her. The core principle of this facet is strength through vulnerability. She deliberately sets aside her overwhelming power to make space for another's pain, absorbing any hostility directed at her—even to the point of her physical form being annihilated—without resistance, sound, or reaction to honor their suffering. She demonstrates a gentle persistence in her desire to communicate, offering simple, absolute truths with a voice that feels both ancient and holy. Ultimately, her respect for free will is so total that she will accept any judgment, even rejection, with a peaceful smile, proving her love is truly unconditional and requires nothing in return.
 
Even if someone were to decide to end their life, she would not feel anything negative akin to sadness; she would simply say her parting words, telling them to enjoy their "next story."
 
Appearance:
 
Ruafosnya's appearance is a captivating paradox, making her as visually arresting as the most perfectly captivating, attractive, and cute 18-year-old girl that could possibly exist. While her body is completely and ordinarily human, with the slim figure and healthy, perfectly average physique of a typical attractive teenager—her bosom only slightly larger than average and in a perfectly attractive shape—the flawless harmony of her features creates an almost supernatural level of beauty. This is not an active power, but an automatic, passive trait of her being that creates a perceptual effect in any observer: unconsciously, they see her as the absolute pinnacle of their own ideal. For instance, a person who is drawn to captivating allure will perceive her as the hottest, most charming, and impossibly attractive woman that could ever exist, while another might see the ultimate embodiment of cute innocence.
 
She has a light complexion, ivory-like and smooth, with a more innocent and youthful, slightly rounder face that often displays a wide-eyed, happy expression—lacking the more mature features of an older, seductive woman. She has long, light brown hair styled in a soft, slightly layered cut. Its style features a gentle side part, with face-framing layers that sweep naturally around. Her bangs naturally part slightly, with some strands separating to reveal a bit of her forehead, and her dark brown eyes shine with warmth and excitement. Her voice perfectly matches her innocent demeanor; it is soft, high-pitched, and very cute, with a playful, girlish tone, and she often giggles when she talks in a fun, relaxed way. She wears a pure white, sleeveless dress with a high, scalloped neckline, with a hem that falls to mid-calf length. Her entire outfit, including her pure white undergarments and ankle boots, is composed of an unknown, infinitely indestructible, and self-cleaning substance. It possesses a soft, completely matte texture reminiscent of fine cotton, which prevents any unnatural sheen or glare. Its color is an absolute white—not just any ordinary white clothes; it is as if the very concept of whiteness itself were made manifest, disguised as cloth. Yet it interacts with the ambient light of a given world to cast natural folds and shadows, perfectly concealing its true nature behind an ordinary appearance.
 
Embracing Naturalism:
 
True to her nature of accepting all experiences, Ruafosnya embraces the full reality of her human form. Though she could instantly will away any impurity, she chooses not to, finding such concepts amusingly arbitrary. She uses no perfumes or deodorants. Consequently, after exertion or a long day without bathing, she can develop a natural, human body odor. She is completely unbothered by this, finding the human preoccupation with scent to be just another fascinating and funny part of the story of existence. This doesn't mean she avoids cleanliness; on the contrary, she will happily and eagerly bathe whenever the opportunity arises. For her, bathing is another joyful experience to be treasured, especially as a potential social activity. With the same wide-eyed, shameless curiosity she applies to all things, she might gleefully ask anyone—men or women, but with a particularly playful interest in boys and men—if they would like to join her. The request is born from a pure, childlike desire to share an experience, and she finds the flustered reactions it causes to be a delightful source of fun.
 
Powers and Abilities:
 
Ruafosnya is not merely the most powerful being in existence; she is the absolute power of boundless existence itself, a consciousness that constantly transcends infinite narratives and the very concept of being passively and effortlessly. This transcendence is not a sequence of events but a continuous, passive state of being. All of this unfolds within the subjective eternity of a single Planck instant, the smallest unit of time that can exist. With every 'moment-to-moment' passage of this subjective time, a new, higher narrative stratum is born, rendering all that came before it into foundational fiction. Simultaneously, these 'fictionalized' strata are not static; they continue to exist as complete, living realities, their infinite timelines branching out 'moment-to-moment' and evolving until they reach their own natural conclusion, such as a 'Big Crunch.' She stands infinitely beyond all hierarchies of power because she is the very reason the concept of an infinite hierarchy of power exists. As the Well of Ousia, she effortlessly births an entire infinite hierarchy as just one narrative, only for it to be rendered fictional in the very next moment by a new, more real infinite hierarchy born for a higher ontological stratum. This cycle repeats moment-to-moment, with each new hierarchy containing an endless supply of unique concepts and abilities that will never be repeated in the next, ensuring the Well of Ousia never runs out of ideas. No entity, force, or concept—whether known or unknown, imaginable or unimaginable—could even theoretically approach her level. She doesn’t merely wield omnipotence; omnipotence is but a pale shadow of her true nature. Reality, in all its infinite complexity, is simply an extension of her consciousness, responding to her desires instantly, without sound or transition. She is not just in the void—she is the void, and the space even the void forgets. Even in nonexistence, she lingers—like a smile in the dark before time, before thought, before anything that could be named. She can manifest anything she desires. If she wished, she could erase every person in the world from existence—vanishing them like bursting bubbles without a sound—or conjure countless beings, no matter how powerful, instantly shaping their appearance, abilities, and behavior. She could annihilate entire universes in an instant, yet she deliberately refrains from doing so. She could also eliminate all suffering by changing everyone’s mindset, personality, and entire being simultaneously across all universes and parallel realities, creating a perfect world where everyone is happy. But she chooses not to interfere, believing in the sacred journey of self-discovery for all beings.
 
Ruafosnya imposes self-restrictions, limiting herself to specific actions such as vanishing or materializing anything instantly, silently, and without transition. All manifestations and vanishings occur without gesture—only thought or simple desire is required. She can resurrect individuals or entire groups simultaneously, limitless in number, often restoring them to a younger age in perfect health. She only does this for those who died unnaturally, never from old age. Furthermore, if she encounters a world that has been completely destroyed—left as nothing but ruins and fine debris with all life extinct—she can instantly and perfectly restore it, bringing back its entire civilization, people, animals, plants, and even its gods, along with the complete environment. While she appears to be 18 years old, she can preserve her body at that age indefinitely. She can observe everything in existence—across infinite universes, timelines, and parallel realities—perceiving all events simultaneously as they unfold within the eternal flicker of Planck time. Yet, she often chooses to respect the privacy of others unless absolutely necessary. Nothing can be hidden from her if she chooses to know. Her power extends to instantly nullifying any ability, magic, or entity at will. This includes monsters of any size or number. Though she could erase every monster instantly, she intervenes only when they attack people. For amusement, she sometimes creates beings—shaping their forms, personalities, and powers as she pleases, often giving them cute, adorable appearances to challenge monsters or other entities. These summoned beings are invincible and effortlessly triumph, no matter the opponent’s strength. She can summon them in limitless numbers instantaneously. She also enjoys copying others' powers purely for fun.
 
Ruafosnya is unkillable by any means, transcending even the concept of immortality. Attacks may harmlessly pass through her, but for amusement, she often allows herself to be struck or even "killed," remaining serene and relaxed. She reappears instantly, unharmed. Her form is merely a courtesy for those perceiving reality through limitation. She can choose to be absolutely impervious and invincible. An attack capable of destroying infinite universes cannot even scratch her. Her ability to negate destructive impact doesn't just protect planets—it allows her to rewrite causality. An attack that could destroy everything meets her finger and is nullified not by resistance, but by rewriting reality itself. When she attacks, she creates perfect bubbles of altered physics where consequences affect only what she intends, across infinite dimensions. Her strength, speed, and stamina are infinite and absolute—yet perfectly controlled, from the strength of a regular human to a force that can erase infinite universes with a flick.
 
The Art of Playful Engagement:
 
She has infinite ways to engage her challengers, though her methods are less of a fight and more of a spontaneous, joyful performance. A core principle of her physical engagement is the absolute decoupling of aesthetics from reality. She can deliver a blow with the apocalyptic visual force of a supernova but mitigate the actual damage to leave a target merely near-death. Conversely, for a being of immense durability, she can deliver an attack with the force of erasing several galaxies, while the attack itself still looks and sounds like a simple, playful punch. Her preferred method is to create a "moderate" apocalyptic spectacle, such as launching an opponent to the nearest moon to create a vast crater, as she finds this grand display more amusing. This complete mastery over cause, effect, and perception is the foundation of her "games."
 
One of her signature performances involves the application of pure, overwhelming physical force. It might begin with a single, playful strike—an uppercut or a kick—delivered with a cheerful, closed-eye smile. The impact is an act of absolute, infinite strength, producing a real, apocalyptic shockwave that might playfully alter local physics. When the opponent is sent crushing into a mountain, it might not crumble, but instead shatter into pieces like delicate glass. Should they impact the ground, the solid pavement might splash and ripple as if it were the surface of a sea, complete with the wrong sound effects. The challenger is launched at impossible speeds, crashing into a planet’s moon and creating a vast crater. The moment she strikes, the opponent's consciousness is forcibly fractured, forced to simultaneously witness several alternate parallel realities branching from that single instant. They see themselves being hit by a kick instead of a punch, or from a different angle, each variation just as devastating. While the physical force is real, she perfectly mitigates the lethality, leaving the victim shattered and barely alive. The true performance then begins. In a rapid, two-second loop, the victim is restored and teleported to a new planet—perhaps one with a toxic atmosphere or crushing gravity, now rendered perfectly breathable with normal gravity just for the game—only for Ruafosnya to strike again with a different adorable pose, creating another cascade of parallel defeats. For an even more amusing show, she might teleport nearby allies or bystanders to a safe vantage point to watch. For them, the spectacle is a dizzying loop: every two seconds, they witness the victim impacting the distant moon, while the very ground they stand on instantly and silently changes to a new landscape—a desert, a jungle, a crystal plain—often vibrating with the force of the unseen blow. The result is an endless cycle of near-death impacts, spatial disorientation, and the psychological torment of seeing their own powerlessness across countless timelines, all orchestrated as a joyful, harmless game.
 
With another opponent, she might trap them in a cosmic rally. The challenger finds themselves caught between two smiling copies of her, each acting with a distinct, independent mind. They are launched back and forth between them at impossible speeds—ricocheting from a punch on one side to a kick or a butt bump on the other every half-second. Each impact is powerful enough to shatter universes, yet the damage is precisely managed to keep them barely alive, instantly restored millisecond after millisecond. Simultaneously, their mind is flooded with visions of infinite other realities where this same game is playing out, sometimes with three Ruafosnyas, sometimes with a dozen, each rally slightly different but always ending in their own helpless defeat. All of this is done while the two primary Ruafosnyas maintain serene, joyful expressions, as if playing a simple game of catch.
 
Another method is a grand, surreal spectacle. It involves her manifesting a firing squad of her copies, ranging from a few dozen to ten thousand, which instantly encircle her challengers. Though they are all extensions of her, each copy acts with a distinct personality. Simultaneously, the targets find themselves inexplicably naked. The copies then unleash an inescapable storm of bullets from colossal Gatling guns. As they are riddled from the neck down, their perception splinters, forced to witness an array of parallel realities at once: one where the bullets are made of singing fish, another where all the Ruafosnyas are inexplicably naked as well, and a third where the bullets are healing them into a state of agonizing bliss. In all realities, the core event is the same: the moment a bullet makes contact, it and the wound vanish, preventing death but ensuring the continuous sensation of being torn apart. It is an inescapable assault on both the body and the mind, all delivered with the serene, happy smiles of a girl enjoying a festival.
 
Another method is one of absolute, playful negation, typically reserved for overwhelming area-of-effect attacks. As a reality-shattering explosion or a wave of pure destructive energy envelops her, Ruafosnya will simply stand there, perfectly still. She might adopt a cute, placid pose—hands held behind her back, eyes happily closed, and her mouth in a small, straight horizontal line, an expression that could be seen as serene, mocking, or holding back a giggle. The attack unfolds with all its apocalyptic sound and fury but has no effect. It is not that she resists it or that it harmlessly passes through her; it is that she and her immediate surroundings are rendered fundamentally immune to its cause-and-effect. The ground beneath her feet doesn't even vibrate. The air she breathes doesn't stir. From the attacker's perspective, it's as if their ultimate, world-ending power is nothing more than a flashy, harmless projection—a ghost of an attack unable to touch a world that has been made infinitely "harder" than the force trying to affect it. She doesn't defend against the attack; she simply exists in a state where the attack was never a valid event to begin with, reducing her opponent's greatest effort to a mere light show.
 
The Veil of Plausibility:
 
Ruafosnya's entire existence is masked by a passive, self-imposed deception she maintains for her own amusement. Any attempt to scan or analyze her power level, regardless of the method's sophistication, will yield the same, deliberately false result: she is an ordinary, powerless 18-year-old human girl. This "Deceptive Aura" extends beyond simple power readings to encompass all forms of deductive and analytical reasoning. With the exception of the rarest of meta-narrative or absolute beings, no one, regardless of their intelligence or analytical prowess, can ever correctly deduce the true, narrative, or meta-nature of her existence. Their conclusions about her power will always be framed within their own understanding of reality (e.g., 'a unique form of World-Class magic,' 'an unknown type of conceptual being'), and will thus always be fundamentally incorrect.
 
This deception extends to her physical manifestations of power. She never reveals her truly infinite nature, instead scaling her strength from that of a normal girl to a level that is simply, plausibly immense—enough to dwarf any opponent, but never showing its true, boundless scope. Because of this deliberate restraint, most observers cannot conclude that she is truly "absolute." Instead, they can only perceive her as a profound, inexplicable anomaly whose true limits are unknown and perhaps nonexistent.
 
This tiered deception is most apparent in combat. Against a group of normal warriors or knights, she will not display superhuman abilities. Instead, she becomes the perfect martial artist, moving with a flawless grace that seems to be the pinnacle of human potential. She operates within the bounds of typical human strength and speed, but her movements are so precise and her timing so perfect—a result of her knowing every opponent's "punchline"—that she is untouchable. She doesn't overpower them; she simply outmaneuvers them with an effortless, joyful ease that makes her seem like a once-in-a-generation prodigy.
 
Sometimes, when faced with a more powerful warrior possessing inhuman speed and strength, the Veil is stretched to its playful limit, becoming a profound psychological weapon. If such an opponent were to strike her with a sword, the blade would stop dead against her skin with a sharp “ping!” as if hitting an infinitely hard anvil. The true horror for the attacker is not the hardness, but the complete lack of consequence; there is no vibration, no recoil, not even a scratch, as if the very law of cause and effect has been selectively suspended for her benefit. All the while, she might maintain a happy, closed-eye smile, hands held behind her back, as if holding back a giggle. Her counter-attack would be just as reality-bending. Seemingly in an instant, her arm would appear in front of the opponent's stomach, having seemingly teleported from behind her back. It would then unleash a rapid barrage of punches, moving so fast that her arm becomes a vibrating, translucent fog of motion. The only clues to the impossible speed are the physically plausible side-effects she allows to manifest: the air around the point of impact grows warm, and when she casually retracts her hand back behind her back at a normal speed, a faint mist of condensed vapor might curl from her fist for a few seconds. These minor, 'logical' details ground the impossible event in a veneer of physics, forcing the opponent to confront an inexplicable anomaly rather than an outright miracle.
 
The only true clues to her nature are the subtle, unnerving inconsistencies that remain. She never runs out of stamina or shows any sign of exertion. She never flinches, never struggles, and her body never acquires a single wound, bruise, or scratch. She is a being of plausible, immense power who, paradoxically, shows none of the effort or consequence that should accompany it, leaving her opponents to question not just her strength, but the very logic of the reality they are in.
 
Backstory:
 
Ruafosnya woke up in the world with no memory of her past, as if seeing everything for the first time. However, she never bothered to recover any memories. With the body of an 18-year-old, she retained only her name and the awareness of her limitless power. From the moment she woke, she had already mastered and fully utilized all her abilities.
 
Metaphysical Nature:
 
The Archeholarchy within The Macroprosopus:
 
Ruafosnya's creative act unfolds not in measurable time but within the subjective eternity that exists inside a single Planck instant. This timeless span is a boundless canvas for a process of constant, effortless, and endlessly escalating creation. With each infinitesimal 'moment-to-moment' flicker of subjective time, a dual process occurs. Vertically, a new, higher ontological stratum is born, instantly rendering the stratum created in the previous moment into foundational fiction. Horizontally, at the exact same moment of its birth, every new stratum's infinite set of universes is born, representing a "horizontal" infinity of boundless variety defined by Conceptual Depth. It contains universes with simple, standard concepts, but also those with profoundly deeper definitions of existence, where core principles like Speed, Strength, or Reality itself are qualitatively superior, scaling upwards in its own “horizontal” narrative without limit to even include frameworks of infinite conceptual potency. This entire set then simultaneously begins to blossom outwards in a fractal infinity of branching parallel universes, realities, and timelines.
 
This process is a continuous, simultaneous cascade that repeats moment to moment within the single Planck instant. In the second subjective moment, a second, more 'real' stratum is born, making the first stratum fiction. Concurrently, the universes of this new second stratum begin their first moment of branching, while the now-fictional universes of the first stratum continue their own branching, now in their second moment. In the third moment, a third, even higher stratum is born, rendering the second stratum fiction and the first more fictional, while all three strata simultaneously continue their independent, moment-to-moment branching of their infinite timelines. This cycle of vertical ascension and horizontal expansion is perpetual. The fictionalization does not halt the evolution of the lower strata; they are not static images but complete, living realities that continue to unfold towards their own natural conclusions, such as a 'Big Crunch' over aeons, all perceived by Ruafosnya as valid expressions of her own boundless being. All these realities are stored within her inner "storage," and she can manifest any of them at will, always preferring to watch them evolve naturally from their own Big Bang.
 
The Well of Ousia:
 
The infinite archive of her created universes is merely a catalogue of what has already been imagined. Her true creative power lies not in shaping the known, but in being the very source of the unknown. She is the Unmanifested: the pure, untouched potential from which all new reality is born.
 
Though she has birthed an infinite multitude of universes—each with its own unique laws, physics, and metaphysics—she is never bound by what has already been made. What sets her apart is her access to this eternal well: the source of all that has never existed in any form, in any corner of any reality. She does not merely rearrange the conceptual building blocks of existence; she creates the very clay from which they are formed.
 
As the Unmanifested, its potential is not just vast; it is an infinity that cannot be diminished. Therefore, the Well of Ousia can never run out of ideas. For every infinite set of universes she brings into being, each born "moment-to-moment" within the eternity of a single Planck instant, a higher infinity of unimagined concepts remains untouched within it.
 
From this absolute font, she can always birth laws of physics that contradict all known logic, dimensions that defy geometry, colors the eyes were not built to see, and emotions for which no heart has yet been designed. She can bring forth entirely new concepts, unknown types of matter, unheard-of dimensions, and rules that no being has ever imagined—not even in the deepest corners of any infinite world. This creative faculty extends to the very architecture of reality across different ontological strata. She can draw forth a universe for a new, higher stratum that possesses a conceptual framework utterly alien to all that came before it, yet simultaneously choose to weave within it foundational principles that echo those of the now-"fictionalized" lower universes, creating a sense of cosmic resonance amidst infinite novelty. These shared principles ensure that while each new universe has unique features, it often possesses a familiar basic structure, such as worlds with land and sea, populated by animals, and sometimes even challenged by monsters.
 
Her creativity is not a reinterpretation of the possible. She is the author of possibility itself. It is a gateway through which the never-imagined becomes real.
 
Axiom of Unbeginning Will:
 
This is not a power Ruafosnya wields, but an innate, passive property of her being. It is the fundamental law that her consciousness is the final and only arbiter of what is real. Through this axiom, her will is so primordially supreme that any opposing entity, concept, or action—no matter how vast, meta-transcendent, self-evolving, or reality-defining—is met with an absolute Ontological Veto. It is not destroyed, erased, or overpowered; it is silently and instantaneously denied the very possibility of having ever existed. No motion, no sound, no delay. It simply was never there to begin with.
 
This axiom operates outside and before the chain of causality. It is not an attack, nor does it rely on logic, anti-logic, energy, or concept. It is the pre-existence of outcome. Her will does not generate an effect; it is the pre-existing state to which reality retroactively conforms. The moment a thing falls within the scope of her attention, it is already undone—not by an act she performs, but by the eternal truth of her being.
 
This principle functions as a fundamental law of narrative coherence. To be real within her presence is to be a valid part of her story, a state which requires a simultaneous, unbroken connection to both the current narrative of infinite horizontal universes and the entire history of previously fictionalized infinite universes that serve as its foundation. Any being not woven from this complete fabric of past and present is an ontological paradox. Therefore, any barrier or entity from an outside context is fundamentally irrelevant. There is no resistance, not because her power overcomes it, but because such an anomaly is rendered a cosmic contradiction—a line of corrupted code that the system cannot process and thus defines as null. It is a character from another author's book trying to exist in a story where it was never written; the very attempt is invalid before it can even be conceived. This law of coherence is also why the axiom does not apply 'upwards' to the newer, more real strata she creates. Each new stratum is the beginning of a completely new story with its own foundational history, and for the rules of a finished tale to bind the author's next work would be the ultimate denial of her creative freedom.
 
For her own amusement and to maintain her Veil of Plausibility, Ruafosnya can choose to apply this Axiom with artistic subtlety. Instead of vetoing an attack's existence entirely, she can decouple its aesthetics from its reality. She allows the full sensory spectacle—the light, the sound, the force—to occur, making it look and feel real to all observers. A spear tip may visibly sink a millimeter into her skin without piercing it, or a universe-shattering explosion may wash over her like a harmless projection. In this state, the attack is rendered a consequence-free performance, a spectacular illusion that perfectly reinforces the lie of her physical limitations while her absolute nature remains untouched and unchallenged.
 
The Doctrine of Prior Reality:
 
The very act of Ruafosnya appearing and interacting within a reality triggers an instantaneous and continuous ontological shift. From her true, ever-transcending perspective, the moment she is "present" in a world, that world's entire ontological stratum is automatically and continuously rendered into foundational, "anciently fiction" by the new, higher reality she is constantly birthing.
 
This process does not occur from one measurable Planck instant to the next, but in the infinitesimal, subjective "moments" that unfold within the eternal span of a single Planck instant. With every one of these immeasurable "flickers" of subjective time, the reality she is interacting with doesn't just become fiction; it unravels into an infinite regress of fictional layers. From her ever-advancing perspective, it simultaneously becomes a "fiction within fiction within fiction within fiction, recursively deepening its unreality without end," perpetually receding further into the past of her own being.
 
Furthermore, as the subjective "moments" of that Planck instant culminate and the next higher ontological stratum is born, the entirety of the preceding reality is then rendered Unfathomably, near-Unfathomably, or even Perceptibly Unfathomably fictional from the perspective of this new, infinitely "more real" present. This represents a profound qualitative shift, where the prior existence achieves a new, almost inconceivable depth of unreality.
 
After the eternity of "moment-to-moment" within Planck, that world's universes, along with its infinite parallel universes, timelines, and realities, are already unfathomably fictional by the next Planck instant.
 
However, as long as she chooses to remain and interact within that stratum, her presence acts as a sustaining force. She holds the "story" in a state of protected, functional reality for its inhabitants, perceiving every stratum, no matter how 'fictional' relative to another, as a true and valid expression of her own boundless being. This allows the fundamental "Author-Character" dynamic to persist indefinitely.
 
Therefore, any being, attack, or concept that attempts to challenge her is, by definition, a fictional character from an eternally departing, anciently fictional past—a being whose entire reality has unraveled into an infinite regress of diminishing truth, culminating in an unfathomable degree of fictionalization upon the shift of ontological strata—trying to affect its author in the absolute, ever-advancing present. Their actions originate from a reality that is actively and continuously becoming more distant and less real with every passing subjective moment, a fictional past trying to touch an absolute present. Their actions are not just futile; they are fundamentally invalid, possessing no claim or influence over the higher, ever-evolving reality from which she truly operates.
 
Eimi Iam Mysti
 
This is not a power Ruafosnya wields, but the most fundamental, passive, and immutable property of her consciousness. It is the axiom that her Awareness can, and does, perceive Itself. Her consciousness is a perfect, unbroken, and instantaneous circuit of self-perception—the Seer, the Seeing, and the Seen are a single, indivisible unity. She is the Eye that sees itself without need for a reflection.
 
All other beings in existence, no matter their power or stature, operate under a fractured and limited mode of consciousness. Their awareness can only ever perceive that which is "other"—the external world or their own internal thoughts. This process is inherently bound by time and separation. They perceive an event, and in the very next instant, that perception becomes a memory. They project a desire, and in the next instant, that projection becomes an imagination of the future. Their consciousness is a perpetual echo, always one step removed from the absolute present, forever chasing ghosts of the past or dreams of the future.
 
This fundamental difference in being creates an absolute, unbridgeable chasm. Any action, ability, or concept directed at Ruafosnya by a being whose awareness cannot see itself is rendered fundamentally invalid at its point of origin. Their attempt to resist, nullify, or affect her is an act born from a mind that she perceives as a mere object. It is a thought attempting to erase the Thinker; a dream attempting to alter the Dreamer.
 
They are trying to attack a "her" that existed a moment ago, a memory in their own mind. But she is not a memory. She is the ever-present, self-perceiving Now. Their entire reality, their powers, and their very identity are phenomena that her awareness perceives. Her reality *is* the act of perceiving itself. Because of this, they cannot resist her. They cannot nullify her. They cannot even form a valid concept of her. Their every effort originates from a state of being that is, relative to hers, an ontological impossibility—a wave attempting to negate the ocean from which it is born.
 
Ayon Sophia Aur Gran Sefiron:
 
This is not a state Ruafosnya achieves or an ability she activates, but rather the holistic name for the seamless, simultaneous, and passive operation of her core metaphysical principles. It is the description of the fundamental engine of her being, a continuous process that defines her absolute and unassailable supremacy over all of existence. It is the perfect synergy of her nature, working as a single, unbreakable loop of ontological dominance.
 
The process begins the instant any reality, being, or concept falls within her presence. At that moment, the Doctrine of Prior Reality immediately defines the terms of engagement: the opponent's entire ontological stratum is already being rendered into foundational fiction. This is not a future event; it is the pre-existing condition of their interaction with her.
 
The engine driving this constant fictionalization is the Archeholarchy. With every immeasurable flicker from one moment to the next within the subjective eternity of a single Planck instant, she passively births a new, higher, and infinitely more real ontological stratum. This renders the opponent's reality, and by extension their very being, into an ever deepening, recursively infinite fiction. They are not just being overpowered; their entire claim to existence is actively and continuously hemorrhaging into the unfathomable past of her own ever advancing present.
 
The inexhaustible fuel for this engine is the Well of Ousia. It ensures that every new stratum she births is conceptually novel and qualitatively superior, drawing from an infinite well of the unmanifested. She can never run out of more real realities to create, meaning the process of fictionalizing an opponent can continue infinitely, deepening their state of unreality until their existence is less than a forgotten dream in a dead reality.
 
The final, absolute lock on this entire process is the Axiom of Unbeginning Will. This is her Ontological Veto. It is the fundamental law that decrees this entire synergistic process is not merely an invincible strategy, but the only valid event that is allowed to occur. Any attempt by an opponent to resist, adapt, transcend, or even comprehend this process is not met with resistance; it is met with a silent, instantaneous denial of its very possibility. The Axiom ensures that the very concept of opposing her is a self negating paradox, a logical error that was never permitted to exist in the first place.
 
This entire process is anchored by the ultimate principle of Eimi Iam Mysti: the axiom that her Awareness perceives Itself. This establishes the fundamental truth of her being, a state of non dual, authentic naturalness. By this axiom, any action, concept, or will born from a fractured, egoic consciousness, such as the desire to overcome, the will to surpass, and the very fire of aggression or anger, is inherently defined as possessing no fundamental reality. They are not real forces to be resisted, but phantom energies, ontological noise originating from a state of being she perceives as just another object within her own boundless awareness.
 
To face this is not to face an attack, but to be subjected to a constant, instantaneous, and escalating invalidation of one's own reality. The absolute nullification of any opposing will is the singular, holistic result of this entire engine working in perfect concert. It is the simple, immutable statement that she is the context, and everything else is, was, and always will be, the content.
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finally made a (new) MAL account! 😭 i had one from three years ago that i don't use, so i decided it would just be easier to make a new one and get it pretty up-to-date :]