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Firo is a boyish young man with brown hair and brown eyes (sometimes depicted as red), and commonly wears a pearl-green suit and matching fedora in the 1930s. He is highly self-conscious about his youthful, "baby-face" appearance. By 2002, he has begun wearing glasses in an attempt to appear older and more mature as befitting his role as contaiuolo .

For a member of the Camorra, Firo can be a surprisingly friendly, humorous and compassionate person. According to the Gandor brothers, Firo is brash and naive, and in a way someone who fits in with being a Camorrista but is unsuited towards being a criminal. He is not afraid to confront people, nor is he worried about the impression he leaves since he is simply being himself. Anyone who knows anything of the Martillos knows well not to bother Firo, or they will find out just how much trouble they have gotten themselves into.
Firo considers himself neither a 'do-gooder' nor a 'fiend', but someone who falls somewhere in the middle. Occasionally he performs good deeds, such as rushing to a fire or donating money, but he is still ruthless and can be vengeful to an extent. Not only did Firo assume Barnes would act ungrateful after he rescued him from Dallas Genoard , he switched the immortality elixir Barnes was carrying with regular alcohol. More often than not Firo is blunt, commonly exasperated by those he finds oddballs, and can be negative to the point of being shockingly cruel. Violence comes easy to him, in short and highly brutal spurts. His short temper and other negative qualities are especially apparent in 1930, though he mellows over the course of the next four years and even more so over the next many decades.
On the other hand, his waspishness tends to be directed toward those acting hostile, provocative, or who have otherwise irritated him. In fact, Firo is unexpectedly good with people and is naturally social; he attracts friends easily, even those whose friendship he may not necessarily desire. As Ennis observes in 2002, "Firo was really very good at getting people to do what he wanted without telling them the important things. Actually, to be precise, he was good at making them want to help him." In turn, he will readily offer help to those he feels should have it. Firo is moreover absolutely loyal to the Martillos and cares deeply about those close to him, willing to endure Alcatraz for their sake. His instinct is to rush to the aid or rescue of a family member in peril, no matter the cost to himself. [1]
Firo does not actively look for trouble himself. However, he does have a tendency to meddle: If something is going on and he happens to be around, more often than not he will either investigate or forcibly involve himself in the situation. Even before becoming immortal, Firo was never afraid to take risks. He did not hesitate to join the Camorra, and he had never been one to back out on anything. His slightly reckless tendencies and his near suicidal loyalty to the Martillos have led him to say that he does not care what happens to him; however, as observed by Ladd Russo , he does fear death and does not consider himself invincible.
Notably, Firo has some deep-seated issues with femininity that stem from a childhood incident wherein he was mistaken for a girl and nearly molested. He generally avoids what he perceives to be 'feminine' and has a complex about being called 'girly' and even mistaken for a woman, suggesting that feminine traits carry some stigma for him. This does not mean he dislikes women —on the contrary, he views and treats women with chivalrous intentions: he will not hit a woman and considers any man who lays a hand on a woman as 'scum'. In addition, he is incredibly shy when it comes to romance and refrains from taking the initiative even when his feelings are obvious. All of these traits can be traced back to the aforementioned incident, making it one of the most formative events of his childhood.
He furthermore nurses insecurities about his youthful "baby-face" appearance and position in life compared to the people around him, many of whom are exceedingly talented. He will habitually compare himself to Claire Stanfield (often in terms of confidence and abilities) and to the Gandor brothers (particularly Luck Gandor in terms of maturity), believing from childhood that they were surpassing him. Having idolized movie-depictions of Italian gangsters from a young age, Firo has always been in a hurry to 'grow up' and be entrusted with mature responsibilities, hence his annoyance when he is commonly dismissed as a 'kid'. He has a clear idea of what he should be as a man and Camorra executive and thus attempts to "act cool" even though he will frequently act based on emotion. As someone with little schooling, he considers himself neither book-smart nor possessing high intelligence.
Devouring Szilard Quates takes its toll on Firo, who grows increasingly worried that Szilard's memories will warp his personality and identity—that one day he will become as sadistic as the old man. This fear leads him to deliberately act cruel to Isaac and Miria in 1933, after which he is relieved to conclude he took no joy in the act.


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While Frank is at least two meters tall, he has the body proportions of a toddler; his head is proportionally big, and his body is extremely wide to the point where he looks like a beer barrel with a head and limbs. He has short brown hair, and is seen wearing blue overalls over a white shirt.

Frank is a child in an extremely large body: he is soft-spoken, nervous, and apologetic. He is kind and worries for the safety of others that he knows personally, though that worry doesn't generally extend to strangers, and his favor can often be won through the offer of food. Though timid, he does not hesitate to act on the offensive in order to protect his friends. When scared or embarrassed, he has a habit of covering his ears and trying to make himself smaller.


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Fred wears a grey coat over grey clothes and thin grey gloves, has a grey cloth wrapped around his head, and a thick muffler that covers the lower part of his face. He dresses in this manner in order to conceal his war scars, which cover the majority of his body. For the sake of his work, he carries his black medical bag with him at all times.
Ladd describes his eyes like so: "...He's got eyes that look like he could die at any time and be fine with it. Or maybe eyes like a guy who's already dead."

Fred does not discriminate between those in need of medical attention, treating everyone equally and without prejudice. As a neutral party, he involves himself in the affairs of others only when his medical services are required.
Fred has an apathetic view towards death; while he is not frightened of it, he is aware of it at all times. He is exactly the sort of man Ladd finds hardest to deal with—though if he were a woman, he would be Ladd's favorite 'type' in the mode of Lua Klein . He developed this attitude during his service in World War I, where he was heavily affected by the deaths around him—in blaming himself for the deaths of his comrades, he came to view his survival as punishment from God.
He has a distinct dislike for drug addicts, a feeling that is especially evident when he has to deal with with Roy Maddock 's destructive personality. Still, he does not hold Roy's behavior against him, and supports Edith's goal to make Roy a better man.


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Gabriel and Juliano have blue eyes and light brown hair. As identical twins, they are distinguished through their different hairstyles—Gabriel's hair is slicked back, while Juliano's hair is less tamed—and deportments as depicted in Volume 20 's first color insert (featured below); there, Gabriel sports a cordial expression and meets the viewer's gaze whereas Gabriel avoids eye contact, his expression sullen.
The twins wear matching sharp swallowtail coats, gloves, and shiny patent-leather shoes, elegant contrasts to the black biker goggles perched atop their heads.

Gabriel is the refined gentleman to Juliano's unrefined gangster, addressing others with polite poise while Juliano adopts a rougher deportment. Although Gabriel comes across as more thoughtful and intuitive than his brother, he always solicits his brother's opinion and tends to defer to Juliano when making decisions about decisive next courses of action. Most of the people with whom Gabriel and Juliano interact conceive of them as "two in one" not least because they are a permanent team, but because they address each other in the first person: Gabriel calls Juliano 'I,' and Juliano calls Gabriel 'Me.'
Aside from such behavioral differences, Juliano and Gabriel are mutually trigger-happy hunters who care for the thrill of the hunt and little for human life save for that of their masters. For this they have been deemed "mad dogs" by the Runoratas who fear and antipathize them, an epithet that the brothers find so anathema that they prefer to speak at the Runorata estate only in the presence of Bartolo or Cazze. These are the only two people for whom Gabriel and Juliano have nothing but the utmost love, respect, and loyalty. They are willing to do anything that Bartolo and Cazze request and anything to keep them safe, conceputalizing themselves as their masters' human shields; should their masters die before them, they are prepared to choose death as a consequence. Where their colleagues dream of prestige or climbing the Runorata hierarchal ladder, the twins want only to serve Bartolo and Cazze as tools.
Gabriel and Juliano act more akin to butlers than security guards when with their "young Master Cazze," to whom they referentially bow despite his young age. They treat him so not merely because they believe in his worthiness as a future mafia leader, but because they personally care for his wellbeing; they are genuinely happy to see Cazze so carefree in 1931 and genuinely furious with those who would hurt him.


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Goose has slicked-back sandy blond hair, narrow eyes, and a grave, stone-faced countenance. He normally wears the black unmarked military uniform of the Lemures, but dons a tuxedo for the hijacking as part of the Lemures' orchestra ruse.

Goose is a ruthless man who trusts no one. Unable to pursue an official military career, he still conducts himself with a soldier's bearing and treats the Lemures as a military cell. Despite his bitterness toward the military, he is aware why he was rejected: unlike a true soldier, he treats the Flying Pussyfoot as a game to be won. His lack of regret or repentance when he aborts the hijacking mission signal his acceptance of his status as a terrorist.
For all his emulation of military structure, tactics, and appearance, his actions aboard the Flying Pussyfoot prove the difference between playing at being a soldier—and being one. As a non-soldier, Goose's naïveté leads him unable to adequately cope with and adapt to the abnormal circumstances aboard the train, and he constantly allows his hubris and emotions to get the better of him. His predilection for drawing out his opponent's death rather than outright killing them proves his undoing with both Nader Schasschule and Jacuzzi, and ultimately leads to his own demise.
Goose has no qualms when it comes to using or killing children and innocent bystanders for the sake of his goals, and does not particularly care for his comrades on any meaningful level. He wants to rescue Huey because he wants Huey's immortality , and plans to kill Chané Laforet —a comrade who has worked alongside him for some time—because she is an obstacle to that end. Though he views his opponents aboard the Flying Pussyfoot with hatred, he never dwells on or express remorse over the deaths of his comrades even when on death's door—where it is only his sheer ambition that keeps him alive.


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Graham has long blond hair and pale skin. His eyes are blue, and often look 'half-asleep'; his facial features are described as "rather girlish," and his build is "decently muscular."
He is always depicted wearing a blue mechanic's uniform. He usually carries a large wrench around with him, the end of which is encrusted with rust and dried blood.

In the most basic of terms, Graham might be best described as "frenetic." He frequently delivers long-winded, philosophical rants at the drop of a hat; he will lament about his current state of affairs in the most negative way possible, before changing his mood and suddenly viewing the same issue in a contradictory, impossibly optimistic way.
Most people around him (but not all) tend to dismiss his rants as pointless ramblings. Meaningless as they might be, Graham's rants are fueled by genuine passion over whatever is concerning him, which can be everything and anything. He bemoans his own flaws often and loudly; he presumes and then takes his presumptions to their illogical extremes; he has raged at the sun for its unbearable heat and then exalted it for its supreme power. These bipolar mood swings are a core part of Graham's personality—even the narrative observes that Graham's mood is only ever zero or hundred and almost never in-between.
Graham is easily affected by stories he finds compelling (for example, Jacuzzi's self-sacrificial act in 1932 touches Graham deeply). As such, he is often highly indecisive and will agonize over what next course of action he should take until his emotions spill over (and are released through aggressive action) or someone else makes the decision for him.
Graham relishes in dismantling all things tangible, be they humans or objects; 'dismantling' intangible things gives him no satisfaction. He hates it when others destroy vehicles he wants to destroy himself, just as Ladd hates people who kill those he wanted to kill himself. However he refuses to commit murder, for doing so would fill him with guilt. This should not be taken as a sign of mercy: he is fully capable of inflicting serious, lasting damage if he so chooses. A dislocated joint is terribly painful in its own right.
Emotions influence everything he does—his own emotions, and the emotions/feelings of others. As a child, he decides that is it fundamental he experience the feeling of being taken apart if he is to continue dismantling things at will. And so, he dislocates every single joint in his body. Even as a child, he had a sense that dismantling has consequences, and he had determined that it would be unjust to cause those consequences without experiencing them himself. To Graham, empathy is not only natural, but practically necessary.
With a character so driven by emotion, it is no wonder that Graham quickly becomes attached to those of whom he takes a liking. When he believes in someone he believes in them wholly: he idolizes Ladd; respects Laz Smith ; and Jacuzzi leaves such a deep impression on him that Graham deems him one of his most important friends—and views him as a little brother of sorts—after only two years of friendship. When Shaft appears to be hiding secrets from him, Graham deliberately puts his trust in his subordinate all the same.
Graham's loyalty to and idolization of Ladd is so potent that he is perfectly happy to give Ladd the credit for something that he (Graham) accomplished, and is instantly offended (and full of bloodlust) when someone insults him. Despite Graham's overwhelming desire to fight Claire Stanfield , he respects Ladd's wishes and leaves Claire to him—and overcoming his own desires is no small feat.
Despite everything, Graham is actually quite intuitive. He correctly surmises that Shaft had orchestrated the fiasco at Dolce (and that Shaft knew more about what was going on than he did), and was able to detect and block Leeza Laforet's chakrams even though she hid in the shadows during their fight. Though his plans often go awry, Graham is quick to adapt and is quite versatile. However, he is still easily influenced by the heat of the moment, and his emotions will often override any common sense.


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Gregoire is middle-aged, sporting short salt-and-pepper hair and a cropped beard as well as a vertical scar slashed down his right eye. Aboard the Flying Pussyfoot , he wears a white chef's uniform and hat.

Gregoire considers cuisine his top priority in life. Such is his dedication that he will remain by his post no matter what, such as the time (according to rumor) he remained by his pan despite a gas explosion right next to him. Though he normally speaks gruffly—his voice having been described as like that of a bear's—he does speak cordially to the passengers on the Flying Pussyfoot . However, he does so to irresponsibly inform them to act independently with the goal of ensuring their survival no matter what.
He places greater importance on a person's skill than their background or deeds, even if they are a criminal by trade.


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Gretto has wavy brown hair and brown eyes. Aboard the Advena Avis , he wears a brown vest over a white shirt with its collar popped up, and breeches and stocking.
He is said to be the spitting image of his father when a youth. As Melvi Dormentaire is derived from Gretto's father's cells, he in turn physically resembles Gretto to an uncanny degree.

Gretto is remembered by his loved ones as a kind, if fainthearted, young man who was more someone to protect rather than a protector . Up until 1711, he sees himself as a coward, a passive idler who hopes that others will change without forcing him to act. However, his arguments with both his father and his brother in 1711 demonstrate that he has more of a backbone than even he himself had thought.
His frustration with his own passivity, combined with his forced house arrest and longtime disillusionment with his father, lead him to become excited at the sight of Lotto Volentino burning outside of his window and consequently commit multiple counts of arson, inspired to instigate war between the Avaros and the House of Dormentaire and threaten society as a result.


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Gustav is always shown wearing a shiny monocle over his left eye. He is typically depicted wearing a long black overcoat over a white shirt and black trousers. He wears a black bow tie and brown scarf, the latter of which he either tucks into his coat or drapes smoothly over his shoulders.
His clothes are both elegant and obviously expensive (as is his umbrella, which he carries with him constantly), and overall make him seem rather like a "wealthy entrepreneur."
He has sharp, hawkish eyes, and some of his brown hair is grey. It is difficult if not impossible to determine his exact age; on first glance, Gustav looks "rather young" but has also been described as "middle-aged," owing in part to the grey hairs.
Narita has also described his eyes as "looking nothing less than evil."

Gustav is a well-spoken individual: his speech is exceedingly fluid and polite in such a way that people do not dare to interrupt him (even when he rambles). His 'ramblings' tend to be a series of rhetorical suppositions (such as his musings on rainbows) leaning toward both the philosophical and practical.
One of Gustav's notable quirks is the points 'system' he has with Carol, awarding her a number of points for her answers to his rhetorical questions. It is unknown if he actually has some sort of system in mind when judging her answers, though it is likely the points are arbitrary. His emphasis on etiquette by modern standards is somewhat old-fashioned (as evidenced when he tells Carol that it is rude for ladies to point at people/objects). He is always extra-courteous to clients.
He is an experienced journalist and prefers investigating on-scene rather than from the comfort of his desk. He and Carol often travel as a result. Furthermore, he is competent in a fight, easily able to fend off Graham Specter 's men when they hijack their westbound transcontinental train in 1934.
It is clear that he is protective of or otherwise cares about Carol to some extent, as seen when he carefully guards her from Renee Parmedes Branvillier in 1934.


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Gustavo is a large, hulking man with brown hair and deep facial furrows. His fight in January 1932 earns him a nasty scar at the base of his throat, visible to others if not covered. As a Runorata capo, he is typically seen wearing a black suit and coat, and a light-colored scarf.

Brutish and boorish, Gustavo wields the threat of violence over allies and enemies alike. He rules his subordinates through fear, taking his anger out on them and nearby property with physical wrath, and indiscriminately kills anyone remotely involved in Runorata affairs regardless if they are underworld or not. Rather than negotiate, warn, or bother without outright declarations, he merely unilaterally destroys.
Gustavo's executive status was earned solely through the sheer power of his brute force—brawn over brains—and his ambitions are in large part hampered by his dull intellect and personal grudges. He reacts poorly to mockery and humiliation, and can only take so much before he loses all reason entirely.


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Henry has short black hair, and wears oval glasses. His smile is more of a repulsive smirk that gives off the impression that he is sizing something up.
After his encounter with Vino , his hair greys at his temples ever so slightly.

On the surface, Henry acts in an affable, professional manner when dealing with clients. Beneath the mask, however, lies an ambitious and greedy young man who pragmatically chooses whatever information is advantageous to him and manipulates it as he sees fit. He will happily sell information for extortionate prices and condescend towards anyone who fails to live up to his standards, such as Edith .
To him, information is the ultimate power. Thus, he looks down upon those who have information insufficient to benefit him. Such behavior gives him a God complex, fueling his ego to no end.
His arrogance is brutally checked once Vino (Claire) hunts him down and dangles him from a train over the railroad tracks, and never fully recovers. Since the incident, just hearing Claire's name alone is enough to make him go pale.


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Chi is a leanly built Asian homunculus , with brown hair that he keeps pulled back into a braid. He wears a black tank top, and possesses a bright red paper oriental umbrella. Of special interest are his long steel claws—four curved blades per hand—which fold back into steel gauntlets. He keeps his gauntlets hidden by wrapping them with thick bandages, though the bandages draw attention in and of themselves..
Though he is at least nearly four decades old in 1933 he appears to be in his mid-twenties. As an ageless homunculus, he will appear as such for the rest of his life.

Chi is brusque and rational where Christopher is not, terse and succinct where Christopher is flamboyant and prone to rambling. However, like Christopher Chi takes enjoyment in the act of killing others, and has even joined in on Christopher's occasional bouts of impromptu singing on at least one occasion. For all of Chi's quibbles with Christopher, he cares for him as he does the rest of the Lamia and will fiercely fight to protect them all.


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Humpty is a pudgy tween with light blond hair, and wears a black polo and tan trousers.

Humpty is bit of a worrier, though he is brave enough to join Bobby on his stowaway caper—and like his friends, not afraid to call Bobby out on what a harebrained idea the caper is, though he has by and large resigned himself to Bobby's lack of foresight.


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Illness' Mask Maker attire consists of a black combat suit like "the kind worn by special forces in movies" along with a mask and pair of goggles which obscure her face. Only her mouth is supposed to be exposed. She carries around two glocks while on the job.
Outside of her uniform, she is seen wearing a black choker ribbon and a Gothic-style black and yellow shoulderless dress, occasionally with a matching parasol in hand.
She has blonde hair and blue eyes underlined by dark shadows.

Illness is immature, particularly in contrast to the businessmen she appears alongside. She is tactless, speaking exactly what's on her mind even when it's inappropriate or rude. She does not get along well with her coworkers, who mock and belittle her and whom she antagonizes in return. Like her boss Luchino B. Campanella , Illness is easily nauseous at the sight of blood and smell of gunsmoke and often ends up vomiting on the job as a result. Unlike her boss, however, she makes no attempt to hide this fact, and shamelessly throws up in front of her allies when she needs to.
While she does not feel saddened by the deaths that surround her, she views herself as a sick person for being so willing to kill other people in exchange for her own life. Due to her upbringing in SAMPLE , which left her with the notion that her duty as a sacrificial god is to help others at her own expense, and her experience with a group of boys who let themselves die trying to save her, Illness has come to see her survival instincts as something abnormal rather than a part of human nature. This troubles her, but because she fears being cast out and returned to the life of torture that she knew, it is all she can do to resign to the conclusion that she is a bad person. To her, even being an evil or strange human being is preferable to not being human at all.
Illness comes across to strangers as an eccentric and childish, but generally friendly, teenager. She is talkative and outspoken about her thoughts and opinions, whether they are positive or negative, and has no reservations about approaching celebrities like Claudia Walken to share them. This is not because she does not worry about how others perceive her, but because she has accepted that everyone will consider her weird no matter what she does. She is described by Claudia as an "honest person".
Illness tends to experience emotion in intense but fleeting bouts. She reacts in the moment, without consideration for whether it is appropriate to do so—and often even before she understands what she is feeling or why.
She is impulsive, but she is also stubborn about following through with her decisions once she has made up her mind.


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Isaac has bushy brown hair and brown eyes (blue in the anime and 2015 manga), while Miria has straight blonde hair and brown eyes.

Isaac and Miria are both extremely charismatic and vivacious, spreading happiness to anyone and everyone they meet without conscious effort. In the process, they often befriend all manner of unlikely people including the likes of famed hitman Ladd Russo and stoic assassin Chané Laforet . That their personalities remain unchanged into the early 2000s is a testament to their indomitable will.
While Miria tends to follow Isaac's lead, she does so not out of obligation or deference but simply because she wants to, delighted in how her partner can make her laugh. In fact, on at least one occasion, she takes the lead when Isaac is trying to muster the courage to rescue Ennis , Miria grabs his hand and shouts that they "absolutely, positively have to save her" before taking off down the street with Isaac in tow.
When the two are involuntarily separated, Miria weeps when she is out of sight and away from others' prying eyes. With her friends, she puts on a brave front and acts like her typically cheerful self; though terribly sad, she remains sincere in her efforts and her belief that she will see Isaac again.
Isaac, meanwhile, thinks about Miria constantly and cannot wait to reunite with her. His conversation with Sham strongly implies that he values himself little in comparison to Miria, and he is persistently perplexed that Sham could possibly admire him. While Isaac considers himself 'lucky' that someone like Miria actually wants to be by his side, Miria thinks the world of him in equal measure.
Whether working separately or together, Isaac and Miria are extraordinarily kind people at their cores. Throughout the 1930s, they put themselves in danger for the sake of their friends time and time again, believing themselves to be mortal all the while: when their rescue attempt of Czeslaw Meyer fails on board the train, they immediately close in around him to shield him from impacting against the ground; Isaac leaps in front of Who in 1935 to take a physical blow meant for him and is injured in the process; and, among other kindnesses, the two have encouraged the likes of Ennis and Jacuzzi Splot to be brave and face their worst troubles.
On the whole, the couple are wildly impulsive and follow whatever whim has caught their fancy. It should be noted that they are not completely oblivious and certainly not stupid, as others might say. Miria is observant enough that she notices what television channels Ennis pays attention to in 2002, and she has partially figured out Ronny Schiatto 's identity by 1934. Isaac is also able to immediately identify a plainclothes man as an undercover cop in 1934 and acts to ensure Miria can avoid arrest while feigning ignorance.


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Jack has short hair (white in the anime), and in the anime wears a muted light purple jacket over a black shirt and black trousers. His clothes are cheap-looking, and he has the overall appearance of a delinquent.

Jack is hot-headed, aggressive, and one to hold a grudge. He seems to have had a bit of an arrogant streak before joining Jacuzzi Splot 's gang, which has tempered slightly in the interim.
He does care for his fellow gang members despite using slightly judgmental language to describe them, given that he tries to convince Fred —perceiving him to be the Grim Reaper—that he can still go save Jacuzzi and the others despite being terribly injured.


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Jacques-Rosé has long, black hair which he wears in a low ponytail under a baseball cap. He wears a black, short-sleeved shirt, a bomber jacket with a fur lining, and light-colored pants. He can generally be found with a confident smile on his face.

Jacques-Rosé is an energetic, friendly young man who is determined to be a hero. He has a strong sense of justice and throws himself into danger without a second thought for the sake of protecting the underdog.
He is also known to be a big eater.


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John has short greyish hair, and wears a standard bartender uniform: a black trousers and black vest over a white button-up shirt, with a bow tie over the collar.

Jon is very blunt and straightforward, as seen when he occasionally lecturing him or reprimanding him when he starts to complain or cry. In this regard, Jon stand out a little from the others in the gang, who are more prone to teasing Jacuzzi yet nonetheless giving him leeway. Jon and Nice are perhaps the most hard on Jacuzzi of the gang: Jon for pointing out Jacuzzi's flaws and fallacies; and Nice for pushing him into uncomfortable situations. He is calm in the face of danger, as evidenced when he jokes in the faces of the Lemures when they invade the car.


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Jorgi made his illustrated debut in the 2015 manga , where he is depicted as a young man with light hair and freckles over the bridge of his nose.


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Yaguruma has thick grey hair, bushy eyebrows, and a large chevron-walrus mustache. His face is wrinkled, and he has large ears and a strong square jaw. He normally wears a business suit. His hands are heavily callused.
At a glance, he gives the impression of being the proprietor of a Chinatown herbal medicine shop. [1]

Yaguruma is unflinchingly loyal to the Martillo Family, and as such sternly upholds its Camorra law even if doing so causes distress to his fellow Martillos. Still, he has a mischievous streak, and he gets a kick out of both sharing various Japanese folktales with Isaac & Miria ...and them inevitably misremembering what he tells them.


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Keith has brown hair and piercing brown eyes, with a gaze that is often compared to that of a sharp knife or blade.  His brow is deeply furrowed, and his forehead and cheekbones are prominent.
He is normally dressed in formal business attire. In the 2007 anime adaptation , he and his brothers are often color-coded: Keith wears a dark blue outfit while Berga and Luck wear a green outfit and brown outfit respectively.
In the late '20s, Keith is described as "a man, who, no matter how one looked at him, didn't seem like he did a proper line of business." His presence is very clearly that of a powerful mafioso, and he has a ‘sharp air’ that is difficult to miss.

Firo Prochainezo describes Keith as a little conservative in his thinking, clinging stubbornly to "outmoded rules and ideas" out of some sort of "old-fashioned righteousness." One way in which Keith's persistence in upholding (his own sense of) justice manifests itself in his total ban against drugs in his territory. He loathes drugs to his very core, at least partly because he takes pride in protecting the residents living on his turf, and he would never cross the line of life and death of innocent people.
Keith is no stranger when it comes to personally meting out violence: he has shot many a person in his line of work, and has doled out cruel punishments in the past. However, he has occasionally displayed a strange version of 'kindness' with certain punishments; in one incident he gives Dallas Genoard cards to 'play' with while drowning in the Hudson—in another, he agrees to have Edith's hair trimmed as a 'punishment' for insubordination.
Such acts have sometimes led others to believe Keith and his sibling as too soft-hearted for mafia life, but when compared to his younger brothers Keith is certainly the closest to it. At the very least, he is highly respected by his subordinates and others around him—his name alone is enough keep Maria in check, and he is one of the only people to have made Claire apologize to someone else (and one of the few whose scoldings Claire has taken to heart). In the anime, his brothers visibly look to Keith for his opinion (or final say), subtly reminding the viewer of Keith's leadership role.
Keith is immediately distinguished by his taciturn nature—he is content to be silent most of the time and leave the talking to Luck. The instances in which he does speak are few and far between, and when we do see him speak he usually keeps his sentences short and to the point.
So rare are the occasions that most people always sit up and take notice when he speaks, because whatever he has to say is always of importance. When Keith visits The President of the Daily Days to exchange information in late 1931/early 1932, The President goes so far as to temporarily cut his phone lines so he can hear Keith as clearly as possible ( "what you say will definitely be precious information. The last time I heard you say more than five words was three years ago") .
Though it is never shown on-page, more than one character has stated that Keith is actually fairly talkative with his wife Kate, and talkative to some extent over the phone. His great-grandnephew Charon Walken (whom Keith looked after during the boy's childhood, and thus inherited Keith's penchant for reticence) flatly denies the possibility that Keith talks (more) over the phone, chalking such occurrences up to 'the phone fairy' instead.
Keith's love for his brothers is made clear throughout the novels. He reacts with physical—and audible —alarm when Berga is gunned down by Dallas in 1930, and memorably stops Melvi from devouring Luck in 1935 with such quickness and murderous intent that he would have without a doubt devoured Melvi right then and there had it not been for Claire's intervention.


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Krieck has short blond hair, and is distinguished by a new wide scar on the right side of his face. He "looks like a gangster."

Krieck is the archetypal gangster: cold; threatening; and coarse. He disapproves of outsiders, and openly looks down upon those he disdains. After becoming an incomplete immortal, he gains all the confidence that comes with having an immortal body.


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Ladd has silver-blond hair (darker blond hair in the anime) that has bangs hanging on either side above his eyebrows and blue eyes. He is usually associated with the white formal attire he wears for the Flying Pussyfoot hijacking, which he chose since bloodstains are striking against white cloth.
The actions of the Rail Tracer during the journey caused him to lose his left hand and the flesh of his left forearm all the way up to his elbow. He ends up having a metal prosthetic bolted to his arm bones; while it is as strong as his other arm, it breaks fairly easily. As for his right ear, which the Rail Tracer shoots, the anime depicts its tip as entirely blown off. However, the ear looks intact in a 1935-C illustration. This might be an oversight since his right ear appears more deformed in 1935-D.
The 2006 manga 's design for Ladd does not resemble Katsumi Enami 's design, as he looks far younger than his twenty-five years of age.

Ladd is a chatterbox sadist who finds genuine entertainment in killing others, acting on his bloodlust often whenever he pleases and living life however he pleases. He is always honest about who he is as a person, openly and intentionally reveling in his violent tendencies and forever content to wear his emotions on his sleeve in an over-the-top animated fashion. Whether he is dancing in the blood of his murdered friend, hugging his opponents as thanks for the entertainment, or melodramatically complaining about how he lost fair and square while standing on his head, his constant need to burn off his endless excess energy ensures that he does not just wear his emotions on his sleeve, he broadcasts them for all the world to hear.
Though some may dismiss him as 'crazed' or a 'brawn-over-brains' brutish thug, he is more intelligent than others give him credit for. He is a killer, but he is not a mindless killer; it's not that he cannot plan, he simply does not . In 1931, it's Ladd who bothers to gather information on the consequences his uncle ’s bad decisions will have for the Family and concludes that it will be untenable for him to remain. His grasp on the situation proving more thorough than Placido's own. As Placido concludes , Ladd "[is] the type of man who always [comes] to action from nothing more than rough ideas, then [forces] those actions to succeed through on-the-spot calculations made in response to each individual moment."
Above all else, Ladd takes the greatest pleasure in killing those who arrogantly believe themselves invincible or otherwise 'safe'. He doesn't even consider the possibility that they might die until he reminds them of their mortality. Meanwhile, he is most likely to befriend those who are constantly cognizant of their own mortality (e.g. Firo and Nader Schasschule ), as fear towards death is perfectly natural and deserving of respect. Others whom he either respects or appreciates are those who fight fearlessly (like Chané Laforet ), or enthusiastically subscribe to his personal philosophy (e.g. Graham Specter ). While Isaac is none of these things, Ladd recognizes that his lack of fear toward death stems from sheer obliviousness rather than arrogance and treats him amiably as a result.
Most troublesome of all for Ladd are people with lifeless eyes, those who are resigned to or actively seeking death. While he has no idea how to handle men with lifeless eyes, such as Fred , women who possess them are exactly his type. His fiancée Lua Klein is one such woman, and his genuine love for her manifests a softer, warmer side of him than one is used to. They both find the idea of her dying by his own hands honestly romantic. Though his caveat that he will only kill her after he has killed 'everyone else in the world' suggests that he does not intend to kill her for a long while yet.

Ladd reminds Lua Klein that only he can kill her.

Ladd has mellowed considerably in the years following his defeat at the hands of the Rail Tracer, and he is a tad more humble and less hate-driven than he once was. Some of his hardline worldviews have softened, including his opinion of giving mercy to strangers; he views the concept with far less disgust in 1934 than he does in 1931.
While it is clear that he possesses a friendly side in 1931 and does care for his friends' well-being (as seen when he seeks revenge for Dune ). His capacity for affableness and loyalty towards those he calls 'friends' is especially prominent in 1934 and 1935. Once Ladd views someone as his friend, they are his friend whether they like it or not, and he will respect their wishes and defend them accordingly. No matter how much Ladd despises Laz Smith , he has and continues to refrain from killing him because he is one of Graham's idols. When Nader—who never wanted to be Ladd's friend in the first place—points out that he could simply take the money Ladd gave him and run. Ladd immediately acknowledges that the fault would be his own for making a wrong call, and assures Nader that he would not give chase.
Though Ladd has mellowed to a degree, he is still a violent man at his core and will become restless if he goes too long without a good fight. His antipathy toward arrogant, self-perceived 'invincible' people remains as strong as ever and Sham , Victor Talbot , and Salomé Carpenter 's personalities antagonize him just as they would have done back in 1931. However, there are only a few people in 1935 who instantly send his bloodlust levels skyrocketing and leave him consumed with hatred. The three who top his 'kill list' are: Felix Walken ; Huey Laforet ; and Melvi Dormentaire .


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Lana has medium-length brown hair and sharp brown eyes which make her look older than she really is She wears oval glasses, and a pink shawl over a mauve dress in official illustrations.

Lana is impractical and loose-tongued, simplistic and rash, contrasting to Pamela's practical and cautious demeanor. She is more emotional, excitable, and talkative, whereas Pamela is more level-headed and less likely to go off on a long winded lecture when she feels she has been slighted.
Her and Pamela's completely opposite personalities leads to the two frequently verbally sparring. Their arguments have never truly soured their friendship, however, and they complement each other well.
Lana has fainted at least twice at the sight of something extraordinary.


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Smith has brown hair and wears a wide-brimmed hat and a long overcoat, along the inside of which are lined about thirty firearms of varying types. His short-lived fight with Berga Gandor in 1932 earns him a wide horizontal scar across the bridge of his nose.

Smith considers insanity his highest ideal, and is convinced that he is a madman in his own right; however, most people believe he is just self-absorbed. While he often delivers self-important, pseudo-philosophical statements on insanity, he generally speaks with an authority and possesses an excessive pride in both himself and his profession that many would consider unwarranted, when compared to his actual accomplishments. This arrogance especially puts him at odds with Ladd Russo , who despises people of Smith's personality type.


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Fermet has brown hair with long bangs that cover his eyes. Beyond this feature, his appearance is described as nondescript. His hair is shoulder-length in the 1700s and 1935, and cut short in December 1931.

(To be expanded on)
To most people, Fermet presents himself as a humble, thoughtful man who is nothing but gentle toward others. His true nature is anything but kind: he is a cruel sadist who delights in bringing pain to the innocent and 'pure'. While he relishes the physical pain he can inflict upon others, where he truly excels is in causing others mental anguish.
He has demonstrated enormous patience when it comes to his plans, such as cultivating a years-long friendship with Jean-Pierre Accardo to not only manipulate him for his own benefit, but to see the horror on his face at the realization their friendship was a lie.


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Leeza bears a striking resemblance to her father and her older sister, Chané Laforet , sharing their black hair and golden eyes. She is usually depicted wearing a white strapped dress.

Leeza acts like an eager young girl. She is easily excited and talks childishly with Huey and the Lamia, but often switches to more mature tones when communicating with outsiders or when she is speaking as Hilton. Despite her immature attitude, the topics Leeza discusses with either Huey or the Lamia tend to be macabre. She constantly asks Huey for permission to kill people, and tells him about how much she wants to kill.


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Lester has wavy blond hair, and is in his mid-twenties. Elmer C. Albatross states that he and Lester "resemble one another quite a bit" and that their builds and attire are similar.

Lester fears death to an extreme level, and is willing to resort to murder if it means his survival. He is almost deranged in his fear—charging towards Mark like an animal in his desire for the elixir. A superior of his had even told him once: "For a reporter, you value your life way too much." While a reporter should certainly make his own safety a concern, Lester is the type of person to "shy away from danger at all costs, even if it means losing a potential scoop."
This cautiousness does not merely apply to his career. In all aspects of life, Lester applies the same pattern of thought. There would be nothing more humiliating to him than to take a risk and become a victim, which would make news for others). No, all that matters to Lester is himself.


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Lia is a woman of half Chinese and half British descent who dresses in a red cheongsam with gold trim. She has black hair tied in two buns (white in the 2015 manga, pink in the anime) at each side of her head. She is slim and physically attractive.

Lia is a little childlike in her gestures and mannerisms. She is not above teasing Edith in a joking manner, but she is clearly kind and readily willing to help when her friend is in need.


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Lua has waist-length brown hair that has long bangs parted to the left, lifeless brown eyes (murky green in the anime) and translucent skin that gives her the appearance of an ephemeral specter, although Graham Specter has called her so pretty that she resembles an elegant fairy tale princess.
In accordance with Ladd Russo 's white-themed dress code, Lua wears a formal sleeveless white dress for the Flying Pussyfoot journey, along with a white flower in her hair and long white gloves.
In 1934 , she is seen wearing a necklace over a dark turtleneck when she meets Carol for the first time.

Lua is a somber young woman who is defined by her desire to die—or rather, her desire for someone to kill her and enjoy the act , since she disdains suicide—her desire for death so visceral that she has forgotten the reason she wanted to die in the first place. In meeting Ladd Russo , her desire has narrowed even further: she wants nothing more than for Ladd to be the one to kill her, as she is certain he will have fun in the process. He is no mere means to an end; she loves Ladd deeply, and can no longer imagine a world without him in it. No matter how odd their relationship seems, it is a consenting one; the idea of Lua dying at Ladd's hands is one that they both find genuinely romantic.
Lua's demeanor is one of elegant serenity as she steps as quietly whenever she talks and her placidness owed to her ability to 'accept everything'; no matter how grotesque or outrageous the situation, she confronts it head on. For all of Lua's pessimism, her steadfast ubiquitous acceptance leads her to "always [find] a way forward" no matter how bleak the situation. When Graham laments that a coward would never be able to become a hero and save the Earth from a hypothetical Martian invasion, it is Lua of all people who disagrees; in her opinion, a coward whose cowardice enables him to become the last man on Earth would be a hero just by being alive and retaining his humanity.
The sole time Lua has ever outwardly expressed strong emotion—and the only time she has ever been truly afraid—is when she encounters the 'red shadow', whom she believes is the only entity who poses a genuine threat to Ladd's life; not only does Fred observe clear life in her eyes when she realizes that Ladd is in serious danger, she even goes so far as to scream at the top of her lungs in her desperation for Ladd to flee.
However, this is not to imply that she never expresses emotion on a day-to-day basis. Her hybristophilia is evident every time she smiles and/or blushes at the thought of Ladd killing her, and she has a hobby she genuinely enjoys: assembling blank jigsaw puzzles. Once she assembles the puzzle, she will paint a picture over the pieces and then break the puzzle apart—after which she is said to give a 'hollow laugh'.
One might surmise from Lua's devotion to Ladd and occasional comments along the lines of, "I wish everyone besides Ladd and me would reach the heights of bliss and just quietly pass away..." that she is relatively indifferent to everyone else, but her 'fanaticism' is not the same as Chané Laforet ’s once was. She has expressed concern for others' well-being (e.g. toward Shaft and Carol ); she went out of her way to free Miria Harvent from captivity when she did not have to; and later on was one of several people who darted forward to try and rescue Miria and others from falling to their deaths.


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Luchino takes after his ancestor Monica in looks, with blond hair and blue eyes. When killing, his expression becomes stony and mask-like, radiating an iciness in order to cover up his inner feelings of disgust and nausea. He wears the same cold expression when acting as the president of the Mask Makers.

As the current leader of the Mask Makers, Luchino is known to be a cold, merciless assassin who is highly respected by his subordinates. He puts on a professional air, and refuses to let his true emotions show. However, he has some psychological issues when it comes to actual murder, often vomiting in disgust after the act. He is also quite adamant when in pursuit of something, which is shown through his determination to know the truth about the murder of his ancestor Monica Campanella .
In addition to the hardened persona he demonstrates as the Mask Maker, Luchino shows another side as the Rookie Warlock; here he is less aloof and more charismatic, determined to bring smiles to the faces of his audience. He sees this as a means of redeeming himself for the acts he commits as the Mask Maker ("The filth that built up within himself each time he killed someone (...) seemed to dissipate ever-so-slightly each time he someone's smile, just as he had seen now. (...) And as a result, the two-faced Rookie could not let go of the smiles of others."). He is also shown to let his mask of professionalism unwittingly drop around Aging at times, showing the more immature, childish nature he attempts to suppress by bickering with her.


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Luck has short brown hair and vulpine brown eyes. He normally dresses in sharp business suits. In the anime, he and his brothers are color-coded: Luck wears a brown suit while Keith and Berga wear blue and green respectively.

Luck conducts himself with practiced composure, usually suave and courteous even when that courtesy is not sincerely meant. Such conduct befits the role of a quintessential mafioso, a role Luck wants to, is expected to, and must fill as a Gandor boss; as neither he nor those close to him are fully convinced he is suited to be mafia, he constantly, consciously emulates the qualities he 'ought' to have, including ruthlessness and shrewd civility.
While Luck is not 'cut out' for the mafia, he has proven himself more than competent and capable in acting like one to the point where some like Firo Prochainezo will call him the "perfect mafioso" he strives to be. Furthermore, underneath Luck's calm veneer lies turbulent emotion—up to 1930—including that of passionate violent intent when his family, friends, or men have been killed or harmed in some way. His vengeful ire can be genuinely murderous in such situations, though he possesses enough self-awareness and self-control to recognize such feelings and actively try to manage them.
As honed as Luck's sangfroid is, it is not ironclad. The fury that he suppresses when his men are murdered in 1930 boils when he is confronted with their murderers, and he instinctively shoots Dallas Genoard in the head when that fury bubbles over. Meanwhile, there is no similar scale when it comes to forgiveness: he cannot and will not forgive those who have done harm to those he cares about or is responsible for. The pain he feels for those killed under his watch or wronged is long-lasting and sharp, and not easily forgotten.
Unbridled anger is not the only emotion that has cracked Luck's mask of composure; when talking to Maria Barcelito , whom he finds hard to manage, he has on more than one occasion let his exasperation and irritation get the better of him—much to his men's amusement, and to his lack thereof. He is also surprised and chagrined at himself when he realizes how bluntly he is speaking to Eve Genoard in 1932, more affected by their personal situation than he should have been as a mafia boss.
Luck's need to prove himself is as much for his brothers as it is for his men, other Families, and himself. As the youngest brother, he strove to act mature and be taken seriously (when he was often not due to his age) even in adolescence, and his admiration for his brothers' more natural gangster mien—coupled with envy —continues on through 1935. His brothers are the only people with whom he drops his mask of calm, and even then only in private.
As someone introspective and prone to overthinking, Luck is conscious of how immortality has affected him and his brothers, and believes himself to have changed for the worse. In becoming immortal, he no longer fears death like he did when mortal; in becoming immortal he has become apathetic, his emotions no longer as fierce and violent as they were before. This troubles him to no small degree, as especially does the possibility he may never again possess such passion, and he admits to feeling jealous when he recognizes such passion and life-risking determination in Eve's eyes.


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Lucrezia is lauded by those she meets as exquisitely beautiful, slim with smooth skin, blonde hair, and blue eyes.
In 1711, she wears a thin opulent dress that accentuates her curves and exposes her legs as opposed to the fashionable hoop skirt and corset of the 18th century. The dress was custom made for the Dormentaire family, and looks similar to a Chinese qipao —a style that would not come into fashion until a few centuries later. She owns a peacock-feather fan, and smells faintly of peaches.

Lucrezia is highly self-motivated, pursuing whatever catches her fancy or is advantageous to her own interests. In spite of her privileged position, Lucrezia has no interest in politics or warfare; instead, she is a hedonist who shamelessly embraces her greed and pursues her own pleasures. These include carnal pleasures, as she is openly sexual and extremely flirtatious with a sultry air, consorting with both men and women equally. Those who encounter her usually find her incredibly alluring and charismatic.
As someone who is unshakably confident in her own decisions to the point of narcissism, she has never been seen second-guessing herself or thinking that she might be in the wrong. Her self-absorption is also evident in her relentless teasing of her companions and the delight she takes in watching their reactions; as much as she appreciates seeing them happy, she is often eager to see them surprised, startled, vexed or otherwise off-kilter even if the context she creates for those emotions is not a positive one.
Ultimately, Lucrezia is not so much actively malicious as she is incredibly greedy, self-centered, and somewhat immoral, her hedonism and avarice enabled by incredible power and wealth that has allowed her to do and obtain whatever she wants since birth. With her upbringing almost certainly ensuring that she has never strongly felt or experienced the consequences of her actions, she is less-equipped to consider that her actions may have serious consequences for those she cares about. From her perspective, her schemes may as well be 'harmless' pranks because they are temporary; she has never known what it is like to not be in on the joke.
While her eagerness for her own entertainment and self-gratification often comes at the expense of others, she does genuinely delight in others' company and gives each and every one of her lovers equal affection. It is because she is a Dormentaire that she can afford to love so many people with equal passion, and it is because she is an unrepentant hedonist that she wants to.
In the original Japanese, Lucrezia often uses -chan —when addressing others. This habit has been translated as various forms of endearment, including "sweetheart," "dear," and "darling."


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Maiza is a handsome brunet of tall stature who is said to take after his mother in looks. He wears square glasses in the 1930s onward, favors brown business attire, and is usually depicted with his eyes shut. While he was in his mid-to-late twenties at the time of becoming immortal, it is not easy to discern his age at a glance.
During his rebellious phase in the early 1700s, he grows out his hair and does not wear glasses. This phase comes to an end once he begins studying under Dalton Strauss in 1707, after which time he wears round pince-nez. As an aristocrat, he wears clothes of rich make and color (including a striking blue coat with gold trim); on the Advena Avis , he is seen wearing a simpler outfit comprised of a brown vest over a white shirt, brown breeches, and stockings.

As the Martillos' contaiuolo in the 1930s, Maiza is soft-spoken and polite to friend and foe alike. To some of the younger Martillo associates, his mild-mannered mien and general avoidance of violence paint him a tenderhearted coward; in truth, Maiza simply prefers to use violence only as necessary rather than always rely upon it, and his shrewd wisdom, careful eloquence, firmness when pressed, and wry humor often serve him well.
When the time for violence comes, Maiza knows it and does not hesitate; with a gangster's flinty coldness, he can and will fight with a brutality that would shock any unsuspecting associate. Regardless, his sincerity and gentle goodwill toward his fellows-in-arms have earned him the loyalty and affection of the Martillos in turn, whom he holds in enough esteem to regard as a surrogate family and to shed tears for when he witnesses them fall to Szilard's bullets.
Maiza as he is in the 1930s onward is utterly unlike the Maiza of 1705. As an early twenty-something, Maiza is rebellious, quick-tempered, and not only liberal in rudely reprimanding his younger Rotten Egg peers but in doling out insults to the likes of Begg Garrott . He is openly scornful towards whatever displeases or offends him, and is open in his disdain for his own class. This is an incredibly bitter young man, cynical toward the aristocracy and his own heritage—inherited from a harsh, demanding father he has ceased to respect—and toward the corruption of Lotto Valentino and its common citizenry.
Though bitter, brash, and belligerent, the young rebel is not devoid of his future self's kindness: he warns Monica Campanella and Elmer C. Albatross not to pry into the city's darkness; and he is gentle towards young Czes and Niki —the latter noting in 1705 that Maiza is one of the only people to ever treat her as human. He is cautious when in control of his temper and prefers to avoid violence (despite his famed prowess with knives), choosing not to fight Zank Rowan and Denkurō Tōgō even though they had quarreled with his peers. Avoidance does not mean total abstinence, however, as seen when Maiza stabs his fellow delinquent for a wrongdoing committed.
Maiza undergoes a total reformation after becoming the alchemy pupil of Dalton Strauss in 1707, reforming in hairstyle, posture, demeanor, and attitude. By 1711 he is closer to the Maiza of 1930, with neatly cut hair and possessing more respect and maturity than he did four years prior; at the same time, he is fixated on the challenge and promise alchemy brings him and initially willing to leave Lotto Valentino's problems for Gretto to fix.


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Manfred is a man "halfway between youth and middle age," sporting neatly combed short blond hair and dark blue eyes. He is seen wearing a dark brown suit in the 2007 anime adaptation.

Senator Beriam is indifferent to social graces and seldom smiles in front of others. Although broad-minded in his dealings with others, he is aloof and frigid and expresses gratitude via money rather than more emotive methods. However, he hugs Mary when she runs to him in 1933, and speaks with audible frustration to his subordinates in 1935. Calculating to the last, he has some capacity for acting—such as when he pretends to be scared when Hong Chi-Mei breaks into his office.
Above all else, Beriam is a man for whom the ends justify the means and views money and power as fundamental tools in his array. Despite his genuine desire to clean out the United States of crime, he has connections to the mob, in particular with Don Bartolo Runorata . Despite his view of immortals as monsters, he has funded some of Nebula 's research—including that which pertains to immortality. He is ultimately willing to sacrifice human lives for the sake of societal progression, including those of himself and his family.


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Maria is a beautiful woman who is often mistaken for an actress. She has brown hair that she ties up in a ponytail, accentuated with a rose accessory. She wears vibrantly colored clothing, an unusual trait for assassins. By her side she keeps her two samurai swords "Murasámia" and "Kochite".

Maria has a childlike personality despite her womanly looks. She is often flamboyant and dramatic in her actions, and tends to get highly carried away whenever she is fighting someone else. She loves her blades and jumps at any chance to slash something or someone.
She suffers a major crisis in confidence when she fails to defeat Adele in 1933, completely losing faith in her abilities. Thanks to Tick Jefferson 's efforts, she regains her confidence and natural cheerfulness.
Maria has a habit of referring to others as amigo or amiga .


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Mark has short blond hair and blue eyes. He usually wears an all green outfit, with his shirt and ascot differing in hue to his jacket and trousers.


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Aboard the Flying Pussyfoot , Mary ties her brown hair back with a bow and wears a pink shawl over a pink dress with a pearl necklace, over which she wears a burgundy coat when in the train station.

In 1931, Mary is a young, innocent girl prone to shyness, easily intimidated by strangers. She retains this timidity in her early teens; however, she appears to have some higher degree of perceptiveness than her younger self. She is kind and appreciative, and has no compunctions about sharing her emotions with those around her.


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Melody has long blonde hair which she keeps pulled into pigtails with two black ruffled bands, and sleepy blue eyes. She wears a white blouse with petaled sleeves and a pattern circling the shirt's end, over a black skirt and black tights. She always wears at least three watches on either wrist, all of different brands and prices and all set to different times.
In 1931 Winter: The Time of the Oasis , she carries around a pair of handbells.

Melody is preoccupied with the concept of time on all levels, particularly with the idea of wasting it. She apparently keeps track of time passed down to the second, and will now and again either point out the exact time elapsed or how much time they have until whatever event it coming up next. Putting things in terms of time is what is most familiar to her.
She has a leisurely, laid-back countenance.

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Since Melvi's genetic makeup is taken from the cells of the Avaro Family head, he looks identical to how Lord Avaro looked as a teenager. This means he bears a striking if not identical resemblance to Gretto Avaro .
Melvi has short, wavy brown hair and brown eyes. He is often seen in his dealer's outfit, which consists of a black vest and bowtie over a white shirt and black trousers.

Melvi usually presents himself as a gentleman, speaking in polite, bland tones when necessary. The vast majority of his smiles are false when he acts this way, and while he tends to be competent at concealing his emotions he occasionally lets them slip when agitated. He is prone to intense sarcasm as well.
When he does drop his gentlemanly façade entirely, he either thinks he has the immediate upper hand, has lost control of his emotions, or he is alone and free to express himself. Most of the time, the dropped façade reveals the deep, seething hatred that seemingly consumes his soul—hatred for Firo. While others (like Ennis and Luck ) have recognized that hatred for themselves, Melvi is quick to verbally affirm that hatred—he announces his hatred for Firo to Firo himself, to Ennis, and most of all to himself. In fact, one of the only times we see him smile genuinely is when he is alone and contemplating devouring Firo and obtaining Szilard's memories. Over and over, he reaffirms that his desire is to become Szilard Quates, and kill Firo.
However, there are hints in the narrative which imply that Melvi's true desire may not necessarily be the very thing he proclaims it to be. One of the most telling lines comes from a conversation he has with Carlotta, in which he silently reaffirms his hatred for Firo and his desire to become Szilard "almost as if trying to convince himself that that hatred was his own desire."
Furthermore, his conversations with Ennis during her captivity convey a keen interest on his part in the idea of souls and a sense of self. He seems fixated on the idea of humans' memories and their effect on Ennis' personality and self-sense. This, coupled with his line, "see you, puppet. It won't be long before I'm human," suggest that what Melvi really wants is to really experience reality by using the memories of a natural human. Overall, Melvi does not appear to be happy —possibly because he is an artificial homunculus.
Still, it must be said that Melvi does appear to genuinely enjoy provoking Firo and otherwise causing him distress.
Melvi often acts highly confident and smug, as if he is invincible and holding all the cards. In 1935, he can afford to feel this way because he is surrounded by extremely powerful people— Felix Walken acts as his bodyguard, he is affiliated with the Runoratas, and so on. However, such confidence belies insecurity and the truth of the matter: it is clear to everyone around him that without the protection of others Melvi is supremely vulnerable. Melvi himself is made keenly aware of this every time someone directly threatens his life, filling him with primal fear at the thought of devourment. The mortality checks don't appear to last, since Melvi continues to look down upon others and occasionally (and sometimes deliberately) underestimate them.
Not only is Melvi aware on some level of his physical inferiority, he is even more sharply aware of his role in relation to those he takes orders from. At one point, he fancies just for a moment that he is the puppetmaster playing everyone else like marionettes, because the idea is both intoxicating and not true .
Melvi's true feelings towards his 'master' aren't clear, but thus far he seems willing to carry out his master's wishes.


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For a man over fifty years old, Molsa has a fine physique and carries himself with a dignity befitting his age. He has short grey hair and a broad jaw, and normally wears business suits.

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Monica has long blonde hair and blue eyes. When in Huey Laforet 's company, she often flushes bright red out of embarrassment or shyness.
While Monica normally wears dresses for school and work, her Mask Maker attire is completely different: she wears trousers for ease of movement, and keeps the rest of her body and head completely swathed in dark cloth. Most prominent is her signature white mask, which has a floral design on its left cheek.

Monica's demeanor and manner of speech changes depending on whomever she is talking to, as well as their current situation. It must be emphasized that these drastically different comportments are not different personalities, but rather all her own singular personality. In other words, she is not putting on an act at all, not once. She is both the 'stuttering, lovesick teenager' and the 'cold' and 'mature' serial killer—each are entirely genuine facets of her personality. To elaborate on her comportments, she is often rendered hopelessly shy and stutteringly hesitant when around Huey—so twitterpated that she will blush beet red at the very thought of loving him. Sometimes, she is just like any typical teenager her age—cheerful, occasionally immature (like when she beat Elmer C. Albatross with her fists), and prone to emotional outbursts. On the other hand, she can be cold and haughty—speaking with confidence, firm statements, and a maturity that overrides any undue bursts of emotion.
Her love for Huey Laforet is no small thing—she is infatuated with him, devoted to him. She has followed him upon occasion; she stares at him endlessly in class; she notices the tiniest of his movements (she notices when he stops turning the pages in his book briefly, and assumes he is upset). She is devastated at the thought of hurting him (and of him hurt), and utterly destroyed at the prospect of him completely rejecting her (she would accept no love from him and even accept him disliking her—but to not have Huey in her life at all...). It is for his sake that she goes on a murder spree, and for his sake that she surrenders to the House of Dormentaire .


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Natalie looks to be around thirty years old with short coiffed-brown hair that has bangs hanging on the left side and blue eyes.
She wears a blue dress with a lilac shawl and pair of gloves aboard the Flying Pussyfoot , an outfit that is described as "expensive, yet pleasant."


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Nice's skin is marred by scars (on the right side of her face and across her arms) thanks to an accident in her youth. She covers her empty right eye socket with an eyepatch, and wears glasses due to the damage incurred to her left eye. She has a brown/amber coloured eye (seen sometimes as green in the anime) and blonde shoulder-length hair, with a fringe covering the left side of her forehead. Her hair appears messy at the ends.
Her attire consists of a black ribbon tied in a bow around her neck, a collared sleeveless red shirt not unlike a vest, black fingerless gloves with red bands underneath and black pants tucked into brown boots. Under her clothing she also hides a number of explosive devices and carries a zippo lighter on her person.

In contrast to her odd and intimidating appearance, Nice is exceedingly polite when she speaks with everyone—except for Jacuzzi, with whom she speaks casually at his request. Her first love has been explosions from a young age and she is always excited at the prospect of experimenting with them or otherwise utilizing them.
She is crafty and plans ahead, going so far as to hide a cherry bomb in her empty eye socket in case of emergencies. Nice only truly lets loose when she is not accompanied by Jacuzzi.
Nice loves Jacuzzi, and is very considerate of his feelings; she exhibits great patience with him in general. Still, romance is not her forte; their first kiss on the Flying Pussyfoot left her flushed and embarrassed. She will take a leadership role when Jacuzzi is emotionally distraught or otherwise incapacitated and has the respect of all the gang members, some even considering her more of a leader than Jacuzzi.


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Nicholas has blond hair and brown eyes. In the anime, he tends to look and act more sly and suspicious than his character in the light novel, and he wears a brown vest and tie over a white shirt. His smile in the light novels gives people "the feeling that he was bright and capable," whereas Henry's smile seems as if "he was sizing up something."

Much of Nicholas' personality in the anime is actually Henry 's. Henry in the light novels is extremely manipulative, operating under the belief that information is power and by controlling information one has the power to influence events. Nicholas adopts this mentality in the anime, where he purposefully stirs up trouble between the Runoratas and the Gandors for the sake of gleaning information.
In the novels, Nicholas is both capable and decent. Upon overhearing Henry admitting he told Roy Maddock to take Eve Genoard hostage (which Nicholas did in the anime with Gustavo Bagetta ), he confronts Henry and calls him 'shameless' and 'inelegant', outraged to the point of nearly punching him. He refrains only because Henry was 'fighting for justice.'
Nicholas in both the novels and the anime seems to have a slight sarcastic streak.


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Nick has short blond hair and a blond goatee. His eyes are always squinting, and have never been depicted open. He wears a brown jacket over a white shirt and brown trousers .

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Nicola is a short-haired brunet, and sports a beard. A scar is etched across his nose and left cheek. His appearance was revealed with his illustrated debut in the 2015 BACCANO! Manga .

When working, Nicola talks and acts with professional sobriety and is upfront with his personal transgressions, admitting to his own superiors when his personal feelings and temper have gotten the better of him. When his personal feelings get the better of him, this usually means he ends up dealing with them by inflicting physical violence on the wrongdoer who is to blame.
Nicola has shown nothing but stalwart loyalty to the Gandor brothers, and cold rejection of traitors to the Family. He does have a softer, friendlier side to him: he is seen smiling and laughing with the brothers in Chapter 010 of the manga, and he and Lisha Darken were mutually romantically interested in each other prior to her death. The first time he and Graham Specter fought, he elected to let Graham go on the grounds that Graham 'was a kid' rather than kill him. One might also say that there is a certain wryness to Nicola's sense of humor.
It is likely that Nicola shares the same unfavorable view towards drugs that the Gandors have.


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Nile is brown-skinned, and has black dreadlocks. In the 2007 anime adaptation , a few of his locks have green bands around them. There are three lines (possibly scars, or perhaps paint) on either side of his face, making for six in total: one above each eye, and two on either cheek. While the two on his forehead are visible in 1711: Whitesmile , they are not drawn in either the anime or the manga.
By 2001 , he has taken to wearing a mask over his face at all times, and is never seen without it. The mask is ornate and of a southeast Asian design, burnished chocolate in color and accentuated with "loud base reds and oranges."
Underneath the mask, he binds his head with cloth, further ensuring that people cannot see his face. In other words, he first bandages his head and then dons the mask. However, illustrations of him in 2002 do not include the bandages in question, which may mean that he has since chosen to forgo them.
In 2001, he is clothed entirely in white silks, with his sleeves cut short at the elbow.

Nile is easily angered and often resorts to using violence against those who have ired him. However, he never lashes out unprovoked, and when it is his friends or companions who have provoked his fury he will usually demand an explanation for their behavior or threaten bodily harm. When his friends themselves have come to harm, no excuse or apology from the perpetrators will be enough to placate him, and he will pursue vengeance with no mercy.
Nile has strong feelings when it comes to injustices and villainous acts. When Fil considers sacrificing herself by returning to the villagers in 2001 and receiving her punishment, Nile immediately shoots down the idea since she will likely be tortured and killed by them. When she then says "it's fine" and desires to lessen the villagers' pain, Nile grabs her and delivers one of his most passionate speeches to date; he argues that even if she can forgive them for her constant torment and pain (and false accusations), he will not—and that he will kill those who dare to spill one drop of her blood.
He has no pity for someone who bemoans their own fate.
Out of all the immortals, Nile has demonstrated the most concern over how eternal life may potential warp one's conception of mortality and what it means to be human. After becoming immortal, Nile feels deep fear that he will one day forget "the concept of other peoples' passing" and become a creature which knows nothing of death. This is the reason he throws himself into nearly three centuries of warfare—so that he may keep death close to him and never forget its reality.
Time passes, and Nile comes to realize that immortality itself no longer pains him. What will "send him to his knees," is that someday everyone else except him shall die, and that he will be alone. For a long while, he believes losing those dear to him one by one is the true tragedy of immortality—but he eventually learns that this belief is foolish. He concludes that there is no difference between 'immortal' and 'mortal' and that the 'number of losses' means nothing.
He is so regularly exposed to death and corpses that eventually he is desensitized to them—effectively what he had hoped to avoid in the first place. He realizes this when he catches sight of his reflection and sees that his face is nearly expressionless, terrifying him.
Nile's relationship with death and his fear of his face speak volumes about his personality. He is volatile, violent and wild-tempered, frequently open to murder as a solution against those he finds villainous and unredeemable—and yet he is one of the characters who are most sensitive to death and what it means to be human. He wants to be affected by death, wants it to have significance. He wants to be sensitive. The very fact that he is filled with genuine fear at the thought that he is not is telling.


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Pamela looks to be around twenty years old. She has honey-brown eyes and dark brown hair, which she keeps pulled back into a ponytail.

Pamela is a practical and cautious woman, unlike her companion Lana, who is more impractical and loose-tongued—something that often leads to bouts of verbal sparring between the two (usually involving Pamela chastising Lana over one of her hare-brained ideas). She is an extremely talented cheater when it comes to gambling, a skill that she would prefer not to fall back on now that she's gainfully employed.
Though her group Vanishing Bunny aspires (or once aspired) to be like the outlaw Myra Starr, she has no illusions about being some sort of grand outlaw hero—no, she firmly considers herself to be a no-good lowlife, and feels guilt over having involved Sonia in a life of crime. She cares for Sonia (and Lana) deeply, and is highly concerned over protecting Sonia from her situation in 1935.


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Placido is a portly, middle-aged man with tanned, wrinkled skin, thick black eyebrows, and is otherwise bald save for a ring of hair around the back of his head. He is seen wearing a casual business suit.

Placido commands intimidating respect from his underlings, but for all his braggadocio and disparagement of his nephew Ladd Russo cannot help but be intimidated by him all the same. His ill-temper in 1931 only worsens over the next few years as the family endures increasing financial hardship and pressure from other mafia and law enforcement alike, and his upswing in mood is thus drastic when he becomes an incomplete immortal in 1934.
Placido's newfound invulnerability bolsters his confidence and arrogance to the point of rejuvenation. Fueled by the new, grand ambition of achieving true immortality and at long last optimistic that the Russo Family will prosper again, he begins making bolder and bolder decisions; not only does he take Lua Klein and Carol hostage, he goes so far as to think he will be able to intimidate and blackmail Nebula into bending the knee. Both his unbridled greed and arrogance directly contribute to his eventual death at Nebula's hands.


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Rachel has an athletic figure and is normally depicted wearing dark green coveralls, though she wears a formal dress and hat in 1932 when meeting with Claire. She has dark blonde hair and hazel eyes.

Rachel is said to harbor a lot of anger towards the railroad company, which made life very hard for her father (who was falsely accused of sabotage). She suppresses her anger by stowing away on trains as an action of "self-satisfaction" and "self-harm". She is told by the President of the Daily Days that if she should ever find her purpose she should buy train tickets as a means of paying back her father and not the company. After the incident, she reflects that revenge had been a foolish reason to stowaway, and resolves not to stowaway anymore.
She is described as having a stubborn but very determined personality. She has good instincts, thanks to having dealt in all kinds of business in the underworld (such as sneaking into mafia hideouts) as a field agent. She can be reckless in her curiosity: on the Flying Pussyfoot she travelled the train collecting information rather than remaining in hiding. She is undoubtedly an inquisitive individual. During the Flying Pussyfoot incident she reflects that she had been in perilous situations and faced death several times but none of her past experiences had shaken her psyche to the point it did upon facing the Rail Tracer.
She claims that she (like her father) loves trains, perhaps even more than people. And it is apparent that this is very well the case; when she faces the Rail Tracer aboard the Flying Pussyfoot she starts sobbing, begging him to stop killing people and defiling the train.
Rachel can be considered a good person, if a rather unusual one.


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Rail has the appearance of a short, slim boy in his early teens, and due to their nature as a homunculus they will maintain this physical age for as long as they live. Their body is covered in stitch-marks from the experiments inflicted on them, giving their skin the appearance of a railroad map. Most notable are the long, perpendicular scars running across their face from ear to ear and temple to chin, along with those starting at the corners of their lips which pull their mouth into a constant smile. Their figure is reminiscent of a doll or a mannequin come to life.
In spite of their peculiarities, they dress in plain, simple clothes like an ordinary street child.

Rail is short-tempered, sarcastic, brash, crude and ill-mannered.
At their introduction, they are quite open about their hatred and contempt for those they dislike, such as Huey Laforet, Leeza Laforet (Hilton) and the researchers at Rhythm, and not so vocal about their love for the people they care about, such as Chrisopher Shaldred, and Frank.
Because of harsh experiments performed on them, Rail, as well as their fellow Homunculi, tended to see themselves as mere things , and not as anything close to human. They chose to see themselves this way because they thought that no ordinary human could withstand the physical and mental agony they endured in their lifetimes.
Rail was closest to two Lamia members most of all, Christopher Shaldred, and Frank. Rail idolized and thought dearly of Christopher, possibly even seeing him as sort of a big brother. And cared for and was protective of Frank, whom they might have seen as a little brother.
When Rail met Ricardo, it was a distressing experience for them at first, the thought that Christopher may have found a new friend and might leave Rail behind. Rail tends to be quite deeply attached to the few people they care for. Rail didn't have much in the way of meaningful connections in their life, and so, Chris and Frank were everything to them, and were quite protective of their bond with them and losing them was something Rail couldn't bear, to the point that it was eventually a major factor in causing Rail to become suicidal.
Rail's loss to Graham Specter might have shattered their ego, and their sense of superiority over humans. And this was probably made worse by the fact that Christopher had lost to a human himself, some time before this.


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Randy has wavy black hair, and wears a brown suit. Pezzo has shorter, straight brown hair parted in the middle, and wears a black suit.
The difference in their physiques is immediately obvious. Randy is "skeletally thin," while Pezzo is "extraordinarily fat." They fit the classic "fat and skinny" comic duo trope found in all media forms.


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Renee has long purple hair which she keeps tied back from her face save for two long bangs. She wears black rimmed rectangular glasses and a loose lab coat that fails to hide her rather voluptuous body.
In the 1700s, she wears round glasses and keeps her hair tied in a more elaborate hairstyle, and wears long dresses when teaching at the Third Library.

(To be rewritten)
A whimsical woman, Renee shows a blatant disregard for any form of responsibility as a teacher during the 1700s. Rather than teaching any sort of proper alchemic lesson, she instead preaches nonsense that everyone in class sees through and as such thinks poorly of her. Her bubbly disposition often leaves others in confusion,making it difficult to discern whether she is serious or not towards those who have only just met her. For example, Carol thinks that she is joking about murder because she says it in such a cutesy way.
Renee is also a klutz, often seen tripping over her own feet and falling because she has a horrible sense of balance. This makes some scientists in Nebula question her skill.
Renee can be irresponsible and will give up easily. She quickly abandons Chané as a newborn, prepared to skip off without a care after Huey calls her too clumsy to raise a child.
When she meets Claire Stanfield , she claims she is there to collect Chané, as Huey had agreed to give her one of their daughters (most likely for an experiment). Claire notices how she bluntly refers to Chané as an object and thinks of Chané as part of her own body.
Underneath this bubbly surface lies a woman whose actions make Huey Laforet's look humane by comparison. She is a mother who views her daughters as experiments, and her willingness to kill them without hesitation makes Renee one of the most dangerous characters in the series. She has no compunctions about treachery: she initiates a ploy to insert assassins into Alcatraz in order to steal Huey's eye, and double-crosses the Russo Family after they fail to capture the Lamia homunculi. She considers moral standards to be temporary and changeable rather than universal, possibly reflecting the effect of her long existence.
Renee believes that her existence is the sum of her memories, as they are the only thing that stays the same in a person's life, whereas their physical body and desires change. This belief extends to the point that if she was devoured by another, she would consider herself as continuing to exist.


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Ricardo has dark blond hair and blue eyes. He wears traditionally male clothing, normally in the mode of business suits and bow ties.


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Ronny's human form comprises a young man with brown hair—dirty blond in the anime—and distinctive almond eyes that give him a "fox-like air." He is usually seen wearing business suits and a trench coat when out and about.

Like Huey Laforet , Ronny is difficult to read and understand. Though he does not actively hide information on himself or his past, he will not volunteer said information unless asked, which he rarely is. The same applies to his powers, which he does not go to any particular lengths to hide. He is often considered an enigma to not only those who do not know him, but those who do .
In 1711, Ronny is shrewd and direct in his address to the alchemists yet also methodically extreme: he proves the truth of the Grand Panacea by severing Szilard's head.
In the Prohibition Era he acts as a mentor to Firo Prochainezo (maintaining his mysterious gentleman guise), and acts as a warm and amiable person to approach within the Martillo organization. He is loyal to the Martillo Family and treats its members with great respect, and is kind and polite to the Gandors as well.
Ronny possesses a keen curiosity streak, and deliberately chooses not to interfere in certain events so that he can observe the outcome as an outsider. He is also somewhat vain and prone to smugness.


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Rosetta has dark skin and blonde hair. She wears a sweater dress with a turtleneck, a scarf laced around her arms, and ankle boots.

Rosetta's most notable trait is her enigmatic nature. Though she at first seems to simply be Jacques-Rosé Boronial 's more level-headed girlfriend, the occasional comment and aside glance suggest that she knows more than he is letting on. She also has a cheerful, flirtatious air to her.
Her true nature is that of a 'demon' like Ronny Schiatto , but her personality in that capacity has never been directly revealed.


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Roy is described as a sickly looking man, and perennially unhealthy. He has not entirely lost his gaunt appearance in 1935, though he has not touched drugs in a few years.
He possesses two large, visible scars: one on his neck, acquired during one of his drug trips, and one on his left wrist from a suicide attempt on January 2, 1932.


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Rubik has black hair, a long face, and black-rimmed square glasses. He always carries a jar of sugarcubes with him. Carol seems to think that Rubik has a 'black aura' enveloping him.

Rubik is a calm, expressionless man who moves between organizations and jobs as it suits him. He has a good grasp of his abilities and his competency, and believes that he could do a better job of running Nebula than his employer Muybridge could. He seems to have some insider knowledge of homunculi —at the very least, he is aware of Sham , likely due to his connections to the Runorata Family and Manfred Beriam .
He has a habit of snacking on sugar cubes.


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Salomé's hair is described as "mostly tinged white" (although in his only illustrated appearance it appears mostly black)—but despite this he himself does not seem particularly aged. In the same drawing, he appears to be wearing a business suit.
He also wears aviator goggles—for what reason is unknown.

Salomé is keenly interested in scientific achievement, and thus takes pride in his creations, viewing the test subjects themselves as akin to lab mice. He is willing to subject them to immensely painful experimentation in order to achieve his desired results, but claims that he feels incredibly guilty putting them through such torture and listening to their cries. He states that he feels love for his creations (often with tears in his eyes), which is supposedly why he is able to put them through such misery at all. He has displayed a cold willingness to dispose of homunculi that have failed or otherwise disappointed him, as seen in 1935-B when he seemed prepared to eliminate eight members of the Lamia , referring to them as "instruments" whom he "loves."


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Sarges wears the military-influenced uniform worn by the Lemures. He has light-colored hair and defined cheekbones.

Sarges has no qualms about 'eliminating' those who obstruct his goals, including children, with his own hands. He harbors a disdain for the government much as Goose does.
Sarges has a habit of clicking his tongue.


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Seina is a portly, middle-aged woman. Her hair is short and dirty blonde (brown in the manga), and she usually wears a dress and full apron while at work.

Seina is a matronly woman who acts like a mother to the Martillos: she scolds them for their apathy; looks after them when they are hurt; and is altogether fond of them despite their gangster status.


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Sham has short brown hair which is usually covered by a flat cap. The cap matches the color of his light coat and trousers, cornflower or periwinkle in hue (brown in the anime); under his jacket, he wears what may be a rosewood vest over a pink shirt, and a tie.

Prior to Shaft's "first encounter with the unconscious state" in January 1932 , Shaft seemed to handle Graham with fear and tact. Though he could let himself be carried away by Graham's high spirits, he seems to have subscribed to a general tentative approach.
A few days after the fainting spell, however, finds Shaft a changed man: one with a spine. He carries himself with newfound nonchalance and is unafraid to challenge Graham or boldly question his logic and mental state. His personality change is significant enough that Graham notices and comments on it, which raises the possibility that Shaft imbibed Sham 's consciousness at some point during those few days.


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Sickle has long blonde hair, blue eyes, and is described as beautiful with a cold countenance. In all illustrations, she wears an elegant short-sleeved green dress and red tights.
She appears to be around twenty years old. As an ageless homunculus, her physical age will remain constant for the rest of her life.

Sickle has a scornful attitude and often speaks in a blunt, masculine manner. Her violent temper culminates in physical violence against the Poet whenever he tests her patience beyond toleration in non-combat situations. At least one combat situation has proceeded with her unable to fully control herself, for which she has expressed regret.
It is implied that, as with the other Lamia members' eccentricities, Sickle's 'odd demeanor' is a defense mechanism she has deliberately created to distance humans from her.
Despite her temper, Sickle possesses both leadership skills and a sense of initiative that have earned her the respect and admiration of her fellow Lamia members. Her strong demeanor is further intensified by how she refuses to show any outward signs of pain when injured.


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Sonia has short blonde hair and is depicted wearing a grey outfit and a green army helmet.
In 1931: The Grand Punk Railroad , she as a child wore her hair in braids and wore overalls.

Sonia speaks in a leisurely, laid-back tone of voice that reflects her serene disposition. She is rather childish, all things considered: she loves cute things—animals and people—and she is rather naïve and trusting, given her steady belief in Nader's heroism.


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Spike has menacing eyes, defined by two sharp wrinkles in the middle of his forehead. His black hair is spiked at the nape of his neck. Sideburns frame either side of his face, making their way down to a goatee which reaches just below his lower lip. Spike wears the regular attire of a Lemur—a black tuxedo, white shirt and black bow tie.
Thanks to his ordeal on the Flying Pussyfoot , his skin is heavily scarred. He wears a black eye mask over his blinded eyes, with a white reticule stitched in its center, and uses two white canes to navigate.
He wears a long black trenchcoat regularly.

Spike is an unpleasant man who speaks and acts coarsely towards others. He shows no remorse for his victims regardless of their age, so nonchalant as to whistle while doing his dirty work. Judging from his comments, he doesn't have a very respectable attitude towards women.
As a sniper, he is able to keep his eyes and trigger finger steady even when shaken by unease or fear.
He is prone to blustering and easily confident—but not above running like the wind when he is reunited with Claire in 1934.


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Sylvie is a pale young woman with neck-length silver hair that is asymmetrically trimmed in the twentieth and early twenty-first centuries, bangs which frame the left side of her face, and gray eyes. She is typically seen wearing elegant dresses and jewelry, but wears a padded parka over insulated clothing when she and her companions search for Elmer in the Winter of 2001.
She is considered to be a stunningly beautiful young woman, her appearance alluring to the point of magnetic attraction.
As a seventeen-year-old circa 1711, Sylvie had long hair that was tied back in a braided ponytail, expensive round spectacles, and typically wore long-sleeved dresses. At the time she was pretty but not outstandingly so, as she never drew stares the way she would once she was older.


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Szilard has short grey hair, and a thick mustache and beard. His face is furrowed with deep wrinkles; in the anime, his eyes are lilac. His descendant Bilt Quates bears a striking resemblance to him.
Aboard the Advena Avis , Szilard wears a white cravat and a long hooded black cloak over his otherwise ordinary outfit—a white shirt, vest and breeches. Throughout the late 1920s he retains the same sense of style with his white cravat and short black gentleman's cloak—a garment that by such time is already considered old-fashioned, reflecting his distance to mortal society. In both eras, he uses a cane.

(Further expansion desired.)
During his years as a mortal alchemist, Szilard's ego and ambitions earn him the fear of many a Dormentaire knight; according to rumor, anyone who dares cross a Dormentaire alchemist will find themselves slated to become a guinea pig. Great as his ego may be, he is not entirely above praising an invention or construction worthy of his admiration—a sign that his rapacious appetite for knowledge may supersede even his own egomania. In this sense he can be more open-minded than some of his peers—for instance utterly unfazed by the floating fortress where Victor Talbot is astounded by its construction—yet curiously close-minded or 'realistic' in other respects, adamantly denouncing the summoning of a demon as heretical and the idea of an immortality elixir preposterous prior to the summoning.
In becoming immortal, Szilard becomes greed incarnate—obsessively lusting for perfect knowledge and absolute loyalty from the night of the massacre onward. Where other immortals fear their immortality has made them apathetic, Szilard is one for whom immortality makes him all the busier; he spends the next two centuries establishing research hubs, amassing power, contacts, and descendants to do his bidding, and studying alchemy and immortality.
Maiza's rationalizations and 'betrayal' in the wake of the summoning strike Szilard as so irrational that he loses trust in anyone younger than himself; whether Maiza's 'betrayal' is in part why he desires absolute loyalty remains unexplored. He becomes at minimum more aloof to society as a whole, viewing others as tools or potential livestock—though he is willing to reward those who demonstrate genuine loyalty to him.