In human form, this figure has claw-shaped hands. This figure's head is pointed highly up into the sky but the eyes are glaring downward at a subject deemed unworthy and disgusting. This pose is powerful and reeling, bored with whatever you may have to offer and angry at the unimpressive display you've already shown. This figure does not reflect hate, simply unworthiness of one's time. The subject the figure stares at is below worthless, below nothing. Why should a wolf care about what a sheep thinks? Often considered one of the most foul Conventions of Character, DISDAIN is a disgust that makes your stomach twist.

The darkest and most intense representation of ignorance in The Ignorant Figures. In human form, this figure has claw-shaped hands, the main difference from DISDAIN being that the eyes are aimed upwards, avoiding any contact with another's eyes. With a head tilted slightly up and away, the "better-than-you" attitude is strongly implied. This pose is used to express a total avoidance for another person or thing, the unwillingness to cooperate, and the stubbornness of being a fool. Often considered one of the most frustrating Conventions of Character, ARROGANCE is an unwavering inability to play along.

The lightest and least intense representation of ignorance in The Ignorant Figures. In human form, this figure has claw-shaped hands, it's head near parallel to the horizon line, looking foreword at the viewer. The eyes of this figure gleam directly foreword, burning a hole through whoever happens to be staring back. The pose is stood as erect as possible, as tall as possible, and as intimidating as possible. The form demands attention and the pose receives attention. What else would you look at? Often considered one of the most demanding Convention of Character, PRIDE is an unnatural ability to not look away.

In human form, this figure has open hands, potentially still resembling a claw, potentially reaching up to touch something unseen. The head is above the horizon line, pointing slightly upwards and away. This pose is often also titled 'LONGING" even if the pose remains unchanged. The figure stands similar to DISDAIN, although half-baked and dreary, reflecting the distant dreams that may or may not be reached. The only thing stopping DREAMING from reaching those dreams is it's stationary position. How can you achieve any dream while remaining stagnant? Often considered one of the most personal Conventions of Character, DREAMING is a wish that may come true.

In human form, this figure has open hands, resembling a limp limb falling, stuck in time. This pose is the closest to "nothing" one can get. It is empty, it is hollow, and it is all-encompassing. The head is tilted just below the horizon line, the opposite of DREAMING. Perhaps those dreams are never coming true. The hand lies below the chest, losing hope, losing happiness, falling into sadness, becoming comfortable in that sadness, and staying in that sadness. Who knows why? Often considered one of the most defeated Conventions of Character, MELANCHOLY is a beaten down remnant of a human.

The lightest and least intense representation of hope in The Hopeful Figures. In human form, the hands of this figure has open hands, lifelines facing outwards to where they are looking. The head is parallel with the horizon, possibly tilt slightly to the side like a begging puppy dog. Your arms are down, unable and unwilling to fight, completely open and ready to accept what is coming for you. Perhaps this is an apology, perhaps there is a chance for forgiveness, perhaps this is a beg for mercy. How could someone so unbarred be a threat at all? Often considered the most vulnerable Convention of Character, HUMILITY is a humbling reminder that we are fragile.

One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed to the side. Heavily inspired by Christianity and Jesus' crucifixion, this pose is a reflection of being completely distraught, hands open and "nailed" to a cross, pelvis uncomfortably notched to the side. It is often paired with the idea of looking down at your own mother, watching her watch you die right in front of her. This is the most somber of the three figures that represent DESPAIR. It is quiet, it is powerful, and it has let down those around it. Often considered the most heartbreaking Convention of Character, DISPAIR (SIDEWAYS) is the loss of life and the grief it holds.

One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed forewords and upwards. The arms accompany the head in shooting upwards, prepping for a secondary move. Usually, this pose has two parts, the second being a scrunching of the upper body into an elevated fetal position. In neither position is the face seen. This is the most destructive of the three figures that represent DESPAIR. It is loud, it is reckless, and it has lost faith in what it once believed. Often considered the most disastrous Convention of Character, DESPAIR (FOREWARDS) is a wild lashing out at the things around oneself.

One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed backwards. Heavily inspired by the Jewish faith, this pose converses with and argues against a higher power, a commonly accepted practice for Jewish people. It is often paired with the idea of yelling at your creator, furious that they didn't hold up their end of the deal. The intention of this pose is mobile, walking forewords in this position, torso as parallel to the ground as possible. Usually, this figure has two parts as well, ending in the same elevated fetal position as DESPAIR (FOREWORDS). This is the most personally taxing of the three figures that represent DESPAIR. It is confused, defeated, helpless, and without a purpose. Often considered the most difficult pose to properly recreate of the Conventions of Character, DESPAIR (BACKWARDS) is a pain no human should ever experience.

The darkest and most intense representation of hope in The Hopeful Figures. In human form, the hands are spread open, as if tossing flower petals out to everyone around you, spreading happiness wherever and whenever possible. This figure shares an uncomfortable amount of similarities with DESPAIR (FOREWORDS), although the subtleties in the body language differentiate them immensely, mainly the wider "skipping" stance this pose possesses, one foot foreword in anticipation. This is solely and purely JOY, nothing else added in, and because of that it is considered rather blatant. Not much can go wrong with an attitude like this form has. Often considered the most fun and easiest Convention of Character, JOY is a break from what has been holding you down, freedom at last!

In human form, this figure's hands are in fists, steadfast and still. The pose is pointed at whatever the form is angry at, eyes squinted. The strong-looking pose is remarkably fragile, neither fist truly in a very practical position to act, one near the head to emphasize where anger manifests and one near back of the stomach to emphasize where anger burns. This is solely and purely ANGER, nothing else added in, and because of that it is considered rather blatant, similar to JOY. Often considered the most expressive Convention of Character, ANGER is a burning call to action.

In human form, the hands of this figure are open palms in front of the face, lifelines out towards what the pose is cowering from. The torso is pushed back so quickly the pelvis hasn't quite caught up yet. The pose is protecting itself, unaware of it's surroundings, only focused on hat may potentially hurt it. The pose is weak and unsteady, wobbling and shaking. What the fear stems from is up to the one recreating the pose, but it is designed to be something unbeatable, something oppressive, and something approaching quickly. Often considered the most cowardly of the Conventions of Character, FEAR is a battle you don't want to fight, a loss guarenteed.

In human form, the figure's hands are in firm fists, pointing directionally at where the figure is also staring. The stare must be intense and pointed. This pose is directly aimed at someone or something, let there be no mistaking. HATE comes either very naturally to people or very difficult to people, reflecting their capacity to feel this emotion. This figure is not ugly, simply strong, unwavering, and closed off. This is the polar opposite of HUMILITY. Often considered the most aggressive Convention of Character, HATE is one of the most powerful emotions conveyed in a person's day-to-day.

In human form, the hands lay gently across the chest, one on top of the other, holding themselves gingerly and calmly. The head is parallel to the horizon line, if slightly tilted like in HUMILITY. This pose is still, but breathing, out-of-breath but calming, longing for and getting what it wants. It is seeing your goals getting closer, it is progress, it is strength. The complexities of the way the emotion makes you want to move accompanied with the stillness of this pose emphasize restraint and patience. This is not lust. Often considered the most heartwarming Convention of Character, LOVE is a happy reminder of the things we live everyday for.

In human form, the hands of this figures are in a claw-shape, reaching out and scratching for something it wants. This pose is paired with the idea that "I see something, so I will take something" and the toxicity that invites. It is a wanting and a getting, a taking and a stealing. This figure robs others of what it wants and feels no remorse, it is nasty and unapologetic. The creeping stance is highlighted with an arched back and moving legs. Keep what you hold close because if this pose has it's eyes on you, it is coming to take and it doesn't plan to ever return it. Often considered one of the most selfish Conventions of Character, ENVY is a warning to keep your things close to you and not so proudly displayed.

The lightest and least intense representation of sorrow in The Sorrowful Figures. In human form, the figure's hands are in the same claw-shape as ENVY, although retreated inwards, recoiling back. This pose is a direct response to ENVY, the spiritual second step. It is paired with the idea "I want something, but I can't have something" and the self-destructive nature that breeds within oneself. It is a response to watching yourself do something horrible but not stopping. It is much less about ignorance and instead begins to leak into the realm of sorrow and disapproval. Often considered the most personal Convention of Character, GREED is a reflection of the self and the questionable actions it may commit.