User:Officer Candy Apple/Character sample 2

"I want to see people's tears as long as it can prove my value to you, Your Holiness."

- Melancholia to Michael

Appearance & personality
In both timelines, Melancholia has green eyes, pale skin and a tall hourglass figure, yet her eyes will turn yellow when she went berserk. However, the future Melancholia has longer hair than her past self. Usually, Melancholia wore suit, but when she was angry, she immediately went berserk and her suit transformed into a black armor.

Because of her care, gratitude and romatic love for Michael, Melancholia is not a Complete Monster, but still she has psychopathic traits. Like Moloch, Melancholia has no tolerants to fools or failure. She even stabbed a minion of hers to death simply because he did not waked her up. She hates humanity and considered humans as threats because long as she lived, she had witnessed corruptions, dictactorship and war. Also, her love for Michael became twisted when Michael made her a lure to make Carl Robinson came close to the cocoon of FOLIE, thus killing her future counterpart, hatching FOLIE prematurely and driving the past Melancholia as insane as Michael himself.

After Michael's apparent death, the past Melancholia has become so twisted that she keep capturing humans and transformed them into a Michael after another, making their voice, physical appearance and even genes are as same as him. However, what she did not know is that Michael's soul fragment had observed everything secretly. Once she completed the 4000th Michael, Melancholia had killed by Michael and her soul was devoured, and all of her clones and the entire Neo-Hellfire had been taken over by Michael's Legion, proving that Melancholia was nothing more than just a pawn to Michael, not a lover.

Etymology
The name "melancholia" comes from the old medical belief of the four humours: disease or ailment being caused by an imbalance in one or other of the four basic bodily liquids, or humours. Personality types were similarly determined by the dominant humor in a particular person. According to Hippocrates and subsequent tradition, melancholia was caused by an excess of black bile, hence the name, which means "black bile", from Ancient Greek μέλας (melas), "dark, black", and χολή (kholé), "bile"; a person whose constitution tended to have a preponderance of black bile had a melancholic disposition. In the complex elaboration of humorist theory, it was associated with the earth from the Four Elements, the season of autumn, the spleen as the originating organ and cold and dry as related qualities. In astrology it showed the influence of Saturn, hence the related adjective saturnine.

Melancholia was described as a distinct disease with particular mental and physical symptoms in the 5th and 4th centuries BC. Hippocrates, in his Aphorisms, characterized all "fears and despondencies, if they last a long time" as being symptomatic of melancholia. When a patient could not be cured of the disease it was thought that the melancholia was a result of demonic possession.

In his study of French and Burgundian courtly culture, Johan Huizinga noted that "at the close of the Middle Ages, a sombre melancholy weighs on people's souls." In chronicles, poems, sermons, even in legal documents, an immense sadness, a note of despair and a fashionable sense of suffering and deliquescence at the approaching end of times, suffuses court poets and chroniclers alike: Huizinga quotes instances in the ballads of Eustache Deschamps, "monotonous and gloomy variations of the same dismal theme", and in Georges Chastellain's prologue to his Burgundian chronicle, and in the late fifteenth-century poetry of Jean Meschinot. Ideas of reflection and the workings of imagination are blended in the term merencolie, embodying for contemporaries "a tendency", observes Huizinga, "to identify all serious occupation of the mind with sadness".

Painters were considered by Vasari and other writers to be especially prone to melancholy by the nature of their work, sometimes with good effects for their art in increased sensitivity and use of fantasy. Among those of his contemporaries so characterised by Vasari were Pontormo and Parmigianino, but he does not use the term of Michelangelo, who used it, perhaps not very seriously, of himself. A famous allegorical engraving by Albrecht Dürer is entitled Melencolia I. This engraving has been interpreted as portraying melancholia as the state of waiting for inspiration to strike, and not necessarily as a depressive affliction. Amongst other allegorical symbols, the picture includes a magic square and a truncated rhombohedron. The image in turn inspired a passage in The City of Dreadful Night by James Thomson (B.V.), and, a few years later, a sonnet by Edward Dowden.

Creations

 * Neo-Hellfire Cyborgs
 * Lobster Men
 * Michael Langdon's clones
 * FOLIE