OVA
Description
Titania reigns as Queen of the Fae in the British Isles alongside her husband Oberon. She typically manifests as a tall, human-like figure with floor-length black hair parted centrally, violet eyes featuring slit pupils, and a fluid, less solid form. Her usual attire is a black gown accented with gold and a circlet resembling green branches, though her appearance subtly shifts with each manifestation. She travels with an entourage featuring her servant and bodyguard Spriggan, fairy hounds, and a white mule or donkey adorned in gold and bearing a head flower.
Her personality blends regal authority with a free-spirited, mischievous nature and maternal instincts, particularly towards Elias Ainsworth and Chise Hatori. She often expresses pity for Elias, viewing him as one of her children. Generally patient, she possesses little tolerance for annoyance, sending dogs to attack Oberon or banishing bothersome individuals with spells. She physically dominates Oberon when he interferes with Elias, showcasing assertiveness. Her expression of love carries a possessive quality, acknowledged by Elias and jestingly admitted by herself. She maintains a distinct aversion to Christianity and its followers, immediately banishing the priest Simon Kalm from her presence.
Titania holds dominion over all British Fae, potentially ranking as the most powerful entity in her universe, possibly on par with deities due to her connection to the Celtic goddess Morrígan. Her powers include banishing targets at will, teleportation, trapping individuals indefinitely, locating anyone across the UK and beyond, and creating vines and foliage to restore areas or ensnare adversaries. She can project a younger, child-like version of herself to observe distant events. Her Morrígan connection grants extensive perception and influence. She commands a fairy army, reinforcing supreme authority over beings like Ashen Eye.
Her interactions with Elias and Chise form a recurring element. Their formal introduction occurs in the Ulthar forest arc when Oberon assists in awakening a sleeping Chise. Titania later meets Elias at Shannon's residence during the Fairy Ointment arc, observing his bloodied state. She explains Chise's presence in the Fae Kingdom signifies her impending death and advocates for their permanent residence in Tír na nÓg. She argues Elias could live without human persecution there, and Chise would receive love without facing premature human death, though this requires serving the Fae and Chise losing her humanity. Titania reiterates this offer multiple times, seeing it as a solution for their struggles.
During the Curse arc, when Elias becomes unstable, Titania appears via a projected child-like fragment. She suggests Elias confine Chise to prevent her departure, reflecting her possessive understanding of care. She physically restrains Elias while searching for Chise, relenting only when he directly asks her to stop. Her motivations during interventions often appear whimsical to subjects; Spriggan implies her ventures primarily satisfy her own curiosity rather than offer sustained help.
Her relationship with Oberon features deep affection intertwined with mutual irritation and playful antagonism. She frequently leaves him behind during outings, finding his overly friendly or bluntly cruel behavior towards others, particularly Elias, uncomfortable for those she visits. Oberon operates independently, sometimes countering her plans, like insisting Elias take the injured Chise to the Fae Kingdom, an action met with suspicion by the human doctor Shannon regarding Oberon's motives. Their dynamic draws inspiration from Shakespeare's *A Midsummer Night's Dream*, incorporating names and reconciliation after disputes, though adapting the lore significantly. Their relationship allows for multiple lovers; Oberon notes Titania's past human lovers often met accidental ends due to her inattention.
Titania's origins are rooted in British and Irish folklore, though her specific characterization as the singular Queen of All Fae alongside Oberon as King differentiates from traditional mythology's numerous regional fairy monarchs. Her name, meaning "Of the Titans," and her association with Oberon are direct references to Shakespeare's play. Her powers and characterization also incorporate aspects of the Morrígan, a Celtic goddess of war, fate, and sovereignty, sharing traits like long dark hair, dark attire, and capacity for both benevolence and vindictiveness.
Her personality blends regal authority with a free-spirited, mischievous nature and maternal instincts, particularly towards Elias Ainsworth and Chise Hatori. She often expresses pity for Elias, viewing him as one of her children. Generally patient, she possesses little tolerance for annoyance, sending dogs to attack Oberon or banishing bothersome individuals with spells. She physically dominates Oberon when he interferes with Elias, showcasing assertiveness. Her expression of love carries a possessive quality, acknowledged by Elias and jestingly admitted by herself. She maintains a distinct aversion to Christianity and its followers, immediately banishing the priest Simon Kalm from her presence.
Titania holds dominion over all British Fae, potentially ranking as the most powerful entity in her universe, possibly on par with deities due to her connection to the Celtic goddess Morrígan. Her powers include banishing targets at will, teleportation, trapping individuals indefinitely, locating anyone across the UK and beyond, and creating vines and foliage to restore areas or ensnare adversaries. She can project a younger, child-like version of herself to observe distant events. Her Morrígan connection grants extensive perception and influence. She commands a fairy army, reinforcing supreme authority over beings like Ashen Eye.
Her interactions with Elias and Chise form a recurring element. Their formal introduction occurs in the Ulthar forest arc when Oberon assists in awakening a sleeping Chise. Titania later meets Elias at Shannon's residence during the Fairy Ointment arc, observing his bloodied state. She explains Chise's presence in the Fae Kingdom signifies her impending death and advocates for their permanent residence in Tír na nÓg. She argues Elias could live without human persecution there, and Chise would receive love without facing premature human death, though this requires serving the Fae and Chise losing her humanity. Titania reiterates this offer multiple times, seeing it as a solution for their struggles.
During the Curse arc, when Elias becomes unstable, Titania appears via a projected child-like fragment. She suggests Elias confine Chise to prevent her departure, reflecting her possessive understanding of care. She physically restrains Elias while searching for Chise, relenting only when he directly asks her to stop. Her motivations during interventions often appear whimsical to subjects; Spriggan implies her ventures primarily satisfy her own curiosity rather than offer sustained help.
Her relationship with Oberon features deep affection intertwined with mutual irritation and playful antagonism. She frequently leaves him behind during outings, finding his overly friendly or bluntly cruel behavior towards others, particularly Elias, uncomfortable for those she visits. Oberon operates independently, sometimes countering her plans, like insisting Elias take the injured Chise to the Fae Kingdom, an action met with suspicion by the human doctor Shannon regarding Oberon's motives. Their dynamic draws inspiration from Shakespeare's *A Midsummer Night's Dream*, incorporating names and reconciliation after disputes, though adapting the lore significantly. Their relationship allows for multiple lovers; Oberon notes Titania's past human lovers often met accidental ends due to her inattention.
Titania's origins are rooted in British and Irish folklore, though her specific characterization as the singular Queen of All Fae alongside Oberon as King differentiates from traditional mythology's numerous regional fairy monarchs. Her name, meaning "Of the Titans," and her association with Oberon are direct references to Shakespeare's play. Her powers and characterization also incorporate aspects of the Morrígan, a Celtic goddess of war, fate, and sovereignty, sharing traits like long dark hair, dark attire, and capacity for both benevolence and vindictiveness.