Chika Ogiue hails from Japan's Tohoku region. Upon moving to Tokyo for university, she deliberately concealed her regional accent, though it emerged involuntarily during moments of stress. Her vision impairment necessitates corrective glasses or contact lenses; she occasionally utilized glasses as a disguise. A formative junior high trauma unfolded when she created yaoi doujinshi featuring Makita, a boy with whom she shared a secret romantic relationship. His discovery of the work prompted his transfer to another school, triggering intense shame and self-loathing directed at her otaku identity and yaoi fandom. This experience fueled persistent fears that her interests would preclude romantic relationships.

Initially portrayed as hostile and cynical, Ogiue openly denounced otaku culture while simultaneously participating in it, embodying significant internal conflict. Her self-loathing manifested in extreme reactions, including attempts to escape humiliation by actions like jumping out of windows. Early depictions emphasized eyes lacking reflective highlights, symbolizing emotional withdrawal. Gradually, interactions with Genshiken club members, especially Kanji Sasahara, facilitated her self-acceptance. As she reconciled her identity, her eyes gained luminosity, reflecting psychological transformation. Her demeanor evolved from confrontational to approachable, though she retained a blunt communication style.

Artistically inclined since childhood, Ogiue discovered doujinshi in fifth grade, developing a lasting passion for boys' love content. Her artistic focus centered on shounen series parodies, including works resembling Slam Dunk, Fullmetal Alchemist, and Code Geass. She produced yaoi doujinshi under the pen name Ogino Naruyuki (Yukimian), notably creating "Anata no Tonari" featuring characters from Kujibiki Unbalance. Her work sometimes incorporated real-life acquaintances as subjects, including explicit fantasies about male club members. Professional advancement followed when she secured a contract with Monthly Afternoon magazine, later enlisting junior Genshiken members as assistants for her commercial projects.

Her relationship with Kanji Sasahara proved pivotal. Sasahara provided editorial feedback on her work and openly accepted her interests, enabling her to embrace her fujoshi identity. Their romantic involvement allowed her to depict him with greater accuracy in her art. This acceptance extended to her role within Genshiken, where she transitioned from a reluctant participant to a central figure. Following Ohno Kanako's presidency, Ogiue assumed leadership of the club. Her tenure involved recruiting new members through art demonstrations and managing club activities. She maintained connections with graduated members, including Madarame, whom she occasionally advised on personal matters.

Her appearance evolved alongside her psychological state. Early designs featured plain, oversized clothing and a distinctive high ponytail resembling a brush. As she grew more comfortable, her hairstyle varied between loose and tied-back states, and her attire became more fashionable, though she reverted to practical clothing during intensive drawing periods. Notable details include occasional cosplay, such as portraying Asuza Nakano from K-ON!, and persistent use of her glasses for disguise despite primarily wearing contacts. She also harbored opinions on club interpersonal dynamics, notably suggesting compatibility between Sue and Madarame.