Every dialogue in Demon Diary matters! Many contribute to building the story and make more sense later on. Others delve deeper into the lore or Krynshar's personality—or mock his victims' intelligence. In some cases, they do all three simultaneously.

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Demon Diary is a Krynsharverse focused entirely on Krynshar, allowing his personality to shine. Presenting the story through his perspective creates countless opportunities for this. I had the idea to structure these tales as if Krynshar were writing them in a diary, giving more meaning to their narration from his viewpoint. He's not addressing a reader—he's simply documenting his day... in his peculiar way.

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Considering how long he's existed, it's easy to imagine Krynshar’s older memories fading amidst newer ones across generations. It’s plausible he prefers documenting his days in such vivid detail, including dialogues so precisely. This way, he can revisit exactly how he hunted his prey whenever he feels like reliving the moments recorded in his diary—and, of course, playing with victims captured long ago.

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The first chapter of a Krynshar-focused Krynsharverse was the perfect opportunity to reveal his origin story and explain how his abilities work. This makes the story ideal for longtime followers of my work and for newcomers experiencing my multiverse for the first time.

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To avoid making this overwhelming to read, I scattered information about Krynshar naturally throughout the story, alternating with scenes I know readers will enjoy.

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Having Krynshar hunt his victims one by one was also a choice that greatly benefited the narrative. Since everyone sees the artwork before reading the story, they already know the outcome. That means I need to entertain readers throughout the entire narrative, making each event—and the journey to it—captivating despite their prior knowledge of the main events.

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Justifying this was straightforward: Krynshar genuinely enjoys his hunts. He relishes hunting his prey one by one, driven by the pain and fear of a war-torn era that shaped him into a sadist.

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Krynshar has a strong personality and a sarcastic, ironic sense of humor. Using and exaggerating these traits throughout the story not only deepens his character but also entertains. Many of these traits are reflected in his “quotes.” Scattered throughout the narrative are various new Krynshar quotes for readers to savor.

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Quotes

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"Red is a primary color!"

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This quote is one of the most profound in the story, laden with multiple layers of meaning. I didn’t write this expecting everyone to catch all its nuances, so let me break them down here.

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Throughout the story, it’s established that in Krynshar’s universe (or multiverse), emotions are represented by colors, with red symbolizing fear. Fear is Krynshar’s primary source of energy, and his Mist is the visible manifestation of this energy. In other words, red—fear—is something primary and fundamental to Krynshar’s existence and his ability to do what he does.

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On a more literal level, it’s revealed that Krynshar views his transformations as works of art. For him, red is a primary (and necessary) color to create his art.

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In this quote, Krynshar is also emphasizing that fear is a primary emotion in a psychological sense, something every human experiences. Fear truly is one of the primary emotions—feel free to google it!

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In the context of the story, Krynshar delivers this line in response to someone in the audience who grows bored and questions the excessive use of red in the “show.” His response highlights that red is essential for the show to continue. Without red, he wouldn’t be able to sustain the performance.

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As a bonus, this quote near the end of the story ties back to an earlier moment where Krynshar simply says “Red” to a homeless man filling out a crossword puzzle. For the man, red being a primary color holds only its most literal meaning as he innocently completes the puzzle, unaware of the profound significance it holds for Krynshar, who is standing right in front of him.

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And you, as the reader, find yourself in a situation much like the homeless man’s. Without all the context initially provided by the story, the first time you read this line, its deeper meanings might elude you. But when Krynshar mentions red being a primary color for the second time—after you’ve gained the full context—your understanding of the quote completely shifts.

Just like Krynshar’s prey, you’ve learned to know him well.

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"Will you face me? With a wooden crucifix? Oh, darling."

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"Please, keep telling me your story. Yawning is my favorite way of showing how interested I am in hearing it."

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"We both provide fantasies, priest, but mine are more fun."

Since creating Krynshar, I’ve noticed that people often assume he’s a demon tied to Christianity or that there’s a hell where he hangs out with other demons like him, exchanging tips and tricks. That’s definitely not what I envisioned for Krynshar. He’s more akin to a primordial demon—a force of nature born from intense concentrations of human emotions in one place—rather than something linked to any specific religion.

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There are no others like him! In fact, I should turn that into a quote. Hahaha!

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To clear up these misconceptions, I decided to create the entire church scene in this story to dispel any remaining doubts. Of course, Krynshar’s origin story, revealed in the scene with the homeless man on the bench, also contributes to clarifying this.

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The quotes delivered in the church scene emphasize Krynshar’s separation from any specific religion. If he doesn’t even believe in the Christian God, how could he have any connection to Christianity? At the same time, these quotes also highlight just how much of a sassy queen Krynshar truly is. :P

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The church scene serves more than just to debunk misconceptions about Krynshar; it also deepens his character in other ways. This moment expands on his personality and his ability to sense the intentions behind thoughts (desires).

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Additionally, it’s revealed that Krynshar has access to the entire world whenever he wants, traveling through the Red Mist within the bodies of Creatures disguised as humans scattered across the globe. No one is completely safe from him. Knowing this, dear perverted reader who fantasizes about being captured and transformed by Krynshar, your little fantasy just got a major boost.

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In both the bench and church scenes, it’s also made clear that Krynshar doesn’t randomly transform people. Transforming someone takes his time and energy. Transformations are reserved for his prey or, in rarer cases, for those who pose a threat to him (as seen in Chaos Toon Chapter 2, where a man is transformed into a penis because he knew too much. This man was a threat to Krynshar, who can only erase people’s recent memories—and it’s never revealed how long this man had been holding onto the knowledge he possessed).

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Similarly, those who directly threaten him with something dangerous—like the circus security guard with a stun gun—may also face transformation. In these cases, since the target isn’t prey, Krynshar transforms them and doesn’t bother making them into “works of art.” This distinction highlights the difference between transformations Krynshar considers art and those he views as ordinary.

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This is reflected in the following quote:

"There are two types of people. Those who live their lives, and those who bother me."

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It’s not easy to bother Krynshar, thanks to his temperament, which leads him to dismiss human behavior as amusing, stupid, or trivial in most cases. However, genuinely dangerous threats offend him deeply. He alludes to this when mocking the priest at the end of the church scene.

 

And perhaps you’re thinking there’s a contradiction in this quote—after all, Krynshar’s prey didn’t bother him. But there’s no contradiction from Krynshar’s perspective. His prey are bitches. He doesn’t see them as people but as mere prey—his source of energy (food), pleasure, and satisfaction.

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If Krynshar has access to the entire world, then he doesn’t speak just one language, such as English, which he was using to communicate with people in the story. Over the course of his existence, he has had ample time to learn various languages. This creates the need for me to decide on an initial language for him.

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Krynshar wasn’t born during the era of modern languages, so his original language would have to be an ancient one. After researching ancient languages, I found Latin to be the most feasible for translation or adaptation into modern terms, which is the main reason I chose it over other ancient languages.

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This language is revealed in two ways in the first chapter of Demon Diary:

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When Krynshar summons Fauhzen, this creature initially doesn’t know where in the world it has been summoned. Krynshar explains that Fauhzen asked him in Latin where they were. Fauhzen only switches to English after realizing it’s in North America and hearing Krynshar speaking English to it. As a result, Fauhzen understands that everyone around them must use and understand English.

In the final art of this chapter, which showcases Krynshar’s four prey from this story, the pages of the diary where Krynshar wrote about them are revealed, and the language he used in these pages is Latin.

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The models influence the story

When deciding on the transformations for a Krynsharverse chapter, I usually take into account the fetishes of the models I choose, but the final decision on the transformations is always mine.

I tend to select models for a particular Krynsharverse based on their fetishes, but in Demon Diary, any of my models can participate since this Krynsharverse doesn’t have a specific TF (transformation) theme. So, even though I have a general idea of how I want the story to unfold, it features scenes and plots adapted to fit the chosen transformations.

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Among my available models, using the ones selected for this Krynsharverse chapter as examples, there are those with preferences for more specific transformations, like Amp and Moto, and those with broader interests, like Adam and Banjo.

From the options Amp and Moto preferred, I chose a monkey and a donkey transformation, respectively, and crafted parts of the story around those choices.

Adam and Banjo, being very versatile, are happy with anything humiliating, even though they have specific preferences. I used this flexibility to guide the story in the direction it needed to go.

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Their personalities and behavior are also considered when writing their “characters.” However, I intentionally avoid deeply developing the personalities of the models in my stories. While I interact with them virtually, I can’t always fully capture their personalities, and I also need the freedom to steer the story as required. If I tried to be entirely faithful to their personalities, it would limit my creativity. Instead, I draw inspiration from specific traits and explore those lightly. Ultimately, the only personality that needs in-depth focus is Krynshar’s.

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Adam, for example, has a protective and caring nature toward his friends, which I incorporated into the story:

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In the post-capture scene of Moto, Adam is the last to run, driven more by his protective instincts than logic. After all, if just one person escaped, they could all be saved. Staying behind to think of ways to help Moto made no sense since there was nothing more he could do.

At the end of the church scene, he’s the last to leave the brown room, helping his friends climb through the window. This gave me the perfect setup for a separate capture scene for him.

His concern for the priest’s well-being during his confrontation with Krynshar, which allowed me to tie in a reference to one of the rap lines from INSIDE THE RED MIST.

A dialogue in the circus scene where he offers himself to Krynshar in exchange for his friends’ safety. This particular dialogue was inspired by a short and spontaneous “RP” we did in a private conversation. It fit perfectly with the scene I needed for the story and opened an opportunity to deepen Krynshar’s personality by incorporating one of his ironic jabs.

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Banjo frequently posts photos of his hairy armpits on his social media—he loves showing them off. I couldn’t let him go through this Krynsharverse without incorporating that into the story, which I did in the post-capture scene. In it, Krynshar humorously comments on Banjo’s hairy armpits.

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In Chapters 3 and 4 of Freak Animals, Moto and Amp, respectively, mentioned to me after reading their transformation stories how much they enjoyed the scenes where their characters were shocked by their transformations and went through the process of accepting their new bodies. I used that feedback to craft similar scenes in this new story, as I wanted to explore a variety of fetishes within it. Which brings me to the next topic...

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Diversity of Fetishes

I didn’t want to focus solely on different types of transformations but also on the contexts surrounding them throughout the story.

The characters of all four models experienced, to varying degrees, a range of fetishes: humiliating transformations, dehumanization, objectification, emotional exploitation, loss of control, psychological collapse, forced identity imposition, intellectual degradation, power contrast (both physical and verbal), public exposure with humiliation, and more.

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Even armpit enthusiasts got their share of enjoyment, as all four models had transformations where their armpits were intentionally exposed. You’re welcome—I’m just that generous with you all. 

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This time, I also considered those with a tentacle fetish, adding it as an ability for Fauhzen.

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Tie Up Loose Ends

I wanted to ensure that all potential loose ends in this story were addressed.

One significant loose end that can appear in some stories revolves around the utility of the victims' phones. I didn’t want anyone’s experience to be disrupted by thoughts like, “Why don’t they just call someone for help?”

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Krynshar maintains his secrecy from the world by using the Red Mist to scramble the recent memories of any free witnesses, rendering them unconscious as a side effect of the process, while also erasing any other forms of evidence.

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In the post-capture scene with Moto, Amp calls the police to report what’s happening. However, since no one knows of Krynshar’s existence, any report about him isn’t taken seriously. The person on the other end of the line assumes Amp is pulling a prank and hangs up on him. Krynshar doesn’t show any concern about this call happening right in front of him. He merely stands there, amused by what he’s watching, as though he’s accustomed to such situations and already knows the outcome.

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At the circus, where there’s a large audience—and therefore, numerous cell phones—it would be unrealistic to assume no one would upload a photo or video of what’s happening online, compromising Krynshar’s anonymity. This issue could arise not just in this scene but in any event occurring since the invention of smartphones. The solution to this problem was already introduced in Chapter 3 of Freak Animals, where people in the hotel lost their phone signals because the building was surrounded by Red Mist.

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In Demon Diary Chapter 1, this concept is explained in even better. The Red Mist, when directed by Krynshar, can block the entry and exit of not just people but anything—including signals. This doesn’t even require a deeply technical explanation of how the Red Mist works. After all, thick walls in certain buildings are enough to weaken a phone signal, and this effect is amplified when dealing with a dense, mystical mist designed to control what’s inside it.

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Krynshar intentionally surrounds large areas with Red Mist when he knows he’ll be using his abilities, preemptively safeguarding his anonymity.

 

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Another aspect I’m mindful of when writing these stories is avoiding the involvement of child characters in any +18 scenes.

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In the circus scene, Krynshar transforms his victims into freaks, leaving them completely nude in front of the audience. At no point are children mentioned because none were present. To avoid leaving this as an unexplained loose end, I set the scene at night in a circus specifically intended for adults, complete with an alcohol-serving bar. I hinted at this detail when Krynshar was about to enter the circus.

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I would never depict Krynshar attacking children with Red Mist Creatures or subjecting his nude, transformed victims to any situation where children might be present.

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Artwork

When creating narratives for artwork, certain elements sometimes need to be introduced to fit the story.

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For example, to explore the fetish involving the context around Moto—where he needed to see his own face/body to have the reaction he did—I had to include something reflective.

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There aren’t random mirrors lying around on a street at night. Initially, I considered introducing a puddle of water and rain, but that would have required making everything in the scene wet, including Moto’s hair. Then I thought about having Krynshar use his phone to intentionally show Moto his reflection. While that could have worked, it felt a bit forced. If I hadn’t come up with a better idea, I probably would have gone with this solution.

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However, the best idea was to use the window of a car door! Unlike mirrors, cars can plausibly be found on streets at night. So, I decided to add this element to the background of Moto’s donkey transformation artwork.

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In the story, the car was flipped over, which would likely trigger its alarm. Many cars have a feature where the headlights turn on when the alarm is activated, so I included lit headlights in the image to keep it consistent with the narrative.

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I also took the opportunity to showcase the streetlights that were mentioned during Moto’s capture near the beginning of the story. These streetlights were necessary to illuminate the artwork—without them, the scenes would have been too dark, resulting in an unsatisfactory outcome.