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The Princess and the Frog (2009)
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Back at it again with another OC, the Iron Maiden ! what are the secret of this serious and elegant toy ?
i hope you'll like her introduction, it took me a while to write, i also had the help of a friend who gave me tips and suggestion, if you read this you know who you are and i thank you.
Picture doesn't belong to me, credits to the artist, found on pinterest.
I wanted to make a toy with element from "The Thing" and add more horror to my ocs, there's also mention of other toy like baron, eudora and the king as well as the mysterious [REDACTED] and the reject.
Writing tips, critics and request are all welcomed here so don't hesitate to send them in the comments.
Some elements might be changed in the future but i'll make an edit if it's the case.
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Archived information about the ‘‘Iron Maiden’’:
family tree
Princess Tiana and her Mama, Eudora ONCE UPON A TIME
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I forgot how to draw Pit. Oh yeah, and that’s my Kid Icarus OC Eudora, it’s been a while since I last made content about her.
It’s just a messy drawing I made because I wasn’t sure of what to draw for her. Maybe I’ll expand a little bit more on her in the future.
Kids part 3
Eudora’s Story
Spiritual animal: Cougar/Mountain Lioness
Eudora was born into nobility, the youngest child of a respected household.
She grew up in the shadow of two siblings: an elder sister and a brother. Of the three, Chryseis — the eldest — was the jewel of the family, the pride of both parents, praised for her beauty, grace, and intelligence. Eudora adored her.
But Chryseis fell in love.
Not with a nobleman, not with someone approved by her family, but with a common man from the far eastern reaches of the Mediterranean — a foreigner, rumored to come from lands like Sicily or even farther south. Against her parents’ wishes, Chryseis chose him. She fled with him, abandoning her title, her inheritance, and her name.
The household never recovered.
Their parents were crushed by grief and humiliation. The son, already resentful and greedy, grew worse — bitter, envious of the sisters who had once been admired while he had been merely tolerated. Years passed in tension and silence, until one day a letter arrived.
Chryseis was dead.
She had died after giving birth to her second child.
Panic spread through the house like fire. The father, already worn down by loss, collapsed under the weight of it. He died of a broken heart — not only because his beloved daughter was gone, but because he had never known her children, never seen her happiness for himself.
With his death, the family should have fallen apart.
It didn’t — because Eudora held it together.
Still young, she took control of the household: managing the estate, the servants, the finances. She became the pillar her grieving mother leaned on. But grief ages people quickly, and her mother, exhausted and hollowed by sorrow, eventually asked only one thing of her youngest daughter:
To marry.
Not for love. For stability. For peace of mind.
Eudora agreed.
She married a man chosen for convenience, a man who fulfilled all the duties her brother never had. He was reliable, calm, respectful — and more like a brother than a husband. There was no passion, but there was order.
Then her mother died.
With her gone, the fragile balance collapsed. Eudora’s brother demanded everything: the estate, the wealth, the authority. He had always done nothing but squander resources and envy his sisters, and now he wanted sole control. Matters worsened when it was revealed that he had impregnated a servant — the very woman who had long manipulated him — while negotiations were already underway for his marriage to a noble bride. The scandal destroyed the alliance.
This time, Eudora did not yield.
She disowned him.
In the ancient world, it was rare — but not impossible — for a male heir to be cast out when his actions threatened the family’s survival. Eudora had the authority, and she used it. Her brother was driven away, stripped of inheritance, remembered only as a shameful footnote.
Time passed.
Her marriage, already distant, grew colder. And beneath it all, a deeper wound festered: Eudora could not bear children. No matter how many times she tried, her womb remained empty — a cruel irony for a woman surrounded by death and loss. Her city was unusually open-minded; women there could read and write, and Eudora clung to letters sent long ago by Chryseis, written during her happier years.
In those letters, her sister spoke lovingly of her husband and of her firstborn daughter — Galene. She described the child’s liveliness, her sweetness, and the small moles scattered across her face like constellations, placed there as if by the gods themselves.
Eudora became obsessed with the idea of finding her nieces and nephews. She wanted to take them in, to raise them properly, to reclaim what death had stolen.
After ten years of marriage, her husband left her. He wanted heirs. Eudora could not give them. He walked away without ceremony, leaving her alone once more.
Not long after, another man entered her life — a merchant who had clawed his way into nobility. Charismatic, eloquent, dangerous. At first, Eudora was wary, almost afraid of him, but his words drew her in. Their relationship became a cycle of attraction and revulsion, closeness and rupture. The man was deeply unstable.
Each time they separated, he sought revenge in the cruelest way possible: sleeping with prostitutes, impregnating them deliberately — flaunting the fertility Eudora lacked. Years passed in this destructive dance, until things seemed, finally, to calm.
Then the pirates came.
Eudora returned from a journey to find chaos in her home. The man was being restrained and beaten by pirates, dragged before her. One of them spat the truth in her face:
The man had tried to steal from thieves.
And worse — he had impregnated the pirate’s daughter. A child of thirteen. Too young even for marriage.
In that moment, every feeling Eudora had ever held for him burned away. Love. Pain. Hope. All of it turned to ash.
“Kill him,” she said coldly.
“We are not married. I owe him nothing.”
She watched him die without flinching.
Years later, hearing of Queen Penelope’s sorrow for her missing husband, Eudora felt an ache of recognition. She went to Ithaca to offer her aid, as nobles often did in times of shared grief.
There, she noticed a young servant girl who resembled Chryseis so painfully it almost stole her breath.
Eudora guided her strictly at first. The girl accepted orders in silence, until one day — fourteen years old and trembling — she finally snapped back. When Eudora raised her hand to gesture, the girl recoiled in terror, begging not to be struck.
That fear broke something open in Eudora.
Such innocence would not survive unprotected.
She took the girl under her wing. She educated her as one would educate a noble: reading, writing, etiquette, how to navigate different temperaments, how to survive among powerful people. Servants were rarely asked their names — and for a long time, Eudora never knew who the girl truly was.
When she finally learned the name — Galene — Eudora wept.
She did not weep often. She was known for her cold composure, her refusal to show weakness. But then she held the girl, kissed her forehead, smoothed her hair, and felt whole for the first time in decades.
Galene later introduced her younger brother, Pyrros. Eudora loved them both fiercely. In private, they learned to call each other mother and children.
Her plan is simple: to buy them both, legally freeing them and restoring them to nobility. Galene could be taken easily — though Eudora hesitates, knowing how strained the palace staff already is. Pyrros, as a royal guard, can only be released with the king’s consent.
So Eudora waits.
Like Penelope, she waits for Odysseus’ return — not for love, but for justice.
For the chance to finally bring her family home.
