Aya is a little girl who lives in northern Germany. Since her mother's passed away, she's felt lonely living with just her father and his assistant Maria. What's more, she knows her father's secret...
- Mad Father Description
|Age|| Possibly 7-8 years old (Flashbacks)|
11 years old (Game Start)
|Family|| Alfred Drevis (Father: Deceased)|
Monika Drevis (Mother: Deceased)
Ines (Adoptive Older Sister: Deceased)
Unnamed Paternal Grandmother (Deceased)
Unnamed Adoptive Maternal Grandparents (Deceased)
Aya Drevis is the main protagonist and playable character of the game. She is the only daughter of Monika and Alfred Drevis, and lives in the large mansion that makes up the setting for the majority of the game.
Aya is a little girl with long black hair, tied with a pink bow, blue eyes and very pale skin, and she is regularly seen smiling.
In-game, she is seen wearing a white apron over a dark blue dress, which has puffed sleeves and white cuffs. She also wears white socks or tights, and black shoes. She also wears a gold pendant necklace.
In flashbacks, Aya's hair was shoulder-length and tied in two pigtails with tiny blue ribbons. She wore a pale blue dress over a white dress shirt.
As a doll in the first bad ending, she is seen wearing a red floor-length dress with white, ruffled cuffs, gold hems, and a pink bow fixed to the right side of her chest. The dress also exposes her collarbones. Instead of her pink bow, she wears a white bow in her hair. She has a sad, empty expression on her face; her eyes are always lidded and looking down.
In the true ending, Aya has short, roughly shoulder-length hair, and she no longer wears a bow. She wears a white apron over a blue dress.
Aya is a compassionate and kind-hearted little girl who truly loves her family. She values even things that previously belonged to one of her relatives, such as her mother's perfume. In fact, her love and protectiveness for her family is one of the most powerful driving forces in the game; this is what primarily aided her in persevering throughout the whole journey to save her father, despite witnessing numerous things that would usually drive even an adult to insanity. She is also level-headed and bright, being able to solve tricky puzzles and efficiently wield a chainsaw at a tender age.
Despite knowing what is going on in her father's basement, she chooses to feign ignorance, as she believes her father is a good person. The case goes the same for her mother when she plots her revenge; Aya does not believe her mother is deranged and is willing to save her from her suffering. Although she is definitely more mentally capable than an average person, she is still a child at heart who urgently hopes that her love will reach through to her parents and hinder the madness in the Drevis mansion, despite how far gone both her mother and father are.
Aya also doesn't limit her compassion merely to her family. When she encountered tormented spirits, she would occasionally help them, namely when she cooked ham for a hungry, little boy. She even extends it to Maria, whom Aya initially despised, as she felt that the maid was stealing her father from her and trying to take her mother's place. However, after having read her diary, she begins to understand her better. When Maria is betrayed and injured by Alfred, Aya patches her wounds up and reveals that, although she cannot live without her father's love, she would leave the mansion if she had to, but she also cannot live on her own. Aya then offers Maria to come with her, and from there, the two form a bond.
In the True Ending, her true nature is revealed. She continued her father's occupation of making dolls (though she opts for patients with terminal illnesses and uses sedatives so they wouldn't feel any pain, unlike her father). However, the remake heavily implies that this is simply her way of keeping her promise to her mother; that she would "always support [her] father," as opposed to simply her devolving into madness.
It is also heavily implied that Aya took after her father's quirks. This is evidenced by several items listed below.
- In the Laboratory, there are multiple clones of Snowball; one has a cut in its leg and another has its belly torn. It can be assumed that her father had created many Snowball clones to keep Aya content and happy when she may have unintentionally harmed Snowball. Upon discovering this, Aya becomes sick and begins having suspicions.
- Strangely, Aya is completely unaffected by the screams and pleas for help coming from her father's basement; this is seen in the beginning of the game when Aya hears a terrifying plea for help from her father's basement but ignores it completely. This shows Aya's consideration for her father's wishes to the point of not caring what goes on in his laboratory. It may also be a sign of her lack of sympathy for others, with the exception of loved ones, due to lack of friends and social events outside her home.
- The bookshelves in Aya's room contain books that are dark in nature for a young girl to read. The Dark Quartet features morbid themes about death and torture, and Horus the Trader and the Red-Eyed Stranger allude to the 'salesman' named Ogre.
- As of Version 2, the Dark Quartet has been removed for unknown reasons.
- Aya is completely unaffected by the rooms of the trials of murder. In fact, her attitude is almost understanding. For example, after getting attacked on a couple of cases, she simply leaves/runs out of the room and says nothing afterwards.
- In the true ending, Aya encounters a red book before leaving, a red book that her father had. The book had "gross pictures", so Aya refused to read it as a kid. There is a rumor that the book may have directions to turn people into dolls. The title is either "The New Text on Anatomy" or "Kaitai Shinsho," depending on the game version.
- In Misao, Aya's clone (Which was shown in the extra cutscene of Mad Father) was rumored to be Ms. Library, due to some specific quotes from her. When you walk into The Library (in Misao), the music from the True Ending credits of Mad Father (the track "Mad Father") starts to play, and, in the newer version, a picture of Aya's mother and a diary is shown containing what Aya said in the intro of Mad Father.
Aya's father. Despite knowing of what sorts of things he does in the basement, she shows that she loves her father deeply. She even goes so far as to continue to show concern for her father's safety after seeing everything that was going on in the mansion and the danger she will no doubt be in. In the 'true ending', it is revealed that Alfred wanted to turn Aya into a doll. Aya's mother overhears and storms in to stop him. He ends up killing Aya's mother, telling Aya she died due to a coughing fit. When Aya finds this out and runs away, Alfred chases after her. Alfred is about to kill Aya when Maria throws knives at Alfred incapacitating him. When Maria and Aya are about to run away Alfred once again tries to kill them but is stabbed by Dio. However, even after this ordeal, she still loves her father more than anyone in the world except maybe her mother. Aya's father, surprisingly, didn't want her to turn out like him and in his own twisted way loved her just as much as she loved him. It is possible that Aya's father wanted to turn Aya into a doll so she will not continue his work.
Aya's mother. Like her father, Aya loves her mother deeply. A sickly woman, she died prior to the game. Illness was to blame, though the game later reveals that she was in fact murdered, and as a result she was the source of the curse placed on the house. It's obvious during the beginning of the game Aya still mourns her mother and can't see anyone else taking her place.
Aya's mother is the parent that tried to get her to be more like her father, whether it be from dark story books or a less subtle method like giving her rabbit to harm. This is most definitely a fault, but Monika tries her best to keep her husband from killing Aya and turning her into a doll.
In the future, Maria is saddened that Aya has become just like her father, but her loyalty and affection doesn't waver.
Aya's pet rabbit, whom she considers to be a part of the family. She discovers that she doesn't have the original Snowball when she finds containers filled with other white rabbits that have the injuries she was worried about during flashbacks. Her father didn't want Aya to find out and cloned the rabbit to keep Aya from realizing that her original pet is dead. Snowball helps Aya get lighter fluid in the storehouse. The pet seen in the game (whichever Snowball "clone" it may be) is now deceased, as there's a grave in the future marked as 'Snowball'.
Apparently, one of the corpses raised by the curse. He tries to help Aya early on in the game, though his appearance scares her at first. Later in the game, she becomes friendly with him, and he helps her out. During the true ending he displays that he may or may not have deeper feelings for her by giving her a 'good luck charm' in the form of a kiss on the forehead. The extra "if" ending reveals that he does not really die in the burning house, and that he's alive, not a corpse: a doll asks him what he would do if Aya would start acting like her father, and he replies he would try to stop her.
One of the corpses raised by the curse. In their initial meeting, she steals Aya's mother's perfume, thus causing the girl to dislike her. However, she does end up helping Aya by telling her how to get past the Creepy Doll's barrier. This action results in her being killed by the other dolls in retaliation and telling Aya she just wanted to be a part of her family. Aya shows no emotion over this in Versions 1 and 2, but says a solemn "I'm sorry..." in the Steam version, after witnessing Ines's flashback.
A mysterious man who helps Aya along the way. He claims to be a traveling salesman of sorts. May be related to the book in the nursery called "The Red-Eyed Stranger". Aya begins to care for him a bit as evidenced in the true ending when she hopes he made it out of the burning house safely. She also has quite a bit of confidence in him, being absolutely sure that he escaped the burning house because he's such a "strange guy".
Aya was born in northern Germany, and spent almost eleven years within the confines of her family's mansion. Despite this, and the peculiarities of her family (namely her father's penchant for live experimentation on both humans and animals), she had a good childhood that she reflects on fondly. After her mother died, though, her life took a slight turn for the worse, as she wasn't fond of Maria, the woman who she thought was going to replace her mother.
Events of the Game
Things would become even worse on the anniversary of her mother's death. At midnight, Aya was awoken by the sound of her father screaming, only to find that corpses, ghosts, and dolls had all come to life, and were roaming around her home. Despite the dangers, the young girl would set forth to save her father. She wasn't without help, as some of the corpses were more than willing to aid her. In the process, she would learn of her father's darkest secrets.
In the Future
In the true ending, a woman comes up to a clinic deep in the woods. She knocks on the door and Aya opens it. The woman explains that her doctor has given up on her due to her lack of funds and that she has heard that Aya works with patients for free. Aya asks for her name and the woman tells her that she is Jean Rooney. Aya invites her in and tells her to lay down on the table. Aya makes a remark about Jean's eyes being "beautiful", commenting on how she can't stop looking at it and asks her if she is nervous. She then tells the woman that she will not suffer from now on. Maria, in the room next to the one Aya and Jean are in, then remarks that Aya is much like her father, implying that Aya may have either continued her father's hobby (suggested by the dolls in the room), or only murders her patients to relieve them of their pain.