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Orphaned and facing an uncertain future, William found solace under the care of his father's employer, a Hispanic family hailing from Seville, who took him on a brief visit to Madrid to master the Spanish language. There he earned the moniker "El Inglés" (Spanish for "The Englishman"), a nickname that would stay with him throughout his life and career. He then relocated to Seville, where he was raised by the relatives of his newfound adoptive family. Growing up in Seville, a city renowned for its illustrious bullfighting tradition, William was immersed in the world of this sport from a tender age, and quickly became interested in it. At the age of twelve, he enrolled in the prestigious Escuela de Tauromaquia de Sevilla (Bullfighting School of Seville), receiving rigorous training from seasoned bullfighters within his local community. By 1865, William had earned a reputation for himself, serving as an assistant to esteemed bullfighters, gaining firsthand experience and learning the techniques and traditions of bullfighting. His exceptional talent, marked by audacity and a fearless demeanour, coupled with his captivating stage presence and striking appearance during his teenage years, propelled him swiftly to prominence within the bullfighting realm.

Despite his burgeoning success in Seville, William, aged twenty, felt compelled to return to his roots in 1867, and returned to his native East Plate. He settled in the city of Montevideo, where he continued to pursue his career, captivating audiences with his unique fusion of Spanish techniques with an allure surpassing that of his Eastplatine counterparts. His style, emphasising elegance, artistry, and a deep connection with spectators, elevated his bullfighting shows into a refined and theatrical art form within the colony, establishing himself as one of the most renowned bullfighters in East Plate. William's dual connections to Scotland and Spain endeared him to both English and Spanish-speaking populations in East Plate, further broadening his audience and rapidly catapulting him into stardom, converting him into a cultural icon during his time, representing the idealised image of an Eastplatine bullfighter.

Murray never showed any interest in marriage, preferring instead to focus on his work and his hobbies. He has made several trips around Ireland and other places in Europe and Africa over the years. It was during one of these trips around Ireland that Murray met Lucas Higgins, the 2nd Marquess of Dalworth. The two men became fast friends, this being a rare exception to his usual cold behaviour. Despite the difference in their social status, Murray and the Marquess consider themselves equals in every way, quickly becoming inseparable. Murray is fiercely loyal to the Marquess, and both go to great lengths to protect the other and ensure their success. The closeness of their relationship is the subject of much speculation, with many wondering if there is more to their relationship than just friendship.

When the Marquess was appointed as the governor of East Plate in 1871, Murray accompanied him on his journey to the colony, further fueling the rumours about their relationship. He is currently involved in the wool trade of East Plate, using his knowledge from his early youth and working to identify opportunities for his own business ventures in the colony, as well as spending time exploring the local geography and documenting his observations in his journals and maps.

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It was during his time at St. Patrick's that Peaton appeared in his first school play, in the role of Puck in Shakespeare's "A Midsummer Night's Dream," and also wrote his own first play, The Old Guard, which was produced years later once in East Plate. Acting and writing became, according to those close to him, the few sources of joy and happiness he had while at the academy. Peaton left St. Patrick's in 1844 and briefly attended a school in Limerick before pursuing an apprenticeship as a civil engineer in London. However, he quickly abandoned this path when an acting opportunity arose in Bristol. With the start of his acting career, Peaton began writing plays alongside his performances. In 1852, his first professional play, The Emissary Of Hell, premiered in Brighton, and as time went on, he gained recognition for his acting and gradually transitioned into a full-time playwright.

Despite achieving a certain level of success, financial difficulties, including debt and legal issues related to theatre management, plagued Peaton, and by 1854, these troubles forced him to leave the British Isles behind and settle in Montevideo, East Plate. He saw the move as an opportunity to escape his financial burdens and start anew in a fresh theatrical market, confident that his writing style and experience in staging spectacles would be well-received in the colony. Upon arriving in East Plate, Peaton became captivated by the unique fusion of Spanish and British cultures present in the colony, and developed a particular interest in the gaucho culture, beginning to incorporate elements of it into his plays. Unlike other Eastplatine playwrights, Peaton depicted the gauchos not as objects of ridicule but as figures worthy of admiration. He highlighted their loyalty, bravery, and ingenuity despite their limited education, and his early involvement in theatre provided him with a deep understanding of dramatic structure, character development, and audience appeal that set him apart from many other playwrights in East Plate, establishing him as a prominent figure in the local theatrical scene.

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Nevertheless, by the time Angelina turned 5, in 1847, she had only grown a few inches. Another physician was called, and this time the family was informed that Angelina was "unlikely to ever reach a normal height." Despite this diagnosis, her parents insisted on letting Angelina live a normal life, although that proved challenging as she faced rejection from all schools in her area and often struggled to find work due to her small size. Society saw her as an oddity and undesirable, leading to her ostracism, which also ruled marriage out of the question for Angelina, forcing her to depend on her parents, who often exhibited her as an attraction, charging a small fee for people to see her, sometimes as little as a single farthing (one-fourth of a penny). This continued until 1862 when circus manager Marcus Harvey spotted Angelina during a family visit to Montevideo. At that time, Angelina stood at a mere 36 inches (94 cm) tall, but she was completely healthy and had perfectly miniaturized features in proportion to common larger people.

Fascinated by her appearance, Harvey offered Angelina a job as a miniature dancing chanteuse in his newly established Harvey Circus. Angelina embraced this opportunity and enjoyed performing at the circus. Her routines included impersonating characters such as Queen Isabella II of Spain and, most notably, Queen Victoria, who was often mocked for her small height, making it a perfect fit for Angelina. To market the act, Harvey gave her the stage name "Victorina," which she still uses to this day, derived from the Queen's name, adding the ending from Angelina's own name. Angelina's tour with the Harvey Circus became a tremendous success, especially among the Hispanic population of East Plate, and soon, she became a phenomenon and a celebrated figure throughout the colony.

During her time at the Harvey Circus, Angelina met William Philpot, another dwarf man fostered by Harvey as part of his acts. The two developed a close relationship, and romance blossomed. Harvey saw the potential and quickly included William in Angelina's act, often casting him as Prince Albert, the husband of Queen Victoria. Angelina and William got engaged in July 1869 and were married in a lavish ceremony at Montevideo's Metropolitan Cathedral in 1871. Both the wedding and reception were one of the biggest events in Montevideo, in part due to Harvey widely publicising the event as "Queen Victorina's Grand Wedding to Prince Albert," selling tickets to the wedding for threepence per person and admission to the reception for ten pounds. Pictures of the wedding were widely printed in all Eastplatine newspapers and magazines, and it is reported that the news reached Buckingham Palace itself, where the Queen reportedly referred to the event as "the most tasteless of events."

Determined to follow her dream, Mary began to send her manuscripts by mail under the pen name "Edmond Powlett" to various publishers in the hopes of getting her work published. It was a slow and difficult process, as many publishers were hesitant to take on new writers, but Mary's persistence eventually paid off when she received an offer to publish her first novel in 1853: "The Island of Dr. Moreau." The book received moderate success in the colony, allowing her to find publishers more easily, and soon she was writing for several publications on a regular basis. Despite her success, Mary continued to use the pen name to hide her identity as a woman.

As "Edmond Powlett", Mary wrote on a variety of topics, from social commentary to science fiction, a relatively new genre for the time. In 1855, Mary published her most successful book to date: "The Ministry of Time," a novel about the tales of a secret "Ministry of Timeless Affairs" functioning in the colony, which had the ability to travel through time. The book was praised for its imaginative storyline, well-developed characters, and intricate world-building, quickly becoming a sensation and a best-seller in East Plate.

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RAMSAY, GEORGE ^{[Real-life person]} ―

Following his contributions to the Cisplatine War, George Ramsay was promoted to the rank of Lieutenant. He later served on HMS Heron and HMS Ganges, undertaking diverse operations in South America, with a particular focus on the Brazilian coast. Throughout his career, Ramsay served on various ships, primarily in South American and North American waters, as well as in the Mediterranean and the Baltic. His dedication and expertise led to his promotion to the rank of Commander on 10 January 1837. He assumed command of HMS Pilot on the North America and West India station, which he held until the outbreak of the Little War in 1838 in the Oriental Republic. Due to his extensive knowledge of South American waters, especially the River Plate region, George Ramsay was reassigned to the newly created South East Coast of America Station, which was established to secure the waters of the Rio de la Plata, combat piracy, and suppress the slave trade in Brazil.

With the formal annexation of the Oriental Republic as the Crown Colony of East Plate, Ramsay received a promotion to the rank of Captain in 1846, having married Sarah Frances a year prior to his promotion. Despite being temporarily invalided due to dysentery and surviving two yellow fever attacks, which put a pause on his career, Ramsay's commitment earned him the rank of Commodore in 1857. From that year he worked closely with the Commanders-In-Chief of the South East Coast of America Station, and on 22 November 1862, he was promoted to Rear-Admiral and later to Vice-Admiral assuming the position of Commander-In-Chief of the South East Coast of America Station in 1866, taking command of HMS Rosario and of HMS Hercules, a position which he still holds despite his advanced age as he refuses to retire. Following the death of his cousin, Fox Maule-Ramsay, 11th Earl of Dalhousie, on 6 July 1874 without issue, George succeeded to the title. On 12 June 1875, he was created Baron Ramsay in the peerage of the United Kingdom, and a month later, he was promoted to Admiral, the highest rank in the Royal Navy. His eldest son, John William Maule Ramsay, also joined the navy in January 1861, serving on HMS Galatea under the command of Prince Alfred, the Duke of Edinburgh, visiting East Plate during the Royal Tour of 1867.

In 1862, Hariot married the 5th Baron Dufferin and Claneboye, and it was at this wedding that Helen was introduced to Lucas Higgins, 2nd Marquess of Dalwoth, with the intention of making him one of her potential suitors. A year later, in 1863, Helen married the Marquess, in a wedding arranged to settle previous disputes between the Higgins and Rowan-Hamilton families. Some speculated that the marriage was one of mutual benefit, as it would help to settle Higgins' succession and silence rumours about his sexuality, while providing Helen with the financial security and social status necessary to pursue her interests.

After her marriage, Helen travelled with her husband to East Plate, where he had been appointed as Governor. There, she immersed herself in the local culture and social life while performing her duties as the spouse of the representative of the British monarch in the colony. This included hosting numerous social events and receptions at Government House, the official residence of the Governor in Montevideo. Helen quickly became known for her lavish balls and ceremonies, paid for by her husband, and for her numerous rumoured affairs with notable Eastplatine generals and members of government. Despite her scandalous reputation, Helen remained a popular figure in the elite and social circles of East Plate. Her lavish events and parties are the talk of the town, and her beauty and charm are said to be legendary. She is often seen as a beacon of style and sophistication, and her opinions on matters of culture and society are highly respected, with many in the elite circles of East Plate seeing her as a liberated and independent woman, unafraid to live life on her own terms. Her reputation as a woman of passion and intrigue only added to her allure, and she remains a fixture of high society.

After a brief stint as a cabinetmaker and upholsterer in Montevideo, George realized the growing demand for funeral services in the rapidly growing city, and saw an opportunity to apply his existing skill set to the undertaking profession. His innate attention to detail, detailed craftsmanship, and his ability to work with a variety of materials made him a natural fit for the funeral industry. To reduce costs and increase efficiency, George ingeniously constructed much of the equipment he needed himself, from coffins to hearse carriages and various tools. As a result, he rapidly became a highly regarded supplier of funeral furnishings and accessories to undertakers throughout East Plate.

George also pioneered the field of embalming, becoming one of the first undertakers in the colony to offer this technique. One of his most notable achievements was the development of his own embalming fluid, which he called "Anatomical Fluid." This breakthrough allowed him to preserve bodies for a longer period of time, giving him a significant advantage over his competitors. Due to his success as an embalmer, he was even commissioned by the University of Montevideo to perform his technique over several bodies destined for its anatomical collection, not only contributing to a greater understanding of the human body, but also helping to reduce the university's reliance on fresh bodies, which were often obtained through the illegal practice of body-snatching.

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Under that stage name, she began singing songs dressed as a man for comedic purposes. Her spoofs of famous opera singers and composers like Richard Wagner, Sims Reeves, and Giuseppe Verdi became quite popular, while she also spoofed other figures such as kings, politicians, and scientists. By the late 1860s, she began to exclusively perform male roles as she found that it allowed her to "explore different aspects of performance" and "showcase her acting skills, comedic timing, and versatility". Dressed as a boy, she also felt she could "express herself more effectively and freely."

During the 1870s, music halls in East Plate gained popularity, and Margaret's fame as a skilled male impersonator grew as people found humour in her satirical portrayal of male behaviour and social conventions. Around this time, her father, who had become her manager, raised concerns about the "gender ambiguity" of her stage name "Little Vander." As a result, she changed her stage name to "Frank Vander." Under this new name, her rise to stardom continued, and she commanded increasingly higher fees for her performances. She became the main breadwinner for her family and the highest-earning woman in the colony, earning salaries as high as £50 per week.

As Frank Vander, she typically performs as a dandy or a fop, but also takes on roles such as policemen, clergymen, and businessmen. Her acts often ridicule high society, something which resonated with the working class and earned her immense popularity, while women admired Vander's independence. She is also known for her character based on Ludwig II of Bavaria named "Ludwig," a flamboyant and extravagant British aristocrat madly in love with a woman whom he tries to impress by composing operas, often with hilariously disastrous results. She famously performed as this character for the Prince of Wales and his wife Alexandra of Denmark during their visit to East Plate in 1870, causing Alexandra to be scandalised to see a woman dressed as a man, hiding her face behind a programme.