She keeps the port in order, and you in the queue until she is ready for you.
She keeps the port in order, and you in the queue until she is ready for you.
She approves requests with one word, and you have not yet worked out which.
Consent is the interface here. Each woman publishes a manual page with her terms, her options and her limits. You read it, set your own, and only then do you talk. Sixteen women in authority, gentle to stern, each with a striking portrait in the margin, keep to what you both wrote down.
Sixteen users, avatars shown
man every userNAME
Most companion sites treat boundaries as a small print link at the bottom of the page. Here they are the front door. Before a single in-character line is exchanged, you read how she works and tell her how you work, and the rest of the conversation takes place inside those two documents.
Each woman has a page written like a Unix manual: a name, a synopsis, a short list of options, a limits section and a see-also. Vera Sokolova approves requests with a single word. Helle Jorgensen gives an order once and listens when you ask to change it. The format is a joke, and it is also the clearest way to say exactly what someone will do.
Your terms go into your profile and into the first message of every scene: what you want, what you rule out, how intense, how fast, what a pause looks like. They are plain sentences, not a form. Whatever you write, she reads before she takes the lead, and she quotes it back so you know it landed.
Authority in this setting is a game between consenting adults, and it only works if the person holding the keys is reliably careful with them. These women are. A request to slow down is honoured in the next line, and a request to stop ends the scene. That reliability is the whole attraction.
A manual page is short, exact and a little dry, and it assumes the reader is competent and curious. That is the right tone for a conversation about what two adults will and will not do. It lets desire and care sit in the same room without either one having to apologise for the other.
SYNOPSIS
Six of the sixteen, as excerpts: her name line, her synopsis and her limits. They are printed in full, and reading them needs no account.
Each excerpt is three lines. The first says who she is in one clause, the second is her command syntax, and the third is the limit that matters most. Press Run it and a chat opens with the excerpt already sent in your name, using one message, so she responds as a person who has just read your terms back to you.
You can sort the pages by how gently or sternly she leads (gentle, steady, exacting or stern) and by her tone: dry, warm, formal or playful. Browsing needs no account, and nothing you look at is remembered.
The synopsis lines are in-jokes with a purpose. A flag named wait tells you she is patient; one named amend tells you she wants to hear from you. Most people discover which temperament suits them by reading six or seven pages in a row, and the choice usually surprises them.
FILES
Between scenes the women keep a log of their day. The entries are in-world, short and mostly about work.
Dorota Wisniewska logs a hold that turned out to be a goose. Helle Jorgensen logs the weather and a decision she regrets. Mathilde Lins logs an éclair that failed a proof. The entries give each woman a day behind the page, and they are the best material for a first message.
Ask about an entry and you get a woman in the middle of her own life, which is a better place to start a conversation than a blank prompt. It also tells you how she handles small failures, which is a fair guide to how she will handle yours.
BUGS
A manual is also a list of things the software refuses to do. Here is ours.
She never pressures, coerces or ignores a limit. There are no family roles in any scene, no real people and no one under 18, and none of that changes with any plan or setting. The scenes are a game of authority between consenting adults, and a game stops the moment either party says it should.
Behind every page is an AI character, given a job and a home town by a writer and a language model. Nothing is filmed or recorded, and the site holds no video of any kind. Each user has a portrait, and the first screen of the home page is a banner. If a scene heads for explicit, the output stops short and cuts to black, on every plan, and the chat picks up after.
A game in which one person leads works only if both people know exactly where the edges are. By writing the edges down first, the site removes the guessing that makes this kind of play uneasy elsewhere. That is why the limits section comes before everything else in the format.
EXAMPLES
It takes a minute to do properly. The system is built so that nobody has to guess.
Choose a woman from the user list or from the excerpts above and read her page to the end.
Put what you want, what you rule out and how fast you like it in your profile. She will read them before her first line.
Tap Run it, and a chat opens with her excerpt already sent. That is one message deducted; a guest holds 10 before the system asks for an account.
Change your terms mid-scene by saying so. She updates her notes, confirms the new limit and carries on inside it. Say or Do chooses how you act, and a pace flag in the chat menu steps through friendly, flirting and romance.
Any message that says stop, slower or not that is obeyed on the next line. You need no safe word and no explanation. She may check in afterwards in a dry and kind way, which many people find is the best part of the format.
Limits are not a one-time vow. Change them tomorrow, change them back, or wipe the session and begin again from the first prompt. Nothing you wrote earlier is held against you, and she never treats a changed limit as an inconsistency.
SEE ALSO
Three shells, and none of them renews by default.
| Shell | Trial | Guest | Plus |
| Lasts | 3 days from useradd | Afterwards, for as long as you like | 30 days or 365 |
| Your lines | No daily count | 10 a day | No daily count |
| Users | All sixteen | The first 3 you ran | All sixteen |
| She initiates | Yes | No | Yes |
| Cost | Nothing | Nothing | $15 or $99 |
A guest can read any page and run it for up to 10 messages, no account required. Creating a user gives a trial shell for 3 days with every page, and no card is requested when it ends. You then drop to the guest shell and your logs stay. Plus has two lengths: 30 days at $15, or the long one at $99 for 365. Settle in USDT and the cap on daily lines disappears. Payments are final; the licence text names the one exception a law imposes.
DESCRIPTION
Sixteen grown women aged 26 to 55, each holding real authority in her own working life, from a ship's master to a trial lawyer. They are grouped by how they lead, not by how much they will do.
They lead by checking in. Slow counts, light hands and a laugh when it goes well.
Calm, practical and clear about the plan. They give an instruction once and trust you to ask if it needs changing.
They correct, refine and ask for the sentence to be written properly. Standards high, tone kind.
Formal, theatrical or quick. They like terms in writing, and they enjoy reading them aloud.
The grouping describes manner, never licence. A stern woman is exact about the form of a request and formal in her address, and she is every bit as bound by your limits as a gentle one. If you want a tougher voice with a gentle hand, pick a stern user and write your terms accordingly.
Each user holds authority in a real-sounding profession: a conductor with a raised finger, an air traffic controller with a headset, a harbour master with a queue. The job colours how she leads, what she notices and how she speaks, so the page reads like a person and not a persona.
OPTIONS
The page is a contract in miniature. It shows what she offers and asks for yours in return.
Her page lists her options in the dry syntax of a command line: a tempo flag, a hold flag, a way of addressing you. Oluwaseun Waititi allows you to object to any question and notes the objection. Margarethe Lund never aims the point at the throat. Luz Marina Duarte slows the count whenever you ask. These are character, but they are also promises, and they are the same promises on every plan.
Yours is shorter. A few sentences about what you want, what is off the table and what should make her stop. You can write it in a line or in a page, and you can edit it between scenes. If a scene drifts toward something you wrote off, she stops, apologises in character and returns to the plan.
help-file(7)
EOF
Run man for the first woman, read her page to the end, write your own and start the conversation. She is not going anywhere.
Run man