She's dead, always has been, but now she's trapped within the overworld and the one under, and she yearns for home. Lina can't go home, not without a body, and a being willing to bind with the spirit; meaning they'll give up their mortality for the spirit and leave their body themselves. Lina can't do that, she doesn't know anyone, nor is she good at convincing strangers. So, a curious entity, she roams the Earth, with dreams of seeing the cosmos, but no way to leave the atmosphere.

The main verse I use for interactions with this character, her backstory stays the same and I swap faceclaims for live action/cartoon or anime. SIDE NOTE; the faceclaim used in my partly-human verse (See below) is the one I use for live-action main!verse, so always check the tags for specification of which!
PARTLY HUMAN;;
The verse in which Lina possesses a vessel, whether it be her sister or another person. But possession is tiring, meaning that she can't stay half-human for long.
BEFORE HER DEATH
A struggling musician, Lina Morine is trying to make it big with her band made up of her twin sister & her misfits of friends. She struggles with addiction and anger issues, in which she commonly sees a therapist for.
WRATH-FILLED
This is the chemical reaction of Lina's burning anger, due to the fact that she never accepted her death. Her eyes flash red and sees everyone & everything as a threat; beware.
UNTIL DAWN
Lina is the physical embodiment of one of the schizoprenic voices inside of Joshua Washington's head, she encourages him to make bad decisions and steers him away from those that threaten her or his life.
→ abbaton

SHE KEEPS to herself, trying to avert the gaze of the
strangers around her, she’s been hopping from train-to
train for almost an hour now trying to avoid the person
following her; yet Lina was still on the same carriage as
them - just her luck.
The train screeches to a halt, Lina accidentally let go of
her bag, one of the many side effects of being out of a
human body for so long was clumsiness. Her belongings
spilled out onto the carriage floor and she scrambled to
pick them up, only for her gaze to rise and see the person
she’s been avoiding all along. She makes a break for it,
leaving the train as soon as its doors opened, and she runs,
feet buckling under her; it’s been such a long time. She reac-
hes an alleyway outside of the station, & next she’s face to
face with the man she thought she’d lost.
‘ …why are you following me, dipshit?! ‘