Katrina does things on her own terms, according to her own feelings about the situation, which sometimes means directly going against Ichabod. For example, she tells him that she needs to stay with the Horsman to thwart his plans, when in reality, she still has some feelings for her former beau that she needs to work through. She then sides with her son, out of motherly devotion and love, which pits her against Ichabod and his friends. Katrina’s stout patriotism is what drew Ichabod to change sides in the war after all. When processing her grief over what has happened to her life, Katrina retreats into seclusion, taking refuge in her thoughts, dreams, and emotions, rather than talking them out with Ichabod. Her turning point, when she goes off the rails, involves her feelings changing rapidly for her husband, and her doing an about-face. Katrina had loved him and wanted to save him, but then when she lost her son (all she wanted was to build a coven with him), she blames him for the boy’s death—and casts a spell to take her back in time, so she can undo everything, by making sure her husband dies and her son lives. Katrina’s love has died and she has no thought for the future, only the present and in changing it – she doesn’t think about the ramifications for the war, their destruction of the demon, or the Witnesses, just her own need to raise her son rather than abandon him. Her previous self reacted quickly at all times to thwart problems—by casting a spell to keep Ichabod alive (tying his essence to that of the Horseman of Death), leaving her child to be raised by others for his own protection, and working directly on the battlefield to heal people. She adapts better to the modern world than her husband, but still wants some comforts—in her magic. She is less able than Ichabod to detach herself from a situation, and focus on the larger picture—it’s more tied into how she feels, and her love for her son. Katrina thinks fast when investigating crimes with Ichabod, and notices immediately the changes in the painting that contains the spirit of a serial killer. She then leaps to an intuitive (accurate) conclusion that they must have trapped the killer’s soul within the painting, and now it is escaping—so she and Ichabod enter into it, to save a man’s life. When trapped in Purgatory, Katrina proactively tried to communicate with her husband and warn him of the perils of his actions, while trusting him to release her. She has a hard time being rational about her decisions, and often gets caught up in her emotions and her need to see the best in others.

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Katrina has always been motivated by love—for Ichabod and for her son, but she also finds herself drawn to other people who seem to need her; she believes she can convince Abraham to do the right thing, and that she can separate him from Death, so that he can live a separate and full life rather than be a minister of the apocalypse. She then feels drawn to her son, and needed by him, and becomes his protector, despite all of the evil things he has done. She tries desperately not to give birth to a demon, but when it comes to her by other means, she still cares for it as an infant, because it needs her. The need to be needed is what separates her from Ichabod; he pulls away from her, because of all her secrets and lies (she did not tell him she was a witch or of the things she had done in the past), and this causes her to search for love with her son. When her son dies, she disintegrates into 8—a full-on rage that motivates her to travel into the past, to have revenge on Ichabod by ensuring he dies. She sees Abbie as collateral damage, mere cannon fodder, in her desperate need to love her son and be there for him. This eventually causes her own downfall and death, and even at the end, she is still angry with Ichabod for saving the world by sacrificing their child. Katrina is also skilled at becoming whatever is necessary and fulfilling a role. She convinces Abraham that she is into him, and that she will become his wife willingly, all through deceit, with the intention of spying on him and sharing the information.