I'd definitely put Charon in my Appalachian Gothic story, which revolves around a few major plots: [1] a group of small town paranormal investigators (Jasmine, Mahiri, and Zoe) trying to hunt down a murderous forest creature, [2] a local quasi-supernatural killer (Phoebe) who falls in love with the sheriff's daughter (Jasmine) and they have awkward sapphic encounters that lead to the killer ramping up the intricacy of her kills to try and get her attention in the least healthy way possible, [3] the wheelchair-bound motorhead (Zoe) has to start dealing with her burgeoning lycanthropy, keeping it secret from her friends and getting help from a local attorney (Tatiana) who may or may not be in touch with forces beyond the pale. It's hard to tell, she's very dodgy about it.

Charon, then, would fall into the story as an at-first seemingly unaware third party, a cousin of one of the investigators (Mahiri) but is in fact a smilar kind of entity as Phoebe. Drawn to the town by the ramping up of violence and stakes, his confidence and charm would act as a sort of foil to the more awkward Phoebe, his disregard for the well being of others would provide a foil for Tatiana's more nuanced and commpassionate lessons to the newly turned werewolf, Zoe (in the vein of 'aren't you tired of being nice? don't you want to just go apeshit?'). Overall I'd have him as a subtle manipulator, challenging Phoebe by outclassing her in every way as a killer and keeping the entire group of investigators running in circles like some kind of sadistic hunter toying with its prey.

The whole vibe of the story is one of hope and love blossoming in the face of seemingly insurmountable horror, of how people change in the face of tragedy and more specifically how we deal with changes that we have no control over, and dealing with toxic relationships and the fallout that they can leave us with.