synodiporia_ooc | CHARACTER RECLAIMS

CHARACTER RECLAIMS

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P L A Y E R;
NAME: Matt
AGE: 29
PLAYER JOURNAL: matt-doyle
TIMEZONE: CST
CONTACT: c.matthew.smit@gmail.com , japhethtrisko at AIM, mattnificent at plurk

C H A R A C T E R;
NAME: Remy LeBeau
CANON: Marvel 616
POINT IN CANON: just after X-23 #22, taking up a faculty position at the Jean Grey school.
AGE: thirtysomething.
APPEARANCE: 6’1”, 180 lbs., long brown hair, red-on-black eyes, a penchant for trenchcoats and tailored suits, lean but muscular.
CANON HISTORY: http://en.wikipedia.org/wiki/Gambit_(comics)#Fictional_character_biography
CANON PERSONALITY: Moody, mischievous and hard to predict, Remy Lebeau is a gambler in nearly every way, and playing his cards close to his chest is the least of it. Cultivating an air of mystery enjoying a certain amount of distrust and tension, Remy cares passionately about people, and very little about principles -- so except for his personal loyalty, there are very few rules, laws, or standards he won't break on a whim for the people who matter to him, or in a moment of compassion. Still, as much as he likes flirting with suspicion and maintaining a reputation as a rogue, Gambit can be too hurt by distrust, at which point he tends to run, reinvent himself elsewhere, and try again... easily wounded, but still irrepressible. Scheming, thieving, frequently looking for an angle or a cheat, that underlying emotional vulnerability and compassion is always Remy's saving grace.

Complicating matters, Remy is also an almost compulsive traitor. Forever untrustworthy, he has time and again tried to keep his friends safe by capitulating to a wide variety of villains, working with them as long as they meet his terms, sometimes doing terrible things before double-crossing them yet again. Breaking promises to protect his loved ones, Remy drives them away, a perpetual cycle of betrayals and redemptions that, on some level, validates the way he sees himself. He’s a man who will do whatever it takes, who will always gamble, always bluff, always cheat. That he does it in the name of defending those he betrays from threats they didn’t know of or couldn’t face is ironic and contradictory in many ways

When things aren’t so tense, Remy is mellow, fun-loving, carelessly witty often well past the point of faux pas, encouraging others to relax, not to take things so seriously, to loose their inner hedonist… but as a trickster, a teacher, and a counselor, at various times he’s put even those traits to use in serious ways, prying into friends’ personal affairs or assisting them in ways from the laudable to the interfering & truly unwanted. His unwavering defensiveness of others is omnipresent, maybe even more so than his dishonesty.

POINT OF DEPARTURE: n/a
ABILITIES: From the Marvel wiki:

“Gambit has the mutant ability to tap into the potential energy contained within an object and transform it into kinetic energy upon touching it. When Gambit thus charges an object and throws it at a target, the object releases this energy explosively on impact. Gambit is unable to use this power to charge living objects.

Gambit's ability to tap energy also grants him superhuman agility and dexterity, as well as creating a static interference that shields his mind from detection and intrusion by even the most powerful telepaths.

Gambit also possesses a hypnotic charm that allows him to exert a subtle influence over any sentient mind. This power allows Gambit to compel others to believe what he says and agree with anything he suggests. More powerful minds have proven immune to Gambit's charm.

Gambit is bilingual in English and French, and also possesses the ability to throw small objects - including knives, throwing spikes, and playing cards - with extraordinary accuracy. He is also a skilled duelist and fencer.”

Gambit is also considered a world-class burglar, capabale of bypassing all but the most incredible security systems known to man.

INVENTORY; a collapsible bo-staff, lockpicks, a switchblade, ten decks of playing cards, half a pack of cigarettes, a trenchcoat and a silk necktie.

ANYTHING ELSE WE SHOULD KNOW? It’s my intention that Remy be among the most experienced Travelers around, having completed at least thirteen Jaunts. While his memory was scrambled in Moebius like everyone else’s, he still has a lot of experience and good instincts on Jaunts, and does his best to mentor new arrivals, the devil on everyone’s shoulder as compared with Joscelin’s better angel, willing to do anything to get everyone out of an investigation in one piece.

S A M P L E S;
FIRST PERSON: http://thoughtformed.dreamwidth.org/935271.html?thread=48049511#cmt48049511
THIRD PERSON:
Remy smiles at the men across the table as he dealt the cards. Smiling cost nothing, and it made everybody happy. Wasn’t that better? The more relaxed they are, the less attention they pay to their cards, and that’s a benefit, no doubt, even if it’s not the one he’s after. They never trust him, men like this, but that’s fine. He doesn’t need trust. Just the right kind of mistrust. They need to know Gambit can be bought, that he cheats at cards and they can’t catch him, that he’s a trivial, venal man, exactly the same contemptible sort as they are, but more slick about it. These kind of men, they value slick, but they don’t respect it. That’s just fine. Let them see the Cajun hustler they expect, cutting the cards in showy ways but shuffling honest. Let them get comfortable with the greed and hedonism - he’ll have a pretty good time while he takes them for the ride, no?

And then, after he’s made them like being cheated out of their money, eventually they offer him more, to be reliable to them by being unreliable to someone else. That kind of logic he never understands. How can they be that short-sighted? But even if he doesn’t believe it, he knows it's true. He can use it just fine. And once they bought and paid for him? That’s when the real game would begin. More smiling, more bluffing, more friendly distrust… and then, eventually, the cards come out again. He likes that part.

C H A R A C T E R;
NAME: Tim Drake
CANON: DC Comics (pre-reboot); Postgame @ Thoughtformed.
POINT IN CANON: Gates of Gotham #5, after the end of Red Robin.
AGE: 21.
APPEARANCE:5’5”, pale, black hair, blue eyes, and the build of a gymnast or a professional martial artist. Well-dressed in civilian style, he also has his Redwing suit - a semi-bulletproof armor-quality red and black outfit with a high-tech mask and a utility belt full of superheroish accessories.
CANON HISTORY: http://en.wikipedia.org/wiki/Tim_Drake#Introduction
CANON PERSONALITY: Tim Drake has been defined by three things from a young age. His intelligence, his determination, and his desire to do good. Raised in a rich, privileged, and happy family, he had the support to believe he could accomplish anything he set his mind to -- and the independence and drive to actually try to do it. At nine years of age he deduced the identities of Batman and Robin, based on a glimpse of Robin’s acrobatics and a memory of his family’s friendship with the Graysons. Keeping this secret, but continuing to observe, he first entered the world of superhero vigilantes at thirteen, when he presented Dick Grayson, who had left the position of Robin to become Nightwing, with a statistical analysis and argument showing that without Robin, Batman was self-destructive and prone to taking too many risks. When he failed to convince Dick to return to being the Boy Wonder, with both Batman & Nightwing in a high-risk situation, he donned the costume himself, with no prior training, and successfully saved them both, thereby effectively hiring himself as the new Robin.

Behavior like this is characteristic of Tim. Thoroughly analyzing (and often over-analyzing) a situation, he will decide what’s right, what he feels needs to be done for the greater good, and he will pursue that course regardless of any other considerations, with our without support. Tim is a crusader as well as a detective.

Always protective of his friends and family, Tim is gradually made a grimmer person by a long series of tragedies, including the loss of his father, his best friend, and his girlfriend (among others) within the space of a single year. While this does not alter his character, exactly, it makes him more determined, to or past the point of obsessiveness, and accentuates his tendency to be high-handed and controlling when he believes he’s helping others by doing so. But even in the darkest places he’s been, Tim has always managed to cling to his touchstones and his grasp of what was right, often surprising everyone around him by sudden reversals when he realizes he is about to cross a line or moral threshold.

Tim also has a tendency, always present but more accentuated after his string of tragedies, to compartmentalize his life. What he is doing as Tim and what he is doing as Robin are treated like the actions of separate people, which can be incredibly damaging to his social life, but is also part of his sudden reverses and unpredictable behavior, as he leaves one persona or identity to enter another, thereby changing the rules he follows and the priorities he holds.

POINT OF DEPARTURE: After the end of Red Robin, Tim spent four years trapped on the island of New Moore, an SoL jamjar setting with regular reality distortions shaking things up. In the small community there, without his usual multi-million dollar budget, he had to go back to the basics to continue as a vigilante, building (inferior) equipment when his broke down, setting up his own surveillance network, doing his own computer security. At various times, working with Torchwood, the Young Avengers, the Avengers, and the Persona 4 Investigation Team, Tim came face-to-face with his own issues about control, secrecy, and surveillance. Gradually, usually while being dragged kicking and screaming, Tim became more relaxed and more open - which isn’t to say he’s not still a highly compartmentalized total paranoid; only that he’s learned to respect a few more boundaries and situational ethics and be aware of his own tendencies. Over those years, Tim earned a BS in Criminology & Chemistry (although he was pulled across universes before graduation); continued his typical string of romantic disasters, and inherited a coffee shop - the front business behind which Torchwood New Moore operated.

Given the unpredictability of the reality-shifting phenomena, the small population, and the density of heroes and vigilantes, Tim became gradually frustrated with his effectiveness as a vigilante and the poor security of his secret identity. For quite some time, he nearly stopped rooftop patrolling, preferring to work remotely, Oracle-style, monitoring his surveillance network and doing communications and tech support for the New Moore Torchwood & Avengers teams. When he returned to action, however, he ‘came out’ as Red Robin, reasoning that a secret identity was no longer a practical possibility and that he needed to control the release of the information so it could not be used against him. Finally, in recent months, using his considerable savings & profits from the coffeeshop & his work with the Avengers, he started to go high-tech again, designing the Redwing suit & identity to be more publicity-friendly than Red Robin.

ABILITIES: Tim’s main skill is being a superlative detective and an incredibly fast learner. However, he is also in peak physical condition, although in no way superhuman. He is proficient in a wide variety of martial arts, including aikido, bailangan, capoeira, judo, jujitsu, karate, kung fu, ninjitsu, and savate; & is acknowledged as being the world’s best bojutsu fighter. He’s also an incredible gymnast and acrobat, with extensive skill in escapology and parkour. As a teenager, he’s also a world-class expert in several scientific field, including computer science, chemistry and genetics; conversant in biology and mechanical engineering, well-read in military and scientific history and classical literature, and speaks at least some English, Arabic, Cantonese, French, German, Japanese, Mandarin, Navajo, and Russian.

INVENTORY; Tim would have arrived in his current vigilante outfit, made of high-quality bullet-resistant material, with night-vision goggles and a bluetooth device embedded in the mask. He would also have a smartphone (actually, a Starkphone) loaded with a number of hacking and surveillance-related apps & high-security cryptography, a collapsible staff, a few dozen throwing discs, and a grapple gun, plus lockpicks and a few other miscellaneous utility belt tools.

S A M P L E S;
FIRST PERSON:
http://thoughtformed.dreamwidth.org/1129271.html

THIRD PERSON: http://synodiporia-ooc.dreamwidth.org/6327.html?thread=57527#cmt57527

Edited 2014-03-22 00:37 (UTC)

P L A Y E R;

NAME: Anne
AGE: 23
PLAYER JOURNAL: trustme_imthe
TIMEZONE: EST
CONTACT: trustmeimthe; tavrosno[at]gmail[dot]com
OTHER CHARACTERS PLAYED: N/A

P L A Y E R;
NAME: Sam
AGE: 29
PLAYER JOURNAL:

dekaja
TIMEZONE: MST
CONTACT:

estamir
OTHER CHARACTERS PLAYED: none yet

C H A R A C T E R;
NAME: Toshizou Hijikata (he's used to using family name first, though, so he'd be introducing himself as Hijikata Toshizou)
CANON: Hakuouki
POINT IN CANON: Late chapter 9 in Hijikata's route of the video game, just before the battle of Hakodate. As per here, however, I will also be taking some anime events into account that don't conflict (namely, Souji's death scene).
AGE: 33
APPEARANCE: Here - wait, no.

This is his usual look; his hair and eyes change when his powers are active, leaving him looking like this.

CANON HISTORY: I find the Hakuouki wiki to be pretty insufficient, so I'm just doing this from scratch. Also trying not to go overboard and keep it at least reasonably brief, so I can elaborate on things if it's needed. /o\

Hijikata comes from a family of farmers, but from a young age he was never satisfied with his place in life. Not wanting to be a farmer for the rest of his life - and knowing he didn't stand to inherit anything as the youngest son anyway - he undertook an apprenticeship to become a merchant, but he wasn't satisfied with that, either, and left home to sell medicine from his family's recipe on the road - stopping in dojos to request matches on the way, because what he really wanted was to become a samurai.

As far out of reach as that seemed, everything changed when he met Kondou Isami.

Kondou came from origins as humble as Hijikata, but had been moved up in rank through being adopted by Hijikata's brother-in-law, the master of the Tennen Rishin-ryuu sword style, and seeing that gave Hijikata hope for himself as well. He began frequenting the Shieikan dojo, and he and Kondou became very close. Although Hijikata hadn't really accomplished anything with his life thus far, Kondou insisted that he simply hadn't found the direction that suited him, and that his dream to become a samurai wasn't ridiculous at all.

Kondou inherited the dojo when the previous master retired, but they fell upon hard times, and keeping the doors open was a constant financial struggle. A hatamoto planned to nominate Kondou as an instructor at the shogunate's military academy, but the offer fell through because of Kondou's low-class origins. It was a harsh blow to Kondou's confidence, but then they heard about the Roshigumi - a group of ronin being gathered to serve as protectors of the shogun, an honorable enough excuse for them to close up the dojo without attracting gossip, and that would pay enough money to provide for Kondou's family. Hijikata talked Kondou into it, swearing that he'd push Kondou up in the world and get him the recognition he deserved, and they left for Kyoto.

Their early time in Kyoto was difficult. The Roshigumi was small, underfunded (as they didn't receive the pay they were originally promised), and reliant on Serizawa Kamo's connections to Aizu to get them any kind of authority to police the streets - however, Serizawa was ruthless and abusive, and his actions did little to endear the Roshigumi to the people of Kyoto. From the beginning, the group was clearly falling into two factions, under the two main leaders of the Roshigumi - Serizawa and Kondou. And it was during one of their disagreements that Serizawa said something that would stick with Hijikata for the rest of his life: that if he wanted to raise Kondou up, Hijikata needed to become a demon, and not hesitate to make an enemy of everyone, if that was what it took.

During this time another issue was arising, behind the scenes - the shogunate brought them a substance called ochimizu, which would supposedly present a solution to their manpower problems - but although anyone who drank it increased their physical abilities far beyond that of a human and gained the ability to rapidly heal from wounds, they lost their sanity in the process, becoming a mindless, bloodthirsty monster. Although Hijikata was opposed to experimenting with the ochimizu, he was overruled by Serizawa, and Niimi took charge of working behind the scenes to try and mitigate the side effects and come up with something more suitable for widespread use.

Although the Roshigumi eventually received better official recognition from Aizu, and renamed to the Shinsengumi, their other problems persisted. Serizawa's behavior became more intolerable, and Niimi disappeared with the ochimizu and all of the research on it. Hijikata led the rest of the Shieikan faction in hunting down and eliminating Niimi, and planned Serizawa's assassination - which was successful, although things got a bit more intense when planned after Serizawa drank the ochimizu during the fight.

Some time after Serizawa's assassination, however, another problem fell into their lap - while hunting down and disposing of a few of their men-turned-rasetsu that had gone rogue, the Shinsengumi found they had a witness. Hijikata decided to bring the boy back to headquarters and decide what to do with him, but the boy was in fact a girl - Yukimura Chizuru, the daughter of the doctor who was responsible for developing the ochimizu, and who had come to Kyoto in search of her father after his disappearance. As this was also a goal of the Shinsengumi, they decided to keep Chizuru around, giving her protection in exchange for her help with their search, and making her Hijikata's page as a cover.

Although they were initially disinclined to trust her, Chizuru proved her loyalty time and time again, going from simple chores and errands to acting as a messenger to give them the warning they needed when they won their reputation in the Ikedaya incident, and accompanying them to the front during the Hamaguri Gate Rebellion - battles that introduced them to a trio of highly formidable opponents, first among them Kazama Chikage, a man apparently working with Satsuma. She also was let in on their most closely guarded secret - the ochimizu - when Sannan decided to test the new revisions to the formula on himself, spurred on by feelings of uselessness from a crippled arm.

More pieces of the puzzle came together over time - Kazama revealed himself to be a demon, in pursuit of Chizuru because she too was a demon and there were few pureblooded females of their kind. The demons were working in tandem with the Satsuma and Choushuu rebels, and claimed that Chizuru's father was doing the same, having abandoned his former shogunate ties.

The situation was steadily getting worse for the Shinsengumi, as well. The political situation began to shift against the favor of the shogunate. Heisuke was mortally wounded in the fallout from an internal dispute and had to drink the ochimizu to survive. Kondou was shot in an assassination attempt and sent away from headquarters to recover. Things came to a head when the battle of Toba-Fushimi broke out, and despite having three times the rebels' numbers, the shogunate forces were quickly pushed back by their opponents' superior weapons and tactics. Hijikata sent Inoue and Chizuru to bring reinforcements.

Instead, they found Kazama.

Hijikata arrived just in time to find Inoue dead and Chizuru being overpowered; enraged, he attacked Kazama, but while he was able to force Kazama to reveal his true form, that form proved too much for him to handle, and in a moment of desperation, Hijikata turned to the ochimizu and became a rasetsu himself. The fight intensified, but Kazama found the upper hand again, and Hijikata was saved when Yamazaki took a blow meant for him - and gave him a much needed reality check, bringing him to his senses to oversee the retreat to Osaka Castle...and then to Edo, when the shogun pulled out first and ordered his troops back.

From there the war became a frustrating dance of trying to get the support they needed to wage war from the higher-ups, eventually leading the Shinsengumi to be ordered to Koufu Castle - where they suffered a devastating defeat that decimated their numbers, crushed Kondou's confidence, and proved to be the final straw for Shinpachi and Sanosuke, who left. Hijikata pushed on, trying to organize them and bounce back, sending Saitou to take most of the troops to train with new firearms, trying to bolster Kondou's confidence again - and then their position was surrounded, and when Hijikata tried to take a stand alone to let Kondou and Chizuru escape, Kondou refused, ordering Hijikata to escape while he stayed. No amount of yelling, arguing, and pleading from Hijikata was enough to change his mind.

Hijikata was a barely restrained wreck, for a time after that; after regrouping with Ootori Keisuke and the remains of the shogunate's army to continue the retreat north, he took Utsunomiya Castle with a handful of soldiers and a manic energy that suggested he didn't have much interest in continuing to live. Kazama was there on business of his own, with a sword that inflicted wounds a rasetsu's advanced healing could do nothing for, and Hijikata was forced to leave the front to recover - and was shouted down by Ootori, who inadvertently echoed Yamazaki's parting words, providing Hijikata with another much needed reality check; when they received reports of Kondou's execution, Souji managed to drag himself out of his own sickbed long enough to punch Hijikata in the face - and then die protecting him before his wounds had finished recovering, because despite their difficult relationship, Hijikata's life was what Kondou wanted more than anything.

The retreat north continued, with Saitou choosing to stay behind and fight with the rear guard in Aizu while the remains of the Shinsengumi continued on to Sendai; Sannan and Heisuke went ahead to see what support they could secure while the main army caught up, but when Hijikata and Chizuru caught up, they were nowhere to be found. Chizuru was kidnapped by a group of rasetsu commanded by her father, who brought her to the castle, where Sannan was also waiting. Hijikata soon met with Heisuke and caught up; one standoff later in which Sannan revealed he'd been playing both ends against the middle, the rasetsu were wiped out, Chizuru's father died to protect her, and Heisuke and Sannan had burned out their lifespans, and turned to dust, leaving Hijikata all but alone - save for Chizuru.

As the alliance made one last retreat, north to Ezo, Hijikata forbade Chizuru to come with them. Chizuru said "to hell with that" and made her own way after them, with a little help from Ootori, and her appearance on his doorstep forced Hijikata to realize just how poorly he'd been functioning without her - and to admit that maybe he was in love with her.

Of course, the enemy's still got overwhelmingly superior numbers and they're right on Ezo's doorstep, so he might not have a lot of time left to think that over further.

C H A R A C T E R;

NAME: Lydia Martin
CANON: Teen Wolf
POINT IN CANON: 3x22, De-Void, after being kidnapped by nogitsune!Stiles
AGE: 17
APPEARANCE: how done? so done.
CANON HISTORY: Teen Wolf wiki

CANON PERSONALITY:
Before getting into the nitty-gritty of Lydia's personality, it's necessary to briefly go over one aspect of Lydia's life that the Teen Wolf wiki sadly glosses over, which is her home life. Which sucks. Mr. and Mrs. Martin divorced recently, and it was apparently pretty messy - so messy that both parents started using Lydia as a means of one-upping each other and proving who was the 'better' parent, even going so far as asking her to choose who she was going to live with after the divorce. It's fair to assume, then, that Lydia's home life has been incredibly unstable in the past several years, with her parents constantly fighting. It's also heavily implied in the show that she is suffering severe emotional neglect at the hands of her parents. She seems to live mostly with her mother, who deals with her emotional response to seeing Peter as the alpha in season one by medicating, possibly even sedating her so heavily that she mistakes one of her classmates for Jackson. By season three, this appears not to have changed in the least: Lydia wakes up screaming from a night terror thinking she's heard a noise and calls out in case it was her mother, then scoffs at that possibility, because that would mean her mother "would have heard me screaming". What does all this mean? Well, Lydia can't get attention and validation at home, because her parents are too consumed with hating each other to have time to attend to her needs, so Lydia seeks attention outside the home.

For the majority of the first two seasons, Lydia in effect had two personalities: the one she created to get attention from her peers, and the more genuine Lydia under the surface. While this dichotomy has not entirely disappeared in season three, Lydia has begun to unite her surface and deeper halves, both out of necessity and out of a desire to be true to herself and protect her friends.

This is not to say that "surface Lydia" is not "real Lydia" - rather, this "version" is more adaptive to the life Lydia was used to living up until recently. Surface Lydia has a heavy focus on external beauty, which often serves as a mask for her true emotional state. While she might be angry as hell or scared out of her mind on the inside, if she's beautiful and put together enough externally, she thinks she will be internally. One of the most significant Lydia-centric scenes of the first season shows Lydia after first catching sight of Peter as the alpha at the video store. Her face is tear-streaked, she's clearly terrified, but she doesn't allow herself any time to process what she's seen. Instead she cleans herself up and reapplies her makeup, straightens her hair, and hides her reactions to everything she's experienced.

She has a good reason for hiding her emotional state. Fear and empathy don't fit well with her cooler-than-thou, mean girl exterior, and Lydia feels as though she needs to be a mean girl in order not only to be popular, but to be the most popular - not just to be liked, but to be loved. If her parents aren't going to love her, her peers are damn well going to worship her. She acts cool and uncaring not because she actually is, but because it's adaptive, in a way: it gets her a certain level of admiration as an untouchable popular girl, and it keeps her from getting hurt. Because of her parents' emotional betrayal, she doesn't trust people very much, and it's easier to keep people away than to deal with the pain of someone getting close and then hurting her. If anyone does try to penetrate her cool exterior, she relies on her quick wit and abrasive sarcasm to keep people at arm's length.

The thing is, Lydia's not just witty. She's a genius. Literally. Genius-level IQ, incredibly focused on school, with all kinds of incredibly intense goals. She's excellent at chemistry, math, Latin - she wants to win a Fields Medal when she grows up - basically, she's going to outpace everyone else from Beacon Hills the second she leaves high school. She used to keep this intelligence under wraps, but the more she is kept aware of the increasingly volatile situation in her hometown, the more she makes herself useful, proving herself not only knowledgeable about a surprising range of topics (particularly sciences) but a highly skilled problem solver, even when the problem is "and then there were a HUNDRED WEREWOLVES and none of them liked each other at all". More and more, Lydia has come out of her shell as a clever girl and is seeing her smarts as not just a long-term asset but something to be very pleased with herself about in the context of her current life. She enjoys being useful as well as being popular, being someone who can create a solution rather than just be a damsel in distress.

In short, and relating back to all of the above, Lydia craves power. Whether it's social, emotional, physical, intellectual, or psychological, Lydia wants to be powerful so that she no longer has to be saved. She is a survivor of extreme physical and psychological trauma above and beyond the other kids in her loosely-knit pack due to Peter Hale's bite and subsequent posthumous invasion of her mind and hardcore psychological manipulation. She is vulnerable as a result of this trauma, but she is also angry because of it, and it has made her seek out solutions to her own mysteries when no solutions have been easily forthcoming.

The unfortunate truth is that it appears that Lydia's heritage and origins as a banshee are literally the only supernatural occurrences that are un-researchable. Pretty much what she knows is the name, the fact that she knows when people are about to die, and whatever bullshit Peter Hale happens to be spewing on any particular day (since he knows everything). She has been walking in the dark, using her power blindly even though it frightens her because she doesn't know what else to do to help her friends. As she says, she is something, and she is damned if its unknowability will keep her from saving their lives.

That said, the unknown is absolutely what Lydia fears the most. She was kept in the dark about the existence of the supernatural for months while her friends carried on their werewolf soap opera around her, while she was haunted by the specter of Peter Hale, and while her boyfriend turned into a lizard monster - all of which she still harbors a pretty legitimate grudge about. In the end, she seized power in a way that was unwise (by allying herself with Peter) but which was also the only way she knew to survive, thrive, and protect those around her. To extrapolate, this indicates her desperation in the face of the unknown. She has faith in her friends to a certain extent, but what she prefers over faith is cold, hard fact and, ideally, foreknowledge and a very sharp weapon. Mysteries eat at her, and surprises and the unknown can paralyze her. Lydia works best when she has hard facts and a solid plan; when she doesn't, she flounders and either freezes without taking any action or acts impulsively.

Lydia's relationships are generally complicated. She is a tough friend to have at times; she doesn't mince words when she thinks you're being an idiot and can seem self-absorbed, particularly if she feels you're getting in the way of something she deems personally or socially important. However, while becoming friends with Lydia can be difficult, being her friend means you have someone who's on your side no matter how pissed off she is at you, and who will stop at nothing to protect you, even if she's scared and confused and would really rather be watching The Notebook. Lydia is frighteningly loyal to the people she unconsciously considers to be her pack (which currently consists most significantly of Allison, Scott, and Stiles), and is far, far closer to them than she could ever be to her family.

Finally, Lydia's romantic relationships tend to be complicated. Her attitude towards her male peers evolved in recent years towards who makes the best status symbol - or maybe more accurately, her perpetually declining relationship with Jackson Whittemore has soured her attitude towards equitable relationships in general. With Jackson entirely out of the picture, Lydia has gone through a few cycles of boy toys and seemed content with that until recently, when she professed a desire "not to be with the bad guy anymore". Currently she seems to be in a place of, well, sex is great and she will have it, but Beacon Hills keeps exploding, so maybe no dating right now. Which, all things considered, is a reasonable attitude.

CANON PERSONALITY: To understand Hijikata, one has to understand his relationship with Kondou, because it's the cornerstone of his motivations, his actions, and much of his behavior.

Hijikata had an ambition to make his way up in the world before he met Kondou, and he had a dream to become a samurai, but it's not until after he meets Kondou that he finds the drive to follow them through - not for himself, but for Kondou. Before Kondou, he didn't know how to make what he wanted a reality; Kondou was one step ahead of him on that same path, and told him it wasn't a ridiculous thing for him to want to become a samurai. And Hijikata, for his part, gives Kondou the support he needs when he falters in that belief himself before they leave Kyoto.

Serizawa has a moment that sums it up best - he observes that Hijikata sees his dream in Kondou and gave it up himself to entrust it to Kondou, and each of the two has what the other lacks. Kondou has the charisma to attract people to him; Hijikata has the wits and the pragmatism to do what needs to be done, no matter how unpleasant. Kondou has the vision of where they're going; Hijikata has the plan to get them there. They balance each other out, and they both believe in the other more than in themselves - but they both feel they have to live up to what the other sees in them, and that bond is the fuel that keeps them both going.

For all that he dislikes Serizawa, Hijikata takes the man's advice to him - to become a demon - very seriously, to the point of being nicknamed "the Demon Vice-Commander" later on. He is willing to be ruthless when he has to be; it was Hijikata who put the Shinsengumi's Code in place, and Hijikata who holds the men to it - or gives them a choice between seppuku or drinking the ochimizu if they break it. He cuts down one of his own men at Utsunomiya to set an example for those considering turning and running. He's absolutely a hardass when he deems it necessary, and especially early on in canon, it's necessary quite often; Kondou is the kind one who can rally people around him, and Hijikata is the iron fist behind him who keeps them in line and makes sure they're getting shit done.

It's important to remember, on the other hand, that the hardass act is to some extent just that - it's an act, not the full sum of Hijikata's personality. He's ruthless when he deems it necessary, but he does it with reason, and there are moments that clearly show his softer side - from his initial refusal to kill Chizuru on the spot when he finds her (which would be a far easier way to protect the Shinsengumi's secrets), to much of his behavior towards her throughout his route. After he's had some time to start coming to terms with Kondou's death, it's also easier to see the nicer side of him come out in how he treats his troops; near the end of his route Ootori observes that he's been a lot nicer to his men, and he's shown personally pouring sake for each of his soldiers, talking to them to try and keep their spirits up - it's the kind of friendly morale-booster that earlier in the story would likely have come from Kondou. He's not incapable of kindness by any stretch, and Kondou's death gives him a reason to bring it out more often - because with his other half gone, he's in a position where he has to be everything as a leader, rather than just filling in the other half of the good cop/bad cop dichotomy for Kondou.

He's hard on himself, perhaps a natural consequence of the fact that his life is centered around somebody else. In the flashback where Kondou's appointment at the military academy is cancelled, Hijikata blames himself for not doing anything about it even as he chastises Souji for blaming him. He apologies to Saitou for some of the early problems faced by the Roshigumi, telling him that it's because of their shortcomings that the men have to put up with the situation. He takes on too much and runs himself into the ground, and after Kondou's death the only thing keeping him alive is the fact that as his men remind him - he is the Shinsengumi, and if he dies so does the organization. His willingness to live for his own sake is at a critical low after Kondou's death, but his devotion to maintaining everything he and Kondou fought to build is absolute, and it's that devotion and responsibility to the Shinsengumi that pulls him back from more than one mad, self-destructive rampage.

And despite the fact that his relationship with Souji is often abrasive and highly complicated, he still feels deeply responsible for him; having watched him grow up, Hijikata tends to look on him as a younger brother - kind of an immature pain in the ass, but someone he's still deeply protective of and who he doesn't want to see go down the wrong path. He tries to send Souji home to Edo early on, reasoning that Souji's heritage leaves him far more opportunities in life than he and Kondou have available to them; Souji reacts to that by making his first kill, to prove that he can be useful, and Hijikata worries after that about whether Souji understands the weight of taking a life. He wants the best for Souji, but he has an undeniable talent for managing to make matters worse because he's not sure how to handle him.

One more point worth noting is that Hijikata's low-born background is a sometimes subtle, but always undeniable, influence on his behavior. He's a bit rougher in his mannerisms than most of the cast (and the localization of the video game in particular shows it by translating him as something of a pottymouth), and many of the differences in his thinking and Serizawa's - especially regarding their treatment of other people - are rooted in the fact that Serizawa thinks like someone who was born to the samurai class and can get away with mistreating those below him, while Hijikata clearly knows what it's like to be on the bottom and finds that kind of behavior contemptible. He plays the game socially where he knows it's required - he's far too pragmatic not to realize that they need connections to get ahead - but he has much less patience for the classism that surrounds them, and near the end of canon, he and Ootori have a conversation about how it doesn't matter where you come from, but what you make of yourself.

POINT OF DEPARTURE: --

ABILITIES: As a rasetsu, Hijikata's physical strength, agility, and endurance go beyond human capability, and he is able to heal from physical injuries at a very rapid pace; most wounds are seen to close within a few seconds. (This healing factor only extends to physical injuries, however - it's shown with Souji to do nothing to cure diseases.)

This power comes at a price - rasetsu are nocturnal, and suffer from discomfort or outright pain when they're active in the daylight. They also suffer from a powerful compulsion to drink blood, which tends to rear its head in sudden attacks of extreme physical pain - although it's possible to wait these out rather than giving in and drinking blood, it's not pretty; most rasetsu are eventually (or immediately) driven mad. Last, their abilities are drawn directly from their own life force; if a rasetsu makes too much use of their ability to heal and burns out their own lifespan, they turn to ash on the spot - although Hijikata hasn't been one long enough to run into that problem yet.

As far as more mundane abilities go - he's a very gifted swordsman. As the vice-commander of the Shinsengumi (and the one to make most calls despite being outranked by Kondou), he's a proven leader, originally in a more police-like capacity but also in larger scale military engagements, once the Boshin War breaks out; he has experience dealing with logistics, politics, and strategy, and he's seen to be effective at what he does, despite having unfavorable conditions standing in his way. He's also a skilled interrogator (read: torturer).

He's also an amateur poet! A notoriously bad one, but hey.

INVENTORY; The clothes on his back, a pair of swords (his katana, the Izumi-no-Kami Kanesada, and a wakizashi). A revolver, although he's far more comfortable with his sword and isn't carrying extra ammo, so it's likely to be a last resort at best.

ANYTHING ELSE WE SHOULD KNOW? Hijikata will be coming in as a veteran Traveler, so he's been around the World Series for a bit already - a fair amount of time, in fact, but as he's lost all memories of previous jaunts as a side effect of Moebius, he's not actually sure how many jaunts he has been on. (I'm thinking, though, that he's been on about ten, if that works.)

S A M P L E S;
FIRST PERSON: one and two; the first is a bit better representative of his general behavior but Chizuru brings out his softer side, which I think shows up a bit better in the second.

And test drive threads for good measure: one and two.

THIRD PERSON:
That swirling black portal had appeared again, and no veteran Traveler would ever mistake what that meant.

Hijikata, especially, was never a man one could accuse of being stupid - at least, not in the sense of lacking any sense of logical pattern recognition. His willingness, at times, to fling himself headfirst into those patterns thinking to change them out of sheer determination, on the other hand, might be a bit more suspect.

And so there wasn't much surprise when he was one of the first to step forward in that hasty, hurried discussion of who was going in - before they ran out of time to go in at all. It might be taking a stupid risk with no guarantee of reward, but that much might as well summarize his entire life before Traveling, and more to the point -

As much as he might deny it if asked, Hijikata was starting to get attached to some of his longer-running fellow Travelers, whether he thought of them as comrades in arms or as stupid kids who needed looking after. (Or in some cases, both.)

He gave the portal a long, hard look, one hand resting at the hilt of his sword. There wasn't really any way to know what to expect out of these things, but it didn't mean it wasn't possible to do anything to prepare oneself mentally - and going in at anything less than full readiness could be a disaster for more than just those of them about to jump in there. "Anyone not ready, now's the time to speak up or get the hell out of the way."

They were no substitute for the comrades he'd already lost, and nor would he ever want them to be. But with as much experience as he had in losing people he'd wanted and been obliged to protect - as comrades, or as kids he shouldn't be leading straight into the jaws of death (or as both), he was damned if he was going to leave another one lost when the means to do something about it was sitting right here in front of him.

ABILITIES: Lydia is a banshee. The description in that link, while technically complete, is also a little scattered, so here are the basics.

It is unclear so far whether Lydia's abilities are genetic (unlikely, unless her mother and father are significantly less ordinary than so far portrayed) or just vaguely magical; however, if (if) Peter Hale is to be believed, they required a traumatic event to kickstart. He alleges that his attack on Lydia was that catalyst, but noticeably doesn't say whether a near-death experience is the only possible catalyst. It's possible he just enjoys traumatizing teenage girls! It is worth noting, however, that after the bite, Lydia experienced violent hallucinations, blackouts, and dissociation/sleepwalking, some of which can be attributed to standard trauma but much of which was probably the birth of her banshee abilities.
Theoretically Lydia is a harbinger of death, but . . . also not quite. She is able to predict (in dreams and by vague "bad feeling"-type instinct) the locations and natures of deaths; in this way she finds a lifeguard who's been killed, although she doesn't realize the destination she's driving to or why she's driving there. So it might be more accurate to say she senses death, both before, after, and during it happens.
Lydia possesses a piercing scream! This is in and of itself not an incredibly remarkable ability. While it's probable that with some practice it could be useful as a weapon, at this point in time it's mostly just an incredibly loud noise that can be heard miles away. Its other function - again according to Peter Hale, but generally borne out by actual events on the show - is as a means to drown out all other sounds so that she can focus on . . .
. . . the voices in her head! Or, not quite in her head. Lydia can hear whispers about death and dying, which appear to be what she has followed instinctively to find dead people for all of the third season. These voices apparently belong to other banshees in some kind of network of the dead, which is possibly the most cheerful sentence I've ever typed.
All of this means that it's entirely up to modly discretion whether Lydia has access to any of her power, limited power, or full power with the explanation that the banshee network is interdimensional or some such. I am totally fine with whatever is deemed most suitable for the setting.

INVENTORY; The clothes on her back and the contents of her purse: a taser, gum, twenty-ish bucks in cash and change, credit cards, a copy of Death by Black Hole, and bobby pins.
ANYTHING ELSE WE SHOULD KNOW? At this canon point, Lydia has claw wounds on the back of her neck and base of her skull from when Scott stuck his little wolf claws into her to drag her into Stiles's mind. THEY WILL BE FINE, they're not were-infected as far as anybody knows, but they are currently there.

S A M P L E S;

FIRST PERSON:
That one was interesting.

[She means it, too. She's as genuine as she ever gets, bright and fierce and most of all intent.]

A lot of the logic was faulty, but the overall concept was sound. The line between dystopia and utopia seems a lot thinner lately, living it over and over. But at least I got to fly a spaceship.

It made me wonder about relativistic travel, though. It seems unsustainable, like a society couldn't survive like that no matter how long-lived its inhabitants. After all, society's built on social ties, isn't it? But if you travel once and come home to everyone you've ever known dead - that's no way to live.

[Which is almost all. But then, with more typical sarcasm:]

The Trumps have thought about sustainability, though. So there's nothing to worry about at all.
THIRD PERSON:
Lydia doesn't expect to approve of the telepathic network. She certainly doesn't expect to like it - she gets tired enough of the slow pace of other people's actions that the idea of exposure to their thoughts is exhausting.

But it's not that simple, of course. Nothing worth it is ever simple.

She sits in the middle of a vast expanse of white-tiled space, fading to grayscale in the distance. In front of her is a steaming cup of pekoe, bathing her face in impossible, humid warmth. On either side of her, oppressively audible, is silence; she cocks her head to listen for anything, but no luck. Or all the luck: everything's a matter of perspective.

Liminal space strikes her as a malleable quantity. Not entirely, but it's not stiff, just as the mind itself isn't.

Her eyes drift shut against the blinding whiteness and the seeping gray. She holds her hands over the steam.

When they move, her fingers mold the steam into transient shapes that evaporate almost instantly - but in her mind's eye they stay. The long walk of the entrance hall at Beacon Hills High; the street in front of her house; a few seats in a row at the movie theater. Then things smaller and greater: her entire house, down to the trellis in the backyard; her favorite pair of shoes; Jackson, although he blows away in the blink of an eye, and there's not a thing she can do about that.

She doesn't regret it, when she exhales and blinks and looks out at the unworld again. There is the spark of discovery in her eye, even though her tea is cold. This place might not be real, but the nature of reality is, as she knows so well, relative. There are answers to be found, and she will find them, even if she has to experiment.

It's not as though this is the first time she's had to take her own initiative.

P L A Y E R;

NAME: Anne
AGE: 23
PLAYER JOURNAL: trustme_imthe
TIMEZONE: EST
CONTACT: trustmeimthe; tavrosno[at]gmail[dot]com
OTHER CHARACTERS PLAYED: N/A

C H A R A C T E R;

NAME: Lila Zacharov
CANON: Curse Workers
POINT IN CANON: Right before the start of Black Heart, after she has begun carrying out missions for her father as a full member of the Zacharov family.
AGE: 17

APPEARANCE:
Lila is a young human woman, small-to-petite, with light features, one blue eye and one green eye, and blonde hair. It's worth noting that while I am using Freya Mavor as a PB, Lila's hair is not quite as long due to recently having chopped off a bunch of dreded hair due to Spoilers. She also has a necklace of keloid scarring at the base of her neck, able to be hidden by a collar. Lila will, given the choice, dress in simple but expensive clothing in black, red, and white; she will, unless in incredibly dire straits, will also be wearing gloves 24/7 - similar to these, thick and strong, but with full back-of-the-hand-to-wrist coverage. Here she is again.
CANON HISTORY:
History of White Cat through Black Heart, by Anne with sarcastic commentary. If this is not sufficient that's completely understandable, given that it's told more from Cassel's perspective - just let me know and I'll rewrite.
CANON PERSONALITY:
The first, most formative thing to know about Lila is that she was born to lead. As heir to one of the leading crime families in the United States, she has known from her very first conscious moment that she's set to inherit his legacy, and that knowledge has shaped her actions and experiences for her entire life. Furthermore, it has shaped the way other people react to her, changing the way she reacts to them - her existence a cycle of expectations, assumptions, and displays of power.

"Ambition" is the word voted most likely to have Lila's face next to it in the dictionary. While, yes, she can conceive of other routes her life could take besides being head of the Zacharov family, none of them have the same sense of pride and family, and therefore none of them could ever be as worthy of her pursuit as rising in the ranks of the family. Not only does she intend to get to the top and lead the men her father leads, on some level she also clearly intends to surpass him. To build on his legacy, but also to make her name more memorable and more infamous.

Part of this is out of necessity. Another thing Lila has always known is that she would be a woman doing what is traditionally a man's job, leading men, needing to inspire men. Besides which, her father, while repeatedly showing that he has faith in her ability to lead, seems to also be instinctively protective of her, trying to shelter from the messier nature of mob life in the way that he may have sheltered her mother. Certainly he treats her as younger and more vulnerable than she is, which only fuels Lila's ambition to be bigger, stronger, more than her father ever was. She resents him, too, for treating her like she can't be exactly like him, even though on some level she logically understands his reasoning.

Her drive to go above and beyond often translates into ruthlessness. She's learned cruelty and hard-heartedness from her father, and she takes advantage of every opportunity to practice them. Like anyone who is successful in a crime family, Lila is used to violence and death; she doesn't flinch at death or pain and is accustomed to torture and assassination. When she learns that she or her father is a target, she doesn't blink, she reacts, compartmentalizing her emotional reaction in favor of making a plan. In this way, she is an exceptional leader, refusing to allow enemies to rattle her in most situations.

Most. She's not always logical. Lila operates on the principle of an eye for an eye. In fact, when she's personally wronged and especially when she feels trapped, she is capable of moving past ruthlessness and into pure murderousness. After her imprisonment at the hands of the Sharpes, she's ready and willing to walk Cassel off a roof and rip the rest of the family apart with her bare hands if she has to. She repeatedly expresses her frustration that she can't do this, especially towards Barron and Philip, and is still incredibly (justifiably) bitter towards Cassel despite the fact that he has no memories of the incident.

Bloodthirstiness aside, Lila could easily be termed a sadist. It should be noted that, torture and horrific murder and assassination aside, she seems to be a consensual sadist - she takes pleasure in other people's pain, but only if they are also taking pleasure in it. She also derives pleasure from being deferred to; this runs the gamut from people paying her due deference as Zacharov's daughter to people who will jump when she says jump, stop breathing when she says stop breathing, jump off a roof when she says jump off a roof. The clearest example of this tendency is Lila's relationship with Cassel, which is admittedly complicated by the fact that he ruined her life and then his mother worked her to love him. Even when they were very young, though, a significant portion of the basis of their relationship came from his blind obedience to her and her ability to inflict pain on him without feeling a twinge of conscience.

Not that Lila is a sociopath. She very much is not. It's more like she's got all the same morals as an ordinary person shoved slightly sideways. What she has been taught from a very young age is that in order to survive, she and her family must be superior, they must rule; the government is the enemy, as are ordinary non-worker citizens, when they're not people to be fleeced and taken advantage of. Even other workers are almost always subordinates. In truth, the Zacharovs are worker royalty, and Lila has always been a princess.

So, yes, Lila is spoiled. In her early years, before she underwent the worst, cattiest puberty ever and got serious about her calling as a mafia queen, she utilized her wealth and privilege much more as a weapon against her peers than as a tool for success. Nowadays, she is still used to the finer things in life and she's still entitled to some extent, but she also uses her access to said finer things as a means of comporting herself as she and her family ought to be represented. She dresses well, drives expensive cars, and goes to an exclusive school, but if she did any less she wouldn't be a Zacharov. It's half about ambition, once again, and half about boosting confidence.

Which Lila does not have nearly as much of as she'd like you to think. Here's the problem: when the brothers of the boy you have a crush on try to get him to assassinate you, then he turns you into a cat, and you're kept in a tiny cage that's rarely cleaned for three years, only let out once in a while to work people - you go a little crazy. Or, to be more specific: you lose all sense of self for a while there. Lila specifically states that she tried to tell herself stories, fairy tales, to keep herself stable and grounded, but eventually they ran out. She had nothing more to remind herself that she was human; she lost time; she became something not quite herself, until she finally found a way to get Cassel to set her free again.

Anybody who is that powerless for that length of time is going to have serious post-traumatic reactions, but for Lila, whose entire self-image was built on her own power, it shattered her. When she came back to herself, she was still, in essence, a thirteen-year-old in a seventeen-year-old's body, and as immature as that implies. She had to - is having to - grow up incredibly quickly, and to compensate for her lost time she has become more ruthless, more sadistic, and more willing to sublimate her own emotional stability for the sake of success. More than that, she's furious. Her life was taken away from her and she was only able to get partial revenge. Her solution to this unresolvable emotional dilemma is: climb higher, climb faster, climb harder, take down everyone in my way.

It's as impossible to omit the Sharpes from this section as it would be to omit the Zacharovs. The Sharpes have shaped the Zacharovs' fates for decades, ever since Cassel's grandfather first started working for Lila's father. They have specifically had a huge, almost entirely negative influence on Lila. In quick sum: older brothers Barron and Philip made an alliance with her cousin Anton to kill Lila and put Anton next in line to take over the family; Cassel, who was obsessively crushing on her as a young teenager, turned her into a cat and then had his memory wiped so he couldn't change her back; Barron kept her in a cage for three years without taking any measure of care of her; after Cassel changed her back and Lila was just starting to get her life back to normal, Cassel's mother Shandra emotion-worked her to love him; Cassel dicked around with her emotions as a result and ultimately almost raped her while she was under the influence of the emotion work. The conclusion here being that Lila blames the Sharpes for everything bad that has ever happened her, while also having Cassel as a very specific complicating factor. He's responsible for a lot of awful things, true, but she also always liked him - that and now she has to like him. Even though the emotion work has mostly worn off, her feelings are and will continue to be all tangled up in that curse until and unless someone can take if off her. So she loves him, but hates him, and hates him for being someone she loves. Just as Cassel will never fully get over her, she will never fully get over Cassel. Even though she wants to kill everyone genetically related to him. That's another thing she'll never get over.

ABILITIES:
As briefly explained in the Background/History section, Lila's world is almost identical to ours except for the inclusion and influence of what are colloquially referred to as workers: people with genetically-influenced quasi-magical abilities. There are seven different kinds of work: dream, physical, memory, luck, death, emotion, and transformation.

Lila is a dream worker. With a touch, she can directly influence and control others' dreams. All canonical evidence shows that she can either touch people while they're awake and influence their dreams the next time they sleep, or she can touch them while they're already sleeping and alter/control their dreams that way. There seem to be no limits to how much or for how long Lila can control dreams, but contact must be hands-to-bare-skin for it to be effective.

Additionally, after every work Lila will experience blowback. This essentially means that for every action there is an equal and opposite reaction, and the more she changes someone's dreams the worse her own night terrors become.
INVENTORY; A pair of black leather gloves, the clothes on her back, red lipstick, a small concealable revolver.

ANYTHING ELSE WE SHOULD KNOW? I love you?

S A M P L E S;

FIRST PERSON: Test drive, starring Lila with a scalpel.

THIRD PERSON:
Here's the thing: Lila and memory work, they don't have a good history. They're not close. They're not on friendly terms. If Lila happened to meet a memory worker who wasn't in her employ, there would be a fifty-fifty chance that she'd knock him out before he even had a chance to speak, and there's at least one she'd be more than happy to kill.

So when she comes back from their very first jaunt with memories in her head that aren't her own, it's only a matter of time before she explodes.

It wasn't that it was bad, even, for a first time. If she's going to infiltrate somewhere, it might as well be somewhere reasonably familiar. The place was modern, with plumbing and everything. She had a reasonable amount of power. She has a sneaking suspicion she was even happy.

But happy or not, she wasn't her. Someone took her self away from her.

She wants to kill them.

She closes her eyes and presses the tips of her first and middle fingers against her neck. She can feel both her heartbeat in her throat and the rough line of scarring that makes up her keloid necklace. That belonging, that's important. Even here. Especially here. She remembers the important things - reopening the wound and packing it with ash; the first time she wore her scar out in the open and the looks people gave her; her father's pride when she told him it was fully healed. She remembers what she is a part of.

It's not this. This isn't her calling, no matter what the Trumps think. This isn't her family. This isn't her life.

And that sure as hell wasn't.

She leans back against her seat serenely, letting her eyes fall mostly shut against the dim light of liminal space. Someone will cross her soon enough, one way or another. Someone she can access. And that's where she'll start. It's not ideal, but it's better than nothing.

P L A Y E R;

NAME: Anne
AGE: 23
PLAYER JOURNAL: trustme_imthe
TIMEZONE: EST
CONTACT: trustmeimthe; tavrosno[at]gmail[dot]com
OTHER CHARACTERS PLAYED: N/A

C H A R A C T E R;

NAME: Maladicta
CANON: Discworld
POINT IN CANON: Several months post-canon, after the conflict with Zlobenia starts looking like bad news bears (again).
AGE: Age unstated in canon. She's implied to look about 19, headcanon states actual age is around 124.
APPEARANCE: Mal is pale, slim, of average height, and gray-eyed. Her hair is black and cut stylishly short. Her clothes - men's - are always neat. She has abnormally, though not supernaturally, long canines. Overall, she strikes one as androgynous enough that her confidence allows her to portray herself however she desires. I use Vladlena Shevelova for Mal's PB for several reasons, one of which is not the makeup/piercings, which Mal does not wear/have. That said, this is probably the closest image I have.

CANON HISTORY:
A useful wiki article on Nosferatu sanguineus. & here's a thing on Borogravia, Mal's home country. & a plot synopsis, but I'm still going to tl;dr.

On the Disc – an aggressively whimsical semi-parallel version of Earth – there was a country called Borogravia. Borogravia was proud; Borogravia had a mad god (Nuggan) and a dead duchess, both of whom gave a great degree of false hope to a poor and barren nation; Borogravia made war. For years and years, because it could, until there was nothing but war in Borogravia, and it had run out of sons. When a country that loves war runs out of sons, and when propaganda stops working because of that nasty tendency of people to come back from war with fewer arms and legs than they left with, those who enter into warfare tend to have very individual motivations. In the case of what came to be termed in Borogravia the Monstrous Regiment, they were also not sons.

Eight young women cut off their hair, put on trousers, and joined the army to fight for the glory of the Motherland!!, except not really, because generally they were running away from rather than towards something. Maladicta certainly was. Tired of not getting respect from her family (because female vampires are meant to be sexy, not clever or strong or independent), Mal joined the Ins-and-Outs and quickly detected that her idea was not particularly original. She was surrounded by women.

Unfortunately, these eight women were the last recruits of the current war with Zlobenia, and as such were given shoddy equipment and told to go to the front lines posthaste. Before this could happen, however, the recruiting corporal (name of Strappi), a political spy for the highest Borogravian military authority, became so thrilled at the idea of heading to the front lines that he pissed himself and deserted, significant largely because a) he gave away the squad's position to the nearby Zlobenian infantry, and b) he stole Mal's coffee. Mal really needed her coffee; without coffee she would kill for a cup of . . . well, blood. [See powers section]

But speaking of the Zlobenians: those plucky girls manage to capture and humiliate (that is, kick in the fork and strip) the infantry forces, although it might have interested them to know that Prince Heinrich of Zlobenia, the heir to the Borogravian throne and a major reason for the war's outbreak, happened to be in that infantry party . . . and was the one kicked in the fork . . . and actually became quite angry about it. Due to the exciting influence of the Free and Fair Press of city-state Ankh-Morpork, the story of Prince Heinrich's ultimate humiliation at the hands of a small group of green recruits quickly became a hot topic of conversation across the Disc and instantly changed political attitudes towards Borogravia from They are insane and must be stopped (possibly accurate) to They are plucky underdogs and we should support them.

Due to confusing verbal and tactical maneuvering by the Ins-and-Outs' tremendously inexperienced Lieutenant Blouse, the regiment ultimately ended up making its way to Kneck Keep, a vital Borogravian stronghold which had been taken over by Zlobenians. Along this trip, the lack of coffee became an issue. Having substituted her addiction to human blood for an addiction to coffee, Mal began experiencing flashsides, or hallucinations of alternate realities – in this case, of the Vietnam War. As the squad made its way to the Keep, Mal got so close to reverting to her original addiction and attacking one of her fellow soldiers that she nearly had to be staked through the heart – until a blessed bag of beans dropped from the sky and nearly concussed her. (Said bag of beans had been dropped by Commander Vimes of the Ankh-Morpork City Watch, who was keeping an eye on the Ins-and-Outs for complicated political reasons.)

An unconscious yet thoroughly caffeinated Mal (she sucked the caffeine directly from the beans through the bag, which is apparently a thing you can do if you're desperate enough) was left outside the Keep with their Sergeant Jackrum while the others disguised themselves as washerwomen to get inside the fortress. Mal was quickly caught and imprisoned by Zlobenians within the Keep; the others quickly followed (partially because no one believed they were actually women). After a complex series of power shifts within the Keep, the Borogravians retook it and, in their turn, became tremendously offended at the presence of women within their army, despite the fact that the squad (sans Mal, who was still unconscious) had freed them from their cells.

A court-martial was called – but not officially, since a court-martial is only for proper (that is, male) soldiers - and the top brass of Borogravia was about to disregard the squad's achievements and send them home when Sergeant Jackrum returned and revealed that about, oh, one third of the entire military was of the female persuasion. Halfway through this exciting development, the semi-divine Duchess of Borogravia possessed one of the recruits and demanded that Borogravia let go of her and of Nuggan and that the generals return home to save their people form starvation.

It was only after this, in the confusing and frequently condescending peace negotiations, that Mal revealed that she was really Maladicta. This was met with a general lack of offense from the squad, and everyone was sent home with a pat on the back and a none-too-subtle hint not to come back. The female generals stayed silent about their identities. There was a nice march to and party at the capitol, after which Mal disappeared to put her head on straight for a few weeks. Once tensions started rising with Zlobenia again - just a few weeks later - she returned to the regiment and rejoined Polly in training a new generation of soldiers to be a whole lot less stupid than the last generation.

CANON PERSONALITY:
Mal is first and foremost an outsider. This is a quality that permeates pretty much all of her social interactions and one that she deliberately reinforces, in large part for her own safety. She has had to cultivate a taste for being an outsider because, while she had no place in vampire society (because of her sobriety and her extreme distaste for the traditional gender roles enforced within the culture), she was also very wary about her ability to function within the confines of human society. As such she pulled herself mostly out of vampire culture and dipped her toes into humanity, but initially tried to keep herself aloof enough that she would not be close enough to be in danger of retaliation should something go horribly wrong. Her most significant change throughout the course of canon, and one she is very much in the middle of by the end of canon and will continue to work on while on the Barge, is that she is learning to fully immerse herself in her little motley crew of people and find a home.

One of the things that is fundamentally different about Mal is that she isn't human. She looks human enough, but her baseline for violence and need for control are both much higher than an ordinary human's would be. The violence is easily explainable: vampires are an exclusively predatory species, so her natural instinct is to respond to a challenge with force. She repeatedly threatens and physically assaults people she sees as threats to herself or her regiment and seems to see absolutely zero problem with doing so.

Again related to that whole vampire thing, Mal seeks control. Because she can no longer control people by feeding, she looks to control other avenues of her life - for example, by constantly questioning authority (particularly useful in Borogravia, where authority tends to have its head up itself).

Her desire for control over her environment expresses itself in an intense curiosity about anything and everything that could be useful to her. While she doesn't mean anything bad by this curiosity, it can quickly shift from harmless curiosity to invasiveness. She is incredibly nosy and doesn't back off from things that interest her, and is highly likely to fixate on one or more people who strike her as particularly fascinating. These very special people, whom more well-adjusted individuals would probably call friends, are the people who Mal pushes. If she sees potential in someone or finds them interesting, she essentially provokes them into pushing back - in other words, she's best able to relate to people in a contentious, back-and-forth relationship in which both parties are challenged.

Ultimately, Mal's greatest desire is control over herself. Canonically, she is actually very terrible at this. She acts like she has complete control, in part because that's just how vampires act and in part because it keeps her safe from those who would suspect the worst from her. However, she's impulsive as hell and has a tendency to run into dangerous situations with a) no backup and b) no plan. The most prominent example of this is the fact that, unlike many of her Black Ribboner peers, Mal not only chose a substance (coffee) rather than an abstract (politics, photography, police work) to substitute for her desire for blood, she proceeded to join the army - which tends to travel through a whole lot of coffee-less areas. It was an idea that was pretty much doomed to failure, but truthfully Mal relies on chance and used bluster to appear more directed than she actually is. The fact that Mal only starts thinking about solutions to this huge hole in her clever plan after she's already gone through withdrawals and almost been staked through the heart indicates a ridiculous lack of forethought, even about the most crucial things in her life.

That being said, she does learn from her mistakes. Furthermore, she's sufficiently stubborn that when she puts her mind to something, whether it be improving herself, protecting a friend, or fighting for a cause, she digs her teeth in and doesn't let go. Sometimes her stubbornness eclipses her intelligence, in fact; she'll pursue something that she believes in whether or not it's a good idea in the long-term (see also: "what is forethought?" above).

Mal is haughty with a dash of charm by default. In fact, the main character repeatedly "objects to [her] permanent expression of effortless superiority," which she maintains at all times except when she is going through coffee withdrawals. Part of this is genuine and part is a defense mechanism. Mal does consider herself smarter than her peers and makes an effort to know things about them that give her an advantage. She may use such an advantage if it's helpful to her. However, she also comes from a family in which her skills and intelligence were ignored; upon arriving in the army, she immediately establishes herself as cleverer, faster, and stronger than the other recruits to establish herself as valuable.

She is almost always sarcastic, sardonic, or otherwise disingenuine. It would be a pretty bad idea to take her word at face value, because nine times out of ten she's testing the person she's speaking to - or just plain teasing them. While this is just kind of how Mal is, there is an element of defense mechanism to this as well. She conceals her motivations and particularly her emotions, which is hypocritical given that she spends so much of canon investigating other people that more than one character comments on her external rather than internal focus. Because of her semi-self-imposed outsider status, she sees too much sharing and exposure of vulnerabilty as equivalent to weakness, and while she isn't openly distrustful, she can be standoffish on first acquaintance.

However, when Mal clicks with a person - or a group of people, as she does during her time in the Ins-and-Outs - she bonds incredibly quickly. Her regiment becomes, in essence, her family during her time with them, supplanting her ties to vampire culture and making her feel more, though by no means completely, secure with people. While the majority of the recruits move on after peace is declared, Mal isn't quite able to do it, because home, to her, is where her people are. That's why she comes back to the regiment in the end: to follow that sense of belonging.

Finally, while Mal does hold a very high opinion of herself, she has no illusions about how dangerous she could be if she lost control. During the course of her withdrawals in Monstrous Regiment, she conceals her worry until the very last minute, at which point she insists that her friends put a stake through her heart to ensure their own safety. What this means is: no matter how haughty she acts, no matter how cruel she can be, and no matter how impulsive she is at times, there is something bigger than herself that she wholeheartedly believes in, and that is her people.

ABILITIES:
Mal is a goddamn vampire, and "on the Disc, all the world's vampire legends are true, even the contradictory ones. They just aren't all true for the same vampire." As stated above, Mal is a Black Ribboner and does not drink blood, having substituted the addictive properties of coffee. Once again, however, a lack of coffee will lead to delusions, hallucinations, and delirium tremens.

Mal is apparently not a created vampire but a genetic one, i.e. her parents are both vampires. The rules of immortality for vampires are not explicitly stated within the novels, but it's fair to assume that genetic vampires age more slowly than humans while following the same basic physical growth trajectory. She's never questioned about her age when she signs up for the army, which implies she visually passes for a late-teenaged human; therefore I estimated her apparent age at 19 and her actual age at 124.

Mal can change into bats (not one bat but a swarm of them), although it's difficult for her and she ends up naked when she changes back (because female vampires must always be sexy). She tolerates sunlight but does not enjoy it (it tingles). She can levitate and fly for short distances but finds it difficult and physically draining. She's supernaturally strong and fast, with fantastic hearing and a really excellent sense of smell, especially if you're bleeding. She can see in the daaaaark. She can punch you through a wall. ~~Like a boss.~~ If you want to kill her you pretty much have to stake her in the heart. Otherwise she'll just heal and look smug at you.

In the Discworld, vampires don't exactly drink blood for sustenance; they're addicted to it like a drug. In fact, the Überwald League of Temperance, or Black Ribboners, is a group analogous to Alcoholics Anonymous, which encourages its members to abstain from blood. Many vampires choose to simply replace one addiction with another. Mal's new addiction is coffee. When she doesn't have any in canon, as happens while the regiment is on the move, she reverts back to her original addiction and craves blood. When she reverts her cravings are so intense that she can't control herself; however, she is self-aware enough to realize that she's a danger to others. In the interim period while the effects of the coffee are wearing off, she becomes completely unaware of her surroundings and experiences "flashsides," or flashes of alternate realities. In Monstrous Regiment, she gets flashsides of the Vietnam War. During flashsides, Mal is entirely unaware that her original reality ever existed.

Other skills include looking fantastically yet carelessly dressed, being smug, avoiding mobs, and sort of knowing how to fight with a pike. Skills do not include technology or flush toilets.

INVENTORY; One Ins-And-Outs corporal's uniform, one shako, one Black Ribbon, one saber, one coffee engine, several bags of ground coffee.

ANYTHING ELSE WE SHOULD KNOW? I still love you.

S A M P L E S;

FIRST PERSON: Dean Winchester is a terrigreat friend, and Hannibal Lecter is a bad influence.

THIRD PERSON: Introspection around your sergeant is never not awkward.

ACCEPTED!

ACCEPTED

(still working on a ruling about her powers, we'll get back to you ASAP on that)

Thank you so much, and take your time! ♥

Since it's unclear to what degree Lydia's powers are psychic/telepathic, exactly, we're going to give you an option: she can either keep the powers totally intact as-is, or, if you prefer, she can swap out her deathsense powers for two skills off the Telepathic Skills list.

ACCEPTED!

P L A Y E R;

NAME: Crystal
AGE: 23
PLAYER JOURNAL: nerdangel
TIMEZONE: CST soon to be EST
CONTACT: roomwithamoose or PM is fine.
OTHER CHARACTERS PLAYED: n/a

Would it be possible to take Mind Palace Projection and Psychic Healing? Not sure based on that post if I should take a lower-tier skill, which I'm happy to do if that suits these purposes better!

C H A R A C T E R;

NAME: Elijah Mikaelson
CANON: The Vampire Diaries/The Originals
POINT IN CANON: The Originals 1x16 'Farewell to Storyville'
AGE: 1000+
APPEARANCE:
Elijah is approximately 5'11" and of average build with brown hair and eyes. Though these days he's been seen sporting clothes a little more casual than suits all the time, he does always dress neat and clean. That also means no facial hair. He also typically looks as though he comes from money no matter how casual he dresses. He is really freaking handsome.

CANON HISTORY: Boop.
CANON PERSONALITY:
From the outside, it is readily apparent that Elijah is a serious man. For example, his facial expression is often hard to read or slight at best, he is usually quite to the point in a conversation, and he is a ruthless killer when it suits his purposes, showing absolutely no remorse or regret. However, this doesn't mean that Elijah is completely out of touch with emotions. He, instead, chooses not to let his emotions take so much control over his actions that he loses the ability to plan or think ahead - which is something he does quite well. When Elijah is angry, he doesn't lose his temper in an explosive manner. Losing control would, more or less, be an antithesis of behavior to someone like Elijah who controls his emotions as well as his words when dealing with other people. Instead, Elijah's anger is a cold rage that's just brewing beneath the surface that he redirects into energy and motivation to seek revenge/justice such as when he kidnapped Elena to motivate the Salvatores into stopping Esther or snapped Agnes' neck for trying to kill Klaus' unborn child.

Moreover, Elijah's emotions are not all entirely negative and cold and he doesn't lack a softer, more compassionate side. He has been shown to have a sense of humor - even if it's a bit on the dry, dark side of the spectrum - and he has been shown to care for others. He has a respect for particular individuals as well as human life in general (and his family/siblings, but more on that later) best exemplified by the extra lengths he went to in order to preserve Katerina's life both out of compassion and caring for her and the aforementioned regard towards human life. He also struck up a deal with Elena to protect those she loved while waiting for Klaus to arrive rather than making his sole focus Elena. Part of this was, of course, to encourage compliance, but Elijah does not revel in nor desire to engage in what he would deem unnecessary bloodshed. He finds that kind of behavior abhorrent and openly shows disdain for it whenever his siblings - particularly Niklaus and Rebekah - engage in it.

As to why Elijah tries to keep a very calm and cool exterior while not letting emotions cloud his judgment too much, it's because he very much has an emphasis on loyalty/duty and honor - which means making deals and ultimately means maintaining a perfect p-p-p-poker face (mum mum mum mah). Elijah places such a high emphasis on loyalty and keeping promises that the expectations extend both to others and himself. Best case for others is the way in which he chooses to handle Trevor and Rose after they offer him Elena to make up for their transgression of allowing Katerina to turn and flee. Elijah spares Rose because he admires the loyalty she showed towards her friend (having no real prior/specific ties to Klaus), but he punishes Trevor with death because he directly betrayed Klaus and Elijah, in his opinion, with no real excuse.

In regards to the importance of loyalty and honor that Elijah places on himself, that's most evident when it comes to betraying Elena & co. during the sacrifice. He was already torn because of his inherent loyalties to Klaus as a sibling no matter what the circumstance (again, more on that at eleven), but he had to make a decision between his duty towards his remaining siblings and his duty towards his promise to Elena. These sort of expectations to behave honorably and not to use underhanded/dirty tactics is also seen again when Elijah leaves a note for Elena apologizing for the earlier mentioned kidnapping. At the time, he felt justified because she had lied to him. But after a verbal smackdown courtesy his mother, it really sank in to Elijah that he had been manipulative and had been willing to sacrifice Elena's life instead of finding some other way to avoid bloodshed. He basically was not behaving any better than his other siblings in terms of treating human life like nothing more than tokens in a power play when it's convenient causing all sorts of existential drama, cognitive dissonance, etc. And when it's convenient, it's usually in relation to his family.

So this makes a very convenient segue into talking about that.

...Finally.

Family trumps and overrules everything in Elijah's life/framework. Elijah will hold to every single promise and word he gives until his family is in danger. Then everything is thrown out the window and he is ruthless in exacting what he views as justice though it's sometimes just revenge dressed up in a really pretty gown.

Family is the source of who and what he is, it gives him purpose, and it's, of course, made up of the people he's known and loved the longest/most in his entire existence. Although canon does not always give explicit examples, it's very easy to infer that each and every single one of the Mikaelson children feared and respected their father (except Klaus, but his daddy issues are not the point). Being the eldest surviving son, there are implicit (and likely explicit) duties of eventually being passed his father's mantle as the patriarch of the family. Elijah, more or less, already became the patriarch of the family even before they were turned into vampires when it came to looking after his siblings (and his mother at times) anyway because Mikael is the definition of an emotionally unavailable and abusive parent. Elijah's siblings have come to rely upon Elijah for his help and emotional comfort as seen through his relationship with Klaus - trying to help him break the curse to free his werewolf side - and his relationship with Rebekah - having more heart-to-heart conversations with her than anybody else in the family. There are generally no lengths in which Elijah is not willing to go for his siblings either because he is essentially their only or one of the very few sources of unconditional love for a bulk and majority of their lives both as humans and vampires.

As mentioned earlier, Elijah was clearly torn about killing Klaus when he had the opportunity for more than just reasons of finding and freeing his other siblings. The fact of the matter is, while there was a point in which Elijah would have done anything for Klaus and that point has passed, he doesn't hate his brother or wish him that sort of extreme ill. Nor does it mean that Elijah would be unwilling to do anything at all for Klaus. Elijah is merely disappointed with the way Klaus chooses to do things like dagger his siblings, shed a lot of unnecessary and innocent blood, be entirely selfish, saying that if Elijah doesn't return with Katerina he's gonna pay the price with his life, etc. He would much rather see Klaus dealt with in a far less permanent manner and taught to behave in a much more honorable manner. He has that wish for all his siblings and that is his current raison d'être.

Although Elijah did not immediately forgive Klaus for daggering him (again), he still holds onto the belief that Klaus can grow and change. Elijah believes that the child Hayley is carrying will be the solution to this particular conundrum. As such, he's quickly accepted Hayley as family and has sworn to do everything in his power to keep her and her baby safe even if that means keeping them safe from Klaus himself. At the same time, Elijah is having to battle against his feelings towards Hayley. Elijah has allowed his romantic feelings before take up too much of his attention in the past with Katerina and Celeste both though especially when it came to Celeste. While Elijah spent most of his days with Celeste, Klaus went more or less unchecked and causing a number of problems for both New Orleans and the family. Klaus eventually lashed out at Elijah for neglecting him by killing Celeste. Elijah doesn't want to see history repeat itself in regards to Hayley and so squashes down his feelings for her as much as possible. Because at the end of the day, there is nothing that Elijah won't do to try and save Klaus from himself and that's why he refuses to abandon his duty as an older brother any time in the near-future even if that means putting his own wants and needs on the backburner.

POINT OF DEPARTURE: N/A
ABILITIES:

Elijah's got the standard vampire skill set, but most of them are better than a standard vampire because he's an Original. Arguably Elijah is the strongest vampire still around as he is currently the oldest known and he seems to have different thresholds than his siblings. (ex. Rebekah is constantly getting choked by the Salvatores, but when Damon tried to choke Elijah, he just shrugged that shit off.) ~~Also entirely possible it's just due to inconsistent writing!~~

Anyway, Elijah's got the abilities of super strength & speed, heightened senses, mind compulsion, and accelerated healing that are better than everyone else because of his age if nothing else. One difference from Elijah and non-Original vampires in particular is his ability to compel other vampires. Regular vampires cannot do this. Originals are also special snowflakes because they can detect when other vampires and humans are using vervain. They also tend to have a speedier recovery time when vervain is used on them. Vervain burns vampires upon contact and when consumed or worn will prevent their compulsion. A vampire's compulsion can also be removed if there's a witch with that much magic around. It's not a pleasant process and hurts like hell, but it's doable. Elijah's also got some memory-sharing wherein if a person - regardless of species - opens their mind up to him, he can show them his memories. It's limited to him sharing his memories with them though. It doesn't work in the reverse.

Sunlight will burn the hell out of an Original, but Elijah's got a daylight ring to keep that from being an issue. Elijah also needs an invitation to enter a private residence with a living, human occupant. The only way to kill Elijah and his fellow Originals is with a stake created from the white oak tree that had been used to make them into vampires. The best most can do is neutralize them with a dagger dipped in the ash of the white oak tree.

INVENTORY; Clothes, cellphone, daylight ring.
ANYTHING ELSE WE SHOULD KNOW? Nah, nothing important.

S A M P L E S;

FIRST PERSON: Thread in Asgard + Inbox Thread for Asgard
Elijah's from a slightly earlier canon point in these samples, but not that much has dramatically changed between the episodes.

THIRD PERSON:
There is currently a lot on Elijah's plate in this precise moment. His sister has been allowed to walk away from the city of New Orleans freely. His brother carried on as though it were a banishment, but the wind has been taken out of his sails. He's no doubt about to begin a self-destructive binge sooner rather than later. The witches are likely still not yet satisfied and, provided that Celeste's last bit of magic works, the werewolves are likely to grow restless out in the bayous with Hayley in their midst and under their protection. And Elijah is no fool. Marcel may have left the French Quarter as he was ordered, but he's still in the city somewhere. The vampires that were forced out of their family home are just as likely to continue obeying the rules as they are to seek out Marcel. And at the risk of thinking like Niklaus, Elijah knows Marcel is likely licking his wounds and trying to scheme his way back into power over the city.

War is brewing in New Orleans. And with his sister gone and Klaus collapsing in on himself, Elijah is left to stave it off or arise the victor. He cannot allow himself to be distracted by anything, not Hayley, not Rebekah's exit. He needs to find a way to quell humans, witches, vampires, and werewolves all alike. Where Niklaus would prefer to rule over all with an iron fist - or eliminate them if they refused to submit - Elijah is not like his brother. He would rather see each faction have their equal say, but know that they must still answer to their family. They managed peace between everyone a century ago along similar lines in the past, they can do it again. Provided Klaus lends a hand rather than working against Elijah. And right now, either is likely.

Elijah draws a deep breath and leaves the courtyard for his room. He needs to begin devising more exact plans before he can rest.

Edited (whoops forgot a thing) 2014-03-22 07:23 (UTC)

That should be fine!

P L A Y E R;

NAME: Crystal
AGE: 23
PLAYER JOURNAL: nerdangel
TIMEZONE: CST soon to be EST
CONTACT: roomwithamoose or PM
OTHER CHARACTERS PLAYED: n/a

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